Owner's Manual: Downloaded From Http://nothickmanuals - Info

Owner’s Manual
E 1
Downloaded from http://nothickmanuals.info
The lightning flash with arrowhead symbol
IMPORTANT SAFETY INSTRUCTIONS within an equilateral triangle, is intended to
alert the user to the presence of uninsulated
• Read these instructions. “dangerous voltage” within the product's
• Keep these instructions. enclosure that may be of sufficient magnitude
• Heed all warnings. to constitute a risk of electric shock to persons.
• Follow all instructions.
• Do not use this apparatus near water. The exclamation point within an equilateral
• Mains powered apparatus shall not be exposed to dripping or triangle is intended to alert the user to the
splashing and that no objects filled with liquids, such as vases, presence of important operating and
shall be placed on the apparatus. maintenance (servicing) instructions in the
• Clean only with dry cloth. literature accompanying the product.
• Do not block any ventilation openings. Install in accordance with
the manufacturer's instructions.
• Do not install near any heat sources such as radiators, heat CAUTION
registers, stoves, or other apparatus (including amplifiers) that Danger of explosion if battery is incorrectly replaced.
produce heat. Replace only with the same or equivalent type.
• Do not defeat the safety purpose of the polarized or grounding-
type plug. A polarized plug has two blades with one wider than THE FCC REGULATION WARNING (for U.S.A.)
the other. A grounding type plug has two blades and a third This equipment has been tested and found to comply with the limits
grounding prong. The wide blade or the third prong are provided for a Class B digital device, pursuant to Part 15 of the FCC Rules.
for your safety. If the provided plug does not fit into your outlet, These limits are designed to provide reasonable protection against
consult an electrician for replacement of the obsolete outlet. (for harmful interference in a residential installation. This equipment
U.S.A. and Canada) generates, uses, and can radiate radio frequency energy and, if not
• Protect the power cord from being walked on or pinched installed and used in accordance with the instructions, may cause
particularly at plugs, convenience receptacles, and the point harmful interference to radio communications. However, there is no
where they exit from the apparatus. guarantee that interference will not occur in a particular installation.
• Only use attachments/accessories specified by the manufacturer. If this equipment does cause harmful interference to radio or
• Unplug this apparatus during lightning storms or when unused television reception, which can be determined by turning the
for long periods of time. equipment off and on, the user is encouraged to try to correct the
• Turning off the power switch does not completely isolate this interference by one or more of the following measures:
product from the power line so remove the plug from the socket if • Reorient or relocate the receiving antenna.
not using it for extended periods of time. • Increase the separation between the equipment and receiver.
• Install this product near the wall socket and keep the power plug • Connect the equipment into an outlet on a circuit different from
easily accessible. that to which the receiver is connected.
• WARNING—This apparatus shall be connected to a mains • Consult the dealer or an experienced radio/TV technician for
socket outlet with a protective earthing connection. help.
• Refer all servicing to qualified service personnel. Servicing is Unauthorized changes or modification to this system can void the
required when the apparatus has been damaged in any way, user’s authority to operate this equipment.
such as power-supply cord or plug is damaged, liquid has been
spilled or objects have fallen into the apparatus, the apparatus
has been exposed to rain or moisture, does not operate normally, CE mark for European Harmonized Standards
or has been dropped. CE mark which is attached to our company’s products of AC mains
• Do not install this equipment on the far position from wall outlet operated apparatus until December 31, 1996 means it conforms to
and/or convenience receptacle. EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
• Do not install this equipment in a confined space such as a box And, CE mark which is attached after January 1, 1997 means it
for the conveyance or similar unit. conforms to EMC Directive (89/336/EEC), CE mark Directive (93/
• Use only with the cart, stand, tripod, bracket, or table specified by 68/EEC) and Low Voltage Directive (73/23/EEC).
the manufacturer, or sold with the apparatus. When a cart is Also, CE mark which is attached to our company’s products of
used, use caution when moving the cart/apparatus combination Battery operated apparatus means it conforms to EMC Directive
to avoid injury from tip-over. (89/336/EEC) and CE mark Directive (93/68/EEC).

Handling of the internal hard disk COPYRIGHT WARNING
Do not apply physical shock to this device. In particu- This professional device is intended only for use
lar, you must never move this device or apply physi- with works for which you yourself own the copy-
cal shock while the power is turned on. This can cause right, for which you have received permission from
part or all of the data on disk to be lost, or may dam- the copyright holder to publicly perform, record,
age the hard disk or interior components. broadcast, sell, and duplicate, or in connection with
When this device is moved to a location where the activities which constitute “fair use” under copy-
temperature is radically different, water droplets may right law. If you are not the copyright holder, have
condense on the hard disk. If the device is used in this not received permission from the copyright holder,
condition, it may malfunction, so please allow several or have not engaged in fair use of the works, you
hours to pass before operating the device. may be violating copyright law, and may be liable
for damages and penalties. If you are unsure about
Do not turn the power on and off repeatedly. This may your rights to a work, please consult a copyright
damage the D3200. attorney. KORG TAKES NO RESPONSIBILITY
This device begins to access the hard disk immedi- FOR ANY INFRINGEMENT COMMITTED
ately after the power is turned on. THROUGH USE OF KORG PRODUCTS.
Never turn off the power while the HDD access indi-
cator is lit or blinking. Doing so can cause all or part of
the data on hard disk to be lost, or may cause malfunc-
tions such as hard disk damage.
If the hard disk has been damaged due to incorrect
operation, power failure, or accidental interruption
of the power supply, a fee may be charged for
replacement even if this device is still within its
warranty period.
Data handling
Incorrect operation or malfunction may cause the contents of
memory to be lost, so we recommend that you save impor-
tant data on a CD or other media. Please be aware that Korg
will accept no responsibility for any damages which may re-
sult from loss of data.
Also, when digitally recording copyrighted audio material
from a DAT or CD etc., you must obtain permission for use.
Please be aware that Korg will accept no responsibility for
any copyright violations which may occur through your use
of this product.
* Company names, product names, and names of for-

mats etc. are the trademarks or registered trademarks
of their respective owners.
iii
Cautions when using the CD-R/ Printing conventions in this
RW drive manual
• During CD reading and writing operations, keep the unit
in a horizontal position. Faders, knobs, and keys on the panel
• Do not use the unit in extremely cold or hot locations. In this manual, “faders,” “knobs,” and “keys” refer to
• Do not use the unit in extremely humid locations. controls on the panel. The names shown on the panel are
• Do not use the unit in dusty or smoky locations. printed in boldface in the manual.
• Do not subject the unit to vibration or strong physical Examples: MASTER fader, TRIM knob, REC/PLAY key
shock. In particular, this unit is vulnerable to shock during
CD reading and writing operations. Items in the LCD screen
• Normally, you will be able to open the CD tray by press- “Buttons” and “dialog boxes” are displayed in the LCD
ing the eject button. However if this fails, you can forcibly screen. The names shown in the screen are printed in
eject the tray by inserting a thin object (such as a straight- boldface in the manual.
ened paper clip) into the emergency eject hole. Items printed in “boldface” are parameters or tab page
• Do not store the unit in hot or humid locations. names shown in the LCD screen.
• Never touch the focusing lens. Examples: OK button, Rename dialog box, “SetUp” tab
• Do not use commercially available lens cleaners. page
• Do not transport the unit with a disc left in the tray.
• Do not leave the unit with the disc tray open. Other items printed in boldface
Boldface is also used to indicate the names of non-
CD-R/RW handling selectable parameters shown in the LCD screen, or to
Please observe the following points when handling discs. indicate content in the text that we wish to emphasize.
Failure to observe these points may cause problems such as
data not being written correctly, loss of recorded data, or Steps (1) (2) (3) ...
drive malfunction. Steps in a procedure are indicated as (1) (2) (3) ...
• Do not leave discs in direct sunlight, or in locations of
high temperature or high humidity. (→p.■■)
• Do not touch the surface of a disc. Hold a disc by its
This indicates a reference page within this manual.
edges.
• Remove dust or dirt from the surface of a disc. To remove
dust, use an air duster or cleaner.
, ,
• Do not affix labels to a disc, or write on a disc in locations These symbols respectively indicate points of caution,
other than specified. notes of advice, or examples.
• Do not use chemicals or detergent to wipe a disc.
• Do not bend or drop a disc. …, “XX” tab page
This refers to a page shown in the LCD screen. To access
Responsibility for loss of data this page, press the top panel … key, and then click the
Korg Corporation will accept no responsibility for any dam- “XX” tab in the LCD screen (→p.13).
ages (direct or indirect, whether sustained by the customer or You can also use the panel √TAB PAGE/TAB PAGE® keys
by a third party) resulting from loss of or damage to data to move between tab pages.
written on a CD-R or CD-RW disc.
…, …, “XX” tab page
The top panel MIXER key and CD key display a page
jump menu in the LCD screen before the tab pages
appear, so click the page button (→p.13) and then click
the “XX” tab (→p.13). Pressing the MIXER key or CD
key will take you back to the page jump menu screen.
LCD screens
The parameter values shown in the LCD screens printed
in this manual are explanatory examples, and may not
necessarily match the displays that appear on your
D3200.
iv
Table of Contents 5. Recording................................................. 25
Preparations for recording ...............................25
Start recording....................................................26
IMPORTANT SAFETY INSTRUCTIONS...............ii 6. Playback .................................................. 26
Handling of the internal hard disk ................... iii Step 3: Overdubbing ...................................27
Data handling................................................. iii 1. Recording................................................. 27
Preparations for recording ...............................27
COPYRIGHT WARNING................................... iii
Start recording....................................................27
Cautions when using the CD-R/RW drive ......... iv
2. Playback .................................................. 27
Printing conventions in this manual .................. iv
Step 4: Mixdown and mastering ..................28
1. Applying effects and EQ to individual
channels................................................... 28
Introduction ................................... 1 Applying effects to individual channels/tracks
(Insert Effect) ......................................................28
Included items..................................................1 Applying EQ to each channel/track ...............28
Before using the D3200 for the first time ........ 1 Adjusting the pan ..............................................29
Using the channel/track sends to apply effects
Power on/off ...................................................1 (Master Effects)...................................................29
Selecting a master effect....................................29
Setting the calendar .........................................2
Adjusting the Master Effect 1 Send amount for
Connection example.........................................3 each track ............................................................30
Checking and adjusting the master effect ......30
Main features ............................................... 4
2. Applying Final (or mastering) effects and EQ to
Parts and their function ................................. 6 the entire song.......................................... 31
Top panel ........................................................6 Set the meters to display the post fader
levels. ...................................................................31
Rear panel.....................................................11 Applying an effect to the master bus
(Final Effect)........................................................31
About the CD-R/RW drive ..............................12
Applying EQ to the master bus (Master EQ).32
Items and functions in the LCD screen........... 13 3. Recording the master track........................ 33
Basic operation ........................................... 15 4. Writing to a CD ........................................ 34
Examples of operation ...................................17 Saving your song........................................... 34
Quick Start .................................. 18 Operation ....................................35

Step 1: Preparations ................................... 18 Song, Locate................................................35
1. Connections ..............................................18 1. Selecting/creating a song.......................... 35
2. Turn the D3200 on ....................................18 1-1. Creating a new song......................... 35
1-2. Renaming a song.............................. 36
3. Listen to the demo song .............................19
Using the name library ................................36
Step 2: Quick recording .............................. 20 1-3. Selecting a song................................ 36
Selecting a song from the song list .............36
1. Create a new song ....................................20
Selecting a song from another song drive ..36
2. Name the song .........................................20
2. Location ................................................... 37
3. Connect your audio sources to the mixer 2-1. Switching the counter display ............ 37
inputs .......................................................21 Switching the information display area ....37
Connect mics and instruments to the INPUT
2-2. Moving to a different location............ 38
jacks...................................................................... 21
Using the counter to move ...............................38
Assign the inputs to channels .......................... 22
Using the FF and REW keys to move .............38
4. Adding EQ and EFFECTS ............................23 Moving to a point later in the song
Applying EQ to the input sound..................... 23 (fast-forward) ................................................38
Applying effects to the input sound ............... 24 Moving to a point earlier in the song
(rewind)..........................................................38
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Moving to the beginning/end of the song .... 38 3-9. Solo settings ..................................... 48
Moving to the beginning of the song ........ 38 Soloing just one channel.............................. 48
Moving to the end of the song ................... 38 Soloing more than one channel .................. 48
Using the Locate keys to move........................ 38 Cancelling solo.............................................. 48
Assigning locations to the Locate keys ..... 38 Sending the soloed audio from the master
Moving to a location registered to a Locate bus .................................................................. 48
key .................................................................. 38 3-10. Muting a channel............................. 48
Moving using assignable Marks ..................... 38
3-11. Mixer Setup..................................... 49
Registering a mark ....................................... 38
Storing a mixer setup................................... 49
Moving to the location assigned to a
Recalling a mixer setup ............................... 49
mark ............................................................... 39
Using the MARK keys to move.................. 39 4. Storing/recalling a scene .......................... 50
Deleting a mark ............................................ 39
4-1. Storing a scene ................................. 50
Renaming a mark ......................................... 39
4-2. Recalling a scene .............................. 50
2-3. Finding a precise location (SCRUB) .....40
Finding a zero-cross point .......................... 40 4-3. Renaming a scene............................. 50
4-4. Deleting a scene ............................... 50
3. Song editing .............................................41
4-5. Editing and overwriting a scene......... 51
3-1. Song editing procedure .....................41
4-6. Specifying parameters that will be
Copying a song.................................................. 41
disabled for an individual scene ........ 51
Moving a song ................................................... 41
Deleting a song .................................................. 41 4-7. Specifying parameters that will be
Protecting a song ............................................... 42 disabled for all scenes....................... 51
Protect On...................................................... 42 4-8. Controlling scenes via MIDI ............... 51
Protect Off ..................................................... 42 MIDI output .................................................. 51
Saving a song ..................................................... 42 MIDI input..................................................... 51
Mixer ..........................................................42 5. Automation .............................................. 52

5-1. Scene automation ............................. 52
1. Inputting audio to the mixer ......................42
Using scene automation .............................. 52
1-1. Analog input .....................................42 Storing a scene at a different location........ 52
Inputting audio from a guitar .................... 42 Editing the location of a stored scene........ 52
Using the tuner ............................................. 43
5-2. Event automation .............................. 52
1-2. Digital input ......................................44 Recording mixer operations ....................... 52
Inputting the digital audio signal from a MD Playing back the events ............................... 53
or DAT ........................................................... 44 Editing events ............................................... 53
1-3. Sub input ..........................................44
Effects ......................................................... 54
2. Audio outputs from the mixer ....................44 Effect type and size ........................................... 54
3. Mixer settings ...........................................45 How DSP power is allocated to the effects.... 54
3-1. Adjusting the volume.........................45 1. Using insert effects.................................... 55

Adjusting the volume level of each 1-1. Applying insert effects during
channel........................................................... 45 recording.......................................... 55
Inputting a source at the maximum level .. 45
1-2. Applying insert effects during
Adjusting the overall volume level ........... 45
playback .......................................... 55
3-2. Adjusting the pan..............................45
3-3. EQ (Equalizer) ...................................45 2. Using master effects.................................. 55
Channel EQ ........................................................ 45 3. Using the final effect ................................. 55
Applying EQ to an audio input ................. 45
Applying EQ to the playback ..................... 46 4. Editing the effects...................................... 56
Master EQ........................................................... 46 Editing the effect parameters........................... 56
For an insert effect........................................ 56
3-4. EQ library (Storing and recalling EQ
For a master effect or final effect................ 56
settings) ............................................46
Storing an effect program................................. 56
Storing EQ settings....................................... 46
Recalling EQ settings ................................... 46 5. Controlling effects from an external device 57
3-5. Pairing..............................................46
6. Using external effects................................ 57
3-6. Group settings...................................47
Fader groups ................................................. 47 Session Drums™ ......................................... 58
CH ON groups.............................................. 47
1. Listening to drum patterns ......................... 58
3-7. Monitor settings ................................47 If you’ve selected Metronome as the
3-8. Adjusting the cue level.......................48 group .............................................................. 58
vi
2. Creating a drum track for an entire song 3-1. Track editing procedures ................... 69
(Pattern Map) ............................................58 Copy a track (CopyTrk) ....................................69
Auditioning the pattern map ...................... 59 Copying tracks within the same song........69
Using the clipboard to copy data to another
3. Recording with Session Drums ...................59 song.................................................................70
Recording additional tracks as you listen to the Insert blank space (InsertTrk) ..........................71
drum track .......................................................... 59
Erase a track (EraseTrk) ....................................72
Recording patterns on a track .......................... 59
Delete a track (DeleteTrk).................................72
Recording Session Drums to a channel
Deleting track data........................................72
track ................................................................ 59
Deleting all data of a track...........................72
Recording directly to the master track ...... 60
Exchange tracks (SwapTrk)..............................73
4. Editing a drum kit .....................................60 Reverse a track (ReverseTrk)............................73
Selecting a drum kit........................................... 60 Optimizing a track (OptimizeTrk) ..................74
Editing the sound of a drum kit ................. 60 Expand/compress a track (ExpCmpTrk) .......74
Preserving drum kit changes and drum Copy an entire track/Copying to a Virtual track
sound edits..................................................... 60 (CopyWholeTrk) ................................................75
Copying to a virtual track............................75
5. Pattern maps ............................................61
Exchange two entire tracks (SwapWholeTrk) 76
Creating a pattern map ..................................... 61
Swapping entire tracks.................................76
Editing a pattern map ....................................... 62
Fade-in/fade-out (FadeTrk) .............................76
Inserting a new event into the pattern
map ................................................................. 62 Creating a fade-in .........................................76
Replacing an event ....................................... 62 Creating a fade-out .......................................77
Overwriting a portion of an existing Boosting the maximum volume to the specified
event ............................................................... 62 level (Normalize: NormalizeTrk) ....................77
Deleting an event .......................................... 62 Eliminating noise (NoiseReduction) ...............78
Erasing punch noise (ErasePunchNoise) .......78
6. Tempo .......................................................62 Erase a silent region (EraseSilence) .................79
Playing the entire song at the same tempo . 62
Changing the tempo during the song........ 63 4. Naming a track ........................................ 79
The Song Guide function.................................. 63
CD ..............................................................79
6-1. Tempo track.......................................63
Recording MIDI Clock data from an external 1. Track At Once........................................... 79
MIDI sequencer, and using it as the tempo
2. Disc At Once............................................. 80
track ................................................................ 63
Tap tempo ...................................................... 63 2-1. Album CD Project.............................. 80
6-2. Pattern map tempo ............................64 2-2. Creating a live CD............................. 82
Recorder..................................................... 64 3. Ripping a CD ............................................. 82
1. Recording .................................................64 Data ...........................................................83

Bounce recording ............................................... 64 1. Backing up and restoring .......................... 83
1-1. Basic recording .................................64 1-1. Backing up ....................................... 83
1-2. Switching virtual tracks......................65 Backing up 1Song .........................................83
1-3. Overdubbing (Recording additional Backing up All Data .....................................84
tracks during playback) .....................65 Backing up User Data...................................84
1-4. Trigger recording ..............................65 1-2. Restoring backed-up data ................. 85
1-5. Punch-in Recording 2. Audio files ................................................ 86
(Re-recording a specific area).............66 2-1. Importing an audio file...................... 86
Manual punch-in/out ....................................... 66 Importing an audio track into the beginning
Using a foot switch for manual punch-in/ of a track.........................................................86
out ................................................................... 66 Importing an audio file into the middle of a
Auto punch-in/out............................................ 66 track ................................................................87
Loop recording................................................... 67
2-2. Exporting an audio file...................... 87
1-6. Creating a master track .....................67 Exporting an audio file ................................87
2. Playback ..................................................68 Exporting multiple audio files ....................88
2-1. Normal playback ..............................68 3. Drive and data compatibility with the Digital
2-2. Loop playback ..................................68 Recording Studio series ............................. 88
Using D32XD and D16XD data ..................88
2-3. Playing back an album CD project .....69
Using D3200 data on a different model.....88
3. Track editing.............................................69 Using data from a different model on the
Registering the edit region .......................... 69 D3200 ..............................................................88
vii
Drive ...........................................................89 Reference .................................... 98
1. Specifying the drive size ............................89 Counter....................................................... 98
1-1. Partitioning the hard drive into separate Counter display ........................................ 98
song drives (Partitions) ......................89
1-2. Specifying the PC drive size ...............89 Rename ...................................................... 99
Editing a name ......................................... 99
2. Renaming a song drive .............................90
3. Checking the hard disk..............................90
1. METER..................................................... 99
Meter/Track View..................................... 99
4. Formatting the hard disk ...........................90
2. MIXER................................................... 100
5. Load system..............................................91
2a. CH INPUT/SubMixer .............................. 101
6. Creating a system recovery CD ..................91
2a-1. Channel Assign.............................. 101
7. Drive capacity...........................................91 2a-2. Sub Mixer 1–4............................... 101
To keep only the audio data that you are
2a-3. Sub Mixer 5–8............................... 101
actually using................................................ 91
To erase A and B that remain from the first 2a-4. Sub Mixer 9–12............................. 101
take, and recover disk space....................... 92
2b. PAIR/GROUP ........................................ 102
Deleting the Undo data .................................... 92
Sharing event data ............................................ 92 2b-1. Channel Pair ................................. 102
2b-2. Fader Group.................................. 102
8. PC drive....................................................92
2b-3. Channel On Group ........................ 102
Checking, renaming, or deleting files .........92
2c. FADER/PAN/AUTOMATION ................... 103
USB.............................................................93
2c-1. Fader Pan ...................................... 103
1. Saving/loading.........................................93 2c-2. Automation.................................... 103
Windows users (Windows Me/2000 or later) . 93 2c-3. Event List........................................ 104
Macintosh users (Mac OS9.0.4 or later).......... 93
2c-4. Edit Scene ...................................... 105
MIDI............................................................94 2c-5. Scene Filter .................................... 106
1. MIDI connections .......................................94 2c-6. Mixer View .................................... 106
MIDI channel settings....................................... 94 2d. EQ/ATT/PHASE ..................................... 107
2. MIDI messages used by the D3200 ............94 2d-1. EQ/ATT ......................................... 107
About the MIDI implementation chart .......... 94 2d-2. EQ Library..................................... 107
3. Using MIDI................................................94 2d-3. Phase............................................ 108
Controlling the D3200 from a MIDI 2d-4. Master EQ ..................................... 108
sequencer............................................................ 94
Synchronizing two D3200 units ................. 95 2e. SEND (EFF/AUX/REC)............................. 109
Using MIDI to control the mixer..................... 95 2e-1. Effect 1 Send.................................. 109
Upgrading the system ..................................96 2e-2. Effect 2 Send.................................. 109
2e-3. Aux1 Send .................................... 109
1. Downloading the operating system ............96
2e-4. Aux2 Send .................................... 109
Upgrading via CD-ROM/R/RW............... 96
Upgrading via USB ...................................... 96 2e-5. Rec Send ....................................... 110
2. Upgrading the system ...............................96 2f. SOLO/MONITOR.................................... 110

2f-1. Solo ............................................... 110
Using a recovery CD to recover the system....96
2f-2. Monitor.......................................... 111
Preserving non-system data when you
recover ........................................................... 96 2f-3. Cue Level ....................................... 111
If an error appears and the recovery is
2g. MIXER SETUP ......................................... 111
unsuccessful .................................................. 96
ClickPoint calibration ...................................97 3. CH VIEW............................................... 112

3-1. Ch View .......................................... 112
3-2. Channel Routing View ..................... 112
4. EFFECT .................................................. 113
4-1. Effect Routing .................................. 113
4-2. Insert EFF......................................... 114
viii
4-3. Master EFF1.....................................115 Effect parameters .......................150
4-4. Master EFF2.....................................116
4-5. Final EFF ..........................................116
Algorithm list.............................................150
5. SEND.................................................... 116 Program list ..............................................150

About the effect algorithms .......................... 152
6. EQ........................................................ 116
Stereo-type............................................. 152
7. PAN ..................................................... 116 Category: Reverb&Delay
Reverb/delay-type effects ..............................152
8. SONG .................................................. 117
Category: Modulation&Pitch
9. SYSTEM/MIDI ....................................... 119 Modulation/Pitch-type effects ......................155
Category: Dynamics&Filter
9-1. Control ............................................119 Dynamics/Filter-type effects .........................156
9-2. Disk Utility .......................................120 Category: SFX&etc
9-3. Edit PC File.......................................122 SFX/Etc effects .................................................158
9-4. Backup ............................................123 Monaural-type........................................ 159
9-5. Restore ............................................123 Category: Reverb&Delay
Reverb/delay-type effects ..............................159
9-6. MIDI/MMC ......................................124 Category: Modulation&Pitch
10. TRACK................................................ 126 Modulation/Pitch-type effects ......................160
Category: Dynamics&Filter
10-1. Virtual Track 1–32 .........................126 Dynamics/Filter-type effects .........................161
10-2. Master Track..................................126 Category: SFX&etc
10-3. Edit Track ......................................126 SFX/Etc effects .................................................162
Category: Multi
10-4. Import File .....................................135
Multi Effect .......................................................163
10-5. Export File .....................................136
11. CD...................................................... 137
11a. Album CD ............................................138 Appendices ................................164
11b. Track at once .......................................139 Troubleshooting.........................................164
11c. CD PLAYER ...........................................140 Power does not turn on................................ 164
12. UNDO ................................................ 141 Nothing appears in the display .................... 164
Vertical lines are visible in the display .......... 164
13. TUNER................................................ 141
No sound .................................................... 164
14. SESSION DRUMS ................................ 142 Faders don’t work ....................................... 164
14-1. Session Drums ...............................142
Can’t record ................................................ 165
14-2. Drums Track Mixer.........................143
Can’t use digital input .................................. 165
14-3. Pattern Map...................................144
Playback level is lower than the level during
14-4. Tempo Track ..................................145 recording ............................................... 165
15. STORE ................................................ 145 The input or recorded sound is noisy or
distorted................................................. 165
16. SCENE ................................................ 145
Effects do not apply ..................................... 165
17. MARK................................................. 145 Session Drums ............................................. 166
18. SCRUB ................................................ 146 A key does not function when pressed.......... 166
19. LOC 1/IN, … LOC 4/END ................... 147 MIDI............................................................ 166
MIXER Navigation Tools ...............................147 CD-R/RW .................................................... 167
Audio files................................................... 167
20. REC/PLAY MODE ................................ 147
USB............................................................. 167
20-1. Rec Mode ......................................147
Startup ........................................................ 167
20-2. Play/Stop Mode.............................149
21. Transport keys .................................... 149 Various messages......................................168
Confirmation messages...................................170
Serious error messages....................................170
ix
More about drives and files........................171
Drives..........................................................171
CD-R/RW drive ......................................... 171
PC (USB) drive............................................ 171
Audio CDs and files......................................172

Audio CDs........................................................ 172
Playing an audio CD.................................. 172
Creating an audio CD................................ 172
Files.................................................................... 172
Writing......................................................... 172
Loading........................................................ 173
Specifications ............................................174
Main sections ................................................... 174
Principal specifications................................... 174
Analog/digital input and output
specifications.................................................... 175
Included items ................................................. 175
Separately sold options .................................. 175
Various lists...............................................176
Drum Pattern List..........................................176
EQ Library List .............................................177
Name Library List.........................................177
Demo Song List ............................................177
Shortcut keys.............................................178
Glossary....................................................179
Index ........................................................184
Block diagram ...........................................188
MIDI implementation chart .........................189
x
Introduction
Introduction
Thank you for purchasing the Korg D3200 Digital Recording Studio.
To take full advantage of the D3200’s functions, and to enjoy trouble-free use,
please read this manual carefully and use this product only as directed. Keep this
manual in a safe place for future reference.
Before using the D3200

Included items
for the first time

Make sure that the following included items are present.
• Owner’s Manual (this document) • Power cable
Before using the D3200 for the first time

Important
Main features
Please observe the following points when using the D3200.
Power on/off
The D3200 is a precision instrument, similar to a personal computer, equipped
with an internal hard disk drive and a CD-R/RW drive. When turning the power
on and off, follow the procedures shown below.
Parts and their function

Before you turn on the power, make sure that the power cable is firmly plugged into the D3200
and into an AC outlet.
(3)
● Power-on
(1) Lower the D3200’s MONITOR LEVEL knob to the (1) (4)
–∞ position. Set the volume controls of your external equip-
ment to their lowest position.
Items and functions in the

(2) Turn on the power of external input devices such as key-
boards that are sending audio to the D3200.
LCD screen
(3) Turn on the main power switch (POWER ON) located on the
rear panel of the D3200.
The STANDBY indicator will light. The D3200 is now in the
“standby” condition.
A certain amount of time will be required from when you turn on the main power until the
STANDBY indicator lights.
(4) Press the power (ON) key located on the top panel to turn
Basic operation
the D3200 on. The opening screen (D3200)

The opening screen will appear in the LCD, and then the
SONG page will appear.
A certain amount of time from when you press the power-on key until
the opening screen appears.
The next time you turn the power on, the song that had been
selected prior to the previous power-off will be selected.
(5) Turn on the power of your external output devices, such as
the monitor system to which the D3200 is sending audio.
If the power is turned off accidentally while the D3200 is being used, the
D3200 itself or its internal hard disk drive may be damaged.
1
● Power-off
(1) Lower the D3200’s MONITOR LEVEL knob to the –∞ position.
(2) Turn off any devices connected to the D3200’s outputs, such as your moni-
tor system.
(3) Hold down the D3200’s power (ON) key (for 2–3 seconds)
and the shutdown LCD screen appear.
If you click the Yes button (or press the panel YES key) in the
LCD screen, the song will be saved automatically, and the
D3200 will enter the standby state. This process is called
“shutdown.”
If you click the No button (or press the panel YES key), you will return to the
previous screen.
(4) Press the main power switch (POWER ON) located on the rear panel of the
D3200 to turn off the power.
(5) Turn off any devices (such as keyboards) connected to the D3200’s inputs.
When turning the power off, you must perform the shutdown process. Never turn off the main
power switch or disconnect the power cable before shutdown has been completed.
If you turn off the main power switch or disconnect the power cable before shutdown has been
completed, data or user settings will be lost, and the hard disk may be damaged.
The audio you record into the D3200 and the mixer and effect settings you make are automat-
ically saved when you select a song or perform the shutdown process.
Perform the shutdown process when you have finished all activities such as playback or recording.
If you will not be using the D3200 for an extended period of time, turn off the main power switch
on the back of the D3200.
Setting the calendar

When a song is saved, the file is time-stamped with the date and time provided
by the internal calendar.
You will need to set the calendar the first time you use the D3200 after purchasing
it, if the main power switch has been turned off, or if you need to change the cal-
endar time for any other reason.
If you haven’t set the calendar, the calendar area (A) of the information display is shown in
gray.
(1) Press the SYSTEM/MIDI key.
(2) Click the “Control” tab.
(3) Click the Date/Time button to (6) (7) (4), (5)
open the Calendar dialog box.
(4) Click the four-digit year field to (7)
highlight it. (8)
(5) Use the value dial or the +/– keys

to set the year.
(A)
(6) Click the month field at left to (1)
highlight it, and set the month in
the same way. (8)
(7) In the same way, set the day, hour

(in 24-hour format), minute, and (5)
second areas of the Date field. (6)
(7)
(8) Click the OK button (or press the
panel YES key) to apply the date
(2) (3)
and time you specified.
The calendar clock continues to run when you power-off to the Standby mode. However, if you
turn off the main power switch, the calendar will need to be reset.
2
Connection example
Introduction
This diagram shows typical connections when using the D3200.
Connect your equipment as appropriate for your system.
Master recorder (Analog: cassette tape recorder, etc.) Monitor speakers etc.
INPUT L/R
MASTER

OUT MONITOR
OUT
for the first time

AUX
OUT MIDI
Headphones sequencer
Master recorder (Digital: DAT, MD, etc.)
DIGITAL IN MIDI
OUT/IN
DIGITAL OUT EXP-2
Computer MIDI Foot controller
IN/OUT
S/P DIF
IN/OUT
Main features
USB PS-1
Pedal switch
Guitar INPUT 1–8
Mic to the AC outlet
Power supply connection

You must use the included
AC power cable

INPUT 1–12
OUTPUT
Keyboard
Cautions when making digital connections

If any of the synchronization settings of the D3200 do not match those of the connected device,
noise may occur. Turn down the faders or minimize the volume of your monitor speakers before
LCD screen
you change settings.
If you select a song that has a different sampling frequency, noise may occur when the change
occurs. Turn down your monitors before you make such a change.
Basic operation
3
Main features
♦ 32-track digital multi-track recorder
The D3200 provides studio-quality sound with 64-bit internal processing, 24/16-bit recording and
playback, and 48 kHz/44.1 kHz uncompressed recording.
When using 48 kHz/44.1 kHz sampling and 16-bit depth ❖1

Maximum simultaneous recording/playback 16* tracks/32 tracks
When using 48 kHz/44.1 kHz sampling and 24-bit depth ❖1

Maximum simultaneous recording/playback 12** tracks/16 tracks
*16 channels is the maximum, combining 12 analog inputs, + 2 digital inputs (S/P DIF L,R), + 2 Session Drums (L,R).
**12 channels using any combination of analog inputs, digital inputs and Session Drums.
Each track (including the master track) has eight virtual tracks, allowing you to use a total of 256 +
16 tracks for each song.
❖1 The number of simultaneously recordable tracks will be different when you use punch recording.
♦ Session Drums™
The D3200 is equipped with Korg’s unique Session Drums™. Using the Session Drums™ to con-
trol the internal drum sounds you can play, create, modify and record a drum track for your song.
The Session Drums™ even have their own dedicated fader. For added realism, you can access a
number of real-time control elements - such as shuffle, dynamics and humanize - all using the con-
venient Knob Matrix.
♦ XLR input jacks with +48V phantom power, analog inputs, dedicated guitar input jack,
and digital connectors
To maximize the benefit of the D3200’s full-digital processing, all of the analog inputs use high-per-
formance balanced preamps.
The eight +48V phantom-powered XLR input jacks contain high-performance mic preamps. Each
of the phantom power supplies can be switched on/off individually, so you are free to mix con-
denser mics and dynamic mics.
All phone jack inputs (except for the guitar input jack) are the TRS balanced type. Unbalanced
inputs may also be connected to these jacks. A wide range of audio sources can be connected, rang-
ing from mic level all the way up to +4 dBu, exceeding normal professional levels. A dedicated gui-
tar input jack is also provided.
The S/P DIF digital input supports sampling frequencies of 48 kHz/44.1 kHz, and 24- and 16-bit
depths.
♦ Mixer section provides four-band EQ on each channel/track and four-band master EQ

The 44-channel 12-bus mixer section provides four-band full parametric EQ on mixer channels 1–
24, and two-band shelving EQ on mixer channels 25–32 and on the sub-mixer.
The EQ applied to the input during recording is independent from the EQ applied to the track dur-
ing playback, so there is no danger of applying the same EQ twice – a problem that often occurs on
MTR units containing conventional analog mixers.
Four-band full parametric equalization is provided for the master EQ, allowing you to make
detailed adjustments to the tone during mastering.
♦ 100 mixer scene memories, plus MIDI control of mixer parameters

For each song, you can store one hundred scenes containing the fader, EQ, pan, and effect settings
of the mixer section. Scenes can be easily recalled when desired as general-purpose settings. You
can also use MIDI to switch scenes, and to transmit and receive mixer parameters such as fader
and pan.
♦ Scene and event mixer automation

Scene changes and mixer events such as fader movements and panning operations can be recorded
and reproduced according to elapsed playback time. Scene automation can be used to switch
scenes automatically.
4
♦ Powerful modeling effects featuring real-time control via the Knob Matrix
Introduction
The built-in effects utilize Korg’s proprietary “ ” modeling technology to deliver precise and
powerful modeling sounds.
You can use the sixteen real-time controllers of the Knob Matrix to edit effect parameters quickly
and intuitively. The modeling effects include simulations of vacuum tube preamps, classic amps
and cabinets from around the world, and mic simulators for vintage tube mics and modern studio
condenser mics.
♦ Three independent effect systems provide eleven simultaneous effects

for the first time
You can use up to a total of eleven effects, each with internal 56-bit processing: 8 insert effects, 2
master effects, and 1 final effect.
For each effect, you can select an effect program created using one of 52 different effect algorithms
(combinations of basic effects).
The effect programs include 128 preset programs created by professional musicians and studio
engineers, and 128 user effect programs that you can use to create, edit and store your own custom
effect settings.
In addition, each song has 32 editable song effect programs.
You can also control effects in real time from an external MIDI controller or from an expression
Main features
pedal (EXP-2, XVP-10: sold separately).
♦ Sophisticated digital editing tools

Non-destructive editing functions (possible only on digital recorders) allow you to perform
numerous edits without compromising the high audio quality. In addition to auto and manual
punch-in/out, there are Undo and Redo functions that allow you to audition the “before” and
“after” versions of any edit, before making it permanent. You can use Undo to retrace your steps

through the sixteen most recent recording or editing operations! A total of twelve types of track
editing operation are provided, including a convenient Time Expansion/Compression function
that lets you match up phrases of differing tempo after recording, and a Normalize function that
appropriately boosts the volume and increases the dynamic range of low-level recordings.
For each song you can assign one hundred markers (with names) and six locate points to keep
track of (and instantly access) the locations of all your edits.
♦ Intuitive interface designed for ease-of-use

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

click ClickPoint™ and cursor keys can be used to quickly select parameters and tabs in the 320 ×
LCD screen
240 pixel high-resolution LCD screen. The Knob Matrix is located below the high-resolution LCD
screen, and allows you to edit parameter values quickly, in real time and on the fly.
♦ Internal hard drive

A high-capacity hard disk drive is built-in, providing approximately three hours of recording time
per GB (16-bit, 44.1 kHz, single track recording).
♦ CD-R/RW drive for creating backup disk and audio CDs

Basic operation
You can use the CD drive to backup/restore song and effect data, import/export audio files, and
create audio CDs. You can also place an audio CD in the drive and use the CD Player function to
play it. You can create an audio CD either by writing songs individually using Track At Once;
or by using the Album CD Project and Disc At Once functions.
♦ USB connection lets you easily share files with your computer
The USB connector makes it easy to exchange data with your computer. You can connect the D3200
to your computer and partition a 2, 4, or 8 GB area of the D3200’s hard drive as a PC drive for shar-
ing data.
What is ?
(Resonant structure and Electronic circuit Modeling System) is Korg’s proprietary technology for digitally
recreating the numerous factors that produce and influence a sound, ranging from the sound-production mecha-
nisms of acoustic instruments and electric/electronic musical instruments, to the resonances of an instrument body
or speaker cabinet, the sound field in which the instrument is played, the propagation route of the sound, the elec-
trical and acoustic response of mics and speakers, and the changes produced by vacuum tubes and transistors.
5
Top panel
6 7 8 9 10 11 12 22 23
4
5
13 14 16
15 17
18
19
20 21
1 INPUT 1, INPUT 2...INPUT 12 jacks

Connect mic or line sources (such as keyboards) to these input jacks.
Both XLR jacks and balanced 1/4" TRS phone jacks are provided.
You may also connect unbalanced phone plugs to the 1/4" jacks.
You can use either XLR connectors or TRS phone connectors for INPUT 1 through 8.
If you need to supply phantom power to condenser mics, connect them to the XLR connector.
Each XLR jack can provide +48V phantom power for condenser mics. The LED located below each
XLR jack will light if phantom power is switched on for that jack.
2: HOT
1: GND Balanced phone plug Unbalanced phone plug
3: COLD
GND COLD HOT GND HOT
Phantom power LED
The balanced XLR jacks for INPUT 1–8 provide +48V phantom power for use by condenser mics; you can switch
this on/off independently for each channel.
Your equipment may be damaged if you connect or disconnect a condenser mic with phantom power turned on. You
must turn phantom power off before connecting or disconnecting condenser mics.
2 Phantom power switch

INPUT 1–8 jacks provide +48V phantom power so that condenser mics can be used. Phantom
power is supplied to the balanced XLR jacks, and can be selected independently for each channel.
Turn this switch on only for channels that use a condenser mic.
If a condenser mic is connected or disconnected with the phantom power switch on, damage to your equipment
may occur. For this reason, always turn the phantom power switch off before connecting or disconnecting a con-
denser mic.
If the phantom power switch is on, you must never connect any device other than a condenser mic. Doing so may
damage your equipment.
6
3 GUITAR IN jack
Introduction
You can plug a guitar or bass into this jack. The GUITAR IN jack shares the same audio path as the
INPUT 1 jack; if both jacks are connected to an audio source, the GUITAR IN jack will take priority.
This is an unbalanced 1/4" phone jack with 1 MΩ input impedance.
4 PAD buttons
The pad will reduce the input level by 26 dB. The pad is on when the switch is pressed in. You can
extend the adjustable range of the TRIM knob by turning the pad on when using a line input.

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

5 TRIM knobs
These knobs adjust the input level. The markings indicate the input level.
Adjust the TRIM knob as appropriate for your input device so that the LED located at the upper
left of the knob does not light even at the maximum loudness.
The TRIM knob has a range of +4 to –34 dBu when PAD is on, or –22 to –60 dBu when PAD is off.
The input level will depend on the instrument or performance, but the approximate ranges are as
follows.
–60 – –40 dBu: mic input
Main features
–30 dBu: guitar, bass guitar
–10 dBu: consumer audio devices such as a CD player
+4 dBu: keyboards or studio equipment
If the TRIM knob is raised when nothing is connected to the input, hum or noise may result. Keep the trim knob
at its lowest setting when the channel is not in use.
6 AUX 1/2 jacks

These jacks output the external send audio signals from the mixer channels (→p.109). You can con-

nect these to the input jacks of an external effect processor.
These are 1/4" unbalanced phone jack outputs.
7 MASTER L/R jacks
These jacks provide the analog audio signal from the master bus, or the audio signals selected by
the SOLO function. You can select the solo source in MIXER, SOLO/MONITOR, “Solo” tab
page.
These jacks are primarily used to connect the D3200 to an external recording device. These jacks

provide an analog version of the audio being sent to the S/P DIF OUT jack.
These are 1/4" balanced/unbalanced TRS phone jack outputs.
LCD screen
8 MONITOR L/R jacks
Connect these jacks to your external monitor system. In MIXER, SOLO/MONITOR, “Monitor”
tab page (→p.47, 111) you can select the bus that will be monitored from these outputs. These jacks
output the same audio as the PHONES jacks.
These are 1/4" balanced/unbalanced TRS phone jack outputs.
9 PHONES jack
Basic operation
A set of headphones can be connected to each of these jacks.

This is a 1/4" stereo phone jack.
The headphone output is the same signal as the MONITOR L/R jacks.
10 MONITOR LEVEL knob

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

This knob adjusts the volume level of the signal being sent from the PHONES jack.
12 MONITOR MUTE key

This switch mutes the audio output from the MONITOR L/R jacks. The setting will alternate on/
off each time you press the key. The audio from the PHONES jack will not be muted. This feature
is very useful if you are recording using a microphone, and do not want the microphone to pick up
the sound from your monitor speakers.
7
13 1–16 key, 17–32 key
Use these keys to select whether the channel faders, channel keys, and LCD screen will be used
to operate channels 1–16 or channels 17–32. The key you select will light.
14 REC/PLAY key
Turn this key on (lit) and use the channel keys to switch each channel of the track recorder
between record and playback status. The status of the track will alternate each time you press its
channel key. If the master track channel key is set to PLAY, all tracks will automatically be muted
(silent).
15 CH ON key
Turn this key on (lit) and use the channel keys to enable or disable each channel. You can use this
as a Mute function.
16 SOLO key
Turn this key on (lit) and use the channel keys to turn Solo on/off for each channel. You may turn
Solo on for more than one channel at a time.
17 CH SELECT key
Turn this key on (lit), and use the channel keys to specify the track that will be selected in the “Ch
View,” “EQ/ATT,” or send tab pages.
18 Channel keys (1–16/17–32)

These keys switch the status of each channel.
If the 1–16 key is lit, these keys correspond to channels 1 through 16; if the 17–32 key is lit, these
keys correspond to channels 17 through 32.
CH SELECT key on: Use these keys to select channels (lit if selected).
SOLO key on: Use these keys to select the soloed channels (lit if selected).
CH ON key on: Switch each channel between enabled/disabled (muted) (lit if enabled).
REC/PLAY key on: Switch each channel between recording/playback status (red for record, green
for playback).
19 Channel faders (1–16/17–32)

These faders specify the recording/playback volume of each channel. If the 1–16 key is lit, the fad-
ers control channels 1–16; if the 17–32 key is lit, the faders control channels 17–32.
20 DRUMS fader, DRUMS key

This fader adjusts the recording/playback volume of the Session Drums. When the DRUMS key
located above the fader is on (lit), you can use the Session Drums to produce a rhythm during
recording or playback.
21 MASTER fader, MASTER key

This fader adjusts the overall volume of all channels. When recording the master track, this sets the
recording level of the recording-destination track. Each time you press the MASTER key located
above the fader, the status will alternate between record (lit red)/play (lit green)/off (dark).
Normally, you will leave the MASTER fader set to 0 dBu while recording on the individual tracks, and use the
channel faders to adjust the mix so the output does not distort.
22 LCD screen
This displays information such as the recording/playback volume (level meters), time data (loca-
tion), and various parameters. You can use the edit controllers to select buttons, cells, pages, and
tabs; and to edit parameters and their values.
23 LCD CONTRAST knob

This knob adjusts the contrast of the LCD screen.
The appearance of the LCD screen may differ depending on your viewing angle, so adjust the con-
trast using this knob for the best visibility. Turning this knob toward the right will make the text
darker, and toward the left will make the text lighter.
Depending on the content that is displayed in the LCD screen, you may notice vertical lines in the screen. This
is not a malfunction.
8
24 METER key
Introduction
This key accesses a screen that shows the audio lev- 39
els of the song, the presence or absence of audio
events, and a list of virtual tracks. You can also 40 41 42
switch this to a “FaderView” that lets you change
the position at which the level meters are inserted, or 24 25
check the fader or pan positions. 26 43
27 44
25 MIXER key

45
Press this key to access the Mixer page jump menu
for the first time

screen.
26 AUTOMATION indicator
28 29
When this indicator is lit, automation is on; when 30
automation is being recorded, it will blink. 31 32
33 46
27 JUMP/MATCH key 34
The faders and Knob Matrix can be set to behave in a 35
37 47
JUMP or MATCH style when moving a parameter 36
Main features
from its stored value, by changing the Fader/Knob 38
Control setting (→p.119) in the Control tab page.
If this is set to JUMP, the key will be dark.
When the key is lit the MATCH setting is selected. The key will blink slowly if the position of the
control knob or fader you’re moving is distant from the stored value. When the knob or fader posi-
tion approaches the stored value, the blinking will become a rapid flicker, and will change to be
solidly lit when you reach the actual specified value.

By holding down this key while moving a control knob or fader, you can temporarily switch to
JUMP operation.
28 Direct keys
By pressing these keys you can select the current function of the Knob Matrix, and access the corre-
sponding tab pages.
29 Knob Matrix

These 16 multi-function knobs provide real-time control of the Effects, EQ, Session Drums™, etc.
30 SCRUB key
LCD screen
Accesses the Scrub page. Use the value dial to control the selected function. (→p.40, 146)
31 MARK key
You can register a desired location within a song as a “mark,” and instantly recall that registered
location whenever you want. You can also rename or delete existing marks. (→p.38, 145)
By holding down this key and pressing the + or – keys, you can successively recall the locations
that were registered at each mark.
Basic operation
32 SCENE key
This key stores mixer settings such as the channel faders, pan knobs, EQ, and effect sends as a
“scene” at the desired location in a song. If you play back with automation turned on, the stored
scenes will be recalled and changed automatically. You can also edit scenes by rearranging, renam-
ing, or deleting them. (→p.50, 105)
33 STORE key
Press this key to register the current time location as a locate point, a mark, or for a scene. (→p.38,
39, 50, 145)
34 SESSION DRUMS key

This key accesses the Session Drums tab page, which you can use to create a drum track for your
song.
9
35 LOC 1/IN, LOC 2/OUT, LOC 3/TO, LOC 4/END key
These keys are used to register a specific time location within a song, or to instantly jump to a reg-
istered time location.
The time locations registered here can be used as the punch-in/out locations, and to specify the
editing range for track editing operations such as copy or delete. (→p.38, 147)
You can also assign each key to a specific tab page within the MIXER page, so that pressing the key
will take you to that tab page (→p.147).
36 LOOP, TRIGGER, AUTO PUNCH indicators

These indicators will light to show which operation - loop record/playback, trigger recording, or
auto punch recording - is selected.
37 REC/PLAY MODE keys

Use this key to select the recording mode, or to turn loop playback on/off.
38 Transport keys
Use the REC, PLAY, STOP, REW, and FF keys to perform playback or recording operations on the
recorder. (→p.149)
39 DISPLAY UP/DOWN
By pressing this button on the back edge of the display, you can adjust the angle of the LCD screen
over five steps for best visibility.
Do not use excessive force to move the screen.
40 HDD/CD access and MIDI indicators

The HDD/CD indicator will light to indicate that the hard drive is being accessed for recording,
playback or editing, or when the CD-R/RW drive is operating. The MIDI indicator will light when
MIDI messages are received from the MIDI IN connector.
Never subject the D3200 to vibration or impact while this HDD/CD indicator is lit.
41 ON key, standby indicator

Pressing this key will turn the D3200 power on/off. When the standby indicator is lit, pressing the
ON key will turn the D3200 on.
When the D3200 is operating, hold down the ON key to access the Power Off dialog box.
42 Page mode keys

Pressing one of these keys will call up the corresponding page mode. When you press the CD key,
the corresponding page menu screen will appear.
43 UNDO key
The Undo function allows you to go back and listen to the audio as it was before an Edit was per-
formed. The Redo function brings back the edited result.
You can retrace your steps through as many as sixteen prior recording or editing operations.
(→p.141).
44 TUNER key
Press this key to access the Tuner screen, where you can check the tuning of the audio source that’s
connected to the GUITAR IN jack.
45 Edit controller
Use these controllers to select a button, cell, or tab in the LCD screen, and to edit parameters and
values. The center-click ClickPoint, cursor (π†√®) keys, TAB PAGE /YES key, TAB PAGE /NO
key, and ENTER key let you edit quickly and efficiently.
46 +, – keys
These keys edit the value of the selected parameter as an alternative to using the value dial. These
keys are convenient when you want to adjust the value in single increments.
10
47 Value dial
Introduction
Use this dial to edit the value of the selected parameter or to change the current time location.
When the Scrub page is displayed, rotating this dial will play back the track at the corresponding
speed (up to a maximum of double speed).
Rear panel

for the first time
1 2 3 4 5 6 7 8 9
1 AC connector
Main features
Connect the power supply cable (included) here.
2 Main power switch (POWER ON)

This turns the main power on/off.
When the Main power switch is turned on, the D3200 will be in the standby mode. In the standby
mode, pressing the ON key will turn the D3200 on. While the D3200 is operating, hold the ON key
to access the Power Off dialog box and select Yes to shutdown the D3200 and return to the
standby mode. Then you can use the main power switch to turn the power off completely.

To turn off the power, you must first press the ON key to perform the shutdown operation. Never turn off the
Main power switch or disconnect the power cable until shutdown has been completed.
If you turn off the Main power switch or disconnect the power cable before shutdown has been completed, data
and user settings may be lost, and the hard disk may be damaged.
3 FOOT SW jack
When your hands are busy playing an instrument, you can use a foot switch to control basic oper-
ations of the D3200 recorder.

A foot switch can be used to start/stop the playback, start/end manual punch-in recording, regis-
ter a mark, or to record tap tempo. (→p.26, 63, 66, 119)
LCD screen
Connect a foot switch (optional PS-1) to this jack.
4 EXPRESSION PEDAL jack

You can use a pedal to control a specified parameter of an insert effect. You can control the param-
eter in real time while you play or record. (→p.57, 119)
Connect an expression pedal (separately sold option, EXP-2, XVP-10 etc.) to
this jack.
5 MIDI OUT connector

Basic operation
MIDI messages are transmitted from this connector. Use this when you wish to use the D3200 to
control an external device via MIDI. (→p.94, 119)
6 MIDI IN connector
MIDI messages are received at this connector. Use this when you wish to control the D3200 from an
external MIDI device. (→p.94, 119)
7 S/P DIF OUT jack

This is an optical-type S/P DIF format (IEC60958, EIAJ CP-1201) digital output jack (stereo).
Use an optical cable to connect this jack to the optical digital input of your DAT, MD or other
equipment.
This output provides the same audio as the MASTER L/R jacks, but as a digital signal at the same
sampling frequency and bit depth as the current song.
11
8 S/P DIF IN jack
This is an optical-type S/P DIF format (IEC60958, EIAJ CP-1201) digital input jack (stereo).
Use an optical cable to connect this jack to the optical digital output of your DAT, MD or other equip-
ment.
This input provides a digital audio signal at the same sampling frequency and bit depth as the current
song.
9 USB connector
You can use a USB cable to connect the D3200 to your computer.
USB peripheral devices such as external hard disks and CD-R/RW drives cannot be connected to the D3200.
About the CD-R/RW drive

The D3200’s front panel contains a CD-R/RW drive that you can use to backup and restore data, im-
port and export WAV audio files, and to play or write audio CDs.
The disc drive is a precision device; always use it in a horizontal position that is not subject to vibration.
Inserting a disc
Make sure that the D3200 is on.
(1) Press the eject button of the CD-R/RW drive to open the disc tray.
(2) Place the disc accurately in the tray, label side up.
(3) Press the eject button to close the CD-R/RW drive.
Removing a disc
(1) Press the eject button to open the disc tray.
(2) Gently remove the disc from the disc tray.
(3) Press the eject button to close the CD-R/RW drive.
Manual eject pinhole Eject button
Emergency disc removal

Normally you will be able to remove the disc as described above. However, if this is not possible due
to a power failure or other problem, you can also remove the disc as follows.
Insert a pin-like object of less than 1 mm diameter, such as a straightened paper clip, into the manual
eject pinhole and push. The disc tray will be forced open.
Excessive use of this method may cause the disc drives to malfunction.
This procedure must be performed with the power off.
12
Items and functions in the LCD screen
Introduction
Use the ClickPoint to move the pointer (p) to a button or icon displayed in the
LCD screen. Then press the center of the ClickPoint to select that button or icon.
In many operations, you can use the pointer (p) to select the item or parameter
to be edited or saved, such as the page, parameter value, or song name.
In this manual, references to the … button, … tab, … cell, or … icon refer to items
shown in the LCD screen. Move the pointer (p) and press the center of the Click-
Point to select the desired item. We’ll use the term “click” to describe this process.

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

want to edit, or use the YES/NO (TAB PAGE) keys instead of the Yes (OK)/No
(Cancel) buttons in the LCD screen, or use the ENTER key to confirm a setting or
operation.
References to “... key,” “... knob,” “... dial,” or “... slider” indicate controls on the
top panel; use the corresponding physical controller to access these items.
a: Song/counter/location/calendar display
f: Popup button e: Edit cell
Main features
b: Page name display
d: Edit icon

c: Tab Pointer
a: Song/counter/location/calendar display
This area displays the currently selected song, the counter (song position),
and the date.
This is displayed in any page mode, and you can modify the counter/calen-
dar setting.

You cannot modify these settings while a dialog box is displayed.
If you haven’t set the date and time, this area is shown in gray.
LCD screen
b: Page name display
This indicates the name of the currently selected page, or editing information.
This item does not appear in certain pages such as the effect pages or “Mixer
View.”
c: Tab
Use the pointer or the TAB PAGE keys of the edit controller to select a tab page.
Basic operation
d: Edit icon
When you click an icon such as a fader or knob shown in the LCD screen, a
frame will appear (in most cases) around the icon. This is called the edit icon;
changes you make will apply to the parameter whose icon is enclosed by the
frame.
e: Edit cell
When you click a parameter in the LCD screen, the parameter value will be
highlighted. This is called the edit cell; changes you make will apply to the
highlighted area.
f: Popup button
When you click one of these buttons, a dialog box will appear, displaying
parameters and values for you to select.
13
When you’ve finished selecting a parameter or editing a value, press the front
panel YES key or NO key to close the dialog box and return to the previous
tab page. You can also close the dialog box by clicking the Yes (or OK) button
or No (or Cancel) button in the LCD screen.
g: List button g: List button h: Scroll bar

When you click this button, a menu list will appear, allow-
ing you to select an item from this list.
h: Scroll bar/scroll buttons

Use these to move up and down through a list of parameter
values that extends beyond the window in the display.
i: Confirmation button
When you click this button, a dialog box will open, asking
whether you are sure you want to execute the settings or
the operation. Some dialog boxes may contain an edit cell Menu list h: Scroll buttons
for you to specify a value.
Press the front panel YES key or NO key to close the dialog box and return to
the original tab page.
You can also close the dialog box by clicking the Yes (or OK) button or No (or
Cancel) button in the LCD screen.
j: Radio buttons
Use the radio buttons to chose one of the displayed items.
k: Toggle button
This type of button will either change function or toggle between on/off each
time you click it.
l: Check box
Each time you click one of the check boxes, a check mark will either be added
or removed. Add a check mark if you want to enable that function.
* Other
In addition to the items listed above, the Drive button will open a dialog box
where you can select a drive for editing, and the Rename button will open a
dialog box where you can rename a song or program.
There are also certain screens, such as the routing confirmation screen, that
provide valuable information, but contain no editable items.
Drive button Rename button i: Confirmation Confirmation dialog box

button
j: Radio buttons
k: Toggle button l: Check box
14
Basic operation
Introduction
1. Selecting the page mode
If you want to edit a setting or function while watching it in the LCD screen,
you’ll need to press a key to access the page mode that contains that function.
The MIXER key and CD key will display a page jump menu in the LCD
screen; click the page mode buttons shown in the LCD screen to select the
desired mode. Each time you press the MIXER key or CD key, you will return

to this page jump menu.
for the first time

For details on the functions of each page mode, refer to “Reference” (→p.98–).
2. Selecting a tab page

The numerous parameters contained in each page mode are in turn divided
into tabs. Use the TAB PAGE keys of the edit controller to select a tab page.
You can also move to a tab page by clicking its tab in the LCD screen. Some
pages contain only one tab.
3. Selecting and setting parameters
Main features
Selecting a parameter
To select a parameter, click the edit icon, edit cell, or button shown in the LCD
screen.
In most cases, you can use the cursor keys to move between parameters and
press the ENTER key to select one.
You cannot use the cursor keys to move between a dialog box and the original tab page.

Setting a parameter
There are different methods of setting a parameter, depending on the type of
parameter.
Edit icons, edit cells, buttons

Click the edit icon, edit cell, or button in the LCD screen to highlight it, and
then turn the value dial (or use the +/– keys) to set the value. If buttons
are displayed in the LCD screen, you can click these buttons as well.

Popup buttons, dialog boxes
LCD screen
Click the popup button in the LCD screen to access the dialog box, and then
select the parameter value in the LCD screen. You can also use the value dial
(or +/– keys) to select the parameter value.
Toggle buttons
Toggle buttons in the LCD screen will alternate between on and off each time
you press them. You can also use the cursor keys to highlight the button and
then press the ENTER key to switch the function on and off.
Basic operation
Radio buttons
Click a button in the LCD screen to select it. In addition, you can use the cur-
sor keys to highlight the button and then press the ENTER key to select it.
Selecting one item from a menu list

• Click the desired item from the list shown in the LCD screen to select it.
• Click the buttons in the LCD screen to move the highlighted area.
• Use the value dial or +/– keys to make your selection.
Fader or pan settings

You can adjust the fader of each channel independently. To adjust the pan,
press the PAN key to access the “FADER PAN” tab page, and use the Knob
Matrix.
15
Send and equalizer
When you’re in a tab page where you can edit parameters, or if you’ve
pressed the SEND key or EQ key to access the tab page, you can use the
Knob Matrix to edit the parameters or values.
Editing effects
When the effect parameter knobs are shown in the LCD screen, or if you’ve
pressed the EFFECT key to access the tab page, you can use the Knob Matrix
to select parameters or edit their value.
Selecting a channel
If the CH SELECT key is lit, you can press the channel key of the desired
channel to directly select it for editing.
Switching between channels 1–16 and 17–32

In the case of parameters for which the LCD screen cannot display all 32 chan-
nels at once, sixteen channels will be displayed at a time, depending on
whether the 1–16 key or 17–32 key is lit.
4. Panel key combination shortcuts

By pressing two of the panel keys simultaneously, you can use various short-
cuts such as moving between pages, switching functions, or changing the
location.
Some examples of shortcuts

• Hold down the SONG key and press the + key or – key to increment/
decrement the song number.
• Hold down the MIXER key and press the LOC 1, 2, 3, or 4 key to recall
the memory page.
• Hold down the MIXER key and press the π key or √ key to increment
the MIXER page.
• Hold down the MIXER key and press the † key or ® key to decrement
the MIXER page.
• Hold down the π key and press the SYSTEM/MIDI key to display the
calendar dialog box.
• Hold down the π key and press the SESSION DRUMS key to switch
the TimeDispType.
• Hold down the SYSTEM/MIDI key and press the ENTER key to enter
USB mode.
There are many other shortcuts in addition to those listed above. Refer to the
list of shortcuts (→p.178).
16
Examples of operation
Introduction
You can use the sixteen control knobs of the Knob Matrix in the following tab pag-
es. In pages where there are seventeen or more knob icons, you can hold down
the JUMP key and use the cursor keys to switch between groups of sixteen knobs
for editing.
CH VIEW page Ch View tab page
EFFECT page InsertEFF, MstrEFF1, MstrEFF2, and FinalEFF tab pages

SEND page EFFSend1, EFFSend2, Aux1Send, and Aux2Send tab
for the first time

pages
EQ page EQ/ATT and MasterEQ tab pages
FADER page Fader Pan and Mixer View tab pages
SOLO page CueLevel tab page
CH INPUT page SubMix1-4, SubMix5-8, and SubMix9-12 tab pages
DRUMKIT screen
METER screen (when FaderView is selected)
Main features
Figure 1 shows the EFFECT, “MstrEFF1” tab page.
To select this tab page, press the top panel EFFECT key, and then click the
“MstrEFF1” tab in the LCD screen.
In this screen, the knob icons are linked with the Knob Matrix below; you can
move a knob to edit the value directly. Knobs for which no knob icon is shown
have no effect.

Figure 2 is the MIXER, FADER/PAN/AUTOMATION “Fader Pan” tab page. To
select this tab page, press the direct key PAN. Alternatively, you can press the
MIXER key and then click the screen.
In this screen, moving the fader or Knob Matrix (corresponding to pan for each
channel) of the desired channel will automatically select that channel, and change
its fader or pan value.
Figure 3 is the CH VIEW, “Ch View” tab page.

To select this tab page, press the direct key CH VIEW.
You can also click the screen to select this tab page after pressing the CH VIEW
LCD screen
key.
In this screen, the fader, EQ, and Send are controlled directly by the fader of that
channel and by the Knob Matrix.
Figure 1 Figure 2 Figure 3 Basic operation
17
Quick Start
This Quick Start is designed to provide a few examples of some common tasks,
while helping you get familiar with the operations of the D3200.
Step 1: Preparations
The first step explains how to connect your monitor speakers or headphones,
how to turn the D3200 on, and how to listen to the demo songs.
Step 2: Quick recording

This step will cover how to connect a guitar, keyboard, or mic to the D3200,
how to record your performance on to a track, and how to play back the
recording and listen to the results.
Step 3: Overdubbing
Overdubbing allows you to record additional tracks as you play along with
the performance you recorded in step 2.
Step 4: Mixdown and mastering

In this step you can apply effects and EQ to each track to adjust the overall
balance.
Finally, you can apply effects and EQ to the entire song to add overall com-
pression and tonal adjustments, and mix your song down to the stereo master
track.
1. Connections
Please note the following items before you begin.
The D3200 automatically stores the date and time each time a song is saved, so
that you can tell when a song was updated. Before you begin, we recommend that
you set the date and time (→p.2 “Setting the calendar”).
If you’re not sure how to use the buttons or icons that appear in the LCD screen,
refer to “Items and functions in the LCD screen” (→p.13).
Connections Monitor speaker etc. Headphones

(1) Connect the MONITOR L/R jacks to your
monitor speaker system, or connect a set
of headphones to the PHONES jack.
(2) Set the MONITOR LEVEL knob to –∞. If (1)
you are using headphones, set the head-
phone PHONES LEVEL knob 1 all the (1)
way to the left.
(2)
2. Turn the D3200 on

Connect the AC power cable (included), and turn on the power.
Be sure to use the procedure described in “● Power-on” (→p.1).
Use an independent AC outlet whenever possible. If a circuit breaker should trip for some rea-
son, any unsaved data will be lost and the internal hard drive or CD-R/RW may be damaged.
18
3. Listen to the demo song
When it ships from the factory, the D3200 contains pre-recorded demo songs.
This section explains how to listen to one of the demo songs.
(1) Press the SONG key.
(2) Make sure that the demo song is
shown in the upper part of the
screen. (2)
(3) Set all the channels to play mode.
Press the REC/PLAY key, and check
that the track 1 through 16 channel (1)
Quick Start
keys are set to Play (lit green). Press
the 17–32 key and make sure that
the track 17 through 32 channel keys
are also set to Play (lit green).
If any key is set to Record (lit red), press that key to change the status to Play
(lit green).
If the key located above the master fader is lit, press it several times to make it
go dark.
(4) Press the PLAY key to start playing the demo song.
(5) Adjust the Monitor Level.
Slowly turn the MONITOR LEVEL knob toward the right to adjust the play-
back volume. If you have connected headphones, turn both the MONITOR
LEVEL knob and the PHONES LEVEL knob slowly toward the right to
adjust the volume.
(6) Adjust the “mix.”
While the song plays, operate the channel faders and notice how the balance
between the tracks changes.

(7) When the demo song ends, press the STOP key.
Hold down the STOP key and press the REW key to return to the beginning
of the song (→p.37 “2. Location”).
(5)
Step 3: Overdubbing
(3)
(3)
(6)
Step 4: Mixdown and
(7) (4)
mastering
19
1. Create a new song
In order to begin recording, you must first create a new song.
(1) Press the SONG key to access the SONG page.
(2) Click the New button. The New Song dialog box will appear.
(2)
(1)
(2)
(3)
In the “Select New Song Type” area, select the desired sampling frequency
and bit depth for the song that you want to create.
For this example, click 44.1 kHz/16 bit.
(3) Create the song.
Click the OK button in the screen (or press the panel YES key). A new song
named “Song ”* will be created following the last existing song.
The newly created song will be selected, and will appear in the SONG page.
You can change the location (song drive) in which the song is created (→p.36 “Selecting a
song from another song drive”).
2. Name the song

Here’s how to rename the newly created song.
Before you start recording, we recommend that you give your song a name that
will help you recognize the content of the song.
(1) Press the SONG key to access the SONG page.
Here you can edit the name of the song that’s displayed. If you want to select
a different song, refer to “1-3. Selecting a song” (→p.36).
(2) Click the Rename button to display the Rename dialog box.
(4)
(1) (3)
(3)
(2)
(3) Edit the song name.

When you press a character or numeral button, the highlighted character in
the song name will change.
20
The highlighted area will then move one step toward the right. Repeat this
step to edit the song name.
If you want to edit only a portion of the song name, click the buttons to
move the highlighted area, and then click a character or numeral button.
Use the buttons in the LCD screen to perform the following operations.
“0...9”: Input a numeral (e.g., “0”)
“A...@_...”: Input an alphabetical character (e.g., “A”) or symbol (e.g., @, _).
: Input a space.
: Switch the alphabet buttons between lower case and upper case.
: Insert a space, and move the subsequent characters backward.
Quick Start
: Delete the character at the cursor location.
: Erase the entire name.
(4) Confirm the changes.
When you have finished naming your song, click the OK button in the LCD
screen (or press the panel YES key).
If you decide to discard the change you made, click the Cancel button in the
LCD screen (or press the panel NO key).
3. Connect your audio sources to the mixer inputs
The mixer can accept twelve channels of analog in-
puts, two channels (one stereo pair) of digital (S/P Mic (3) Keyboard
DIF) input (→p.44 “1-2. Digital input”), and a stereo (2) OUTPUT
input from the internal Session Drums (→p.59 “Re-
cording patterns on a track”). Here we'll explain
how to connect analog audio sources to channels 1-4.
Connect mics and instruments to the INPUT jacks

Guitar
Microphones, guitars & basses, and keyboard/syn-

thesizer instruments all have different output levels (1)
and require different input connections. Here, we’ll
give an example of each type.
(1) Connect a guitar to the guitar input.
Rotate the INPUT 1 TRIM knob all the way to the Connection example
left, and connect your guitar to the GUITAR IN jack.
The GUITAR IN jack is shared with INPUT 1, and Guitar Mic
Keyboard
the two cannot be used simultaneously. (→p.7 “3

GUITAR IN jack”)
Step 3: Overdubbing
(2) Connect a microphone to one of the analog inputs. L R

Rotate the INPUT 2 TRIM knob all the way to the
S/P DIF L, R
left, and connect a mic to one of the INPUT 2 jacks.
INPUT2 INPUT4 INPUT12
Microphones will generally connect to the XLR INPUT1 INPUT3 INPUT5 INPUT11
inputs, although some will have plugs that can con-
nect to the TRS balanced phone jacks. Additionally,
some microphones require phantom power from the
mixer. Each of the D3200’s XLR inputs are equipped CH1 CH2 CH3 CH4 CH32
with switchable phantom power supplies. Be sure
and choose the right connection for your micro-
Step 4: Mixdown and
phone. And never connect or disconnect a micro-

mastering
phone while the phantom power is on.

(3) Connect the stereo outputs from a keyboard to a Recorder
1Tr 2Tr 3Tr 4Tr 32Tr
pair of TRS phone jack inputs.
Rotate the INPUT 3 and 4 TRIM knobs all the way to the left, and connect the
outputs of your keyboard to the INPUT 3 and 4 phone jacks.
21
Assign the inputs to channels
Each of the inputs needs to be assigned to a channel. First, let’s assign the guitar input to channel 1.
(1) Call up the input assignment page.
Press the MIXER key, and then click the page jump menu CH INPUT/SubMixer button to
access the “Ch Assign” tab page.
(2) Select a channel.
In the tab page, click the CH1 SOURCE channel icon. The icon will be enclosed by a frame.
(3) Select an input.
Click the buttons to assign “1” (INPUT 1) as the input source for channel 1 (CH1
SOURCE).
You can also use the value dial or the +/– keys to change this setting.
(1)
(2)
(1)
(3)
(1)
Adjust the CH 1 input level to verify that the sound of the

guitar has been assigned.
(4) Set the fader levels.
Lower the CH1 fader to “–∞”, and raise the MASTER
(5)
fader to the “0” position.
(5) Using the input PADs. (7)
The pad lowers the input signal by an additional 26dB.
For a mic or guitar, leave the PAD key unpressed when
making your settings. For a line-level output, such as (6)
from a keyboard, press the PAD key to the in position
(6)
(on) when making your settings.
(6) Arm channel 1 so you can monitor the input.
(4)
Turn on the REC/PLAY key, and press the CH1 chan-
(4)
nel key to select Record (key lit red). (8)
(7) Set the trim level.
As you play your guitar, the INPUT 1 peak indicator (the LED at the upper left of TRIM) will
light. Adjust the TRIM knob so that your loudest playing does not cause the LED to light red.
(8) Set the fader level for monitoring.
Gradually raise the CH1 fader while playing your guitar, and you will hear sound from your
monitor speakers.
If you are using headphones, adjust both the PHONES LEVEL knob and the MONITOR
LEVEL knob.
Using these same methods, we can assign the mic and keyboard
inputs to their own channels.
(9) Assign input 2 to channel 2.
Click the CH2 SOURCE channel icon, and assign “2” (INPUT
2) as the input source for channel 2 (CH2 SOURCE).
Using this setting, the sound of the mic connected to INPUT
2 will be sent to CH2. Set and check the mic level as described
in steps (4)–(8).
(10)Assign input 3 to channel 3.
Click the CH3 SOURCE channel icon, and assign “3” (INPUT 3) as the input source for channel
3 (CH3 SOURCE). Repeat this step and assign “4” (INPUT 4) as the input source for channel 4
(CH4 SOURCE).
22
Using these settings, the keyboard connected to INPUT 3 and 4 will be assigned to CH 3 and 4.
Set the pan knob of channel 3 all the way to the left; set the pan knob of channel 4 all the way to
the right. Now you can monitor your keyboard in stereo.
Check the keyboard sound and set the level as described in steps (4)–(8).
4. Adding EQ and EFFECTS

If you want to record without any further processing, proceed to “5. Recording.” If you want to use
each inputs’s 4-band parametric EQ and/or apply the D3200’s internal effects as you record, read
the following sections: “Applying EQ to the input sound” and “Applying effects to the input
sound.”
Quick Start
Applying EQ to the input sound
On the D3200 it’s also easy to apply EQ after recording.
Channels 1–23 are equipped with a four-band parametric EQ to shape the tonal characteristics of
the sound. Channels 24–32 feature a two-band shelving EQ. In the next example, you can apply EQ
to your guitar.
(1) Press the EQ key to access the “EQ/ATT” tab page.
(2) Choose a channel.
Click the CH cell, and use the value dial or the panel + or – keys to select channel 1, the channel
assigned to your guitar input.
Alternatively, you can press the CH SELECT key and turn on a channel key to select the channel.
EQ window
(2)

(3)
(1)
(3) Use the Knob Matrix to adjust the EQ.

