d16xd manual

d16xd manual

Users are permitted to create one (1) copy for their personal non-commercial use. The Company assumes that this material is utilized by the End User. Please be aware that the Company may not be able to respond to inquiries regarding owner’s manuals made public in this library from anyone other than customers who have purchased the products. Owner’s manuals or product information may not be available for all products indefinitely or at all, and may be permanently discontinued at the Company’s discretion. Additionally, owner’s manuals may be updated to reflect these and other changes with updated production of the product. For the latest contact information, please refer to the Korg.com website. Because these cautions were based on the laws and societal understandings at the time when each manual was produced, they might not be appropriate for the present time. It is advised that End User review and strictly adhere to these Cautions. Download free Adobe Reader here. Let us know YOUR RECENTLY VIEWED ITEMS Browsing History ON Clear History Not responsible for typographical or illustrative errors. For those who favour the latter, the maximum track count available has been 24, from the Akai DPS24 and Roland VS2480. Until now, that is. I use the phrase 'up to', because, as with many such devices, the absolute capability depends on what sample rate and bit depth you're working at. The D32XD offers 16-track recording and 32-track playback at either 44.1kHz or 48kHz sampling rates, with a bit depth of 16 bits, and for the vast majority of contemporary music recording applications this is fine. Compare that with the 60dB signal-to-noise ratio of a typical home studio (if you're lucky), and you can see that it's not normally an issue in practice. The number of simultaneously recordable audio tracks is further reduced when you punch in across several tracks at once — typically you can punch in across half of the normally available simultaneous record tracks.http://www.boostergas.fr/userfiles/computer-operation-of-manual-information-system.xml

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One input is also provided for use with electric guitars and basses, and this feeds via the channel one signal path. The ADAT port doesn't support 96kHz operation. If the AIB8 analogue expansion board is fitted, this too may be upgraded to include eight compressors via an ACB8 expansion board. Though it sounds fine and can be used within a Song, the drum machine is really designed to be used as guide and you can't chain patterns to form arrangements. Essentially you pick from one of the listed patterns (which includes a choice of basic clicks as well), set the tempo (manually or via a tap tempo button on screen), turn the rhythm part on and adjust the volume. The rhythm part may be assigned to a mixer channel, the master output, or the monitor output, so you could also use it in a mix by simply assigning it to the master output before you start mixing. The main mixer channels each have fully parametric four-band equalisation, while the Submixer channels (for processing live inputs while mixing) have two-band shelving EQ. Eight bands of parametric EQ are available on the output for mix shaping, so it is possible to do your own mastering entirely within the D32XD. Up to 100 Scenes may be stored, after which they can be recalled manually or via MIDI. MIDI may also be used to control key mixer parameters such as pan and fader values. Scenes may also be set to change under control of the onboard automation system at specific points within a Song (the D32XD's project file). Parameters such as fader moves, aux sends and pans may be recorded in real time, and you can automate both Scene changes and dynamic moves within the same Song if required. The 16 channel faders can be switched as banks to control the 32 mixer channels relating to the recorder section.http://cobansazgrubu.com/userfiles/computer-operator-manual.xml

Each fader has a touch-sensitive cap so that the mixer knows when you want to start writing new mix data, and whenever a new mixer Scene is recalled the faders move automatically so that their positions correspond with the stored values. In the D32XD, Korg use their proprietary REMS modelling system for where modelled effects are required, and all the effects may be controlled directly using four rotary controls below the display. As well as the more usual studio effects, the Korg D32XD offers tube preamp emulation, guitar amp and speaker modelling, and even microphone simulation. The effects themselves are based on 52 discrete algorithms for single or combination effects, and there are 128 factory presets as well as 128 user memories for new effect settings or for saving tweaked presets. Effect parameters may also be controlled using an external hardware MIDI controller. The D32XD includes a variable-tempo rhythm pattern generator that provides a far more practical and musical alternative to a metronome. Each Song can have up to 100 marker points placed within it, all of which may be named, and it's also possible to store up to six auto-locate points per Song for keeping track of edit points or specific Song sections. Adjacent to the LCD is a set of assignable controls which adjusts the currently selected channel, while below it are four 'soft' knobs which allow you to alter four of the effects parameters simultaneously. Photo: Mark Ewing One of the less common features of the D32XD is the use of a 320 x 240-pixel touchscreen, which helps make the operation more intuitive. While you don't see the same kind of arrangement display as on a computer DAW, you do have the option of a display page that shows which tracks have been recorded onto and where the recorded sections are. A nice touch is that the touchscreen can tilt up at various angles and there's a contrast adjustment knob right alongside.