As you play, use the Knob Matrix to adjust the gain, center frequency, and Q values for each of
the EQ bands.
The resulting EQ curve will be displayed in the EQ window. Step 3: Overdubbing
If the level meter clips, press the ATT knob icon in the LCD screen and adjust it to a value that does not cause clip-
ping. Keep in mind that if you are boosting the gain in multiple bands, you are increasing the level of the signal
overall, and you will need to use the ATT knob to control the level. Instead of increasing the gain in multiple bands,
you might try decreasing certain bands, but keeping the difference in gain between the bands the same. This will
keep the level more consistent and avoid distortion.
You can apply EQ to the mic and keyboard inputs as using the same method.
(4) Adjust the EQ settings of channel 2.
Click the CH cell and use the value dial or the panel + or – keys to select the channel assigned to
your microphone input 2 (channel 2).
Now you can apply EQ to the mic connected to INPUT 2. Adjust the EQ as described in step (3).
Step 4: Mixdown and

Click the CH cell and use the value dial or the panel + or – keys to select the first channel
mastering
assigned to your keyboard. In this example, input 3 (channel 3).

Now you can apply EQ to one channel of the stereo keyboard connected to INPUT 3. Adjust the
EQ as described in step (3).
23
Click the CH cell and use the value dial or the panel + or – keys to select the other channel
assigned to your keyboard. In this example, input 4 (channel 4).
You can apply EQ to the other channel of the stereo keyboard connected to INPUT 3. Adjust the
EQ as described in step (3).
The D3200 allows you to “pair” adjacent pairs of channels (odd, even). If you pair the two keyboard
channels, the EQ settings you make for one channel will also be applied to the other channel as well,
so you do not need to EQ each channel separately. (→p.46 “3-5. Pairing”).
Applying effects to the input sound

It’s also easy to apply the D3200’s effects after recording the sound (→p.28).
Here’s how to apply effects to the input from your guitar. First, let’s assign insert effect 1 to
channel1; the guitar’s input channel.
(1) Press the EFFECT key and select the “EFFRouting” tab page.
(2) Assign the effect routing.
Click the InsEFF1 IN/TR cell (it will become highlighted) and use the value dial or the +/– keys
to select “IN.”
IN stands for Input, and TR stands for Track; choose IN if you want to apply the effect to the
input sound, or TR if you want to apply the effect to the playback.
(3) Select a channel.
Click the InsEFF1 CH cell (highlighted) and use the value dial or the +/– keys to select “1.”
Insert Effect 1 is now assigned to the guitar’s input channel. Next, let’s choose an effect.
(4) Choose an effect type.
Select the InsEFF1 edit cell (highlighted), click the Select button. The Select EFF Category dialog
box will appear. Here you can select what type of effect you want to use on the guitar.
For this example, click “Dynamics&Filter” from the “Mono” category.
(2) (3)
(4)
(4)
(4)
(1)
(1)
(5) Choose an effect program.

The Select EFF Program dialog box will appear. Now you can
select the effect.
For this example, click “Compressor” and then click the OK
button in the LCD screen (or press the panel YES key).
(5)
Insert effect 1 is now applying a “Compressor” to the guitar
sound assigned to channel 1.
You can apply effects to the mic and keyboard inputs in the same
way. Here are a couple more examples.
(5)
(6) Assign insert effect 2.
Set InsEFF2 to IN, and set the CH to 2.
Click the InsEFF2 edit cell and select the “Room” effect from “Reverb&Delay” in the “Mono”
category.
24
(7) Assign insert effect 3.
Set InsEFF3 to IN and CH to 3, and set InsEFF4 to IN and CH
to 4.
In the InsEFF3 edit cell, select the “Rotary Speaker” effect
from “SFX&etc” in the “Stereo” category.
Because this is a stereo effect, the same effect will automati-
cally be selected for InsEFF4. (→p.54 “Effects”)
For details on editing the parameters of the effects you selected,
refer to “4. Editing the effects” (→p.56).
5. Recording
Quick Start
Now you’re ready to record. In this example, let’s record the guitar.
Preparations for recording

(1) Setting the recording mode
Press the REC/PLAY MODE key. In the “RecMode” tab page, click the radio button to select
“Normal.”
(2) Select the recording status.
On the D3200, the recording signal of each channel can be sent from either Before (PRE) the
fader, or after the fader (PST). Press the SEND key, and in the “RecSend” tab page, make sure
that the channel you’re recording is set to PRE. If it is set to PST, click the button to change the
setting to PRE.
(1)

(1)
(3) Set a meter view. Step 3: Overdubbing

Press the METER key.
Click the popup button in the screen to display the Meter/Track Type dialog box.
(3)
(3)
(3)
(3)
Step 4: Mixdown and
(3)
mastering
Using the radio buttons, select “PreFader” as the Meter Position, and “TrackView” as the view.
Then click the OK button (or press the panel YES key).
25
Start recording
The location currently shown in the counter is where the recording will begin.
(→p.37 “2. Location”)
(1) Set the D3200 to record-ready.
Press the REC key (the key will blink).
(2) Press the PLAY key.
The D3200 will begin recording, both the REC and PLAY keys will
light. (4) (2) (1)
(3) Begin playing your instrument.

(4) When you have finished playing, press the STOP key to stop recording (the
keys will go dark).
The track view will display a bold line to indicate the region where recording took
place. This line indicates the event data. Event data is displayed even for recorded
areas where you did not actually play your instrument.
6. Playback
(1) Set channel 1 to play.
Turn the REC/PLAY key on. Then press the channel key of track 1 (the track
you just recorded) to set it to Play (key lit green).
(2) Return to the beginning of the song.
Hold down the STOP key and press the REW key to return to the beginning
of the song (→p.37 “2. Location”).
(1)
(1)
(2) (2)(4) (3)
(3) Press the PLAY key to begin playback (the key will light).
• You can apply EQ to the playback audio (→p.46 “Applying EQ to the play-
back”).
• You can adjust the level and pan of the playback audio (→p.45 “3-1. Adjust-
ing the volume,” →p.45 “3-2. Adjusting the pan”).
• You can apply effects to the playback audio (→p.54 “Effects”).
• You can play internal rhythms along with the playback (→p.58 “Session
Drums™”).
(4) Press the STOP key to stop the playback (the PLAY key goes dark).
Even if there is no event data, playback will not stop until you press the STOP key.
26
Step 3: Overdubbing
Overdubbing allows you to layer multiple performances. This way, you can
record additional tracks, as you listen to the previously recorded tracks play back.
In this example, record your mic or keyboard on a new track while listening to the
guitar performance that you recorded in the preceding steps.
1. Recording Connection example

First, let’s arm track 2 to record, and set track 1 to play Keyboard
Guitar Mic
back.
Quick Start
Preparations for recording
(1) Arm track 2 for recording. L R
Turn the REC/PLAY key on.

Press the channel key of track 2, and set it to INPUT2 INPUT4 S/P DIF L, R
record; REC (key lit red). INPUT1 INPUT3 INPUT5 Drums L, R
(2) Set Channel 1 to play.

Press the channel key of track 1 and set it to play
back; PLAY (key lit green).
CH1 CH2 CH3 CH4 CH32
(3) Return to the beginning of the song.
Hold down the STOP key and press the REW key
to return to the beginning of the song (→p.37 “2.
Location”). Play Rec Rec Rec
Already
Recorder
Start recording recorded
1Tr 2Tr 3Tr 4Tr 32Tr
(1) Set the D3200 to record-ready.

Press the REC key (the key will blink).

recording will begin (REC and PLAY keys will light).
(3) While listening to the playback, record an additional part.
(4) When you have finished performing, press the STOP key to stop recording
(the key will go dark).
2. Playback
Play back the song to verify that your performance was recorded correctly.
(1) Follow steps (1)–(4) of “6. Playback” in the previous section “Step 2: Quick Step 3: Overdubbing
recording.”
Step 4: Mixdown and
mastering
27
Step 4: Mixdown and mastering
“Mixdown” refers to the process of mixing all the individual Recorder
tracks together to create a stereo mix of your song. In addition 1Tr 2Tr 3Tr 4Tr 32Tr
to adjusting the pan and level of each track’s playback, during

CH1 CH2 CH3 CH4 CH32
mixdown you can also apply insert effects to individual
tracks, add master effects, and adjust the EQ settings of the re-
corded tracks.
After you’ve mixed-down your song, the next step is to use
Pan Pan Pan Pan Pan
the master EQ and the final effect to enhance the overall tone
and dynamic character of your song to create a finished mas-
ter; this process is called “mastering.” Master
On the D3200, you can perform mixing and mastering at the Master
Track
same time. Recorder
1. Applying effects and EQ to individual channels

Applying effects to individual channels/tracks (Insert Effect)
You can apply an effect to the playback of an individual track by assigning an in-
sert effect to that mixer channel.
(1) Press the EFFECT key to access the “EFFRouting” tab page.
(2) Assign effect routing to the playback.
Click the IN/TR cell (it will become highlighted), and use the value dial or the
panel + or – keys to select “TR.”
Perform the actions described beginning with step (3) under “Applying EQ to
the input sound” (→p.23).
(2)
(1) (2)
Applying EQ to each channel/track

(1) Press the EQ key to access the “EQ/ATT” tab page.
Alternatively, you can access the “EQ/ATT” tab page by clicking the EQ/ATT/PHASE
button of the page jump menu.
(2)
(4) (3)
(1)
(4) (1)
(4)
(4)
28
(2) Select a track for EQ.
Click the CH cell, and use the value dial or the panel + or – keys and select
one of your recorded tracks that needs more EQ.
Alternatively, you can press the CH SELECT key and press a channel key to
select the channel to which you want to apply EQ.
(3) Set the meters to monitor the input and prefader levels (IN/PRE).
Click the position cell and set it to read IN/PRE. These settings allow you to
simultaneously check the input signal level, and the level of the signal imme-
diately after the EQ has been applied.
(4) While listening to the playback, use the Knob Matrix to adjust the EQ.
If the track you want to EQ is not playing back, turn the REC/PLAY key on, be
Quick Start
sure the channel key for that track is set to Play (key lit green).
If the level meter (PRE) clips, click the ATT knob icon in the LCD screen and adjust it to a
value that does not cause clipping.
Adjusting the pan

Adjust the stereo position of the playback tracks.
Press the PLAY key, press the PAN key, and use the Knob Matrix to adjust the
stereo position of each track.
Using the channel/track sends to apply effects From the EQ Master bus
(Master Effects)
Pan
output of
each ch. Post-fader
The D3200 contains two master effects that can be
used to apply spatial effects such as reverb. Pre-fader Send
Master
You can control how much signal from each channel Effect 1
is being sent to each of the master effects. In addition

to individual sends, the overall effects balance is also Send
Master
Effect 2
controlled by the effect return level.
Selecting a master effect

(1) Press the EFFECT key to access the “MstrEFF1” tab page.
(2)
(3)
Step 3: Overdubbing
(1)
(1)
(2) Select an effect type.

Click the popup button beside the effect name, and the
Select EFF Category dialog box will appear.
(3) Select an effect program.
Click a category button in the LCD screen, and the Select
EFF Program dialog box will appear.
For this example press “Club” and then click the OK but-
Step 4: Mixdown and
ton. If you want to go back and look in another category,

click Cancel button. (3)
mastering
(3)
29
Adjusting the Master Effect 1 Send amount for each track
(1) Press the SEND key to access the “EFF1Send” tab page.
(2) Set the master effect 1 sends to pre-fader.
You can choose to send either the pre-fader signal (PRE) or the post-fader sig-
nal (PST) to master effect 1.
Pan
From the EQ output of Master bus
each channel/track Post-fader
Send
Pre-fader Master
Effect 1
Click the PRE (PST) button beside the knob icon to make your choice. For this
example, select “PRE” for all tracks that will be using master effect 1.
(3) Adjust the send amount of each track.
Using the Knob Matrix adjust the send value for your recorded tracks.
(2)
(3)
(1)
(1)
Set the send value to “0” for any tracks that you don’t want to use master
effect 1.
(4) Make settings for master effect 2 in the same way, using the “MstrEFF2”
and “EFFSend2” tab pages.
Checking and adjusting the master effect

(1) Play back the song.
As the song plays, listen to the output of the master bus to hear the results of
your effect settings.
(2) Adjust the return form the master effects.
Press the EFFECT key and the“MstrEFF1” (or “MstrEFF2”) tab page. Adjust
the return level and return balance from the master effect to the master bus.
For this example, set “Return Level” to “100,” and “Return Balance” to “C.”
(3) If the output level meter is clipping, click the TRIM knob icon in the LCD
screen, and use value dial or the + or – keys to adjust the trim so that clip-
ping does not occur.
For details on editing the parameters of the selected effect, refer to “4. Editing
the effects” (→p.56) in the Operation section.
30
2. Applying Final (or mastering) effects and EQ to the entire song
Set the meters to display the post fader levels.
Press the METER key.
Click the popup button to open the “Meter/Track Type” dialog box.
Using the radio buttons, set the Meter Position to “Post Fader,” and set Select
View to “Track View.” Now the meters will show the level for each fader.
Applying an effect to the master bus (Final Effect)

(1) Press the EFFECT key and select the “FinalEFF” tab page.
(2) Choose an effect category.
Quick Start
Click the popup button to open the Select EFF Category window, and select a
final effect category.
For this example select “Reverb&Delay.”
(2)
(2)
(1)
(1)
(3) Choose a final effect.

For this example click “Smooth Hall” and then click the OK

button (or press the panel YES key).
Press the PLAY key and listen to the output of the master (3)
bus or the headphones to hear the results of the final effect.
(5) Make the desired adjustments, and then press the STOP
key.
For details on editing the parameters of the effect that you (3)
selected, refer to “4. Editing the effects” (→p.56) in the Oper-
ation section.
Step 3: Overdubbing
Step 4: Mixdown and
mastering
31
Applying EQ to the master bus (Master EQ)
(1) Press the EQ key to access the “MasterEQ” tab page.
(2) Link the channels to share settings.
For this example, click the Link button to turn it on (highlighted).
When the Link button is on, adjusting either side (left or right channel) will
make the same settings for both channels (→p.46).
(3) Make sure that the L button is on (highlighted); the display will show the
left channel master EQ screen.
(5) Adjust the master EQ as the song plays.
While listening to the output of the master bus or headphones, adjust the
master EQ parameters using the Knob Matrix.
The EQ window displays the EQ curve. You can switch the master EQ on/off
by clicking the ON/OFF button in the LCD screen.
If you want to make independent settings for the left and right master EQ, turn off the Link
button and use the R or L button to select right or left.
(6) When you‘re done adjusting the master EQ, press the STOP key.
EQ window
(5)
(3)
(5)
(1)
(2)
(1)
(6) (4)
32
3. Recording the master track
To create an audio CD, you need to create a stereo master track.
There are eight virtual master tracks (per song). This way, you can create various
mixes of your song, and compare them before choosing your favorite.
(1) Specify a virtual track.
Press the TRACK key, select the “MasterTrk” tab page, and click the V-Level
buttons to select a virtual master track (A–H).
(2) Arm the master track for recording.
Press the MASTER key located above the MASTER fader to select Record
mode (key lit red). The REC/PLAY key will automatically be turned on, and
Quick Start
the channel keys of each track will automatically be set to Play mode (key lit
green).
(3) Adjust the recording level.
• Set the MASTER fader to “0.”
• Press the METER key.
• Press the PLAY key to play back the song.
• While watching the master bus level meter, adjust the MASTER fader so
that clipping does not occur.
(1) (1)
(3)
(1)

(2) (3)
(4)
(5)(6)(5)(6) (5)
Step 3: Overdubbing
(4) Return to the beginning of the song. (→p.38)

(5) Record the master track.
Press the REC key to enter record-ready condition (LED blinking), and then
press the PLAY key to begin recording (LED lit).
When you finish recording, press the STOP key.
(6) Listen to the recorded result.
Press the MASTER key located above the master track to set it to play (key lit
Step 4: Mixdown and
green).
The channel keys of tracks 1–16 will automatically change to muted (key
mastering
unlit).
Return to the beginning of the song. (→p.38)
Press the PLAY key and enjoy your song.
33
4. Writing to a CD
You can use the disc drive to create an audio CD from the master tracks you re-
corded.
For details, refer to the Operation section, “CD” (→p.79).
Saving your song

On the D3200, the song data that you have recorded or edited and the parameters
that you have set are automatically saved during the power-off operation when
you return the D3200 to the standby mode. These settings are also saved when
you select a different song. This is called “auto-save.”
You can also save data manually (→p.42 “Saving a song”).
The auto-save that occurs when you select a song does not save the scene or effect settings you
were editing. If you want to keep the settings you were editing, you must first return to the
appropriate edit screen and Store them (→p.50 “4. Storing/recalling a scene,” p.56 “4. Editing
the effects”).
34
Operation
Locate
Song,
Maximum number of simultaneously usable tracks for
Song, Locate each Song Type
Mixer
Song Type Recording Playback Punch recording
Each song drive on the D3200’s internal hard disk can store
44.1 kHz/16-bit
up to one hundred songs. 16* 32 8
48 kHz/16-bit
How the hard disk, drives, and songs are related 44.1 kHz/24-bit
12** 16 4
Effects
Hard disk Song drive: A 48 kHz/24-bit
*16 channels is the maximum, combining 12 analog inputs,

Drive: A
+ 2 digital inputs (S/P DIF L, R), + 2 Session Drums (L, R).
**12 channels using any combination of analog inputs, digital in-
Drums™
Drive: B
Session
puts and Session Drums.
Drive: C
(4) Click the OK button (or press the panel YES key).
Drive: D
The new song will be created following the last existing
song, and will be added to the song list. It will also be
Recorder
PC Drive
selected as the current song.
The song name will automatically be “Song *”
(“ *” will be a consecutive number starting from
001.).
1. Selecting/creating a song The sampling frequency, bit depth, and date and time of
last modification (in this case, the date and time of crea-
Operation
Here’s how to create, rename, or select a song. tion) will be stored, and displayed next to the song
name.
1-1. Creating a new song If you want to create the new song on a different song drive,
click the song list button. In the Select Song dialog box, click
In order to begin a new recording, you will first need to cre-
the Drive button to select a different song drive (→p.36 “Se-
ate a new song.
lecting a song from another song drive”).
(1) Press the SONG key and select the song page.
If the Song Type is 48 kHz/24-bit and you record multiple tracks
The upper part of the tab page shows which song is
(four or more tracks) simultaneously, there is a increased possibil-
selected as the current song.
CD
ity that the state of the hard disk recording area (i.e., fragmenta-
tion) will cause the “Disk too busy.” message to appear. We
Current song
recommend that you always execute “OptimizeTrk” (→p.74) af-
ter recording or editing multiple tracks simultaneously in a 48
kHz/24-bit song.
Data
Drive
(2)
USB
(2) Click the New button to display the New Song dialog
box.
MIDI
Upgrading
the system
Recovery
CD
(3) (4)
calibration
ClickPoint
(3) Click the radio buttons to select the desired combina-

tion of sampling frequency and bit depth for your new
song.
35
1-2. Renaming a song 1-3. Selecting a song
When a new song is created, it is automatically assigned a There are two ways to select an existing song.
song number. We recommend that you change the song
name to indicate its content. Selecting a song from the song list
Song names can be up to 16 characters in length. (1) Press the SONG key, and then click the list button in
(1) Press the SONG key and select the song page. the song page to open the SelectSong dialog box.
(2) If you want to rename the song that’s displayed in the
song page, simply continue to the next step. If you
want to choose a different song name, click the list but-
ton ( ) and select a song (→“Selecting a song from
the song list”). (2)
(3) Click the Rename button to display the Rename dialog
(2)
box.
Rename box (5)
(2)
(2) Click (highlight) the song you want to select, and click
the OK button (or press the panel YES key) to confirm
your choice.
If there are more than five songs, use the scroll bar/but-
tons to scroll through the list.
(3) Verify that the song you selected is displayed as the
song page.
(4) Click the buttons in the screen to edit the song name in If you select the same song as the currently-displayed song (the
the Rename box. current song), the Reload Song dialog box will appear; click the
: Enters a space. Yes button (or press the panel YES key) to reload the song.
: Erases the entire name.
Selecting a song from another song drive
: Switches between upper and lower case characters.
(1) Press the SONG key, and then click the list button in
: Inserts a space, and moves the subsequent char-
the song page to open the SelectSong dialog box.
acters to the right.
(2) Click the Drive button to display the Select Drive dia-
: Deletes the character at the cursor location.
log box.
: Move the cursor to the location of the character
you want to change.
: Displays the name template (name library list).
(5) Finalize your changes.
If you want to change to the name you entered, click the
OK button (or press the panel YES key). If you decide to (4)
discard the name you entered, click the Cancel button
(or press the panel NO key).
Using the name library

(1) When the Rename dialog box is displayed, click the
list button ( ) beside the rename box.
(2) Click (highlight) the name you want to use. (2) (4)
To choose a name that is outside the currently-displayed
area, use the scroll bar/buttons to scroll through the list.
(1) (2)
(3)
(3)
(3)
(3) Select (highlight) the drive that contains the song you
want to select, and click the OK button (or press the
(3) Edit the song name as desired. panel YES key).
Refer to “1-2. Renaming a song,” steps (4) and (5). If you decide not to change drives, click the Cancel but-
This same library is used for naming tracks, songs, scenes,
ton (or press the panel NO key).
marks, etc. Scroll down to see more appropriate song names.
36
(4) The SelectSong dialog box will display the song list
for the selected drive.
2. Location
Locate
Song,
Click (highlight) the song you want to select, and click The term “location” refers to a specific point in time within
the OK button (or press the panel YES key) to confirm the selected song, as displayed in the counter.
your choice. If there are five or more songs, use the scroll The counter shows the current location within the song. The
bar/buttons to see them all. counter can be set to display the location in different formats.
Mixer
(5) Verify that the song you selected is displayed as the You can also use the counter to move to a different location.
current song.
2-1. Switching the counter display
You can switch the units that the counter uses to display the
Effects
current location.
(1) Click the button to the left of the counter to open
the Time Disp Type dialog box.
Drums™
(1)
Session
Recorder
Information display (1)
(2)
Operation
(2)
(2)
CD
(2) Select the type of units you want the counter to use,
and click the OK button (or press the panel YES key).
You can choose one of the following three formats
(→p.98 “Counter”).
Data
Time display
• __:__:__.___ “hours” : “minutes” : “seconds” .
“milliseconds”
Frame display
Drive
• __:__:__:.__F “hours” : “minutes” : “seconds” .
“frames”
Measure display
• ___.__.___ “measures” . “beats” . “ticks”
USB
Switching the information display area
The first line of the information display area shows the cur-
rently selected song. The second line can be switched to show
either the calendar, remaining time, scene settings, mark set-
MIDI
tings, or pattern map.

(1) Click the button at the left of the counter to display
the Time Disp Type dialog box.
Upgrading
the system
(2) Click one of the following five radio buttons, and then
click the OK button (or press the panel YES key).
• Date Time: calendar (date and time)
• Free Time: remaining time for recording
• Scene: name and location of the scene for the current
Recovery
location in the song

CD
• Mark: name of the mark for the current location in the

song. If there is no mark at the current location, this
displays the preceding mark and its location.
calibration
ClickPoint
• PatternMap: the rhythm pattern at the current loca-

tion of the song
If the calendar has not been set, Date Time will be gray.
37
2-2. Moving to a different location Assigning locations to the Locate keys
(1) Move to the location that you want to register (store).
Using the counter to move Use the counter or the FF/REW keys to move to the
desired location.
(1) Select a page in which the counter is shown at the top
of the display, such as the song page, Meter page, CH (2) Press the STORE key; the StoredTime dialog box will
VIEW, or “Ch View” tab page. appear, allowing you to register the location.
If you decide to cancel, click the Exit button or press the
(2) Click the location counter unit that you want to change STORE key once again.
(it will be enclosed by a frame).
(2)
(2)
(3) Turn the value dial (or use the +/– keys) to move to the
new location. (3) Press one of the LOC 1/IN, LOC 2/OUT, LOC 3/TO, or
LOC 4/END keys to register this location to that key.
Using the FF and REW keys to move The registration will be completed, and the dialog box
will close.
Moving to a point later in the song (fast-forward) You can register a Locate key to a location during playback
Press the FF key. or recording simply by performing step (2).
If you hold down the FF key during playback, you will move
If you want to set a location precisely while viewing the
toward the end of the song. Playback will resume when you
waveform, refer to “2-3. Finding a precise location (SCRUB)”
release the key.
(→p.40).
If you hold down the FF key while stopped, you will begin
moving toward the end of the song and will continue moving
until you press another transport key (such as STOP or Moving to a location registered to a Locate key
PLAY). While stopped or playing, press one of the LOC 1/IN, LOC 2/
OUT, LOC 3/TO, or LOC 4/END keys. You will move to the
If you press the FF key during loop playback, loop playback will
registered location.
stop, and then the location will begin moving toward the end of the
song.
Moving using assignable Marks
Moving to a point earlier in the song (rewind) You can register Marks at specific locations and use them to
Press the REW key. move to the registered locations.
If you hold down the REW key during playback, you will You can name each mark, to indicate locations within the
move toward the beginning of the song. Playback will song.
resume when you release the key. Up to one hundred marks can be registered per song.
If you hold down the REW key while stopped, you will begin In addition to their use for finding a registered location, the Marks
moving toward the beginning of the song and will continue are also used to divide tracks when you create an audio CD
moving until you press another transport key (such as STOP (→p.80 “2. Disc At Once”).
or PLAY).
If you press the REW key during loop playback, loop playback will Registering a mark
stop, and then the location will begin moving toward the begin- (1) Move to the location that you want to register.
ning of the song. Use the counter or FF/REW keys to move.
(2) Press the STORE key, and the StoredTime dialog box
Moving to the beginning/end of the song will appear.
If you decide not to register the location, click the Exit
Moving to the beginning of the song button or press the STORE key once again.
Hold down the STOP key and press the REW key to move to (3) Press the MARK key to register the location as a mark.
the beginning of the song. The dialog box will close.
Mark numbers are automatically re-assigned in numerical or-
Moving to the end of the song der starting at the beginning of the song.
Hold down the STOP key and press the FF key to move to
(4) Verify that the mark was registered.
the end of the song.
Press the MARK key and select the “EditMark” tab
page, and verify that your new mark was registered.
Using the Locate keys to move
During playback or recording, perform steps (2) – (4) to reg-
You can register a specific location for each of the Locate
ister a location as a Mark.
keys, and move immediately to those locations by pressing
the appropriate key.
You can register up to four locations in each song.
Use the one of the LOC 1/IN, LOC 2/OUT, LOC 3/TO, or
LOC 4/END keys to register the locations.
In addition to recalling the registered locations, these keys are also
used to specify locations for auto-punch recording (IN/OUT loca-
tions) and track editing (editing range). For details on the func-
tion of each locate key, refer to “19. LOC 1/IN, … LOC 4/END”
(→p.147).
38
Moving to the location assigned to a mark Renaming a mark
Locate
Song,
(1) Press the MARK key to display the “EditMark” tab (1) Press the MARK key to display the “EditMark” tab
page. page.
(2) From the mark list, click the mark that you want to
rename.
If necessary, use the scroll bar/buttons to scroll through
Mixer
the list.
(3) (3) Click the Rename button to display the Rename dialog
(2) box.
For details on how to edit the name, refer to “1-2.
Effects
Renaming a song” (→p.36).
Drums™
Session
(2) In the mark list, click (highlight) the desired mark.
the list.
(3) Click the Recall button to recall the mark.
Recorder
“Current Mark” will show the selected mark, and you
will move to the location of that mark.
Using the MARK keys to move

Hold down the MARK key and press the + key to step
Operation
through the marks toward the end of the song.
Hold down the MARK key and press the – key to step
through the marks toward the beginning of the song.
Current
Press Press Press Press Press
once once location once once once
Song
CD
Mark003 Mark004 Mark005 Mark006 Mark007
Order of locations
Deleting a mark
Data
You cannot Undo the result of deleting a mark.
(1) Press the MARK key to display the “EditMark” tab
page.
(2) From the mark list, click the mark that you want to
Drive
delete.
the list.
(3) Click the Delete button to display the Delete Mark dia-
log box. USB
MIDI
Upgrading
the system
(4) If you are sure you want to delete the mark, click the
Yes button (or press the panel YES key).
If you decide not to delete the mark, click the No button
Recovery
If you want to delete all marks, click the Select All but-
ton to turn it on (highlighted), and then click the Yes but-
CD
ton (or press the panel YES key) to delete all marks.
(5) Verify that the mark has been deleted from the mark
list.
calibration
ClickPoint
39
2-3. Finding a precise location (6) Press the SCRUB key once again, and you will return
to the screen in which you were before entering the
(SCRUB) Scrub screen.
By looking at the waveform data in the display, you can find Alternatively, you can exit the Scrub screen by pressing a
a precise location. This allows you to register a locate point or mode key or a direct key to move to another page.
a mark at the exact point where a sound begins.
Finding a zero-cross point
You can view the waveform as described here in the Scrub screen,
and in the Wave screen used for track editing (→p.128). If you click the SearchZero button to turn it on, you can turn
the value dial to move between locations at which the wave-
By watching the waveform as you listen to the audio, you can form level crosses the ±0 point.
find the desired location of the song. Turn the dial toward the right to move to the next zero-cross
If you press the SCRUB key at a location that occurs after the point.
end of the song, a dialog box will open that says “Scrub loca- Turn the dial toward the left to move to the previous zero-
tion exceeded song end.” Click OK or press the panel YES cross point.
key, and the location will be set to the end of the song.
When using loop playback, or when setting IN, OUT, TO, and
(1) Press the SCRUB key to display the Scrub page. END points for a track editing operation, setting the location at a
zero-cross point will ensure a smoother transition.
You cannot hear the audio while the Search Zero button is on.
(2)
WAVE
screen
(5)
(4)
(2) Click the popup button beside “Trk” to display the

Select Track dialog box.
(3)
(3)
(3) Select the track that you want to play back, and click
the OK button (or press the panel YES key).
If you click the Stereo button (highlight), you can view
the waveforms of two adjacent channels in the upper
and lower parts of the window while you play back.
(4) Click the ZOOM buttons to adjust the size and range
of the displayed waveform.
Instead of using the ZOOM buttons, you can hold down
the JUMP/MATCH key and press the cursor keys.
(5) Turn the value dial to find the location while you listen
to the sound.
The track audio will play back according to the direction
and speed at which you turn the value dial.
The Loc cell and the vertical bar indicate the location of
the audio you are hearing.
When you reach the desired location, press the STORE key
and register the location in a LOC key or a mark.
Click the button to play back approximately two sec-
onds of audio ending at the current location, or click the
button to play back approximately two seconds of
audio starting at the current location.
40
3. Song editing Moving a song
Locate
Song,
You can move a song to the specified song number.
Songs you record can be copied, rearranged, or deleted. You
can also protect a song to keep it from being accidentally de- (1) Select the song that you want to move. (→p.36)
leted. (2) Press the SONG key, and then click the Move button
in the song page to access the MoveSong dialog box.
You cannot use Undo to undo a song editing operation.
Mixer
If you want to move the song to a different drive, click
the Drive button and use the Select Drive dialog box to
3-1. Song editing procedure select the drive (→p.36).
To perform a song editing operation, first select the song that If you move the song to a different song drive, the Undo infor-
you want to edit, and then press the SONG key and select the mation will not be retained.
Effects
song page.
Verify that the selected song is shown as the current song in (2)
the tab page. Then click a button to perform the desired edit- (3)
ing operation.
Drums™
Session
(4)
Current
song (3) Turn the value dial to select the move-destination song
Recorder
number.
(4) To move the song, click the Yes button (or press the
panel YES key).
If you decide to cancel, click the No button (or press the
panel NO key) to close the dialog box.
Operation
(5) When the display indicates “Completed,” click the OK
The dialog box will close, and you will return to the song
page.
Copying a song
You can copy a song to the desired song number. Deleting a song
This is convenient when you want to create a different remix You can delete a song.
or arrangement of the same song.
(1) Select the song that you want to delete. (→p.36)
(1) Select the song that you want to copy. (→p.36)
CD
(2) Press the SONG key, and then click the Delete button
(2) Press the SONG key, and then click the Copy button in in the song page to access the DeleteSong dialog box.
the song page to access the CopySong dialog box. Verify the drive name and song number of the song that
If you want to copy the song to another song drive, click you want to delete.
the Drive button and use the Select Drive dialog box to
Data
select the drive (→p.36).
(2)
(2)
(3)
Drive
(3)
(4) (3) To delete the song, click the Yes button (or press the
panel YES key).
If you decide to cancel, click the No button (or press the USB
(3) Turn the value dial to select the copy-destination song
number. panel NO key) to close the dialog box.
(4) To copy the song, click the Yes button (or press the (4) When the display indicates “Completed,” click the OK
panel YES key). button (or press the panel YES key).
MIDI
If you decide to cancel, click the No button (or press the

panel NO key) to close the dialog box. page.
Upgrading
the system
page.
If there is already a song at the copy-destination number, the song
existing at the copy-destination and subsequent song numbers
will be renumbered one number higher (→p.117 “8. SONG”).
Recovery
CD
The Undo information within the song will not be copied.

calibration
ClickPoint
41
Protecting a song
You can protect a song so that it will not be accidentally over- Mixer
written or deleted.
If the song is protected (protect On), you won’t be able to
switch to Record by pressing the key located above the mas- Input channels
ter fader or the channel keys when the REC/PLAY key is on.
Nor will you be able to rewrite any of the parameters of that Analog S/P DIF Session
song. inputs 1–12 L, R Drums
When you protect a song, it will be saved automatically at
that time.
16 inputs
Protect On
(1) Select the song that you want to protect (→p.36). Channel assignment
(2) Press the SONG key, and then click the Protect button
in the song page to access the ProtectSong dialog box.
Verify the drive name and song number of the song that 1ch 2ch 3ch 32ch
you want to protect. 32-channel

mixer
(2)
(3)
1. Inputting audio to the mixer
(3) Click the ON button (or press the panel YES key). The D3200 provides twelve channels of analog input and one
optical digital input jack.
The audio signals coming from devices connected to these
jacks can be assigned to the mixer channels and recorded.
Audio from the internal drum pattern can also be assigned to
page.
the mixer channels.
(5) Notice that a lock symbol “ ” is displayed for the cur-
Here’s how to assign each input to a mixer channel and check
rent song, indicating the song is protected.
the audio signal.
Protect Off
(1) Select the song that you want to un-protect. (→p.36) 1-1. Analog input
Protected songs are indicated by a lock symbol “ ”. You can connect audio sources such as guitars, keyboards, or
(2) Press the SONG key, and then click the Protect button mics to the analog input jacks.
in the song page to access the ProtectSong dialog box.
Verify the drive name and song number of the song that Inputting audio from a guitar
you want to un-protect.
Connecting a guitar to the GUITAR IN jack and assigning
(3) Click the OFF button (or press the panel NO key). it to mixer channel 1.
(4) When the display indicates “Completed,” click the OK (1) Connect the guitar.
button (or press the panel YES key). Lower the MASTER fader, and then connect the guitar
The dialog box will close, and you will return to the song to the GUITAR IN jack.
page.
(2) Select INPUT 1 as the audio source.
(5) Verify that the lock symbol “ ” is no longer displayed • Access the MIXER, CH INPUT/SubMixer, “Ch
for the current song. Assign” tab page.
• Click the buttons to set the CH1 “SOURCE” to
Saving a song “1”. You can also use the value dial or the +/– keys to
Since the D3200 automatically saves song data and parame- make your selection.
ters when you perform the shut-down operation or when
The GUITAR IN jack is shared with the INPUT 1 jack. Spec-
you select a song, it is not absolutely necessary for you to
ify its input channel and adjust its input level as INPUT 1.
save manually.
However if the power should be interrupted by a power fail-
ure or other accident, the data that has been recorded or ed-
ited since the most recent power-on (or since a song was last
selected) will be lost.
We recommend that you use this command to save the data (2)
periodically after recording or editing for an extended peri-
od, or if you are using the D3200 in an environment where
the power supply is unreliable.
• To save the song, hold down the SONG key and press
the ENTER key located in the edit controller section of
the panel.
42
(3) Assign the input to mixer channel 1. Using the tuner
Locate
Song,
• Turn the CH ON key on, and turn the channel 1 chan- The D3200 contains a built-in tuner function.
nel key on (key lit). You can use this to tune an instrument connected to INPUT
• Turn the REC/PLAY key on, and set the channel 1 1 or the GUITAR IN jack.
channel key to Record (key lit red). At this time, CH 1 You can choose to view either a needle-type or a digital-type
will be highlighted in the screen to indicate that it is tuner screen.
Mixer
record-enabled. (1) Press the panel TUNER key to access the tuner screen.
(4) Adjust the input level. (2) Click the needle-type or digital-type button to select
• Press the METER key to display the Meter/Track the desired type of display.
View screen. (3) Click the CALIB button (or use the panel +/– keys) to
Effects
• Click the Meter/Track Type button to display the specify the desired tuning reference pitch.
Meter/Track Type dialog box. Normally you will use “440 Hz.”
• For “Select Level Meter Position,” select “CH-Input” (4) Input the sound from your instrument, and tune it.
as the level meter mode. Then click the OK button (or The note name closest to the pitch you input will be dis-
Drums™
press the panel YES key) to return to the previous
Session
played.
screen.
When using the analog (needle-type) screen
• Turn the INPUT 1 TRIM knob toward the right while
If the pitch is correct, the needle will indicate the center 0
playing your guitar ; the peak indicator (the LED near
position, and the flat “s” and sharp “w“ indicators will
the TRIM knob) will light. Adjust the TRIM knob so
both light. If the pitch is flat, only the “s” indicator will
Recorder
that the indicator does not light red when you play at
light. If the pitch is sharp, only the “w“ indicator will
your loudest level.
light.
• If the input is too loud, turn on the PAD key.
• The level meter in the Meter/Track View screen will
move in response to the input. Verify that the level
meter does not reach “CLP” when you play at your
Operation
loudest level.
When adjusting the input level, you may find it helpful to set
a longer “Peak Hold Time” in the Meter/Track Type dialog
box.
Meter/Track Type button

(5)
CD
(2) (3)
When using the digital-type screen

If the pitch is correct, the center 0 (e) as well as both
Data
“s” and “w“ indicators will light. If the pitch is flat,
only the “s” indicator will light. If the pitch is sharp,
only the “w“ indicator will light.
Drive
(5) Check the audio.
• Set the channel 1 fader to unity gain (0 dB).
• Access the MIXER, SOLO/MONITOR, “Monitor”
tab page. USB
• Click the “Master LR” and turn it on (highlighted).
• Gradually raise the MASTER fader and the PHONES
LEVEL knob or the MONITOR LEVEL knob, and
(5)
verify that you hear the sound in your headphones or
MIDI
in the monitor system connected to the MONITOR

jacks. (2) (3)
The pitch deviation is indicated in units of cents. (100 cents = one

Upgrading
the system
semitone, and 1200 cents = one octave)

(5) Click the OFF button to return to the previous screen.
Alternatively, you can use the panel TUNER key to
return to the previous screen.
Recovery
CD
calibration
ClickPoint
43
1-2. Digital input • Gradually raise the MASTER fader and PHONES
LEVEL knob or MONITOR LEVEL knob, and verify
The D3200 lets you input and record digital sources from the that you hear the sound from your headphones or
S/P DIF inputs. your monitor system connected to the MONITOR
You can input a digital source only if its sampling frequency OUT jacks.
matches the sampling frequency of the currently selected song.
If you input a 24-bit signal into a 16-bit song, the sound you mon-
itor will be 24-bit, but it will be converted to 16-bit data when it is
1-3. Sub input
recorded. The audio sources from the INPUT 1–12 jacks can be sent to
the sub-mixer and output directly to the master bus, inde-
When making digital input settings for S/P DIF, you may hear
pendently of being input to the mixer.
noise due to synchronization difficulties. Please turn down the
faders or turn down the volume of your monitor speakers before Sub Mixer 1–12 corresponds to INPUT 1–12 jacks respectively.
you adjust these settings. Here are some ways in which you can use this:
• You can add external input sources to the recorded sounds
Inputting the digital audio signal from a MD or DAT
that are playing back.
Connecting the digital output of your external MD player • You can apply external effects to the audio signal sent
to the S/P DIF IN jack, and assigning it to channels 1 and from the AUX jacks, and send the processed signal via the
2. sub-mixer to the master bus.
(1) Connect your MD player. Inputting audio to the INPUT 1 jack, assigning it to sub-
Lower the D3200’s MASTER fader, and use an optical mixer 1, and outputting the audio.
digital cable to connect the digital output of your MD
player to the S/P DIF IN jack. (1) Connect an audio signal to the INPUT 1 jack.
(2) Specify the S/P DIF inputs as the digital audio source. (2) Adjust the sub-mixer settings.
• Access the MIXER, CH INPUT/SubMixer, “Ch • Access the MIXER, CH INPUT/SubMixer,
Assign” tab page. “SubMix1–4” tab page.
• Since you are inputting audio to the INPUT 1 jack, use
the Sub Mixer 1 ON knob (Knob Matrix 10) to turn on.
(2)
• Click the channel 1 “SOURCE,” and click the

buttons to select “L” ( ). You can also use the value
dial or the +/– keys to make your selection. (3) Check the input to the sub-mixer.
In the same way, set channel 2 to “R” ( ). • In the same way as for normal mixer settings, use the
(3) Assign the input audio to mixer channels 1 and 2. Knob Matrix to adjust the level, pan, and EQ.
• Turn the CH ON key on, and turn the channel 1 and 2 • Verify that you hear the input source through your
channel keys on (key lit). headphones or monitor system.
• Turn the REC/PLAY key on, and set the channel 1 and
2 channel keys to Record (key lit red). At this time,
CH 1 will be highlighted in the screen to indicate that
it is record-enabled.
2. Audio outputs from the mixer
(4) Adjust the input level settings. MASTER L, R
• Press the METER key to display the Meter/Track These outputs provide the audio signals from the master bus.
View screen. Use the MASTER fader to adjust the volume of the MASTER
L/R jacks and the level of the signal being recorded on the
• Click the Meter/Track Type button to display the
master track.
Meter/Track Type dialog box.
• In “Select Level Meter Position,” select “CH-Input” MONITOR L, R
as the level meter mode, and click the OK button (or Refer to “3-7. Monitor settings” (→p.47).
press the panel YES key) to return to the previous AUX 1, 2
screen. Refer to “2e-3. Aux1 Send” (→p.109).
• When you play back your MD player, the CH 1 and 2
S/P DIF OUT
level meters will move in response to the input.
This jack sends a digital audio version of the same audio sig-
(5) Check the audio. nal as the MASTER L/R jacks, at the same sampling frequen-
• Set the channel 1 and 2 faders to unity gain (0 dB). cy and bit depth as the current song.
• Access the MIXER, SOLO/MONITOR, “Monitor”
tab page.
• Select “Master LR,” and turn it on (highlighted).
44
3. Mixer settings Adjusting the overall volume level
Locate
Song,
Use the MASTER fader to adjust the volume of the MASTER
Adjust the overall sound of your song by using the mixer sec- jacks and the level of the signal being recorded on the master
tion to set the volume, tone, and pan settings for input or track.
playback.
Use the MONITOR LEVEL knob to adjust the volume of the
For details on effect settings, refer to “Effects” (→p.54). MONITOR OUT jacks.
Mixer
Use the MONITOR LEVEL knob or PHONES LEVEL knobs
3-1. Adjusting the volume to adjust the volume of the headphone jacks.
Adjusting the volume level of each channel 3-2. Adjusting the pan
Effects
Use the channel faders to adjust the input or playback vol- Press the PAN key to access the “Fader Pan” tab page, and
ume. Raise or lower the fader to adjust the volume. use the Knob Matrix to adjust the pan of each channel.
• You can store these settings in a scene (→p.50). • You can store these settings in a scene (→p.50).
• You can record these adjustments as automation (→p.52).
Drums™
Session
• You can record these adjustments as automation (→p.52).
The channel faders have a range from silence (–∞) through unity • If channels are paired, you can select how the PAN knob
gain (0 dB) and up to +6 dB of gain. will operate. (→p.102)
Inputting a source at the maximum level

3-3. EQ (Equalizer)
Recorder
Ideally, an audio source you want to record should be input
at the highest possible volume that does not cause clipping. The EQ can be used to cut unwanted frequency regions such
To record at the ideal maximum level on the D3200, make ad- as hiss, or to shape the tonal character by boosting or cutting
justments according to the signal flow described below. a specific low- or high-frequency region.
The D3200 provides channel EQ for adjusting the tone of
1. Analog input jack (INPUT 1–12) TRIM
each channel, and master EQ for adjusting the tone of the
Operation
This is the first adjustment that affects the level of the
master bus.
input source.
• Channels to which an insert effect is not applied Channel EQ
Refer to 1-1. Analog input, step (4) (→p.43).
You can use four-channel full-parametric EQ to adjust the
• Channels to which an insert effect is applied
tone of each channel.
• Access the EFFECT, “InsertEFF” tab page, and
select the effect for the channel you are adjusting. Channels 25–32 have a two-band shelving EQ.
• Set “Trim” to “100.” Adjust the channel EQ in the MIXER, EQ/ATT/PHASE,
CD
• Adjust the TRIM knob so that the “FX IN” level “EQ/ATT” tab page, or in the CH VIEW, “Ch View” tab
meter does not reach “CLP” when the audio signal page.
is input. You can press the EQ key to access the “EQ/ATT” tab page with
one touch.
For details, refer to “4-2. Insert EFF” (→p.114).
Data
Since the signals from the S/P DIF jacks are input at unity Applying EQ to an audio input
gain (0 dB), you do not need to adjust the TRIM. You can apply EQ to an audio input, and record the EQ’ed
2. Insert effect TRIM sound.
In some cases, applying effects to the input signal you
Drive
adjusted in step 1 may increase the volume, causing dis-
tortion. In this case, make the following adjustment.
• Access the EFFECT, “InsertEFF” tab page, and click (4)
the InsEffect edit cell to select the effect whose level (5)
you want to adjust. USB
• Adjust “Trim” so that the “FX OUT” level meter does
not reach “CLP” when the audio signal is input.
For details, refer to “4-2. Insert EFF” (→p.114).
3. Attenuator
MIDI
Finally, applying EQ may increase the volume level,

causing the sound to distort. In this case, make the fol- (6)
lowing adjustment.
Upgrading
the system
• Access the MIXER, EQ/ATT/PHASE, “EQ/ATT” tab (1) Input an audio signal. (→p.42 “1. Inputting audio to
page, press the CH SELECT key, and use the channel the mixer”)
keys to select the input channel you’re using. (2) Press the EQ key, access the “EQ/ATT” tab page.
• Press the REC/PLAY key, and use the channel keys to (3) Press the REC/PLAY key, and then press the channel
select Record mode for the channel you’re using. key for the channel where the EQ will be applied, to
Recovery
• Adjust “ATT” so that the “PRE” level meter does not select Record mode (key lit red).
CD
reach “CLP” when the audio signal is input.

(4) Press the CH SELECT key and use the channel keys to
For details, refer to “2d-1. EQ/ATT” (→p.107). select the channel where the EQ will be applied, and
make sure the TRACK/INPUT indicator is set to “IN.”
calibration
ClickPoint
(5) Click the ON/OFF button to turn on the EQ.

If this is off, the EQ will not be applied.
(6) Use the Knob Matrix to adjust the EQ settings (→p.107
“2d-1. EQ/ATT”).
45
If the level meter indicates clipping, click the ATT knob icon and
adjust it so that clipping does not occur.
3-4. EQ library (Storing and recall-
ing EQ settings)
Applying EQ to the playback You can store channel EQ settings in the EQ library and recall
(1) Press the REC/PLAY key, and press the channel key of them as desired.
the channel where you want the EQ applied, setting A total of one hundred EQ settings are available; 50 presets
that channel to Play mode (key lit green). and 50 user-writable settings.
(2) Press the EQ key, access the “EQ/ATT” tab page.
Storing EQ settings
(3) Play back the song. (→p.68 “2-1. Normal playback”)
(1) Adjust the EQ settings as desired.
(4) Press the CH SELECT key, use the channel keys to
Refer to “Channel EQ” on the previous page.
select the channel to where you want the EQ applied,
and make sure the TRACK/INPUT indicator is set to (2) Access the “EQ Library” tab page, and click the Store
“TR.” button.
The EQ settings that will be stored are the EQ settings of
(5) Click the ON/OFF button to turn on the EQ.
the channel whose CH SELECT key is on (key lit).
If this is off, the EQ will not be applied.
A name will automatically be assigned to the stored EQ
(6) Use the Knob Matrix to adjust the EQ settings (→p.107 settings; e.g., CH08-I·EQ (channel 8 Input EQ) or CH10-
“2d-1. EQ/ATT”). EQ (channel 10 Track EQ).
If the level meter indicates clipping, click the ATT knob icon and (3) If you want to rename the settings, click the Rename
adjust it so that clipping does not occur. button to display the Rename dialog box.
For the renaming procedure, refer to “1-2. Renaming a
Master EQ song” (→p.36).
You can use an four-band full-parametric equalizer to adjust (4) In the library number cell, select the desired save-des-
the tone of the master bus. tination.
(1) Access the EQ, “MasterEQ” tab page. Then click the Yes button (or press the panel YES key) to
save the EQ settings.
If you decide not to save, click the No button (or press
the panel NO key).
Recalling EQ settings
(2)
(1) Access the “EQ Library” tab page, and click (highlight)
the EQ settings that you want to use.
(2) Press the CH SELECT key, and press the channel key
of the channel where you want to apply the EQ set-
(3) (4) tings.
(3) Click the Recall button to recall the EQ settings.
Verify the recall-destination channel in the Recall dialog
box, and click the Yes button (or press the panel YES
(1)
key). If you decide not to recall, click the No button (or
press the panel NO key).
(2) Click the ON/OFF button to turn on the master EQ. (4) Return to the “EQ/ATT” tab page, check the EQ set-
If this is off, the master EQ will not be applied. tings that were recalled, and make adjustments as nec-
(3) Select the channel whose EQ you want to adjust. essary.
Click the L button if you want to adjust the tone of the
Since channels 25–32 have a two-band EQ with Low and High,
left channel, or click the R button to adjust the tone of loading four-band EQ library settings into these channels will
the right channel. have the following result.
If you click the Link button, adjusting the EQ settings of one • LowMid and HighMid settings will be ignored.
channel will automatically set the other channel to the same
values. • The Gain and Fc settings for the Low and High bands will be
used as they are, but the Q will be forcibly changed to Shelving.
(4) Use the Knob Matrix to adjust the EQ settings (→p.108
“2d-4. Master EQ”)
3-5. Pairing
By specifying adjacent odd-numbered and even-numbered
channels (1–2, 3–4, 5–6…31–32) as a pair, you can adjust the
values of both channels simultaneously by editing the value
of the one of paired channels.
This is convenient when you want to adjust the mixer set-
tings for a stereo source or track.
The following settings can be paired.
• Channel keys when the CH ON key is on
• Channel keys when the REC/PLAY key is on
• EQ/ATT
• REC/EFF/AUX SEND
• Channel fader
• PAN settings
• Group settings
46
You can select how the PAN will operate when channels are CH ON groups
paired.
Locate
Song,
(1) Access the MIXER, PAIR/GROUP, “ChOnGroup” tab
(1) Access the MIXER, PAIR/GROUP , “Ch Pair” tab page. page.
(2) In Select Pair Ch, select the channels that you want to (2) Use the radio buttons to select a group (E–H) for each
pair. channel.
Click one of the “1 2”–“31 32” buttons to change the
Mixer
(3) Click the Ch On Group On buttons E–H to enable the
symbol to “ ”.
desired groups.
If you want to disable pairing, click the paired button to
You may enable more than one group.
change the symbol to “ ”.
Effects
(2)
Drums™
(2)
Session
(3)
Recorder
(3)
(3) Click the Pan Mode radio buttons to select how the
PAN knob will operate for paired channels (→p.102). 3-7. Monitor settings
Operation
Here’s how to select the audio signal that will be output from
MONITOR and PHONES.
3-6. Group settings
(1) Connect your monitor system.
Multiple channels can be assigned to a “Group”. Operating
You can either connect amplified speakers or a similar
the fader of any channel assigned to that group will adjust
system to the MONITOR L/R jacks, or connect head-
the volume of all channels in the group while maintaining
phones to the PHONES jack.
their relative volume balance.
In addition, each channel can also be assigned to a CH ON (2) Select the monitor source.
group. When the on/off status of any channel in that CH ON Access the MIXER, SOLO/MONITOR, “Monitor” tab
CD
group is changed, the status of all other channels in that page, and click the source that you want to monitor.
group will also change.
Fader groups
Data
(1) Access the MIXER, PAIR/GROUP, “FaderGroup” tab
page.
(2) Click the radio buttons to select a group (A–D) for each
channel fader.
Drive
(3) Click the Fader Group On buttons A–D to enable the
desired groups.
You may enable more than one group.
USB
Master LR
Monitor the audio of the master bus.
Solo
(2) Monitor the audio that is being soloed.
MIDI
When you adjust the settings in the “Solo” tab page, the
monitor source will be selected automatically.
If you want to defeat this, you can do so in the “Solo”
tab page (→p.48 “3-9. Solo settings”).
Upgrading
the system
Cue
(3) Monitor the volume and pan as set in the cue mix, inde-
pendent of the channel faders and PAN knobs (→p.48
“3-8. Adjusting the cue level”).
Recovery
Drums
CD
If this is on, the drum pattern sound will be output only

from the monitor bus. In this case, the SESSION
DRUMS, “DrmsMixer” tab page Assign setting will be
set to “Monitor.” This is convenient when you want to
calibration
ClickPoint
monitor only the rhythm, such as during a live perform-

ance.
47
You can also turn “Drums” on by setting the SESSION
DRUMS, “DrmsMixer” tab page parameter Assign to
3-9. Solo settings
Monitor. Use the Solo function when you want to listen to only a spe-
cific channel(s) without affecting the signal being recorded or
(3) Adjust the monitor volume. sent to the MASTER L/R bus. You can also use the solo when
The monitor volume is adjusted by the MONITOR you want to listen to one of the Send signals or to one of the
LEVEL knob for the MONITOR L/R jacks, and by the Return signals from one of the internal master effects. The
PHONES LEVEL knob and MONITOR LEVEL for the solo signal is output from the MONITOR L/R jacks and the
PHONES jacks. PHONES jacks.
3-8. Adjusting the cue level Soloing just one channel

Cue Level is a function that lets you adjust the monitor vol- (1) Access the MIXER, SOLO/MONITOR, “Solo” tab
ume and pan independently of the settings of the master bus. page.
The cue signal is output from the MONITOR L/R jacks and (2) Use the Mode radio buttons to click “Last.”
the PHONES jacks. (3) Press the SOLO key to select SOLO mode.
(1) Select cue as the source for monitoring. The channel keys of all channels will blink.
In the MIXER, SOLO/MONITOR, “Monitor” tab page, (4) Press the channel key for the channel you want to solo.
click the “Cue” and turn it on (highlighted). The key of the selected channel will continue blinking,
If you have made “Solo” settings, defeat “Solo” before you and the keys of the other channels will go dark.
select Cue. (5) Listen to the soloed signal.
(2) Adjust the cue level. As an alternative to using the channel key to select solo, you
Access the MIXER, SOLO/MONITOR, “CueLevel” tab can click a button in the MIXER, SOLO/MONITOR, “Solo”
page. tab page. This method allows you to select a Send or Return
If you click the “LEVEL” knob icon, you can use the signal for soloing, as well as the signal of a channel (→p.110).
Knob Matrix to adjust the volume of each channel.
If you click the “PAN” knob icon, you can use the Knob
Soloing more than one channel
Matrix to adjust the pan of each channel.
(1) Access the MIXER, SOLO/MONITOR, “Solo” tab
Alternatively, you can click a channel icon and use the
page.
buttons, value dial, or +/– keys to adjust the volume
level and pan. (2) Use the Mode radio buttons to click “Mix.”
(3) Use steps (3) and (4) in “Soloing just one channel”
(above) to select the channels that you want to solo.
Cancelling solo
(1) Access the MIXER, SOLO/MONITOR, “Solo” tab
page, and click off the button(s) that you selected for
soloing.
If you want to clear all solo settings, click the Clear All
button.
You can defeat Solo by pressing the REC/PLAY, CH ON,
SOLO, or CH SELECT keys.
(2) Verify the setting.
In the “Monitor” tab page, verify that Solo is now off.
Sending the soloed audio from the master bus

If you want to, you can send the soloed audio signal to the
MASTER L/R jacks. Use this when you want to hear the solo-
ed audio through the monitor system connected to the MAS-
TER L/R jacks.
In the MIXER, SOLO/MONITOR, “Solo” tab page, click the
Solo→Master button on (highlighted).
3-10. Muting a channel

You can turn the CH ON key on and use the channel keys to
mute (silence) each channel.
(1) Turn on the CH ON key.
The channel keys of all channels will light.
(2) When you press the channel key of a channel, it will be
muted (the key will be dark).
48
3-11. Mixer Setup (6) Save the mixer setup.
Click the Yes button (or press the panel YES key) to save
Locate
Song,
Mixer Setup lets you store the current mixer settings for sub- the settings.
sequent recall at a later time. If you decide to cancel, click the No button (or press the
This allows you to store mixer settings that you use frequent- panel NO key).
ly, and then recall them when creating a new song. You can
also use this method to copy mixer settings to a different
Recalling a mixer setup
Mixer
song.
The current mixer settings are stored as a “mixer setup pro- Here’s how to recall a previously-stored mixer setup pro-
gram.” You can store twenty of these mixer setup programs. gram.
A mixer setup program contains all the mixer parameters You can’t recall a setup while a song is playing.
that are included in the song.
Effects
(1) Access the MIXER, “MIXER SETUP,” “MixerSetup”
The mixer setup programs that you store can be backed-up tab page.
and restored as “User Data” “Mixer Setup Data” (→p.83). (2) In the list, click to highlight the program that you want
A mixer setup contains the following parameters. to recall.
Drums™
Session
• Channel Assign, and Sub Mixer assignments (3) Click the Recall button to open the Recall Program dia-
• Pair, Group log box.
• Fader, Pan, Play/Rec EQ (4) Recall the mixer setup.
Click the Yes button (or press the panel YES key) to
• ATT, CH ON, Phase, AUX/EFF Send, Rec Send
recall the settings.
Recorder
• Effect (all settings including the parameters being edited) If you decide to cancel, click the No button (or press the
• Master Fader, Master EQ, Send Out level, Send Select All panel NO key).
• Solo, Monitor, Cue, Session Drums
• Channel keys when the REC/PLAY key is on
• Master track record/play
Operation
Storing a mixer setup
Here’s how to store the current mixer settings as a mixer set-
up program.
You can’t store a mixer setup while a song is playing. A program saved in a 44.1 kHz or 48 kHz song can be recalled into
(1) Make sure the current mixer settings are the ones that either a 44.1 kHz or 48 kHz song.
you want to store. When the D3200 is shipped from the factory, mixer setup pro-
(2) Access the MIXER, “MIXER SETUP,” “MixerSetup” grams 1 through 20 are stored as “NoData.” Recalling one of
CD
tab page. these programs will set the mixer to the same settings as when it
is initialized (i.e., when you create a New Song).
Data
(2)
(3)
(1)
Drive
USB
(3) In the list, click to highlight the program in where you

want to store the current settings (i.e., the program you
want to overwrite).
MIDI
(4) Click the Store button to open the Store Program dia-
log box.
If you decide that you want to store the settings in a pro-
gram number other than the one shown in the cell, you
Upgrading
the system
can click to highlight it and use the value dial (or the +/–
keys) to change the program number.
Recovery
(5)
CD
(4)
(6)
calibration
ClickPoint
(5) If you want to assign or edit the program name, click

the Rename button to open the Rename dialog box
(→p.36).
49
4. Storing/recalling a scene 4-2. Recalling a scene
Here’s how to recall mixer settings that you registered as a
You can register frequently-used mixer settings at a desired
scene.
location and store them as a “scene” for later recall.
After recalling a scene, you can store it again as a new scene, (1) Access the SCENE, “Automation” tab page, and click
or edit some of the mixer settings and store (overwrite) it off the Automation button.
back into the same scene memory. If Automation is “ON,” you will only be able to recall the
Default Scene is automatically registered at the beginning of scene that is registered at the current location.
the song when you create a new song (→p.35), and always (2) In the scene list displayed in “EditScene” tab page,
saves the state of the mixer settings at the end of the song. select (highlight) the desired scene, and click the
If automation is off and a scene is not selected, or if automa- Recall button.
tion is on but a scene has not been stored at the beginning of The selected scene will be recalled.
the song, the mixer settings of the default scene will be used,
and will appear in the selected scene cell as the current scene.
You can store the desired scenes at various locations in the
song so that if Automation is turned on, these scenes will be
selected automatically when playback reaches the corre-
sponding locations. (→p.52 “5. Automation”)
You can store up to one hundred scenes for each song.
A scene can contain the following settings.
Channel parameters
CH ON, Play EQ, ATT, send, insert effect assignment,
fader, pan
Effects
Program numbers of the insert effects, master effects,
and final effect
4-3. Renaming a scene
Effect return, MASTER fader, AUX level, master EQ
(1) Access the SCENE, “EditScene” tab page, and click the
MASTER fader settings included in a scene will be valid when
scene (highlight) you want to rename.
playing back the tracks or when recording the master track, but
will be ignored when playing back the master track. (2) Click the Rename button to display the Rename dialog
box.
Caution when storing effects in a scene
(3) Edit the name (→p.36).
Scenes contain the effect program numbers.
If you store a scene when you have edited the effect parame-
ters but not stored the effect program, the scene will contain 4-4. Deleting a scene
the unedited effect program. You can delete an unwanted scene.
If you edit an effect program, be sure to save the effect pro-
gram before you store the scene. Undo is not available for this operation.
(1) Access the SCENE, “EditScene” tab page, and click the
scene (highlight) you want to delete.
4-1. Storing a scene
(2) Click the Delete button to display the Delete Scene
(1) Adjust the mixer settings. dialog box.
Adjust the channel faders, Pan, EQ, and effects to the set-
(3) Click the Yes button (or press the panel YES key) to
tings that you want to store.
delete the scene.
(2) Press the STORE key. If you click the No button (or press the panel NO key),
The StoredTime dialog box will appear. you will return to the “EditScene” tab page without
If you decide not to store the scene, click the Exit button. deleting the scene.
The scene contains the mixer settings and the location at the If you want to delete all scenes, click the Select All button to
point you press the STORE key. turn it on, and then click the Yes button (or press the panel
(3) Press the SCENE key to store the scene. YES key) to delete all the scenes stored for this song.
The settings will be stored, and the dialog box will close.
The scenes you store are numbered in ascending order. You
can perform steps (2) to store a scene even while the song is
being played or recorded.
50
4-5. Editing and overwriting a scene 4-7. Specifying parameters that will
Locate
Song,
You can edit some of the settings of a scene, and overwrite
your changes onto the stored scene.
be disabled for all scenes
You can specify parameters that will be excluded from scene
(1) Recall the scene. recall operations for any scene in the song. The channel pa-
As described in “4-2. Recalling a scene,” recall the scene rameters and sends whose buttons are highlighted in the dis-
that you want to edit.
Mixer
play will be excluded from (i.e., unaffected by) scene recall
(2) Edit the settings of the scene. operations, regardless of the scene that is recalled.
Adjust the channel faders, Pan, EQ, and effect parame-
Access the SCENE, “SceneFilter” tab page, and click the but-
ters to edit the scene.
tons for the channels and controls for which you want to dis-
(3) Click the OverWrite button to display the Over Write able scene recall.
Effects
Scene dialog box. Parameters whose buttons are highlighted will not be re-
(4) When you click the Yes button (or press the panel YES called.
key), your changes will be overwritten onto the scene
of that number.
Drums™
Session
If you click the No button (or press the panel NO key),
you will return to the “EditScene” tab page without
making any changes.
Recorder
Operation
4-6. Specifying parameters that will 4-8. Controlling scenes via MIDI
be disabled for an individual MIDI output
scene A scene change (program change) message is transmitted
For each scene, you can specify that the settings of certain pa- when the scene changes.
rameters will not be altered when the scene is recalled. The If the SYSTEM/MIDI, “MIDI/MMC” tab page Program
CD
channel parameters and send settings of the highlighted but- Change button is on (highlighted), messages will be output
tons will be excluded from recall. in the following cases.
(1) Recall the scene. • When you select a scene in the SCENE, “EditScene” tab
As described in “4-2. Recalling a scene,” recall the scene page.
Data
that you want to edit. • If automation (→p.52) is turned on, when the scene
(2) Click the Disable Prm button to display the Disable changes during playback or recording
Param dialog box.
MIDI input
Drive
If the D3200 receives a scene change (program change) mes-
sage when automation (→p.103, 105) is turned off, it will
switch to the scene of the corresponding number.
(1) Connect your external MIDI device (→p.94).
(2) In the SYSTEM/MIDI, “MIDI/MMC” tab page, set
USB
“GlobalCh” to the channel of the external MIDI device
that will be transmitting the program change message.
Turn the SYSTEM/MIDI, “MIDI/MMC” tab page Pro-
gram Change button on (highlighted).
MIDI
(3) Access the SCENE, “EditScene” tab page, and turn

Automation “OFF.”
(4) Send program change messages from your external
(3) Adjust the settings. MIDI device to recall scenes on the D3200.
Upgrading
the system
Select the channels whose parameters will be disabled When the D3200 receives program change #0, scene
for recall, and select the parameters or sends of those “000” will be recalled.
channels that will be disabled. Program change messages #0–100 correspond to scenes
For the EFF1/2 Return, AUX 1/2 Level, Effect, “000”–“100.”
MasterEQ, and MasterFader parameters, you can
Recovery
disable settings of the highlighted buttons regardless of

CD
the selected channel.

Fader, CH ON, Pan, EQ, EFF 1/2, and Aux 1/2 filter set-
tings apply only to the channels that are disabled (highlight-
ed).
calibration
ClickPoint
(4) Click the OK button (or press the panel YES key) to
close the dialog box.
51
5. Automation (3) Edit the location, and click the Yes button (or press the
panel YES key) to finalize the change.
Automation is a function that automatically modifies mixer If you click the No button (or press the panel NO key),
settings as the song location changes during playback. you will return to the “EditScene” tab page without
There are two types of automation; scene automation and making any change.
event automation. You can also change the location in the “EventList” tab page.
When automation is on, you can use the SCENE “Mixer
View” tab page to view fade-in and fade-out operations and
scene changes in which fader values change.
5-2. Event automation
This type of automation records mixer operation events such
as fader movements or pan motion during playback, and re-
5-1. Scene automation produces these operations at the corresponding time during
This type of automation automatically switches mixer set- playback or recording.
tings when the song location during playback or recording You can also selectively re-record the recorded events, or
arrives at the registered location for that scene. copy them to another location or a different channel.
You can keep recording events until the Events Remaining
When you register a scene, the location is also registered
indication reaches 0%.
along with the other settings. When the current location of
The following operations can be recorded as events.
the song matches the registered location of the scene, the
Scene Automation function will automatically select this • Fader operations of each channel
scene, causing the mixer settings to change to the settings of • MASTER fader operations
the scene. • Channel On operations of each channel
You can also re-register a scene at a different location, or edit • Pan operations of each channel
the mixer settings of the scene and overwrite it onto the same • AUX send operations of each channel
scene memory. • Effect send operations of each channel
• Expression pedal operations
Using scene automation
You can use the Undo function to restore recorded or edited
Scenes can be set to change automatically, when playback automation events to their state prior to recording or editing.
reaches the location where the scene was stored.
If a scene is stored within the region where you want to record
Store the scene at the location where you want the mixer settings events, we recommend that you use the SCENE, “SceneFilter”
to change (→p.50 “4-1. Storing a scene”). tab page (→p.106) to disable the settings of that scene for the pa-
(1) Access the SCENE, “EditScene” tab page, and turn rameter(s) you intend to record, so that those parameters will be
Automation “ON.” affected only by the event automation.
The automation indicator will light.
Recording mixer operations
Move to the location where you want the playback to There are two ways to record event automation.
start, and press the PLAY key. You can overwrite all events from the point where you start
When playback reaches the location at which the scene song playback/recording until the point where you stop
was stored, that scene will be recalled. (Over Write). Alternatively, you can record only the opera-
tions that occur between two specified locations, or only for
Storing a scene at a different location the region in which you actually operated the faders (Punch
Write). (→p.104)
You can recall a stored scene and store it again at a different
As an example, here’s how to use “Over Write” to record
location.
events while the song plays back.
(1) Recall the scene that contains the mixer settings you
(1) Select the song that you want to use to record mixer
want to store again at a different location.
operations.
For the procedure, refer to “4-2. Recalling a scene”
(→p.50). (2) Move to the location at which you want to start record-
ing automation, and store the mixer settings as a scene.
(2) Move to the location at which you want to store the
Automation recording will start from the location of the
scene (→p.38).
scene you store here, and this scene will be the mixer set-
(3) Store the scene. tings at the beginning of the recording.
For details, refer to “4-1. Storing a scene.”
• If you want to use an existing scene, recall that scene,
move to the location at which you want to begin
Editing the location of a stored scene recording automation, and store the scene again.
You can edit the location of a stored scene to change when it
(3) Access the Scene, “Automation” tab page, and select
will become active during playback.
the channels for which you want to record mixer opera-
(1) Access the SCENE, “EditScene” tab page, and select tions.
(highlight) the desired scene. If you want to record events for a channel, click its but-
(2) Click the EditLoc button to display the Edit Scene ton to make it indicate “ ”.
Location dialog box. (4) Use the Pan, CH ON, Send, Fader, and Expression
radio buttons to select the type of event you want to
record.
You can record only one type of event at a time.
If you select Send, events will be recorded for the Send key
(INTERNAL 1/2, AUX 1/2) selected by the cell beside the
button.
52
Locate
Song,
(3) (7)
(4)
(6)
(3)
Mixer
(4)
(5)
(2)
Effects
Drums™
Session
(6)
(2)
Recorder
(2)
(5) If you selected “Fader,” you have the option of also (3) In the event list, select the event that you want to edit.
Operation
recording Master fader operations. If you want the events of the event list to be shown in the
If desired, click the Master Fader button to make it indi- Event View area, click the Set View button and use the
cate “ ”. Set View dialog box to select the desired parameter
(6) Click the Mode button to access the Event Rec mode (→p.104).
dialog box. (4) Click the Edit button to open the Edit Event dialog
Select “Overwrite,” click the OK button (or press the box.
panel YES key). The parameter, value, and location of the selected event
(7) Turn “Automation” ON (Rec). will be displayed in detail.
The automation indicator will blink. • Use the value dial (or +/– keys) to select (highlight)
CD
(8) When you play back the song, event recording will the item you want to edit.
begin. If a scene is selected, you can edit only the location.
Adjust the mixer settings for the events you are record- In this screen as well, you can click the move cell and
ing.
Data
use the value dial (or +/– keys) to change the event being
(9) When you stop the song, event recording will end. edited.
Automation will automatically switch ON (Play), and
the automation indicator will light.
If you want to additionally record other events in the
Drive
song, repeat the procedure from step (3).
If you made a mistake, you can click the Undo button to re-
turn to the previous state. If the Undo button is displayed as
Redo, you can press it to cancel the Undo. (4)
Playing back the events USB

Here’s how to play back the recorded events as the song
plays. (5)
(1) Select a song that contains recorded events.
MIDI
(2) Access the SCENE, “Automation” tab page, and set

“Automation” to “ON (Play).”
(5) Click the OK button to execute the edit and update the
The automation indicator will light.
event list.
Upgrading
(3) When you play back the song, the recorded events will
the system
If you decide not to execute, click the Cancel button.

play back as the song progresses. Alternatively, you can us the panel YES or NO key.
Cut, copy, or paste an event
Editing events
You can use the Cut, Copy, or Paste buttons to cut, copy,
You can edit recorded events in either of two ways; by chang- or paste the selected event.
ing the value or location of events in the event list, or by over-
Recovery
For details on these operations, refer to the Reference

writing events in the desired region.
CD
manual, “2c-3. Event List” (→p.104).

(1) Access the SCENE, “EventList” tab page.
(2) Click the Select List button to open the Select List dia-
log box. Choose the channel and parameter of the
calibration
ClickPoint
events you want to edit.

Select a channel 1–32, the master fader, or expression
(you may select only one of these), and then click the OK
53
Effect type and size
Effects There are two types of effect program: stereo and mono.
You can use either type of program as an insert effect, but
The D3200 provides up to eight insert effects that you can in- mono programs cannot be used as master effects or as the fi-
sert into mixer channels, up to two master effects that can nal effect.
process the sends from each channel, and one final effect to
process the master bus. Insert effect 8 cannot use a stereo effect program.
As an example, the type of effect programs that can be used
to provide eight simultaneous insert effects are called “size-
Guitar
1” programs. Relative to this, other more complex effect pro-
Keyboard grams are categorized as “size-2” or “size-4” programs.
The size of each effect program is shown by an icon “ ” dis-
played at the right of the effect name.
Mic
How DSP power is allocated to the effects
On the D3200, the term “DSP power” refers to the total
processing capability that can be used to process effect pro-
grams.
Insert effects 1–8
Play
Insert effects Effects of the D3200
Rec
DSP power
EFFRouting Insert 1–8, Master 1/2, Final
Each track 1 2 3 4 16 0% 100%
of the recorder
Master There is enough DSP power to process “16 sizes-worth” of ef-

effects fect programs.
1 2 A total of eleven effects can be used by insert, master, and fi-
nal effects, but since the sum of the all the effect sizes is lim-
L R
ited to no more than 16, the number of effects that can be
Master track
of the recorder used simultaneously will change, depending on the combi-
nation of effect sizes.
Final A specific amount of DSP power is allocated to the insert,
effect Rec master, and final effects, and the breakdown for each variety
of effect is shown in the following table.
L R
Number of effects and DSP power for each variety of
effect
to the master bus
Maximum number of
Maximum size assignable
Variety effects that can be used
The effect programs are common to all of the above types of simultaneously
to one effect
effect. There are 128 preset effect programs.
Insert 8 8
Each effect program is constructed from one of 52 different
effect algorithms. Master 2 4
There are 128 user effect programs in which you can store Final 1 4
your own edited settings, and 32 song effect programs for Total 11 16
each song, in which you can store effect settings for that spe-
cific song. If you use a size-8 effect for insert effect 1, insert effects 2–8 will
Each song can store its own 32 song effect programs. be unavailable.
If you use a size-4 effect for master effect 1, master effect 2 will be
You cannot rewrite the preset effect programs. However, a preset unavailable.
effect can be recalled, edited and stored to a user program.
When assigning effects, pay attention to the DSP power indi-
cator in the “EFFRouting” tab page to see how much DSP
power is available.
For details, refer to “Effects that can be used simultaneously”
(→p.114) in the reference section.
54
1. Using insert effects 2. Using master effects
Locate
Song,
You use insert effects by inserting them into a mixer channel To use a master effect, adjust the send level of each channel
to process the sound of an input source or audio track. to send some of its signal to the effect. The master effects are
A maximum of eight insert effects can be used simultaneous- typically used to apply reverb or to make the overall mix
ly, and these effect programs may have a total size of no more richer and better balanced.
Mixer
than 8. In other words, you must assign effect programs so The D3200 provides two master effects (MstEFF1 and
that their total size stays within this limit. MstEFF2), and these can be used simultaneously. However if
you use a size-4 effect, the available processing power of both
master effects will be used, so only master effect 1 will be
Number of simultaneously usable insert effects and their size
available.
Effects
Insert effect
1 2 3 4 5 6 7 8 Number of simultaneously usable master effects and their size
Master Master
Effect program size (conceptual)
effect 1 effect 2
Drums™
Size-2
Session
Size-1 Size-4
Effect program size (conceptual)
Size-2 Size-4
If you use a size-2 effect for insert effect 1, only six more insert ef-
fects (3–8) will be available. Example 1 Example 2
Recorder
Assign a size-2 program Assign a size-4 program
to master effect 1 to master effect 1
1 2 3 4 5 6 7 8 Master Master Master Master
effect 1 effect 2 effect 1 effect 2
Size-2 Size-2 Available Size-4
Available
Operation
To adjust the depth of the effect, adjust the send level from
If you use a size-1 effect for insert effect 1, and a size-4 effect for
each channel.
insert effect 2, only three more insert effects (6–8) will be available.
AUX send is used when applying external effects.
You can select an effect program for the master effect in the
1 2 3 4 5 6 7 8 EFFECT, “MstrEFF1”/“MstrEFF2” or the EFFECT,
“EFFRouting” tab page.
Size-1 Size-4
Available For details on how to use the master effects, refer to Quick
Start. (→p.29)
CD
1-1. Applying insert effects during
recording 3. Using the final effect
Data
You can apply an insert effect to an audio input source con- The D3200 provides one stereo-in/stereo-out final effect,
nected to the input jack, and record the sound processed by which is applied to the master bus.
the effect. The final effect is used mainly with a dynamics-type effect
For details on how to apply an insert effect on a channel in- program (such as compression) to adjust the overall level for
put, refer to Quick Start. (→p.23) mastering.
Drive
You can select an effect program for the final effect in the EF-
1-2. Applying insert effects during FECT, “FinalEFF” or the EFFECT, “EFFRouting” tab page.
For details on how to use the final effects, refer to Quick Start.
playback (→p.31)
You can apply an insert effect to the playback of a previous- USB
ly-recorded track.
For details on how to apply an insert effect to the track play-
back, refer to Quick Start. (→p.28)
MIDI
Upgrading
the system
Recovery
CD
calibration
ClickPoint
55
4. Editing the effects For a master effect or final effect
(1) Access the EFFECT, “MstrEFF1” (or “MstrEFF2”)/
You can edit the effect programs used by the insert effects, “FinalEFF” tab page.
master effects, and final effect quickly and easily using the
Knob Matrix. (2) Perform steps (3) and following of “For an insert
effect,” above.
Editing the effect parameters
Storing an effect program
(2) (3) • If the song is playing, press the STOP key.
• Click the Store button in the effect tab page to display the
Store Program dialog box.
• Click the Area list button and select either User or Song
(4) from the list.
U (User): User effect program. You can store 128 effect
(6) programs which are shared by all songs.
S (Song): Song effect program. You can store 32 effect pro-
grams specific to each song.
• Click the number cell to specify the store-destination (it
(5) will be highlighted), use the value dial (or the +/– keys) to
select the number, and then click the Yes button (or press
(1) (8) the panel YES key) to store the effect program.
When you store the effect program, it will overwrite and replace
any data that had been stored in that number.
For an insert effect
(1) Access the EFFECT, “InsertEFF” tab page.
(2) Select the insert effect (InsEFF1–8) that you want to
edit.
Click the insert effect cell (highlighted), and use the
value dial (or the +/– keys) to select an insert effect 1–8.
(3) The effect program assigned to the selected insert
effect will appear. Below it, icons will show the algo-
rithm used by that program.
To select a different program, click the popup button and
make your selection.
(4) If the algorithm contains more than one effect icon,
click the cell below the icon you want to edit (it will
become highlighted), and a list of the parameters for
that effect will be displayed.
If the program consists of only one effect, the displayed
parameters are all that exist.
(5) Listen to the effect settings.
When you turn the ON/OFF button OFF, the effect will
be bypassed, and the effect icon(s) will be grayed-out.
When you turn the button ON, the effect will be applied.
This way, you can listen to the difference that the effect
makes and listen to the original sound as a reference.
(6) Use the Knob Matrix located below the LCD screen to
edit the parameter values.
• To edit the value of a parameter, turn the knob in the
Knob Matrix in the location corresponding to that
knob icon.
(7) If the program consists of two or more effects, select
the icon of the effect that you want to edit, and edit its
parameters in the same way.
(8) Assign a name to the effect program that you edited.
• Click the Rename button to access the Rename dialog
box. (→p.36 “1-2. Renaming a song”)
• After you have assigned the desired name, click the
OK button (or press the panel YES key).
56
5. Controlling effects from an 6. Using external effects
Locate
Song,
external device You can use the AUX jacks to provide a “send” to an external
effect processor. The “return” signal from the output of your
In addition to the Knob Matrix, you can also use an expres- external effect processor can be connected to the INPUT 1–12
sion pedal or external MIDI controller to control the D3200’s jacks. The signal can then be routed to the master bus via the
effects in real time.
Mixer
mixer or the sub-mixer.
For details on the effect parameters that you can control, refer
to “Effect parameter” (→p.150–). Sending the playback signal to an external effect proces-
sor, and using INPUT 3 and INPUT 4 jacks to return it to
Using a pedal or MIDI to control an effect. the master bus via the sub-mixer
(1) Connect an expression pedal such as the EXP-2 foot
Effects
(1) Connect your external effect processor.
controller (sold separately) or an external MIDI con- Connect one of the D3200’s AUX jacks to the INPUT jack
troller (→p.11). of your external effect processor, and connect the OUT-
(2) Access the SYSTEM/MIDI, “Control” tab page. PUT jacks of the effect processor to the D3200’s INPUT 3
In this example we will use a pedal to control the effect. jack and INPUT 4 jack.
Drums™
Session
In the Control Change area, click the Device cell to (2) Send the playback signal to the external effect.
select “Pedal.” • Access the MIXER, SEND (EFF/AUX/REC), “Aux-
If you want to use MIDI to control the effect (rather than us- Send” tab page.
ing the pedal as in this example), you must specify the type of • Make adjustments using the Knob Matrix for the
Recorder
MIDI message that you want to use. Access the SYSTEM/ channel you’re sending to the external effect.
MIDI, “Control” tab page, and set “Control MIDI CH” to Alternatively, you can click a knob icon to select it,
the MIDI channel on which that your external MIDI device
and click the buttons to adjust the value.
is transmitting.
• Click the button located above the knob icon to select
either pre-fader (PRE) or post-fader (PST) as the loca-
tion from which the signal will be sent to AUX.
Operation
(3) Input the audio signal from the external effect proces-
sor.
• Access the MIXER, CH INPUT/SubMixer, “SubMix
1–4” tab page.
(3) (2) • Using the Knob Matrix, adjust the “Level” to specify
the return level, and adjust “Pan” to specify the return
pan. (→p.101)
CD
(3) Select the effect that you want to control.
In the Assign field, select the effect (InsertEFF1...8/Mas-
Data
terEFF 1, 2/FinalEFF) that you want to control.
(4) Select the effect program that you want to control.
Press the EFFECT key for the effect you chose in step (3),
and select an effect program in the appropriate tab page.
Drive
(5) Specify the parameter and range that you want to con-
trol.
• A control icon will be added at the end of the effect
chain of the selected program. Click (highlight) this
control icon to display the control-related parameters.
USB
• Click the “Control” to on.
• Use the effect knobs to specify the range.
If you want to save these settings, store the program as de-
scribed on “Saving a song” (→p.42).
MIDI
Upgrading
the system
(5)
(5)
Recovery
CD
(5)
calibration
ClickPoint
(6) Operate your expression pedal or external MIDI con-

troller to control the effect parameter you specified.
57
For now, keep matrix knobs 5–8 all the way toward the left in
Session Drums™ their “OFF” position. We’ll get to these in the next section.
For details on what each knob does, refer to “Auditioning the
The D3200 is equipped with Korg’s Session Drums. By using pattern map” (→p.59).
Session Drums in conjunction with the Knob Matrix, you can If you select a new pattern using the GROUP, SESS, or VARI
easily create a realistic drum track for your song, without te- knobs while a pattern is playing, the Session Drums will
dious programming. This drum track can be used as refer- switch to the new pattern at the beginning of the next meas-
ence as you record, or as part of your completed song. ure.
Patterns are the basic elements of the drum track. By string-
If you click the Fill button while a drum pattern is playing, a
ing different patterns together and adding fills, intro and
fill-in pattern will play at the beginning of the next measure,
ending patterns, you can create a program map.
and then the Session Drums will revert to the previous drum
The Session Drums is recorded on its own dedicated track, so
pattern.
you can use the pattern map to play drum patterns and still
have thirty-two tracks available for recording. If you select a new pattern using the GROUP, SESS, or VARI
knobs while a fill-in pattern is playing, the Session Drums
will switch to the newly selected pattern when the fill-in
ends.
1. Listening to drum patterns If you click the Ending button while a drum pattern is play-
If the song is playing, press the STOP key to stop playback. ing, an ending pattern will play at the beginning of the next
measure, and then the Session Drums will stop.
The D3200 contains 756 drum patterns (→p.176 “Drum Pat-
tern List”). If you click the RUN button while the Session Drums are
playing, the drumming will stop.
(1) Access the SESSION DRUMS “DrmsMixer” tab page,
and click the “Assign” Monitor radio button. While the “SessionDr.” tab page is displayed, you can use the
panel LOC 3 and LOC 4 keys instead of the on-screen RUN and
FILL buttons. You can also hold down the panel SESSION
DRUMS key and press the LOC 3 key instead of the on-screen
Ending button.
If you’ve selected Metronome as the group

(1) If you use the GROUP knob to select “Metronome,” the time
signature and the accent sound will be as specified by the
SESS knob and VARI (shown as BEAT) knob.
2. Creating a drum track for an

Drum kit Tempo entire song (Pattern Map)
Here we will explain how to create a sequence of drum pat-
terns (a pattern map) for the entire song by switching varia-
tions in real time.
(4) You can’t create a pattern map if the song’s Protect setting is
turned on.
(1) Access the SESSION DRUMS “DrmsMixer” tab page,
and click the “Assign” Monitor radio button.
(2) Access the SESSION DRUMS “SessionDr.” tab page.
• If the Click Monitor button is on (highlighted), click it
to turn it off.
(2) • Click the “RecMode” Pat&T radio button. (→p.143
(2) Access the SESSION DRUMS “SessionDr.” tab page, “11. Rec Mode”)
and click the RUN button (it will be highlighted) to (3) Click the RUN button (it will be highlighted), and you
hear the current pattern. will hear the currently-specified drum pattern.
To stop the pattern, click the RUN button once again. To stop the pattern, click the RUN button once again.
(3) Use the DRUMS fader to adjust the volume of the (4) Use the DRUMS fader to adjust the volume of the
drum pattern. drum pattern.
(4) Use matrix knobs 1–4 to select drum patterns and (2)
adjust the tempo.
• Use the GROUP knob to select a family of drum pat-
ters, or the drum pattern group.
• Use the SESS knob to select a pattern set from within
the current group. (4)
When you use the GROUP and SESS knobs to select a pat- (7) (9)
tern set, the drum kit and tempo will change as well. It takes (2)
about one second to switch drum kits.
• Use the VARI knob to select a variation of the current
pattern set. Turning the knob toward the right will
make the pattern “busier” and add more sounds.
• Use the TEMPO knob to adjust the tempo. (6) (10) (6) (8) (3)
58
(5) Use matrix knobs 1–4 to select the drum pattern that When you use the on-screen buttons or the panel keys to move be-
you want to use for the starting measure. tween measures, the counter will automatically switch to the
Locate
Song,
• Use the GROUP knob to select the drum pattern measure display.
group. As the pattern map plays, you can use the matrix knobs 5–8
• Use the SESS knob to select a pattern set from within to listen to other Session Drum features.
the current group. • Use the SHFFL knob to add various amounts of “shuf-
Mixer
• Use the VARI knob to select a variation of the cur- fle” feel to your drum track.
rently selected pattern set. Turning the knob toward • The ACCNT and INTNS knobs can add more dynam-
the right will make the pattern “busier” and add more ics to your drum track. The ACCNT knob selects dif-
sounds. ferent accent tables, and the INTNS knob sets depth
• Use the TEMPO knob if you want to set a different of accent.
Effects
tempo for this event. • The HUMAN knob adds introduces slight variations
(6) When you’ve chosen the drum patterns you want to in timing and velocity to add a more “human” feel to
use, click the Record button (it will be highlighted), your drum track.
and then click the Play/Stop button (it will be high-
Drums™
Session
lighted) to start recording the drum map.
While the “SessionDr.” tab page is displayed, you can use the 3. Recording with Session
panel LOC 1 and LOC 2 keys instead of the on-screen Play/
Stop and Record buttons. Drums
Recorder
(7) As the pattern plays, use the VARI knob (matrix knob The drum track you create using Session Drums can be used
3) to switch pattern variations. in a variety of ways. You can listen to the drum track as a ref-
Turning the knob toward the right will make the pattern erence as you record your other tracks. The Session Drums
“busier” and add more sounds. can be assigned to inputs and recorded on channel tracks, al-
(8) When you want to insert a fill-in, click the FILL button lowing you to add insert effects as they are recorded. You can
Operation
while the preceding measure is still playing. also introduce the drums to the master bus, so that the Ses-
(9) When you want to insert an ending pattern, click the sion Drums will be mixed in as part of your master track.
Ending button while the preceding measure is still
playing. After the ending pattern has been recorded, a Recording additional tracks as you listen to the
blank pattern will be recorded. drum track
(10)If you want to record tempo changes as you record, use Here’s how you can record a performance while listening to
the TEMPO knob (matrix knob 4). drum patterns as a guide rhythm.
The tempo settings used during recording will be saved as (1) Access the SESSION DRUMS “DrmsMixer” tab page,
CD
part of the tempo track. During recording, you can use the and set “Assign” to either Monitor or Master.
TEMPO knob to gradually increase or decrease the tempo,
(2) Turn on the DRUMS key.
starting at that location. If you want the song to instantly
Use the DRUMS fader to adjust the volume.
change to a new tempo setting at the beginning of a specific
measure, record at a fixed tempo, and then edit the pattern (3) Connect your input devices, and begin recording.
Data
map (→p.64 “6-2. Pattern map tempo”) to change the tempo. Refer to “1. Inputting audio to the mixer” (→p.42).
(11)At the last measure of the drum performance, click the (4) If Click Monitor is turned on in the SESSION DRUMS
PLAY/STOP button to stop recording the pattern map. “SessionDr.” tab page, the currently-specified drum
pattern will play. If Click Monitor is turned off, the
You can use the “PatternMap” tab page to view the pattern
pattern map will play.
Drive
map that you created in this way.
If Click Monitor is off and nothing is recorded in the pattern
map, the drums will not play.
The drums themselves will not be recorded using this proce-
dure.
USB
Recording patterns on a track
Drum patterns, or a drum track created using the Session
Drums pattern map, can be assigned to channel tracks and
recorded. You can also use the Session Drums to create a
MIDI
drum track for a song that has already been recorded.
Recording Session Drums to a channel track

Upgrading
the system
You can record the drum pattern or drum map playback to a

Auditioning the pattern map pair of tracks (stereo) on the D3200.
To hear the pattern map you just created, access the SES- Recording drum patterns to tracks 1 and 2
SION DRUMS “SessionDr.” tab page and click the Play but-
ton. (1) Make preparatory settings for recording.
Recovery
You can use the on-screen rewind and fast-forward buttons • Access the SESSION DRUMS “DrmsMixer” tab
CD
to move between measures. Alternatively, you can hold page.

down the SESSION DRUMS key and use the panel +/– keys • In the Drums Track Mixer, set the Assign setting to
to move between measures. “CH Input.”
Since this data is already recorded on the Session Drums • In the Drums Track Mixer, adjust the EQ and faders as
calibration
ClickPoint
track, you will also be able to audition the pattern map if you necessary (→p.143 “14-2. Drums Track Mixer”).
move to the beginning of the song, turn on the DRUMS key,
and press the PLAY key to play back the song.
59
(1) (2)
(1)
(2) Specify the input channels.

• Access the MIXER, CH INPUT/SubMixer “Ch
Assign” tab page.
• Use the buttons (or the value dial or +/– keys)
to set the CH1 SOURCE cell to “L” ( ) and the CH2
SOURCE cell to “R” ( ).
(3) Record.
Refer to “1-1. Basic recording” (→p.64).
Press the REC key to put the D3200 in record-ready
mode, and then press the PLAY key to start recording. (3)
(4)
Recording directly to the master track

The playback of a drum pattern or pattern map can be mixed
in with the playback of your recorded tracks during mix-
down to create a complete master track.
(3)
Adding the pattern map playback during mixdown to the
master track
(1) Make preparatory settings for recording.
• Access the SESSION DRUMS “DrmsMixer” tab page.
• In the Drums Track Mixer, set the Assign setting to
“Master.” (3)
• In the Drums Track Mixer, turn Dr (or the panel
DRUMS key) on. (4) Click the Exit button to return to the Session Drums
page.
• In the Drums Track Mixer, adjust the EQ and faders as
necessary (→p.143 “14-2. Drums Track Mixer”).
Editing the sound of a drum kit
(2) Record.
(1) Set the Session Drums to play the pattern or pattern
Refer to “1-6. Creating a master track” (→p.67).
map using the drum kit that you wish to edit.
Press the REC key to put the D3200 in record-ready
mode, and then press the PLAY key to start recording. (2) Click the KIT button.
The DRUM KIT dialog box will appear, showing the
current drum kit settings.
4. Editing a drum kit

You can select which drum kit is being used to play the drum
patterns. You can also edit the level, pan and tuning of the in-
dividual sounds in the drum kit.
You can’t edit a drum kit if the song’s Protect setting is turned on.
Although you are free to change the pattern variation or tempo af- (3)
ter editing a drum kit, the settings will revert to the original drum
kit if you then change the pattern group or session.
(3)
(2)
Selecting a drum kit (4)
(1) Click the RUN button (highlighted) to play the drum (3) Use the Knob Matrix to edit the various sound parame-
pattern using the current settings. ters for each drum.
(2) Click the KIT button. Use the scroll buttons or scroll bar to switch between the
The DRUM KIT dialog box will appear, showing the drums that you want to edit.
current drum kit settings. (4) Click the Exit button to return to the Session Drums
As an alternative to the on-screen KIT button, you can also page, and click the RUN button to hear the results.
access the DRUM KIT dialog box by holding down the panel
SESSION DRUMS key and pressing the LOC 1 key. Preserving drum kit changes and drum sound edits
(3) Click the KIT CHANGE button, and in the Select Drum If you check the Hold check box in the DRUM KIT dialog
Kit dialog box, select the drum kit that you want to use. box, any changes you make to the drum kit or edits you make
Click the OK button (or press the panel YES key) to to the individual drum sounds will be used for the entire
return to the DRUM KIT dialog box. The drum kit has song, regardless of the settings that were saved with the se-
been changed. lected drum pattern.
60
If this option is unchecked, you will revert to the drum kit
and sounds that are specified for each drum pattern.
Locate
Song,
(2)
5. Pattern maps (3)
Mixer
You can use Session Drums to create a pattern map in real (2)
time. When you do this, pattern map events will be automat-
ically created each time you switch patterns.
By editing existing events or adding new events to this pat-
tern map, you can create a high-quality pattern map for the
Effects
entire song.
You can’t create or edit a pattern map if the song’s Protect setting
is turned on.
You can’t use the pattern map if the Click Monitor button is (2)
Drums™
Session
turned on (highlighted) in the “SessionDr.” tab page. Click the
Click Monitor button to turn it off.
When creating or editing a pattern map, the types of events that
can be edited will depend on the RecMode setting in the “Ses-
Recorder
sionDr.” tab page (→p.143 “11. Rec Mode”).
Creating a pattern map

You can add events to the pattern map to change the time
signature, drum pattern, or tempo setting at the specified (3) If you want the time signature or drum pattern etc. to
measure. change during the song, you can add more steps to the
Operation
By changing the number of measures and the drum pattern pattern map.
assigned to each event in the pattern map, you can create a • Click the New button to open the New Map Event
drum performance for an entire song, including fill-ins and dialog box.
an ending. • Use the GROUP, SESS, and VARI knobs to specify the
Another way to create a pattern map is to use the “SessionDr.” desired drum pattern.
tab page to make the changes in real time while you listen to the • If you want to create a tempo change, use the TEMPO
drum patterns, and then use the “PatternMap” tab page to edit knob to set the new tempo. The new tempo will begin
each event. with the first measure in this event.
CD
The performance of the pattern map you create here is automati- • If you want to select a blank pattern, a fill, or an end-
cally recorded on the drum track, but you can also record it on a ing pattern, click the Blank, Fill, or Ending buttons
channel track or the master track (→p.59 “3. Recording with Ses- respectively.
sion Drums”).
• Use the Start Meas cell to specify the starting meas-
Data
(1) Enable the pattern map. ure, and the Length cell to specify the number of
• Access the SESSION DRUMS “SessionDr.” tab page. measures.
• Turn the Click Monitor button off (normal display). • When you click the OK button (or press the panel YES
(2) Set the parameters for event “001” at the beginning of key), the new event will be added to the pattern map.
When you add a new event to the pattern map, the
Drive
the pattern map.
event numbers of the pattern map will be consecutively
• Access the SESSION DRUMS “PatternMap” tab
reassigned starting from the beginning of the song.
page.
• By adding events to the pattern map, you can create
• In the list, select (highlight) “001:...”.
the drum track for an entire song, including an intro,
The pattern map consists of up to two hundred events; event fill-ins, switching patterns, and an ending. USB
“001” which specifies the pattern at the beginning of the song,
• You can click the Prev button to preview (audition)
and events “002” through (up to) “200” which specify pat-
the drum pattern assigned to an individual event.
tern changes during the song.
• Click the Edit button to open the Edit Map Event dia-
MIDI
log box. When the dialog box appears, you will auto-
matically be in preview (audition) mode.
• Use the GROUP, SESS, and VARI knobs to select the
pattern that event “001” will use.
Upgrading
the system
• Use the TEMPO knob if you want to set a different

tempo for this event.
• Use the Length cell to specify the number of measures
that the pattern will continue playing.
Recovery
The beginning of the pattern map is fixed at “001” and cannot

be changed.
CD
• When you’ve made the desired settings, click the OK

button (or press the panel YES key). (4) Listen to the pattern map you’ve created.
In the SESSION DRUMS “SessionDr.” tab page, click
calibration
ClickPoint
the Play button. The drum patterns will switch accord-

ing to the pattern map you created.
Alternatively, you can move to the beginning of the
song, turn on the DRUMS key, and press the PLAY key
to play back the song.
61
Editing a pattern map If you overwrite a Fill pattern (one measure) onto a portion
of event 002
Inserting a new event into the pattern map
If you change pattern before pattern B to a one-measure Fill pattern
When you add a new event to the pattern map, the pattern Measure (Overwrite Map Event)
map event is inserted at the specified measure. The pattern 1 2 3 4 5 6
Before PatternA PatternB PatternC
map will lengthen by the corresponding number of meas- editing Event:001 Event:002 Event:003
ures, and the subsequent event numbers will be increased ac-
cordingly. 1 2 3 4 5 6
After PatternA Fill PatternB PatternC
If you insert a new two-measure event between events editing Event:001 Event:002 Event:003 Event:004
001 and 002
(1) Select the location at which you want to overwrite.
Add a two-measure pattern after pattern A (New Map Event) Access the SESSION DRUMS “PatternMap” tab page,
Measure and click Pattern Map “002” to select it.
1 2 3 4
Before PatternA PatternC (2) Specify the pattern that you want to overwrite.
editing Event:001 Event:002
• Press the Overwr. button to open the Overwrite Map
Event dialog box.
1 2 3 4 5 6
After PatternA PatternB PatternC • Click the Fill button (highlighted), and then click the
editing Event:001 Event:002 Event:003 OK button (or press the panel YES key).
(1) Select the location at which you want to insert an (3) Verify that the event was overwritten as you intended.
event. Check the pattern map in the “PatternMap” tab page.
Access the SESSION DRUMS “PatternMap” tab page,
and click event “002” to select it. Deleting an event
(2) Create a new event. The events located after the deleted event will be shifted to-
ward the beginning of the song by the number of measures
• Click the New button to open the New Map Event
that were deleted.
dialog box.
• Set the Length cell to “002.” This operation cannot be undone.
• Set the parameters as desired, and click the OK button (1) Select the event that you want to delete.
(or press the panel YES key). Access the SESSION DRUMS “PatternMap” tab page,
and select (highlight) the pattern map event that you
(3) Verify that the event was inserted as you intended.
want to delete.
Check the pattern map in the “PatternMap” tab page.
(2) Delete the event.
Replacing an event • Click the Delete button. A dialog box will ask you to
When you perform an edit that involves changing the confirm the operation.
number of measures in an event, the starting measure loca- • Click the Yes button (or press the panel YES key) to
tion of all subsequent events will be shifted toward the end delete the selected pattern map event.
of the song (if you increase the number of measures) or to- If you click the Select All button to turn it on, all events other
ward the beginning of the song (if you decrease the number than “001” will be deleted, and the settings of event “001”
of measures) by the number of measures being added or re- will be initialized.
moved from the pattern map event.
(3) Verify that the event was deleted as you intended.
Check the pattern map in the “PatternMap” tab page.
If you change pattern B to a one-measure Fill pattern (Edit Map Event)
Measure
1 2 3 4 5 6
Before PatternA PatternB PatternC
editing Event:001 Event:002 Event:003
6. Tempo
1 2 3 4 5
The tempo of a D3200 song is controlled by the tempo track.
After PatternA Fill PatternC
editing Event:001 Event:002 Event:003 By creating a pattern map, you can either have the entire
song play back at one tempo, or enter tempo changes
(1) Select the pattern map event that you want to edit. throughout the song to create variations in the tempo. It is
Access the SESSION DRUMS “PatternMap” tab page, also possible to record and play back tempo changes from an
and select (highlight) the pattern map event that you external MIDI device.
want to edit. In order to change the tempo clock or to record a pattern map, you
(2) Edit the step. must turn off the Clip Monitor button in the “SessionDr.” tab
• Click the Edit button to open the Edit Map Event dia- page. (Refer to “Song Guide function”).
log box.
Playing the entire song at the same tempo
• Edit the parameters, and click the OK button (or press
the panel YES key). Record a pattern map. When doing so, don’t change the tem-
po setting. We suggest that you set the “SessionDr.” tab page
(3) Verify that the step was edited as you intended.
parameter RecMode to Pattern, so that tempo changes are
• Check the pattern map in the “PatternMap” tab page. not recorded.
All events will play at the tempo specified by the tempo
Overwriting a portion of an existing event track. (→p.64 “6-2. Pattern map tempo”)
If you modify only some of the measures in an existing pat- Alternatively, you can edit the tempo of event “001” (the first
tern map event by overwriting, the number of events will in- event of the pattern map) to make the entire song play back
crease, but the total overall number of measures will not at the tempo you specify. (→“6-2. Pattern map tempo”)
change. You can also overwrite an event that spans multiple
existing events. In this case, the number of steps will de-
crease, but the overall number of measures will not change.
62
Changing the tempo during the song (5) Record MIDI Clock data.
Locate
Song,
If you want the tempo to change at a specific location, you can • Click the RecStart button to put the D3200 in the
manually adjust the tempo at that point during recording. If record-ready state.
you want the tempo to change at the beginning of a specific • Start your MIDI sequencer.
measure, you can edit the pattern map. The changed tempo • When the D3200 starts receiving MIDI Clock data
will be maintained even if the pattern or session changes. from your MIDI sequencer, it will indicate “Receiving
Mixer
If you want to change the tempo of a pattern map, refer to “6- MIDIClock.”
2. Pattern map tempo” below. (6) When your MIDI sequencer finishes playing, stop the
MIDI sequencer.
The Song Guide function When the D3200 finishes recording, it will indicate
Effects
Even without creating a song map beforehand, you can make “Complete.” Click the OK button (or press the panel
a drum pattern play from the monitor outputs while you YES key).
record, so that the drum pattern will function as a metro-
nome for your performance. Tap tempo
In the “SessionDr.” tab page, turn the Click Monitor button You can record the tempo track by pressing (tapping) the
Drums™
Session
on (highlighted), and a drum pattern will play according to PLAY key at the beginning of each measure (or on each beat)
the pattern and tempo settings of the currently displayed as the song plays.
“SessionDr.” tab page. The tempo map settings are ignored You can use a PS-1 foot switch (sold separately) instead of the
at this time. This is called the Song Guide function. PLAY key (→p.119).
Recorder
Drum patterns will not be recorded on the pattern track when Tap tempo lets you record the tempo track after a song has
you’re using this function.
already been recorded. If you record the tempo for a song for
which you did not originally specify the tempo, you will be
6-1. Tempo track able to do the following things.
You can record MIDI Clock data or Tap Tempo data on the • Edit tracks in units of measures
Operation
tempo track, and use the tempo track to control the tempo of • Connect and synchronize external MIDI devices
the song. (1) Specify the time signature of the song.
If the Click Monitor button is turned on in the “SessionDr.” tab If the time signature changes during the song, create a
page, the Click Monitor button will be switched off when you pattern map at the location where the time signature
record the tempo track. changes.
Tempo settings will play back in synchronization, but meas-
Recording MIDI Clock data from an external MIDI ures will become incorrectly aligned if the time signature
sequencer, and using it as the tempo track changes do not match.
CD
MIDI Clock data from an external MIDI sequencer can be re- (2) If you want to use a foot switch to input the tap tempo,
corded as tempo data on the tempo track. connect an optional PS-1 foot switch to the FOOT
You can use this when you want to synchronize a D3200 song SWITCH jack of the D3200.
with song data created on a MIDI sequencer in which the
(3) Specify how you want to record the tempo.
tempo changes continuously.
Data
Access the SESSION DRUMS, “TempoTrk” tab page,
If MIDI Clock data was not received correctly from your MIDI se- and choose Tempo Rec Mode, “MeasTap” (tap at the
quencer, recording may stop in the middle of the song. beginning of each measure) or “BeatTap” (tap on each
(1) Specify the time signature of the song. beat).
If the time signature of the song data created on your (4) Record the tap tempo track.
Drive
MIDI sequencer changes during the song, create a new • Click the RecStart button to put the D3200 in record-
pattern map that begins where the time signature ready mode. Tap tempo will be recorded from the
changes. (→p.58) beginning of the song.
Tempo settings will play back in synchronization, but meas- • When you press the PLAY key or a connected foot
ures will become incorrectly aligned if the time signature switch, the song will begin playing, and tap tempo USB
changes do not match. recording will also begin.
(2) Connect the MIDI OUT connector of your MIDI • While you listen to the playback, record the tap tempo
sequencer to the D3200’s MIDI IN connector. by pressing the PLAY key or foot switch at the inter-
(3) Set your MIDI sequencer so that it will transmit MIDI vals you specified in step (4). The counter will be dis-
MIDI
Clock messages. played while you record the tap tempo.

Refer to the owner’s manual of your MIDI sequencer. When using the PLAY key to record tap tempo, do not strike
the key any more forcefully than necessary. Doing so may
Upgrading
the system
damage the hard disk etc.

(5) After you have input the last tap, press the STOP key.
For example if you are inputting four measures of a 4/4
(4) time signature, tap four times in the case of “MeasTap”
or sixteen times in the case of “BeatTap” to input up to
Recovery
the beginning of the fifth measure. Then press the STOP

CD
(5) key.
If you input taps only until mid-way through the song,
the tempo of the last-input measure or beat will be auto-
matically copied to the end of the song.
calibration
ClickPoint
(6) Check the tempo source.

(4) Specify how you want to record the tempo. Move to the beginning of the song, press the PLAY key
In the SESSION DRUMS “TempoTrk” tab page, set to play back, and check the tempo.
Tempo Rec Mode to “MIDIClock.”
63
6-2. Pattern map tempo
If you don’t specify a tempo in the pattern map, the tempo
Recorder
will be recorded according to the tempo track. However by
The D3200 has 32 channel tracks for each song. For each
setting the RecMode to Pat&T or Tempo, you can record a
channel track, there are eight virtual tracks; A through H.
pattern map and manually record tempo changes.
When you’re recording the pattern map, tempo changes will There is also a two-channel master track that is used for re-
apply from the location where the change occurs (regardless cording the final stereo mix of your song. If you want to cre-
of the measure of the pattern), and this tempo will be main- ate an audio CD, the data on the master track will be used.
tained until the next tempo change that occurs. The D3200 provides a separate master track for each song,
If you want the tempo to change at the beginning of a meas- and this master also has eight virtual tracks; A through H.
ure (for example when you switch patterns), record with a The following table shows the number of available tracks
fixed tempo, and then edit the tempo of the appropriate pat- and the number of tracks that can be used simultaneously.
tern map event. Subsequent events will also be automatically
changed to this tempo. Number of simultaneously usable tracks for each Song
Type
Even if you edit the tempo of a pattern map event where tem-
po changes have already been recorded during the measure, Song Type Recording Playback Punch recording
the change will apply from the beginning of the measure. 44.1 kHz/16-bit
16* 32 8
48 kHz/16-bit
44.1 kHz/24-bit
12** 16 4
48 kHz/24-bit
*16 channels is the maximum, combining 12 analog inputs,

+ 2 digital inputs (S/P DIF L, R), + 2 Session Drums (L, R).
**12 channels using any combination of analog inputs, digital
inputs and Session Drums.
1. Recording
The D3200’s recorder can record analog or digital audio in-
put sources assigned to mixer channels.
Then you’ll use the master track to combine the multiple re-
corded tracks into a two-track stereo mix.
Bounce recording
Bounce recording is a way to combine the data from multiple
tracks down to just one or two tracks.
The D3200 provides a stereo master track that is separate
from the channel tracks.
To perform bounce recording, just play back the tracks you
want to bounce, and record them onto the master track.
After listening to the Bounced data on the Master Track and
verifying that it is correct, simply copy (overwrite) the mas-
ter track to any of the real tracks or virtual tracks. (→p.132)
1-1. Basic recording

Here’s how to record the audio signal that you specified in
“1. Inputting audio to the mixer” (→p.42).
(1) Create a new song (→p.35 “1-1. Creating a new song”).
(2) Adjust the mixer settings (→p.42 “1. Inputting audio to
the mixer”).
(3) Apply effects to the audio input (→p.54 “Effects”).
(4) Apply EQ to the audio input (→p.45 “Applying EQ to
an audio input”).
(5) Adjust the pan (→p.45 “3-2. Adjusting the pan”).
(6) Check the recording mode.
Access the REC/PLAY MODE, “RecMode” tab page,
and click the “Normal” in the Rec Mode.
(7) Set the recording level.
You can set the recording level in one of two ways.
• You can record at the optimum level simply by record-
ing at the level you specified in steps (1) through (4).
Click the REC button to set it to “PRE” in the CH
VIEW, “Ch View” tab page.
• If you want to further adjust the channel fader and
record at the adjusted level, click the REC button to set
“PST” in the CH VIEW, “Ch View” tab page.
64
With the PRE setting, the channel fader will send the input (2) Record.
signal to the master bus, setting the monitor level. With the For details, refer to “1-1. Basic recording,” steps (2)–(11).
Locate
Song,
PST setting, the send level to the master bus will be the same
as the recording level.
You can also make this setting in the MIXER, SEND (EFF/
1-3. Overdubbing (Recording addi-
AUX/REC), “Rec Send” tab page. tional tracks during playback)
Mixer
(8) Move to the location where you want to start record- Here’s how to record additional performances while you lis-
ing. (→p.38) ten to the playback of previously-recorded tracks.
(9) Put the D3200 in record-ready condition. (1) Prepare for recording.
Press the REC key (REC and PLAY keys will blink). Refer to “1-1. Basic recording” (→p.64), steps (1)–(7).
Effects
(10)Start recording. (2) Select the tracks that you want to play back.
Press the PLAY key (REC and PLAY keys will light). Press the REC/PLAY key, and then use the channel keys
Perform the part to be recorded. to select Play mode (key lit green) for the tracks you
(11)Stop recording. want to play back.
Drums™
When you have finished performing, press the STOP
Session
(3) Select the track(s) that you want to record.
key (REC and PLAY keys will go dark). Return to the Press the channel key of the tracks you want to record, to
location at which you started recording, set the REC/ set them to Recorded mode (key lit red).
PLAY key of the tracks you recorded to PLAY (key lit (4) Mute the tracks that you will not be using.
green). Play back, and verify that your performance was Press the CH ON key.
Recorder
recorded correctly. Press the channel keys to turn off (key unlit) the tracks
The ATT setting in the “EQ/ATT” (or “Ch View”) tab page that you are not playing or recording, so that these tracks
is common to recording and playback. If you have turned will be muted.
down ATT substantially for recording, you may need to ad-
(5) Record.
just it for playback.
Refer to “1-1. Basic recording” (→p.64), steps (8)–(11).
Operation
1-2. Switching virtual tracks 1-4. Trigger recording
Each song contains up to 32 tracks and one master track (ster-
Trigger recording is a function that automatically starts re-
eo).
cording when the input signal level exceeds a specified val-
In addition, each track has eight “virtual tracks,” labelled A–
ue.
H.
When you record or play back, you can specify which of Trigger/RecStart
these virtual tracks A–H will be used. Recording will start when the input signal level exceeds
This means that you can switch between virtual tracks to the specified value.
CD
record multiple “takes” of a performance, and then choose You will not be able to execute recording if MIDI Sync is set
the best take. to MTC.
SONG
Trigger/Punch In
Trk1 Trk2 Trk3 Trk4 Trk5 Trk32 Master Trk
Data
When the input level exceeds the specified threshold
A A A A A A A
value while the song is playing, the recorder will switch
B B B B B B B
from playback to recording.
C C C C C C C
D D D D D D D (1) Prepare for recording.

E E E E E E E Refer to “1-1. Basic recording” (→p.64), steps (1)–(5).
Drive
F
F F F F F F
(2) Adjust the settings for trigger recording.
G G G G G G G
H H H H H H H
and click either “Trigger/RecStart” or “Trigger/Punch
In” (the TRIGGER LED will light).
(1) Select the desired virtual track.
(3) Specify the input signal level (“Threshold”) at which USB
In the TRACK, “Vtrk1–32” tab page, click the
recording will begin.
buttons to select the track that you want to record, and
then click the “V-Level” ←→ buttons (or the value dial (4) If you want recording to begin from a time slightly ear-
or +/– keys) to select the virtual track. lier than the moment that the input signal exceeds the
“Threshold” (i.e., so that the attack is recorded), you
MIDI
In the case of a 24-bit song, the “Vtrk1–32” tab page will be

can set the “PreTriggerTime.”
named “Vtrk1–16.”
Trigger recording will cause recording to start when the
If a virtual track already contains recorded data, this is graph- threshold is exceeded, but the PreTriggerTime lets you
ically indicated by “ ” as shown in the illustration. prevent the attack of the first note from being cut off.
Upgrading
the system
Recovery
CD
(2) (3)
(1) (4)
calibration
ClickPoint
(1)
65
(5) Press the REC key to put the D3200 in record-ready (7) Press the STOP key to stop. (The PLAY key will go
condition. dark.)
Trigger/RecStart After you stop recording, move the location to a point
The REC key and PLAY key will blink. earlier than where you began recording, and play back
to verify that the re-recording is satisfactory.
Trigger/Punch In
The REC key will blink. Using a foot switch for manual punch-in/out
(6) Begin recording. You can switch between playback and recording by pressing
Trigger/RecStart a PS-1 foot switch (sold separately).
When the input signal exceeds the threshold level, This lets you punch-in/out while you perform, or when the
recording and playback will start automatically (REC D3200 is located at a distance.
and PLAY keys will light). (1) Connect a foot switch to the FOOT SWITCH jack.
Trigger/Punch In (2) Access the SYSTEM/MIDI, “Control” tab page, and
Press the PLAY key to start playback (the REC key specify the function of the foot switch.
will blink, and the PLAY key will light). At the loca- Click “PunchIn–Out” in the “Function” to select.
tion that you want to record, begin performing on If you are using the PS-1 foot switch, make sure that “Polar-
your instrument. When the input signal exceeds the ity” is set to “–” (→p.119).
threshold level, recording will start automatically
(REC and PLAY keys will light). (3) Perform manual punch-in/out recording.
Follow the procedure described in “Manual punch-in/
(7) When you have finished performing, press the STOP
out.” When doing so, you can press the foot switch at
key to stop.
steps (5) and (6) to switch between punch-in and punch-
(→p.64 “1-1. Basic recording”, step (10))
out.
1-5. Punch-in Recording Auto punch-in/out

(Re-recording a specific area) Here’s how to automatically punch-in and punch-out at loca-
tions you have specified beforehand.
If you made a mistake in a recorded performance, or are not
You will not be able to execute recording if MIDI Sync is set to
satisfied with a portion of the performance, you can use
MTC.
“punch-in/out” recording to fix just that portion without
having to record the entire part over again. Punch-in/out re- (1) Prepare to record.
cording can be done manually or automatically Refer to “1-1. Basic recording” (→p.64), steps (1)–(5) and
(7).
Punch-in: Switches from the playback mode to the
record mode. (2) Set the playback level.
Punch-out: Switches from the record mode back to the If you want to hear the recorded sound before and after
playback mode. the region you are re-recording, access the MIXER,
SOLO/MONITOR, “Monitor” tab page, and click
Manual punch-in/out “Cue” to turn it on. Then go to the “CueLevel” tab page,
and adjust the “LEVEL” of the track that you want to re-
Here’s how to punch-in and punch-out manually.
record (→p.48).
During playback, press the REC key or an optional PS-1 foot
switch to begin recording, and then press the REC key, PLAY (3) Store the location at which you want to start recording
key, or foot switch to stop recording. in the IN (punch-in) locate point, and store the location
at which you want to stop recording in the OUT
(1) Prepare to record.
(punch-out) locate point.
Refer to “1-1. Basic recording” (→p.64), steps (1)–(8).
For details on setting the IN and OUT locations, refer to
(2) Adjust the playback level. “Assigning locations to the Locate keys” (→p.38).
If you want to hear the recorded sound before and after
(4) Access the REC/PLAY MODE, “RecMode” tab page,
the punch-in/out region, access the MIXER, SOLO/
click the Auto Punch button, and turn on the auto
MONITOR, “Monitor” tab page, and click “Cue” to
punch-in/out function.
turn it to turn it on. Then go to the “CueLevel” tab page,
The AUTO PUNCH indicator will light.
and adjust the “LEVEL” of the track that you want to re-
record (→p.48). (5) Specify the playback region before and after record-
ing.
(3) Move the location to a point earlier than the point
where you want to start recording. (→p.38) • Set “Roll Time Unit” to the desired unit: “Sec” (sec-
onds) or “Meas” (measures).
(4) Press the PLAY key to begin playback (the PLAY key
• Set “Pre Roll Time” to specify the length of playback
will light).
that will occur before recording begins.
The song will play back, and you will hear the sound of
the playback tracks as well as the sound of the track you • Set “Post Roll Time” to specify the length of playback
will be re-recording. that will occur after recording ends.
(5) When you reach the point that you want to re-record,
press the REC key. (The REC and PLAY keys will
light.)
Recording will begin (manual punch-in), and you can re-
record your performance.
(6) When you reach the point at which you want to stop
re-recording, press the REC key or the PLAY key. (The
REC key will go dark.)
Recording will stop (manual punch-out), and normal
playback will resume. By repeating steps (5) and (6), you
can re-record more than one section in one pass.
66
• Recording will end when you reach the OUT point,
and playback will continue for the post-roll time. (The
Locate
Song,
REC key will go dark.)
• Then you will move to the pre-roll time, and the same
process will be repeated.
• To stop, press the STOP key at a point outside the
Mixer
recording region (IN–OUT).
(4) (5) (4) Use the Undo/Redo function to compare the takes, and
select the best one.
• Press the UNDO key to display the “Undo/Redo” tab
Effects
page.
The “Undo/Redo” tab page displays the most recent
recording (Level 00) and the previous recordings
(6) Begin recording.
(Level “loop-recorded takes minus 1”) together with
• When you press the REC key, the recorder will move the Rec Track (track number).
Drums™
Session
to a location earlier than the punch-in point, as speci-
fied by the pre-roll time, and will enter the record- Loop recordings appear in the list as “Record Track,” just as
ready state (REC key blinking). conventional recordings.
• When you press the PLAY key, playback will begin. • In the “Undo/Redo” tab page, click the Undo button
Playback will continue during the pre-roll time, and and Redo button to select a recorded take. The
Recorder
then recording will occur from the specified punch-in selected performance will be recalled.
point (IN). (The REC and PLAY keys will light.) (5) Listen to the recorded performance.
(7) Stop recording. • Press the PLAY key to play back, and listen to the
• When you reach the punch-out point (OUT), record- recording. If “Loop Play” is on, the region between the
ing will end and playback will resume. (The REC key IN (beginning of recording) and OUT (end of record-
Operation
will be dark and the PLAY key will be lit.) ing) points will continuously play back.
• When the post-roll time ends, the recorder will stop. • Repeat this process to select the best performance.
(8) Verify the content that was recorded. The data in the list lets you go back through the most recent
Move to a location earlier than where you began record- sixteen levels.
ing (IN), and play back to verify that the recording is sat-
isfactory.
1-6. Creating a master track
Loop recording After applying effects and EQ to each track to create the over-
all balance of your song, you can then apply effects and EQ
CD
When using auto punch-in/out recording, you can click the to the entire song to make the volume and tone consistent,
Loop Play radio button (in the Play/Stop Mode field of the and record the resulting two-track stereo mix onto the “mas-
“Play/Stop” tab page) so that the IN–OUT region will be re- ter track.”
corded repeatedly (loop). When you are finished recording, The master track data you create here can also be copied to a
you can use the Undo/Redo functions to compare different
Data
channel track (→p.69).
takes, and keep the best one.
After recording or track editing, you can use the Undo function to
(1) Adjust the settings for auto punch-in/out. return to the state prior to recording or editing (→p.141).
Refer to “Auto punch-in/out” (→p.66) steps (1)–(5).
If you recorded on a different virtual track, check the virtual track
(2) Click the Loop Play radio button to turn it on (high-
Drive
that is selected after executing Undo.
lighted).
The Loop indicator will light. Mixing down the audio of tracks 1–32 and recording a
master track for a 44.1 kHz/16-bit song
(1) Select the virtual tracks that you want to use in your
final mix. USB
• For each channel track, select the virtual track that you
want to include in the mix that will be recorded onto
the master track (→p.65).
(2) • Select a virtual track for the master track.
MIDI
Upgrading
the system
(3) Begin recording. (1)

• When you press the REC key, you will move to a point
Recovery
before the specified IN (recording start) location, as set

CD
by the pre-roll time, and the D3200 will be in record-

ready condition (REC key blinking).
• When you press the PLAY key, playback will begin
(PLAY key will light).
calibration
ClickPoint
Playback will continue for the pre-roll time, and

recording will begin at the IN point. (The REC key
will light.)
67
(2) Specify how the master track will be recorded.
• Press the key located above the master track (the key
2. Playback
will light red). All channel tracks will automatically be This section explains the basic methods of playback used in
set to Play (key lit green). the D3200.
• For channels you don’t want to record, press the CH
ON key and then press each channel key to turn it off
(key unlit).
2-1. Normal playback
• If you have used the Session Drums to create a drum (1) Select the track(s) that you want to play back.
track for your song, the playback of the Session Press the CH ON mode key (lit).
Drums can be mixed in with the other playback tracks Press the channel key for each track that you want to
when creating the master track. Access the SESSION play (key lit).
DRUMS, “DrmsMixer” tab page, and use the radio Press the REC/PLAY key (lit).
button to select “Master” as the “Assign” destination. Press the channel key for each track that you want to
play to select Play mode (key lit green).
The Session Drums EQ and Send levels can also be set from
this page (2) Move to the location at which you want the playback
to start (→p.38).
(3) Apply insert effects (→p.28).
(3) Press the PLAY key to begin playback (the PLAY key
(4) Apply EQ (→p.46). will light).
(5) Adjust the pan (→p.45). (4) Apply insert effects (→p.28).
(6) Apply master effects (→p.29). (5) Apply EQ (→p.46).
(7) Apply a final effect (→p.31). (6) Adjust the pan (→p.45).
(8) Apply master EQ (→p.32). (7) Apply master effects (→p.29).
(9) Set the recording mode. (8) Apply a final effect (→p.31).
and click “Normal” in “Rec Mode” to select. (9) Apply master EQ (→p.32).
(10)Adjust the recording level. (10)Press the STOP key to stop playback (the PLAY key
will go dark).
• Set the master fader to unity gain (0 dB).
• Play back the song. In order to play back the master track, you must set the master
track channel key to Play (key lit green).
• Use the faders to adjust the level of each channel to
create the desired volume balance for your song. The Playback will continue until you press the STOP key, even if you
sound will be recorded onto the master track at these pass the end of the audio data that actually exists.
levels. If AUTOMATION is on, the master track will Operation will differ depending on the Play/Stop Mode setting
be recorded using the levels set by any Scene or Event (→p.149).
automation. You can use a PS-1 foot switch (sold separately) to start and stop
If the sound of the master track is clipping (distorting), lower playback (→p.119).
the master fader.
(11)Return to the beginning of the song (→p.38). 2-2. Loop playback
If you are creating an album CD project, the beginning of the Here’s how you can repeatedly play back the region between
master track will be the beginning of the CD track. the IN–OUT points of a song. This is a useful way to check
(12)Begin recording. the content of that region. You can also use loop playback in
• Press the REC key to enter record-ready condition, conjunction with auto-punch recording (→p.67).
and then press the PLAY key to begin recording. (1) Select the track(s) that you want to play back.
• When you are finished recording, press the STOP key For details, refer to “2-1. Normal playback” step (1),
to stop recording. above.
(13)Listen to the recorded result. (2) Specify the region (IN–OUT) that you want to loop
(→p.38).
• Press the master track channel key to set it to PLAY
(key lit green). All channel tracks will automatically be (3) Access the REC/PLAY MODE, “Play/Stop” tab page,
muted (the channel keys will go dark). and click the Loop Play radio button to turn it on
• Move to the beginning of the song, and press the (highlighted).
PLAY key to hear the playback. (4) Play back the loop.
• Press the STOP key to stop. When you press the PLAY key, playback will start from
the IN location, and will repeatedly play the IN–OUT
region.
During loop playback, it may take several seconds to move
from OUT to IN.
(5) Press the STOP key to stop playback (the PLAY key
will go dark).
68
2-3. Playing back an album CD 3. Track editing
Locate
Song,
project You can use track editing commands to copy a track, insert
You can use the Album CD Project function to place complet- blank space, erase a track, delete a track, reverse a track, op-
ed song data in the desired order, and record it to an external timize a track, exchange tracks, expand/compress a track,
DAT, MD, or cassette tape. copy an entire track, exchange two entire tracks, create a
Mixer
fade-in/fade-out, or normalize the level.
Using the Album CD Project function to play back songs in
a specified order and record them on an external recorder In some cases, track editing may not be possible if there is insuffi-
cient space on the song drive. You will need to allocate enough free
(1) Use the Album CD Project function to specify the space for the track editing operation.
songs that you want to play back.
Effects
For details, refer to Album CD Project steps (1)–(4) Registering the edit region
(→p.80).
Specify the edit region by storing the appropriate points in
When using Album CD Project, playback will stop if you the LOC 1/IN through LOC 4/END keys.
move to a different screen.
LOC 1/IN key: IN point
Drums™
Session
(2) Connect your external recorder.
Connect your external recorder to the D3200’s MASTER LOC 2/OUT key: OUT point
L/R jacks or S/P DIF OUT jack. LOC 3/TO key: TO point
(3) Record the output on your external recording device. LOC 4/END key: END point
Recorder
• Press the play button to play back the album CD Use the counter or the FF, REW keys to move to the location
Project, and adjust the recording level on your exter- you want to edit.
nal recording device. Press the STORE key, and then press either LOC 1/IN, LOC
• Return to the beginning of the album CD Project, start 2/OUT, LOC 3/TO, or LOC 4/END to store the location in
recording on your external recording device, and then that key. The location is stored the moment you press the
press the D3200’s play button. key.
Operation
For details, refer to “Assigning locations to the Locate keys”
(→p.38).
If you want to specify a location more precisely while viewing the
waveform, click the WAVE button in one of the editing screens,
and use the Wave dialog box (→p.128).
3-1. Track editing procedures
CD
Copy a track (CopyTrk)
This command copies the specified region (IN–OUT) of track
data to another location (TO).
• The IN–OUT region can be copied once, or multiple times
Data
in succession.
• You can copy data from one track, or from multiple tracks
simultaneously.
• By using the clipboard, you can copy track data to a differ-
Drive
ent song.
Here are some ways in which you can use this command.
• Repeatedly copy a phrase of several measures (such as a
drum pattern) to create a track that extends the entire
length of song. USB
• Copy the first verse of a song to create the second verse.
• Record a favorite phrase from a track, and copy it to a dif-
ferent track.
MIDI
Copying tracks within the same song

Copying the IN–OUT region of track 1 three times to the
TO location of track 2
Upgrading
the system
Select the virtual tracks of the copy-source (Source) and copy-destina-

tion (Destination) before you make settings for this Copy operation.
(1) Specify the region that you want to copy.
Set the following locations to specify the region for copying.
Recovery
• Set the IN point to specify the beginning of the region

CD
to be copied
• Set the OUT point to specify the end of the region to
be copied
• Set the TO point to specify the beginning of the copy-
calibration
ClickPoint
destination
69
(2) Select “CopyTrk.” Using the clipboard to copy data to another song
In the TRACK, “EditTrk” tab page, click the Edit Trk When you use the clipboard to copy data between tracks of
Type cell. In the Edit Trk Type dialog box, click “Copy songs that have a different sampling frequency and/or bit
Trk” and click the OK button (or press the panel YES depth, the sampling frequency and/or bit depth will be con-
key). verted automatically. You can specify whether dithering will
(3) Select the copy mode. be performed to make quantization noise less obtrusive
Click the Mode button. In the Copy Mode dialog box, when converting 24-bit data to 16-bit data.
select the desired mode and click the OK button (or If the sampling frequency of the song copied to the clipboard is dif-
press the panel YES key). ferent from that of the copy-destination song, a certain amount of
OverWrite: The track data existing at the copy-destina- time will be required for the conversion to be performed.
tion will be overwritten.
Copying the IN–OUT region of track 1 once from the 48
Insert: The copied data will be inserted; subsequent
kHz/24-bit song number 001 to the TO location of track
existing data will be moved toward the end
2 of the 44.1 kHz/16-bit song number 002
of the song.
(4) Select the copy-source track number. Before you make these copy settings, verify that the correct virtual
tracks are selected for the copy-source (Source) and copy-destina-
• Click the popup button of the Source cell, and choose tion (Destination).
track “1” in the Source Track dialog box. You can also
click the cell to select this. (1) Select song 001 (→p.36 “1-3. Selecting a song”).
• Check the IN and OUT locations. If you want to set (2) Specify the region that you want to copy.
the locations with more precision, click the Source Set the following locations to specify the region for copy-
WAVE button, and use the Wave dialog box (→p.128) ing (→p.69).
to set the location. • Set the IN point to specify the beginning of the region
(5) Select the copy-destination track number. to be copied
• Click the popup button of the Destination cell, and • Set the OUT point to specify the end of the region to
choose track “2” in the Destination Track dialog box. be copied
You can also click the cell to select this. (3) Select “CopyTrk.”
If you specified two or more tracks as the “Source,” you must In the TRACK, “EditTrk” tab page, click the Edit Trk
specify the same number of tracks in “Destination.” Type cell. In the Edit Trk Type dialog box, choose
“CopyTrk” and click the OK button (or press the panel
• Verify that the TO location is correct. If you want to set YES key).
the location with more precision, click the Destination
WAVE button, and make your settings in the Wave (4) Select the copy-source track number.
dialog box (→p.128). • Click the popup button of the Source cell, and choose
(6) Specify the number of time that you want to copy the
click the cell to select this.
data.
Click the Times cell, specify the number of copies as “3”. • Check the IN and OUT locations. If you want to set
the locations with more precision, click the Source
(4) (2) (5) (3) WAVE button, and use the Wave dialog box (→p.128)
to set the location.
(5) Select the clipboard as the copy-destination track
number.
Click the popup button of the Destination cell, and
(6)
choose track “Clip” in the Destination Track dialog box.
You can also click the cell to select this.
(7)
(6) Execute the copy.
Click the Exec. button. Then in the CopyTrk dialog box,
click the Yes button (or press the panel YES key) to exe-
cute the operation.
When the operation is finished, the display will indicate
“Completed.” Click the OK button (or press the panel
YES key).
(7) Execute the editing operation.
Any data currently in the clipboard will be overwritten.
Click the Exec. button. Then in the CopyTrk dialog box,
click the Yes button (or press the panel YES key) to exe- (7) Select song 002 (→p.36 “1-3. Selecting a song”).
cute the operation. (8) Register the TO location. (→p.69)
When the operation is finished, the display will indicate Verify that the TO location is correct. If you want to set
“Completed.” Click the OK button (or press the panel the location with more precision, click the Destination
YES key). WAVE button, and make your settings in the Wave dia-
(8) Check the results of the editing operation. log box (→p.128).
Press the LOC 3/TO key, and play back from the TO (9) Select “CopyTrk.”
location to verify that the data was copied correctly. In the TRACK, “EditTrk” tab page, click the Edit Trk
If you are not satisfied with the results, you can use Type cell.
Undo to return to the previous state. (→p.141) In the Edit Trk Type dialog box, choose “CopyTrk” and
70
(10)Select the copy mode. Insert blank space (InsertTrk)
Click the Mode button. In the Copy Mode dialog box,
Locate
Song,
This command inserts blank space into the specified region
select the desired mode and click the OK button (or
(IN–OUT) of a recorded track. Track data following the in-
press the panel YES key).
serted space will be shifted toward the end of the song.
OverWrite: The track data existing at the copy-destina-
tion will be overwritten. • You can insert space into one or more tracks simultane-
ously.
Mixer
Insert: The copied data will be inserted; subsequent
existing data will be moved toward the end • For example, if you want to add a phrase in the middle of
of the song. a recorded performance, insert a space of the appropriate
(11)Select the clipboard as the copy-source track number. length, and then record into that area.
Click the popup button of the Source cell, and choose Inserting blank space into the IN–OUT region of track 1
Effects
track “Clip1” in the Source Track dialog box. The
Before you make settings for this operation, check the virtual track
number indicates the number of tracks in the clipboard.
of the Destination track into which you will insert blank space.
(1) Specify the region into which you want to insert blank
(12)Select the copy-destination track number.
Drums™
space.
Session
Set the following locations to specify the region for blank
choose track “2” in the Destination Track dialog box.
space (→p.69).
• Set the IN point to specify the beginning of the blank
(13)Specify the number of times that the data will be cop-
space.
Recorder
ied.
Set the Times cell to “1”. • Set the OUT point to specify the end of the blank
space.
If you specified two or more tracks as the “Source,” you must
specify the same number of tracks as the “Destination.” (2) Select “InsertTrk.”
In the TRACK, “EditTrk” tab page, click the Edit Trk
(14)Execute the operation. Type cell. In the Edit Trk Type dialog box, click “Insert-
Click the Exec. button to display the CopyTrk dialog
Operation
Trk” and click the OK button (or press the panel YES
box. If you want dithering to be performed, click the key).
Dither button.
(3) Select the track number into which you want to insert
Click the Yes button (or press the panel YES key) to exe-
blank space.
cute the operation.
When the operation is finished, the display will indicate • Click the popup button of the Destination cell, and
“Completed.” Click the OK button (or press the panel choose track “1” in the Destination Track dialog box.
YES key). You can also click the cell to select this.
(15)Check the results of the editing operation. • Check the IN and OUT locations. If you want to set
CD
Press the LOC 3/TO key, and play back from the TO the locations with more precision, click the Destina-
location to verify that the data was copied correctly. tion WAVE button, and use the Wave dialog box
If you are not satisfied with the results, you can use (→p.128) to set the location.
Undo to return to the previous state. (→p.141)
(2) (3)
Data
Drive
(4)
USB

MIDI
Click the Exec. button. Then in the InsertTrk dialog box,

cute the operation.
Upgrading
the system

YES key).
(5) Check the results of the editing operation.
Press the LOC 1/IN key, and play back from the IN loca-
tion to verify that the editing operation has done cor-
Recovery
rectly.
CD
If you are not satisfied with the results, you can use
calibration
ClickPoint
71
Erase a track (EraseTrk) Delete a track (DeleteTrk)
This command erases track data from the specified region This command deletes the specified region (IN–OUT) of a track.
(IN–OUT) of a track. The region will become blank. When an area is deleted, the subsequent data (following the
Unlike the “Delete Track” command described on the follow- OUT point) will be shifted toward the beginning of the song.
ing page, this Erase Track command will not cause the data • You can delete data from the IN–OUT region of one or
following the OUT point to move. more tracks simultaneously.
• You can erase data from the IN–OUT region of one or
more tracks simultaneously. Deleting track data
Erasing the IN–OUT region of track 1 Deleting the IN–OUT region of track 1
Before you make settings for this operation, check the virtual track Before you make settings for this operation, check the virtual track
of the Destination track from which you will be erasing data. of the Destination track from which you will be deleting data.
(1) Specify the region whose data you want to erase. (1) Specify the region whose data you want to delete.
Set the following locations to specify the region for eras- Set the following locations to specify the region for delet-
ing (→p.69). ing (→p.69).
• Set the IN point to specify the beginning of the region • Set the IN point to specify the beginning of the region
to be erased. to be deleted.
• Set the OUT point to specify the end of the region to • Set the OUT point to specify the end of the region to
be erased. be deleted.
(2) Select “EraseTrk.” (2) Select “DeleteTrk.”
In the TRACK, “EditTrk” tab page, click the Edit Trk In the TRACK, “EditTrk” tab page, click the Edit Trk
Type cell. In the Edit Trk Type dialog box, click Type cell. In the Edit Trk Type dialog box, click
“EraseTrk” and click the OK button (or press the panel “DeleteTrk” and click the OK button (or press the panel
YES key). YES key).
(3) Select the track number from which you want to erase (3) Select the track number from which you want to delete
data. data.
• Click the popup button of the Destination cell, and • Click the popup button of the Destination cell, and
choose track “1” in the Destination Track dialog box. choose track “1” in the Destination Track dialog box.
You can also click the cell to select this. You can also click the cell to select this.
• Check the IN and OUT locations. If you want to set • Check the IN and OUT locations. If you want to set
the locations with more precision, click the Destina- the locations with more precision, click the Destina-
tion WAVE button, and use the Wave dialog box tion WAVE button, and use the Wave dialog box
(→p.128) to set the location. (→p.128) to set the location.
(2) (3) (2) (3)
(4) (4)
(4) Execute the editing operation. (4) Execute the editing operation.
Click the Exec. button. Then in the EraseTrk dialog box, Click the Exec. button. Then in the DeleteTrk dialog box,
click the Yes button (or press the panel YES key) to exe- click the Yes button (or press the panel YES key) to exe-
cute the operation. cute the operation.
When the operation is finished, the display will indicate When the operation is finished, the display will indicate
“Completed.” Click the OK button (or press the panel “Completed.” Click the OK button (or press the panel
YES key). YES key).
(5) Check the results of the editing operation. (5) Check the results of the editing operation.
Press the LOC 1/IN key, and play back from the IN loca- Press the LOC 1/IN key, and play back from the IN loca-
tion to verify that the editing operation has done cor- tion to verify that the editing operation has done correctly.
rectly. If you are not satisfied with the results, you can use
If you are not satisfied with the results, you can use Undo to return to the previous state. (→p.141)
Deleting all data of a track
(1) In the TRACK, “Vtrk1–32” tab page, verify that the
track you want to delete contains data.
(2) Specify the region whose data you want to delete.
Set the locations as follows (→p.69).
• Set the IN location to the beginning of the song.
• Set the OUT location to the end of the song.
(3) Execute steps (2)–(5) of “Deleting track data,” above.
72
Exchange tracks (SwapTrk) Reverse a track (ReverseTrk)
Locate
Song,
This command exchanges (swaps) recorded track data be- This command copies the audio data in the specified region
tween the specified region (IN–OUT) and the corresponding (IN–OUT) of the track to the TO location “in reverse” (i.e., so
region of another track. that the data will play backward).
• You can swap the data of one or more tracks simultane- • The data of the IN–OUT region can be copied one or more
ously. times in succession by a single operation.
Mixer
• You can copy just one track, or multiple tracks of data at
Swapping the IN–OUT regions of track 1 and track 2.
the same time.
Before you execute this operation, check the virtual track of the • The existing track data at the copy-destination (TO loca-
Source and Destination tracks that you want to swap.
tion) will be overwritten.
Effects
(1) Specify the region whose data will be swapped.
Copying the IN–OUT region of track 1 three times in re-
Set the following locations to specify the region for
verse to the TO location of track 2
swapping (→p.69).
• Set the IN point to specify the beginning of the region Select the virtual tracks of the copy-source (Source) and copy-des-
to be swapped. tination (Destination) before you make settings for this Copy op-
Drums™
Session
eration.
• Set the OUT point to specify the end of the region to
be swapped. (1) Specify the region that you want to copy.
Set the following locations to specify the region for copy-
(2) Select “SwapTrk.”
ing (→p.69).
Recorder
Type cell. In the Edit Trk Type dialog box, click “Swap- • Set the IN point to specify the beginning of the region
Trk” and click the OK button (or press the panel YES to be copied
key). • Set the OUT point to specify the end of the region to
be copied
(3) Select the track numbers whose data you want to swap.
• Set the TO point to specify the beginning of the copy-
• Click the popup button of the Source cell, and choose
destination
Operation
click the cell to select this. (2) Select “ReverseTrk.”
• Check the IN and OUT locations. If you want to set In the TRACK, “EditTrk” tab page, click the Edit Trk
the locations with more precision, click the Destina- Type cell. In the Edit Trk Type dialog box, click
tion WAVE button, and use the Wave dialog box “ReverseTrk” and click the OK button (or press the
(→p.128) to set the location. panel YES key).
(4) Select the swap-destination track number. (3) Select the track number whose data you want to use as
Click the popup button of the Destination cell, and the reverse-source.
choose track “2” in the Destination Track dialog box. • Click the popup button of the Source cell, and choose
CD
You can also click the cell to select this. track “1” in the Source Track dialog box. You can also
specify the same number of tracks as the “Destination.” • Check the IN and OUT locations. If you want to set
Data
(3) (2) (4) WAVE button, and use the Wave dialog box (→p.128)
(4) Select the reverse-destination track number.
• Click the popup button of the Destination cell, and
Drive
(5) If you specified two or more tracks as the “Source,” you must
specify the same number of tracks in “Destination.”
• Verify that the TO location is correct. If you want to set USB
the location with more precision, click the Destination
WAVE button, and make your settings in the Wave
dialog box (→p.128).
(5) Specify the number of time that you want to copy the
MIDI
(5) Execute the editing operation. data.

Click the Exec. button. Then in the SwapTrk dialog box, In the Times cell, specify the number of copies as “3”.
cute the operation. (3) (2) (4)
Upgrading
the system

YES key).
(6) Check the results of the editing operation. (5)
Recovery
tion to verify that the editing operation has done cor-

CD
(6)
rectly.
calibration
ClickPoint
73
(6) Execute the editing operation. (5) Verify the results of the operation.
Click the Exec. button. Then in the ReverseTrk dialog Press the LOC 1/IN key, and play back from the IN
box, click the Yes button (or press the panel YES key) to point. If necessary, you can use Undo to return to the
execute the operation. state prior to execution (→p.141).
When the operation is finished, the display will indicate The length of the IN–OUT area specified will determine the
“Completed.” Click the OK button (or press the panel amount of time it takes to complete the Optimize operation.
YES key).
Even if you have not repeatedly edited or recorded a specific track,
(7) Check the results of the editing operation. the HDD/CD access indicator may stay lit continuously (not
Press the LOC 3/TO key, and play back from the TO loca- blinking) during recording or playback. The “Disk too busy.” er-
tion to verify that the editing operation has done correctly. ror message may appear in such cases.
If you are not satisfied with the results, you can use Execute the OptimizeTrk operation with Destination set to All,
Undo to return to the previous state. (→p.141) and the IN–OUT parameters set to the beginning and end of the
This editing operation will take a longer time for execution (until song.
the Completed indication appears) in proportion to the length of
the IN–OUT region you specify. Expand/compress a track (ExpCmpTrk)
This command expands or compresses the time required to
Optimizing a track (OptimizeTrk) play back the specified region (IN–OUT) of recorded track
This operation optimizes the track data of the region (IN– data to fit the specified region (TO–END) of another track.
OUT) you specify. If you have performed numerous edits, • The expanded or compressed data can be created in a dif-
overdubbing, and/or punch-in recording in a specific area of ferent track, while preserving the original data.
a track, you may need to optimize the track to prevent the • You can specify whether to convert the pitch.
“Disk too busy” message from appearing
• You can simultaneously convert up to two tracks of data.
Before you execute this operation, check the virtual track of the
• The converted data can be copied one or more times in
Destination track you want to optimize.
succession.
Here’s how to optimize a specific region of track 1 This command can be used in ways such as the following.
(1) Specify the region that you want to optimize.
• To convert drum loops of differing tempos to the same
Set the locations as follows (→p.69).
tempo.
• Set the IN location to a point slightly earlier than
• To make a phrase fit within a specified location.
where “Disk too busy” message appears.
• Set the OUT location to a point beyond the In location, Converting the IN–OUT region of track 1 into the length of
where the “Disk too busy” message no longer the TO–END region of track 2 without changing the pitch,
appears. and copying it three times starting at the TO location of
track 2
(2) Select “OptimizeTrk.”
In the TRACK, “EditTrk” tab page, click the Edit Trk Before you execute this operation, check the virtual tracks of the
Type cell. In the Edit Trk Type dialog box, click “Opti- expansion/compression Source and Destination.
mizeTrk” and click the OK button (or press the panel (1) Specify the regions for expansion/compression.
YES key). Set the locations as follows (→p.69).
(3) Select the track number whose data you want to opti- • Set the IN point to the beginning of the source region.
mize. • Set the OUT point to the end of the source region.
• Select the track that you suspect of containing the data • Set the TO point to the beginning of the destination
that needs to be optimized (track 1 in this example), region.
click the popup button of the Destination cell, and
• Set the END point to the end of the destination region.
You can also click the cell to select this. (2) Select “ExpCmpTrk.”
• Check the IN and OUT locations. If you want to set
Type cell. In the Edit Trk Type dialog box, choose
the locations with more precision, click the Destina-
“ExpCmpTrk” and click the OK button (or press the
tion WAVE button, and use the Wave dialog box
panel YES key).
(→p.128) to set the location.
(3) Select the expansion/compression-source track
(2) (3) number.
• Click the popup button of the Source cell, and choose
(4) WAVE button, and use the Wave dialog box (→p.128)
(4) Select the expansion/compression-destination track
number.
Click the Exec. button. Then in the OptimizeTrk dialog If you specified two or more tracks as the “Source,” you must
box, click the Yes button (or press the panel YES key) to specify the same number of tracks in “Destination.”
execute the operation. • Check the TO and END locations. If you want to set
When the operation is finished, the display will indicate the location more precisely, click the Destination
“Completed.” Click the OK button (or press the panel WAVE button, and make your settings in the Wave
YES key). dialog box (→p.128).
74
(5) Specify the number of time that you want to copy the (3) Select “CopyWholeTrk.”
data. In the TRACK, “EditTrk” tab page, click the Edit Trk
Locate
Song,
In the Times cell, specify the number of copies as “3”. Type cell. In the Edit Trk Type dialog box, choose “Copy
WholeTrk” and click the OK button (or press the panel
(3) (2) (4) (6) YES key).
(4) (3) (5)
Mixer
(5)
(7) (6)
Effects
(7)
Drums™
Session
(6) Select the expansion/compression mode.
Click the Mode button to display the ExpCmp Mode
dialog box, select the desired mode, and click the OK (4) Select the copy-source track number.
Recorder
button (or press the panel YES key). Click the popup button of the Source cell, and choose
For details on the effect of each mode, refer to “ExpCmp- track “1” in the Source Track dialog box. You can also
Trk” (→p.131) A5. Mode. click the cell to select this.
For this example, select “Fast” (priority given to process- (5) Select the copy-destination track number.
ing speed) and “Fixed” (pitch remains unchanged). Click the popup button of the Destination cell, and
Then click the OK button (or press the panel YES key) to choose track “2” in the Destination Track dialog box.
Operation
return to the “EditTrk” tab page. You can also click the cell to select this.
(7) Execute the editing operation. If you specified two or more tracks as the “Source,” you must
Click the Exec. button. Then in the ExpCmpTrk dialog specify the same number of tracks in “Destination.”
box, click the Yes button (or press the panel YES key) to
(6) Select the copy-destination virtual track.
execute the operation.
In the Virtual cell, select virtual track “B”.
“Completed.” Click the OK button (or press the panel (7) Execute the editing operation.
YES key). Click the Exec. button. Then in the CopyWholeTrk dia-
log box, click the Yes button (or press the panel YES key)
CD
to execute the operation.
Press the LOC 3/TO key, and play back from the TO
location to verify that the editing operation has done
correctly.
YES key).
Data
Undo to return to the previous state. (→p.141) (8) In the TRACK, “Vtrk1–32” tab page, select virtual
track “B” for track 2.
The length of the IN–OUT area specified will determine the
amount of time it takes to complete the Expand / Compress (9) Check the results of the editing operation.
operation. Play back from the beginning of the song to verify that
Drive
the copy was performed correctly.
Copy an entire track/Copying to a Virtual track If you are not satisfied with the results, you can use
(CopyWholeTrk)
This command copies an entire recorded track (from the be-
ginning to the end) to another track. USB
• You can copy one or more tracks simultaneously.
• You can specify the copy-destination virtual track.
For example, you could use this operation if you wanted to
MIDI
copy a track to two or more virtual tracks, and then create

variations of the performance in each of the those virtual
tracks.
Upgrading
the system
Copying to a virtual track

Copying the data of track 1 virtual track “A” to track 2 vir-
tual track “B”
(1) Select the copy-source virtual track.
In the TRACK, “Vtrk1–32” tab page, select virtual track
Recovery
“A” for track 1.

CD
(2) Verify the copy-destination.

In the TRACK, “Vtrk1–32” tab page, verify that virtual
track “B” of track 2 is either empty or contains data you
calibration
ClickPoint
don’t mind losing (i.e., data that it is OK to overwrite).
75
Exchange two entire tracks (SwapWholeTrk) Fade-in/fade-out (FadeTrk)
This command exchanges an entire track of recorded data This command fades-in or fades-out the specified region
(from the beginning to the end) with another track. (IN–OUT) of recorded track data. By using both of these op-
• You can exchange one or more tracks in a single operation. erations, you can create cross-fades.
This can be used in ways such as the following. • You can fade-in or fade-out one or more tracks simultane-
ously.
• Rearrange recorded tracks to organize them by type.
• Rearrange data that extends across differing virtual tracks Creating a fade-in
so that each track uses (for example) virtual track “A.”
Fading-in the IN–OUT region of track 1
• Place two tracks that were recorded separately into adja-
cent tracks so that they can be paired. (1) Specify the region that you want to fade-in.
Set the following locations to specify the region where
Swapping entire tracks the fade-in will occur (→p.69).
Swapping track 1 virtual track “A” with track 2 virtual where the fade-in will occur.
track “B”
• Set the OUT point to specify the end of the region
(1) Select the source track that you want to swap. where the fade-in will occur.
In the TRACK, “Vtrk1–32” tab page, select track 1 vir-
(2) Select “FadeTrk.”
tual track “A.”
(2) Select the destination track that you want to swap. Type cell. In the Edit Trk Type dialog box, click “Fade-
In the TRACK, “Vtrk1–32” tab page, verify that track 2 Trk” and click the OK button (or press the panel YES
virtual track “B” is the track you want to swap. key).
(3) Select “SwapWholeTrk.” (3) Select the fade-in curve.
In the TRACK, “EditTrk” tab page, click the Edit Trk Click the Mode button to display the Fade Mode dialog
Type cell. In the Edit Trk Type dialog box, choose box.
“SwapWholeTrk” and click the OK button (or press the A.B.C: Fade-in curve
panel YES key). D.E.F: Fade-out curve
(4) (3) (5) For details on how these curves differ, refer to “Fade-
Trk” (→p.133).
For this example, select the type “A” curve and click the
OK button (or press the panel YES key) to return to the
“EditTrk” tab page.
(6) (4) Select the track number that you want to fade-in.
(7) choose track “1” in the Destination Track dialog box.
(4) Select the swap-source track number.
Click the popup button of the Source cell, and choose (2) (4) (3)
(5) Select the swap-destination track number.
You can also click the cell to select this. (5)
specify the same number of tracks in “Destination.”
(6) Select the swap-destination virtual track.
In the Virtual cell, select virtual track “B”.
Click the Exec. button. Then in the SwapWholeTrk dia- (5) Execute the editing operation.
log box, click the Yes button (or press the panel YES key) Click the Exec. button. Then in the FadeTrk dialog box,
to execute the operation. click the Yes button (or press the panel YES key) to exe-
When the operation is finished, the display will indicate cute the operation.
“Completed.” Click the OK button (or press the panel When the operation is finished, the display will indicate
YES key). “Completed.” Click the OK button (or press the panel
(8) In the TRACK, “Vtrk1–32” tab page, select virtual YES key).
track “B” for track 2. (6) Check the results of the editing operation.
(9) Check the results of the editing operation. Press the LOC 1/IN key, and play back from the IN loca-
Play back from the beginning of the song to verify that tion to verify that the fade-in performs correctly.
the swapping was performed correctly. In the same way, If you are not satisfied with the results, you can use
check the “Source” track 1 virtual track “A” as well. Undo to return to the previous state. (→p.141)
If you are not satisfied with the results, you can use The length of the IN–OUT area specified will determine the
Undo to return to the previous state. (→p.141) amount of time it takes to complete the Fade-in operation.
In this case, return the track 1 virtual track selection to “A.”
76
Creating a fade-out Boosting the maximum volume to the specified
Locate
level (Normalize: NormalizeTrk)
Song,
Fading-out the IN–OUT region of track 1
(1) Specify the region that you want to fade-out. If the recorded level of a track is too low, you can use the Nor-
Set the following locations to specify the region where malize operation to boost the overall level of the specified re-
the fade-out will occur (→p.69). gion (IN–OUT) so that the maximum recorded level will
equal the specified level.
Mixer
where the fade-out will occur. • You can normalize one track or simultaneously normalize
• Set the OUT point to specify the end of the region the data of adjacent tracks.
where the fade-out will occur. If you boost data that was recorded at an extremely low level, any
(2) Select “FadeTrk.” noise in that region will also be boosted.
Effects
In the TRACK, “EditTrk” tab page, click the Edit Trk Normalizing the IN–OUT region of track 1
Type cell. In the Edit Trk Type dialog box, click “Fade-
(1) Specify the region that you want to normalize.
Trk” and click the OK button (or press the panel YES
Set the following locations to specify the region for nor-
key).
malize (→p.69).
Drums™
Session
(3) Select the fade-out curve.
Click the Mode button to display the Fade Mode dialog
to be normalized.
box.
A.B.C: Fade-in curve • Set the OUT point to specify the end of the region to
D.E.F: Fade-out curve be normalized.
Recorder
For details on how these curves differ, refer to “Fade- (2) Select “NormalizeTrk.”
Trk” (→p.133). In the TRACK, “EditTrk” tab page, click the Edit Trk
For this example, select the type “D” curve and click the Type cell. In the Edit Trk Type dialog box, click
OK button (or press the panel YES key) to return to the “NormalizeTrk” and click the OK button (or press the
“EditTrk” tab page. panel YES key).
Operation
(4) Select the track number that you want to fade-out. (3) Specify the maximum level.
• Click the popup button of the Destination cell, and Click the Mode button to display the Normalize Mode
choose track “1” in the Destination Track dialog box. dialog box. Set the “Normalize Gain Level” value, and
You can also click the cell to select this. click the OK button (or press the panel YES key).
• Check the IN and OUT locations. If you want to set (4) Select the track number that you want to normalize.
the locations with more precision, click the Destina- • Click the popup button of the Destination cell, and
tion WAVE button, and use the Wave dialog box choose track “1” in the Destination Track dialog box.
(→p.128) to set the location. You can also click the cell to select this.
CD
(5) Execute the editing operation. • Check the IN and OUT locations. If you want to set
Click the Exec. button. Then in the FadeTrk dialog box, the locations with more precision, click the Destina-
click the Yes button (or press the panel YES key) to exe- tion WAVE button, and use the Wave dialog box
cute the operation. (→p.128) to set the location.
When the operation is finished, the display will indicate (5) Execute the editing operation.
Data
“Completed.” Click the OK button (or press the panel Click the Exec. button. Then in the NormalizeTrk dialog
YES key). box, click the Yes button (or press the panel YES key) to
(6) Check the results of the editing operation. execute the operation.
Press the LOC 1/IN key, and play back from the IN loca- When the operation is finished, the display will indicate
Drive
tion to verify that the operation has done correctly. “Completed.” Click the OK button (or press the panel
If you are not satisfied with the results, you can use YES key).
(2) (4) (3)
amount of time it takes to complete the Fade operation.
USB
(5)
MIDI
Upgrading
the system

Recovery
tion to verify that the data was normalize correctly.

CD
amount of time it takes to complete the Normalize operation.
calibration
ClickPoint
77
Eliminating noise (NoiseReduction) Erasing punch noise (ErasePunchNoise)
On the desired track, specify a region (IN–OUT) containing Here’s how you can erase the momentary pop of noise that
only noise which the D3200 will use to analyze and “learn” sometimes occurs when punching-in/out.
the noise component. This noise component will then be
Erasing punch noise from the IN–OUT region of track 1
eliminated from the data in the other region you specify (TO–
END) of the same track. (1) Specify the region where you want to erase punch
noise.
Eliminate noise from the TO–END region of track 1 Set the locations as follows (→p.69).
(1) Specify the region containing the noise that you want • Set the IN location to a point slightly earlier than
the D3200 to analyze, and the region from which this where the noise occurs.
noise will be removed. • Set the OUT location to a point after the noise.
You will need to set the following locations (→p.69).
(2) Select “ErasePunchNoise.”
• IN location: the beginning of the Learn (noise analy-
sis) region
Type cell. In the Edit Trk Type dialog box, select
• OUT location: the end of the Learn (noise analysis) “ErasePunchNoise” and click the OK button (or press
region the panel YES key).
• TO location: the beginning of the Destination (noise
removal) region (2) (3)
• END location: the end of the Destination (noise
removal) region
You must set IN–OUT to a region that contains only noise.
There is a lower limit on the size of the regions you specify.
The IN–OUT region must be at least one second long, and the
TO–END region must be at least 0.5 seconds long. (4)
(2) Select “NoiseReduction.”
Type cell. In the Edit Trk Type dialog box, select “Noise-
Reduction” and click the OK button (or press the panel
YES key).
(2) (3) (3) Select the number of the track from which you want to
erase noise.
(4) tion WAVE button, and use the Wave dialog box
Click the Exec. button. Then in the ErasePunchNoise
dialog box, click the Yes button (or press the panel YES
key) to execute the operation.
(3) Select the number of the track from which you want to When the operation is finished, the display will indicate
remove noise. “Completed.” Click the OK button (or press the panel
• Click the popup button of the Destination cell, and YES key).
choose track “1” in the Destination Track dialog box. (5) Check the results of the editing operation.
You can also click the cell to select this. Press the LOC 1/IN key, and play back from the IN loca-
• Check the IN and OUT locations. If you want to set tion to verify that the Erasing punch noise correctly.
the locations with more precision, click the Learn If you are not satisfied with the results, you can use
Noise WAVE button, and use the Wave dialog box Undo to return to the previous state. (→p.141)
(→p.128) to set the location. If this does not erase the noise, use Undo to return to the previous
• Check the TO and END locations. If you want to set state, click the Mode button, and raise the “ErasePunchNoise
the locations with more precision, click the Destina- Sens” value slightly (→p.134).
tion WAVE button, and use the Wave dialog box The length of the IN–OUT area specified will determine the
(→p.128) to set the location. amount of time it takes to complete the ErasePunchNoise opera-
(4) Execute the editing operation. tion.
Click the Exec. button. In the NoiseReduction dialog
box that appears, click the Yes button (or press the panel
YES key) to execute the operation.
YES key).
(5) Verify the results of the operation.
Press the LOC 3/TO key, and play back from the TO
point. If necessary, you can use Undo to return to the
state prior to applying the NoiseReduction (→p.134).
amount of time it takes to complete the Noise Reduction operation.
78
Erase a silent region (EraseSilence)
CD
Locate
Song,
Erasing regions of silent audio data from the IN–OUT re-
gion of track 1, converting them to usable space on the
You can use the internal disc drive to create an original CD
hard drive
from any of your songs that have been mixed down to the
(1) Specify the region of silence you want to erase. master tracks.
Mixer
Set the locations as follows (→p.69). There are two ways to create a CD.
• Set the IN location to a point slightly earlier than the
Track At Once
region of silence that you want to erase.
With this method, songs are written to CD individually,
• Set the OUT location to the point after the region of one at a time.
silence.
Effects
Disc At Once (Album CD Project)
(2) Select “EraseSilence.”
With this method, you can arrange your completed
songs in the desired playback order, and write all songs
Type cell. In the Edit Trk Type dialog box, select “Erase-
to the CD in one operation.
Silence” and click the OK button (or press the panel
Drums™
You can also import track data from an audio CD into the
Session
YES key).
clipboard or the PC drive (the “Ripping” function).
(3) Select the number of the track from which you want to
erase silence.
1. Track At Once
Recorder
With this method, songs are written to the CD one at a time.
A two-second gap will automatically be added between
songs.
In order to play back the completed CD, you must finalize
the disc.
Operation
(2) (3) No additional songs can be written to a disc once it has been final-
ized.
Since some audio CD players are unable to play CD-RW discs, we
recommend that you use CD-R discs.
Songs you have created
Song Song Song Song Song
(4) A B C D E
CD
Write the first song
Song
A Writable area
Data
Trk1
(4) Execute the editing operation. Write the second song

Click the Exec. button. Then in the EraseSilence dialog Song Song
box, click the Yes button (or press the panel YES key) to A E Writable area
execute the operation.
Drive
Trk1 Trk2
“Completed.” Click the OK button (or press the panel Automatically-created two-second gap
YES key). Write the third song
(5) Check the results of the editing operation. Song Song Song
Press the LOC 1/IN key, and play back from the IN loca- A E D Writable area USB
tion to verify that the Erase a silent region correctly. Trk1 Trk2 Trk3
Undo to return to the previous state. (→p.141) Finalize
The length of the IN–OUT area specified will determine the Song Song Song
MIDI
amount of time it takes to complete the EraseSilence operation. A E D Un-writable area

Trk1 Trk2 Trk3
(1) Create the master track(s) for the songs you want to
4. Naming a track
Upgrading
the system
write to the CD (→p.67 “1-6. Creating a master track”).
You can assign a name to each track. (2) Insert a disc into the CD-R/RW drive.
When you create a new song, the track name will be “No Use a blank disc or a disc that has not been finalized.
Name.” (3) Select the song that you want to write to the disc
We recommend that you rename the track so that you can re- (→p.36).
Recovery
member which part is recorded on which track.

CD
In order for a song to be written to CD, it must already have

(1) Use the TRACK, “Vtrk1–32” tab page to select the been mixed down to the master track
track that you want to rename. (4) Press the CD key, click the Track at Once button in the
(2) Click the Rename button. screen to access the Track at Once dialog box, and then
calibration
ClickPoint
(3) Edit the name in the Rename dialog box. click the Get Information button.
For details, refer to “1-2. Renaming a song” (→p.36). The “CD Information” area will show either “Blank
Disc” or the CD track number(s).
79
Make sure that “Free” shows a duration that is longer (7) Finalize the disc.
than the song you want to write. When you are finished writing songs to this CD, and
want to be able to play the disc on an audio CD player,
click the Finalize button to finalize the disc. A message
will ask you for confirmation. If you are sure you want
to finalize the disc, click the Yes button (or press the
panel YES key).
Once a disc has been finalized, no further songs can be added
to it. In other words, you should finalize a disc only after you
have written all the songs that you intend to write to it.
(8) When finalization is completed, the CD-R/RW drive
(4)
tray will open.
The LCD screen will indicate “Completed.” Click the
OK button (or press the panel YES key) to return to the
CD page.
(9) Check the CD by playing it on an audio CD player.
Play the CD on an audio CD player to verify that your
audio CD was created correctly.
(4)
(7)
2. Disc At Once
(5) 2-1. Album CD Project
If you use Album CD Project to create a CD, you can specify
the amount of silence (blank space) between each track, and
(5) Write the song.
assign marks for each song to specify the beginning of each
• Click the Write To CD button to display the track.
WriteToCD dialog box. In addition, since this method writes the CD using Disc At
Once, the audio CD you create can be used as a master CD for
pressing.
You can create one Album CD Project for each song drive,
and can also back up the data to CD-R/RW (→p.83).
If you use Album CD Project to write a disc, no additional data
can be written to that disc.
When you create an Album CD Project, new audio data for writ-
• Select the writing speed. ing will be created; this will occupy additional hard disk space.
You must use a disc that supports the selected writing speed. Even if you delete the original songs, the Album CD Project audio
data will not be deleted.
• A message of “Obey Copyright Rules” will appear.
Read the owner’s manual section “COPYRIGHT Songs you have created
WARNING” (→p.iii), and click the Yes button (or Song Song Song Song Song
press the panel YES key) if you accept the terms. A B C D E
If the selected song is 24-bit, click the Dither button to turn
it on if you want dithering to be performed. Select the songs, specify their order, and adjust the gaps
• The D3200 will begin creating an image file. Song Song Song
A E D
The data will be written to CD as a 44.1 kHz song. If you se-
Trk1 Trk2 Trk3
lect a song whose sampling rate is other than 44.1 kHz, the
data must be converted, and a certain amount of time will be
required for the conversion to be performed before the song ap-
pears in the track list. Post- Pre- Post- Pre-
gap gap gap gap
You can abort creation of the image file by clicking the Cancel
button. Write all songs at once
• When the image file has been created, the D3200 will Song Song Song
begin writing it to disc. A E D Un-writable area
• When writing is completed, the display will indicate Trk1 Trk2 Trk3
“Completed.” If you want to create another disc with
the same data, click the Yes button (or press the panel Blank space according to the gaps you adjusted
YES key). Otherwise, click the No button (or press the
panel NO key) to proceed to the next step. (1) Collect all the songs you want to use for the Album CD
Project into a single song drive (→p.41).
If you create another disc with the same data, the process will
take less time since the image file has already been created. (2) Select the song drive.
Press the CD key, click the Album CD button in the
(6) If you want to write another song to the CD, repeat screen to access the Album CD Project dialog box, click
steps (2) through (5). the Drive button, select the song drive that contains the
Each additional song will be written to CD following the song you want to write, and click the and click the OK
end of the previously written song(s) on the disc. button (or press the panel YES key) to confirm.
80
(3) Assign your songs to the Album CD Project track list The album project will be played back exactly as it will
in the same order that you want them to appear on the sound when written to the CD.
Locate
Song,
finished CD. (6) Insert a disc into the CD-R/RW drive.
You must use a blank disc.
(7) Write the album to disc.
• Click the Write To CD button to display the
Mixer
WriteToCD dialog box.
Effects
(2)
Drums™
Session
• Select the writing speed.
(2) You must select a writing speed that the CD media you are
using can support.
Recorder
• A message of “Obey Copyright Rules” will appear.
Read the owner’s manual section “COPYRIGHT
WARNING” (→p.iii), and click the Yes button (or
press the panel YES key) if you accept the terms. The
D3200 will begin creating an image file.
(4)
You can abort creation of the image file by clicking the Cancel
Operation
(7) button (or press the panel NO key).
• When the image file has been created, the D3200 will
(5) (3) begin writing it to disc.
You cannot abort this writing operation.
• Select (highlight) TR01, and click the Add button to
• The disc will automatically be finalized.
display the Add TR dialog box.
• When finalization has been completed, the “Write
• Select the first track of the CD (it will become high-
Another CD?” message will appear.
lighted), and click the OK button (or press the panel
CD
YES key). The display will ask “Are You Sure?”, so
click the Yes button (or press the panel YES key).
it on if you want dithering to be performed.
Data
The data will be written to CD as a 44.1 kHz song. If you se-
data must be converted, and a certain amount of time will be
required for the conversion to be performed before the song ap-
pears in the track list. • If you want to create another disc with the same data,
Drive
click the Yes button (or press the panel YES key). Oth-
• The display will indicate “Completed,” so click the erwise, click the No button (or press the panel NO
OK button (or press the panel YES key). key).
• In the same way, specify the songs for TR02 and fol-
If you create another disc with the same data, the process will
lowing.
take less time since the image file has already been created.
You cannot select a song for which a master track has not
USB
(8) Check the CD by playing it back on an audio CD
been created.
player.
You cannot select songs from a different song drive. Play back the CD on an audio CD player to verify that
(4) Specify the size of the gaps between each track. your audio CD was created correctly.
MIDI
Click the Gap button, specify the pre-gap and post-gap, During playback, the gaps between songs will be dis-
and click the OK button (or press the panel YES key). played as negative track times.
Use the Sec cell to specify the gap in terms of seconds, or
the Frm cell to specify the gap in terms of frames (one
Upgrading
the system
second = 75 frames).
You can set the gaps independently for each song.
PreGapTime: The period of silence before the song.
PostGapTime: The period of silence after the song.
Recovery
By default, the pre-gap is two seconds, and the post-gap is

zero seconds. However, the pre-gap for the first song is zero
CD
seconds, and this cannot be changed.

For a song that fades-out, you can reduce the gaps to avoid a
unwanted sense of waiting between songs.
calibration
ClickPoint
(5) Audition the Album CD Project.

Click the ® button (or press PLAY key) in the screen to
play back the album project. Listen to it through your
headphones or monitor system.
81
2-2. Creating a live CD The data will be written to CD as a 44.1 kHz song. If you se-
If you have recorded a single continuous performance, such data must be converted, and a certain amount of time will be
as a live concert performance that contains individual songs, required for the conversion to be performed before the song ap-
you can create a “live CD” recording. By inserting CD track pears in the track list.
markers into the performance, the entire CD can be played
The display will indicate “Completed.” Click the OK
back as a continuous performance with no gaps between the
button (or press the panel YES key) to return to the
individual songs, just as it was recorded. However, the ben-
Album CD Project screen.
efit of creating a live CD using this method is that you can
The locations at which you assigned the “Use As CD Tr”
also access the songs individually, just as you would on a
marks will divide the song into tracks in the track list.
regular CD.
(6) Edit the album CD project. [Figure E]
Assigning a track index to each of the individual songs re-
• Delete unwanted tracks.
corded as part of one continuous live performance on
song A (figure A), to create a live CD in which there are • The pre-gap and post-gap will both be zero between
no gaps between tracks, and the song or dialog starts at tracks to which you assigned the “Use As CD Tr”
the beginning of each track mark, but you may edit this if you wish.
(7) Play back the album CD project to check it.
Song you already created (→p.80 “2-1. Album CD Project”, step (5))
Song A (Live)
Figure
A Master track already created
(8) Perform steps (6)–(8) of “2-1. Album CD Project.”
Assign marks
Figure Introduction First Second
Song A (Live)
Third song MC1 MC2
Fourth 3. Ripping a CD
B song song song
In addition to playing back an audio CD in its CD-R/RW
Mark Mark Mark Mark Mark Mark Mark Mark Mark drive, the D3200 can “rip” digital audio data directly from an
1 2 3 4 5 6 7 8 9
audio CD.
Register Use As CD Tr (register marks with #)
Song A (Live) Ripping (importing) digital audio data from track 3 of an
Figure
Introduction First Second Third song MC1 MC2 Fourth audio CD into the clipboard
C song song song
(1) Insert the audio CD into the CD-R/RW drive.
Mark Mark Mark Mark Mark Mark Mark
1# 2# 3# 4# 7# 8# 9# (2) Press the CD key, and then click the CD PLAYER but-
#: Mark with “Use As CD Tr”
ton in the screen to access the CD PLAYER page.
Load into the Album CD Project track list (3) Click the skip button to make “TR3” appear in the CD
First Second Fourth PLAYER display area.
Figure Introduction song song Third song MC1 MC2 song
D
TR01 TR02 TR03 TR04 TR05 TR06 TR07
Delete unwanted tracks (TR01, TR06), and write the song (4)
First Second Third song MC1 Fourth
Figure song song song
E
TR01 TR02 TR03 TR04 TR05
(1) Select the song that you want to make into a live CD
(→p.36). [Figure A]
(3)
Create a master track for this song.
(2) Assign marks at appropriate locations within the song
(→p.38). [Figure B]
(3) Assign “Use As CD Tr” marks. [Figure C] (4) Click the CD Import button to access the CD Import
• Access the MARK, “EditMark” tab page, assign a dialog box.
mark at each location that you want to use as the Chose “Clip” as the ripping destination so that the dis-
beginning of a track, and click the Use As CD Tr but- play indicates “CD Import: TR3-> Clip2.”
ton to add a “Use As CD Tr” mark.
The “Use As CD Tr” mark will always be added to mark 001, (4)
and this cannot be deleted. (The track at mark 001 can be de-
leted from the Album CD Project, if desired.)
(4) Press the CD key, and click the Album CD button in
the screen to open the Album CD Project dialog box.
(5) In the track list, select the song that you want to write
[Figure D].
Click the Add button, select song A, and click the OK (5) A message of “Obey Copyright Rules” will appear.
button (or press the panel YES key). Carefully read the owner’s manual section entitled
The display will ask “Are You Sure?” Click the Yes but- “COPYRIGHT WARNING” (→p.iii), and if you accept
ton (or press the panel YES key). the terms, click the Yes button (or press the panel YES
key) to begin ripping.
it on if you want dithering to be performed. (6) When ripping is completed, the display will indicate
“Completed”, click the OK button (or press the panel
YES key).
This process will take longer in proportion to the amount of
data you’re ripping.
82
Data 1. Backing up and restoring
Locate
Song,
Whenever you switch songs or turn off the power, the
D3200’s Auto Save function will automatically save (to the
1-1. Backing up
hard drive) the songs or parameters that you recorded or ed- You can back up data to CD-R/RW or the PC drive.
The following data can be backed up.
Mixer
ited.
This means that you do not need to perform any particular 1Song
operations to save your data as long as you power -off using Back up one song from the selected drive and the user
the procedure described on page 2. (→p.42 “Saving a song”). data.
You do need to save the effect settings if you have edited effect pro- All Data
Effects
grams. Back up all songs from the selected drive, the user data,
The data saving operations explained in this section are used and the album CD project.
when you have created important data on the D3200 that you User Data
want to save on a CD-R/RW or your computer, or when you
Drums™
Back up only the user data (user effect programs, user
Session
want to delete data from the hard disk to obtain more free EQ libraries, mixer setup).
space.
Depending on the type of data, you can use either Backup or A backed-up song cannot be played back directly. In order to play
Export to save it. the song, you must restore it.
Data you save in this way can be used again by restoring or
Recorder
importing it. Backing up 1 Song
(1) Select the song that you want to back up (→p.36).
D3200
(2) Select the type of backup.
Hard disk
In the SYSTEM/MIDI, “Backup” tab page, click the
Song Drive A “1Song” radio button.
Operation
Song Drive B
(3) Select the backup-destination drive.
Backup/Restore Click the Drive button to open the Select Drive dialog
Export/Import
Song Drive C
Backup/Restore
box. Click either the “CD” or “PC” radio button, and
Export/Import then click the Yes button (or press the panel YES key).
Song Drive D
(4) If you are backing-up to CD-R/RW, insert a disc in the
PC drive CD-R/RW drive.
CD-R/RW drive Use a blank disc or an ISO9660 format disc that has not
been finalized.
CD
(2)
USB Slave Mode
Data
Backup/Audio file
For details on the file names, restrictions, and filename exten-

sions of the data that you can backup/restore or export/im-
Drive
port, refer to “More about drives and files” (→p.171).
(6)
If you want to save data on your computer, first store the data in (3)
the PC drive of the D3200’s hard disk, and then save that data on (5)
your computer.
The following table shows the data you can save. USB
Data save/load methods and types of file that can be saved
Save method File types
1Song Data for one song + User data (3)
MIDI
All song data on the selected song

Backup/ All Data
Restore
drive + Album CD project + User Data (3)
User effect programs + User EQ librar-
User Data
ies + mixer setup
Upgrading
the system
Export/Import Audio file data (WAV format)

(5) Edit the file name.
A file name is assigned automatically (→p.172).
If you want to edit the file name, click the Rename but-
ton.
Use the Rename dialog box to edit the file name
Recovery
(→p.36).
CD
If the backup-destination already contains an identically-

named file, you will be unable to execute the backup. Please
rename the file.
calibration
ClickPoint
83
(6) Execute the backup. Backing up All Data
When you click the Exec. button, the Backup confirma-
(1) Select the song drive that you want to back up.
tion dialog box will appear.
Press the SONG key, then click the list button in the
When backing up to CD-R/RW song page, and click the Drive button in the Select Song
The screen will indicate the space required for the dialog box.
backup. If the data will not fit on one disc, you will In the Select Drive dialog box, select the drive and click
need to prepare the appropriate number of discs. the OK button (or press the panel YES key).
Required
“All Data” radio button.
space
(2)
• Use the WriteSpeed cell to select the writing speed.

• If you want to make it impossible to write any further
data on this disc when you are done backing up, check
Click the Drive button to open the Select Drive dialog
the Finalize CD check box.
• Click the Yes button (or press the panel YES key) to then click the Yes button (or press the panel YES key).
begin the backup.
• The D3200 will begin creating an image file.
CD-R/RW drive.
You can click the Cancel button (or press the panel NO key) Use a blank disc or an ISO9660 format disc that has not
to abort creation of the image file. been finalized.
• When the image file has been created, writing to the (5) Edit the file name.
disc will begin. A file name is assigned automatically (→p.172).
• If more than one disc is required, a dialog box will If you want to edit the file name, click the Rename but-
request the next disc when one disc fills up. Insert the ton.
next disc, and click the OK button (or press the panel Use the Rename dialog box to edit the file name
YES key). (→p.36).
• When the backup is finished, the display will indicate If the backup-destination already contains an identically-
“Completed.” Click the OK button (or press the panel named file, you will be unable to execute the backup. Please
YES key). rename the file.
When backing up to disc, the written data is automatically (6) Execute the backup.
compared to ensure that an invalid backup disc is not created. Refer to the preceding section “Backing up 1Song,” step
When backing up to the PC drive (6).
The screen will indicate the space required for the
backup. Click the Yes button (or press the panel YES Backing up User Data
key) to begin the backup. The “1Song” or “All Data” backup operations also back up User
When the display indicates “Completed,” click the Data.
OK button (or press the panel YES key). This com-
pletes the backup.
You cannot back up to the PC drive if the size of the backup is “User Data” radio button.
larger than the free space on the PC drive. Change the backup-
destination to CD-R/RW.
Click the Drive button to open the Select Drive dialog
then click the Yes button (or press the panel YES key).
CD-R/RW drive.
(1)
(4) Edit the file name.

A file name is assigned automatically (→p.172).
If you want to edit the file name, click the Rename but-
ton.
Use the Rename dialog box to edit the file name
(→p.36).
If the backup-destination already contains an identically-
named file, you will be unable to execute the backup. Please
rename the file.
(5) Execute the backup.
Refer to “Backing up 1 Song,” step (6).
84
1-2. Restoring backed-up data (5) Select the restore-destination for the file(s) you are
restoring.
Locate
Song,
Here’s how to restore previously backed-up data.
When backed-up song data is restored into the D3200, it will When restoring song data
once again be playable. • In the restore-destination cell, specify a song number.
(1) Select the restore-destination drive (→p.36). • When you restore, the restored song will be inserted at
If you are restoring song data or an album CD project, the specified song number of the current drive. The
Mixer
select the restore-destination song drive. song numbers of other songs currently in the D3200
that occur following the restore-destination song
(2) Select “Restore.”
number will be increased by one.
Access the SYSTEM/MIDI, “Restore” tab page.
(3) Select the restore-source drive. When restoring an album CD project
Effects
Click the Drive button to open the Select Drive dialog • Since the project will be restored to the current drive,
box, select either “CD” or “PC,” and click the Yes button you do not need to specify the restore-destination.
(or press the panel YES key). • When you restore, the album CD project in the current
If you selected “CD,” insert the backup disc into the CD- drive will be overwritten.
Drums™
Session
R/RW drive.
When restoring other data files
(4) Select the restore-source file. • Since these files are common to all song drives, you do
Click the Select File button to open the Select Restore not need to specify the restore-destination.
Data File dialog box.
• When you restore, the existing data files will be over-
Folders will be created depending on the type of backup.
Recorder
written.
Open the folder and select the data file you want to
restore. When restoring all data files in a folder at once
For details on the icons that are displayed, refer to • You do not need to specify the restore-destination.
“Loading” (→p.173). • When you restore, the song data will be written fol-
• From the file list, select the folder that contains the lowing the songs on the current drive, and other data
Operation
data file you want to restore, and click the Open but- will be overwritten.
ton. If you decide to select a different folder, click the (6) Execute the restore.
Close button to return to the next higher level. Click the Exec. button. In the confirmation dialog box,
• From the file list, select the data file that you want to click the Yes button (or press the panel YES key) to exe-
restore, and click the OK button (or press the panel cute. If you click the No button (or press the panel NO
YES key). key), the restore operation will be aborted.
• If you want to restore all files in the folder as a single If you are restoring a backup that spanned more than
operation, click the Select All button. one disc, the D3200 will ask you for the next disc when it
CD
has finished reading one disc. Insert the next disc and
click the Yes button (or press the panel YES key). Insert
the discs in the order in which they were written during
the backup operation.
(7) When the restore operation is finished, the display will
Data
indicate “Completed.” Click the OK button (or press
(3) (4) the panel YES key).
(5) When restoring from the PC drive, the song effect program data
will not be restored unless it has the same name as the song that is
(6)
Drive
being restored.
(2)
USB
(3)
MIDI
(3)
Upgrading
the system
(4)
Recovery
(4)
CD
(4)
calibration
ClickPoint
85
2. Audio files (5) Select the audio file that you want to import.
• Click the Select File button to open the Select File dia-
Audio files saved on CD-R/RW or the PC drive can be im- log box.
ported (loaded) into the D3200 and pasted into a song track. • You can preview the first few seconds of the selected
Also, any audio track data that you copied to the D3200’s audio file by clicking the Prev button.
clipboard can be exported (written) to disc or the PC drive as
• Select “D3200_ST.WAV” and click the OK button (or
an audio file.
WAV audio files of the following formats are supported.
Sampling frequency: 44.1 kHz, 48 kHz, *96 kHz
Bit depth: 16-bit, 24-bit
Number of channels: 1 (monaural), 2 (stereo)
* Only Import
(5)
(5)
2-1. Importing an audio file
Here’s how to load an audio file from CD-R/RW or the PC
drive. (5)
You can use the Undo function to return to the state prior to exe-
cution.
If you want to import an audio file from your computer, connect a
USB cable, copy the audio file to the PC drive of the D3200, and (6) Select the import-destination track number.
then perform the procedure described below (→p.93). In the “Import” tab page, select tracks “1-2” in the Trk
If the sampling frequency and bit depth of the audio file differs cell.
from that of the import-destination song, the data will be convert- (7) Execute the import.
ed automatically. You can choose to perform dithering at this time.
• Click the Exec. button to open the Import File dialog
box.
Importing an audio track into the beginning of a
• Since the import-source audio file has a different bit
track depth than the import-destination song, click the
Importing a 44.1 kHz/24-bit stereo audio file named Dither button so that dithering will be performed.
“D3200_ST.WAV” from CD, and loading it into the begin- • Click the Yes button (or press the panel YES key) to
ning of tracks 1 and 2 of a 44.1 kHz/16-bit song execute the import.
(1) Insert the disc containing the audio file into the CD-R/ • When the operation is finished, the display will indi-
RW drive. cate “Completed.” Click the Yes button (or press the
(2) Select the song into which you want to import the panel YES key).
audio file. (→p.36 “1-3. Selecting a song”) The length of time required for this operation to be completed
(3) Select the Import command. will increase in proportion to the size of the file being import-
Access the TRACK, “Import” tab page. ed.
(4) Select the import-source drive. (8) Change the location to the beginning of the song, and
verify that the data was imported correctly.
• Click the Drive button to open the Select Drive dialog
box.
• Select “CD” and click the Yes button (or press the
panel YES key).
(4) (5)
(6)
(7)
(3)
(4)
(4)
86
Importing an audio file into the middle of a track 2-2. Exporting an audio file
Locate
Song,
Importing a 44.1 kHz/16-bit stereo audio file named Here’s how to export an audio file.
“D3200_ST.WAV” from the PC drive, and loading it into When exporting to CD-R/RW, use either a blank disc or an
the TO location (the location stored in the LOC 3 key) of ISO9660 format disc that has not been finalized.
tracks 1 and 2 of a 44.1 kHz/16-bit song
An audio file exported to CD-R/RW can be loaded by the D3200
(1) Select the song into which you want to import the
Mixer
or by a computer even if the disc has not been finalized.
audio file. (→p.36 “1-3. Selecting a song”)
A file exported to the PC drive can then be saved on your compu-
(2) Select the Import command. ter. To do so, first save the file on the PC drive of the D3200’s hard
Access the TRACK, “Import” tab page. disk, and then save that file onto your computer.
(3) Select the import-source drive.
Effects
• Click the Drive button to open the Select Drive dialog Exporting an audio file
box. Copying the audio data from the master track of a 48
• Select “PC” and click the Yes button (or press the kHz/24-bit song to the clipboard, and exporting it to the
panel YES key). PC drive as a stereo audio file named “D3200_ST.WAV”
Drums™
Session
(4) Select the audio file that you want to import. (1) Select a 48 kHz/24-bit song, and copy the master track
• Click the Select File button to open the Select File dia- audio data to the clipboard.
log box. • Refer to “Using the clipboard to copy data to another
• You can preview the first six seconds of the selected song” (→p.70), steps (1)–(6).
Recorder
audio file by clicking the Prev button. (2) Select the Export command.
• Select “D3200_ST.WAV” and click the OK button (or Access the TRACK, “Export” tab page.
press the panel YES key). (3) Select the export-destination drive.
(5) Select the clipboard as the import-destination track Click the Drive button to open the Select Drive dialog
number. box. Choose “PC” and click the Yes button (or press the
Operation
In the Trk cell, select “Clip.” panel YES key).
(6) Execute the import. (4) Rename the audio file.
Click the Exec. button to open the Import dialog box, A name of NONAMEST.WAV will be assigned automat-
and click the Yes button (or press the panel YES key) to ically.
execute. Click the Rename button to open the Rename dialog
When the operation is finished, the display will indicate box, and change the name to D3200_ST.WAV (→p.36).
“Completed.” Click the OK button (or press the panel For details on the file names you can use, refer to “Writ-
YES key). ing” (→p.172).
CD
The length of time required for this operation to be completed If the export-destination already contains an identically-
will increase in proportion to the size of the file being import- named file, you will not be able to export the file. In this case,
ed. please rename the file so it can be saved.
(7) Copy the imported audio file from the clipboard into
tracks 1 and 2.
Data
• Store the TO location (→p.38 “Assigning locations to
the Locate keys”).
• Refer to “Using the clipboard to copy data to another
song” (→p.70), steps (9)–(14). (4)
Drive
(3) (4)
(5)
USB
(2)
MIDI
(3)
(3)
Upgrading
the system
(5) Execute the export command.

Click the Exec. button. In the Export dialog box, click the
Yes button (or press the panel YES key) to execute.
Recovery

CD

YES key).
calibration
ClickPoint
87
Exporting multiple audio files 3. Drive and data compatibility
If you export four or more tracks in a single operation, all of
them will be saved as monaural files. with the Digital Recording
Copying the audio data of tracks 1–16 from a 44.1 kHz/
16-bit song to the clipboard, and exporting the data to
Studio series
CD-R/RW as sixteen monaural audio files named In the Digital Recording Studio series, the D32XD and
“D3200_01.WAV”–“D3200_16.WAV” D16XD are compatible with each other, but the D32XD and
(1) Insert a disc in the CD-R/RW drive. D16XD are not compatible with the D12, D16, D1200, D1600,
D1200mkII, and D1600mkII.
(2) Select a 44.1 kHz/16-bit song, and copy the tracks 1–16 However, D12, D16, D1200, D1600, D1200mkII, and
audio data to the clipboard. D1600mkII backup data can be restored.
• Refer to “Using the clipboard to copy data to another You can also restore song data that was backed-up to a PC
song” (→p.70), steps (1)–(6). via the D1200, D1200mkII, or D1600mkII.
(3) Select the Export command. The restored song data consists of the audio data, song name, song
Access the TRACK, “Export” tab page. protect setting, LOC 1–4 positions, and MARK 1–99 positions.
(4) Select the export-destination drive. When you restore song data that was backed up to the PC drive,
Click the Drive button to display the Select Drive dialog the song protect setting will be cleared.
box. Choose “CD” and click the Yes button (or press the
panel YES key). Using D32XD and D16XD data
(5) Rename the audio file. D32XD/D16XD backup data can be restored into the D3200.
Here the display will show the file name of the first When D32XD backup data is restored into the D3200, the fol-
track. lowing data will be ignored.
The names NONAME01.WAV–NONAME16.WAV will • Data for insert effects 9–24
be assigned automatically. • AUX3/4 Send data
Click the Rename button to open the Rename dialog • Tempo map settings
box, and change the file name to D3200_01.WAV
(→p.36). 96 kHz 24-bit songs cannot be restored.
For details on the file names you can use, refer to “Writ-
ing” (→p.172). Using D3200 data on a different model
If an identically-named file already exists, you will be unable (1) On the D3200, export the data to a WAV format audio
to execute this operation. Please change the file name. file. “2-2. Exporting an audio file” (→p.87)
(6) Execute the export. (2) On the other device, import the WAV format audio file.
(Refer to the manual for the device you are using.)
• Click the Exec. button to open the Export File dialog
box, and specify the speed at which the data will be
Using data from a different model on the D3200
written to CD (→p.136).
• If you add a check mark to the Finalize CD check box, (1) On the other device, export the data to a WAV format
it will not be possible to add any further data to that audio file. (Refer to the manual for the device you are
disc (→p.136). using.)
When exporting to CD-R/RW, the written data is automati-

(2) On the D3200, import the WAV format audio file. “2-1.
cally compared to ensure that an invalid backup CD is not Importing an audio file” (→p.86)
created.
• When the operation is finished, the display will indi-
cate “Completed.” Click the OK button (or press the
panel YES key).
88
Drive
Locate
Song,
The D3200’s hard disk can be divided into one, two or four
(2)
song drives used to record and play back songs, and a PC
drive used to exchange data with a personal computer.
Mixer
The D3200 also has a built-in CD-R/RW drive that lets you
write backup data or the audio data for a completed song to
a CD, or load audio files or backup data from a CD.
D3200
Effects
Hard disk
Drive A (3)
Drive B (3) Execute the Partition operation.
Drive C When you click the Yes button (or press the panel YES
Drums™
Session
key), the display will ask “Are You Sure?” Click the Yes
CD-R/RW drive
Drive D
button (or press the panel YES key) to begin the opera-
PC drive
tion.
When you make partition settings, a warning dialog box will ap-
Recorder
pear if the drive contains even one song for which Protect is turned
The D3200 provides the following utility functions for man- on. (→p.120)
aging these drives. Partitioning will erase all data from the song drive area of the
Partition: Divide a song drive hard disk. When the operation is completed, the display will
indicate “Completed.” Click the OK button (or press the
Drive Info: View information about a song drive, or
panel YES key) to return to the “DiskUtility” tab page.
Operation
rename a drive
The song drives are identified as A, B, C, and D.
Check Drive: Check the hard disk
Format: Format the hard disk
Load System: Update the system
1-2. Specifying the PC drive size
Save System: Create a system recovery CD If connected to a Windows 98 computer, only 2 GB can be detected
for a PC (USB) drive. The drive will not be detected if it is 4 GB
or 8 GB in size.
When you execute a change in the PC (USB) drive size, the data
CD
of the PC (USB) drive and all song drives will be lost, but the
“User Data” (→p.83, 122) and SYSTEM/MIDI, “Control” tab
page data will be preserved.
(1) Access the SYSTEM/MIDI “DiskUtility” tab page, and
Data
click the Partition button to display the Partition dia-
log box.
(2) Click the PC Drive list button and choose the desired
size for the PC (USB) drive.
Drive
You can also check the size of files in the PC drive, and re-
name or delete them. (→p.92)
(2) USB
1. Specifying the drive size

You can partition the hard disk into as many as four song
drives. You can also change the size of the PC drive.
MIDI
1-1. Partitioning the hard drive into (3)

separate song drives (Partitions)
Upgrading
the system
(3) Execute the change in the PC drive size.

When you partition the hard disk, all data in the song drive area When you click the Yes button a message of “Are You
will be erased. However, and “User Data”(→p.83, 122), SYS- Sure?” will appear; click the Yes button (or press the
TEM/MIDI “Control” tab page data. panel YES key) once again to execute.
(1) Access the SYSTEM/MIDI, “DiskUtility” tab page, When you change the size of the PC drive, a warning dialog box
Recovery
and click the Partition button to display the Partition will appear if the drive contains even one song for which Protect
CD
dialog box. is turned on. (→p.120)
(2) Click the Partition list button and select the number of When you change the size of the drive, the entire hard drive
hard disk partitions you wish to create. will be erased, including all data on the song drives and PC
calibration
ClickPoint
drive.
When the operation has been completed, the display will in-
dicate “Completed”, click the OK button (or press the panel
YES key) to return to the “DiskUtility” tab page.
89
2. Renaming a song drive
Here’s how you can check the capacity of each song drive,
and rename a song drive.
You can also rename a song drive in the Select Drive dialog box
that appears when you click the Drive button in the SelectSong
or Album CD Project dialog box.
(1) Access the SYSTEM/MIDI, “DiskUtility” tab page. If a message such as “Repaired successfully.,” Drive Error
(2) Click the Drive Info button to display the Drive Infor- occurred.,” or “Repaired, but some audio data was lost.” ap-
mation dialog box. pears, refer to “Various messages” (→p.168).
For each drive, the dialog box displays the total capacity,
song drive name, used area, and free area.
(3) If you want to rename a drive, select that drive in the
song drive list, click the Rename button, and rename it
4. Formatting the hard disk
in the Rename dialog box (→p.36). Perform this procedure if you want to erase data from an en-
For details on the file names you can use, refer to “More tire song drive or the PC drive, or if the “Drive Error oc-
about drives and files” (→p.171). curred.” display appears frequently and checking the hard
disk does not improve the situation. You can format the song
drive and PC drive together in a single operation, or format
them separately.
When you execute the Format operation, all data on the selected
song drive or PC drive will be erased. Be sure to check the contents
of the drive before you format it.
If a power failure or similar accident occurs during the formatting
process, it is possible that the D3200 will no longer operate cor-
rectly. If this occurs, please contact your Korg distributor.
(1) Access the SYSTEM/MIDI, “DiskUtility” tab page,
and click the Format button to display the Format dia-
log box.
(2) Click the “Drive” popup button, and select the drive
that you want to format.
3. Checking the hard disk A...D: the specified individual song drive
PC: the PC drive
This operation finds and fixes errors on a song drive of the A–D: all song drives
hard disk. Perform this operation if “Disk too busy.” errors ALL: the entire hard disk
still appear even after you have executed the Optimize track
(3) Select the desired method.
editing operation. After you perform this operation, if the
“Disk too busy” error messages no longer appear, then, you Quick: Use this when you want to erase the data saved in
will still be able to use the song data. an individual song drive or the PC drive. This op-
eration will take only a short time.
You cannot check the PC drive.
ALL → approximately 7 seconds: 40 GB
(1) Access the SYSTEM/MIDI, “DiskUtility” tab page, Full: Use this if the “Drive Error occurred” error mes-
and click the Check Drive button to display the Check sage occurs frequently, or if error messages ap-
Drive dialog box. pear even after you perform the “Check Drive”
(2) Click one of the Area list buttons to specify the area operation. This operation will take a long time to
that you want to check. be completed.
ALL → approximately 7 hours: 40 GB
Current Song
Check and repair the area used by the currently
selected song.
Unused
Of the unused area, check and repair the next 2 GB
that will be used.
Current Partition
Check and repair the area of the currently selected
song drive (partition).
All Partitions
Check and repair all partitions and the area used by
the system.
(3) Execute the check.
• Click the Yes button (or press the panel YES key) to
(4) Click the Yes button (or press the panel YES key). The
begin checking.
display will ask “Are You Sure?” To execute the opera-
• If you want to stop mid-way through the check, click tion, click the Yes button (or press the panel YES key).
the Cancel button (or press the panel NO key).
• If you decide not to format, click the No button (or
• When the operation is completed, the display will press the panel NO key).
• Formatting will erase all data from the selected drive.
the panel YES key).
90
• When the operation is completed, the display will
7. Drive capacity
Locate
Song,
the panel YES key). This section explains how you can make the best use of the
When you execute formatting, a warning dialog box will appear if D3200’s song drive capacity. For explanatory purposes, we
the drive contains even one song for which Protect is turned on. will assume that you have recorded a song with the follow-
(→p.121) ing structure.
Mixer
Intro A B Break Solo Ending
5. Load system The Edit Track operation described here does not need to be per-
This lets you easily update the operating system of the formed often. It is sufficient to perform this operation when the
Effects
D3200. For the update procedure, refer to “Upgrading the “Disk too busy.” indication appears, or when you want to recov-
system” (→p.96). er disk drive capacity after completing a song.
1. You began recording on track 1 from the beginning of
the song, and only played during the Intro, Break, and
Drums™
Session
6. Creating a system recovery Ending on the first take.
CD Intro Silence Break Silence Ending
The D3200’s system is stored on the hard disk. At start-up,
Recorder
In this case, silence (actually, noise-level sound) will
the system is loaded into the system area, and then begins
have been recorded in the A, B, and Solo sections of track
running.
1, unnecessarily using up valuable drive space.
If the hard disk should fail, it is possible in the worst case that
the system will become incapable of starting up.
To keep only the audio data that you are actually
As a safeguard against such emergencies, we suggest that
you create a system recovery start-up CD. using
Operation
Execute the TRACK “EditTrk” tab page “Erase Silence”
(1) Access the SYSTEM/MIDI “DiskUtility” tab page, and
command on track 1 for the region between the beginning
click the Save System button to open the Save System
and end of the song.
dialog box.
This will cause audio data to be preserved only for the actu-
ally-used regions, so that only the intro, break, and ending
will occupy drive space.
Intro Data exists Break Data exists Ending
CD
IN OUT
“OptimizeTrack”
(2) Insert a disc into the CD-R/RW drive.
Data
Use a blank disc. After execution
You must use a blank disc to create a system recovery disc.
You cannot create a system recovery disc using a disc that al- Intro Data erased Break Data erased Ending
ready contains data.
2. You began recording on track 1 from the beginning of
Drive
(3) Click the Yes button (or the panel YES key) to begin
creating the system recovery disc. the song, and played the Intro, A, B, and Break during
If you decide not to create a recovery disc, click the No the first take, and then recorded a second take, over-
button (or press the panel NO key). writing the original A and B with A’ and B’.
(4) When the recovery disc has been created, the display
will indicate “Completed”; click the OK button (or USB
1st take Intro A B Break
Recorded second take

MIDI
1st take Intro A B Break

A' B'
2nd take
Upgrading
the system
In this case, A and B of the first take remain “beneath” A’

and B’ of track 1, in order to preserve the data for Undo
and also because they are a continuous piece of audio
data with the Intro and Break. This means that Intro,
A+A’, B+B’, and Break are all occupying disk space.
Recovery
CD
calibration
ClickPoint
91
To erase A and B that remain from the first take, and 8. PC drive
recover disk space
Execute the TRACK “EditTrk” tab page “OptimizeTrk” (op- The PC drive is an area used to share data with your compu-
timize) command on track 1 for the region between the be- ter. Its size may be set to 2, 4 or 8 GB (→p.89 “1-2. Specifying
ginning and end of the song. the PC drive size”).
When this is executed, only the audio data of the Intro, 2nd You can use the SYSTEM/MIDI, “PC File” tab page com-
take of A (A’), 2nd take of B (B’), and the Break will be kept. mand to check, rename, or delete files on the PC drive.
This means that the 1st take of A and 1st take of B data will The PC drive contains the following folders, which contain
no longer occupy disk space. the following files.
• BACKUP folder: backup files
• WAV folder: audio files in WAV format
Intro A B Break • D3200 folder:
A' B'
This folder contains system files for updating the
IN OUT system.
“OptimizeTrack”
Intro Break
A' B'
3. You recorded A and B on track 1 as the first take. As the

second take, you overwrite-recorded the Intro, A’, B’,
and Break.
A B
1st take
1st take
Checking, renaming, or deleting files
2nd take Intro A' B' Break You can check the size, rename, or delete files that are on the
PC drive.
In this case, the first take A and B remain “beneath” A’ (1) Access the SYSTEM/MIDI, “PC File” tab page.
and B’, but since the audio data of take 1 is not used at To move to a lower level, select a folder and click the
all once you finished recording take 2, there is no need to Open button.
execute the optimize command. To return to the next upper level, click the Close button.
(2) To rename a file, select the file, click the Rename but-
Deleting the Undo data ton, and rename the file (→p.36).
Even if you use the drive space efficiently as described above For details on the file names you can use, refer to “More
( ), the old data will be kept on the drive for use by the about drives and files” (→p.171).
Undo function. (3) To delete a file, select the file and click the Delete but-
To delete this undo data, either click the Clear button in the ton.
“Undo/Redo” tab page (→p.141), or put the D3200 in stand- • The display will ask “Are You Sure?” Click the Yes
by mode (shut down). After restarting, all undo data will be button (or press the panel YES key) to delete the file.
deleted, recovering free space on the drive.
• If you decide not to delete the file, click the No button
Be aware that restarting the D3200 will delete the undo data
of all the songs.
• When the file has been deleted, the display will indi-
cate “Completed.” Click the OK button (or press the
Sharing event data panel YES key).
If you use the Copy Track operation to copy track data to an-
other track (e.g., virtual track) or another song, this audio
data will be shared, so that the drive capacity will not de-
crease. However if you execute the Optimize Track operation
on the copy-destination or copy-source track, new audio data
will be created, and this will mean that a greater amount of
drive capacity will be used than before the operation was ex-
ecuted.
In the case of 2 above, if you copy the first take to another
track before you record the second time, then executing the
Optimize Track operation will not delete the “A” and “B” re-
gions of the first take, and new audio data for the “Intro” and
“Break” regions will be created, meaning that a greater
amount of drive capacity will be used.
92
(5) Use your computer to save the data.
USB When you open the “KORG D3200” drive that appeared
Locate
Song,
in step (4), you will see the contents of the PC drive area
USB stands for Universal Serial Bus, and is an interface for within the D3200’s internal hard disk.
transferring data between a computer and peripheral devic- Copy the desired data onto your computer. You may
es. also copy data from your computer back to the D3200’s
Mixer
PC drive.
USB peripheral devices such as hard drives or CD-R/RW drives
cannot be connected to the D3200.
The D3200 has a USB connector which can be connected di-
rectly to your computer, allowing you to save data from the
Effects
PC drive to your computer, or load data from your computer
to the PC drive.
1. Saving/loading
Drums™
Session
Do not format the D3200’s PC drive from your computer. The
D3200’s PC drive may be formatted only by the D3200 itself
(→p.90). (6) Disconnect the D3200 from your computer.
Left-click the ( ) icon that is displayed in the right side
Recorder
of your computer’s taskbar.
Windows users (Windows Me/2000 or later)
In order to use the D3200 with Windows 98, you must install
a device driver. For details on obtaining and installing the
device driver, refer to the Korg website (http://www.ko-
(6)
rg.com).
Operation
The computer screen will differ depending on your system. The
screens shown here are for Windows XP. From the menu that appears, left-click “Stop USB disk
drive (KORG D3200).” Verify that you see a message of
(1) Use a USB cable to connect the D3200 to your compu- “Safely remove USB Mass Storage Device.”
ter. Click the Exit button of the USB Slave Mode screen.
Connect the USB cable from your computer to the After you have exited USB Slave mode, unplug the USB
D3200’s USB connector. Make sure that the connector is cable from the D3200.
oriented correctly, and press it all the way in.
If you are using Windows Me, “USB high capacity storage de-
Before you make this connection, turn on your computer and
CD
vice” will be displayed as “USB disk.”
start up the operating system.
(2) Access the SYSTEM/MIDI, “PC File” tab page. Macintosh users (Mac OS9.0.4 or later)
(3) Click the USB Mode button to display the USB Slave (1) Use a USB cable to connect the D3200 to your compu-
Data
Mode dialog box. ter.
Do not disconnect the USB cable or turn your computer on/ Connect the USB cable from your computer to the
off while this screen is displayed. D3200’s USB connector. Make sure that the connector is
oriented correctly, and press it all the way in.
(2) Access the SYSTEM/MIDI, “DiskUtility” tab page.
Drive
(3) Click the USB Mode button to display the USB Slave
Mode dialog box.
Do not disconnect the USB cable or turn your computer on/
off while this screen is displayed.
(4) A drive named “KORG D3200” will appear on the USB
desktop of your computer.
When you connect the D3200 to your computer for the first
time, a device driver will be installed.
MIDI
(5) Use your computer to save the data.

When you open the “KORG D3200” drive that appeared
in step (4), you will see the contents of the PC drive area
(4) A drive named “KORG D3200” will appear on your within the D3200’s internal hard disk. Copy the desired
Upgrading
the system
computer. data onto your computer. You may also copy data from
When you connect the D3200 to your computer for the first your computer back to the D3200’s PC drive.
time, a device driver will be installed. (6) Drag the added drive into the trash.
When you want to disconnect the D3200, either drag the
drive from the desktop into the trash, or select the “File”
Recovery
menu command “Put Away.” Click the Exit button of the

CD
USB Slave Mode screen to exit USB Slave mode, and

then unplug the USB cable from the D3200.
calibration
ClickPoint
93
MIDI 3. Using MIDI
MIDI stands for Musical Instrument Digital Interface, and is Controlling the D3200 from a MIDI sequencer
a world-wide standard used to exchange performance data You can use MMC messages transmitted and received from
between electronic musical instruments and computers. a MIDI sequencer to control D3200 operations such as stop,
play, record, and locate.
You must use a sequencer that supports MMC. These operations
1. MIDI connections cannot be performed from a sequencer that does not support
MMC.
Use only MIDI cables to transfer MIDI data. Connect these (1) Use a MIDI cable to connect the two devices.
cables between the MIDI connectors of the D3200 and the Use MIDI cables to connect the MIDI IN connectors and
MIDI connectors of the external MIDI device with which you MIDI OUT connectors of the D3200 and your MIDI
want to transfer data. sequencer to each other.
MIDI IN connector (2) Adjust the settings on your MIDI sequencer.
Receives MIDI messages from another MIDI device. Set your sequencer to transmit MMC and to receive
Connect this to the MIDI OUT connector of the external MTC (MTC Slave). For details, refer to the owner’s man-
device. ual of your MIDI sequencer.
MIDI OUT connector
(3) Turn on MMC reception.
Transmits MIDI messages from the D3200. Connect this
In the SYSTEM/MIDI, “MIDI/MMC” tab page, set
to the MIDI IN connector of the external device.
“MMC Mode” to “Receive,” and set “MIDI Sync” to
“MTC Master.”
MIDI channel settings
(4) Set the device ID to match.
MIDI uses sixteen channels (1–16) to independently convey Set the “Device ID” to match the MMC device ID of
data to multiple MIDI devices. If the transmitting device is your MIDI sequencer.
sending data on MIDI channel “1,” the receiving device must
also be set to MIDI channel “1” in order to receive this data. If you leave the “Device ID” set to 127, MMC commands
(→p.125 “3. Global Ch”) can be exchanged with any device.
2. MIDI messages used by the

D3200
Note On (Note, velocity), aftertouch, pitch-bend:
The D3200 uses these messages to control effects.
Program change:
The D3200 uses these messages to switch scenes.
Control change:
The D3200 uses these messages to control mixer and
effect parameters.
MMC (MIDI Machine Control):
MMC messages can be transmitted from the D3200 to (5) Operate your external MIDI sequencer.
control an external MMC-compatible sequencer or When you perform stop, play, record, and locate opera-
recorder. MMC messages received from an external tions on your MIDI sequencer, the D3200 will be control-
sequencer or recorder can be used to control the D3200. led. (For details, refer to the manual of your MIDI
MTC (MIDI Time Code): sequencer.)
The D3200 can transmit or receive MTC messages to
synchronize with an external sequencer or recorder.
MIDI Clock:
The D3200 can transmit MIDI Clock. It can also receive
MIDI Clock if you have selected MIDI Clock for the
tempo track and are recording the tempo track.
About the MIDI implementation chart

The owner’s manual of each MIDI device includes a MIDI
implementation chart. This chart shows the types of MIDI
message that the device can transmit and receive. When us-
ing two MIDI devices together, compare their MIDI imple-
mentation charts to verify that the devices will be able to
communicate as you expect.
* A detailed explanation of the D3200’s MIDI functionality can be
found in the separate MIDI implementation. Consult your local
Korg distributor for more information on MIDI Implementation.
94
Synchronizing two D3200 units (5) Begin recording.
Press the D3200’s PLAY key to begin playback, and the
Locate
Song,
Here’s how you can make two D3200 units play back in sync.
One D3200 will be the MTC master, and the other will be the external MIDI sequencer will begin synchronized
MTC slave. recording. Now if you operate the mixer parameters
(faders, pan, EQ etc.), the corresponding control change
(1) Use a MIDI cable to connect your equipment. messages will be transmitted from the D3200 and will be
Use MIDI cables to connect the MIDI IN connectors and
Mixer
recorded on the external MIDI sequencer.
MIDI OUT connectors of the master and slave D3200
units to each other. (6) Stop the D3200.
When you press the D3200’s STOP key to stop playback,
(2) Make settings on the master D3200. the external MIDI device will also stop recording. The
In the SYSTEM/MIDI, “MIDI/MMC” tab page, set D3200’s mixer parameter operations have now been
Effects
“MIDI Sync” to “MTC Master,” and set “MMC Mode” recorded on the external MIDI device.
to “Receive.”
For this example, set “Device ID” to “10.” Receiving the mixer operations recorded above in “i.e.
Recording D3200 mixer operations ...” from your exter-
(3) Make settings on the slave D3200.
nal MIDI sequencer to control the D3200 mixer
Drums™
In the SYSTEM/MIDI, “MIDI/MMC” tab page, set
Session
“MIDI Sync” to “MTC Slave,” and set “MMC Mode” (1) Use a MIDI cable to connect the two devices.
to “Transmit.” Set “Device ID” to “10” to match the set- Use MIDI cables to connect the MIDI IN connectors and
ting of the master device. MIDI OUT connectors of the D3200 and your MIDI
sequencer to each other.
If you don’t want to transmit or receive mixer control messag-
Recorder
es, disable control change transmission and reception (2) Adjust the synchronization settings on the D3200 and
(→“Using MIDI to control the mixer”). on your external MIDI sequencer.
Access the SYSTEM/MIDI, “MIDI/MMC” tab page,
(4) Press the PLAY key of the slave D3200 unit.
and set “MIDI Sync” to “MTC Master.”
An MMC message will be transmitted from the slave
Set your external MIDI sequencer to function as MTC
D3200 unit. The master unit will receive this message,
Slave. (For details, refer to the manual of your MIDI
and will start playing. When playback begins, the master
Operation
sequencer.)
unit will transmit MTC, and when the slave unit
achieves synchronization, it will begin playback. (3) Enable control change reception on the D3200.
It may take several seconds for synchronization to be • In the SYSTEM/MIDI, “MIDI/MMC” tab page, turn
achieved. the “MIDI” parameter “Control Change” to turn it
on.
The D3200 supports multiple frame rates. The transmitting
and receiving devices must both be set to the same frame rate.
• In the SCENE, “Automation” tab page, click “Auto-
mation” to turn it off.
Using MIDI to control the mixer (4) Press the D3200’s PLAY key.
CD
When the D3200 starts playing, your external MIDI
Recording D3200 mixer operations on your external MIDI sequencer will also begin playing in synchronization.
sequencer The previously-recorded mixer operation data will be
(1) Use a MIDI cable to connect the two devices. transmitted from the MIDI sequencer, causing the set-
Data
Use a MIDI cable to connect the D3200’s MIDI OUT tings of the D3200’s mixer to change.
connector to the MIDI IN connector of your external
MIDI sequencer.
(2) Adjust the synchronization settings on the D3200 and
on your external MIDI sequencer.
Drive
Access the SYSTEM/MIDI, “MIDI/MMC” tab page,
and set “MIDI Sync” to “MIDIClockMaster” or “MTC
Master.”
Adjust the synchronization settings on your external
MIDI sequencer as well. (For details, refer to the manual
USB
of your MIDI sequencer.)
(3) Enable control change transmission on the D3200.
• In the SYSTEM/MIDI, “MIDI/MMC” tab page, click
the “MIDI” parameter “Control Change” to turn it
MIDI
on.
• If you want scene change data and mixer parameter
changes created by event automation playback to be
transmitted, turn the SCENE, “Automation” tab page
Upgrading
the system
“Automation” parameter on, and also click the SYS-

TEM/MIDI “MIDI/MMC” tab page “MIDI” “Pro-
gram Change” parameter to turn it on.
(4) Put the external MIDI sequencer in record-ready
mode.
Recovery
The D3200’s mixer control data is transmitted on MIDI

CD
channels 1–16. Set your external MIDI sequencer so that

it will record all sixteen MIDI channels. (For details, refer
to the manual of your MIDI sequencer.)
calibration
ClickPoint
For details on the parameters, refer to the MIDI implementa-

tion. Consult your local Korg distributor for more informa-
tion on MIDI Implementation.
95
Upgrading the system Using a recovery CD to
recover the system
1. Downloading the operating If for some reason the system is no longer able to start up nor-
mally, you can recover the system using the CD you created
system in “6. Creating a system recovery CD” (→p.91).
The most recent operating system can be downloaded from
the Korg website (http://www.korg.com). For details on the Preserving non-system data when you recover
procedure, refer to the Korg website. If you recover the system using the following procedure,
data other than the system data will be preserved.
Upgrading via CD-ROM/R/RW (1) While holding down the panel PAN key and LOC 2
Insert the media containing the system file into the CD-R/ key, press the power-on key.
RW drive. A message of “System Recovery. Insert System Disk.
Wait CD Mount.” will appear in the screen.
Upgrading via USB (2) Insert the recovery CD you created into the CD-R/RW
Use a USB cable to connect the D3200 to your computer, and drive.
copy the system files to the D3200 folder of the PC drive. Once you’ve inserted the recovery CD, do not eject it until the
system recovery procedure is completed.
(3) The display will indicate “CD Read OK.” and the
2. Upgrading the system recovery procedure will begin automatically.
(4) When the recovery is complete, the display will indi-
(1) Access the SYSTEM/MIDI, “DiskUtility” tab page.
cate “Completed.”
(2) Specify the loading source for the system file.
(5) Click the OK button (or press the panel YES key). The
Click the Load System button to display the LoadSystem
opening screen will appear, and the D3200 will auto-
dialog box. Click either the “CD” or “PC” radio button
matically restart.
to specify the loading source.
When the D3200 has finished starting up, remove the
recovery CD from the CD-R/RW drive.
If an error appears and the recovery is unsuccessful

The procedure described above will recover by overwriting
the system data area of the hard disk. If you are unable to re-
cover successfully by using this method, you’ll have to ini-
tialize the entire hard disk. Be aware that when you execute
the recovery procedure described below, all data on the hard
(3) Click the Yes button (or press the panel YES key) to disk will be erased.
begin the update. (1) Press the power-off key to return to standby mode.
If an unexpected accident such as power failure occurs while (2) While holding down the panel PAN key and LOC 3
updating the system, the D3200 may become incapable of nor- key, press the power-on key.
mal operation. In such cases, please contact Korg distributor. A message of “System Recovery. Insert System Disk.
Wait CD Mount.” will appear in the screen.
(3) The display will indicate “CD Read OK.” Then the
display will indicate “Testing Hard Disk...” and the
hard disk will be formatted.
(4) When the recovery is complete, the display will indi-
cate “Completed.”
(5) Click the OK button (or press the panel YES key). The
opening screen will appear, and the D3200 will auto-
(4) When the upgrade is finished, the D3200 will automat- matically restart.
ically restart using the new system. When the D3200 has finished starting up, remove the
If the upgrade fails, the D3200 will display an message recovery CD from the CD-R/RW drive.
and will not restart. Note the contents of the message
If this procedure is also unsuccessful, please contact your
(→p.168 “Various messages”).
Korg distributor.
96
ClickPoint calibration
Locate
Song,
If the pointer does not move in the LCD screen as you expect,
or if the wrong button or cell is selected when you click the
pointer position in the LCD screen, you can recalibrate the
Mixer
ClickPoint so the LCD screen and the pointer are aligned.
(1) In SYSTEM/MIDI, “Control” tab page, click the Cali-
bration button.
The ClickPoint Calibration dialog box will appear.
Effects
(3)
Drums™
Session
(4)
(2) (2)
Recorder
(3)
Operation
(2) Move the ClickPoint left and right so that the rectan-
gles displayed at the left and right of the LCD screen
are highlighted.
The rectangles will be highlighted when the position has
been detected.
(3) Move the ClickPoint up and down so that the rectan-
gles displayed at the top and bottom of the LCD screen
are highlighted.
CD
been detected.
(4) Click the joy stick without moving it (i.e., in the center
position).
Data
been detected.
(5) Press the panel ENTER key.
Calibration will be completed, and you will return to the
“Control” tab page.
Drive
USB
MIDI
Upgrading
the system
Recovery
Recovery
CD
calibration
ClickPoint
calibration
ClickPoint
97
Reference
Measure display __:__.__ (MBT)
Counter The current location is shown as the number of meas-
ures from the beginning of the song. From the left, this
shows Measures:Beats.Ticks (1/96th beat)
* Maximum value is 99999:03.095 (for a 4/4 time sig-
nature)
Counter display
2. Information display radio buttons
Click the counter button, and select the desired counter dis- These select the information that will be shown in the
play method in the Time Disp Type dialog box. information display.
1 Date Time:
Calendar display, showing the current year/month/
2 4 date and time (hours and minutes).
3 This will be grayed-out if you have not set the date
and time.
Song page Free Time:
4
Meter page Displays the amount of recording time available on
All Channel View 3
the currently selected drive. From the left, this indi-
cates hours, minutes, and seconds.
1. Song display
Scene:
Displays the song drive name, song name, sampling fre-
Displays the currently-used scene name and scene
quency, and bit depth.
location.
2. Information display
Mark:
Displays date, remaining recordable time, scene, mark,
Displays the currently-used mark name and mark
and tempo map data.
location.
If the information display radio buttons in the Time Disp
Type dialog box are set to Date Time, and you have not PatternMap:
set the calendar, the indication is grayed-out to indicate This indicates the drum pattern that is currently being
that it is not valid. used.
3. Counter button 3. Date/Time
Click this to display the Time Disp Type dialog box. Here you can specify the date and time for the D3200’s
internal clock. Songs are managed according to the date
4. Counter display
and time you specify here.
Displays the current recorder location and measure.
Time Disp Type dialog box

3a
3b
1
The Calendar dialog box will appear when you click this
button. To apply the new date and time, click the Yes but-
ton. If you decide not to change the date and time, click
2
the No button. (Alternatively, you can press the panel
YES key or NO key.)
3
3a. Date
This displays (and lets you set) the current date, dis-
played as Month:Date:Year (four digits).
1. Location radio buttons 3b. Time
These select the format and type of units used in the This displays (and lets you set) the current time, dis-
counter display. played in 24-hour time as Hours:Minutes:Seconds.
Time display ____:____:___.___ (HMSm) The date and time are retained when you power-off to the
The current location is shown as absolute time from Standby mode. However, when you turn off the main power
the beginning of the song. From the left, this shows switch, you’ll have to reset them.
Hours: Minutes: Seconds. milliseconds (1/1000 sec-
onds).
* Maximum value is 23:59:59.999
Frame display ___:___.___.__F (HMSF)
The current location is shown as absolute time and
frames from the beginning of the song. From the left,
this shows Hours: Minutes: Seconds. Frames (the
“Frame Rate” setting of p.125).
* Maximum value is 23:59:59.29F (when using 30
frames/second)
98
Rename
METER Counter
Rename 1. METER
Editing a name Meter/Track View

When the Rename button is displayed in a parameter setting Here you can view level meters for tracks 1–16 or 17–32 and
MIXER
tab page (such as Song, Track, Effect, Scene), you can click the various line signals, the audio events in each track, the locate
button to edit the corresponding name. points (IN, OUT, TO, END), and a list of the virtual tracks.
Alternatively, you can choose an appropriate name from the You can also change the “Meter/Track Type” setting to
VIEW
CH
name library and then edit it. switch the type of level meters. You can choose “FaderView”
Highlight the name you want to edit, and click the Rename to see the fader and pan values, or “AllMeterView” to see
button. The Rename dialog box will appear, allowing you to level meters for tracks 1–32 and for each line signal.
EFFECT
edit the name. You can input a name of up to sixteen charac-
ters. Certain limitations apply to the backup or export filena- TrackView
me (→p.172). 1
SEND
Moves the highlighted cursor left or right in the 2
rename box
EQ
Inserts a space at the highlighted area
Switches between uppercase and lowercase char-
acters
PAN
3 5
Deletes the character at the highlighted area
Inserts a blank at the right of the highlighted area
TRACK SYSTEM SONG

4
Erases all characters in the rename box
6
OK Finalizes the name that you input
/MIDI
1. Display select button
Cancel Discards the name that you input
Click this button to display the Meter/Track Type dialog
0…9, A…Z/…@ box, where you can select the information you want to
Inputs the numeral, character, or symbol at the view. Click the OK button (or press the panel YES key) to
highlighted location apply your selections, or click the Cancel button (or press
the panel NO key) to discard them.
Rename button List button
CD
Reference
1a
1b
1c
Using the name library 1a. Select Level Meter Position UNDO
STORE SESSION TUNER
When you click the list button beside the name, the name li- [CH-Input, PreFader, PostFader]
brary will appear. Use the scroll bar to display the name you CH-Input: Displays the input level of each mixer chan-
SCENE DRUMS
want to use, and click that name to input it in the list box. nel
For details on the name library, refer to “Name Library List” PreFader: Displays the pre-fader level of each mixer
(→p.177). channel
PostFader: Displays the post-fader level of each mixer
channel
MARK
1b. Peak Hold Time [0…8s, ∞]

Specifies the amount of time that peaks will continue
to be displayed in the level meter.
Transport REC/PLAY LOC 1/IN ... SCRUB
0…8s: 0–8 seconds

∞: Continue holding the peaks
This setting applies to the level meters in each page.
MODE LOC 4/END
Name library
keys
99
1c. Select View
[TrackView, FaderView, AllMeterView]
Changes the content of the meter display.
2. MIXER
TrackView: Shows the level meters, existence of audio Here you can adjust the settings for the mixer section.
events, and a list of virtual tracks When you press the MIXER key, the MIXER page jump
FaderView: Shows the level meters, and fader/pan/ menu screen will appear.
channel-on status of each track Click the menu button that contains the parameters you want
AllMeterView: Level meters for all channels, inputs 1– to edit.
12, AUX, EFFECTR, RETURN, MONI- To return to this page jump menu screen, press the MIXER
TOR, and MASTER key.
Press the MIXER key once again to return to the page you se-
2. Level meters lected in the page jump menu.
These display the levels of the channels, sends, and mon- Of these pages, you can use the SEND, EQ, and PAN keys lo-
itor signals etc. cated at the left of the control knobs to access the SEND, EQ,
3. Track view window and PAN pages.
In each track, regions that contain audio data are dis-
played in black.
The vertical line indicates the current location.
The top portion shows the locate points (→p.37).
IN: OUT: TO: END: a d
4. Time location display
This bar indicates the entire song from the zero point to b e
the end point. This gives a relative indication of the cur-
rent location. c f
5. Track status window
g
This area shows the name of each track and the status of
its virtual tracks. Virtual tracks displayed in black are
currently in use.
6. Scale buttons a. CH INPUT/SubMixer button
Use these buttons to magnify or shrink the area dis- Opens the CH INPUT/SubMixer page mode screen. (see
played in the track view window. below)
b. PAIR/GROUP button
FaderView Opens the PAIR/GROUP page mode screen. (→p.102)
1 c. FADER/PAN/AUTOMATION button
2 Opens the FADER/PAN/AUTOMATION page mode
screen. (→p.103)
d. EQ/ATT/PHASE button
7 Opens the EQ/ATT/PHASE page mode screen. (→p.107)
e. SEND (EFF/AUX/REC) button
Opens the SEND (EFF/AUX/REC) page mode screen.
(→p.109)
8
f. SOLO/MONITOR button
Opens the SOLO/MONITOR page mode screen.
7. Name window (→p.110)
This displays the names of each track and of the master g. MIXER SETUP button
effects. Opens the MIXER SETUP page mode screen. (→p.111)
8. Pan/Fader view
Here you can view and edit the following parameters.
Faders, CH ON, pan, EFF 1/2 Return Level, EFF 1/2
Return Balance
AllMeterView
1
2
100
Rename
METER Counter
2a. CH INPUT/SubMixer 2a-2. Sub Mixer 1–4
These settings allow you to use the inputs as “sub inputs” for
inputting the return from an external effect to the INPUT 1/
GUITAR IN–INPUT 4 jacks, or so that the sound of an instru-
2a-1. Channel Assign ment connected to these jacks can be mixed with the track
MIXER
Here you can specify the input for each mixer channel 1–32. playback. (→p.44)
After completing a song on the D3200, you can synchronize
When you select a digital input such as S/P DIF, noise may occur a sequencer to the D3200 and use sub inputs to mix the se-
if the digital data is not synchronized. You should turn down these quenced sounds with the track playback of the D3200.
VIEW
CH
faders or turn down the volume of your monitor system before you
These inputs are sent to the master bus.
change these settings.
Use the AUX jack to transmit the effect send to your external ef-
EFFECT
fect processor. (→p.109)
SEND
1
1
EQ
2 8
3
4
5
PAN
6
7
TRACK SYSTEM SONG

2
1. CH1…32 [1…12, S/P DIF L, R, Rhythm L, R]
1. HIGH.G [–15 dB…+15 dB]
/MIDI
The number of assignable channels will depend on the sam-
Sets the high-frequency gain of the sub input.
pling rate and bit depth of the current song (→p.117).
2. HIGH.Fc [21 Hz…20.1 kHz]
Select a channel icon “CH1”–“CH32,” and then select the Sets the cutoff frequency at which the shelving-type EQ
source that will be input to this channel. will adjust the high-frequency range of the sub input.
The icon will be highlighted if the channel status is set to
Record (REC). 3. LOW.G [–15 dB…+15 dB]
Sets the low-frequency gain of the sub input.
CD
INPUT 1…12: … 4. LOW.Fc [21 Hz…20.1 kHz]
The analog signal from an instrument etc. connected Sets the cutoff frequency at which the shelving-type EQ
to the INPUT 1/GUITAR IN–INPUT 12 jacks will be will adjust the low-frequency range of the sub input.
input to the mixer channel.
Reference
5. PAN [L63…C…R63]
S/P DIF L, R: , Sets the panning at which the sub input will be sent to the
The digital signal from a device (e.g., DAT) connected master bus.
to the S/P DIF IN jack will be input to the mixer chan- 6. ON [ON, OFF]
nel. Specifies whether the sub input will be sent to the master
bus (ON) or not (OFF).
Drums L, R: ,
7. Level [0…100]
UNDO
The pattern you selected for “Session Drums” will be
input to each channel. If the “Drums Track Mixer” Specifies the level at which the sub input is sent to the
parameter “Assign” is set to “CH Input” and the master bus.
STORE SESSION TUNER

Click Monitor button is on, you can record while lis- 8. Level meter
tening to the rhythm (→p.143). Indicates the level of the master bus.
2. buttons
SCENE DRUMS
Use these up/down buttons to select the INPUT source.

2a-3. Sub Mixer 5–8
inputting the return from an external effect to the INPUT 5–
INPUT 8 jacks, or so that the sound of an instrument connect-
ed to these jacks can be mixed with the track playback.
MARK
(→p.44)
For the parameters, refer to the preceding section “2a-2. Sub
Mixer 1–4.”
MODE LOC 4/END
2a-4. Sub Mixer 9–12

inputting the return from an external effect to the INPUT 9–
INPUT 12 jacks, or so that the sound of an instrument con-
nected to these jacks can be mixed with the track playback.
(→p.44)
keys
For the parameters, refer to the preceding section “2a-2. Sub

Mixer 1–4.”
101
2b. PAIR/GROUP 2b-2. Fader Group
When you operate the fader of any channel that is assigned
to a group, the other faders assigned to that group will also
move, preserving the balance of the linked channels.
There are four groups, A through D. Each channel can be as-
2b-1. Channel Pair signed to only one of these Fader groups.
Here you can specify pairing for adjacent mixer channels.
For paired channels, the following parameters will operate in
tandem and will have the same values for each channel.
Fader, Pan, CH ON, PlayEQ, RecEQ, RecSend, Eff 1/2
Send, Aux 1/2 Send, ATT, REC/PLAY, Group
1
1 2
1. Group buttons [A, B, C, D]

These buttons select the fader group for each channel. To
2 select the group, click the corresponding button (it will be
highlighted).
Use the scroll bar/button to move the range of channels
that is displayed.
1. Select Pair Ch [1 2…31 32] 2. Group on buttons [A, B, C, D]
Click the 1 2–31 32 buttons to select the channels that Click (highlight) this if you want to enable a fader group.
are paired (the heart icon will be displayed for paired If a button is clicked (highlighted), the fader levels will
channels). maintain the balance between channels as they are
2. PanMode [Indiv, Sync, Cross, Balance] adjusted.
Select how panning will occur.
When you turn on a 1. “Group button” to add a channel to an
Indiv: The pan of the two channels will operate inde- existing fader group, the level of the channel at that moment
pendently. will be set as that fader’s balance in the group.
Sync: The pan of both channels will be the same value.
Cross: The two channels will have the opposite pan val-
ue. 2b-3. Channel On Group
Balance: The pan control will function as channel balance.
When you turn on the CH ON key of a channel that has been
assigned to a Channel On group, other channels assigned to
Operation when tracks 1 and 2 are paired that group will also be turned on. There are four Channel On
Indiv Sync Cross groups; E through H. Each channel can belong to no more
than one of these Channel On groups.
1 2 1 2 1 2
Pan 1 and 2 can be Sync If pan 1 is Cross If pan 1 is

set independently. R63, pan 2 will also L63, pan 2 will be
be R63. R63.
Balance 1
Balance Pan knob 1 operates

as the Balance knob.
1 2 Pan knob 2 has no effect.
1. Group buttons [E, F, G, H]

These buttons select the CH ON group for each channel.
To select the group, click the corresponding button (it will
be highlighted).
Use the scroll bar/button to move the range of channels
that is displayed.
2. Group on buttons [E, F, G, H]
To enable CH ON grouping, click the corresponding but-
ton (highlighted). If these buttons are clicked, the faders
will move to preserve the balance of the group when you
operate any fader in that group.
When you turn on a 1. “Group button” to add a channel to an
existing Channel On group, the on/off status of the channel at
that moment will determine the on/off status for the group.
102
Rename
METER Counter
2c. FADER/PAN/AUTOMATION 2c-2. Automation
You can turn automation on and record the realtime changes
you make to the mixer settings while the song plays or
records.
2c-1. Fader Pan The recorded automation can then automatically change the
MIXER
mixer settings during playback or recording.
VIEW
CH
1
1 4
EFFECT
3
2 5
6
1
SEND
7
2
2 4 8
3
EQ
1. Channel pan [L63...C...R63]
PAN
This shows the pan setting for each channel. The value is 1. Record channel buttons [ , s]
shown below the icon. Use these buttons to select the channels for which you
Use the 1–16 key or 17–32 key to switch between channel want to record automation. Events will be recorded for
TRACK SYSTEM SONG

groups, and use the Knob Matrix to set the pan for each each channel whose button you click to make it indicate
group of sixteen channels. (Rec) .
2. Channel fader [–∞…+6] 2. Record parameter buttons
/MIDI
This shows the fader setting for each channel. The value [Fader, Pan, CH ON, Send, Expression]
is shown below the icon. Use these buttons to select the parameter for which you
Use the 1–16 key or 17–32 key to switch between channel want to record automation. You can select only one
groups, and use the sixteen faders to set the value. parameter at a time; click a radio button to highlight the
3. Level meter desired parameter.
This indicates the master L/R output level. If you’ve selected Send, the parameter that is selected in the Send
CD
4. Master fader [–∞...+0] cell (EFF1, EFF2, AUX1, AUX2) when you begin recording will
This indicates the MASTER fader setting. The numerical be recorded as automation. However, “6. SnapShot” will record
value is shown below the icon. all Send parameters.
If you select Expression, click the button located at the side to
Reference
select (Rec) before you start recording.
3. Master Fader [ , s]
If you selected “Fader” as the record parameter, and you
want to record the operations of the MASTER fader as
well, click this button to make it indicate “ ” (Rec).
4. Automation
UNDO
This button turns automation playback/recording on/off.
OFF: Automation playback/recording will not occur.
On (Play): Executes automation playback. The Automa-
STORE SESSION TUNER
tion indicator will light.
During song playback or recording, when the song
reaches the location at which an event is recorded, that
SCENE DRUMS
setting will be recalled, automatically changing the set-
tings of the mixer. New automation events will not be
recorded.
ON (Rec): Executes automation playback and event
recording. The Automation indicator will light.
During song playback or recording, when the song
MARK
reaches the location at which an event is recorded, that

setting will be recalled, automatically changing the set-
tings of the mixer. In addition, new events will be
recorded for channels whose record channel button is set

to (Rec), according to the settings of the Event Rec
Mode dialog box. When the recorder stops, this setting
MODE LOC 4/END
will automatically change to ON (Play).

If automation is on and you have not stored any scenes, the
Default Scene will automatically be selected. If you want to
edit scene-related parameters, be sure to store the scene.
keys
103
5. Mode
When you click this button, the Event Rec Mode dialog 2c-3. Event List
box will appear, allowing you to select the automation
Here you can view or edit the events and scenes that you re-
recording method. Click the OK button (or press the
corded using automation.
panel YES key) to apply your selection, or click the Can-
cel button (or press the panel NO key) to cancel it.
1
2 4
5a 5
6
3 7
5b
8
9
1. Set View
Click this button to open the Set View dialog box. Click
5a. Recording mode
the OK button (or press the panel YES key) to apply your
Overwrite: Automation data will be overwritten from
selections, or click the Cancel button (or press the panel
the point you begin playing/recording the song until
NO key) to cancel them.
the point where you stop. If you do not record events,
all the previously-recorded events will be erased.
Punch Write: Parameters you adjust between the In
Time (the location where you begin recording events)
and Out Time (the location where you stop) will be
recorded.
5b. In Time, Out Time 1a
If the recording mode is “Punch Write” and you
selected a parameter other than Fader as the parame-
ter to be recorded, these settings specify the locations
at which event recording will begin and end. 1b
6. SnapShot
Clicking this button when “4. Automation” is on and the
recorder is stopped will record a “snapshot” of events for
channels whose record channel button is set to (Rec).
1a. Event View Source
7. Undo Click a radio button to choose the parameter that will
Click this if you want to revert the recorded automation appear in the event view.
to its prior state. You can revert to the state prior to the
1b. Time Resolution/dot [0.05, 0.1, 0.2, 0.5, 1sec]
previous operation. If the button indicates Redo, you can
Specify the range that will appear in the event view.
use it to cancel the Undo.
The range shown will be the time you specify here
You can use “2c-3. Event List” to make detailed changes to the × 192.
recorded events.
2. Event view
This data is held in common with the “8. Undo” data of “2c-3. This area shows the events of the source you selected in
Event List.” If you press the Event List’s Undo button imme- Set View.
diately after recording automation, not the most recent event
3. Event list
edit but the previously-recorded automation will be erased.
Displays the events selected in the “9. Select List.” To edit
8. Free event memory amount an event, select (highlight) it by clicking it in the list.
This indicates the amount of remaining memory in which
4. Edit
you can record events.
Click this button to open the Edit Event dialog box.
4a
4b
4a. Event select button

Use this to select the event you want to edit. Click this
button and use the value dial (or +/– keys) to make
your choice.
104
4b. Parameter/Parameter value [MIDI value]/Location
Rename
METER Counter
Click the parameter or location (highlight) that you 2c-4. Edit Scene
want to edit, and use the value dial (or +/– keys) to
The mixer settings you adjust can be stored as a “scene” at a
edit it.
desired location, and automatically recalled during playback
The only way to edit a scene is to change its location.
to change the mixer settings (when the “2c-2. Automation”
The values will not be updated until you click the OK
setting “Automation” is on). You can also recall a scene
button (or press the panel YES key) to confirm your
MIXER
when desired as a set of general-purpose settings (→p.50).
edits.
You can store one hundred scenes for each song.
5. Cut
A scene may contain the following settings.
Click this button to open the Cut Event dialog box.
VIEW
CH
The selected event will be cut (deleted) from the event Channel parameters
list. However, the event itself will be temporarily saved CH ON, PlayEQ, ATT, sends, insert effect assignments,
in the edit buffer (clipboard). fader, pan
EFFECT
To execute the cut, click the Yes button (or press the panel Effects
YES key). To cancel, click the No button (or press the Effect program numbers and Trim of the insert, master,
panel NO key). and final effects.
SEND
To cut all events in the event list, click (highlight) the
Effect return, MASTER fader, AUX levels, master EQ
Select All button and then execute Cut.
6. Copy
EQ
Click this button to open the Copy Event dialog box.
The selected event will be copied temporarily to the edit
buffer (clipboard). 1
PAN
To execute the copy, click the Yes button (or press the
panel YES key). To cancel, click the No button (or press 4
the panel NO key).
TRACK SYSTEM SONG

2 5
To copy all events in the event list, click (highlight) the
6
Select All button and then execute Copy.
7
/MIDI
7. Paste
3 8
Click this button to open the Paste Event dialog box. The
event temporarily saved in the edit buffer (clipboard) will
be pasted at the selected event.
To execute the paste, click the Yes button (or press the 1. Scene select cell
panel YES key). To cancel, click the No button (or press This area displays the currently selected scene (current
the panel NO key). scene).
CD
If the event at the paste-destination is the same type as the If no scene is selected, the Default Scene will be selected.
event that was Cut or Copied, it will be overwritten. If the
event at the paste-destination is a different type, the pasted Choose a scene in the scene list and click the Recall but-
event will be added at that location. ton to select it.
Reference
From the left, this shows the edit icon, location, scene
If you paste multiple events (Select All), they will overwrite
name, and MIDI program number.
the existing data starting at the paste-destination you selected.
However, only the types of event included in these multiple
The edit icon will appear if the scene has been edited
events will be overwritten. until you click the OverWrite button.
If you turn off the power before clicking the OverWrite
8. Undo button, the edits you made will be lost, and the scene will
Click this button to return to the state prior to executing revert to the state prior to editing.
UNDO
Cut, Copy, or Paste. This can be used only to return to the
2. Scene list
immediately previous state. If the button indicates Redo,
This area displays the scenes that have been stored.
you can use it to cancel the Undo.
STORE SESSION TUNER
From the left, the location, scene name, overlap warning
The data is held in common with the “7. Undo” data of “2c-2. icon “ ”, and MIDI program number will be displayed
Automation.” If you click the Automation Undo button for each scene. It is possible for there to be more than one
immediately after event-editing, the last event-edit will be
SCENE DRUMS
scene at the same location, but an overlap warning icon
undone – not the automation recording. reminds you to use caution when recalling these scenes.
9. Select List If Automation is on, scenes that have this overlap warning
Click this button to open the Select List dialog box. Here icon will not play back.
you can select the channel and parameter that will be dis-
played in the event list. You can select one (and only one) 3. Disable Prm
of channels 1–32, Master Fader, or Expression. Click this button to display the Disable Param dialog
MARK
box.
keys MODE LOC 4/END
105
For each scene, you can filter specific mixer settings
(parameters) so that they will not be recalled when that 2c-5. Scene Filter
scene is played back.
These settings specify the parameters that will be modified
Select the mixer parameters that will be disabled.
when scenes are recalled. The enable/disable settings you
For the Fader, CH ON, Pan, EQ, EFF 1/2 sends and Aux
make here will apply to all scenes of the song.
1/2 sends, you must also select which channels will have
these parameters disabled. If you want to enable/disable parameters for a specific scene of the
If a parameter button is on (highlighted), filtering will song, make settings in the “EditScene” tab page 3. Disable Prm.
apply to that parameter for the selected channels, so that Click the buttons to enable/disable the corresponding chan-
those settings of the scene will be ignored. nels and/or parameters. A channel/parameter whose button
If a button is off (i.e., filtering off), those settings of the is turned on will not be affected by scene recall operations.
scene will be applied. EFF 1/2 Return, Effect, Aux 1/2 Level, MasterEQ, and Mas-
Filtering is applied to the selected scene as a “playback terFader parameters can be disabled independently of the
filter.” channel.
The EFF1/2 Return, Effect, Aux 1/2 Level, MasterEQ, and
Fader, CH ON, Pan, EQ, EFF 1/2, and AUX 1/2 filter settings
MasterFader parameters can be disabled without regard
are valid only for channels that are disabled (highlighted).
to the channel.
The Effect button enables/disables and Trim the effect program
Fader, CH ON, Pan, EQ, EFF1/2, and AUX1/2 filter set-
number and insert effect assignments.
tings apply only to channels that are disabled (highlighted).
The EFF 1/2 Return button enables/disables the Return Level
If you want to enable/disable scene parameters for all the
and Balance settings of the master effect 1/2.
scenes in a song, use the “SceneFilter” tab page.
4. Recall
Recalls the settings that are registered in a scene. If you
recall and edit a scene, click the Recall button to save
your edits. Otherwise, the scene will revert to the state
prior to editing when you exit this screen.
5. EditLoc
Here you can change the location where the scene is
stored.
In the scene list, select the scene whose location you want
to edit.
Click the EditLoc button to display the Edit Scene Loca-
tion dialog box, and edit the location at which the scene
is stored.
Select (highlight) the location unit (e.g., hour, minute, sec-
ond) that you want to edit, and use the value dial or +/–
keys to edit the location.
Click the Yes button (or press the panel YES key) to apply
2c-6. Mixer View
your changes, or click the No button (or press the panel You can use the Mixer View screen to check the settings of a
NO key) to discard your changes. scene.
Here you can view and edit the following parameters.
Faders, CH ON, pan, EQ LOW Gain/LOW MID Gain/
HIGH MID Gain/HIGH Gain, EFF1/2 Send, AUX 1/2
Send, AUX 1/2 LEVEL, EFF 1/2 Return Level, EFF 1/2
Return Balance, DRUMS
If you move the top panel faders and Knob Matrix to edit a
parameter, the selection will move to the parameter you ed-
ited, and the screen will also change.
6. Rename
Use the 1–16 key and 17–32 key to select the sixteen-channel
Here you can rename the scene.
group you want to view.
In the scene list, select the current scene whose name you
want to edit, and click the Rename button to display the
Rename dialog box. You can assign a name of up to six-
teen characters. (→p.99)
7. Delete
In the scene list, select the scene that you want to delete,
and click the Delete button to display the Delete Scene
dialog box.
By turning the Select All button on (highlighted) in the
dialog box, you can delete all scenes in a single operation.
delete the scene(s), or click the No button (or press the
panel NO key) to cancel the operation.
Undo is not available for this Delete operation.
8. OverWrite
Overwrites the current mixer settings onto the selected
scene number. Use this when you want to make fine
adjustments to the scene or replace it with a different
scene.
106
7. LOW-MID G/F/Q
Rename
METER Counter
2d. EQ/ATT/PHASE [–15 dB…+15 dB/21 Hz…20 kHz/0.1…10]
Here you can adjust the gain, center frequency, and Q (fil-
ter sharpness) of the low-mid frequency region.
Here you can adjust the equalizer, attenuator, EQ library,
8. HIGH-MID G/F/Q
and phase settings for each channel, and adjust the master
[–15 dB…+15 dB/21 Hz…20 kHz/0.1…10]
EQ settings.
Here you can adjust the gain, center frequency, and Q (fil-
MIXER
ter sharpness) of the high-mid frequency region.
9. HIGH G/F/Q
2d-1. EQ/ATT [–15 dB…+15 dB/21 Hz…20 kHz/0.1…10, Shlv]
VIEW
CH
For each channel you can edit the settings of the four-band Here you can adjust the gain, center frequency, and Q (fil-
equalizer and the attenuator. The equalizer is normally a ter sharpness) of the high-frequency region.
EFFECT
peaking type, however the LOW EQ and HIGH EQ bands If you select Shlv as the Q value, this will become a shelv-
can be set to a shelving (Shlv) type. ing-type EQ; in this case the F value will be the cutoff fre-
quency.
Channels 24–32 and the sub mixer channels have a two-band
SEND
shelving EQ. 10.FLAT
Sets the Gain of each equalizer band to 0 dB. The EQ set-
Use the Knob Matrix to select and edit the four EQ bands.
tings for that channel will be initialized.
Equalizer settings used here can be loaded from the EQ li-
11. ON/OFF
EQ
brary, or registered in the EQ library (see the section below,
Switches the equalizer on/off. This allows you to listen to
“2d-2. EQ Library”).
the signal with and without EQ quickly to check your set-
PAN
tings.
12. buttons
1
Use these up/down buttons to edit the parameter values.
TRACK SYSTEM SONG

2 10
11
3
4
2d-2. EQ Library
/MIDI
5
12 Here you can load EQ settings from the EQ library. You can
also store EQ settings into the User area of the EQ library.
There are 50 preset EQ setting programs, and 50 user EQ set-
ting programs.
An EQ setting program stores parameters 6–9 of the preced-
ing section “2d-1. EQ/ATT.”
CD
6 7 8 9
1. CH [1…32]
Click the edit cell that indicates the channel whose EQ
you will edit, and use the value dial (or +/– keys) to select
Reference
the desired channel. 2
Alternatively, you can press the CH SELECT key and 1
3
then press a channel key to select the desired channel.
This channel is linked with “CH” in the “EQ Library” tab
page. 4
If the selected channel’s PLAY/REC status is PLAY, the 5
UNDO
screen will show the PlayEQ. If REC, it will show the RecEQ.
2. IN/TR indicator
This indicates either IN or TR to show whether the cur-
rent EQ is the PlayEQ or the RecEQ, and also shows the STORE SESSION TUNER
current input source. 1. EQ library list
3. EQ curve graph Click on the list to select an EQ setting program. The list
SCENE DRUMS
A graphic representation of the EQ curve is shown here. shows the EQ setting program number (P** are presets,
U** are user) and its name.
4. ATT [–63.5 dB…0 dB]
Here you can adjust the attenuator. Lowering this value 2. CH [1…16]
will lower the level that is input to the EQ. Click the edit cell that indicates the channel into which
you will recall (or from which you will store) an EQ
5. Level meter button
library item, and use the value dial (or +/– keys) to select
MARK
Each time you click the button, the position of the dis-
the desired channel. Alternatively, you can press the CH
played level meter will change.
SELECT key and then press a channel key to select the
IN: Input level. The level input to the EQ is displayed. desired channel.
PRE: Pre-fader level. The output level of the EQ is dis- This channel is linked with “CH” of the “EQ/ATT” tab
played. page.
PST: Post-fader level. The level after passing through the
MODE LOC 4/END
3. EQ curve graph
fader is displayed. The EQ curve of the selected EQ program is shown as a
6. LOW G/F/Q graph.
[–15 dB…+15 dB/21 Hz…20 kHz/0.1…10, Shlv] 4. Recall
Here you can adjust the gain, center frequency, and Q (fil- Loads the selected EQ program into the channel you
ter sharpness) of the low-frequency region. selected in 2. “CH.”
If you select Shlv as the Q value, this will become a shelv- Click the library list to select the EQ program that you
keys
ing-type EQ; in this case the F value will be the cutoff fre- want to load.
quency.
107
Click the button to display the Recall dialog box, verify 1. PHASE [N, R]
the EQ program and the loading-destination channel, N (NormalPhase): The phase of this channel will not be
and click the Yes button (or press the panel YES key). If inverted. Normally you will leave this at “N.”
you decide not to load, click the No button (or press the R (ReversePhase): The phase of this channel will be
panel NO key). inverted.
On the D3200, pin 2 is hot and pin 3 is cold (→p.6). Set this
to “R” if the connected audio device uses the opposite pin wir-
ing.
2d-4. Master EQ
Here you can adjust the equalizer settings for the master bus.
Since channels 25–32 have a two-band EQ with Low and High, This is an four-band peaking equalizer. The Low and High
loading a four-band EQ library item into these channels will have bands can also be set to a shelving-type (Shlv) EQ.
the following result. The master EQ is used as a Rec EQ for the master track.
• The LowMid and HighMid settings will be ignored. The master EQ cannot be used when playing back the master track
• The Gain and Fc of the Low and High bands will remain as or when using “Solo→Master.”
they are, but the Q will be forcibly changed to Shelving.
5. Store
This stores the EQ settings of the “EQ/ATT” tab page into 6
one of the user EQ programs. 7
The EQ settings of the channel selected by 2.”CH” will be 1 8
stored.
A name will automatically be assigned to the stored EQ 9
program.
2
The PlayEQ of channel 8: CH08-I.EQ
3
The RecEQ of channel 10: CH10-EQ
4
Verify the store-destination number and click the Yes but-
5
ton (or press the panel YES key). If you decide not to
store, click the No button (or press the panel NO key).
1. Level meter
This indicates the level of the master bus.
5a If clipping occurs, adjust the MASTER fader.
2. L
5b
Selects the master EQ settings for the left channel.
3. R
Selects the master EQ settings for the right channel.
5a. Rename
4. Link
You can click this button to edit the name of the library
Sets the left and right channels of the master EQ to the
program (→p.99).
identical settings. You can adjust the settings from either
5b. Program number cell the left or right channel.
Here you can select the store-destination program
5. Band 1…4 EQ G/F/Q
number. Click the cell to highlight it, and use the
[–15 dB…+15 dB/21 Hz…20.1 kHz/0.1…10, Shlv*]
value dial (or the +/– keys) to make your selection.
These parameters adjust the gain, center frequency, and
Q (filter sharpness) of each band. Use the Knob Matrix to
adjust the setting.
2d-3. Phase * By selecting Shlv as the “Q” value for the Low and
High bands, you can switch them to shelving-type EQ;
You can invert the phase of each channel.
in this case the F value will become the cutoff fre-
If one channel of the stereo signal from an audio device is be-
quency.
ing input via a jack whose hot and cold conductors are re-
versed, their stereo position may be blurred, or portions of 6. EQ curve graph
the sound may be cancelled. This setting lets you invert the This graphically displays the EQ curve specified by these
phase to correct such situations. parameters.
7. FLAT
This sets the Gain of each band to 0 dB. The center fre-
quency and Q settings for each band will remain
1 unchanged.
8. ON/OFF
Switches the master EQ on/off. This turns both channels
on/off regardless of the channel (L or R) you are cur-
rently editing.
9. buttons
Use these up/down buttons to edit the parameter values.
108
Rename
METER Counter
2e. SEND (EFF/AUX/REC) 2e-3. Aux1 Send
You can adjust the send levels from each mixer channel to the
AUX OUT 1 jack.
If you select the pre-fader setting (PRE), the signal from im-
mediately before the fader will be sent to the AUX OUT jack
2e-1. Effect 1 Send
MIXER
regardless of the fader level.
You can adjust the send levels from each mixer channel to With the pre-fader setting, the signal is sent to the AUX OUT
master effect 1. jack at the same level as when the post-fader (PST) setting is
used with the fader level set to unity (0 dB).
VIEW
If you select the pre-fader setting (PRE), the signal will be
CH
sent to the master effect from immediately before the fader, For details on connecting and using external effects, refer to
regardless of the fader level. p.57.
EFFECT
With the pre-fader setting, the signal is sent to the master ef-
fect at the same level as when the post-fader (PST) setting is
used with the fader level set to unity (0 dB).
SEND
1
2
EQ
1 3
2 4
PAN
5
3
4
TRACK SYSTEM SONG

1. SEND
/MIDI
Adjusts the send level. Use the Knob Matrix to adjust the
setting.
1. SEND 2. PRE/PST
Adjusts the send level. Use the Knob Matrix to adjust the This specifies whether the signal will be sent at the level
setting. immediately before the fader (Pre Fader) or the level
2. PRE/PST immediately after the fader (Post Fader).
PRE: Send the pre-fader level
CD
This specifies whether the signal will be sent at the level
immediately before the fader (Pre Fader) or the level PST: Send the post-fader level
immediately after the fader (Post Fader). 3. AUX1 Send meter
PRE: Send the pre-fader level Indicates the level of the AUX1 Out.
Reference
PST: Send the post-fader level
4. Select All
3. LEVEL meter This links the operation of all channels.
Indicates the level of the Effect 1 Send bus and Effect 1 It will link the PRE/PST buttons and the SEND knobs.
Return L/R bus.
5. AUX1 LEVEL
4. Select All Adjusts the level of the AUX1 Out.
This links the operation of all channels.
It will link the PRE/PST buttons and the SEND knobs.
UNDO
2e-4. Aux2 Send
Here you can adjust the send level that is output from each
STORE SESSION TUNER
2e-2. Effect 2 Send mixer channel to the AUX 2 jack.
Here you can adjust the send levels from each mixer channel For details on the parameters, refer to the section above, “2e-
to master effect 2. 3. Aux1 Send.”
SCENE DRUMS
For details on the parameters, refer to the section above, “2e-

1. Effect 1 Send.”
MARK
keys MODE LOC 4/END
109
2e-5. Rec Send 2f. SOLO/MONITOR
Here you can set the position from which signals will be sent
from each mixer channel to the recording tracks.
If you select the pre-fader setting (PRE), the signal will be re-
corded at the level immediately before the fader, regardless
of how the fader is adjusted. 2f-1. Solo
With the pre-fader setting, the recording level will be the Use this function when you want to listen to just one (or
same as when the post-fader (PST) setting is used with the more) of the channels, or to check the audio being routed to
fader level set to unity (0 dB). the sends. The solo signal is output from the MONITOR L/R
jacks and the PHONES jacks.
You can also adjust the settings so that the solo signal is out-
put from the MASTER L/R jacks.
4
2
3
2
5
1. PRE/PST
This specifies whether the signal will be recorded at the
level immediately before the fader (Pre Fader) or the level
immediately after the fader (Post Fader). 1. CH buttons [1…32]
PRE: Immediately before fader location Use these buttons to turn the Solo function on (high-
PST: Immediately after fader location lighted) or off for each channel. When one of these but-
2. Select All tons is on, the D3200 will automatically switch to Solo
Links the PRE/PST buttons of all channels. mode, and the each channel key of that channel will
blink. You can also Solo a channel by pressing the SOLO
key on the panel. All of the channel keys will blink. Press
the channel key for the channel you wish to solo.
2. Send, Return buttons
Use these buttons to turn the Solo function on (high-
lighted) or off for each send or return.
Aux1, Aux2:
Solo the send signal to external output AUX 1, 2 jacks
EFF1 Send, EFF2 Send:
Solo the send signal to effects 1 or 2
EFF1 Return, EFF2 Return:
Solo the return signal from effects 1 or 2
To adjust the volume of each signal, use the pages or
knobs that adjust each signal.
Be aware that depending on the settings, changing these selec-
tions may cause a sudden change in the monitor volume.
3. Solo→Master
This specifies whether the soloed audio will be output
from the MASTER L/R jacks. Use this setting if your
monitor system is connected to the MASTER L/R jacks
and you want to listen to the soloed audio through these
outputs.
4. Mode
Last: Solo only the last-selected signal (multiple selec-
tions are not possible)
Mix: Solo all selected signals (multiple selections are pos-
sible)
If you switch from Mix to Last, all solo settings will be turned
off.
5. ClearAll
Turns all solo settings off.
110
Rename
METER Counter
2f-2. Monitor
Here you can select the audio signals that will be output from
the monitor output (MONITOR L/R jacks) and headphone
1
output (PHONES jack). 2
3
MIXER
VIEW
CH
1
2
EFFECT
3
4 1. Pan [L63…C…R63]
Adjusts the panning of each channel’s cue signal.
SEND
You can click a knob icon and use the Knob Matrix to
make settings for a group of sixteen channels.
2. Level [0…100]
EQ
Adjust the level of each channel’s cue signal.
1. Master LR You can click a knob icon and use the Knob Matrix to
Sends the master LR bus to the monitor output. Normally make settings for a group of sixteen channels.
PAN
you will select this.
Unity level is 100.
2. Solo
When you select a signal to be soloed in the “Solo” tab 3. Level meter
TRACK SYSTEM SONG

page, this will be selected automatically, and it will not be This bar graph indicates the cue mix output volume.
possible to select “Master LR” or “Cue.” To select these
items, you must first turn “Off” all soloed signals.
/MIDI
3. Cue
Sends the signal specified by the “Cue Level” (see the 2g. MIXER SETUP
section that follows) level and pan settings to the monitor
output. If you select this when recording, you will be able Here you can save the current mixer settings, or recall previ-
to adjust the monitor volume and pan for comfortable ously-saved mixer settings.
playing, without affecting the recording level of the sig- This allows you to store mixer settings that you use frequent-
CD
nal. ly, and then recall them when creating a new song. You can
4. Drums also use this method to copy mixer settings to a different
The audio from the Session Drums will be sent directly to song.
the monitor output. You can use this when you want to
Reference
A mixer setup contains the following parameters.
listen to the Session Drums through headphones as the
• Channel Assign, Sub Mixer, REC/ PLAY, and MASTER
rest of the audio tracks are output from the MASTER L/R
TRACK STATUS
jacks, for example during a live performance. Normally
• Pair, Group
you will keep this turned off.
• Fader, Pan, Play/Rec EQ
The drum sound will not be output unless the Session Drums • ATT, CH ON, Phase, AUX/EFF Send, Rec Send
channel key is on. • Effect (all settings including the parameters being edited)
UNDO
If you turn Drums on here, the SESSION DRUMS • Master Fader, Master EQ, Send Out level, Send Select
“DrmsMixer” tab page “Assign” setting will change to All
“Monitor.” If you turn Drums off, the SESSION DRUMS • Solo, Monitor, Cue, drum pattern output assignment,
STORE SESSION TUNER
“DrmsMixer” tab page “Assign” setting will change to drum pattern volume
“Master.”
SCENE DRUMS
2f-3. Cue Level 2

When “Cue” is turned on in the “Monitor” tab page, use the 3
settings here to adjust the audio level and pan of each mixer
channel. 1
During playback, the audio will be sent regardless of the
MARK
channel on/off setting. During recording, audio will be sent

only for channels whose CH ON keys are set to on.
Use the 1–16 key and 17–32 key to switch the display be-
tween sixteen-channel groups.

The audio that is set to Cue will be the playback signal if a track is
MODE LOC 4/END
playing, or the signal being recorded if the track is recording.

1. Mixer setup list
Click the screen to select the mixer setup program you
want to use. The list shows the program numbers and
program names.
When the D3200 is shipped from the factory, mixer setup pro-
grams 1 through 20 are stored as “NoData.” Recalling one of
keys
these programs will set the mixer to the same settings as when
it is initialized (i.e., when you create a New Song).
111
2. Recall
This button loads (recalls) a mixer setup program.
In the mixer setup list, click the program that you want to
3. CH VIEW
recall.
Click this button to open the Recall dialog box, verify the
program that you are recalling, and click the Yes button 3-1. Ch View
(or press the panel YES key). If you decide not to recall
This displays the settings and status for a single channel.
the program, click the No button (or press the panel NO
To select the channel that you want to view, press the CH SE-
key).
LECT key and then press the channel key of the desired
A program you saved from a 44.1 kHz or 48 kHz song can be channel.
recalled to either a 44.1 kHz or a 48 kHz song.
3. Store
This button stores the current mixer settings as a mixer
setup program.
Verify the store-destination number, and click the Yes
button (or press the panel YES key). If you decide not to
store, click the No button (or press the panel NO key).
In this screen you can set the following parameters.
• Pairing (→p.102)
• Pan (→p.103)
3a • Channel on/off (→p.8)
3b • Input (→p.101)
• Attenuator (→p.107)
• Phase (→p.108)
• Recording location (→p.110)
3a. Rename • Solo on/off (→p.110)
You can click this button and rename the mixer setup • EQ on/off, flat (→p.107)
program (→p.99). • Fader (→p.103)
• Level meter position (→p.99)
3b. Program number cell
• Group (→p.102)
This selects the store-destination program number.
• Send (→p.109)
Click this cell to highlight it, and then use the value
• EQ (→p.107)
dial (or +/– keys) to select the desired number.
To edit the Send and EQ parameters, use the Knob Matrix lo-
cated below the display.
3-2. Channel Routing View

This displays a simplified signal flow for the channel shown
in the “Ch View” tab page.
You cannot edit the settings here.
To select the channel that you want to view, press the CH
SELECT key and then press the channel key of the desired
channel.
112
You cannot use a mono effect program for FinalEFF.
Rename
METER Counter
4. EFFECT 6. Navigation buttons
Use these to select parameters within the page.
7. Select
4-1. Effect Routing Choose the effect you want to use, and then click this but-
This lists the effect programs used by the insert 1–8, master, ton to display the Select EFF Category dialog box.
MIXER
and final effects, and shows their status. Choose the desired category, and use the Select EFF Pro-
The D3200 lets you simultaneously use up to eight insert ef- gram dialog box to select the effect program that you
fects, two master effects, and one final effect. want to use.
VIEW
CH
The number of simultaneously usable effects will differ depending
on the size of the effect programs, and on how they are assigned.
EFFECT
In this screen you can also select effect programs and edit
some of their parameters.
To select a program, use the value dial or click the Select but-
ton in the screen and choose from a list of effect programs by
SEND
category.
EQ
1
2
PAN
6 7a
TRACK SYSTEM SONG

8
3
4 9
/MIDI
5 10
1. CH [1…32]
Selects the channel to which each insert effect 1 through 8
will be applied.
CD
2. Insert effect location [IN, TR] 7c 7b
Selects whether each insert effect 1 through 8 will be
7a. Cancel
applied to the input (IN) or to the playback track (TR).
Returns to the “EFFRouting” tab page without select-
Reference
3. Insert EFF 1…8 ing a category.
Selects the program for each insert effect 1 through 8. A
7b. OK
maximum of eight different effects can be used.
After selecting an effect program, click this button to
The cells indicate the currently selected program number,
confirm your selection and return to the “EFFRout-
effect name, effect size icon, control icon (only if speci-
ing” tab page.
fied), and on/off icon.
The letter “E” is displayed at the beginning of the effect 7c. Cancel
UNDO
number to indicate an effect that is being edited. Returns to the Select EFF Category dialog box.
: Effect size icon 8. On/Off
Indicates the DSP size of the effect. This button switches the currently selected (highlighted)
: Control icon
effect on/off. This will affect the amount of DSP Power STORE SESSION TUNER
that is used. Pressing this button will turn the highlighted
Indicates an effect to which effect control is assigned.
effect on ( as long as there is sufficient DSP Power) or off.
SCENE DRUMS
/ : On/off icon
9. DSP Power indicator
Indicates the on (enabled) or off (disabled) status of
This shows the DSP Power level. This will indicate 0% if
the effect.
no DSP Power at all is being used, or 100% if all of the
For the possible combinations and how they will operate,
DSP Power is being used.
refer to “Effects that can be used simultaneously”
(→p.114). 10.Restrct (Restructure)
This button frees up the DSP power of “dead effects” that
MARK
Due to the input/output structure of the mixer, you cannot use

are in an unusable state due to their assignments. An
a stereo program for insert effect 8.
effect that is in an unusable state is indicated by the dead
4. MasterEFF 1, 2
icon “ ”.
Here you can select a program for master effects 1 and 2.
The cells indicate the currently selected program number,
effect name, effect size, control icon (only if specified),
MODE LOC 4/END
and on/off icon.

You cannot use a mono effect program for MasterEFF 1 or 2.
5. FinalEFF
Here you can select a program for the final effect. The
cells indicate the currently selected program number,
effect name, effect size, control icon (only if specified),
keys
and on/off icon.
113
Effects that can be used simultaneously
The effect programs used by the D3200’s effects are classified 4-2. Insert EFF
as being different “sizes” according to the amount of DSP You can apply insert effects to input sources during record-
processing power they consume. ing, or to tracks during playback.
Effect programs that allow up to eight insert effects to be You can use a total of up to eight insert effects. You can use
used are called “size-one” effects. Relative to these, some ef- the Knob Matrix located below the LCD screen to edit the pa-
fect programs are “size-two” and others are “size-four.” rameters that are shown as knob icons.
The size of an effect program is shown by the icon at the right
of the effect name. 1 2 3 4
One “size” corresponds to one of the on/off icons in each ef-
fect cell.
The maximum size that can be used simultaneously is 16. 5 9
Techniques for assigning effects 6

On the D3200, effects assigned to the upper rows of effect 7
cells will be given higher priority for being turned on. This
means that depending on how programs are assigned, you
may need to use the Restrct button or the On/Off buttons to 10
make adjustments while watching the DSP Power indicator, 8 11
in order to make the best use of the available effects.
The priority order also applies to the groupings of Insert, Master,
and Final effect. For example if you assign a size-four program to 1. Insert effect location [IN, TR]
insert effect 7, this will occupy insert effects 7 and 8 and master Selects whether the insert effect will be applied to the
effect 1, meaning that you will not be able to assign a program to input (IN) or to the track playback (TR).
master effect 1.
2. CH [1…32]
To cancel an effect, cancel its channel assignment, and also select Selects the channel to which you will apply the insert
NO EFFECT as the effect. effect.
Using the Restrct button 3. Insert effect select
Due to the priority scheme discussed above, if you make Select the insert effect (1–8) that you want to edit.
many changes to your effect routings, it is possible to end
Alternatively, you can press the CH SELECT key and then
up with DSP power applied where it cannot be used. The press the Channel Key of the desired channel to select the in-
“Restructure” function can recover this DSP power so it sert effect assigned to that channel. If you select a channel to
can be used for another effect. The following example which no insert effect is assigned, the selection will not change.
describes how this works.
First assign a size-one effect to insert effect 1, and a size- 4. Insert effect program
two effect to insert effect 2. Use the value dial to select an effect program, or click the
Next, let’s suppose that you assign a size-two program to popup button in the screen and choose from a category
insert effect 1. list of effect programs.
When you do so, insert effect 2 (whose priority is lower) If the selected program has been edited, the program
will be masked by effect 1; you will unable to turn insert number’s P (preset), U (user), or S (song) indication will
effect 2 off, and insert effect 3 will be unavailable. change to “E,” indicating that the program has been
In this state, insert effect 2 is a “dead effect.” The on/off edited.
icon of the effect will change to the dead effect icon “ ”. 5. Trim knob [0…100]
In this case you can click the Restrct button to release the With a setting of 100, the level will be the same as the
dead effect so that insert effect 3 will again be available, input level.
and the wasted DSP power will be recovered. Lower this level if an excessive input level causes distor-
Using the On/Off button tion when an effect is applied.
If an effect that you actually what to use is turned off due 6. Effect chain display
to lack of DSP power, you can turn off one or more effects This shows the chain of effects that make up the effect
that are unintentionally on in order to allocate the neces- program. When you select (highlight) one of these effects,
sary size, and then turn the desired effect on. When doing the editable parameters will appear in “7. Knob icons.”
so, watch the DSP Power indicator as you choose the 7. Knob icons
effect(s) to turn on or off. Use these knobs to edit the parameters of each effect.
The parameters and range of values will depend on the
effect and parameter. You can turn the Knob Matrix
(located below the LCD screen) to edit the value of the
corresponding parameter.
8. ON/OFF
This is an on/off switch for the selected effect within the
effect chain.
If the button is OFF, that effect will be bypassed.
9. Level meter
This shows the input/output level of the effect and the
GR (gain reduction) level.
114
10.Rename
Rename
METER Counter
This lets you rename the effect program. 4-3. Master EFF1
Select the effect program that you want to rename, click
Master effects are used by adjusting the level of the signal be-
the Rename button to open the dialog box, and edit the
ing sent from each channel to the master effect in order to cre-
name. You can assign a name of up to sixteen characters
ate overall depth and balance.
(→p.99).
You can use the Knob Matrix located below the LCD screen
After renaming the program, use “11. Store” to store it. The
MIXER
to edit the parameters that are shown as knob icons.
effect program name you edited will be discarded if you don’t
use to store it.
Notes about using the master effects
The master effects process the signals sent to them via the
11. Store
VIEW
effect send control of each channel, and send the proc-
CH
This stores the effect program with its edited parameters essed signal to the effect bus. This means that the direct
and name. sound sent from each channel to the master bus will be
EFFECT
In the D3200 there are 128 user effect programs that can mixed with the effect sound.
be used by all songs, on any song drive; and 32 song In the case of effects such as reverb or chorus that inter-
effect programs that are specific to each individual song. nally mix the effect sound and the direct sound together
Click the button to display the Store Program dialog box.
SEND
before the output, the direct sound passed through the
effect will be added to the direct sound sent directly from
each channel, meaning that the balance between the
direct and effect sound will not be correct.
EQ
In such cases, set Dry:Wet (a parameter that adjusts the
balance of the effect sound and direct sound) so that the
effect will output only the processed (WET) sound. With
PAN
this setting, the master effect return level will correctly
control the mix balance of the effect sound.
TRACK SYSTEM SONG

Click the “Area” list button to select U (User) or S (Song). If you want to use a master effect as an insert effect, set
Then click the number cell and use the value dial (or +/– the send location of the send channel to pre-fader (Pre)
keys) to select the save-destination number. and lower the fader to -infinity so that no direct sound
/MIDI
will be sent to the master bus. With this setting, the mix
When choosing the store-destination, choose “U” for programs balance between the effect sound and dry sound will be
that you intend to use in other songs as well, and choose “S”
controlled by the master effect parameter (Dry:Wet).
for programs that will not be used in other songs or that would
cause problems if they were modified. Signal flow for the master effect
To execute the store operation, click the Yes button (or
from the EQ
press the panel YES key). To cancel, click the No button output of each Pan
to the Master bus
CD
(or press the panel NO key). channel
Direct sound
Effect sound
When you save, the new data will overwrite the data pre- Post-fader
Master Effect
viously stored in that number, and the previous settings Return
Send Level Balance
will be lost. Pre-fader Effect
Reference
Program
If you overwrite an effect program that was being used when
you stored a scene, be aware that the playback may not sound
with the settings you intended.
In the case of Reverb Mix balance of direct
Dry:Wet
sound and effect
Direct sound Dry sound
Reverb
from Send Effect sound Wet to Return Level
UNDO
1
STORE SESSION TUNER
2 6
SCENE DRUMS
3
7
4
8
MARK
5 9
1. Effect program selection

To select an effect program, use the value dial, or click the
popup button in the screen and choose from the list of
MODE LOC 4/END
effect programs displayed by category.

If the selected program has been edited, the program
number’s P (preset), U (user), or S (song) indication will
change to “E,” indicating that the program has been
edited.
keys
115
2. Trim knob [0…100] 2. Trim knob [0…100]
With a setting of 100, the level will be the same as the With a setting of 100, the level will be the same as the
input level. input level.
If distortion is caused by an excessively high input level If distortion is caused by an excessively high input level
when you apply the effect, use this parameter to lower when you apply the effect, use this parameter to lower
the input level. the input level.
3. Effect chain display 3. Effect chain display
This shows the chain of effects that make up the effect This shows the chain of effects that make up the effect
program. program.
4. Knob icons 4. Knob icons
Use these to edit the parameters of each effect. Use these to edit the parameters of each effect.
For details, refer to “4-2. Insert EFF” (→p.114), 7. Knob For details, refer to “4-2. Insert EFF” (→p.114), 7. Knob
icons. icons.
5. ON/OFF 5. ON/OFF
This is an on/off switch for the selected effect within the This is an on/off switch for the selected effect within the
effect chain. effect chain.
If the button is OFF, that effect will be bypassed. If the button is OFF, that effect will be bypassed.
6. Level meter 6. Level meter
This shows the input/output level of the effect and the This shows the input/output level of the effect and the
GR (gain reduction) level. GR (gain reduction) level.
7. Effect return 7. Rename
Sets the effect return level and balance. Use this to rename an effect program.
8. Rename For details, refer to “4-2. Insert EFF” (→p.115), 10. Rename.
Use this to rename an effect program. 8. Store
For details, refer to “4-2. Insert EFF” (→p.115), 10. Rename. Use this to store the effect program whose parameters or
9. Store name you have edited.
Use this to store the effect program whose parameters or For details, refer to “4-2. Insert EFF” (→p.115), 11. Store.
name you have edited.
For details, refer to “4-2. Insert EFF” (→p.115), 11. Store.
5. SEND
4-4. Master EFF2 Operation is the same as when you press the MIXER key and
click the SEND (EFF/AUX/REC) button in the page jump
For details on the parameters, refer to the section above, “4- menu screen. For the parameters, refer to “2e. SEND (EFF/
3. Master EFF1.” AUX/REC)” (→p.109).
4-5. Final EFF 6. EQ

The final effect is used to make final adjustments to the over-
all sound in the last stage of the master bus. Here you can use This displays the 2d-1. EQ/ATT tab page. For the parame-
one stereo effect program. ters, refer to “2d-1. EQ/ATT” (→p.107).
You can use the Knob Matrix located below the LCD screen
to edit the parameters that are shown as knob icons.
1 7. PAN
This displays the 2c-1. Fader Pan tab page. For the parame-
ters, refer to “2c-1. Fader Pan” (→p.103).
2 6
3
5 8
1. Effect program selection

To select an effect program, use the value dial, or click the
popup button in the screen and choose from the list of
effect programs displayed by category.
If the selected program has been edited, the program
number’s P (preset), U (user), or S (song) indication will
change to “E,” indicating that the program has been
edited.
116
2. Level meter
Rename
METER Counter
8. SONG This indicates the level that is being sent from the OUT-
PUT jacks.
Here you can select or edit a song. The screen shows informa- 3. New
tion about the currently selected song. Click this button to create a new song in the currently
The screen shows the song name, drive name, song number, selected drive. The new song will be created following
song time, sampling frequency, bit depth, and protect set- the last song in the current drive.
MIXER
ting. The New Song dialog box will appear when you click
this button. Use the radio buttons to specify the sampling
frequency and bit depth for the new song, and click the
VIEW
CH
OK button (or press the panel YES key).
EFFECT
2
SEND
3a
3
EQ
4
5 6 7 8
PAN
1. Song select button
Click this button to open the Select Song dialog box.
3a. Song Type [44.1 kHz/16 bit, 48 kHz/16 bit,
TRACK SYSTEM SONG

44.1 kHz/24 bit, 48 kHz/24 bit]
Specify the sampling frequency and bit depth for the
newly created song.
/MIDI
The type you select will determine the minimum of
tracks that can be simultaneously recorded, played, or
punch-recorded.
Maximum number of simultaneous tracks by Song
Type
CD
Song Type Recording Playback Punch recording
44.1 kHz/16-bit
16* 32 8
48 kHz/16-bit
1a 44.1 kHz/24-bit
Reference
12** 16 4
Click to highlight the name of the desired song. 48 kHz/24-bit
Click the OK button (or press the panel YES key) to exe-
cute your selection. If you decide not to change songs, *16 channels is the maximum, combining 12 analog inputs,
click the Cancel button (or press the panel NO key). + 2 digital inputs (S/P DIF L, R), + 2 Session Drums (L, R).
**12 channels using any combination of analog inputs, digital
If you want to select a song from a different drive, click
inputs and Session Drums.
the Drive button and select the desired drive.
UNDO
You can change the “Song Type” (sampling frequency/bit
depth) only when creating a new song.
It is not possible to continuously record for more than 12
STORE SESSION TUNER
hours.
4. Rename
Here you can rename the currently displayed song.
SCENE DRUMS
Click the button to display the Rename dialog box, and

Drive edit the song name. You can input a name of up to sixteen
window characters. (→p.99)
5. Move
This operation moves the selected song to another song
number of the drive you specify.
MARK
When you click this button, the Move Song dialog box
will appear. Click the Yes button (or press the panel YES
1a. Drive [I, A…D] key) to execute the move, or click the No button (or press
Here you can choose the current drive. When you the panel NO key) to cancel. When the move operation is
click this button, the Select Drive dialog box will finished and the display indicates “Completed,” click the
appear. OK button (or press the panel YES key).
MODE LOC 4/END
In the drive window, click a drive name to select it. Undo will not be available if you move to a song drive other
Click the OK button (or press the panel YES key) to con- than the currently selected drive.
firm your selection. If you decide not to change drives,
click the Cancel button (or press the panel NO key).
If you want to rename the song drive, click the Rename
button to display the Rename dialog box, and edit the
keys
song drive name. You can input a name of up to sixteen

characters. (→p.99)
117
Before copying
5a Song name AAA ZZZ ABC CDR
5b Song number 1 2 3 4
Copy to song number “3”

After copying Moved backward
5a. Move-destination song number cell Song name AAA ZZZ AAA ABC CDR
This shows the drive that contains the selected song, Song number 1 2 3 4 5
and lets you select the song number.
If you’re moving a song within the same song drive, 6b. Copy-destination drive
the selectable numbers will be the number of existing If you want to copy the song to a song drive other than
songs. If you’re moving a song to a different song the current drive, click this button to open the Select
drive, the selectable numbers will range from “001” to Drive dialog box. Select the desired drive and click the
one greater than the number of existing songs. OK button (or press the panel YES key).
When you execute the move, no data will be overwrit- 7. Delete
ten. If the move-destination number you selected is This operation deletes the current song.
higher than the move-source number, preceding song When you click this button the DeleteSong dialog box
numbers will be renumbered forward. If the move- will appear. Click the Yes button (or press the panel YES
destination number is lower than the move-source key) to delete the song, or click the No button (or press
number, subsequent song numbers will be renum- the panel NO key) to cancel.
bered down by one. When you execute this operation, the selected song will
be deleted and subsequent songs will be renumbered for-
Before moving ward.
Song name AAA
When the song has been deleted and the display indi-
ZZZ EFF ABC CDR
cates “Completed,” click the OK button (or press the
Song number 1 2 3 4 5
panel YES key).
Move to song number “4” This Delete operation cannot be undone.
Renumbered forward
After moving
Song name AAA EFF ABC ZZZ CDR
Song number 1 2 3 4 5
5b. Move-destination drive

If you want to move the song to a different drive, click
this button to open the Select Drive dialog box. Select
the desired drive, and click the OK button (or press
the panel YES key). 8. Protect
Writing, deletion, or editing of the current song can be
When you move a song to another drive, song numbers will be
prohibited (protect on) or allowed (protect off).
adjusted in the same way as for the Copy operation.
When protect is on, it will not be possible to rewrite the
6. Copy parameters or data of that song; e.g., an error message
This operation copies the currently selected song to will appear if you attempt to record.
another song number in the desired drive. The song will automatically be saved when you turn this
When you click this button, the Copy Song dialog box protect setting on.
will appear. When you click this button, the Protect dialog box will
appear. Click the ON button to turn protect on, or click
the OFF button to turn protect off. When the protect set-
6a ting has been applied and the display indicates “Com-
6b pleted,” click the OK button (or press the panel YES
key).
When protect is on, a protect symbol ( ) will appear fol-
lowing the sampling frequency indication of the song.
If protect is on, adjustments to the faders or EQ will be reflect-
Click the Yes button (or press the panel YES key) to exe- ed during editing, but will not be recorded.
cute the copy, or click the No button (or press the panel This Protect operation cannot be undone.
NO key) to cancel. When the copy operation is finished
and the display indicates “Completed,” click the OK but-
ton (or press the panel YES key).
This Copy operation cannot be undone.
6a. Copy-destination song number cell
This shows the copy-destination drive, and lets you
select the song number. You can select a number in the
range of “001” through “existing song numbers + 1”.
When you execute the copy, the song will be copied to
the copy-destination song number. If the copy-desti-
nation is an existing song number, it will not be over-
written; that song and subsequent songs will be
renumbered upward by one as shown in the diagram
below.
118
MasterEFF 1, 2:
Rename
METER Counter
9. SYSTEM/MIDI Control master effect 1 or 2.
FinalEFF:
Control the final effect.
9-1. Control If the effect program you are using has no control function, it
cannot be controlled. Nor is control possible unless Ctrl is
MIXER
turned on (→p.114) in the effect chain display for that effect
program.
1 5. Control MIDI CH [1…16]
VIEW
Specifies the channel that will be used to control the
CH
2 3 internal effect via MIDI.
5 Set this to the MIDI channel that you are using for control.
EFFECT
4 6 6. Device
[Pedal, After Touch, Pitch Bend, Velocity, Note Number,
7 CC#000…119]
SEND
Selects the external device that will control one of the
D3200’s internal effects. The effect you specify in 3. “Con-
trol Change Assign” can be controlled in realtime.
8 9 10
EQ
Pedal:
1. Polarity [–, +] An expression pedal will control the effect. Connect an
Specifies the polarity of the foot switch. expression pedal (such as the separately sold XVP-10
PAN
Connect a foot switch (separately sold option: PS-1 or or EXP-2) to the EXPRESSION PEDAL jack, and
equivalent) to the rear panel FOOT SW jack, and set this move the pedal to control the effect.
parameter so that the “ ” symbol lights when you press
TRACK SYSTEM SONG

After Touch, Pitch Bend, Velocity, NoteNumber:
the foot switch. MIDI aftertouch, pitch bend, velocity, or note number
2. Function [PunchIn-Out, Mark, PlayStop] data will control the effect.
Connect the MIDI OUT of an external MIDI device to
/MIDI
Selects the function that will be controlled by the foot switch.
the D3200’s MIDI IN connector, and transmit the
PunchIn-Out
appropriate MIDI data from the external MIDI device
The foot switch will alternately start or stop manual
to control the effect.
punch-in/out recording. Press the PLAY/REC key,
and use the channel key of each channel to select REC CC (Control Change) #000…119:
mode for the track(s) you want to record. Then start A MIDI control change number will control the effect.
playback. Recording will begin from when you press Connect the MIDI OUT of an external MIDI device to
CD
the foot switch, and will end when you press the foot the D3200’s MIDI IN connector, and transmit the
switch again. appropriate MIDI control change message from the
external MIDI device to control the effect.
Mark
Reference
When you press the foot switch, a mark will be regis- 7. ClickPoint [Slow, Normal, Fast]
tered at that location. While this tab page is displayed, Select the speed at which the pointer will move when you
the foot switch is used to detect the polarity, and will operate the ClickPoint.
not perform the assigned function. While you are 8. Calib
recording tap tempo, the foot switch will perform tap When you click this button, the ClickPoint Calibration
input regardless of the setting here. dialog box will appear.
Play/Stop You should execute this operation if you notice that the
UNDO
Switch between playback start and stop. Press the foot movement of the pointer in the LCD screen or the click-
switch to start playback, and press it again to stop playback. ing action does not match the position shown in the
screen. Refer to “ClickPoint calibration” (→p.97) of the
3. Fader/Knob Control [Match, Jump]
STORE SESSION TUNER
operation section.
Due to a variety of factors - automation, loading scenes,
editing with the value dial etc. - the current parameter 9. Date/Time
values may not match the current position of the physical Here you can specify the date and time for the D3200’s
SCENE DRUMS
faders or the Knob Matrix. internal clock. Songs are managed according to the date
In such cases, the setting you select here will determine and time you specify here.
the way in which the parameter values will be made con-
sistent with fader or Knob Matrix movements.
Match: After a fader or Knob Matrix knob reaches the 9a
value stored for that parameter, then the value
MARK
9b
will smoothly change to reflect the current knob
or fader position.
Jump: Parameter values will jump to the fader or knob’s

position the instant the fader or Knob Matrix
knob is moved. The Calendar dialog box will appear when you click this
MODE LOC 4/END
4. Control Change Assign button. To apply the new date and time, click the Yes but-
[Off, InsertEFF1…8, MasterEFF1, 2, FinalEFF] ton. If you decide not to change the date and time, click
Here you can select the effect that you want to control. the No button. (Alternatively, you can press the panel
The effect you select here can be controlled by “6. Device.” YES key or NO key.)
Off: 9a. Date
No effect will be controlled. This displays (and lets you set) the current date, dis-
keys
played as Month:Date:Year (four digits).

InsertEFF1…8:
Control an insert effect 1, 2, …8 respectively.
119
9b. Time
This displays (and lets you set) the current time, dis- 9-2. Disk Utility
played in 24-hour time as Hours:Minutes:Seconds.
Here you can format a drive, create partitions, and check a
The date and time are retained when you power-off to the drive.
Standby mode. However, if the main power switch is turned
off, you’ll need to reset them.
10.Word Clock
The “Word Clock” tab page displays the current word
clock source and frequency, and lets you make synchroni- 2
zation settings for the audio data clock. 3
You may hear noise if synchronization cannot be achieved. Be- 4
fore you change these settings, please turn down the faders or 1
5
turn down the volume of your monitor system.
When you click the Clock Source button, the Clock 6
Source dialog box will appear. Choose the desired clock 7
source and click the OK button (or press the panel YES
key). The Working dialog box will appear. If you decide
not to change the clock source setting, click the Cancel
button (or press the panel NO key). The D3200 can syn- 1. Drive list (HDD, CD)
chronize to a 44.1 kHz or 48 kHz clock. This displays information about the drive (capacity, drive
name).
Internal: Synchronize to the internal clock.
S/P DIF: Synchronize to the S/P DIF clock. HDD: Hard Disk Drive
The upper area shows the total capacity of the hard
disk.
The middle area shows the partition drive names
(A–D), the capacities, and the song drive name.
The lower area shows the PC (USB) area. This drive
is referred to as the PC drive, and can be set to 2, 4,
or 8 GB.
DISK: Indicates the type of CD, CD-R, or CD-RW.
2. Partition
When you click this button, the Partition dialog box will
appear.
When the clock has been calculated, the Word Clock

indication will show the frequency of the clock source.
2a
If the digital input audio sounds wrong, or if “Audio Sync
Error” is displayed, check the “Clock Source” setting or the 2b
connections from your other equipment.
If you select “S/P DIF” as Clock Source, the D3200 will stop
operating if the clock is interrupted or the clock frequency
changes during recording or playback. If the D3200 stops op-
erating correctly due to a clock problem during recording, you
will have to format the song drive. You may wish to back up
the data on that song drive before using an external word clock.
The clock source setting is not saved. “Clock Source” will al- 2a. Partition [1...4]
ways be set to “Internal” when you select a song or when you This field specifies the number of partitions.
turn on the power. Click the Partition list box, select the number of parti-
tions into which you want to divide the disk, and click
the Yes button (or press the panel YES key) to execute
the partition operation. At this time, a warning dialog
box will appear if the drive contains even one song for
which Protect is turned on. If you want to override the
Protect setting of the song, click the Force button
(highlighted) and then click the Yes button (or press
the panel YES key) to continue execution.
If you decide not to execute, click the No button (or
press the panel NO key).
When you execute partitioning, the data on that drive will
be lost, but “User Data” (→p.83, 123) and SYSTEM/
MIDI “Control” tab page data will be maintained.
2b. PC (USB) [2 GB, 4 GB, 8 GB]
Here you can change the size of the USB drive.
Click the PC (USB) list button to specify the size of the
PC drive, and click the Yes button (or press the panel
YES key) to execute the setting. At this time, a warn-
ing dialog box will appear if the drive contains even
120
one song for which Protect is turned on. If you want to Unused
Rename
METER Counter
override the Protect setting of the song, click the Force Check and repair the first 2 GB of the currently-
button (highlighted) and then click the Yes button (or unused area.
press the panel YES key) to continue execution. Current Partition
If you decide not to execute, click the No button (or Check and repair the area of the currently selected
press the panel NO key). partition.
If connected to a Windows 98 computer, only 2 GB can be
MIXER
All Partition
detected for a PC (USB) drive. The drive will not be detect- Check and repair all partitions and the area used by
ed if it is 4 GB or 8 GB in size. the system.
When you execute the Partition operation, the data on that Specify the desired Area, and click the Yes button (or
VIEW
CH
drive will be lost. press the panel YES key) to execute the Check Drive
3. Drive Info operation. If you decide not execute, click the No button
EFFECT
Here you can view information about the hard disk. (or press the panel NO key).
When you click this button, the Drive Info dialog box Executing the “Edit Track” operation “OptimizeTrk”
will appear. Click the Exit button to return to the (→p.131) will also improve the state of tracks that produce
SEND
“DiskUtility” tab page. “Disk too busy.” errors. Use the Check Drive command if ex-
ecuting OptimizeTrk does not eliminate the “Disk too
busy.” errors.
Check Drive requires a substantial length of time for execu-
EQ
tion. If the hard disk has a capacity of 40 GB, executing this
command for All Partition will require approximately 7
hours.
PAN
3a
5. Format
This formats the hard disk.
TRACK SYSTEM SONG

When you click the button, the Format dialog box will
3b
appear. Select the drive you wish to format and the
desired option, and click the Yes button (or press the
/MIDI
panel YES key) to execute formatting. If you decide not
to format, click the No button (or press the panel NO
3c
key).
3a. Song drive list When you execute the Format operation, the data on that drive
This displays the song drives. will be lost.
The partition drive name (A–D), total capacity, song
You cannot cancel this operation once formatting has begun.
CD
drive name, used capacity, and free capacity are dis-
played.
3b. PC drive
This displays the PC drive.
Reference
The total capacity, used capacity, and free capacity are
displayed. 5a
3c. Rename 5b
In the song drive list, select the song drive that you
want to rename, and click this button. Use the
Rename dialog box to edit the name (→p.99).
UNDO
execute the settings. If you decide not to execute, click
the No button (or press the panel NO key).
STORE SESSION TUNER

4. CheckDrive
This checks and repairs errors in the songs on the hard 5a. Drive
disk. Execute this operation if the “Disk too busy.” error Select the drive that you want to format. SCENE DRUMS
message appears frequently. After executing this, you can A…D: an individual song drive
continue using the song data unless there was a major A–D: all song drives
error on the drive. PC: the PC drive
ALL: the entire hard disk
5b. Option
Select the type of formatting.
MARK
Quick:
Since only the system area will be formatted, this
will not require very much time.
ALL → approximately 7 seconds for 40 GB

Full:
MODE LOC 4/END
Execute this if the “Drive Error occurred.” message

appears frequently during playback. Use this
method if you still experience problems after per-
forming a Quick format, such as the drive failing to
be recognized. This will require a substantial length
Click the Area button to display the list. of time.
ALL → approximately 7 hours for 40 GB
Current Song
keys
Check and repair the area used by the currently

selected song.
121
6. Load System
This loads system files to update the operating software.
When you click this button, the LoadSystem dialog box
will appear. Use “Source” to select the system file that
you want to load, and click the Yes button (or press the 2
panel YES key) to begin the update. 3
For details, refer to “Upgrading the system” (→p.96). 4
1
5
1. File list
This area lists the files.
Upper area: PC folder names (:folder names…)
Lower area: folders/file names
2. Close
Moves to the next higher folder level.
7. Save System 3. Open
The D3200’s system program is stored on the hard disk. If a folder is selected, opens that folder.
At start-up, this system program is loaded into the sys- 4. Rename
tem area, and begins operating. Renames a file (→p.99).
This means that if for some reason the hard disk should For details regarding limitations on file names, refer to
be damaged, it is possible that the system will become “More about drives and files” (→p.171).
unable to start up.
As a safeguard against such emergencies, we recommend 5. Delete
that you create a system recovery disc. Deletes the selected file.
Click the button to open the Save System dialog box. 6. USB Mode
Insert a CD-R or CD-RW into the CD-R/RW drive, and Places the D3200 in USB Slave mode. When the D3200 is
click the Yes button (or press the panel YES key) to create in this mode, data can be transferred between the D3200’s
the system recovery disc. If you decide not to execute this internal PC drive and your personal computer.
operation, click the No button (or press the panel NO To exit from this mode, perform the “Safely Remove
key). Hardware” (→p.93) operation on your computer, and
You must use a blank disc to create a system recovery disc. You
then click the Exit button in the USB Slave Mode dialog
cannot create a system recovery disc using a disc that already box.
contains data.
9-3. Edit PC File

Here you can view, delete, and rename the folders and files
in the PC drive.
By connecting the D3200’s USB connector to your personal
computer, you can save data from the PC drive onto your
computer.
You can save the following data on the PC drive.
Song data
This is data for each track, mixer settings, and effect set-
tings.
Since this data is in a proprietary Korg format, it cannot
be played back or edited as audio data on any device
other than the D3200, such as a computer. In order to play
this data, you must Restore it into the D3200.
User data
The editable data consists of the user effect program data,
user EQ library data, and mixer setup data.
Since this data is in a proprietary Korg format, it cannot
be edited on a computer or other device.
In order to use this data, you must Restore it into the
D3200.
Audio files
Audio files are 44.1/48 kHz, 16-bit/24-bit WAV format
data. For details on creating audio files, refer to “2-2.
Exporting an audio file” (→p.87).
For details regarding limitations on files, refer to “More about
drives and files” (→p.172).
Do not delete files named “AUTORUN.INF” or
“KORG03.ICO,” since these contain settings.
122
Rename
METER Counter
9-4. Backup 9-5. Restore
This operation saves back-up data to CD-R, CD-RW, or the This operation restores song and user data that you previ-
PC drive. ously saved using the Backup operation.
For details regarding limitations on files, refer to “More about From a “1Song” backup file you can restore that one song
drives and files” (→p.171). and user data.
MIXER
From an “All Data” backup file, you can restore either one
selected song, or all song data, User Data and album CD
project data.
VIEW
CH
From a “User Data” backup file, you can restore user effect
1 program, user EQ library, and mixer setup data.
EFFECT
2 For details regarding limitations on files, refer to “More about
drives and files” (→p.171).
SEND
EQ
4 5 6 2
1 3
1. Backup [1Song, All Data, User Data]
PAN
Select the type of data that you want to back up.
4
1Song
5
From the selected drive, back up the data for one song,
TRACK SYSTEM SONG

and the user data.
All Data
/MIDI
Back up all song data on the selected drive, the user
data, and the Album CD Project. 1. Drive [CD, PC (USB)]
User Data This selects the backup-source drive. Click this button to
Backup only the user data (user effect programs, user display the Select Drive dialog box. Use the radio but-
EQ library, mixer setup) tons to select a drive, and click the Yes button (or press
the panel YES key).
Song Effect Programs are backed up as song data (1Song, All
2. Restore file
CD
Data); they are not included in User Data.
This displays the file that will be restored.
2. Backup source If you are restoring from the disk drive, insert the disc
This displays the drive etc. for the song you selected in containing the backup into the drive.
the SONG page (→p.117).
Reference
Depending on the contents of the backup, the backup- 3. Select File
source drive, song number, song name, user effect data, Click this button to display the Select Restore Data File
and the size of the backup data will be displayed. dialog box, and select the data that you want to restore.
Select the data that you want to restore, and then click the
3. Backup destination OK button (or press the panel YES key).
This displays the backup-destination drive and the name
of the file in which the data will be saved.
UNDO
4. Drive [Disk, PC (USB)]
This selects the backup-destination drive. The Select
Drive dialog box will appear when you click this button. 3a 3c
STORE SESSION TUNER

Click the radio buttons to select a drive, and click the Yes 3d
3b 3e
5. Rename
SCENE DRUMS
This lets you rename the backup file. Click this button to
display the Rename dialog box. Edit the file name and
For details on the allowable file names, refer to “More
about drives and files” (→p.171).
6. Exec.
MARK
This executes the backup. 3a. Restore-source display

Click this button and the Backup dialog box will appear, This area displays the restore-source drive and folder
showing the space required for the backup. name.
• If you are backing up to the PC drive, check the free 3b. File list
space and click the Yes button (or press the panel YES This area lists the folders, files, and data contained in
key).
MODE LOC 4/END
the restore-source.
• If you are backing up to CD, prepare the necessary
3c. Close
number of disc media to accommodate the backup,
Moves to the next higher folder.
specify the writing speed, and click the Yes button (or
press the panel YES key). 3d. Open
If the selected item is a folder, opens that folder.
3e. Select All
keys
Press this if you want to restore all the data displayed

in the file list.
123
4. Restore destination
This displays the restore-destination drive, and lets you 9-6. MIDI/MMC
select the song number.
On the D3200 you can use MIDI to do the following things.
If you are restoring “1Song,” the data will be restored to
the song number you select here. • Control effects (→p.57)
The restore-destination drive will indicate the drive of • MTC Synchronizing with a sequencer or other MIDI
the song selected in the SONG page. device (→p.95)
• Switch scenes (→p.51)
5. Exec.
• Use control changes to control mixer parameters
Press this to execute the restore operation. The restore-
source song and/or user data will be restored to the The D3200 can transmit and receive MMC (MIDI Machine
restore-destination drive. Control) messages.
Song data This means that when synchronizing two D3200 units, or
When you restore one or more songs, the restored song(s) when using the D3200 with a MMC-compatible MIDI se-
will be inserted at the specified song number of the cur- quencer, you can control operations such as song playback,
rent drive. Songs following the restore-destination and stop from the master device.
number will be renumbered higher by one. They will not You can use MIDI Time Code to synchronize the D3200 with
be overwritten. an external MIDI sequencer or other device, so that the
Album CD Project D3200’s track audio will play back in synchronization with
When you restore Album CD Project data, the album CD external MIDI source sources.
project data of the current drive will be overwritten. The D3200 can operate in synchronization with an external
Other data files MIDI device by using MTC (MIDI Time Code) synchroniza-
When you restore other types of data, the corresponding tion.
data files will be overwritten. The device that outputs the synchronization clock is called
the master, and the device that receives this clock is called the
Restoring all data files in the file list at once
slave. The D3200 can function either as the master or slave.
When you restore, the song data will be loaded following
the songs of the current drive, and other data files (such Some MIDI devices may not support the MMC functionality of
as user data and album CD project data) will be overwrit- the D3200. For details on the MMC functionality of the D3200,
ten. refer to the MIDI implementation.
The restore-destination capacity will be checked before restor- MIDI Clock can be received if you select MIDI Clock in the
ing 1Song or All Songs. If there is insufficient capacity, the op- SESSION DRUMS “Tempo Trk” tab page and record the tempo
eration will not be executed. track.
1 2 3
4
5
6 7 8 9
1. Control Change
Here you can turn control change message reception/
transmission on (highlighted) or off.
When you operate mixer parameters, the D3200 will
transmit corresponding messages. These messages can be
recorded on an external MIDI sequencer, and the re-
transmitted back to the D3200 to control the correspond-
ing mixer parameters.
For details on the parameters you can control, refer to the
MIDI implementation.
MIDI control of effects can be used regardless of the Control
Change on/off setting.
These messages will be received only if Automation (→p.103)
is turned off.
2. Program Change
Here you can turn program change message reception/
transmission on (highlighted) or off.
When you switch scenes, the D3200 will transmit a corre-
sponding program change message. These program
change messages can be recorded on an external MIDI
sequencer, and re-transmitted back to the D3200 to select
the corresponding scene.
124
These messages will be received only if Automation (→p.103) 9. Chase Mode [ON, OFF]
Rename
METER Counter
is turned off. This is available if “MIDI Sync” is set to “MTC Slave.”
3. Global Ch [01…16] ON: When MTC synchronization begins, playback will
This sets the Global MIDI Channel. chase the MTC messages. After playback begins, if
If you want to use program change messages to transmit two seconds or more elapse without a MTC mes-
and receive scene changes, use a MIDI cable to connect sage being received, and there is a discrepancy of
your external MIDI device to the D3200, and set the MIDI two seconds or more between the MTC messages
MIXER
channel of your connected device to the same MIDI chan- and the current location of the D3200, playback will
nel as the D3200’s “Global Ch” so that MIDI messages stop and wait for MTC synchronization to resume.
can be transmitted and received. OFF: MTC messages will be chased during playback only
VIEW
CH
4. MMC Device ID [000…127] when MTC synchronization begins. Once playback
Specifies the device ID that will be used to transmit and begins, it will continue even if the received time
EFFECT
receive MMC. code no longer matches the internal time code or if
In order to transmit or receive MMC, you must use a time code stops arriving.
MIDI cable to connect the D3200 and the external MIDI
If you are synchronizing with a device other than the D3200
device, set the two devices to the same Device ID, and
SEND
as the MTC master, incompatibilities between the devices may
make the appropriate setting in “MMC Mode.”
cause synchronization problems unless you play back from the
If this is set to 127, the D3200 can transmit and receive MMC beginning of the song.
commands to and from units of any device ID setting.
EQ
5. Mode [Transmit, Receive, Off]
This sets the MMC transmission/reception mode.
PAN
Transmit: MMC will be transmitted. In this case, the
MIDI Sync setting will automatically be set to
MTC Slave.
TRACK SYSTEM SONG

Receive: MMC will be received. In this case, the MIDI
Sync setting will automatically be set to MTC
Master.
/MIDI
Off: MMC will not be used.
6. Frame Rate
This selects the frame rate that is used when MIDI Sync
is set to “MTC Master” or “MTC Slave.”
Set this to the same frame rate as used on the external
CD
device with which you are synchronizing.
30: 30 fps (30 frames per second, non-drop)
29NDF: 29.97 fps (29 frames per second, non-drop)
29DF: 29.97 fps (29 frames per second, drop)
Reference
7. Time Code Offset
[00:00:00.00F…23:59:59.29F] (for frame rate 30)
This specifies an offset value that will be reflected in the
counter.
The offset value you specify here will be the starting
UNDO
value for the counter. This will apply when the counter is
set to display frames and MTC/MMC is enabled.
8. MIDI Sync
[MIDIClockMaster, Off, MTC Master, MTC Slave] STORE SESSION TUNER
This selects the synchronization mode used when syn-
chronizing via the MIDI IN/OUT connectors.
SCENE DRUMS
MIDIClockMaster: MIDI clock data will be transmitted.

Off: Synchronization messages will not be transmitted or
received.
MTC Master: The D3200 will operate as the master de-
vice. At this time if the MMC Mode is set
MARK
to Transmit, the Chase Mode setting will

automatically be turned Off.
MTC Slave: The D3200 will operate as the slave device.
At this time if the MMC Mode is set to Re-

ceive, the Chase Mode setting will auto-
matically be turned ON.
keys MODE LOC 4/END
125
10. TRACK 10-2. Master Track
Here you can select a virtual track for the master track. This
track will be used as the mixdown-destination track. This is
also the track that will be used when creating an audio CD.
10-1. Virtual Track 1–32
Here you can select a virtual track for each channel track.
1
5
2 3 4 1. V-Level [A…H]
Here you can select one of the eight virtual tracks “A”–
1. Virtual track selection “H.”
Select a track “1”–“32,” and specify a virtual track for For virtual tracks that contain data, one corner of the icon
each track. will be folded down.
Each track has eight virtual tracks; “A”–“H.” Recording Recording or playback operations will be performed
or playback operations will be performed using the vir- using the virtual track you select here.
tual track you select here.
Virtual track
Audio events
Active Ready 10-3. Edit Track
Audio exists Here you can edit tracks.
Editing operations will apply to the currently selected tracks
No audio exists 1–16.
The other virtual tracks (i.e., the virtual tracks that are not
2. Rename selected) will not be affected by your editing. (However,
This button lets you edit a track name. “CopyWholeTrk” and “SwapWholeTrk” are exceptions to
Select the track that you want to rename, click this button this.)
to display the Rename dialog box, and edit the name. Some of these editing operations will consume additional
You can input a name of up to sixteen characters. (→p.99) space on the drive, but there are ways in which you can in-
3. Select All [On, Off] crease the available free space (→p.131).
If you want to select the same virtual track number for The locations stored in the LOC 1/IN through LOC 4/END
every track (tracks 1–32), turn this button on (high- keys determine the region(s) that will be edited (→p.38).
lighted) and then select the desired virtual track. LOC 1/IN key: IN location
The same virtual track number will be selected for all LOC 2/OUT key: OUT location
tracks. LOC 3/TO key: TO location
4. V-Level [A…H] LOC 4/END key: END location
Here you can select one of the eight virtual tracks “A”– After executing one of these editing operations, you can use the
“H.” Undo operation to cancel the results.
For virtual tracks that contain data, one corner of the icon
You cannot make settings that would cause the IN–OUT region
will be folded down.
or the TO–END region to be longer than 12 hours.
5. buttons
Use these up/down buttons to select a track.
1
A
2 4
1. Edit type [CopyTrk…EraseSilence]

When you click this button, the Edit Trk Type dialog box
will appear. Select the desired editing operation and click
the OK button (or press the panel YES key) to return to
the “EditTrk” tab page.
126
Separate explanations are given below for each
Rename
METER Counter
editing operation you select in 1. Edit Type.
CopyTrk
This operation copies the audio data in the IN–OUT range of
the copy source track (Source) to the TO location of the copy
MIXER
destination track (Destination), repeating the specified
number of times.
You can use the clipboard to copy data to a track of a differ-
VIEW
CH
ent song.
IN OUT SourceTrack
EFFECT
The screen display of area “A” will change depending on TIMES
DestTrack
the edit type you select here.
SEND
2. ZOOM buttons TO
Use these buttons to expand or shrink the area displayed
in the track view window. A1 A2 A3
EQ
3. Track view window
Audio events in the track are displayed as bold lines.
The vertical line is the current location.
PAN
Locate points (→p.37) are shown in the upper part of this A5
area.
A4-1
TRACK SYSTEM SONG

IN: OUT: TO: END:
A4-2
At the right are displayed the name of each track and the
virtual track usage status. A1. Source
/MIDI
4. Exec. [1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
When you click this button, a dialog box will appear, 1-8...24-32, 1-16, 17-32, 1-32, ALL, Clip#*1]
allowing you to confirm the editing operation you have Select the copy source track.
specified. Click the Yes button (or press the panel YES ML and MR are master track L and R, MST is the master
key) to execute, or click the No button (or press the panel track, and ALL is tracks 1–16 and the master track.
NO key) to cancel. *1: You can select “Clip#” only if the clipboard contains
CD
data. # indicates the number of tracks in the clipboard.
You can use “Clip#” to copy from a track of a different
song.
For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select
Reference
only tracks 1–16.
A2. Destination
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
1-8...24-32, 1-16, 17-32, 1-32, ALL, Clip]
Select the copy destination track.
UNDO
only tracks 1–16.
Using Clip
You can use the clipboard to copy data to a track of a dif-
ferent song. STORE SESSION TUNER
If you copy between songs that have a different sampling
frequency and/or bit depth, the CopyTrk dialog box will
SCENE DRUMS
appear, and the sampling frequency and/or bit depth

will be converted. If the song has a different sampling fre-
quency, conversion will be performed; this will take a cer-
tain amount of time.
MARK
MODE LOC 4/END
2a. Dither
If you click this button on, dithering will be performed
on the data when the operation is executed. This will
minimize the quantization noise that may occur when
24-bit data is converted to 16-bit data.
keys
A3. Times [1…99]

Specifies the number of times that the data will be copied.
127
A4-1. WAVE [FF] plays approximately two seconds from the lo-
A4-2. WAVE cation (“Play From”)
You can click these buttons to view the waveform of the [STOP] stops playback
track audio. [PLAY] plays the location (from In to Out)
This allows you to set the editing locations (IN, OUT, TO, [REC] plays as a loop
END) more accurately. 5c. Search Zero
Click the A4-1 button if you want to edit IN and OUT, or You can click this button and turn the value dial to
click the A4-2 button if you want to edit TO and END. move to the next or previous zero-cross point.
You will find it convenient to set IN (LOC 1), OUT (LOC 2), A “zero cross” point is a point where the waveform level
TO (LOC 3), and END (LOC 4) to their approximate locations crosses the ±0 amplitude (the center line in the waveform
before you use this function. window).
A5. Mode 5d. Waveform window
When you click this button, the Copy Mode dialog box This displays the waveform of the selected track.
will appear. Select the desired mode and click the OK
button (or press the panel YES key). You can move the location by clicking in the waveform
window and then moving the ClickPoint to left or right
OverWrite: while holding down the panel JUMP key. You can also
Track data previously at the copy-destination will be move the location by clicking and holding in the waveform
overwritten. window and then moving the ClickPoint to left or right.
Insert: 5e. Locate
The copied data will be inserted, and subsequent track Click the radio buttons to select the location (IN, OUT,
data will be shifted toward the end of the song. TO, END) you want to edit, and turn the value dial to
set the location while you listen to the track audio
Wave dialog box
(soloed). The current location is shown by the vertical
To open this dialog box, click the Source WAVE button if bar in the waveform window.
you are setting the “Source” region, or click the Destina-
5f. ZOOM
tion WAVE button if you are setting the “Destination”
Use these buttons to adjust the size of the waveform
region.
display and the playback speed.
5a vertically expands the waveform display.
vertically shrinks the waveform display.
horizontally expands the waveform display.
5c horizontally shrinks the waveform display.
5b
When you click the OK button (or press the panel YES
5d key), the locations you specified will be overwritten to
the corresponding key (LOC 1/IN, LOC 2/OUT, LOC 3/
5e TO, LOC 4/END). If you click the Cancel button (or press
the panel NO key), your changes will be discarded.
You can control the ZOOM buttons by holding down the pan-
5f el JUMP key and pressing the cursor keys.
5a. Track selection

Click the popup button, click a radio button in the
Select Track dialog box to select the track whose loca-
tion you want to specify, and click the OK button (or
If you click (highlight) the Stereo button, the wave-
forms of two adjacent channels will be displayed in
the upper and lower parts of the waveform window.
5b. Preview playback buttons

You can also use the top panel transport keys listed
here in square brackets [ ] to operate these controls.
[REW] plays approximately two seconds ending at
the location (“Play To”)
128
Rename
METER Counter
InsertTrk DeleteTrk
This operation inserts a blank in the IN–OUT range of the in- This operation deletes the track data from the IN–OUT range
sert destination track (Destination). of the delete destination track (Destination).
When this is executed (Exec.), any track data that followed When this is executed (Exec.), the data of the IN–OUT range
the inserted blank will be shifted toward the end of the song. will be discarded, and any track data that followed the delet-
ed range will be shifted toward the beginning of the song.
MIXER
IN OUT DestTrack
IN OUT DestTrack
DestTrack
VIEW
CH
DestTrack
Blank
EFFECT
A1 A1
SEND
EQ
A2 A2
PAN
A1. Destination A1. Destination
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32, [1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
1-8...24-32, 1-16, 17-32, 1-32, ALL]
TRACK SYSTEM SONG

1-8...24-32, 1-16, 17-32, 1-32, ALL]
Select the insert destination track. Select the track(s) from which data will be deleted.
For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select
/MIDI
only tracks 1–16. only tracks 1–16.
A2. WAVE A2. WAVE
This area displays the audio data of the track as a wave- This displays the audio data of the track as a waveform.
form. Here you can set the editing locations (IN, OUT) Here you can set the editing locations (IN, OUT) more
more precisely. (→p.128 Edit Type: “CopyTrk,” Wave dia- precisely. (→p.128 Edit Type: “CopyTrk,” Wave dialog
log box) box)
CD
EraseTrk
This operation erases the track data in the IN–OUT range of
the erase destination track (Destination).
Reference
When this is executed (Exec.), the IN–OUT range will contain
silence.
IN OUT DestTrack
DestTrack
UNDO
Blank
STORE SESSION TUNER

A1
SCENE DRUMS
A2
MARK
A1. Destination
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
1-8...24-32, 1-16, 17-32, 1-32, ALL]
Select the erase destination track.

only tracks 1–16.
MODE LOC 4/END
A2. WAVE
This displays the audio data of the track as a waveform.
Here you can set the editing locations (IN, OUT) more
precisely. (→p.128 Edit Type: “CopyTrk,” Wave dialog
box)
keys
129
SwapTrk ReverseTrk
This operation exchanges (swaps) the track data of the IN– This operation copies the track data of the IN–OUT range of
OUT range of the swap source track (Source) with the track the reverse source track (Source) to the TO location of the
data in the IN–OUT range of the swap destination track destination track (Destination) in reverse (flipped back-to-
(Destination). front). You can specify the number of times that the data will
When this is executed (Exec.), the data in the IN–OUT ranges be copied.
of the “Source” and “Destination” will be exchanged. When this is executed (Exec.), the copied data will be re-
versed, so that the playback will be backward.
IN OUT SourceTrack
IN OUT SourceTrack
A
DestTrack
A B C ...
TIMES
DestTrack
B TO
IN OUT SourceTrack
... C B A ... C B A ... C B A
B
DestTrack The specified range of the reverse destination track will be over-
written.
A
A1 A2 A3
A1 A2
A3 A4
A1. Source
A1. Source [1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32, 1-8...24-32, 1-16, 17-32, 1-32, ALL]
1-8...24-32, 1-16, 17-32, 1-32, ALL] Select the reverse source track.
Select the swap source track. For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select
For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select only tracks 1–16.
only tracks 1–16. A2. Destination
A2. Destination [1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32, 1-8...24-32, 1-16, 17-32, 1-32, ALL]
1-8...24-32, 1-16, 17-32, 1-32, ALL] Select the reverse copy destination track.
Select the swap destination track. For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select
For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select only tracks 1–16.
only tracks 1–16. A3. Times [1…99]
A3.WAVE Specify the number of times that the data will be copied.
This displays the waveform of the track audio, allowing A4.WAVE
you to set the editing locations (IN, OUT) more accu- This displays the audio data of the track as a waveform.
rately. (→p.128 Edit Type: “CopyTrk,” Wave dialog box) Here you can set the editing locations (IN, OUT, TO,
END) more precisely. (→p.128 Edit Type: “CopyTrk,”
Wave dialog box)
130
A1. Source [1...32, ML, MR, 1-2...31-32, MST]
Rename
METER Counter
OptimizeTrk Select the expansion/compression source track.
This operation re-creates the audio events in the IN–OUT re- For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select
gion to prevent “Disk too busy.” errors from occurring. only tracks 1–16.
If there are no gaps between one audio event and the next, or
A2. Destination [1...32, ML, MR, 1-2...31-32, MST]
if the gap is small, the data will be combined into a single
Select the expansion/compression copy destination
event. If there are extended gaps between audio events, the
MIXER
track.
data will be re-created in a way that avoids wasting space.
IN OUT SourceTrack only tracks 1–16.
VIEW
CH
A3. Times [1…99]
DestTrack
Specify the number of times that the data will be copied.
EFFECT
A4. WAVE
By setting the IN–OUT region to the beginning and end of the Here you can set the editing locations (IN, OUT, TO,
song, and executing the Optimize Track operation, you can re- END) more precisely. (→p.128 Edit Type: “CopyTrk,”
SEND
create the data in a form that will be ideal for hard disk access. Wave dialog box)
A5. Mode
A1 Select how the expansion/compression will be proc-
EQ
essed.
When you click this button, the ExpComp Mode dialog
box will appear.
PAN
TRACK SYSTEM SONG
A2
/MIDI
A1. Destination 5a
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
1-8...24-32, 1-16, 17-32, 1-32, ALL]
5b
Selects the track that will be optimized.
only tracks 1–16.
CD
A2. WAVE
precisely. (→p.128 Edit Type: “CopyTrk,” Wave dialog 5a. Mode [Fast, Mid, Best]
Reference
box) Specify the conversion mode for expansion/compres-
sion.
ExpCmpTrk Fast: Processing speed will be given priority

Mid: Mid-way between “Fast” and “Best”
This operation expands or compresses the track data of the
Best: Audio quality will be given priority
IN–OUT range of the expansion/compression source track
(Source), places it in the TO–END range of the expansion/ However if “5b. Pitch” is set to “Variable,” this set-
UNDO
compression destination track (Destination), and copies it ting will have no effect.
the specified number of times beginning at the TO location. 5b. Pitch [Fixed, Variable]
When this is executed (Exec.), the expansion/compression desti- Select the pitch at which the data will play back after
STORE SESSION TUNER
nation track will be overwritten. expansion/compression has been performed.
The available ratio of expansion/compression is limited, and if the Fixed: The pitch will remain the same
IN–OUT duration is drastically different than the TO–END du- Variable: The pitch will be change
SCENE DRUMS
ration, an error message will appear when this is executed. In gen- When you click the OK button (or press the panel YES
eral, the TO–END time can be changed to 50–200% of the IN– key), expansion/compression will be executed with the
OUT time.
conversion mode that you selected. Click the Cancel but-
IN OUT SourceTrack ton (or press the panel NO key) to cancel without execut-
ing.
A B C ...
TIMES
MARK
TO END DestTrack
A B C ... A B C ... A B C ...

A1 A2 A3
MODE LOC 4/END
A5
A4
keys
131
CopyWholeTrk SwapWholeTrk
This operation copies the track data from the beginning to This operation exchanges (swaps) the track data from the be-
the end of the copy source track (Source; the currently select- ginning to the end of the swap source track (Source; the cur-
ed virtual track) to the specified virtual track of the copy des- rently selected virtual track) with the specified virtual track
tination track (Destination). of the swap destination track (Destination).
When this is executed (Exec.), the copy destination track will Use this operation when you wish to reorder the recorded
be overwritten. tracks. When you have finished recording a song, this opera-
tion also provides a useful way to move the final data so that
SourceTrack
virtual track “a” is used for all tracks.
When this is executed (Exec.), all data of the “Source” and
DestVTrack (a...h) “Destination” will be exchanged.
SourceTrack
A1 A2 A3 DestVTrack (A...H)
SourceTrack
DestVTrack (A...H)
A1 A2 A3
A1. Source
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
1-8...24-32, 1-16, 17-32, 1-32, ALL]
Select the copy source track.
only tracks 1–16.
A2. Destination
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
A1. Source
1-8...24-32, 1-16, 17-32, 1-32, ALL]
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
Select the copy destination track.
1-8...24-32, 1-16, 17-32, 1-32, ALL]
For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select Select the swap source track.
only tracks 1–16.
A3. Virtual [A…H] only tracks 1–16.
Select the virtual track of the copy destination track (Des-
A2. Destination
tination) to which the data will be copied.
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
1-8...24-32, 1-16, 17-32, 1-32, ALL]
Select the swap destination track.
only tracks 1–16.
A3. Virtuals [A…H]
Select the virtual track of the swap destination track
(Destination) to which the data will be swapped.
132
SelectFadeMode [A…F]
Rename
METER Counter
FadeTrk
A. : This curve is ideal for conventional fade-in.
This operation fades-in or fades-out the track data in the IN– B. : This curve is ideal for creating cross-fades
OUT range of the fade-in destination track (Destination). where two tracks are faded-in/out at the iden-
When this operation is executed, the audio data in the IN– tical time location.
OUT range will be smoothly faded to the level of the OUT
C. : This curve inverts the A curve, lengthening the
time location.
MIXER
sound that is heard.
When this is executed (Exec.), the fade-in (fade-out) destina-
D. : Fade-out using the A type curve.
tion track will be overwritten.
E. : Fade-out using the B type curve.
VIEW
IN OUT IN OUT F. : Fade-out using the C type curve.
CH
Click the OK button (or press the panel YES key) to final-
ize the selected fade type, or click the Cancel button (or
EFFECT
press the panel NO key) to cancel the setting.
NormalizeTrk
SEND
If the recorded level is low, you can use this operation to
boost the specified region (IN–OUT) of the track data to the
specified volume. The normalize-destination track will be
EQ
A1 overwritten.
Normalize IN OUT Normalize IN OUT
PAN
Gain Level Gain Level
A3
TRACK SYSTEM SONG

A2
/MIDI
A1. Destination
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32, A1
1-8...24-32, 1-16, 17-32, 1-32, ALL]
Select the track to be edited.
For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select A3
CD
only tracks 1–16.
A2. WAVE
This displays the audio data of the track as a waveform. A2
Reference
precisely. (→p.128 Edit Type: “CopyTrk,” Wave dialog
A1. Destination [1...32, ML, MR, 1-2...31-32, MST]
box)
Select the normalize-destination track.
A3. Mode
Click this button to display the Fade Mode dialog box.
only tracks 1–16.
Use “Fade Curve” to select the desired fade-in or fade-
out curve. A2. WAVE
This displays the waveform of the track audio, allowing
UNDO
you to set the editing locations (IN, OUT) more accu-
rately. (→p.128 Edit Type: “CopyTrk,” Wave dialog box)
STORE SESSION TUNER

A3. Mode [0 dB…–63.5 dB]
Click this button to display the Normalize Mode dialog
box, and set “Normalize Gain Level” to specify the level. SCENE DRUMS
Click the OK button (or press the panel YES key) to set
the selected normalize level, or click the Cancel button
(or press the panel NO key) to discard your settings.
MARK
keys MODE LOC 4/END
133
NoiseReduction ErasePunchNoise
On the desired track, specify a region (IN–OUT) containing This minimizes “pop” noises. Set the IN and OUT locations
only noise which the D3200 will use to analyze and “learn” before and after the area where the noise occurs. You can also
the noise component. This noise component will then be erase multiple occurrences of noise.
eliminated from the data in the other region you specify (TO– The “ErasePunchNoise Sens” value specifies the sensitivity
END) of the same track. at which noise will be detected. Normally, you should start
by executing this command with a setting of “1”. Increase the
A1 setting if noise still remains.
A1
A3
A2
A2
IN OUT TO END
Before execution
IN OUT
A region of only noise
(Learn Noise) The region from which you want
to remove noise (Destination) Before
execution
After execution
A1. Destination After

[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32, execution
1-8...24-32, 1-16, 17-32, 1-32, ALL]
Select the track on which noise reduction will be per-
formed.
A1. Destination
only tracks 1–16. [1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32,
1-8...24-32, 1-16, 17-32, 1-32, ALL]
A2. WAVE Select the track from which punch noise will be erased.
you to set the editing locations (IN, OUT, TO, END) more For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select
only tracks 1–16.
accurately. (→p.128 Edit Type: “CopyTrk,” Wave dialog
box) A2. WAVE
you to set the editing locations (IN, OUT) more accu-
rately. (→p.128 Edit Type: “CopyTrk,” Wave dialog box)
A3. Mode [0 dB...–63.5 dB]
Click the button to open the ErasePunchNoise Mode dia-
log box, and use “ErasePunchNoise Sens” to specify the
sensitivity at which noise will be detected.
Click the OK button (or press the panel YES key) to spec-
ify the sensitivity, or click the Cancel button (or press the
panel NO key) to cancel the setting.
134
Rename
METER Counter
EraseSilence 10-4. Import File
In an extended recording that contains significant amounts
An audio file from the D3200’s PC drive or CD drive can be
of silence, this operation erases the silent regions, and di-
pasted into the beginning (location 0) of a track (→p.86).
vides the areas containing sound into separate events.
By using the clipboard you can paste the audio file at a loca-
tion other than the beginning of a track.
A1
MIXER
You can use this operation to import WAV format audio files
of 44.1/48/96 kHz sampling frequency, 16/24-bit depth, and
1 (mono) or 2 (stereo) channels.
VIEW
If you are importing from CD media, WAV format files stored on
CH
ISO9660 Level 1 format CD-ROM, CD-R, or CD-RW are sup-
ported.
EFFECT
A2 When you execute (“Exec.”), the import-destination track will be
overwritten.
SEND
IN OUT
Before
EQ
execution 1
2 3
PAN
4
TRACK SYSTEM SONG

5
After
execution
/MIDI
1. File name cell
Displays the name of the import-source audio file. This
Levels lower than –36 dB will be considered as silence.
will be the file name you chose by clicking the Select File
A1. Destination button.
[1...32, ML, MR, 1-2...31-32, MST, 1-4...29-32, 2. Drive [CD, PC (USB)]
CD
1-8...24-32, 1-16, 17-32, 1-32, ALL] Selects the import-source drive. When you click this but-
Select the track in which silent regions will be erased. ton, the Select Drive dialog box will appear. Select a
For a 48 kHz/24-bit or 44.1 kHz/24-bit song, you can select drive and click the Yes button (or press the panel YES
only tracks 1–16. key).
Reference
A2. WAVE 3. Select File
This displays the waveform of the track audio, allowing Selects the audio file that will be imported.
you to set the editing locations (IN, OUT) more accu- When you click this button, the Select File dialog box
rately. (→p.128 Edit Type: “CopyTrk,” Wave dialog box) will appear. Select a file and click the OK button (or press
the panel YES key). If you click the Cancel button (or
press the panel NO key), your selection will be dis-
UNDO
carded.
STORE SESSION TUNER

3a 3c SCENE DRUMS
3d
3e
3b
MARK
3a. Upper level

This area indicates the directory level that is one level
above the currently selected folder.
MODE LOC 4/END
3b. File window

This area shows the folder structure of the current
level. Folders and the files that can be imported are
displayed here.
3c. Close
Moves upward to the next higher folder.
keys
3d. Open
If the selected item is a folder, opens that folder.
135
3e. Prev
Clicking Prev (Preview) plays back the first six sec- 10-5. Export File
onds (for 44.1 kHz/16-bit data) of the selected audio
Audio track data copied to the D3200’s clipboard can be ex-
file.
ported as an audio file to the PC drive or CD-R/RW drive
You cannot play back while loading the file. (→p.87).
4. Trk [1...32, ML, MR, 1-2...31-32, MST, Clip] The audio file will be exported as a WAV format file of the
Select the import-destination track. same sampling frequency and bit depth as the data in the
ML and MR are the master track L and R, and MST is the clipboard.
stereo master track
5. Exec.
When you click this button, the Import File dialog box
will appear.
1
Click the Yes button (or press the panel YES key) to exe-
cute the import, or click the No button (or press the panel
NO key) to cancel. 3
If you import a song whose sampling frequency and bit 2 4
depth differs from that of the current song, the sampling
frequency and bit-depth will be converted. If the song 5
has a different sampling frequency, conversion will be
performed; this will take a certain amount of time.
1. Clip#
5a
Indicates the state of the clipboard.
# is the number of tracks in the clipboard. If you export
four or more tracks in a single operation, all will be saved
as mono files.
2. Drive [CD, PC (USB)]
Selects the export-destination drive. When you click this
5a. Dither button, the Select Drive dialog box will appear. Select the
By clicking this button when importing a 24-bit file desired drive, and click the Yes button (or press the panel
into a 16-bit song, you can minimize the quantization YES key).
noise that may occur when the bit depth is converted.
3. File name
Displays the file name that will be saved on the export-
destination. If you want to edit this name, click the
Rename button.
4. Rename
When you click this button, the Rename dialog box will
appear, allowing you to rename the file.
For details on the allowable file names, refer to “More
about drives and files” (→p.171).
5. Exec.
When you click this button, the Export File dialog box
will appear. Click the Yes button (or press the panel YES
key) to export the data, or click the No button (or press
the panel NO key) to cancel.
If you want to abort an export operation while it is being
performed, click the Cancel button (or press the panel
NO key).
When the export has been completed, the display will
indicate Completed. Click the OK button (or press the
panel YES key).
Before exporting to a CD, you can specify the writing
speed and whether the disc will be finalized. Finalize the
disc if you will not be writing any further data to it.
It is not possible to perform just the Finalize operation here.
Finalization will be performed after the export is executed.
136
2. Erase CDRW
Rename
METER Counter
11. CD This erases all the data that has been written to a CD-RW
disc.
Here you can use the internal CD-RW drive to create or play When you click this button, the Erase CD-RW dialog box
audio CDs. will appear. Use “Option” to select the method of eras-
Some audio CD players may be unable to play a CD-R/RW disc. ure, and click the Yes button (or press the panel YES key),
or click the No button (or press the panel NO key) to
MIXER
Some audio CD players are unable to play the first 100 msec of an
erase the disc.
audio track. To avoid this, we recommend that when creating an
audio CD, you leave a blank of about 300–600 msec at the begin-
ning of the song for track 1. (→p.138 “11a. Album CD”, 6. Gap)
VIEW
CH
Music discs utilizing copy-protection technology that does not
comply with the Compact Disc (CD) specification cannot be
EFFECT
played back.
Press the CD key to access this menu screen.
You can press the CD key to return to this menu screen from
SEND
the dialog box that appears when you click a menu button Quick: Erase the disc quickly.
(Album CD, Track at once, CD PLAYER).
Full: Erase the disc completely. Use this if you experi-
Press the CD key once again to return to the menu screen that
ence problems such as if a disc erased using
had been selected.
EQ
Quick cannot be recognized. This method will
require more time.
PAN
This operation cannot be performed on a CD-R disc. Data that
is erased by this operation cannot be recovered.
1
TRACK SYSTEM SONG

2
/MIDI
a c
CD
1. Information
When you click this button, the type of disc inserted in
the CD-R/RW drive, the remaining writable time, the
already-written time, and the number of tracks will be
Reference
read and displayed in the screen.
Disc type
NoDisc: No disc is inserted. Alternatively, the disc
cannot be recognized.
CDR: An unfinalized (writable) CD-R
CDRW: An unfinalized (writable) CD-RW
Illegal Disk: The disc cannot be recognized
UNDO
If nothing is displayed, the disc is not writable (e.g., a
commercial audio CD or a finalized CD-R/RW).
STORE SESSION TUNER

Disc content
Blank: A blank disc containing no data
Audio: A disc containing audio data
SCENE DRUMS
ISO9660: A disc containing backup data, WAV etc.
D12/1200: A disc containing Korg D12/D1200/
D1200mkII backup data
Other: A disc containing data other than audio or
backup data.
MARK
UDF: A UDF format disc created by the Korg Triton or

similar device
Disc capacity usage

If the disc content is Audio
Free: Remaining recordable time
MODE LOC 4/END
Used: Recorded time and total number of tracks

If the disc content is Data Disc
Free: Remaining storage capacity (MB)
Used: Used storage capacity (MB)
If the disc content is Other
nothing will be displayed.
keys
137
11a. Album CD
Album CD Project lets you create an audio CD using Disc At
Once. The data will be written to the CD-R/RW as 16-bit/
44.1 kHz data in audio CD format.
The disc is written using the Disc At Once method, including fi-
nalization. No further data can be written to the disc afterward.
The CD-R/RW cannot be written if there is a track less than four
seconds long. Adjust your settings so that the PostGapTime and
the track time add up to at least four seconds.
Cancel button
Returns to the Album CD Project page without add-
5 ing the selected song to the list.
OK button
1 Adds the selected song to the list.
When you click this button, the display will ask “Are
you sure?” Press Yes to confirm your settings (or No
to discard them) and return to the Album CD Project
6 page.
2 You cannot add a song whose master track contains no data.
7
If you select a song that is other than 44.1 kHz/16-bit,
3 4 click the Dither button to turn it on (highlighted), and the
sampling frequency and bit-depth will be converted. The
1. Track list converted data will consume additional disc capacity. If
This displays a list of the songs that will be written to the the song has a different sampling frequency, conversion
CD-R/RW disc as an album CD. will be performed; this will take a certain amount of time
The list shows the track numbers, song name (mark to complete.
name), time, pre-gap, and post-gap of the tracks you reg- Only the data to be burned to the CD-R/RW disc will be
istered for the album CD. converted; the song data itself will remain in its original
At the bottom of the window, the duration of the selected sampling frequency and bit-depth.
(highlighted) track and the total time of the album are
4. Delete
displayed.
Deletes a song from the track list. In the list, choose the
2. Preview player song that you want to delete and click this button to dis-
Use these buttons to audition the songs shown in the list. play the Delete dialog box. Click the Yes button (or press
You can also use the top panel transport keys listed the panel YES key) to delete the song from the list. Subse-
below in square brackets [ ] to perform these operations.. quent song tracks will be moved back one track.
: [PLAY] Plays the song. If you want to delete all songs from the list, click the
: [STOP] Stops the song. Select All button and then click the Yes button (or press
: [REW] Moves to the preceding song each time you the panel YES key).
click this button. If you press this during playback, 5. Drive
you will move to the beginning of the currently- Selects the drive that contains the songs you want to
playing song. write to the CD-R/RW disc. When you click this button,
: [FF] Moves to the next song each time you click this the Select Drive dialog box will appear.
button. If you press this during playback, you will The dialog box will display the total capacity of the inter-
move to the beginning of the next song. nal drive, and a list of the song drives.
For each song drive, the display will show the drive
You cannot use these buttons if the list contains no songs. name, partition size, partition name, amount used, and
If the CD-R/RW drive contains a blank disc, and there are remaining space.
songs in the list display, pressing the top panel transport key The songs to be written to one CD-R/RW disc must all be on
REC will open the Write to CD dialog box. one song drive.
3. Add 6. Gap
This button adds a song to the list of songs that will be This lets you specify a duration of silence that will be
written to the CD-R/RW disc. Select the track number inserted before and after a song. When you click the but-
and click the button to display the Add TR dialog box. ton, the Edit Gap dialog box will appear.
Select the desired song from the song list. In this dialog box, Frm refers to a CDDA Frame, where 75
The song number, song name, mark icon, sampling fre- Frm = one second.
quency/bit-depth, protect icon, and date of each song
will be displayed.
The song data that will be written to the CD-R/RW will
6a
be the song data as of when you clicked Add button. If
you edit that song after clicking the Add button, you will
need to add that song to this list once again if you want to 6b
write the updated data.
138
6a. PreGapTime [0…59 (sec), 0…74 (Frm)]
Rename
METER Counter
Specifies the duration of silence to be inserted before
the track (song). The default is two seconds.
11b. Track at once
The default setting will be 0 seconds for the song added to
Here you can write an audio CD Track using the Track At
TR1 (track 1) or for a track divided by album CD track
Once method, erase a CD-RW disc, or finalize a disc.
marks (→p.145).
Additional data can be written to a disc until the disc is final-
MIXER
6b. PostGapTime [0…59 (sec), 0…74 (Frm)] ized.
Specifies the duration of silence to be inserted after the
track (song). The default is 0 seconds.
VIEW
7. Write To CD
CH
Executes writing to the CD-R/RW.
When you click this button, the Write to CD dialog box
EFFECT
will appear, displaying a message of “Obey Copyright
Rules.” Carefully read the section “COPYRIGHT WARN- 4
ING” (→p.iii), and use this function only if you accept
SEND
the terms. 1 5
• Use the “Write Speed” list button to specify the speed
2
at which the data will be written to CD-R/RW.
3
• When you click the Yes button (or press the panel YES
EQ
key), the D3200 will begin creating the image file. You
can click the Cancel button (or press the panel NO
key) to abort this process.
PAN
1. Erase
• When the image file has been created, the D3200 will This erases all the data that has been written to a CD-RW
begin writing the disc. This cannot be aborted. disc.
TRACK SYSTEM SONG

• The disc will automatically be finalized. When you click this button, the Erase CD-RW dialog box
• When the disc has been written a message of “Write will appear. Use “Option” to select the method of eras-
Another CD?” will appear. ure, and click the Yes button (or press the panel YES key)
/MIDI
• If you want to create another identical CD, click the to erase the disc.
Yes button (or press the panel YES key). If not, click
the No button (or press the panel NO key). Quick: Erase the disc quickly.
If you click the Yes button (or press the panel YES key), a Full: Erase the disc completely. Use this if you experi-
message of “Insert Next Disc. After Insert, Press OK.” ence problems such as if a disc erased using
will appear, and the CD-R/RW drive tray will open. Quick cannot be recognized. This method will
Insert another CD and click the OK button (or press the require more time.
CD
panel YES key).
This operation cannot be performed on a CD-R disc. Data that
If you successively write another disc, the D3200 will not
is erased by this operation cannot be recovered.
need to create the image file again, so the process will
take less time. 2. Track cell
Reference
This shows the song number, song name, and recording
A CD-R/RW disc written using Album CD Project will be
time of the song whose track you will write to the CD.
finalized automatically.
3. Write To CD
Changing the writing speed will not affect the time that is re-
This button writes the song shown in the track cell to the
quired to create the temporary image file that is created before
CD-R/RW disc.
writing an audio CD.
When you click this button, the Write to CD dialog box
will appear, displaying a message of “Obey Copyright
UNDO
Rules.” Carefully read the section “COPYRIGHT WARN-
ING” (→p.iii), and use this function only if you accept
the terms.
• Use the “Write Speed” to specify the speed at which STORE SESSION TUNER
the data will be written to CD-R/RW.
• When you click the Yes button (or press the panel YES
SCENE DRUMS
key), the D3200 will begin creating the image file. You
can click the Cancel button (or press the panel NO
key) to abort this process.
If the selected song is 24-bit, click the Dither button to turn it
on if you want dithering to be performed.
MARK
• When the image file has been created, the D3200 will
begin writing to the disc. This cannot be aborted.
• When the disc has been written a message of “Write
Another CD?” will appear.

• If you want to create another identical CD, click the
Yes button (or press the panel YES key). If not, click
MODE LOC 4/END
the No button (or press the panel NO key).

If you click the Yes button (or press the panel YES key), a
message of “Insert Next Disc. After Insert, Press OK.”
will appear, and the CD-R/RW drive tray will open.
Insert another CD and click the OK button (or press the
panel YES key).
If you do write another disc at this time, the D3200 will
keys
not need to create the image file again, so the process will
take less time.
139
4. Get Information
When you click this button, the disc inserted in the CD-
R/RW drive will be read to determine the type of disc,
11c. CD PLAYER
the remaining time that can be written, the already-writ-
ten time, and the number of tracks. Here you can play back a disc inserted in the CD-R/RW
drive.
Disc type
You can also import data from the disc into the clipboard,
NoDisc: No disc is inserted. Alternatively, the disc
and import it into the D3200 as WAV data.
cannot be recognized.
CDR: A CD-R that has not been finalized (i.e., still When using the D3200’s CD-RW drive as a CD player, CD re-
writable) cording is not available.
CDRW: A CD-RW that has not been finalized (i.e., still Use the monitor knob to adjust the CD playback volume.
writable)
Illegal Disc: A disc that cannot be recognized
If nothing is displayed, the drive contains a disc that
cannot be written (such as a commercial audio CD or a 1
finalized CD-R/RW).
Disc content
Blank: A blank disc containing no data 2
Audio: A disc containing audio data
ISO9660: A disc containing backup data or WAV data
D1200mkII backup data 3
Other: A disc containing data other than audio or
backup data 1. CD Import
UDF: A UDF format disc created by the Korg Triton or If you turn this on, the CD Import dialog box will appear.
similar device Click the Yes button (or press the panel YES key) to exe-
Disc space usage cute.
When you click the button, the CD Import dialog box
If the disc content is Audio
will appear, and a message of “Obey Copyright Rules”
Free: Remaining recordable time
will appear. Carefully read “COPYRIGHT WARNING”
Used: Already-recorded time and total number of
(→p.iii), and use this function only if you accept the
tracks
terms.
If the disc content is Data Disc • Click an radio button to select the import method.
Free: Remaining recordable space (MB) Clip:
Used: Already-recorded space (MB) Import as track data into the clipboard.
If the disc content is Other WAV:
Nothing is displayed. Import as WAV data into the import area.
If you want to rename the WAV data that will be
5. Finalize
imported, click the Rename button to open the dialog
This button finalizes the disc.
box, and edit the name. You can input a name of up to
In order for a CD-R/RW disc created by the D3200 to be
eight characters (→p.99).
played in an audio CD player, you must execute this
• Click the Yes button (or press the panel YES key) to
Finalize operation. A disc can be finalized only once.
begin importing. You can click the Cancel button (or
The Finalize dialog box will appear when you click this
press the panel NO key) to cancel the import.
button. Click the Yes button (or press the panel YES key)
to execute. 2. Information window
The upper line displays the track number and messages.
This can be used only to finalize a Track At Once audio CD
The lower line shows the state (playing, stopped, etc.) of
that was written in this screen.
the CD player, the elapsed time, and the level meter.
Once a disc has been finalized, no further songs can be written
3. Control buttons
to it. This means that you must first write all of the desired
songs to the disc, and then click the Finalize button to finalize Use these buttons to play or stop the audio CD, or to
the disc. select tracks (songs).
You can also control these operations using the top panel
You cannot play back a disc that has not been finalized. transport keys listed below in square brackets [ ].
: [PLAY] Play or pause the track.
: [STOP] Stop the track.
: [FF] Move to the next track each time you click. If you
press this while playing, you will move to the begin-
ning of the next track.
: [FF] held down Fast-forward the track.
: [REW] held down Rewind the track.
: [REW] Move to the previous track each time you
click. If you press this while playing, you will move
to the beginning of the currently-playing track.
You can’t eject the CD while paused. If you move to a different

page while paused, the player will switch to Stop mode.
If the CD-R/RW drive contains an audio CD, pressing the top
panel transport key REC will open the CD Import dialog box.
140
Rename
METER Counter
12. UNDO 13. TUNER
After executing the operations listed below, you can use the You can use the built-in tuner to tune an instrument connect-
Undo function to return the data to the state it was in prior to ed to INPUT 1 or GUITAR IN.
performing that operation. If desired, you can then use the
Redo function to restore the most recent edit.
MIXER
• Recording
• Track editing
CopyTrack, InsertTrack, EraseTrack, DeleteTrack,
VIEW
CH
SwapTrack, ReverseTrack, OptimizeTrack, Exp/
CompTrack, CopyWholeTrack, SwapWholeTrack,
FadeTrack, NormalizeTrack, NoiseReduction, 1
EFFECT
ErasePunchNoise, EraseSilence
• Audio file import
2
Press the UNDO key to access the “Undo/Redo” tab page. If
SEND
you decide not to Undo, press any other page mode key. By 3
pressing the UNDO key you can return to the page that was
selected before you pressed the key.
EQ
6 5 4
Undo and Redo operations
PAN
Current 1 operation 2 operations 3 operations 16 operations
state ago ago ago ago
TRACK SYSTEM SONG

: press the Undo button
1
: press the Redo button
/MIDI
2
6 5 4
1
CD
1. CENT Scale [–50...+50]
2 3
When the tuning is correct, the needle will be at the
4 center 0 position, and the flat “s” indicator and sharp
“w“ indicator will both light.
Reference
5 If the pitch is flat, only the “s” indicator will light. If the
pitch is sharp, only the “w“ indicator will light.
The pitch deviation is indicated in units of cents. (100
cents = one semitone, and 1200 cents = one octave)
1. Current undo level 2. Note Display [C...B]
This area indicates the current state, which you can revert This indicates the name of the note that is closest to the
to prior states. pitch you input.
UNDO
The tuner cannot detect two or more notes simultane-
2. Undo list [01…16] ously.
This lists the operations that can be undone.
3. OFF
STORE SESSION TUNER
When you execute Undo, you will return to the state
prior to executing the selected operation. Click this when you are finished using the tuner. When
The undo list saves up to the sixteen most recent opera- you turn off the tuner, you will return to the page that
had been selected before the tuner screen.
SCENE DRUMS
tions.
Click the Redo or Undo buttons to select “undo levels” in the 4. CALIB [430...440...449 Hz]
undo list. You cannot select these directly by clicking the This indicates the reference frequency.
screen. Normally you will leave this at “440”.
3. Redo 5. Digital display button

Executes a Redo operation. This selects a digital-style tuner display for tuning the
MARK
currently selected input source.

4. Undo
Executes an Undo operation. 6. Analog display button
This selects an analog-style (needle) tuner display for
5. Clear tuning the currently selected input source.

You can click this button to erase the undo data that is
preserved, thereby recovering more free space on the
MODE LOC 4/END
disk.
The D3200 preserves up to sixteen levels of recording and ed-
iting history, and lets you use the Undo function to revert to
prior states. For this reason, old data that no longer exists in
the tracks may still remain on the disk without being erased.
This data will occupy space on the disk, and may cause the
available recording time to be less than you would otherwise
keys
expect.
141
2. Drum kit parameter knobs
14. SESSION DRUMS Here you can adjust the parameters of the drum kit that
is being used for the drum performance.
Here you can specify the song tempo and drum pattern (met- You can also use matrix knobs 9–16 to edit these parameters.
ronome) settings, make settings for the drum track, and cre- With the factory settings, level is selected as the parameter,
ate a pattern map. but you can change this in the DRUM KIT dialog box of 8.
When the counter shows the “MBT” (measure, beat, 1/96th KIT.
note tick) indication (→p.98), it will move according to the 3. Transport buttons
tempo you specify. Use these to rewind, fast-forward, play and record the
You can’t record drum patterns or create or edit a pattern map if drumming.
the song’s Protect setting is turned on. These move the location in units of measures.
When you click these buttons, the counter will
automatically change to the Measure/Beat/
14-1. Session Drums Tick indication.
Start/stop recording or playing the pattern map.
Enable recording for the session drums.
7
1 When you are in this page, you can use the panel LOC 1
8 key instead of the Start/Stop button, and the LOC 2 key
9 instead of the Record button. You can also move between
measures by holding down the SESSION DRUMS key
10
and using the panel +/– keys.
2 11 4. FILL
This produces a fill pattern while the drums are playing.
This will begin blinking as soon as you click it, and a fill
pattern will be inserted at the start of the next measure.
When you are in this page, you can use the panel LOC 3
3 4 5 6 key instead of the Fill button.
1. Drum pattern settings 5. RUN
Here you can set various parameters for the drum pat- Click (highlight) this to audition the drum pattern.
tern. The settings are shown as icons, graphics, and as The pattern map will not be updated at this time.
numerical values. You can also use matrix knobs 1–8 to When you are in this page, you can use the panel LOC 4
edit these parameters. key instead of the RUN button.
This button is also highlighted while the drum pattern is
When you turn the knobs, the GROUP, SESS, and VARI pa-
being recorded.
rameters will operate in JUMP mode and the TEMPO param-
eter will operate in MATCH mode, regardless of the Fader/ If you want to select a blank pattern, click this button
Knob Control setting in the SYSTEM/MIDI, “Control” tab during recording to defeat the highlighted state.
page. If you click the button once again to highlight it, you’ll be
GROUP, SESS, VARI, and TEMPO settings can be edited
able to make settings for the drum pattern.
only while recording or auditioning (5. RUN) (unless 7. Click If you change the GROUP or SESS while auditioning
Monitor is on). drum patterns, the drum kit and tempo will automati-
GROUP [Metronome...etc.] cally change in tandem.
Selects a genre of family of drum patterns. If you change the GROUP or SESS while recording or
playing drum patterns, the currently selected drum kit
SESS and tempo will be maintained.
Selects a session (drum performance pattern set) from
within the group selected by GROUP. 6. bar:beat
Normally this shows the measure and beat of the current
VARI location. However when you’re auditioning (RUN button
Selects a variation of the pattern selected by SESSION. highlighted), this shows the measure and beat within the
If you selected Metronome as the GROUP, this will pattern.
select the time signature.
7. Click Monitor
TEMPO [40...255] If you turn this on (highlighted), the pattern map will be
Specifies the tempo of the drumming. disabled; GROUP will be “Metronome,” SESSION will
The range is =40–255. be “Metro 4,” and the drum kit will be “Standard.” This
SHFFL [OFF, 0...100(%)] will produce a four-beat metronome sound from the moni-
Specifies a shuffle effect for the drumming. This will be tor output. The Tempo Track setting is ignored in this case.
OFF if you turn the knob all the way toward the left. Use the Tempo knob to adjust the tempo. You can change
ACCNT [OFF, 1...20] the pattern or tempo even while stopped.
Switches the accent table for the drumming. This will If you turn this off, the tempo track and pattern map will
be OFF if you turn the knob all the way toward the left. be enabled, and you’ll be able to record and perform
INTNS [OFF, 1...10] Replace operations. In this case, the pattern will be out-
Adjusts the strength (intensity) of the accent. This will put from the master output.
be OFF if you turn the knob all the way toward the left. This button is linked with the Drums button in the
MIXER, SOLO/MONITOR “Monitor” tab page.
HUMAN [OFF, 1...20]
Applies a “humanize” effect that creates slight varia- 8. KIT
tions in the velocity and timing. This will be OFF if Click this to change the drum kit that is used to play the
you turn the knob all the way toward the left. drum pattern. Alternatively, you can hold down the
panel SESSION DRUMS key and press the LOC 1 key.
When you’ve finished making settings, click the Exit but-
ton (or press the panel YES key).
142
Changes you make to the drum kit will affect only the Alternatively, you can hold down the panel SESSION
Rename
METER Counter
currently selected drum pattern. Although you can DRUMS key and press the LOC 2 key instead of clicking
change the variation after modifying the kit, switching this button.
the group or section will cause your drum kit edits to be The settings that can be edited will depend on the 11. Rec
discarded; they will revert to the previous settings. If you Mode setting.
want to keep the changes you make to a drum kit, check Pat&T
the Hold check box in the DRUM KIT dialog box. The pattern, the range of measures, and the tempo can be
MIXER
changed.
Tempo
The tempo will be changed to the tempo you specify.
VIEW
CH
Pattern
The pattern and the range of measures can be changed.
EFFECT
8a
Pattern changes will occur in units of measures, but tempo
changes will affect the tempo of the current and all subsequent
measures.
SEND
10.Ending
8f
This recalls an ending. The button will begin blinking the
moment you click it, and an ending pattern will play at
EQ
8b 8c 8d 8e the next measure. When the ending pattern has played, a
blank pattern will be selected.
8a. Parameters
11. Rec Mode
PAN
Here you can edit the parameters for each sound used
Use the radio buttons to select the mode in which you
by the drum kit. You can also use the Knob Matrix to
will record drum patterns and create or edit (or 9.
edit these parameters.
TRACK SYSTEM SONG

Replace) pattern map events.
8b. KIT CHANGE
Pat&T
This exchanges the drum kit for another drum kit. Select
Both pattern and tempo changes will be recorded.
the desired drum kit and click the OK button (or press
/MIDI
the panel YES key) to return to the DRUM KIT dialog Tempo
box. If you decide to discard the changes you made, Only tempo changes will be recorded.
click the Cancel button (or press the panel NO key). Pattern
Only pattern changes will be recorded.
CD
14-2. Drums Track Mixer
Here you can view and edit the parameters of the drum track.
Reference
4
1
8c. Hold
UNDO
If this is checked, the 8a. Parameters and the 8b. KIT
CHANGE settings will be maintained.
The memorized settings will be used for all drum pat-
STORE SESSION TUNER

terns of the song.
If this is unchecked, the drum kit settings for each
drum pattern will be used. 2 3 SCENE DRUMS
8d. Parameter assign button 1. Assign

This specifies the parameter that is controlled by the 2. This specifies where the drum pattern playback will be
Drum Kit parameter knobs. Click this knob, and in output.
the Knob Assign dialog box, use the radio buttons to CH Input
select the desired parameter, and click the OK button The drum pattern playback will be assigned to the
(or press the panel YES key). channel input. If this is selected, you can use the “Ch
MARK
If you select None, matrix knobs 9–16 will do nothing. Assign” tab page to assign Drums L, R as desired, and
record the drum pattern performance on a channel track.
8e. MIDI
Master
If this is checked, the drum kit will sound when it

receives MIDI notes. If this is unchecked, received The drum pattern playback will be output to the mas-
MIDI notes will not play the drum kit. If you want to ter bus.
MODE LOC 4/END
change the MIDI receive channel, click the cell and Monitor
make the desired setting. The drum pattern playback will be added only to the
8f. Group selection scroll bar/buttons audio that is output from the monitor jacks.
Use the scroll bar and buttons to switch between If the 14-1. Session Drums parameter 7. Click Monitor is
groups of four drums for editing. on, this Assign parameter will automatically be set to “Mon-
9. Replace itor.” If this parameter is off, “Master” will automatically be
selected.
keys
When you click this button, the drum pattern settings

recorded for the measure of the current location can be
edited in the Edit Map Event dialog box (→p.144).
143
2. Parameters 3a. Start Meas [0001...9999]
You can use the drum track fader and key to turn the Specifies the location at which the pattern map event
drum track on/off and adjust the volume. will be created (begun, inserted), in units of measures.
Use the Knob Matrix to adjust the send levels and EQ set- 3b. Length [0001...9999]
tings. You can also click an icon in the screen and use the Specifies the number of measures for the pattern.
value dial (or +/– keys) to edit the setting.
3c. GROUP, SESS, VARI, TEMPO
3. Link Use GROUP to select the group (type) of drumming
Click this if you want the send and EQ parameters to be pattern, SESS to select a pattern set (session) from the
the same values for L and R. If you want to set the param- specified group, VARI to select a pattern variation
eters individually for left and right, click this to turn it and TEMPO to Specifies the tempo of the drumming.
off, and then set the parameters individually.
3d. Blank
4. PRE/PST Click (highlight) this to select a blank pattern.
This specifies whether the sends will be taken from
3e. Fill
before the fader (pre-fader) or from after the fader (post-
Click (highlight) this to select a fill pattern.
fader).
PRE: Send the pre-fader level 3f. Ending
PST: Send the post-fader level Click (highlight) this to select an ending pattern.
4. Edit
Edits the settings of a pattern map event.
14-3. Pattern Map Select this if you want to modify an existing event. Select
(highlight) the event you want to modify, and click this but-
Here you can edit the pattern map to add new events during ton to display the Edit Map Event dialog box where you
song recording or playback, or change the time signature, can edit the parameters. (See the preceding section, 3. New)
drum pattern, or tempo.
RecMode = Pattern
You can specify events in the pattern map at intervals of measures.
3
1
4
5
If you set the Start Meas setting later (or earlier) than the be-
ginning of the selected event, the Length of the preceding event
1. Pattern map window [001...200]
will be lengthened (or shortened) by the difference.
Select the pattern map event that you want to edit.
The list shows the event number, the starting measure 5. Overwr.
and ending measure for the pattern, the time signature, The settings of the pattern map event will be changed by
the session name, the variation name, and the tempo. being overwritten. Choose this if you want to add an
2. Prev event without changing the length of the pattern map
Turn this on (highlighted) if you want to preview the pat- you’ve already created. The overwritten area will be
tern of the event that is selected in the pattern map window. divided as a new event. Select the event you want to
This is valid only in this tab page, and will automatically modify (it will be highlighted), click this button to open
be switched off when you play back the recorder or move the Overwrite Map Event dialog box, and set the param-
to another page. eters. (Refer to the preceding section, 3. New)
3. New RecMode = Pattern

Creates a new pattern map event.
Click this button to add a new event.
When you click this button, the New Map Event dialog
box will open, and you will automatically be in Preview
mode (2. Prev turned on).
You can’t add events if RecMode is set to Tempo.
RecMode = Pat&T
3a
3b
If the Start Meas and Length settings exceed the range of the
event you selected, the event(s) corresponding to that portion of
the map will also be overwritten. If the Start Meas and Length
3c settings are identical to the range of the event you selected, no new
event will be added; the result will be the same as 4. Edit.
6. Delete
Deletes an event from the pattern map.
In the pattern map window, select the event you want to
3d 3e 3f
delete and click this button to open the Delete dialog box.
144
If you are recording tap tempo, press the PLAY key or the
Rename
METER Counter
foot switch. Tap tempo will be recorded according to the
intervals at which you press the key or foot switch.
The tempo will be recorded from the beginning of the song.
The tempo at the measure or beat where you stop tempo recording
will be automatically copied all the way to the end of the song.
MIXER
Click the Yes button to delete the event. If you decide not to
delete it, click the No button (or press the panel NO key).
When you execute this operation, the selected event will
VIEW
CH
be deleted, and subsequent events will be moved for-
ward by one step. 15. STORE
If you want to delete all events in a single operation, turn
EFFECT
the Select All button on (highlighted), and execute this This stores the current location so it can be saved as a locate
Delete operation. point, mark or scene.
You can’t delete events if RecMode is set to Tempo. When you press the STORE key, the location at that moment
SEND
is preserved, and you can assign that location to a locate
point, scene, or mark point by pressing the appropriate key.
If you press the STORE key once again instead of pressing a
14-4. Tempo Track
EQ
key to specify the assignment, the stored location will be dis-
Here you can record the tempo track. You can do this in one carded. For details on registering and using locations, refer to
of two ways. Locate (→p.38), Scene (→p.50), or Mark (→p.38).
PAN
• Recording MIDI clock messages
You can synchronize to an external MIDI sequencer by
TRACK SYSTEM SONG

recording the MIDI Clock messages received from the
external MIDI sequencer so that this data will determine
the tempo of the song. 16. SCENE
• Recording tap tempo
/MIDI
You can specify the tempo by tapping (either the PLAY Refer to “2c. FADER/PAN/AUTOMATION” (→p.105, Edit
key or a foot switch) while the song plays back. If you use Scene).
this method to specify the tempo of a song whose tempo
is unknown (such as a song recorded from a CD), you
will then be able to edit the tracks in units of measures.
For the recording procedure refer to “6-1. Tempo track”
CD
(→p.63). 17. MARK
The above two methods of recording the tempo track store their
data in the same area; only the last-recorded data is maintained. It You can register marks at a variety of locations, and then in-
Reference
is not possible to have two tempo tracks of data. stantly change the current location of the song to the location
If the memory becomes full while recording tempo data, recording registered to a mark. You can also assign a name to each
will end automatically. mark, and use them to indicate sections within a song.
(→p.38)
To move between marks, hold down the MARK key and use
the + (or –) key.
If you add the Album CD Track Marks to a mark, the mark
UNDO
will be recognized as a track division for a CD you create.
1
You can also use a PS-1 foot switch (sold separately) instead of the
MARK key. (→p.119)
You can register up to one hundred marks in each song. STORE SESSION TUNER
2
Mark 001 is automatically created at the counter 0 location SCENE DRUMS
with a name of “Song Top Mark.”
1. Tempo Rec Mode [MIDIClock, MeasTap, BeatTap]

Selects the type of tempo track to be recorded.
1
MIDIClock:
MARK
MARK
The tempo track will be created by recording MIDI 3

clock data from a song created on an external 2
4
sequencer.
5
MeasTap: 6
The tempo track will be created by tapping at the 7
MODE LOC 4/END
beginning of each measure.

BeatTap:
The tempo track will be created by tapping at the
beginning of each beat. 1. Current Mark [001…100]
2. RecStart This is the mark at or immediately before the current
This button displays the record-ready dialog box. location. The mark name, location, and the Album CD
If you are recording MIDI clock messages, recording will Track Marks are displayed beside the mark number.
keys
begin when the D3200 receives MIDI clock messages

from your external MIDI sequencer.
145
2. Mark list [001…100] down the panel JUMP key. You can also move the location by
Here you can select the mark number that you want to clicking and holding in the waveform window and then moving
recall, edit, rename, or delete. The mark name, location, the joystick to left or right.
and the Album CD Track Marks are displayed beside the
mark number. Mark numbers are reassigned automati- 1 2 3
cally in order of their location.
3. Recall
When you click this button, the mark selected in the mark
list will be recalled, and the current song location will 4
change to that location.
4. EditLoc
When you click this button, the Edit Mark Location dia- 5
log box will appear. Edit the location of the mark selected
in the mark list, and click the Yes button (or press the
panel YES key) to apply the change. To discard the
change, click the No button (or press the panel NO key).
You cannot edit the location mark 001. 6
5. Rename 1. Track selection

This lets you rename the mark selected in the mark list. Click the popup button, use the buttons in the Select
Click the button to display the Rename dialog box, and Track dialog box to select the track in which you want to
edit the name of the mark. You can input a name of up to find a location, and click the OK button (or press the
sixteen characters. (→p.99) panel YES key). If you click the Stereo button, the wave-
forms of two adjacent channels will be displayed in the
6. Delete upper and lower part of the waveform window.
Click this button to open the Delete dialog box, and
delete the mark. If you click the Select All button on
(highlighted), all marks will be selected for deletion.
To delete the marks, click the Yes button (or press the
panel YES key). If you decide not to delete, click the No
button (or press the panel NO key).
You cannot delete mark 001.
Deletion of a mark cannot be Undone.
7. Use As CD Tr
When you want to write a continuous live recording or a
long song to a CD and create track indexes to mark cer-
tain sections or individual movements, you can use this
setting to assign the selected mark as a track divider on
the CD.
When you select a mark in the mark list and click the Use 2. Preview playback buttons
As CD Tr button, a CD Track Mark icon “ ” will be You can also perform these operations using the top
displayed for that mark, and it will be assigned as a track panel transport keys listed below in square brackets [ ].
divider. You can cancel this assignment by clicking the [REW] Plays back approximately two seconds ending
Use As CD Tr button once again. at the current location (the Play To function).
Album CD Track Marks are used only when you write an Al- [FF] Plays back approximately two seconds starting
bum CD Project. from the current location (the Play From function).
If you write using Track At Once, the Album CD Track Marks
are ignored, and the song will be written as one track (song). 3. SearchZero
If this button is clicked, you can turn the value dial to
find the next or previous zero-cross point.
A “zero-cross” point is a location where the waveform level
crosses the ±0 point (the horizontal line in the center of the
18. SCRUB waveform window).
4. Waveform window
This lets you “scrub” the audio data in order to register or This displays the waveform of the selected track.
edit locate points or mark locations more precisely. 5. Loc (Location) [000:00.000…]
Press the SCRUB key to display the “Scrub” page. To stop This displays the current location. The current location is
the Scrub function, press any other page mode key. also shown by the vertical bar in the waveform window.
If you press the SCRUB key again, you will return to the You can turn the value dial to move this while hearing
page in which you were before pressing that key. the audio and watching the waveform location.
The Scrub function lets you play back the track data by turn- 6. ZOOM
ing the value dial, so that you can find a desired location in Adjusts the size of the waveform display and the play-
the song while listening to the sound. back speed:
This is analogous to manually turning a vinyl record on a vertically expands the waveform display.
turntable to find the beginning of a song while listening to vertically shrinks the waveform display.
the sound. horizontally expands the waveform display.
The waveform window will show the waveform of the se-
horizontally shrinks the waveform display.
lected track.
You can move the location by clicking in the waveform window You can operate the ZOOM buttons by holding down the pan-
and then moving the ClickPoint to left or right while holding el JUMP key and using the cursor keys.
146
Starting location + copy-destination location of the
Rename
METER Counter
19. LOC 1/IN, … LOC 4/END expanded/compressed data for “ExpCmpTrk”
Starting location “NoiseReduction”
These keys are used to store locations within the song. LOC The location that you register for the LOC 4/END key is
1/IN…LOC 4/END are used in the following ways. used for the following purposes.
• Locate points (→p.37) • Locate point 4 (END location)
You can move to a registered location by pressing the • The following locations for track editing operations
MIXER
corresponding key. Ending location of the data to be expanded/com-
• In/Out points for loop playback (→p.68) pressed for “ExpCmpTrk”
• In/Out points for auto-punch recording (→p.66) Ending location for “NoiseReduction”
VIEW
CH
• Editing points for track editing (→p.69)
To register a location, press the STORE key and then press MIXER Navigation Tools
EFFECT
the desired LOC 1–6 key.
Tab pages within the MIXER page can be registered to the
Locate functions LOC 1/IN–LOC 4/END keys for quick access.
The location that you register for the LOC 1/IN key is
SEND
used for the following purposes. Assigning Tab Pages to the Locate keys
• Locate point 1 (IN location) • In the MIXER page, access the tab page that you want to
• Punch-in location for auto-punch recording register.
EQ
• Playback start location for loop playback Hold down the MIXER key and press the STORE key;
• The following locations for track editing operations the Stored Page dialog box will appear.
Starting location of the copy-source for “CopyTrk” If you decide not to register this page, click the Exit but-
PAN
Starting location of the inserted silence for “Insert- ton or press the STORE key once again.
Trk” • Press the LOC 1/IN, LOC 2/OUT, LOC 3/TO, or LOC 4/
Starting location of the erased region for “EraseTrk”
TRACK SYSTEM SONG

END key to register the current tab page to that key.
Starting location of the deleted region for Registration is complete as soon as you press the key,
“DeleteTrk” and the dialog box will close.
Starting location of the swap-source and swap-desti-
/MIDI
nation for “SwapTrk” With the factory settings, the following pages are registered.
Starting location of the data to be reversed for LOC 1 CH INPUT/SubMixer, “Ch Assign” tab page
“ReverseTrk” LOC 2 FADER/PAN/AUTOMATION, “Automation” tab page
LOC 3 PAIR/GROUP, “Ch Pair” tab page
Starting location for “OptimizeTrk”
LOC 4 EQ/ATT/PHASE, “MasterEQ” tab page
Starting location of the data to be expanded/com-
pressed for “ExpCmpTrk” Moving between tab pages
CD
Starting location for “FadeTrk”
Starting location for “NormalizeTrk” Once the tab page has been assigned, then simply holding
Starting location for “ErasePunchNoise” down the MIXER key and pressing one of the LOC 1/IN–
Starting location for “EraseSilence” LOC 4/END keys will move you directly to that registered
tab page within the MIXER.
Reference
The location that you register for the LOC 2/OUT key is
used for the following purposes.
• Locate point 2 (OUT location)
• Punch-out location for auto-punch recording
• Playback end location for loop playback 20. REC/PLAY MODE
• The following locations for track editing operations
UNDO
Ending location of the copy-source for “CopyTrk”
Ending location of the inserted silence for “Insert-
Trk” 20-1. Rec Mode
STORE SESSION TUNER
Ending location of the erased region for “EraseTrk” Here you can select the recording method, and make settings
Ending location of the deleted region for for trigger and auto-punch recording.
“DeleteTrk”
SCENE DRUMS
Ending location of the swap-source and swap-desti-

nation for “SwapTrk”
Ending location of the data to be reversed for
“ReverseTrk”
Ending location for “OptimizeTrk” 1
Ending location of the data to be expanded/com- 3
MARK
MARK
pressed for “ExpCmpTrk” 2 4

Ending location for “FadeTrk” 5 6
Ending location for “NormalizeTrk” 7
Ending location for “ErasePunchNoise” 8

Ending location for “EraseSilence”
MODE LOC 4/END
The location that you register for the LOC 3/TO key is
used for the following purposes. 1. Normal
• Locate point 3 (TO location) Recording will occur normally.
• The following locations for track editing operations 2. Trigger recording [Trigger/RecStart, Trigger/Punch In]
Starting location of the copy-destination for Trigger recording will be used. Recording will be started
“CopyTrk” (“triggered”) when the volume of the input signal
Starting location of the reverse-copy destination for exceeds the threshold level (Threshold) you specify
keys
“ReverseTrk” (→p.66). If you click either of these radio buttons, the

Trigger indicator will light.
147
Recording will not start if the volume of the input signal does 5. AutoPunch
not reach the threshold level (specified by Threshold). In this Auto punch-in/out recording is a function that automati-
case, press the STOP key to cancel record-ready mode, and cally initiates recording (punch-in) and stops recording
change the “Threshold” setting. (punch-out) at the locations that you specify beforehand.
Trigger/RecStart: When “AutoPunch” is on, the AUTO PUNCH indicator
Press the REC key (REC and PLAY keys blinking) to will be lit. When you record, punch-in/out recording will
enter record-ready mode. If the REC/PLAY key is on, be performed.
recording will begin automatically when the audio When you record, playback will begin from a location
input for the channels whose channel key is in Record that is the pre-roll length before the registered IN point.
mode exceeds the threshold level. Recording will occur over the specified region (IN–OUT),
While in record-ready mode, you can press the STOP and then playback will continue and then stop at the
key or REC key to cancel record-ready mode. post-roll point.
Trigger/Punch-In: 6. Roll Time Unit
Press the REC key (the key will blink) to enter record- Select the units for the pre/post roll times. You can select
ready mode. either seconds or measures.
Press the PLAY key to play back the playback track(s). 7. Pre Roll Time
When the signal being input to the currently-playing 8. Post Roll Time
channel exceeds the threshold level, recording will Specify the pre-roll and post-roll. When using auto punch
begin automatically. recording, you can specify a pre-roll time so that you can
While in record-ready mode, you can press the STOP be ready to start recording at the punch-in (IN) point. Set
key or REC key to cancel record-ready mode. the post-roll time so that you can confirm the transition
Trigger/RecStart recording from the end of recording (OUT) to the material that fol-
lows.
Trigger
Pre Roll Time LOC 1 LOC 2 Post Roll Time
Threshold
Playback Recording Playback
Begin recording Stop recording
PreTriggerTime
Recording Auto punch-in/out recording
Stopped
Loop recording (this region will be repeated)
Record-start location If you perform auto punch-in/out recording when Loop Play in
the “Play/Stop Mode” tab page is on, recording will occur re-
Trigger/Punch-In recording peatedly, and each “pass” or “take” will be preserved in the undo
list.
Trigger
When recording the master track, the only Rec Mode you can use
Threshold is “Normal” and “Auto Punch.”
The number of simultaneously-recordable tracks is limited when
PreTriggerTime using punch-recording. For details about limitations on the
Playing Recording number of tracks, refer to Song Type (→p.117). If you attempt to
record more than the allowable number of tracks, recording cannot
Record-start location be executed.
If MIDI Sync is set to MTC, you cannot execute Trigger/Rec-
Start playback
Start or Auto Punch.
3. Threshold [–∞, –90.3…–30.8 dB] If MIDI Sync is set to MTC Slave, Loop Play will be ignored
Specifies the threshold level for the input signal at which even if it is turned on.
recording will be triggered when the trigger recording
function is used. Recording will begin when the input
level exceeds this setting.
Normally you should set this as low as possible without allow-
ing recording to be triggered by noise. The appropriate level
will depend on the input source. Re-adjust this setting if re-
cording begins too early or too late.
4. PreTriggerTime [0…600ms]
Specifies the length of sound prior to the record-start
time that will be captured when using trigger recording.
Trigger recording will start recording when the input sig-
nal exceeds the “Threshold” level, but depending on the
threshold setting and on the type of source, the initial
attack of the first note may be lost. In such cases, you can
set the “PreTriggerTime” so that the lower-level portion
of the sound that precedes the actual start of recording
will also be recorded.
This is not valid at the beginning of the song. Also, if you use
trigger recording to continue recording after the end of a pre-
viously-recorded track, a PreTriggerTime setting other than
“000 ms” will cause the corresponding length of the previous-
ly-recorded sound to be lost.
148
Rename
METER Counter
20-2. Play/Stop Mode 21. Transport keys
Here you can specify how the transport keys PLAY and
STOP will operate. PLAY key
Click this button to begin playback (key lit). This key will
2 blink during fast-forward, rewind, MTC Slave, or Trig
Rec Start.
MIXER
REC key
Arms the record mode. Recording is possible only if at
least one track is set to REC. When you press this key, the
VIEW
CH
D3200 will enter record-ready mode (key blinking), and
1
recording will begin when you then press the PLAY key
EFFECT
(key lit).
The conditions for initiating recording will differ depending
on the RecMode, MMC, and MTC settings.
SEND
If the foot switch function is set to “Punch In Out,” you can
use the foot switch instead of the REC key.
STOP key
1. Play/Stop Mode
EQ
Stops recording or playback.
Click an radio button to specify how the PLAY and STOP
You can hold down the STOP key and press the REW
keys will operate.
key to move to the beginning of the song, or hold down
PAN
Manual the STOP key and press the FF key to move to the end of
The keys will play and stop in the conventional way. the song.
Loop Play
TRACK SYSTEM SONG

FF key
When you press the PLAY key, the region specified by Fast-forward will occur while you hold down the FF key
LOC 1/IN and LOC 2/OUT will play repeatedly during playback.
(→p.65). Playback will stop when you press the STOP Pressing the FF key while stopped will cause fast-for-
/MIDI
key. ward to continue until you press the STOP, PLAY, or
At this time, the LOOP indicator will light. LOC 1/2/3/4 keys.
If you perform auto-punch in/out recording while Loop REW key
Play is on, you’ll be able to record repeatedly; the recorded Rewind will occur while you hold down the REW key
result will be saved in the Undo list. during playback.
Loop Play is unavailable if “MIDI Sync” (→p.125) is set Pressing the REW key while stopped will cause rewind
CD
to “MTC Slave.” to continue until you press the STOP, PLAY, or LOC 1/2/
3/4 keys.
Stop at Song End
Playback will begin when you press the PLAY key, If the REC/PLAY MODE setting Loop Play is on, perform-
Reference
and will automatically end when you reach the end of ing fast-forward/rewind will cause fast-forward/rewind to
the song. continue until you press the STOP, PLAY, or LOC 1/2/3/4
keys.
Stop at Song End & Return to Top
Playback will begin when you press the PLAY key.
When you reach the end of the song, playback will
automatically stop and you will return to the begin-
ning of the song.
UNDO
Stop at Song End & Load Next Song
Playback will begin when you press the PLAY key.
When you reach the end of the song, playback will
automatically stop and the next song will be loaded. STORE SESSION TUNER
2. Stop at Mark Point SCENE DRUMS
Playback will pause when you reach a location at which a
mark has been assigned.
MARK
keys MODE LOC 4/END
149
Effect parameters
Algorithm list Program list
STEREO TYPE STEREO TYPE
Category No. Name Size
Reverb&Delay 1 Reverb Hall 2 Category: Reverb&Delay 20
2 Smooth Hall 2
No. Program Name Algorithm No. Name
3 Reverb Wet Plate 2
4 Reverb Dry Plate 2 1 Reverb Hall 1 Reverb Hall
5 Reverb Room 2 2 Smooth Hall 2 Smooth Hall
6 Bright Room 2 3 Wet Plate Reverb 3 Reverb Wet Plate
7 Early Reflection 2 4 Dry Plate Reverb 4 Reverb Dry Plate
8 L/C/R Delay 2 5 Reverb Room 5 Reverb Room
9 Stereo/Cross Delay 2 6 Bright Room 6 Bright Room
10 St.MultiTapDelay 2 7 Early Reflection 7 Early Reflection
11 St.Modulation Dly 2 8 ARENA 1 Reverb Hall
12 St.Dynamic Delay 2 9 Cathedral 2 Smooth Hall
13 Auto Panning Delay 2 10 Dark Plate 3 Reverb Wet Plate
Modulation&Pitch 14 Stereo Chorus 2 11 Bright Plate 4 Reverb Dry Plate
15 Stereo Flanger 2 12 Club 4 Reverb Room
16 Stereo Phaser 2 13 Listening Room 6 Bright Room
17 Stereo Vibrato 2 14 Garage 6 Bright Room
18 Stereo Tremolo 2 15 L/C/R Delay 8 L/C/R Delay
19 St.Pitch Shifter 2 16 St/Cross Delay 9 Stereo/Cross Delay
Dynamics&Filter 20 Stereo Compressor 2 17 St.MultiTapDelay 10 St.MultiTapDelay
21 Stereo Expander 2 18 St.Mod Delay 11 St.Modulation Dly
22 Stereo Limiter 2 19 St.Dynamic Delay 12 St.Dynamic Delay
23 Stereo Gate 2 20 St.AutoPan Delay 13 Auto Panning Delay
24 Stereo Filter 2
25 Stereo Wah 2
26 Multiband Limiter 4
Category: Modulation&Pitch 11
SFX&etc 27 St.Analog Record 2 No. Program Name Algorithm No. Name
28 Talking Modulator 2 21 Stereo Chorus 14 Stereo Chorus
29 St.Ring Modulator 2 22 High Band Chorus 14 Stereo Chorus
30 Rotary Speaker 2 23 Stereo Flanger 15 Stereo Flanger
24 High Band Flange 15 Stereo Flanger
MONO TYPE 25 Stereo Phaser 16 Stereo Phaser
Category No. Name Size 26 Analog Phaser 17 Stereo Phaser
Reverb&Delay 31 Mono Reverb Hall 1 27 Stereo Vibrato 17 Stereo Vibrato
32 Mono Reverb Plate 1 28 Vibrato/Chorus 17 Stereo Vibrato
33 Mono Reverb Room 1 29 Stereo Tremolo 18 Stereo Tremolo
34 Mono ER 1 30 Vintage Tremolo 18 Stereo Tremolo
35 Mono Delay 1 31 St.Pitchshifter 19 St.Pitch Shifter
36 Mn.Multitap Delay 1
Modulation&Pitch 37 Mono Chorus 1 Category: Dynamics&Filter 24
38 Mono Flanger 1
39 Mono Phaser 1 No. Program Name Algorithm No. Name
40 Mono Tremolo 1 32 StereoCompressor 20 Stereo Compressor
41 Mn.Pitch Shifter 1 33 Stereo Expander 21 Stereo Expander
Dynamics&Filter 42 Mono Compressor 1 34 Stereo Limiter 22 Stereo Limiter
43 Mono Limiter 1 35 Stereo Gate 23 Stereo Gate
44 Mono Expander 1 36 Stereo Filter 24 Stereo Filter
45 Mono Gate 1 37 Stereo Wah 25 Stereo Wah
46 Mono Filter 1 38 MultiBandLimiter 26 MultiBandLimiter
47 Mono Wah 1 39 Studio Compressor 20 Stereo Compressor
SFX&etc 48 AnalogRecord 1 40 Tube Compressor 20 Stereo Compressor
49 Mn.Ring Modulator 1 41 Mastering Comp 20 Stereo Compressor
50 Tube Pre Amp Sim 1 42 Studio Limiter 22 Stereo Limiter
51 Mic Simulator 2 43 Analog Limiter 22 Stereo Limiter
Multi 52 GuitarMulti 8 44 Hard Limiter 22 Stereo Limiter
150
45 Master CD 26 MultiBandLimiter Category: Dynamics&Filter 17
46 Remaster L.A 26 MultiBandLimiter
47 Remaster Pop 26 MultiBandLimiter
83 Compressor 42 Mono Compressor
48 Remaster Dance 26 MultiBandLimiter
84 Limiter 43 Mono Limiter
49 Two Mix 60’s 26 MultiBandLimiter
85 Expander 44 Mono Expander
86 Gate 45 Mono Gate
87 Filter 46 Mono Filter
52 Two Mix Girl Pop 26 MultiBandLimiter
88 Wah 47 Mono Wah
53 Two Mix Dance 26 MultiBandLimiter
89 Kick Compressor 42 Mono Compressor
54 Two Mix HipHop 26 MultiBandLimiter
90 SNR Compressor 42 Mono Compressor
55 Digital Rock 26 MultiBandLimiter
91 Bass Compressor 42 Mono Compressor
92 Vocal Compressor 42 Mono Compressor
Category: SFX&etc 7 93 Vocal Limiter 43 Mono Limiter
No. Program Name Algorithm No. Name 94 TomTom Limiter 43 Mono Limiter
56 St.Analog Record 27 St.Analog Record 95 Cutting Expander 44 Mono Expander
57 TalkingModulator 28 Talking Modulator 96 SNR Expander 44 Mono Expander
Algorithm list
58 St.RingModulator 29 St.Ring Modulator 97 Cymbal Gate 45 Mono Gate
59 Rotary Speaker 30 Rotary Speaker 98 Noise Gate 45 Mono Gate
60 Old Record 27 St.Analog Record 99 Chemical Filter 46 Mono Filter
61 Talking Delay 28 Talking Modulator
62 Jet Ring 29 St.Ring Modulator Category: SFX&etc 14
MONO TYPE
100 Analog Record 48 Mn.Analog Record
Program list
101 Ring Modulator 49 Mn.Ring Modulator
Category: Reverb&Delay 10 102 Tube Mic PreAmp 50 Tube Pre Amp Sim
No. Program Name Algorithm No. Name 103 Old Mic PreAmp 50 Tube Pre Amp Sim
104 DriveTubePreAmp 50 Tube Pre Amp Sim
63 Hall 31 Mono Reverb Hall
105 RadioTone 50 Tube Pre Amp Sim
64 Plate 32 Mono Reverb Plate
106 Mic Simulator 51 Mic Simulator
65 Room 33 Mono Reverb Room
107 Vintage Dyna Mic 51 Mic Simulator
66 Small Hall 31 Mono Reverb Hall
Stereo type
Algorithm
108 Vintage Tube Mic 51 Mic Simulator
67 Light Plate 32 Mono Reverb Plate
109 Studio Mic & Pre 51 Mic Simulator
68 Studio Room 33 Mono Reverb Room
110 Drums Dyna Mic 51 Mic Simulator
69 EarlyReflections 34 Mono ER
111 Percussion Mic 51 Mic Simulator
70 Delay 35 Mono Delay
112 OverTop Mic 51 Mic Simulator
71 Analog Delay 35 Mono Delay
113 Bass Drum Mic 51 Mic Simulator
72 3 Tap Delay 36 Mn.Multitap Delay
Monaural type
Category: Multi 15
Algorithm
Category: Modulation&Pitch 10
114 VOX AC15 52 GuitarMulti
73 Chorus 37 Mono Chorus
115 VOX AC30 52 GuitarMulti
74 Analog Chorus 37 Mono Chorus
116 VOX AC30TB 52 GuitarMulti
75 Flanger 38 Mono Flanger
117 BLACK 2X12 52 GuitarMulti
76 Bass Flanger 38 Mono Flanger
118 TWEED 1X12 52 GuitarMulti
77 Phaser 39 Mono Phaser
119 TWEED 4X10 52 GuitarMulti
Effect
78 Vintage Phaser 39 Mono Phaser

120 BOUTIQUE CLEAN 52 GuitarMulti
79 Tremolo 40 Mono Tremolo
121 BOUTIQUE OD 52 GuitarMulti
80 Vintage Tremolo 40 Mono Tremolo
122 UKBLUES 52 GuitarMulti
81 Pitchshifter 41 Mn.Pitch Shifter
123 UK'70S 52 GuitarMulti
82 Octave Voice 41 Mn.Pitch Shifter
126 UK MODERN 52 GuitarMulti
127 US MODERN 52 GuitarMulti
128 US HIGAIN 52 GuitarMulti
151
About the effect algorithms Category: Reverb&Delay
The effect algorithms can be broadly divided into mono and Reverb/delay-type effects
stereo types.
For an insert effect, you can select a program that uses either
These effects simulate acoustic ambience such as the rever-
type of algorithm.
beration of a hall.
For a master effect and final effect, you cannot select pro-
grams that use a mono algorithm.
1: Reverb Hall
Example
This hall-type reverb simulates the reverberation of mid-size
Algorithm number: Algorithm name concert halls or ensemble halls.
Parameter name shown on screen Range of parameter

(parameter name) Explanation 2: Smooth Hall
This hall-type reverb simulates the reverberation of larger
halls and stadiums, and creates a smooth release.
8: St.Modulation Delay
R TimeR (Delay Time) 0...2.500sec
3: Reverb Wet Plate
Sets the delay time for the right channel
*LFO Speed 0.02...20.00Hz This plate reverb simulates warm (dense) reverberation.
Sets the LFO speed
Parameters marked by an “*” in front of the screen parameter 4: Reverb Dry Plate
name can be controlled by an external device such as an ex-
pression pedal. This plate reverb simulates dry (light) reverberation.
Rev Time (Reverb Time) 0.1...10.0sec
Sets the reverberation time
Stereo-type HiDamp (High Damp) 53Hz...20.0kHz, THRU
Category No. Name Size Sets the damping amount in the high range
Reverb&Delay 1 Reverb Hall 2 PreDelay (Pre Delay) 0...200msec
2 Smooth Hall 2 Sets the delay time from the dry sound
3 Reverb Wet Plate 2 Dry:Wet Dry, 1:99...99:1, Wet
4 Reverb Dry Plate 2 Sets the balance between the effect and dry sounds
5 Reverb Room 2 EQ Trim –15...+15dB
6 Bright Room 2 Sets the equalizer trim level
7 Early Reflection 2 LEQ Gain (Pre LEQ Gain) –15...+15dB
8 L/C/R Delay 2 Sets the gain of Low EQ
9 Stereo/Cross Delay 2 HEQ Gain (Pre HEQ Gain) –15...+15dB
10 St.MultiTapDelay 2 Sets the gain of High EQ
11 St.Modulation Dly 2 P.DlyThru (Pre Delay Thru) 0...100%
12 St.Dynamic Delay 2 Sets the mix ratio of non-delay sound
13 Auto Panning Delay 2
: Pre Delay [msec], : Pre Delay Thru [%]
Modulation&Pitch 14 Stereo Chorus 2 The “Pre Delay” sets the delay time to the reverb input, allow-
15 Stereo Flanger 2 ing you to control spaciousness.
16 Stereo Phaser 2 Using the “Pre Delay Thru” parameter, you can mix the dry
17 Stereo Vibrato 2 sound without delay, emphasizing the attack of the sound.
18 Stereo Tremolo 2
19 St.Pitch Shifter 2
5: Reverb Room
Dynamics&Filter 20 Stereo Compressor 2
21 Stereo Expander 2 This room-type reverb emphasizes the early reflections that
22 Stereo Limiter 2 make the sound tighter. Changing the balance between the
23 Stereo Gate 2 early reflections and reverb sound allows you to simulate nu-
24 Stereo Filter 2 ances, such as the type of walls of a room.
25 Stereo Wah 2
26 Multiband Limiter 4
6: Bright Room
SFX&etc 27 St.Analog Record 2
28 Talking Modulator 2 This room-type reverb emphasizes the early reflections that
29 St.Ring Modulator 2 make the sound brighter
30 Rotary Speaker 2 Rev Time (Reverb Time) 0.1...3.0sec
Sets the reverberation time
HiDamp (High Damp) 53Hz...20.0kHz, THRU
Sets the damping amount in the high range
PreDelay (Pre Delay) 0...200msec
Sets the delay time from the dry sound
Dry:Wet Dry, 1:99...99:1, Wet
Sets the balance between the effect and dry sounds
152
EQ Trim –15...+15dB Fb.LoDamp (Feedback Low Damp) THRU, 21Hz...8.00kHz
Sets the equalizer trim level Sets the damping amount in the low range
LEQ Gain (Pre LEQ Gain) –15...+15dB Fb.HiDamp (Feedback High Damp) 53Hz...20.0kHz, THRU
Sets the gain of Low EQ Sets the damping amount in the high range
HEQ Gain (Pre HEQ Gain) –15...+15dB In Level (Input Level) 0...100%
Sets the gain of High EQ Sets the input level to the effect
P.DlyThru (Pre Delay Thru) 0...100% : High Damp, : Low Damp
Sets the mix ratio of non-delay sound These parameters set the damping amount of high range and
Rev Level (Reverb Level) 0...100% low range. The tone of the delayed sound becomes darker and
lighter as it feeds back.
Sets the reverberation level
: Spread
ER Level 0...100%
This parameter sets the pan width of the effect sound. The
Sets the level of early reflections stereo image is widest with a value of “50,” and the effect
: ER Level, : Reverb Level sound of both channels is output from the center with a value
These parameters set the early reflection level and reverb level. of “0.”
Changing these parameter values allows you to simulate the
type of walls in the room. That is, a larger “ER Level” simulates
a hard wall, and a larger “Reverb Level” simulates a soft wall. 9: Stereo/Cross Delay
Algorithm list
This is a stereo delay, and can by used as a cross-feedback de-
7: Early Reflection lay effect in which the delay sounds cross over between the
left and right by changing the feedback routing.
This effect is only the early reflection part of a reverberation
sound, and adds presence to the sound. You can select one of L Time (L Delay Time) 0...2.730sec
the four decay curves. Sets the left delay time
R Time (R Delay Time) 0...2.730sec
Type Sharp, Loose, Modulated, Reverse
Sets the right delay time
Program list
Selects the decay curve for the early reflection
Type (Stereo/Cross) Stereo, Cross
ER Time 10...800msec
Switches between stereo delay and cross-feedback delay
Sets the time length of early reflection
Predly (Pre Delay) 0...200msec
Sets the time taken from the original sound to the first early
L Fdback (L Feedback) –100...+100%
reflection
Sets the feedback amount for the left channel
EQ Trim –15...+15dB
R Fdback (R Feedback) –100...+100%
Sets the equalizer trim level
Stereo type
Sets the feedback amount for the right channel
Algorithm
LEQ Gain (Pre LEQ Gain) –15...+15dB
LoDamp (Low Damp) THRU, 21Hz...8.00kHz
Sets the gain of Low EQ
Sets the damping amount in the low range
HEQ Gain (Pre HEQ Gain) –15...+15dB
Sets the gain of High EQ
Spread 0...100%
Sets the width of the stereo image of the effect sound
: Type
Monaural type
In Level (Input Level) 0...100%
Algorithm
This parameter selects the decay curve for the early reflection.
Sets the input level to the effect
8: L/C/R Delay
10: St. Multitap Delay
This multitap delay outputs three Tap signals to the left, (Stereo Multitap Delay)
right, and center respectively. You can also adjust the left and
right spread of the delay sound. The left and right Multitap Delays have two taps respective-
ly. Changing the routing of feedback and tap output allows
L Time (L Delay Time) 0...2.730sec you to create various patterns of complex effect sounds.
Effect
Sets the delay time of TapL

C Time (C Delay Time) 0...2.730sec Tap1Time 0...2.730sec
Sets the delay time of TapC Sets the delay time of Tap1
R Time (R Delay Time) 0...2.730sec Tap2Time 0...2.730sec
Sets the delay time of TapR Sets the delay time of Tap2
Dry:Wet Dry, 1:99...99:1, Wet Type Normal, CrossFdback, CrossPan1, CrossPan2
Sets the balance between the effect and dry sounds Switches the left and right delay routing
L LevelL (Delay Level) 0...100% Dry:Wet Dry, 1:99...99:1, Wet
Sets the output level of TapL Sets the balance between the effect and dry sounds
C LevelC (Delay Level) 0...100% Tap1Level 0...100%
Sets the output level of TapC Sets the output level of Tap1
R LevelR (Delay Level) 0...100% Tap2Level 0...100%
Sets the output level of TapR Sets the output level of Tap2
Spread 0...100% T1.Fdback (Tap1 Feedback) –100...+100%
Sets the width of the stereo image of the effect sound Sets the Tap1 feedback amount
Fdback (C) (Feedback (C Delay)) –100...+100% Spread 0...100%
Sets the feedback amount of TapC Sets the width of the stereo image of the effect sound
153
LoDamp (Low Damp) THRU, 21Hz...8.00kHz Attack 0...1.00sec
Sets the damping amount in the low range Sets the attack time of level control
HiDamp (High Damp) 53Hz...20.0kHz, THRU Release 0...10.0sec
Sets the damping amount in the high range Sets the release time of level control
In Level (Input Level) 0...100% Offset 0...100%
Sets the input level to the effect Sets the offset of level control
: Type Control (Control Target) None, WetLevel, Feedback
The left/right panning of the delay can be modified by chang- Selects from no control, output, and feedback
ing the connections of the left and right delay. Be aware that dif- LoDamp (Low Damp) THRU, 21Hz...8.00kHz
ferent sounds must be input to the left and right channels in
order for this parameter to be effective.
11: St.Modulation Dly Spread 0...100%
(Stereo Modulation Delay) Sets the width of the stereo image of the effect sound
Polarity [+]Plus, [–]Minus
This stereo delay uses an LFO to sweep the delay time. The
Reverses level control
pitch also varies. You will obtain a delay sound with swell
and shimmering. You can also control the delay time using a : Control Target
This parameter selects no level control, delay output control
modulation source.
(effect balance), or feedback amount control.
L Time (L Delay Time) 0...2.500sec : Polarity, : Threshold, : Offset, : Attack, : Release
Sets the left delay time The “Offset” parameter specifies the value for the “Control
Target” parameter (when level control is not being applied),
expressed as a ratio relative to the parameter setting.
Sets the right delay time If “Polarity” is set to [+] Plus, “Control Target” will be the
*LFO Speed 0.02...20.00Hz value of the parameter multiplied by the “Offset” when the
Sets the LFO speed input signal is lower than the “Threshold,” or will be the value
Dry:Wet Dry, 1:99...99:1, Wet of the parameter when the input signal is above the “Thresh-
old.”
If “Polarity” is set to [–] Minus, “Control Target” will be the
*L Depth 0...200 value of the parameter when the input signal is lower than the
Sets the depth of the left LFO modulation “Threshold,” or will be the value of the parameter multiplied
*R Depth 0...200 by the “Offset” when the input signal is above the “Thresh-
Sets the depth of the right LFO modulation old.”
The “Attack” and “Release” parameters specify attack time
LFO Wave (LFO Waveform) Triangle, Sine
and release time of delay level control.
Selects LFO Waveform
LFO Shape –100...+100%
Determines how much the LFO waveform is changed 13: Auto Panning Delay
L Fdback (L Feedback) –100...+100%
This stereo delay effect pans the delay sound left and right
Sets the feedback amount of left delay using the LFO.
Sets the feedback amount of right delay L Time (L Delay Time) 0...2.730sec
L Phase (L LFO Phase) –180...+180deg Sets the left delay time
Sets the phase obtained when the left LFO is reset R Time (R Delay Time) 0...2.730sec
R Phase (R LFO Phase) –180...+180deg Sets the right delay time
Sets the phase obtained when the right LFO is reset *Speed (Panning Speed) 0.02...20.00Hz
Sets the panning speed
: L LFO Phase [degree], : R LFO Phase [degree]
“L LFO Phase” and “R LFO Phase” specify the phase differ- Dry:Wet Dry, 1:99...99:1, Wet
ence between the two LFO’s when they are reset. This allows Sets the balance between the effect and dry sounds
the pitch change of the sweep to be set independently for left L Fdback (L Feedback) –100...+100%
and right. Sets the feedback amount for the left channel
Sets the feedback amount for the right channel
12: St.Dynamic Delay
*Depth (Panning Depth) 0...100
(Stereo Dynamic Delay)
Sets the panning width
This stereo delay controls the level of delay according to the L-R Phase (LFO L-R Phase) –180...+180deg
input signal level. You can use this as a ducking delay that Sets the LFO phase difference between the left and right
applies delay to the sound only when you input signals at a LoDamp (Low Damp) THRU, 21Hz...8.00kHz
high velocity or only when the volume level is low. Sets the damping amount in the low range
L Time (L Delay Time) 0...2.730sec HiDamp (High Damp) 53Hz...20.0kHz, THRU
Sets the left delay time Sets the damping amount in the high range
R Time (R Delay Time) 0...2.730sec Waveform (LFO Waveform) Triangle, Sine
Sets the right delay time Selects LFO Waveform
Feedback –100...+100% LFO Shape –100...+100%
Sets the feedback amount Determines how much the LFO waveform is changed
Threshold 0...100
Adjusts the level at which compression
154
: LFO Shape
Category: Modulation&Pitch Changing the LFO waveform shape controls the peak sweep of
flanging effects.
Modulation/Pitch-type effects
: Feedback, : Dry:Wet
The peak shape of the positive and negative “Feedback” value
is different. The harmonics will be emphasized when the effect
sound is mixed with the dry sound if you set a positive value
14: Stereo Chorus for both “Feedback” and “Dry:Wet”, and if you set a negative
This effect adds thickness and warmth to the sound by mod- value for both “Feedback” and “Dry:Wet”.
ulating the delay time of the input signal. You can control the : Feedback High Cut
spaciousness of the sound by offsetting the phase of the left This parameter sets the amount of damping of the feedback in
and right LFOs from each other. the high range. Increasing the value will cut high-range har-
monics.
*Speed (LFO Speed) 0.02...20.00Hz
Sets the LFO speed
*Depth 0...100 16: Stereo Phaser
Sets the depth of LFO modulation This effect creates a swell by shifting the phase. It is very ef-
L-R Phase (LFO L-R Phase) –180...+180deg fective on electric piano sounds. This is a stereo effect, and
Sets the LFO phase difference between the left and right you can control the spaciousness of the sound by offsetting
Algorithm list
Dry:Wet Dry, 1:99...99:1, Wet the phase of the left and right LFOs from each other.
Sets the balance between the effect and dry sounds *Speed (LFO Speed) 0.02...20.00Hz
L PreDly (L Pre Delay) 0.0...50.0msec Sets the LFO speed
Sets the left delay time Depth 0...100
R PreDly (R Pre Delay) 0.0...50.0msec Sets the depth of LFO modulation
Sets the right delay time Resonance –100...+100%
Waveform (LFO Waveform) Triangle, Sine Sets the resonance amount
Program list
Selects LFO Waveform Dry:Wet Dry, 1:99...99:1, Wet
Spread 0...100% Sets the balance between the effect and dry sounds
Sets the width of the stereo image of the effect sound Manual 0...100
LoDamp (Low Damp) THRU, 21Hz...8.00kHz Sets the frequency to which the effect is applied
Sets the damping amount in the low range LFO Shape –100...+100
HiDamp (High Damp) 53Hz...20.0kHz, THRU Determines how much the LFO waveform is changed
Sets the damping amount in the high range Reso HiCut (Resonance High Cut) 53Hz...20.0kHz, THRU
Stereo type
: L Pre Delay [msec], : R Pre Delay [msec] Sets the resonance damping amount in the high range
Algorithm
Setting the left and right delay time individually allows you to L-R Phase (LFO L-R Phase) –180...+180deg
control the stereo image.
Sets the LFO phase difference between the left and right
Waveform (LFO Waveform) Triangle, Sine
15: Stereo Flanger Selects LFO Waveform
Type Blue, U-VB
This effect gives a significant swell and movement of pitch to
Selects the type of phaser
the sound. It is more effective when applied to a sound with
Monaural type
a lot of harmonics. This is a stereo flanger. You can add : Resonance, : Dry:Wet
Algorithm
spread to the sound by offsetting the phase of the left and The peak shape of the positive and negative Feedback value is
right LFOs from each other. different. The harmonics will be emphasized when the effect
sound is mixed with the dry sound, if you set a positive value
*Speed (LFO Speed) 0.02...20.00Hz for both “Resonance” and “Dry:Wet”, and if you set a negative
Sets the LFO speed value for both “Resonance” and “Dry:Wet”.
*Depth 0...100 : Resonance High Cut
This parameter sets the amount of damping of the resonance in
Sets the depth of LFO modulation
the high range. Increasing the value will cut high-range har-
Fdback (Feedback) –100...+100% monics.
Effect
Sets the feedback amount

Sets the balance between the effect and dry sounds 17: Stereo Vibrato
Waveform (LFO Waveform) Triangle, Sine This effect cyclically varies the pitch of the input signal. You
Selects LFO Waveform can use an envelope to control the width of the modulation.
LFO Shape (LFO Shape) –100...+100%
*Speed (LFO Speed) 0.02...20.00Hz
Determines how much the LFO waveform is changed
Sets the LFO speed
Fb HiCut (Feedback High Cut) 53Hz...20.0kHz, THRU
Depth 0...100
Sets the feedback damping amount in the high range
L-R Phase (LFO L-R Phase) –180...+180deg
Env.Control (Envelope Control) 0...100%
Sets the amount of depth that will be controlled by the envelope
Delay 0...50.0ms
Sets the left/right delay time
Thresold –48.0...0.0dB
Sets the level at which the envelope control effect will be applied
Attack 0...1.00sec
Sets the attack time for level control
155
Release 0...10.0sec If “Feedback Position” is set to Post (Dly), the sound that is fed
back will not be sent through the pitch shifter again; this means
Sets the release time for level control
that if you raise the “Feedback” value, the pitch-shifted sound
L-R Phase (LFO L-R Phase) –180...+180deg will repeat at that same pitch.
LFO Shape –100...+100% Category: Dynamics&Filter
Dynamics/Filter-type effects
18: Stereo Tremolo

This effect modulates the volume level of the input signal. 20: Stereo Compressor
The effect is stereo, and offsetting the LFO of the left and
This effect compresses the input signal to regulate the level
right phases from each other produces a tremolo effect be-
and give a “punchy” effect. This is a stereo compressor. You
tween left and right.
can link left and right channels, or use each channel separate-
*Speed (LFO Speed) 0.02...20.00Hz ly.
Sets the LFO speed Threshold –30.0...0.0dB
*Depth 0...100 Sets the level at which compression begins to apply
Sets the depth of LFO modulation Ratio 1.00:1...20.0:1
Waveform (LFO Waveform) Sets the compression ration of the signal
Triangle, Sine, Square, Saw up, Saw down
Attack 0...1.00sec
Sets the attack time
Release 0...10.0sec
Sets the release time
LFO Shape –100...+100%
Env.Select (Envelope Select) L/R Mix, L/R Indiv
Switches the left/right channels between linked or independent
L-R Phase (LFO L-R Phase) –180...+180deg operation
Sets the LFO phase difference between the left and right Response Slow, Medium, Fast
: LFO Waveform Selects the response speed
This parameter selects the LFO waveform. Tube Sat (Tube Saturation) 0...100
: LFO Phase Sets the depth of vacuum tube distortion
This parameter determines the difference between the left and
Out Gain (Output Gain) –24.0...+24.0dB
right LFO phases. A higher value will simulate the auto-pan
effect in which the sound is panned between left and right. Adjusts the output level gain
: Envelope Select
This parameter selects whether the left and right channels are
19: St.Pitch Shifter linked to control both signals simultaneously, or whether each
(Stereo Pitch Shifter) channel is controlled independently.
: Response
This is a stereo pitch shifter. Adjusts the response speed at which the envelope is detected.
Select the setting that is appropriate for the input material;
PitchShift –24...+24/2tone
choose Fast for brief sounds like percussion instruments,
Sets the pitch shift amount in steps of a semitone Medium for vocals, or Slow for long-sustaining sounds.
Fine –100...+100cent
Sets the pitch shift amount in steps of one cent
Lo/Hi Cut (Low/High Cut) Lo:–50%..., Flat, ...Hi:–50% 21: Stereo Expander
Sets the damping amount in the low/high range This effect attenuates input signals that are below a specified
Dry:Wet Dry, 1:99...99:1, Wet level, adding punch to the sound and improving the S/N ra-
Sets the balance between the effect and dry sounds tio by reducing the level between performances.
Feedback –100...+100%
Threshold –48.0...0.0dB
Sets the level at which compression begins to apply
L Time (L Delay Time) 0...1.360sec
Ratio 1.00:1...20.0:1
Sets the left delay time
Sets the compression ration of the signal
Attack 0...1.00sec
Fb.Position (Feedback Position) Pre (Pitch), Post (Dly)
Release 0...10.0sec
Switches the feedback connection
Switches the left/right channels between linked or independent
Spread –100...100%
operation
Sets the width of the stereo image of the effect sound
Response Slow, Medium, Fast
: Feedback Position, : Feedback Selects the response speed
If “Feedback Position” is set to Pre (Pitch), the output of the Out Gain (Output Gain) –24.0...+24.0dB
pitch shifter will be fed back into the input of the pitch shifter;
Adjusts the output level gain
this means that by raising the “Feedback” value you can create
an effect in which the pitch of the feedback continues to rise (or
fall) each time the feedback delay is repeated.
156
22: Stereo Limiter
Inverts the control
This effect applies the Limiter to the low range, mid range, Dry:Wet Dry, 1:99...99:1, Wet
and high range of the input signal. You can control dynamics
for each range to adjust the sound pressure of the low range,
Waveform (LFO Waveform) Triangle, Sine, Saw
mid range, and high range in a different way from the EQ.
Threshold –48.0...0.0dB *LFO Speed 0.02...20.00Hz
Sets the level at which compression begins to apply Sets the LFO speed
Attack 0...1.00sec LFO Step 0...256
Sets the attack time Selects the LFO step
Release 0...10.0sec L-R Phase (LFO L-R Phase) –180...+180deg
Sets the release time Sets the LFO phase difference between the left and right
Out Gain (Output Gain) –24.0...+24.0dB Env.Select (Envelope Select) L/R Mix, L/R Indiv
Adjusts the output level gain Links or un-links the left/right channels for envelope control
Env.Select (Envelope Select) L/R Mix, L/R Indiv Env.Resp (Envelope Response) Slow, Medium, Fast
Switches the left/right channels between linked or independent Selects the response speed of envelope control
operation
Algorithm list
Env.Sens (Envelope Sensitivity) 0...100%
Response Slow, Medium, Fast Sets the sensitivity of envelope control
Selects the response speed
Tube Sat (Tube Saturation) 0...100
Sets the depth of vacuum tube distortion 25: Stereo Wah
This is a wah effect that can be controlled by an envelope or
LFO.
23: Stereo Gate
Control (Control Source) Envelope, LFO, Manual
Program list
This effect lowers the level of input signals that are below a
Switches the control source
specified level.
Threshold –48.0...0.0dB Links or un-links the left/right channels for envelope control
Sets the level at which compression Env.Resp (Envelope Response) Slow, Medium, Fast
Attack 0...1.00sec Selects the response speed of envelope control
Sets the attack time Env.Sens (Envelope Sensitivity) 0...100%
Release 0...10.0sec Sets the sensitivity of envelope control
Stereo type
Algorithm
Waveform (LFO Waveform) Triangle, Sine, Saw
Range –inf, –48...0.0dB Selects LFO Waveform
Compression level *LFO Speed 0.02...20.00Hz
Env.Select (Envelope Select) L/R Mix, L/R Indiv Sets the LFO speed
Switches the left/right channels between linked or independent LFO Step 0...256
operation Selects the LFO step
Response Slow, Medium, Fast LFO Phase (LFO L-R Phase) –180...+180deg
Monaural type
Selects the response speed Sets the LFO phase difference between the left and right
Algorithm
PreDelay (Pre Delay Time) 0...200ms Wah.Type (Wah Type)
Sets the delay time Y-CRY, RM-A, RM-B, J-CRY, VOX, M-VOX
Out Gain (Output Gain) –24.0...+24.0dB Selects the wah type
Adjusts the output level gain *Manual (Manual Control) 0...100
: Pre Delay Time Sets the control position manually
This parameter sets the delay time of the Gate input. If the DirectMix (Direct Mix Level) 0...100%
sound has a very fast attack, increase the delay time so that the Adjusts the mix level of the direct sound
signal will be input after the Gate is opened.
Wah Level 0...100
Effect
Sets the wah level

24: Stereo Filter :Manual
By selecting Manual as the Control Source, you can create the
This is a filter with frequency control. It can be controlled by effect of an actual wah pedal left in a fixed position.
a envelope or LFO. Alternatively, if you assign an expression pedal to control Man-
ual, you can operate the expression pedal to control the sound
Fc Bottom (Control Fc Bottom) 53Hz...20.0kHz
just like an actual wah pedal.
Sets the lower limit of the frequency to be controlled
Fc Top (Control Fc Top) 53Hz...20.0kHz
Sets the upper limit of the frequency to be controlled
Resonance 0...100%
Sets the resonance amount
Trim 0...100%
Adjusts the filter level
FilterType HPF, BPF, LPF
Selects the filter type
Control (Control Source) Envelope, LFO
157
26: Multiband Limiter
This is a stereo multi-band limiter. It is ideal for mastering. ClickPoint 0...100
Hi.Thresh (High Band Threshold) –48.0...0.0dB Sets the distance of the scratch from the warped area
Adjusts the level at which compression begins for the high- WhiteLevel (White Noise Level) 0...100%
frequency range Sets the level of white noise
Hi.Attack (High Band Attack) 0...1.00sec NoiseLoCut (Noise Low Cut) THRU, 21Hz...8.00kHz
Adjusts the attack time for the high-frequency range Sets the low-cut frequency for the noise
Hi.Release (High Band Release) 0...10.0sec NoiseHiCut (Noise High Cut) 53Hz...20.0kHz, THRU
Adjusts the release time for the high-frequency range Sets the high-cut frequency for the noise
Hi.OutGain (High Band Output Gain) –24.0...+24.0dB Vinyl Level (Vinyl Noise Level) 0...100%
Adjusts the output gain for the high-frequency range Sets the level of noise produced by the needle scraping the vinyl
Md.Thresh (Middle Band Threshold) –48.0...0.0dB Vinyl Type (Vinyl Noise Type) 0...3
Adjusts the level at which compression begins for the mid- Selects the type of vinyl noise
frequency range ClickAngle:
Md.Attack (Middle Band Attack) 0...1.00sec This sets the angle of the scratch. The spacing of the click noise
Adjusts the attack time for the mid-frequency range for one revolution will depend on the angle.
Md.Release (Middle Band Release) 0...10.0sec Vinyl Noise Type:
Adjusts the release time for the mid-frequency range The Vinyl Noise will also depend on the amount by which the
record is warped.
Md.OutGain (Middle Band Output Gain) –24.0...+24.0dB
Adjusts the output gain for the mid-frequency range
Lo.Thresh (Low Band Threshold) –48.0...0.0dB 28: Talking Modulator
Adjusts the level at which compression begins for the low-
frequency range This effect gives the input signal a character similar to a hu-
Lo.Attack (Low Band Attack) 0...1.00sec
man voice. It can create the impression of a talking guitar or
synthesizer
Adjusts the attack time for the low-frequency range
Lo.Release (Low Band Release) 0...10.0sec V.Bottom (Voice Bottom) [A], [E], [I], [O], [U]
Adjusts the release time for the low-frequency range Selects a vowel sound at the bottom end of control
Lo.OutGain (Low Band Output Gain) –24.0...+24.0dB V.Centr (Voice Center) [A], [E], [I], [O], [U]
Adjusts the output gain for the low-frequency range Selects a vowel sound in the center of control
Mon.Band (Monitor Band) Off, Low, Middle, High V.Top (Voice Top) [A], [E], [I], [O], [U]
Selects the band to monitor Selects a vowel sound at the top end of control
Lo.Xover (Low Cross over Frequency) 53Hz...1.00kHz Drive (Drive Gain) 0.0...+36dB
Sets the frequency of the crossover between the low and mid- Sets the amount of gain for the distortion
frequency bands Control (Control Source) Envelope, LFO, Manual
Hi.Xover (High Cross over Frequency) 1.10kHz...16.0kHz Switches the control source
Sets the frequency of the crossover between the mid and high- *LFO Speed 0.02...20.00Hz
frequency bands Sets the LFO speed
Saturation (Tube Saturation) 0...100% Env.Resp (Envelope Response) Slow, Medium, Fast
Sets the depth of vacuum tube distortion Selects the response speed of envelope control
Sets the sensitivity of envelope control
L Delay (L Delay Time) 0...2.730sec
Category: SFX&etc Sets the left delay time
R Delay (R Delay Time) 0...2.730sec
SFX/Etc effects
*Manual (Manual Control) 0...100
Sets the control position manually
27: St.Analog Record Dry:Wet Dry, 1:99...99:1, Wet
(Stereo Analog Record) Sets the balance between the effect and dry sounds
Wet Trim (Wet Level Trim) 0...100
RPM 33 1/3, 45, 78
Sets the effect level trim
Sets the r.p.m. of a record
Wah (Wah Flutter) 0...100%
Sets the depth by which the record is warped 29: St.Ring Modulator
Bend 0...100% (Stereo Ring Modulator)
Sets the width by which the record is warped
Dry:Wet Dry, 1:99...99:1, Wet This effect creates a metallic sound by applying the oscilla-
Sets the balance between the effect and dry sounds tors to the input signal.
ClickLevel (Click Noise Level) 0...100% Oscillator (Oscillator Frequency) 0...12.00kHz
Sets the level of click noise Sets the oscillator frequency
ClickAngle 0...100 *LFO Speed 0.02...20.00Hz
Sets the angle of the scratch on the surface of the record Sets the LFO speed of the oscillator frequency modulation
LoDamp (Low Damp) THRU, 21Hz...8.00kHz *LFO Depth 0...100%
Sets the damping amount in the low range Sets the depth of LFO modulation for the oscillator frequency
158
L-R Phase (LFO L-R Phase) –180...+180deg Monaural-type
Category No. Name Size
L Delay (L Delay Time) 0...2.730sec
Reverb&Delay 31 Mono Reverb Hall 1
Sets the left delay time
32 Mono Reverb Plate 1
R Delay (R Delay Time) 0...2.730sec
33 Mono Reverb Room 1
Sets the right delay time 34 Mono ER 1
HiDamp (High Damp) 53Hz...20.0kHz, THRU 35 Mono Delay 1
Sets the damping amount in the high range 36 Mn.Multitap Delay 1
L Fdback (L Feedback) –100...+100% Modulation&Pitch 37 Mono Chorus 1
Sets the feedback amount for the left channel 38 Mono Flanger 1
R Fdback (R Feedback) –100...+100% 39 Mono Phaser 1
Sets the feedback amount for the right channel 40 Mono Tremolo 1
Dry:Wet Dry, 1:99...99:1, Wet 41 Mn.Pitch Shifter 1
Sets the balance between the effect and dry sounds Dynamics&Filter 42 Mono Compressor 1
In Level (Input Level) 0...100% 43 Mono Limiter 1
Sets the input level to the effect 44 Mono Expander 1
Algorithm list
: Oscillator Frequency [Hz] 45 Mono Gate 1
This parameter sets the oscillator frequency. 46 Mono Filter 1
47 Mono Wah 1
SFX&etc 48 AnalogRecord 1
30: Rotary Speaker 49 Mn.Ring Modulator 1
This effect simulates a rotary speaker, and obtains a more re- 50 Tube Pre Amp Sim 1
alistic sound by simulating the rotor in the low range and the 51 Mic Simulator 2
horn in the high range separately. The effect also simulates Multi 52 GuitarMulti 8
Program list
the stereo microphone settings.
Speed Sw (Speed Switch) Slow, Fast
Switches the speaker rotation speed between slow and fast
HornRatio (Horn Ratio) Stop, 0.50...2.00 Category: Reverb&Delay
Adjusts the (high-range side) horn rotation speed. Standard Reverb/delay-type effects
value is 1.00. Selecting “Stop” will stop the rotation
RotorRatio (Rotor Ratio) Stop, 0.50...2.00
Adjusts the (low-range side) rotor rotation speed. Standard value
Stereo type
Algorithm
is 1.00. Selecting “Stop” will stop the rotation 31: Mono Reverb Hall
Rotor:Horn (Horn:Rotor Balance) Rotor, 1:99...99:1, Horn
Sets the level balance between the high-range horn and low-
range rotor 32: Mono Reverb Plate
Rotate Sw (Rotate Switch) Rotate, Stop Rev Time (Reverb Time) 0.1...10.0sec
Switches between speaker rotation and stop Sets the reverberation time
HrnAccel (Horn Acceleration) 0...100
Monaural type
Algorithm
How quickly the horn rotation speed in the high range is Sets the damping amount in the low range
switched
RtrAccel (Rotor Acceleration) 0...100
Determines how quickly the rotor rotation speed in the low
range is switched
MicDistance 0...100
SideRflct (Side Reflection) 0...100%
Sets the distance between the microphone and rotary speaker
Sets the amount of reflections from the side walls
MicSpread 0...100%
BackRflct (Back Reflection) 0...100%
Sets the angle of left and right microphones
Effect
Sets the amount of reflection from the back wall

: Horn Acceleration, : Rotor Acceleration 33: Mono Reverb Room
On a real rotary speaker, the rotation speed is accelerated or
decelerated gradually after you switch the speed. The “Horn Rev Time (Reverb Time) 0.1...3.0sec
Acceleration” parameter sets the speed at which the rotation is Sets the reverberation time
accelerated or decelerated. LoDamp (Low Damp) THRU, 21Hz...8.00kHz
: MicDistance, : MicSpread Sets the damping amount in the low range
This is a simulation of stereo microphone settings.
SideRflct (Side Reflection) 0...100%
Sets the amount of reflections from the side walls
BackRflct (Back Reflection) 0...100%
Sets the amount of reflection from the back wall
159
34: Mono ER Category: Modulation&Pitch
Type Sharp, Loose, Modulated, Reverse Modulation/Pitch-type effects
Selects the decay curve for the early reflection
ER Time 10...800msec
Sets the time length of early reflection 37: Mono Chorus
Predly (Pre Delay) 0...200msec
Sets the time taken from the original sound to the first early *Speed (LFO Speed) 0.02...20.00Hz
reflection Sets the LFO speed
Dry:Wet Dry, 1:99...99:1, Wet *Depth 0...100
Sets the balance between the effect and dry sounds Sets the depth of LFO modulation
LoDamp (Low Damp) THRU, 21Hz...8.00kHz PreDly (Pre Delay) 0.0...50.0msec
Sets the damping amount in the low range Sets the delay time
HiDamp (High Damp) 53Hz...20.0kHz, THRU Dry:Wet Dry, 1:99...99:1, Wet
Sets the damping amount in the high range Sets the balance between the effect and dry sounds
35: Mono Delay LoDamp (Low Damp) THRU, 21Hz...8.00kHz
Time (Delay Time) 0...2.730sec Sets the damping amount in the low range
Sets the delay time HiDamp (High Damp) 53Hz...20.0kHz, THRU
Feedback (Feedback) –100...+100% Sets the damping amount in the high range
Sets the feedback amount Waveform (LFO Waveform) Triangle, Sine
In Level (Input Level) 0...100% Selects LFO Waveform
Sets the input level to the effect Analog (Analog Saturation) 0...100%
Dry:Wet Dry, 1:99...99:1, Wet Sets the amount of analog distortion
38: Mono Flanger
HiDamp (High Damp) 53Hz...20.0kHz, THRU *Speed (LFO Speed) 0.02...20.00Hz
Sets the damping amount in the high range Sets the LFO speed
Analog (Analog Saturation) 0...100% *Depth 0...100
Sets the amount of analog distortion Sets the depth of LFO modulation
Feedback –100...+100%
36: Mn.Multitap Delay Dry:Wet Dry, 1:99...99:1, Wet
(Mono Multitap Delay) Sets the balance between the effect and dry sounds
Tap1Time 0...2.730sec
Sets the delay time of Tap1
LFO Shape –100...+100%
Fb HiCut (Feedback High Cut) 53Hz...20.0kHz, THRU
Delay 0...50.0ms
WetLevel 0...100%
Sets the left/right delay time
Sets the level of the effect sound
Tap1Level 0...100%
Sets the output level of Tap1
Tap2Level 0...100%
Sets the output level of Tap2
Tap3Level 0...100%
Sets the output level of Tap3 39: Mono Phaser
DryLevel 0...100%
Sets the level of the direct sound *Speed (LFO Speed) 0.02...20.00Hz
LoDamp (Low Damp) THRU, 21Hz...8.00kHz Sets the LFO speed
Sets the damping amount in the low range Depth 0...100
HiDamp (High Damp) 53Hz...20.0kHz, THRU Sets the depth of LFO modulation
Sets the damping amount in the high range Resonance –100...+100%
Sets the resonance amount
Manual 0...100
Sets the frequency to which the effect is applied
LFO Shape –100...+100
160
Reso HiCut (Resonance High Cut) 53Hz...20.0kHz, THRU
43: Mono Expander
Sets the resonance damping amount in the high range
Type Blue, U-VB Threshold –48.0...0.0dB
Selects the type of phaser Sets the level at which compression begins to apply
Waveform (LFO Waveform) Triangle, Sine Ratio 1.00:1...20.0:1
Selects LFO Waveform Sets the compression ration of the signal
Attack 0...1.00sec
40: Mono Tremolo Release 0...10.0sec
*Speed (LFO Speed) 0.02...20.00Hz Sets the release time
Sets the LFO speed Response Slow, Medium, Fast
*Depth 0...100 Selects the response speed
Sets the depth of LFO modulation Out Gain (Output Gain) –24.0...+24.0dB
Waveform (LFO Waveform) Adjusts the output level gain
Triangle, Sine, Square, Saw up, Saw down
44: Mono Limiter
Algorithm list
Sets the balance between the effect and dry sounds Threshold –48.0...0.0dB
LFO Shape –100...+100% Sets the level at which compression begins to apply
Determines how much the LFO waveform is changed Attack 0...1.00sec
Release 0...10.0sec
41: Mn.Pitch Shifter Sets the release time
(Mono Pitch Shifter) Out Gain (Output Gain) –24.0...+24.0dB
Program list
PitchShift –24...+24/2tone Adjusts the output level gain
Sets the pitch shift amount in steps of a semitone Response Slow, Medium, Fast
Fine –100...+100cent Selects the response speed
Sets the pitch shift amount in steps of one cent Tube Sat (Tube Saturation) 0...100
Lo/Hi Cut (Low/High Cut) Lo:-50%..., Flat, ...Hi:-50% Sets the depth of vacuum tube distortion
Sets the damping amount in the low/high range
45: Mono Gate
Stereo type
Algorithm
Feedback –100...+100% Threshold –48.0...0.0dB
Sets the feedback amount Adjusts the level at which compression
In Level (Input Level) 0...100% Attack 0...1.00sec
Sets the input level to the effect Sets the attack time
Release 0...10.0sec
Monaural type
Range –inf, –48...0.0dB
Algorithm
Category: Dynamics&Filter Compression level
Dynamics/Filter-type effects Response Slow, Medium, Fast
Selects the response speed
PreDelay (Pre Delay Time) 0...200ms
Sets the delay time
42: Mono Compressor Out Gain (Output Gain) –24.0...+24.0dB
Threshold –30.0...0.0dB Adjusts the output level gain
Effect

Ratio 1.00:1...20.0:1
Sets the compression ration of the signal
46: Mono Filter
Attack 0...1.00sec Fc Bottom (Control Fc Bottom) 53Hz...20.0kHz
Sets the attack time Sets the lower limit of the frequency to be controlled
Release 0...10.0sec Fc Top (Control Fc Top) 53Hz...20.0kHz
Sets the release time Sets the upper limit of the frequency to be controlled
Response Slow, Medium, Fast Resonance 0...100%
Selects the response speed Sets the resonance amount
Tube Sat (Tube Saturation) 0...100 Trim 0...100%
Sets the depth of vacuum tube distortion Adjusts the filter level
Out Gain (Output Gain) –24.0...+24.0dB FilterType HPF, BPF, LPF
Adjusts the output level gain Selects the filter type
Control (Control Source) Envelope, LFO
Inverts the control
161
Dry:Wet Dry, 1:99...99:1, Wet NoiseLoCut (Noise Low Cut) THRU, 21Hz...8.00kHz
Sets the balance between the effect and dry sounds Sets the low-cut frequency for the noise
Waveform (LFO Waveform) Triangle, Sine, Saw NoiseHiCut (Noise High Cut) 53Hz...20.0kHz, THRU
Selects LFO Waveform Sets the high-cut frequency for the noise
LFO Speed 0.02...20.00Hz
Sets the LFO speed
LFO Step 0...256 49: Mn.Ring Modulator
Selects the LFO step (Mono Ring Modulator)
Env.Resp (Envelope Response) Slow, Medium, Fast
Oscillator (Oscillator Frequency) 0...12.00kHz
Selects the response speed of envelope control
Sets the oscillator frequency
*LFO Speed 0.02...20.00Hz
Sets the LFO speed of the oscillator frequency modulation
*LFO Depth 0...100%
47: Mono Wah Sets the depth of LFO modulation for the oscillator frequency
Control (Control Source) Envelope, LFO, Manual Sets the balance between the effect and dry sounds
Switches the control source Delay (Delay Time) 0...2.730sec
Wah.Type Y-CRY, RM-A, RM-B, J-CRY, VOX, M-VOX Sets the delay time
Selects the wah type Feedback –100...+100%
Env.Resp (Envelope Response) Slow, Medium, Fast Sets the feedback amount
Selects the response speed of envelope control HiDamp (High Damp) 53Hz...20.0kHz, THRU
Env.Sens (Envelope Sensitivity) 0...100% Sets the damping amount in the high range
Sets the sensitivity of envelope control In Level (Input Level) 0...100%
Waveform (LFO Waveform) Triangle, Sine, Saw Sets the input level to the effect
*LFO Speed 0.02...20.00Hz
Sets the LFO speed 50: Tube Pre Amp Sim
LFO Step 0...256 (Tube PreAmp Simulator)
Selects the LFO step This effect simulates a vacuum tube preamp. You can make
*Manual (Manual Control) 0...100 independent settings for two vacuum tubes connected in se-
Sets the control position manually ries, producing a distinctive and warm sound.
DirectMix (Direct Mix Level) 0...100%
Tube1.Gain –24.0...+24.0dB
Adjusts the mix level of the direct sound
Sets the gain of tube circuit 1
Wah Level 0...100
Tube1.Sat (Tube1 Saturation) 0...100%
Sets the wah level
Sets the amount of saturation for tube circuit 1
Tube2.Gain –24.0...+24.0dB
Sets the gain of tube circuit 2
Tube2.Sat (Tube2 Saturation) 0...100%
Category: SFX&etc
Sets the amount of saturation for tube circuit 2
SFX/Etc effects Tb1.LoCut (Tube1 Low Cut) THRU, 21Hz...8.00kHz
Sets the amount of low-frequency attenuation for tube circuit 1
Tb1.HiCut (Tube1 High Cut) 53Hz...20.0kHz, THRU
48: Mn.Analog Record Sets the amount of high-frequency attenuation for tube circuit 1
(Mono Analog Record) Tb2.LoCut (Tube2 Low Cut) THRU, 21Hz...8.00kHz
Sets the amount of low-frequency attenuation for tube circuit 2
RPM 33 1/3, 45, 78 Tb2.HiCut (Tube2 High Cut) 53Hz...20.0kHz, THRU
Sets the r.p.m. of a record Sets the amount of high-frequency attenuation for tube circuit 2
Wah (Wah Flutter) 0...100% Tube1Bias 0...100%
Sets the depth by which the record is warped Sets the bias for tube circuit 1
Bend 0...100% Tb1.Phase (Tube1 Phase) Normal, Inverted
Sets the width by which the record is warped Sets the output phase of tube circuit 1
Dry:Wet Dry, 1:99...99:1, Wet Tube2Bias 0...100%
Sets the balance between the effect and dry sounds Sets the bias for tube circuit 2
ClickLevel (Click Noise Level) 0...100% Out Level (Output Level) –48.0...0.0dB
Sets the level of click noise Sets the output level
ClickAngle (Click Angle) 0...100
Sets the angle of the scratch on the surface of the record
ClickPoint 0...100
Sets the distance of the scratch from the warped area
WhiteLevel (White Noise Level) 0...100%
Sets the level of white noise
162
51: Mic Simulator Mod (Modulation)
This effect simulates a wide variety of microphones. You can ModType (Modulation Type) Chorus, Flanger, Tremolo
also adjust the preamp. Selects the modulation type
Speed (LFO Speed) 0.02...20.00Hz
MicType (Microphone Type)
Sets the LFO speed
Vntg.Dy, Multi.Cn, Prcs.Cn, Whale, Vo.Cn, Vo.Tube, BDr.Dy
Shape (LFO Shape) –100...+100%
Selects the type of mic
MicPosition (Microphone Position) Close, On, Off, Far
Depth 0...100
Selects the position of the mic
PreAmp G (Pre Amp Gain) –24.0...+24.0dB
Sets the gain of the tube preamp
TubeSat (Tube Saturation) 0...100% Amp (AmpCabModeling)
Sets the amount of tube saturation This effect models a guitar amp cabinet.
TubeBias 0...100
AmpType (AmpType)
Vacuum tube bias adjustment amount AC15, AC30, AC30TB, BLK2x12, TWD1x12,
LowCut THRU, 21Hz...8.00kHz TWD4x10, BTQ CL, BTQ OD, UKBUES, UK’70S,
Algorithm list
UK’80S, UK’90S, UK MDN, US MDN, RECTO, US HI-G
HiCut (High Cut) 53Hz...20.0kHz, THRU Selects the type of amplifier
Sets the damping amount in the high range DRIVE (Drive Level) 1...100
OutLevel (Output Level) –48.0...00dB Sets the amount of distortion
Sets the output level VOLUME (Volume Level) 1...100
Sets the volume level
CabType (CabinetType)
1x12TWD, 2x10BLK, 2x12BLK, 1x12VOX, 2x12VOX,
Program list
Category: Multi 4x10TWD, , AD412, UK-H30, UK-T75, US-V30, OFF
Selects the type of cabinet
Multi Effect
BASS 0...100
Sets the low-frequency level
MIDDLE 0...100
52: GuitarMulti Sets the mid-frequency level
This is a multi-chain effect for guitar. TREBLE 0...100
Sets the high-frequency level
Stereo type
Algorithm
PRESENCE 0...100
Chain: [Wah]-[Comp]-[Mod]-[Amp]-[Dly]
Sets the level of the high region
Parameters for the effects in the chain NR.Thrsh (NoiseReduction Threshold) 0...100
Level at which noise reduction begins to apply
Wah (Wah Wah)
Control (Control Source) Envelope, Manual Dly (Long Delay)
Monaural type
Time (Delay Time) 0...10.365sec
Algorithm
Wah.Type Y-CRY, RM-A, RM-B, J-CRY, VOX, M-VOX
Sets the delay time
Selects the wah type
Feedback –100...+100%
Env.Resp (Envelope Response) Slow, Medium, Fast
Selects the response speed of envelope control
*Manual (Manual Control) 0...100
Sets the control position manually
Effect
DirectMix (Direct Mix Level) 0...100%

Adjusts the mix level of the direct sound
Wah Level 0...100
Sets the wah level
Comp (Compressor)
Threshold –48.0...0.0dB
Attack 0...1.00sec
OutGain (Output Gain) –24.0...+24.0dB
Adjusts the output level gain
163
Appendices
Troubleshooting Input sound is inaudible or too soft
Is the TRIM knob raised to an appropriate level?
After connecting your audio source to an input jack, did
you assign it to a mixer channel?
→ In the MIXER, CH INPUT/SubMixer, “Ch Assign”
Power does not turn on tab page, assign the source to a mixer channel. (→p.42)
Is the power cable connected to an outlet? (→p.1) Verify that audio is being input.
Is the rear panel POWER ON (power supply) switch → Press the METER key, and in “Meter/Track View,” set
turned on? (→p.1) “Select Level Meter Position” to “CH-Input.” Watch
the meters to verify that audio is being input to each
mixer channel (→p.43).
Nothing appears in the display With the REC/PLAY key on, are the channel keys set to
Record mode? (→p.8)
Is the top panel power on key lit? (→p.1)
Are the monitor settings appropriate?
Is the contrast adjusted correctly? (→p.8)
→ In the MIXER, SOLO/MONITOR, “Monitor” tab
page, select the signal that you want to monitor (nor-
mally, turn “MasterLR” On). If you have turned
Vertical lines are visible in the display “Rhythm” or “Cue” “On,” raise their volume levels.
Depending on the content of the display, vertical lines (→p.47)
may be visible in the display, but this is not a With the CH ON key on, are the channel keys turned
malfunction. On? (→p.8)
→ If the screen is difficult to read, adjust the contrast Is the PAD key on?
(→p.8). Are you using INPUT1 and GUITAR IN simultaneously?
→ INPUT1 and GUITAR IN are shared. If a guitar is con-
nected to GUITAR IN, you cannot use INPUT1.
No sound If cue is selected, the cue level of each channel may have
Is the power of the D3200 or a connected device turned been lowered.
off? (→p.1) → In the MIXER, SOLO/MONITOR, “CueLevel ” tab
Is the MASTER fader, MONITOR LEVEL knob, or page. (→p.48)
PHONES LEVEL knobs set to low? Is the 1–16/17–32 key set correctly? (→p.8)
Is the channel volume level set to low? Could the Trim level be turned down in the EFFECT,
The actual volume level may not match the fader posi- “InsertEFF” tab page?
tions if pairing has been used and then switched off, or → If a channel is assigned to an insert effect, the volume
after automation has been used. of that channel is determined by the Trim setting even
→ Go to the MIXER, FADER/PAN/AUTOMATION, if the insert effect is set to NO EFFECT.
“Fader Pan” tab page, and raise and lower the fader to
match the fader position to the actual volume. Then No sound from AUX OUT
adjust the fader to an appropriate level. “Can’t apply external effect (AUX)” (→p.166)
Is the Solo function activated?
→ If Solo is being used, you will not hear channels that No drum sound
are not being soloed. Session drums “Drum sound is not output” (→p.166)
Can’t hear the playback Can’t hear scrub playback

With the REC/PLAY key on, are the channel keys set to The incorrect track may be selected in the scrub page.
Play mode for the appropriate tracks? (→p.8) → Select the correct track.
With the CH ON key on, are the channel keys turned
On? (→p.8)
Has solo been turned on, so that other tracks are not Faders don’t work
heard? (→p.8, 99)
If you have selected Cue, could the cue level of the Fader does not work
channels be lowered? If you switch pairing off after channels were paired, or if
→ Access the MIXER, SOLO/MONITOR, “CueLevel” you recall a scene, the audio level of a channel may not
tab page and raise the cue level. (→p.48) match the position of the fader.
Could the Trim level be turned down in the EFFECT, → Raise or lower the fader so that it matches the actual
“InsertEFF” tab page? volume level.
→ If a channel is assigned to an insert effect, the volume
of that channel is determined by the Trim setting even
if the insert effect is set to NO EFFECT.
Is the 1–16/17–32 key set correctly? (→p.8)
164
If the effect input or output is still distorted, make the
Can’t record following adjustments.
Are the D3200’s channel fader(s) lowered? → Input
Is the recording-destination track’s REC/PLAY key set to Insert effect:
REC? While you watch the meters in the EFFECT “Insert-
Is the CH ON key turned on? (→p.8) EFF” tab page, use the TRIM knob to adjust the input
Is there enough space on the drive? volume so that “CLP” does not light.
→ Set the counter display to “FreeTime,” and check the Master effect:
available recording time. (→p.37, 98) While you watch the meters in the MIXER, SEND
→ Increase the free space on the song drive by deleting (EFF/AUX/REC), “EFF1Send”/“EFF2Send” tab page,
unwanted songs or songs you have already backed up. adjust the send volume so that “CLP” does not light.
Troubleshooting
(→p.41, 83) Final effect:
Is the input source you want to record assigned to a While you watch the meters in the EFFECT, “Final-
mixer channel? EFF” tab page, adjust the volume of each channel so
→ In the MIXER, CH INPUT/SubMixer, “Ch Assign” that “CLP” does not light.
tab page, assign the input source to a mixer channel. → Output
(→p.42)
Various messages
Insert effect:
Is the REC/PLAY MODE appropriate? (→p.64, 147)
Adjust the effect parameters or TRIM knob, and listen
for any distortion.
Master/final effect:
Can’t use digital input While you watch the meters in the EFFECT,
If you want to use S/P DIF input, access the MIXER, CH “MstrEFF1/2”/“FinalEFF” tab page, adjust the effect
More about drives

INPUT/SubMixer, “Ch Assign” tab page, and set parameters so that “CLP” does not light.
and files
“Source select” to “S/P DIF.” Then specify digital input If the sound is distorting in the EQ, make the following
as the input for the channel you want to assign (→p.42). adjustments.
Is the S/P DIF input format incorrect? → Adjust the EQ gain values (→p.45).
→ Connect an instrument or digital audio device that → Adjust the attenuator (→p.45).
complies with the S/P DIF format. Did you use Cue during or after recording?
Do the sampling frequency and bit depth of the current → Make sure that the channel fader and channel Cue lev-
Specifications
song match that of the input? el are not both raised (→p.48).
Playback level is lower than the level during Effects do not apply
recording You may have selected effect program number 00.
Various lists
If you lowered the attenuator during recording while → Set “EffectNumber” to other than “000” (=NO EF-
using the input EQ, could you have forgotten to reset the FECT).
attenuator for playback?
Insert effects do not apply
Have you set the recording level to PST (post-fader)
during recording, recorded at a level below unity gain, Is the effect inserted at the appropriate location?
and then played back with these same settings? → In the EFFECT, “EFFRouting” tab page, select “IN” if
Shortcut keys
→ If you want to play back at the recorded level, set the you want to apply the insert effect to the input, or “TR”
channel fader to unity gain. if you want to apply it to the playback. (→p.113)
→ Go to the EFFECT, “EFFRouting” tab page and verify
that the effect assign channel (track) is correct. (→p.23,
54)
The input or recorded sound is noisy or dis-
torted Can’t apply master effects Glossary
Is the TRIM knob set appropriately? The sound will be Is the send level from each channel set to zero or nearly
distorted if the TRIM knob is set too high, and there will zero?
be more noise if it is set too low. → Raise the send levels in the MIXER, SEND (EFF/AUX/
→ To optimally set the TRIM knobs of the INPUT 1–IN- REC), “EFF1Send”/“EFF2Send” tab pages.
PUT 12 jacks, press the METER key to access “Meter/ Is the return level set to zero or nearly zero?
Track View,” and set “Select Level Meter Position” to → Go to the EFFECT, “MstrEFF1/2” tab page, and raise
Index
“CH-Input.” Then adjust the TRIM knobs as high as the “Return Level” setting.
possible without allowing the “CLP” indicator to ap- If you are monitoring the sound from the MONITOR L/
pear in the level meter. R jacks, the monitor LR bus output may be turned off.
Are you using effects? → In the MIXER, SOLO/MONITOR, “Monitor” tab
→ Some effects add distortion or noise. Verify that there page, click the MasterLR button to turn it “On.”
is no distortion or noise when you are not using an ef-
Appendices
fect. Can’t apply the final effect

If you are monitoring the sound from the MONITOR L/
R jacks, the master LR bus output may be turned off.
→ In the MIXER, SOLO/MONITOR, “Monitor” tab
page, click the MasterLR button to turn it “On.”
165
Can’t use the expression pedal or MIDI to control an The 1–16/17–32 key does not work
effect In the case of a 24-bit song, only sixteen channels are
In the SYSTEM/MIDI, “Control” tab page, is the effect available, so this key will not function.
selected by “Control Change Assign” enabled?
→ Go to the EFFECT, “EFFRouting” tab page and verify
that the effect is enabled. MIDI
Are you using the correct device to control the effect?
→ Control the effect using the device specified by the MIDI sequencer won’t synchronize/MIDI control is
“Control Change Device” setting in the SYSTEM/ not possible
MIDI, “Control” tab page. (→p.119)
Are the MIDI cables connected correctly? (→p.11)
Is the selected effect set to effect program number “000”
A MIDI cable may be broken.
(=NO EFFECT) or to an effect program number that does
not include a control function? Can’t synchronize using MTC or MIDI Clock
If you are controlling via MIDI, does the MIDI channel Are the master and slave settings correct? (→p.125)
number of the D3200 match the MIDI channel of the
Does the synchronization signal being output by the
transmitting MIDI device? (→p.124)
D3200 match the synchronization signal your MIDI
Is the effect program’s Ctrl setting turned on? (→p.57) sequencer is receiving?
→ Go to the SYSTEM/MIDI, “MIDI/MMC” tab page
Can’t apply external effect (AUX) and check the “MIDI Sync” setting. (→p.125)
Is the external send level setting set to zero or nearly
Are the synchronization settings of your MIDI sequencer
zero?
appropriate?
→ Go to the MIXER, SEND (EFF/AUX/REC), “AUX1
→ Refer to the owner’s manual of your MIDI sequencer.
Send”/“AUX2 Send” tab page, and raise the external
send level. The D3200 doesn’t receive MMC
Is the output of your external effect connected to the In the SYSTEM/MIDI, “MIDI/MMC” tab page, is
INPUT 1–INPUT 12 jacks, and input to the mixer “MMC Mode” set to “Receive”?
channels?
In the above page, is “MMC Device ID” set to match the
→ Go to the MIXER, CH INPUT/SubMixer, “Ch Assign”
MMC device ID setting of your MIDI sequencer?
tab page and make the appropriate assignments.
(→p.125)
Have sub input settings been made correctly? (→p.44, → For some MIDI sequencers, the MMC device ID setting
101) may differ.
Is your MIDI sequencer set to transmit MMC?
→ Refer to the owner’s manual of your MIDI sequencer.
Session Drums
Can’t use MIDI to control scenes
Drum sound is not output Do the MIDI channels of the D3200 and your MIDI
Is the DRUMS key turned off? sequencer match?
Is the DRUMS fader lowered? → Go to the SYSTEM/MIDI, “MIDI/MMC” tab page
Is the rhythm assign setting appropriate? and check the “Global Ch” setting. (→p.125)
→ If the rhythm is assigned to a CH Input, input the Are program changes turned off?
rhythm to a mixer channel. → Check the settings in the SYSTEM/MIDI, “MIDI/
Is the recorder stopped? MMC” tab page. (→p.124)
→ Press the PLAY key to play back. The rhythm will
sound while the recorder is recording or playing, The D3200 does not synchronize as a slave
If you want to preview the rhythm while the recorder is → If the D3200 is set as an MTC slave, it may take several
stopped, go to the SESSION DRUMS, “SessionDr.” tab seconds for synchronization to occur.
page and turn the RUN button on. → Do the Frame Rate settings match? (→p.125)
You may have selected a silent drum pattern. → If you are using MTC to synchronize, the MIDI se-
quencer to which you are synchronizing must support
The session drum volume may be too low.
MTC.
→ Use DRUMS fader to adjust the volume.
Can’t control another device via MMC
Can’t hear the drum
In the SYSTEM/MIDI, “MIDI/MMC” tab page, is
Is the DRUMS key off? (→p.59)
“MMC Mode” set to “Transmit”?
Is the MMC slave device set so that it will receive MMC?
Does the D3200’s MMC Device ID match the external
A key does not function when pressed MIDI device’s MMC Device ID?
Some keys do not function while the recorder is playing
or recording. Can’t use MIDI to control mixer parameters
→ Stop the recorder, and then perform the operation. Is the device that is receiving the control changes set to
Some keys do not function while Scrub is on. record all MIDI channels 1–16?
→ Turn off Scrub, and then perform the operation. Are control changes turned off?
(→p.40, 146) → Check the settings in the SYSTEM/MIDI, “MIDI/
Is a dialog box open? MMC” tab page. (→p.124)
→ Click either the Yes, No button to close the dialog box.
166
CD-R/RW Startup
Can’t write The display hangs at “Start up from CD. Wait CD
No further data can be written to a CD-R/RW disc that Mount.” and startup does not occur
has been finalized. (→p.140) Use the recovery CD to start up the D3200. (→p.96)
No data can be written to a CD-RW disc that contains
data written by another device.
Failed while writing to CD.
→ Select an appropriate speed for writing to CD-R/RW.
If you failed while writing at the highest speed, try a
Troubleshooting
slower speed. In some cases if you are using a disc that
is optimized for high-speed writing, you may be una-
ble to write at low speeds.
→ Try a different disc.
Can’t select some speeds when writing to CD.
→ The speeds that you can select will differ depending on
Various messages
the type of disc.
Can’t create an audio CD.
→ Use a blank disc.
Can’t play back on an audio CD player

Did you finalize the disc?
More about drives

→ In the CD, Track at once page, click the Finalize button
and files
to finalize the disc. (→p.140)
Did you use CD-R disc?
→ Some CD players are unable to play back CD-RW
discs. We recommend that you use CD-R discs.
Have you tried using a different type of disc?
→ Even when the recommended media is used, some CD
Specifications
players are unable to play back certain types of CD-R/
RW disc. You may be able to play back successfully if
you use a different type of CD-R/RW disc.
Audio files
Various lists
Can’t preview
Is the audio file format supported?
→ Preview a WAV file of a supported format. (→p.86,
135)
Shortcut keys
USB
Computer does not recognize the D3200
Is the USB cable connected correctly? (→p.12) Glossary
Is the D3200 set to USB Slave mode? (→p.93)
Recognition may also fail on some models of Macintosh
for specific versions of the operating system. In this case,
leave the D3200 in USB mode, and disconnect and then
reconnect the USB cable so that the D3200 will be
recognized.
Index
Error occurred when you disconnected the D3200

from the computer
Use the correct procedure to disconnect. (→p.93)
When you connected the D3200, the computer

Appendices
asked you to install software or a device driver

Does the operating system of your computer support the
D3200? (→p.93)
167
Various messages If “Disk too busy.” appears during playback, execute “Check
Drive” with “Current Song” selected. If the message appears
during recording, execute “Check Drive” with “Current Parti-
tion” selected.
The message dialog box will disappear when you click the
OK button (or press the panel YES key). In some cases, ultra-low frequencies played back in the studio may
cause “Disk too busy.” messages to appear. In this case, elimi-
Auto-Punch is not available in MTC Slave/Master mode. nate the problem by relocating the D3200 before you execute the
Check Drive operation.
Auto-punch recording cannot be performed if the MIDI
Sync setting is set to MTC Slave or MTC Master. If the Song Type is 48 kHz/24-bit and you record multiple tracks
(four or more tracks) simultaneously, there is a increased possibil-
Cannot have more than 100 Songs. ity that the state of the hard disk recording area (i.e., fragmenta-
You cannot exceed maximum of 100 songs on one song tion) will cause the “Disk too busy.” message to appear. We
drive. recommend that you always execute “OptimizeTrk” (→p.74) af-
ter recording or editing multiple tracks simultaneously in a 48
→ Delete unneeded songs. Be sure to back up any data you kHz/24-bit song.
wish to save before deleting it from the hard drive.
Drive Error occurred.
Check Sum Error occurred.
An error has occurred while accessing the drive.
The system update has failed.
→ If this message appears while you are working on a song
→ Try the update procedure once again from the drive, execute “Check Drive.” If the message still
beginning. If this message still appears, please contact appears after executing this, format the drive.
your Korg distributor.
→ If this message appears while you are working on the PC
Clock source changed to internal because S/P DIF Error drive, format the PC drive.
occurred. → If this message appears while you are working on the
Because the S/P DIF clock could not be detected CD drive, use a different disc. If the message still
correctly, the Word Clock setting Clock Source has been appears, it is possible that the CD-R/RW drive has
switched to Internal. malfunctioned. Please contact your Korg distributor.
→ Make sure that the signal is being output correctly from Exceeds drive capacity.
the external device.
There is not enough free space on the drive.
→ Make sure that the D3200 is correctly connected with the
→ If this message appears while you are working on a song
external device.
drive, you can either delete the Undo data or delete
→ Make sure that the optical digital cable is not faulty. unneeded songs. Alternatively, you can use a different
song drive.
Clock source changed to internal because the sampling
frequencies do not match. → If this message appears while you are working on the PC
drive, delete unneeded files or folders.
Because the external sampling frequency does not match
the sampling frequency of the current song, the Word Exp/Cmp ratio is out of range.
Clock setting Clock Source has been switched to
The expansion/compression ratio used in the
Internal.
“ExpCmpTrk” track edit operation is beyond the
Completed. allowable range. The maximum expansion is double, and
the maximum compression is half. Change the settings
The operation has been completed successfully.
of the TO and END locations.
Continuous recording time limit exceeded.
Failed to receive MIDI data.
The maximum continuous recording time is 12 hours. It
Reception of MIDI data has failed.
is not possible to continuously record for longer than
this. Failed to write CD.
Directory Path is too long. Writing to the CD-R/RW disc has failed.
Access is not possible because the directory path is too → Refer to the “Troubleshooting” section on CD-R/RW.
long.
Failed to write System.
→ The D3200 cannot access a path that is longer than 64
System updating has failed.
characters. Do not create a directory path longer than 64
characters. → It is possible that the D3200 has malfunctioned. Please
contact your Korg distributor.
Disc is not CD-RW.
The disc currently in the drive is not a CD-RW. File List data error.
There is an error in the audio data, and the song cannot
→ Insert a CD-RW disc.
be selected or saved.
Disk too busy. → Format the affected song drive.
This message will appear if repeated punch-in/out
recording or track editing operations have fragmented Frame Rate does not match.
the data on the disk, slowing down access to the hard The frame rate of the incoming time code does not match
drive. the frame rate of the current song.
→ In the TRACK, “EditTrk” tab page, execute the Illegal Range. In = Out or Out < In.
“OptimizeTrk” operation. If this error message still
The operation cannot be executed because there is a
appears even after you execute “OptimizeTrk,” go to the
problem with the IN and OUT locations specified for
SYSTEM/MIDI, “DiskUtility” tab page and execute
track editing or loop playback.
“CheckDrive.”
168
→ The IN and OUT locations are the same, or the OUT Root Directory is full.
location is earlier than the IN location. You have reached the maximum number of files or
folders that can be saved in the root directory of the PC
Illegal Range. To = End or End < To.
(USB) drive.
The operation cannot be executed because there is a
→ Delete unneeded folders or files.
problem with the TO and END locations specified for
track editing or loop playback. Sampling Frequency does not match.
→ The TO and END locations are the same, or the END The external sampling frequency clock does not match
location is earlier than the TO location. the sampling frequency of the current song.
In ~ Out is out of range. Scrub Location exceeded song end.
The operation cannot be executed because there is a The scrub function controlled by the SCRUB key is able
Troubleshooting
problem with the IN and OUT locations specified for to display the waveform in a range from the beginning
track editing or auto-punch recording. to the end of the song.
→ Set the IN–OUT region not to exceed 12 hours in length. If you press the SCRUB key at a location that is later than
the end, this message will appear, and then the location
In ~ Out is too short. will return to the end of the song.
Various messages
There is not enough of an editing region for track editing
to occur. Song Data error.
The song data contains an error, and cannot be selected
Insert next disc and press OK. or saved.
Insert the next disc. → Delete the song that cannot be selected or saved.
Insufficient space available on the CD. → Format the affected song drive.
More about drives

This CD-R/RW disc does not contain enough free space Song End out of range.
and files
to write the selected data.
Executing the track editing operation would cause the
Maximum number of tracks is 99. ending location of the song to exceed the allowable song
length.
A maximum of 99 tracks can be written to one CD.
→ A song cannot be more than 23:59:59.999 in length.
No audio events on the master track.
Specifications
The master track does not contain any audio events. Song List data error.
The song list data contains an error, and the song cannot
No REC-READY tracks. be selected or saved.
None of the tracks have been set to the record ready → Format the affected song drive.
mode.
S/P DIF Error occurred.
Various lists
Not enough Memory. An error has occurred in the S/P DIF digital connection.
The current recording or track editing operation would → Make sure that the external device is correctly connected
exceed the amount of memory space available. to the D3200.
→ Delete unneeded track data from the song. → Make sure that the optical digital cable is not faulty.
→ In the TRACK, “EditTrk” tab page, execute
Tempo too fast.
Shortcut keys
“OptimizeTrk” operation. If error messages still appear
after you execute “OptimizeTrk,” go to the SYSTEM/ When recording tempo, recording failed because the
MIDI, “DiskUtility” tab page and execute tempo was too fast.
“CheckDrive.” → If you are recording MIDI Clock data, set the MIDI
output device to a slightly slower tempo.
Number of tracks does not match.
When executing a track edit operation, the number of → If you are recording tap tempo, tap more slowly. Glossary
tracks before and after the operation does not match.
Tempo too slow.
Operation canceled. When recording tempo, recording failed because the
The operation was canceled. tempo was too slow.
→ If you are recording MIDI Clock data, set the MIDI
Repaired successfully. output device to a tempo of =40 or faster.
When the hard drive was checked, errors found on the → If you are recording tap tempo, tap more quickly.
Index
disk were repaired successfully. The audio data has also

been completely recovered. The data is unchanged.
The operation was executed, but the results are identical
Repaired, but some audio data was lost.
to the previous state.
When the hard drive was checked, errors were found on
Appendices
the disk. The drive was repaired, but some audio data The location cannot be stored.
could not be completely repaired. You may hear some The current location cannot be stored.
“pops” in the sound.
→ You can minimize the pops by executing This CD is not playable.
“ErasePunchNoise.” The CD cannot be played because is not an audio CD or
because it has not been finalized.
169
This file name is already in use. Confirmation messages
An identically-named file already exists.
→ Change the file name. Info: “****”
This will appear when there is information to be
This format is not supported. conveyed to the user.
The inserted disc is in a format that the D3200 is unable → Click the OK button (or press the panel YES key) and
to read. continue operation.
This is a blank CD.
You have inserted a blank disc. Serious error messages
This operation is not available. Fatal: “****”
It is currently not possible to perform this operation. This will appear if a problem or malfunction has
occurred on the D3200.
To ~ End is out of range.
→ If this type of message appears, write down the contents
The track editing operation cannot be executed because
of “****” and contact your Korg distributor.
there is a problem with the TO and END locations you
specified.
→ The TO–END region must not exceed 12 hours.
To ~ End is too short.

There is not enough of an editing region for track editing
to occur.
Too many files in this drive.

No more audio data files can be saved on the song drive.
→ Either erase the Undo data, or delete unneeded songs.
Alternatively, use a different song drive.
Too many REC-READY tracks for Punch Rec.

The number of tracks selected for recording exceeds the
allowable number of tracks for punch-recording.
→ Refer to “Recorder” (→p.64).
Track length is under 4 seconds.

When using Disc At Once to create an audio CD, the
data contained a track that is shorter than four seconds.
→ The minimum time for a track (the total of the song to be
written and the post-gap) is four seconds.
Trigger/RecStart is not available in MTC Master mode.

In order to perform Trigger/RecStart recording, the
MIDI Sync setting cannot be set to MTC Master.
Trigger/RecStart is not available in MTC Slave mode.

In order to perform Trigger/RecStart recording, the
MIDI Sync setting cannot be set to MTC Slave.
Trigger recording is not available for the master track.

You can’t perform trigger recording if the MASTER
TRACK STATUS key is set to REC.
Undo Data error.

The song cannot be selected or saved because there is an
error in the Undo data.
→ Delete the song that cannot be selected or saved.
→ Format the affected song drive.
Wrong disc.
The wrong disc is inserted for the operation you are
attempting to execute.
170
More about drives PC (USB) drive
You can transfer files between this drive and a song drive or
your personal computer.
and files Within the PC (USB) drive, you can view, delete, or rename
files and folders.
This drive can be set to have a 2 GB, 4GB, or 8GB capacity,
and will be recognized by your computer as a drive named
KORG D3200.
Drives Supported file Operations
The files that can be handled by the CD-R/RW drive and PC Backup file backup, restore
(USB) drive are explained below. WAV file import, export
Troubleshooting
PC file Edit PC File
CD-R/RW drive
Supported format
This drive can handle the following types of discs.
FAT16 file system; long file names are not supported, and double-byte
Media type Purpose characters (such as Japanese) are not supported.
CD (audio CD) read only
The PC (USB) drive has the following structure.
Various messages
CD-ROM (data CD) read only
CD-R read/write
Folder/file structure
CD-RW read/write/erase
PC: PC: KORG
Supported file Supported format Operations Root KORG (folder) BACKUP (folder)
CD-DA AUTORUN.INF WAV (folder)
Audio CD playback, writing
More about drives

(Red book compliant) (file) KORG03.ICO (file)
Backup file ISO 9660 Level 1 backup, restore D3200 (folder)
and files
WAV format audio file ISO 9660 Level 1 import, export
WAV format audio file UDF format import
BACKUP folder
• By erasing a CD-RW, you can use it again as a blank disc. When backing up → back up to the BACKUP folder.
• When writing to a disc, you can specify the speed at When restoring → the BACKUP folder will be refer-
Specifications
which data will be written. Choose a speed that the disc enced, but you can choose from any
you are using supports. folder.
• There are two ways to write a CD.
WAV folder
Disc At Once When exporting → back up to the WAV folder.
• Creating an audio CD using Album CD Project
When importing → the WAV folder will be referenced,
This performs the entire process from writing multiple
but you can choose from any folder.
Various lists
songs through finalization in a single step. No additional
writing will be possible. AUTORUN.INF, KORG03.ICO
Track At Once The files contain settings.
• Creating an audio CD track by track Do not delete the AUTORUN.INF or KORG03.ICO files.
• Backing up
D3200 folder
• Exporting audio files
This folder is used for updating the system.
Shortcut keys
Additional data can be written up to 99 times, as long as
there is free space on the disc. The above folders and setting files are created when you format
To prevent additional data from being written, finalize the PC (USB) drive on the D3200. Do not format the PC
the disc. (USB) drive from your computer.
When writing additional data, writing will be more reliable if For details on operations between your computer and the PC
you use the same writing speed as when writing the previous (USB) drive, refer to USB (→p.93).
data.
Glossary
Index
Appendices
171
Files
Audio CDs and files
Writing
Audio CDs You can write the following files from the D3200 to the inter-
nal drive.
• Backup files (data specific to the D3200)
Playing an audio CD • WAV files
Use CD, CD PLAYER to play back an audio CD. (16-bit/44.1 kHz, 16-bit/48 kHz, 24-bit/44.1 kHz,
You cannot play back a CD-R/RW that has not been final- 24-bit/48 kHz; monaural and stereo are supported)
ized. The characters that can be used in a file name are single-
You cannot play back discs that do not conform to the Compact byte uppercase alphabetical characters “A”–“Z” and
Disc (CD) specification, such as music discs utilizing copy-pro- numerals “1”–“9,” and the underline character “_”.
tection technology. When renaming a file, you cannot change the extension.
Creating an audio CD Backup files

The amount of space required for the backup is displayed
Using Disc At Once when you make settings for the backup.
This method lets you edit the length of the gaps between CD-R/RW drive
songs, or divide a single song into several tracks. • You can back up files across more than one disc if nec-
You can also use this type of a disc as a pressing master essary.
for mass production. Since the disc will be finalized when • You will need to provide the necessary number of
it is written, no further data can be written to it. discs for the backup. (The discs do not have to be
• Maximum number of tracks 99 blank.)
• Pre-gap time [0–59 seconds/74 frames], default value • If the disc is not blank, it must have a certain amount
2 seconds *1 of free space in order to be used for backup. If the disc
• Post-gap time [0–59 seconds/74 frames], default value does not have enough free space, an error message
0 seconds will appear.
• Minimum track duration 4 seconds
PC (USB) drive
*1 The pre-gap for track 1 is fixed at 0 seconds. The default pre-gap An error message will appear if the drive does not have
is 0 seconds for tracks that are divided by album CD track marks. enough free space.
Using Track At Once Backup data filenames
Use this method when you want to write one track at a The following names are automatically assigned accord-
time. You can continue writing additional tracks until ing to the type of backup.
you finalize the disc. 1Song
Finalize the disc if you want to play it back on a CD XXXXXX + YY + extension (.DBK)
player. XXXXXX will be the first six characters of the song
• Maximum number of tracks 99 name, and YY will be a number in the range of 01–99
• Silence between songs 2 seconds indicating the backup disc number.
• Minimum track duration 4 seconds
If you are backing up a song named “New MySong” and
this is the first disc of the backup, the default filename will
be “NEW_MY01.DBK”.
If the song name contains a character that cannot be used
in a filename, or a space, that portion will be replaced by an
underline character “_”, and lowercase characters will be
replaced by uppercase characters.
All Data
ALLDAT + YY + extension (.DBK)
YY will be a number in the range of 01–99 indicating
the backup disc number.
(01–99 is the number of the backup disc used)
The default filename for the third backup disc is
“ALLDAT03.DBK”.
User Data
USERDATA + extension (.DUR)
The default filename is “USERDATA.DUR”.
172
WAV-format audio files A backup that spans more than one CD-R/RW disc must be re-
You can use the Export command to write WAV-format au- stored in the order in which it was backed up. The last two
dio files. characters of the file name will be a number that indicates the
backup order; restore the discs in this order.
An error message will appear if there is insufficient space.
(→p.168 “Various messages”) If the song name contains characters other than alphanumeric
• You can copy data to the clipboard and export it. characters and the underline “_”, such characters will be con-
• If the clipboard contains data for one track, a monau- verted into an underline “_”. Lowercase characters will be
ral file will be created. If it contains two tracks, a stereo converted into uppercase.
file will be created. If it contains four or more tracks,
WAV-format audio files
the corresponding number of monaural files will be
created. You can load these files into the D3200 by performing the Im-
port operation.
Filenames for audio data
Troubleshooting
If the import-destination song drive has insufficient space, an er-
Track content
No. of Default ror message will appear. (→p.168 “Various messages”)
of the ST or MN Extension
characters filename
clipboard File icons that you can view and select
6 characters
2 tracks stereo WAV
+ ST
NONAMEST : Folder icon
Indicates a folder. Select it to display the contents.
Various messages
Other than 2 6 characters NONAME+
monaural WAV
tracks + [01–16] [01–16] : WAV icon
6 characters Indicates a WAV file. Only supported WAV files will
Master track L monaural WAV NONAMEML
+ ML be displayed.
6 characters
Master track R monaural WAV NONAMEMR Files on the PC (USB) drive (PC files)
+ MR
Master track 6 characters If a file on the PC (USB) drive is in a supported format, you
More about drives

stereo WAV NONAMEMT
L/R + MT can use Edit PC File to view, delete, or rename the file/folder.
and files
For example if you export an audio file whose original track → Edit PC File (→p.122)
number is 04, the file name will be “NONAME04.WAV”. File icons that you can view and select
Loading : Folder icon

Indicates a folder. Select it to display the contents.
You can load the following files into the D3200.
Specifications
• Backup files (data specific to the D3200) : File icon (PC file)
• WAV files Indicates a file.
(44.1kHz/16bit, 48kHz/16bit, 96kHz/16bit, 44.1kHz/
24bit, 48kHz/24bit, 96kHz/24bit; monaural and : Song data icon
stereo are supported) Indicates song data.
• PC files
: Divided song data icon
Various lists
Backup files Indicates song data that was divided into more than
You can load these files into the D3200 by performing the Re- one backup volume. You cannot open this.
store operation.
: User data icon
If the restore-destination song drive has insufficient space, an
Indicates user data.
error message will appear. (→p.168 “Various messages”)
Shortcut keys
File icons that you can view and select : WAV icon
Indicates a WAV file.
: Folder icon
Indicates a folder. Select it to display the contents. : Song icon
Indicates song data.
: Song data icon
Indicates song data. Select it to display the contents. : Effect data icon
Indicates user effect data.
Glossary
: Divided song data icon
: Mixer setup data icon
Indicates song data that was divided into more than
This indicates user mixer setup data.
one backup volume. You cannot open this.
: EQ library icon
: User data icon
Indicates user EQ library data.
Indicates user data. Select this to display the contents.
:Album CD project icon
Index
: Song icon
Indicates album CD project data.
Indicates song data.
: Effect data icon

Indicates user effect data.
Appendices
: Mixer setup data icon

This indicates user mixer setup data.
: EQ library icon
Indicates user EQ library data.
:Album CD project icon

Indicates album CD project data.
173
Specifications <Mixer section>
Internal processing: 69-bit
Inputs: 44 channels (32 recorder channels, 12 sub-in)
Operating temperature:
+5 – +35 °C (do not allow condensation) Buses: 12 buses
2 Eff Send buses, 2 AUX buses, 2 SOLO
buses (stereo), 2 CUE buses (stereo), 2
■ Main sections MASTER buses (stereo), 2 MONITOR buses

(stereo)
<Recorder section> Equalizer: Recorder channels 1–24

4-band full parametric EQ
Number of tracks: 272 tracks (including virtual tracks)
Recorder channels 25–32
Simultaneous playback 32 tracks, 2-band shelving EQ
simultaneous recording 16 tracks*
@ 48 kHz/44.1 kHz, 16-bit Sub Mixer channels 1–12
* 12 analog inputs + 2 digital inputs (S/P DIF) + 2 2-band shelving EQ
Session Drums™ = 16
Simultaneous playback 16 tracks, Master track
simultaneous recording 12 tracks 4-band full parametric EQ
@ 48 kHz/44.1 kHz, 24-bit Scene memories: 100 scene per song
Recording format: 24-bit/16-bit uncompressed,
44.1 kHz/48 kHz <Effect section>
Recording time: 44.1 kHz, 16-bit: maximum 119 hours Internal processing: 56-bit
* when using a 40 GB hard disk Structure: Insert × 8 (maximum)
Number of songs: 100 songs per drive Master × 2 (maximum)
Final × 1
Locate points: four points per song
All usable simultaneously at 44.1/48 kHz
Mark points: 100 points per song (marks can be named)
Programs: 128 preset, 128 user, 32 song
Metronome/Drum patterns:
Algorithms: 52
756 (96/660)
MMC functions: Transmitted and received
<General>
Synchronization: MTC transmission/reception, MIDI Clock Display: 320 × 240 pixel, four-level grayscale
transmission Movable LCD with backlight
Pattern map (200 events per song) Power supply: AC Local Voltage
Sync track (one track per song) Power consumption:
Tempo recording 47 W
CD-R/RW functions: Dimensions: 547 mm (W) × 371 mm (D) × 155 mm (H)
Internal CD-R/RW, audio CD writing 22.6" (W) × 14.61" (D) × 6.1" (H)
(Track At Once, Disc At Once), backup/ (With LCD fully raised)
restore, audio file (WAV format) import Weight: 7.8 kg/17.2 lbs
(ISO 9660), system load
USB functions: Backup/restore, audio file (WAV format)
import/export (FAT16), system load ■ Principal specifications
PC (USB) drive capacity: Frequency response:
2/4/8 GB 10 Hz – 20 kHz +1 dB/–2 dB
Track editing: Copy (overwrite/insert), erase, delete, @ fs 44.1 kHz, +4 dBu, 10 kΩ load
swap, reverse, optimize, expand/compress, 10 Hz – 22 kHz +1 dB/–2 dB
fade, normalize, erase punch noise, erase @ fs 48 kHz, +4 dBu, 10 kΩ load
silence
S/N: 98 dB (typical) @IHF-A
Song editing: Copy, move, delete, rename, protect, save
Dynamic range: 98 dB (typical) @IHF-A
now
THD+N: 0.02% (typical) 20 Hz–20 kHz
Display format: Calendar time, HDD remaining capacity,
+16 dBu, 10 kΩ load
scene, mark, pattern map
A/D conversion: 24-bit 64 times oversampling
Locate format: Hour/Min/Sec.ms, Hour/Min/Sec.Frame,
Meas/Beat/Tick D/A conversion: 24-bit 128 times oversampling
Sampling frequency
<MIDI functionality> Internal: 44.1 kHz, 48 kHz
MIDI functionality: Mixer control, effect control, Record/Playback bit:
MMC transmission/reception, 16-bit, 24-bit
MTC transmission/reception,
MIDI Clock transmission
174
■ Analog/digital input and output spec- <MONITOR OUTPUT L/R>
Connectors: 1/4" phone jack (unbalanced)
ifications
Output impedance: 150 Ω
<INPUT 1–8> Nominal level: –10 dBu
Connectors: XLR-3-31 type (+48 V phantom power, Maximum level: +2 dBu
switchable), 1/4" TRS phone jack (balanced)
Load impedance: 10 kΩ or higher
Input impedance: 4 kΩ (XLR-3-31), 10 kΩ (TRS phone jacks)
Nominal level: –60 dBu to –22 dBu @ TRIM=max. – min. <AUX OUTPUT 1, 2>
PAD OFF Connectors: 1/4" phone jack (unbalanced)
–34 dBu to +4 dBu @ TRIM=max. – min. Output impedance: 150 Ω
Troubleshooting
PAD ON
Nominal level: –10 dBu
Maximum level: –48 dBu to –10 dBu @ TRIM=max. – min.
PAD OFF Maximum level: +2 dBu
–22 dBu to +16 dBu @ TRIM=max. – min. Load impedance: 10 kΩ or higher

PAD ON
<PHONES>
Various messages
Source impedance: 600 Ω
Connector: 1/4" stereo phone jack
<INPUT 9–12> Output impedance: 100 Ω
Connectors: 1/4" TRS phone jack (balanced) Maximum level: 50 mW+50 mW @ 32 Ω
Input impedance: 10 kΩ
<S/P DIF INPUT/OUTPUT>
More about drives

Nominal level: –60 dBu to –22 dBu @ TRIM=max. – min.
PAD OFF Connector: optical
and files
–34 dBu to +4 dBu @ TRIM=max. – min. Format: 24-bit S/P DIF (IEC60958)
PAD ON
Maximum level: –48 dBu to –10 dBu @ TRIM=max. – min. <USB>
PAD OFF Connector: Type B
Specifications
–22 dBu to +16 dBu @ TRIM=max. – min. Format: USB2.0 High-Speed device
PAD ON USB Mass Storage Class
Source impedance: 600 Ω Supported OS: Window Me, Windows 2000 or later
Mac OS 9.0.4 or later
<GUITAR INPUT> * If using the D3200 with Windows 98,
Connector: 1/4" phone jack (unbalanced) please refer to the Korg website or contact
Various lists
your Korg distributor.
Input impedance: 1 MΩ
Nominal level: –60 dBu to –22 dBu @ TRIM=max. – min. <MIDI IN/OUT>
PAD OFF
Connectors: DIN 5-pin × 2
–34 dBu to +4 dBu @ TRIM=max. – min.
PAD ON <FOOT SW>
Shortcut keys
Maximum level: –48 dBu to –10 dBu @ TRIM=max. – min. Connector: 1/4" phone jack (use separately sold PS-1)
PAD OFF
–22 dBu to +14 dBu @ TRIM=max. – min. <EXPRESSION PEDAL>
PAD ON Connector: 1/4" stereo phone jack
Source impedance: 600 Ω (use separately sold XVP-10 or EXP-2)
Glossary
<MASTER OUTPUT L/R>
Connectors: 1/4" phone jack (unbalanced)
■ Included items
AC cable
Output impedance: 150 Ω
Owner’s manual
Nominal level: –10 dBu
Maximum level: +2 dBu
■ Separately sold options
Index
Load impedance: 10 kΩ or higher

PS-1 pedal switch
XVP-10 EXP/VOL pedal
EXP-2 foot controller
Appendices
* Appearance and specifications of this product are

subject to change without notice. (04, 2005)
175
Various lists
Drum Pattern List
The 1 Standard 1–8 etc variations consist of Variation 1–10, Fill In, and Ending.
Group Name Session Name Variation Group Name Session Name Variation
0 Metronome 1 Metro 4 16 4 R&B/Hip Hop 1 R&B 12
2 Hihat 4 16 2 Slow R&B 12
3 Metro 8 16 3 Soul 1 12
4 Hihat 8 16 4 Soul 2 12
5 Metro 16 16 5 Motown 12
6 Hihat 16 16 6 Hip Hop 12
1 Standard 1 1 8beat 1 12 7 Rap 12
2 8beat 2 12 5 Club 1 Techno 12
3 8beat 3 12 2 House 12
4 8beat 4 12 3 Garage 12
5 16beat 1 12 4 2Step 12
6 16beat 2 12 5 Electro 12
7 16beat 3 12 6 NuSkul 12
8 16beat 4 12 7 Big Beat 12
2 Standard 2 1 Processed 1 12 8 DnBass 12
2 Processed 2 12 6 Jazz/Fusion 1 Swing 12
3 Processed 3 12 2 Nu Jazz 12
4 Wet 1 12 3 BigBand 12
5 Wet 2 12 4 Funk 12
3 Pop/Rock 1 Rock'nRoll 12 5 Electric Funk 12
2 UK Rock 12 7 Latin/Ethnic 1 Brazil 12
3 US Rock 12 2 Bosa 12
4 Modern Rock 12 3 Samba 12
5 Funk Rock 12 4 AfroCuba 12
6 Rock Ballad 12 5 Raggae 12
7 Pops 12 8 etc 1 6/8 12
8 Filter Pop 12 2 3/4 12
9 Gated Pops 12 3 Lounge 12
10 Disco 12 4 88 12
11 Country 12 5 Lyn 12
12 Distorted 12
176
EQ Library List
No. Name No. Name No. Name No. Name No. Name
1 Bass Drum1 11 Syn.Bass1 21 A.G.Strum2 31 Total EQ2 41 FM Radio
2 Bass Drum2 12 Syn.Bass2 22 A.G.Arpegio1 32 Total EQ3 42 Old Record
3 Snare Drum1 13 Piano1 23 A.G.Arpegio2 33 Bass Drum3 43 Telephone
4 Snare Drum2 14 Piano2 24 Brass Section 34 Snare Drum3 44 Bright
5 Tom-Tom 15 E.G.Clean 25 Male Vocal1 35 Tom-Tom2 45 Dark
6 Cymbal 16 E.G.Crunch1 26 Male Vocal2 36 Piano3 46 Heavey Low
Troubleshooting
7 High Hat 17 E.G.Crunch2 27 Female Vocal1 37 Piano Low 47 Fat Middle
8 Percussion 18 E.G.Dist1 28 Female Vocal2 38 Piano High 48 Heavy Low
9 E.Bass1 19 E.G.Dist2 29 Chorus&Harmony 39 Fine-EQ Casset 49 50Hz HumCut
10 E.Bass2 20 A.G.Strum1 30 Total EQ1 40 Narration 50 60Hz HumCut
Various messages
Name Library List
Data Name Library: You can choose these names when renaming EQ Library, Mixer Setup, Drive, Effect, Scene, Mark, Song, or Track.
File Name Library: You can choose these names when renaming PcFile, BackupFile, or WavFile.
More about drives

Data Name Library File Name Library
and files
Name Name Name Name
Vocal Fill VOCAL FILL
Guitar A Melo GUITAR A_MELO
Specifications
Bass B Melo BASS B_MELO
Chorus Solo CHORUS SOLO
Kick Ending KICK ENDING
HiHat Take HIHAT TAKE
Snare Track SNARE TRACK
Various lists
Tom Dance TOM DANCE
RimShot Groove RIMSHOT GROOVE
Cymbal Rock CYMBAL ROCK
Ride Pop RIDE POP
Crash Jazz CRASH JAZZ
Shortcut keys
Percuss Fusion PERCUSS FUSION
Key Loop KEY LOOP
Piano Live PIANO LIVE
Strings Studio STRINGS STUDIO
Organ Event ORGAN EVENT
Glossary
SFX SFX
Count COUNT
Intro INTRO
Index
Demo Song List

001: I’d Be A Fool “I’d Be A Fool”
The song “I’d Be A Fool” was written,produced and arranged by Frank McComb
(Boobeescoot Music-BMI/Chrysalis Songs-BMI 2004 All rights reserved).
Appendices
Unauthorized reproduction of this recording is prohibited by federal law and subject to criminal
prosecution. For permission of any use of this material please contact Frank McComb at
frankmccomb2003@yahoo.com.
177
Shortcut keys While holding down the MIXER key
LOC 1/2/3/4 keys Recall page memories 1/2/3/4
π/† keys Move between MIXER pages in the +/–
While holding down the STOP key direction
REW key Move to the beginning of the song √/® keys Move between MIXER pages in the +/–
FF key Move to the end of the song direction
LOC 1 key Move to the location at which recording CH VIEW key Access the DrmsMixer tab page
last began EFFECT key Access the CueLevel tab page
LOC 2 key Move to the location at which recording SEND key Access the SubMix 1–4, 5–8, and 9–12 tab
last ended pages
+/– keys Increment/decrement the song number EQ key Access the MasterEQ tab page
PAN key Access the MixerView tab page
While holding down the SONG key REC/PLAY key Access the ChAssign tab page
+/– keys Increment/decrement the song number CH ON key Access the ChOnGroup tab page
ENTER key Save the song (SaveSong) SOLO key Access the Solo tab page
CH SELCT key Access the Pair tab page
While holding down the MARK key
SCENE key Access the Automation tab page
+/– keys Move to the following/preceding mark in
the song
While holding down the (cursor) π key
LOC 1/2/3/4 keys Recall page memories 1/2/3/4
SYSTEM/MIDI Access the Calendar dialog box
key
While holding down the JUMP/MATCH key
SESSION Switch the TimeDispType
√TAB key Move to the far left tab from any tab in the DRUMS key
page
LOC 1/2/3/4 keys Move the cursor to the counter H/M/S/m
TAB® key Move to the far right tab from any tab in
the page REC/PLAY- Switch the information display
MODE key
√/®/π/† keys In the Fader Pan, Mixer View, CueLevel,
or SubMix screens, use these keys to
switch the Knob Matrix between groups
While holding down the (cursor) † key
of 16 LOC 1/2/3/4 keys Switch between tab pages (successively
In the Meter (TrackView) or Edit Track from the left)
screens, use these keys to scroll the view * From the left, tab pages 4, 5, and 6 will
window up/down or to zoom the scale alternate each time you press the LOC 4
in/out key
In the Scrub or Wave dialog box

Control the waveform Zoom or Wide
While holding down the UNDO key
functions +/– keys Execute Redo/Undo
MIXER key Move to the Automation page/Turn au-
tomation on/off While holding down the REC/PLAY key
SYSTEM/MIDI Switch between Jump/Match operation 1–16 key Simultaneously set all channels 1–16 to
key for the knobs and sliders/Switch the Fad- Play mode (green LED lit)
er/KnobControl setting 17–32 key Simultaneously set all channels 17–32 to
Play mode (green LED lit)
While holding down the SYSTEM/MIDI key
ENTER key Enter USB Mode While holding down the CH ON key
+/– keys Select the pointer speed in the Control tab 1–16 key Simultaneously turn on all channels 1–16
page 17–32 key Simultaneously turn on all channels 17–32
While holding down the METER key While holding down the SOLO key
π/† keys Switch the MeterView type 1–16 key Simultaneously set channels 1–16 to SOLO
√/® keys Switch between Input, PreFader, and On and channels 17–32 to SOLO Off
PostFader 17–32 key Simultaneously set channels 17–32 to
SOLO On and channels 1–16 to SOLO Off
While holding down the TRACK key
+/– keys Select the EditTrackType
CH (1–16) keys Select the EditTrackType
(1=Copy, 2=Insert ... 15=EraseSilence)
178
Glossary Channel/CH/ch.
A unit of signal routing capacity; the path taken by a sig-
nal that is input to the mixer section as its volume and
16-bit pan are adjusted before being output.
→ Bit depth Cue
24-bit A mixing balance or volume balance adjustment that
allows the performer to hear their own performance (e.g.,
→ Bit depth through headphones) while they play.
Algorithm Current drive
→ Effect algorithm The drive (partitioned area of the internal hard drive)
Troubleshooting
that is currently selected and is the object of editing oper-
Assign
ations.
To specify the source/destination (or placement) of a
channel or effect. Current song
The song that is currently selected and is the object of
Attenuator, ATT
editing operations.
Various messages
A device or circuit that reduces the level of a signal.
Default settings
Audio CD
The factory-set state that appears when the power is
CD-DA (Compact Disc Digital Audio). Commonly called turned on for the first time after purchasing the unit. Also
“music CDs.” A CD that contains only music data. called “factory settings.”
Auto punch in-out
More about drives

Dialog box
A function that automatically punches-in (begins record-
and files
A window (containing buttons or check boxes etc.) that
ing) when playback reaches a pre-specified location, and asks the user for instructions.
punches-out (resumes playback) when recording has
continued to a different pre-specified location. Digital input/output
Inputting or outputting audio data in digital form. The
Automation
D3200 comes with S/P DIF input/output as standard.
Specifications
A function that records and reproduces the operations or
settings of mixer knobs and faders according to the pas- Disc At Once
sage of internal time code or of externally-input MTC A method by which the data to be recorded is converted
data. into a complete disc image and then written to CD-R/RW
in a single operation. Once this type of writing is per-
AUX
formed, no further data can be written to that CD-R/RW
Inputs or outputs used to connect high-impedance line
Various lists
even if it contained unused space.
level signals. AUX OUT jacks send signals to an external
recorder or effect processor, and AUX IN jacks receive Dither
signals from a recorder or electronic musical instrument. Processing that is applied to minimize the noise that
occurs when converting the bit depth of a digital audio
Backup
signal as it is output.
To copy program data or recorded audio data files onto
Shortcut keys
another storage medium for safekeeping. Drive
A device used to store and reproduce data; e.g., a hard
Balanced connection
disk or CD-R/RW drive.
A connection using a cable with three conductors; two
conductors sending the “hot” (positive phase signal) and DSP
“cold” (negative phase signal), and the third conductor Stands for Digital Signal Processor. A digital signal Glossary
being the ground. Balanced cables have the advantage of processing LSI optimized for processing audio or video.
being less susceptible to hum or noise even when carry- DSPs are built into recent recorders and effect processors.
ing low-level signals. Their signal processing can be varied by software to per-
form a variety of operations.
Bit depth
The number of bits used to express gradations in the Dynamic range
amplitude of an analog signal when converting it to dig- The range of volume level between silence and the maxi-
Index
ital form. Normally 16 bits or 24 bits are used. The greater mum volume, expressed in dB (decibels). This is one of
the number of bits, the more precisely the original sound the elements that determines the accuracy with which a
can be recorded. device can handle audio signals.
Blank disc Effect algorithm
A disc on which nothing has yet been written.
Appendices
The calculation method that is the basis of an effect. The

set of calculations that implement a certain type of signal
Bypass
processing.
To send a signal without passing it through a specific cir-
cuit. By temporarily bypassing an effect, you can hear Effect program
how it is modifying the sound. A program that specifies a set of parameters for use by an
effect algorithm. The D3200 provides preset programs
that contain factory settings, and user programs that can
store your own edited settings.
179
Equalizer, EQ Humanize effect
A device that modifies the frequency response to change An effect that adds intentional inaccuracy to a perform-
the tonal character. There are various types, including ance in order to give it a more natural sound.
parametric equalizers, graphic equalizers, and shelving
equalizers. Icon
A small graphic element that visually indicates content or
Export function.
To output or write data for use by another system or pro-
gram. Image file
Before writing data to a CD-R/RW, the data is converted
Expression pedal into the form in which it will actually be written. This is
A pedal used to control the volume or parameters of an the image file. An image file must be created before writ-
instrument or effect. ing to CD-R/RW, but if the same song is to be written to
another disc, the image file need not be re-created. This
Fade-in/fade-out means that it will take less time to write the second disc
“Fade-in” means to gradually raise the volume to a because the image file has already been created.
desired level, and “fade-out” means to gradually lower
the volume to silence. Impedance
The alternating-current resistance to an audio signal. This
Fader generally indicates the added resistance of an audio sig-
A linear control that adjusts the volume of input channels nal input or output.
and outputs.
Import
Fill To obtain or load data created by another system or pro-
A short improvisatory phrase differing from the sur- gram.
rounding measures of the song, typically one measure
long, that is added as ornamentation to mark sections in Insert effect
the song such as between verses or choruses. An effect used by inserting it into a mixer channel.
Final effect Library

On the D3200, the effect processor that is applied to the A collection of multiple sets of data for a specific pur-
master bus as the final stage of mixdown. pose. The D3200 provides EQ libraries and name librar-
ies.
Finalize
To apply processing to a CD-R/RW disc that has been Locate
recorded using the Track At Once method, so that no fur- A marker function that lets you store a desired location in
ther data can be written to it even though space may a song, and move instantly to that location when desired.
remain on the disc.
Location
Foot controller The distance from the beginning of the song, expressed as
A term covering various foot-operated control devices an absolute time, number of frames, or number of meas-
such as foot switches and foot pedals. ures.
Foot switch Mark

A switch operating by pressing it with the foot. A point that can be assigned to a song to indicate a loca-
tion that you want to use or store for later access.
Format
To prepare a storage medium (such as a hard disk) so that Master
data can be written to it. A device that controls another device (e.g., via MIDI).
The device being controlled is called the “slave.”
Frame rate
The number of frames that occupy one second of film; Master effect
describes the type of time-code format used when syn- On the D3200, refers to two effects that are applied to sig-
chronizing with video equipment. nals sent from the effect sends of each track. The output
of each master effect is sent to the master bus.
Frequency band
A specific portion or region of the range from low to high Master track
frequencies. A track that holds the stereo two-channel data for the
completed song.
Gain
Positive (+) boosts a signal, and negative (–) gain attenu- Mastering
ates it. The process of making final adjustments to the balance
and overall tone of mixed-down two-track master data.
Hard disk
A storage device containing one or more metal disks with MIDI
magnetic recording surfaces. Also called “hard drive” or MIDI (Musical Instrument Digital Interface) is a world-
“hard disk drive.” wide data transfer standard for sending a wide variety of
performance-related data between electronic musical
Hiss instruments and computers. If you are interested in
A type of noise that is output at a constant level regard- learning more about MIDI, please refer to one of the
less of the recording level, typical of magnetic recording many published books that provide helpful and in-depth
tape. explanations of MIDI.
180
MIDI Clock Phantom power
A MIDI message used to synchronize the tempo between +48V power supply provided via a mic cable in order to
electronic musical instruments. Each beat is divided into power condenser microphones.
24 clock messages.
Phase
Mix down The phase of a signal. If signals are at different phases rel-
Also called “track-down.” The process of adjusting and ative to each other, their volume may be incorrect when
combining multiple tracks into a fewer number of tracks, the signals are combined because the signals are partially
usually to a two-track stereo mix. canceling each other. Phrase reversal can occur if the pos-
itive (+) and negative (–) wires are accidentally switched,
MMC causing the signals to cancel to silence when they are
MMC (MIDI Machine Control) is a specification that added.
Troubleshooting
allows recorder control signals such as Play, Stop, or
Record to be transmitted via MIDI. Post fader
The state of a signal after it passes through the fader.
Monitor
The speaker system or headphones used to listen to the Post gap
playback output, or the act of listening to this playback. A blank space left after a song when creating a music CD.
Various messages
MTC Pre gap
MTC (MIDI Time Code) is a specification that allows time A blank space left before a song when creating a music
location data to be transmitted via MIDI to allow syn- CD.
chronization between MIDI devices, MTRs, VTRs, and
sequencers. Pre-fader
More about drives

The state of a signal before it passes through the fader.
Mute
and files
To silence a sound. Preset
A program or a set of data for a device that is fixed at the
Optical factory and cannot be changed by the user.
Refers to a connector that transfers a digital audio signal
in the form of pulses of light sent over an optical fiber. Protect
Specifications
To temporarily prohibit changes to a saved program or
Optimize setting.
To adjust hardware (e.g., a hard disk), software, or data
so that it can achieve the maximum possible perform- Punch-in/punch-out
ance. When you want to re-record just a specific portion of a
performance, you “punch-in” at the point where you
Overdubbing
Various lists
want to begin re-recording, and “punch-out” at the point
A multi-track recording technique in which previously- where you want to stop recording and resume playback.
recorded performances are played back while a per-
former records additional material on other tracks. Q
A term that refers to the narrowness of the frequency
Pad band controlled by a filter. Higher ‘Q’ results in a nar-
Shortcut keys
An attenuator that can be applied to an input signal rower bandwidth, causing the frequency response curve
entering a mixer in order to prevent the input amp stage to be a steeper ‘hill’ or ‘valley’.
from being overloaded by an excessively loud input sig-
nal. Redo
After using Undo to cancel an operation, Redo can be
Pair used to “undo the undo,” reinstating the effect of the
A function that allows the settings of an adjacent odd- original operation. Glossary
numbered and even-numbered channel to be edited in
tandem, so that editing a value on one channel will cause Restore
a corresponding change on the other channel. This allows To reload backed-up data so that it can once again be
mixer settings to be made simultaneously for both chan- used.
nels of a stereo track.
S/N
Pan Signal/Noise ratio. This is a numerical value indicating
Index
The left/right position of a sound object in the stereo the ratio of the desired signal (audio signal) to the
field or “panorama.” unwanted noise, and indicates the amount of residual
noise produced by a device when it should be silent, in
Partition units of dB (decibels). A higher S/N value means less
A method by which a single hardware drive is made to noise.
Appendices
appear and function as multiple drives. Partitioning is

normally performed when formatting a drive. S/P DIF
Stands for Sony/Philips Digital audio Interface. The offi-
Peak hold cial name for this specification is IEC60958, but it is more
A function in which the maximum value reached by a commonly called S/P DIF. It is a format for transferring
meter is held for a specified duration (or until it is manu- digital audio signals, and can convey two channels (one
ally reset). stereo pair) of audio.
181
Sampling rate Tempo map
Also called sampling frequency. The frequency at which A set of events arranged by time, that specify a tempo,
an analog input sound is converted into digital data. A time signature, and rhythm pattern in units of measures.
sampling rate of 48 kHz means that the analog level is You can use the tempo map to switch tempo, time signa-
converted into digital form 48,000 times each second. The tures, and rhythm patterns at specified measures.
higher the sampling rate, the broader the frequency
range that can be converted into digital data. Tempo source
The source by which the tempo is determined. On the
Sampling rate converter D3200, you can choose one of three tempo sources; Man-
A device that converts the sampling rate of a digital ual which lets you specify the tempo directly, Pattern
audio signal. For example, this allows the playback from Map which uses the settings that you programmed in the
a DAT recorder (48 kHz sampling rate) to be recorded pattern map, or Tempo Track which uses the tempo data
directly to CD or MD (44.1 kHz sampling rate). recorded in the tempo track.
Scene Tempo track

A complete set of parameters for the mixer section. The A memory area that records tap tempo data or MIDI
D3200 can store 100 scenes for each song. Clock data received from an external MIDI sequencer.
Scene memory Threshold level

A function that stores a scene. A stored scene can be A specified value which causes some operation to occur
recalled at any time to reproduce those mixer settings. when it is exceeded by an input level.
Scrub Time code

A function that allows track data to be played by operat- Time information that is exchanged in order to synchro-
ing the value dial. Since the track is played back accord- nize recorders, rhythm machines, and sequencers etc.
ing to the direction and speed with which the dial is
operated, this is a useful way to precisely identify a spe- Track At Once
cific location. A method by which individual tracks can be written to a
CD one by one at different times, as long as free space
Send remains on the disc.
A signal that is sent to another circuit or device. The
D3200 provides effect sends that are sent to master effects Track/trk/tr
1 and 2, AUX sends that are sent to the AUX OUT 1 and 2 Something that can record, store, and play back an indi-
jacks, and REC sends that are sent to the recorder tracks. vidual audio signal.
Sequencer Trigger recording

An automatic playback device that plays back stored A method by which recording is initiated when the input
MIDI data to control an electronic musical instrument level exceeds a specified threshold.
such as a synthesizer.
TRS phone jack
Shuffle effect A 1/4" stereo phone jack with separate conductors for the
An effect that produces a “bouncy” rhythmic feel by Tip, Ring, and Sleeve. In addition to conveying a stereo
adjusting the timing of triplets. signal, this type of jack is also used for balanced connec-
tions.
Slave
A device being controlled (e.g., via MIDI) by another UDF format
device, called the “master.” A packet writing format that writes individual files to
storage media (such as CD-R or MO) in the same way as
Solo on a hard disk.
A function that lets you hear only the sound of a selected
channel during mixdown, etc. Unbalanced connection
A connection using a cable that contains two conductors;
Song one ‘hot’ (the signal) and the other ‘ground’. It has the
A unit of performance data. On the D3200, a song con- disadvantage that hum noise can easily contaminate the
tains sixteen tracks of performance data, stereo master signal.
track data, mixer data, and effect settings.
Undo
Synchronize After executing an operation, the act of returning to the
To cause two or more electronic devices (such as musical state prior to execution.
instruments or recorders) to match their playback tempo
and link operations such as start or stop. The device that Unity gain
controls the tempo etc. is called the “master,” and the To output an input signal at the same volume.
device(s) that are being controlled are the “slaves.”
USB
System file Universal Serial Bus, a specification for connecting
A set of data containing software to operate hardware. peripherals devices to a computer.
New functionality can be added to a device by updating
the system file.
Tap tempo
A method of specifying the tempo by the interval at
which a key is pressed.
182
Virtual track
Each channel track and the master track of the D3200
actually consists of eight separate areas called “virtual
tracks” that can each hold a separate performance. For
each track, you can select one of its virtual tracks for
playback and recording.
WAV
The filename extension for a Wave file, the audio file for-
mat used mainly on Windows computers.
Word clock
Troubleshooting
A synchronization signal that unifies the timing at which
digital audio data is transferred. If two or more devices
are digitally connected, failure to synchronize the word
clock will cause noise to be heard in the digital audio, or
even make it impossible to transfer the digital audio sig-
nal.
Various messages
XLR jack
The three-pin balanced connector used for most mic con-
nections.
Zero cross point
More about drives

A location at which the waveform level crosses ±0.
and files
Specifications
Various lists
Shortcut keys
Glossary
Index
Appendices
183
Index Channel
Fader 8
Digital
Connection 3
Key 8 Input 44
Routing 112 Disc At Once 80, 172
A Switch 6 Disk Utility 120
Album CD 69, 80, 138 View 112
DISPLAY UP/DOWN 10
Analog input 6, 42 Channel Assign 42, 101
Displays the settings channel 112
Attenuator 45, 107 Channel EQ
Download 96
Audio Input 23
Track 28 Drive 89, 171
Input 42
Capacity 89
Output 44 Channel Pair 47, 102
Check 121
Audio CD 172 Channel Routing View 112
Drive capacity 91
Audio file 173 Check box 14
Drum kit 60, 142
Export 87 Check Drive 121
Import 86 Drum pattern
ClickPoint 5, 10 Create 58
Auditioning the pattern map 59
Clipboard 70 Record 59
AUTO PUNCH 10
Compatibility 88 DRUMS fader 8
Auto punch recording 66, 148
Compress a track 74, 131 DRUMS key 8
AUTOMATION 9
Connect mic 6 Drums Track Mixer 143
Automation 52, 103
Connection Dynamics 156, 161
AUX 7 Caution 3
Aux1 Send 109 Digital 3 E
Aux2 Send 109 Example 3
Edit
MIDI 94
Drum kit 60
B CONTRAST 8
Effect 56
Backup 83, 123 Control 119 Event 53
Backup files 172, 173 Control change 94, 124 Pattern map 62
Block diagram 188 Copy Scene 51
Song 41, 118 Song 41
Bounce 64
Track 69, 127 Track 69
Whole Track 75, 132 Edit cell 13, 15
C
CopyTrk 69, 127 Edit controller 10
Calendar 2, 13, 119
CopyWholeTrk 75, 132 Edit icon 13, 15
Calibration 97, 119
Counter 13, 37, 98 Edit PC File 122
CD 79, 137
Create Edit Scene 51, 105
Player 140
CD 79 Edit Track 70, 126
Ripping 82
Live CD 82
CD Import 140 Editing a name 99
Master Track 67
CD PLAYER 140 Effect
Pattern map 61
CD Utility 139 External 57
Recovery CD 91
Final 31, 55, 116
CD-R/RW Song 35, 117
Input sound 24
Disc removal 12 Creating a live CD 82
Insert 28, 55, 114
Drive 171 Cue 48 Master 29, 55, 115
Inserting a disc 12
Cue Level 48, 111 Monaural 159
Removing a disc 12
Playback 28
CH ON 8
D Simultaneous 54
Ch On Group 47, 102 Stereo 152
Data 83
CH SELECT 8 Effect 1 Send 109
Delay 152, 159
Ch View 112 Effect 2 Send 109
Delete
Change Mark 39 Effect algorithm 152
Counter display 37 Pattern Map Event 62 Effect algorithm list 150
File name 92 Scene 50 Effect control 57
Name a song drive 90 Song 41, 118
Song drive 36 Effect edit 56
Track 72, 129
Song neme 36 Effect program
Delete Track 72, 129 Control 57
Track name 79
DeleteTrk 72, 129 Name 56
Demo song 19 Store 56
Demo Song List 177 Effect program list 150
184
Effect Routing 113 FOOT SW 11 Locate key 38, 147
EQ 23, 45, 107 Foot switch 11, 66, 119 Locate point 147
EQ Library 46, 107 Format 90, 121 Location 37, 98
EQ Library List 177 Frame Rate 125 LOOP 10
EQ/ATT/PHASE 107 Loop
Equalizer 107, 116 G Playback 68
Channel 23, 45 Gap 138 Recording 67
Input sound 23, 45 Glossary 179
Master 32, 46
Group 47, 102
M
Playback 28, 46 Macintosh 93
Troubleshooting
Guitar 7
Erase Main power switch 1, 11
GUITAR IN 7
CD-RW 137, 139
Manual punch recording 66
Undo data 92
Erase Punch Noise 78, 134
H MARK 9, 38, 145
Delete 39
Erase Silence 79, 135 Hard disk drive
Various messages
Name 39
Check 90
Erase Track 72, 129 Register 38
Format 90
EraseTrk 72, 129 MARK JUMP 9
Headphone 7
Error message 168, 170 MASTER 7, 44
Headphones level 7
Event Master EFF1 29, 115
More about drives

Editing 53
I Master EFF2 30, 116
and files
Pattern map 62
Image file 80, 84 Master Effect 29, 55, 115
Playback 53
Import 86, 135 Master EQ 32, 46, 108
Recording 52
Import File 135 MASTER fader 8
Event automation 52
Indicator MASTER key 8
Event List 53, 104
Specifications
AUTO PUNCH 10 Master Track 33, 67, 126
Exchanging data with your
computer 93, 122 AUTOMATION 9 Mastering 28
Expand/compress a track 74, 131 HDD/CD access 10 MATCH 9
LOOP 10 METER 9, 99
ExpCmpTrk 74, 131
MIDI 10
Export 87, 136 Metronome 58
Standby 10
Various lists
Export File 136 TRIGGER 10 MIDI 94, 124
EXPRESSION PEDAL 11, 57 Channel 125
Info: “****” 170
Implementation chart 189
External effect 57 INPUT 6 Message 94
Input Scene 51
F
Shortcut keys
Guitar 42 MIDI IN 11, 94
Fade Track 76, 133 Sub 44
MIDI OUT 11, 94
Fader Input level 7
MIDI/MMC 124
Channel 8 Insert EFF 24, 28, 114
Mixdown 28
DRUMS 8 Insert Effect 24, 28, 114
MASTER 8 MIXER 9, 42, 100
Insert Track 71, 129
Glossary
Fader Group 47, 102 Mixer
InsertTrk 71, 129 Assign 21
Fader Pan 103
Internal clock 2 Channel 42
FADER/PAN/AUTOMATION 103
Input 21, 42
FadeTrk 76, 133 J Page 42, 100
Features 4 JUMP/MATCH 9, 119 Setup 49, 111
Index
FF key 10, 149 View 106

File K MIXER SETUP 49, 111
Audio 86, 173 Mixer View 106
Knob Matrix 9, 17
Backup 172, 173 MMC 94
Delete 92
Appendices
L MMC Device ID 125

Filter 156, 161
LCD screen 8 Modulation 155, 160
Final EFF 31, 55, 116
Level Meter 99 Monitor 47, 111
Final Effect 31, 55, 116
List button 14 MONITOR L/R 7
Finalize 80, 140
Load system 91, 96 MONITOR LEVEL 7
Finding a precise location 40, 145
LOC 10, 38, 147 MONITOR MUTE 7
Foot controller 57
Locate 10, 35 MONITOR OUT 7, 47
185
Move Power Scene
Counter 38 Off 2 Automation 52
FF, REW keys 38 On 1, 18 Edit 105
Locate key 38 PreGap 81 Scene Filter 51, 106
Mark 38 Program change 94, 124 Scroll
Point 38 bar 14
Punch-in/out 66
Song 117 button 14
MTC 94, 125
R SCRUB 9, 40, 146
Multi Effect 163 Select
Radio button 14, 15
Mute 8, 48 Page mode 15
REC key 10, 149
Tab page 15
Rec Mode 147
N Send 109, 116
Rec Send 110
Name SEND (EFF/AUX/REC) 109
Mark 39 REC/PLAY 8
SESSION DRUMS 9
Scene 50 REC/PLAY MODE 10, 147
Session Drums 58, 142
Song 36 Recalling
Shortcut 178
Song drive 90 EQ 46
Track 79 Mixer setup 49 Shutdown 2
Name Library 36, 99 Scene 50 Silent 8, 48
Name Library List 177 Recorder 64 SOLO 8, 48, 110
NoiseReduction 78, 134 Recording 64 SOLO/MONITOR 110
Normalize Track 77, 133 Auto punch 66 SONG 117
Bounce 64 Song
NormalizeTrk 77, 133
Channel 25 Copy 41, 118
Loop 67 Create 20, 35
O Manual punch 66 Delete 41, 118
Optimize 92 Master Track 33 Edit 41
OptimizeTrk 74, 131 Mode 147 Name 20, 36
Overdubbing 27 Overdubbing 27 Save 34, 42
Trigger 65 Select 36
P Recording mode 147 Song editing 41
PAD 7 Recover the system 96 Copy 41, 118
Recovery CD 91, 96 Delete 41, 118
Page mode 10
Redo 10, 92, 141 Move 41, 117
Page name display 13
Name 117
PAIR 46 Rename 20, 36, 99
New 117
PAIR/GROUP 102 Restore 85, 123, 173
Protect 42, 118
PAN 29, 45, 116 Reverb 152, 159
Song page 117
Partition 89, 120 Reverse Track 73, 130
Special Effect 158, 162
Pattern Map 58, 61, 144 ReverseTrk 73, 130
Specification 174
PC drive 89, 92, 123, 171 REW key 10, 149
STOP key 10, 149
Phantom power 6 Ripping 82
STORE 9, 145
Phase 108 Routing Mark 38
Channel 112 Scene 50
PHONES 7
Effect 113
PHONES LEVEL 7 Sub input 44
Pitch effect 155, 160 Sub Mixer 101
S
PLAY key 10, 149 Sub Mixer 1–4 101
S/P DIF IN 12, 44
Play/Stop Mode 149 Sub Mixer 5–8 101
S/P DIF OUT 11, 44
Playback Sub Mixer 9–12 101
Save
Album CD project 69 Swap Track 73, 130
Computer 93
Channel Track 26, 68 Swap Whole Track 76, 132
Data 83
Event 53 SwapTrk 73, 130
Drum kit 60
Loop 68
Effect 56 SwapWholeTrk 76, 132
Overdubbing 27
EQ library 46 Synchronization 95, 120
Pointer 13, 97 Mixer setup 49 SYSTEM/MIDI 119
Popup button 13, 15 Scene 50
PostGap 81 Song 34, 42
SCENE 9, 50, 145
186
T Track
Clipboard 70
Tab page
Copy 69, 127
Automation 103
Copy an entire 75, 132
Aux1Send 109
Delete 72, 129
Aux2Send 109
Entire track 75, 132
Backup 123
Erase 72, 129
CD Utility 139
Erase Punch Noise 78, 134
Ch Assign 101
Erase Silence 79, 135
Ch Pair 102
Exchange 73, 130
Ch Routing 112
Exchange two entire 76, 132
Troubleshooting
Ch View 112
Expand/compress 74, 131
ChOnGroup 102
Fade-in 76, 133
Control 119
Fade-out 77, 133
CueLevel 111
Insert blank space 71, 129
DiskUtility 120
Name 79, 126
Various messages
DrmsMixer 143
NoiseReduction 78, 134
EditScene 105
Normalize 77, 133
EditTrk 126
Optimize 74, 131
EFF1Send 109
Reverse 73, 130
EFF2Send 109
EFFRouting 113 Track At Once 79, 139, 172
More about drives

EQ Library 107 Track editing 69, 126
and files
EQ/ATT 107 Transport key 10, 149
EventList 104 TRIGGER 10
Export 136
Trigger recording 65, 147
Fader Pan 103
TRIM 7
FaderGroup 102
Specifications
FinalEFF 116 Trouble 164
Import 135 TUNER 10, 43, 141
InsertEFF 114
MasterEQ 108 U
MasterTrk 126 UNDO 10, 92, 141
Various lists
MIDI/MMC 124
Unity gain 45
Mixer View 106
MixerSetup 111 Upgrading the system 96
Monitor 111 USB 12, 93
MstrEFF1 115 USB drive 171
MstrEFF2 116
Shortcut keys
PatternMap 144 V
PC File 122
Value dial 11
Phase 108
Virtual Track 65, 126
Play/Stop 149
RecMode 147 Volume 31
RecSend 110 Adjust 45 Glossary
Restore 123
SceneFilter 106 W
SessionDr. 142 WAV 173
Solo 110 Wave dialog box 128
SubMix1–4 101
Windows 93
SubMix5–8 101
Index
SubMix9–12 101 Word Clock 120

TempoTrk 145
Undo/Redo 141 Z
Vtrk1–32 126 Zero-cross 40
Appendices
WordClock 120
Tap tempo 63
TEMPO 62
Tempo Track 63, 145
Time 37, 98, 120
Toggle button 14, 15
TRACK 126
187
Block diagram
188
[Digital Recording Studio]
MIDI implementation
Model D3200 chart Chart
MIDI Implementation Date: 2005.4.15
Transmitted Recognized Remarks
Function
Basic Default
Channel Changed
Mode Memorized
Messages
Altered
Note 0 – 127 *1, *2

Number: True Voice
Velocity Note On *1
Note Off
Aftertouch Polyphonic (Key)
Monophonic (Channel) *1
Pitch bender *1
*1 EffectControl (Received) ControlChange #000–119 are Recognized
*3 *3 MixerControl (Transmitted/Received) Mixer Ch1–16(Ch17–32) Parameters
7 (39) Fader
8 (40) Pair Switch
9 (41) Channel OnOff
10 (42) Pan
Control 12 –13 (44, 45) EffSend1/2
0 – 111 14 –15 (46, 47) AuxSend1/2
16 –27 (48–59) EQ Low/LMid/HMid/High
Change 28 (60) Channel EQ Switch
29 (61) Attenuator
96 –102 (32–38) Rec/Eff/Aux SendPosition
75 –79 MasterEQ Parameters
80 MasterEff1/2 Return Level
81 MasterEff1/2 Return Balance
85 –86 Aux1/2 Master Level
89 Master Level
103–111 SubMixer Ch1–12 Parameters
Program *4 *4
Change Variable Range 0 – 100 0 – 100
System Exclusive *5 *6
Quarter frame *7 *8
System Song Position *9
Common Song Select
Tune
System Clock *9 *10
Real Time Command
Local On/Off
Aux All Notes Off
Messages Active Sense
Reset
Notes
*1: Received as the EffectControl when it is selected in [SYSTEM/MIDI] “Control”. *6: Received when “MMC Receive” or “MTC Slave” is selected in [SYSTEM/MIDI] “MIDI/MMC”.
*2: Received as Note events if MIDI is checked in the [SESSION DRUMS] “SessionDr.” DRUM KIT dialog box. *7: Transmitted when “MTC Master” is selected in [SYSTEM/MIDI] “MIDI/MMC”.
*3: Transmitted/Received as the MixerControl when ControlChange is enabled in [SYSTEM/MIDI] “MIDI/MMC”. *8: Received when “MTC Slave” is selected in [SYSTEM/MIDI] “MIDI/MMC”.
(Consult your local Korg distributor for more information about MixerControl.) *9: Transmitted when “MIDIClockMaster” is selected in [SYSTEM/MIDI] “MIDI/MMC”.
*4: Transmitted/Received when ProgramChange is enabled in [SYSTEM/MIDI] “MIDI/MMC”. *10: Received when “MIDIClock” is selected in [SessionDrums] “TempoTrk” to record the tempo.
*5: Transmitted when “MMC Transmit”or “MTC Master” is selected in [SYSTEM/MIDI] “MIDI/MMC”.
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO : No
Consult your local Korg distributor for more information on MIDI IMPLEMENTATION.
189
IMPORTANT NOTICE TO CONSUMERS
This product has been manufactured according to strict specifications and voltage requirements that
are applicable in the country in which it is intended that this product should be used. If you have
purchased this product via the internet, through mail order, and/or via a telephone sale, you must
verify that this product is intended to be used in the country in which you reside.
WARNING: Use of this product in any country other than that for which it is intended could be
dangerous and could invalidate the manufacturer’s or distributor’s warranty.
Please also retain your receipt as proof of purchase otherwise your product may be disqualified from
the manufacturer’s or distributor’s warranty.
KORG INC.
4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan
 2005 KORG INC.


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

IMPORTANT SAFETY INSTRUCTIONS...............ii 6. Playback .................................................. 26

Quick Start .................................. 18 Operation ....................................35

Mixer ..........................................................42 5. Automation .............................................. 52

3-1. Adjusting the volume.........................45 1. Using insert effects.................................... 55

Recorder..................................................... 64 3. Ripping a CD ............................................. 82

1. Recording .................................................64 Data ...........................................................83

2. Upgrading the system ...............................96 2f. SOLO/MONITOR.................................... 110

ClickPoint calibration ...................................97 3. CH VIEW............................................... 112

5. SEND.................................................... 116 Program list ..............................................150

Audio CDs and files......................................172

Before using the D3200

for the first time

Before using the D3200 for the first time

Parts and their function

Items and functions in the

the D3200 on. The opening screen (D3200)

Setting the calendar

(5) Use the value dial or the +/– keys

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

Before using the D3200

for the first time

Power supply connection

Parts and their function

Cautions when making digital connections

Items and functions in the

When using 48 kHz/44.1 kHz sampling and 16-bit depth ❖1

When using 48 kHz/44.1 kHz sampling and 24-bit depth ❖1

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

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

♦ Scene and event mixer automation

♦ Three independent effect systems provide eleven simultaneous effects

Before using the D3200

♦ Sophisticated digital editing tools

Parts and their function

♦ Intuitive interface designed for ease-of-use

Items and functions in the

♦ Internal hard drive

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

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

Phantom power LED

2 Phantom power switch

Before using the D3200

for the first time

6 AUX 1/2 jacks

Parts and their function

Items and functions in the

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

10 MONITOR LEVEL knob

11 PHONES LEVEL knob

12 MONITOR MUTE key

18 Channel keys (1–16/17–32)

19 Channel faders (1–16/17–32)

20 DRUMS fader, DRUMS key

21 MASTER fader, MASTER key

23 LCD CONTRAST knob

Before using the D3200