My first impression was that the layout was friendly rather than intimidating, with a manageable number of buttons, clear labelling and very limited use of multi-function buttons. The eight mic inputs and the first eight line inputs are built into the top panel for easy access, so you won't be needing a patchbay, and the second group of eight inputs (when the AIB8 card is fitted) sit right alongside. The main display on both machines can be angled for optimum viewing. Photo: Mark Ewing Each physical input has a gain trim knob and a 26dB Pad switch — phase can be inverted via a screen page. A further knob for controlling the monitor output level is situated at the top of the panel to the right of the XLR mic inputs. This Master track is used for recording stereo mixes prior to burning a CD-R. Four buttons select which EQ band is active and then adjustments are made using dedicated Gain, Frequency and Q knobs. A final button labelled Meter brings up a screen that monitors the track audio levels and shows where audio events are present on the track display. There's also a Fader View page giving an overview of fader and pan positions, and this opens automatically when the pan control is adjusted. Right at the bottom is a sensibly chunky set of illuminated transport controls, complete with a protective surround to the Record button to help prevent accidental operation. Holding Stop and pressing Rewind returns the Song to the start. The Trigger mode provides a means of starting the recording automatically when the input signal exceeds a set threshold level. The Mark key allows up to 100 markers to be created per Song and is also used for renaming and deleting them. Alongside this panel is a Scrub key, which accesses the Scrub page, after which the data wheel may be used to control whatever function you select within that page. The vital Undo key allows operations to be undone or redone, and, as touched upon earlier, you can perform up to 16 levels of undo.

A CD button addresses the internal CD drive's play and record functions. Switching off should also be done via the Standby switch (holding this down brings up a suitable powering-down dialogue box), as turning off at the mains could lose data. You can even use it to play audio CDs through the mixer, and when it comes to making a master CD album, you can either record in track-at-once mode (great for archiving, but not good for mastering) or you can write the album in one go using disk-at-once mode in conjunction with the available playlist editing facilities. The other way to back up data is via USB, and to achieve this a 2GB partition of the internal drive is set aside so that it can be accessed both by the D32XD and by a connected computer — files to be transferred must first be copied to this partition. PCs running Windows 98 or later can be used, or Macs running OS 9.0.4 or later. Drivers are available on Korg's web site. Tracks may be exported as WAV files for use in a computer in addition to using this facility for data backup. Similarly, WAV files may be imported from a computer, into the D32XD. Various disk maintenance tools are built into the system, and you can also create up to four partitions in the Song area of the drive if you wish to. The CD burner tray is also on the front edge of the machine at the far right-hand side. Various effect parameters may be controlled in real time via MIDI or an expression pedal, though this facility is not available when working at 96kHz. Photo: Mark Ewing Although the fan and drive are quieter than on many computers, I still felt they were far louder than necessary, and the noise could be a problem when recording sensitive vocals or acoustic instrument parts in the same room. However, optical connections do help avoid ground-loop problems.

Note that there's no sample-rate conversion, so the incoming sample rate must match the sample rate of the Song, and all the necessary clock sync provisions must be made — which normally means clocking from the external source if there is one, or locking to word clock (only possible when the DIB8 ADAT card is fitted). In fact, balanced dynamic mics aren't worried by phantom power, although there's no reason to apply it to them unnecessarily, and many active DI boxes need phantom power. Balanced jack connections are used for the monitor outs, the four aux outs and for the main stereo outs. At the top of the display is a strip showing the Song name, the counter or location time, and the current date and time. Directly below this is the page name. Where multiple pages relate to an operation, named tabs appear at the bottom of the screen, and pressing on any visible tab displays that page. Some pages also include edit icons or small graphical images representing faders, knobs and so on. A similar thing happens if you press a parameter value such as an effect number — the value is highlighted and any changes you make are applied to the selected value. In fact there are all kinds of things to press, such as buttons for bringing up dialogue boxes, list buttons, scroll bars, enter buttons, and radio buttons that toggle the associated item on or off. You can also press to tick or untick boxes and, in most respects, the touchscreen features do exactly what you'd expect a mouse click to do on a computer. It's all pretty intuitive and provides a fast way to navigate around the functions compared with traditional menus. Most functions can be operated via the touchscreen at this level, though it's also possible to move the cursor around the screen using the cursor keys if you prefer. Where the page displays faders, moving the physical fader will update the displayed fader positions.

Just how many effects you can use at one time depends on the type of effect, as some use more DSP than others (the manual relates DSP usage to effect 'sizes' one to eight), and on the sample rate you're working at. In total, there's enough DSP power for 16 'sizes' of effects per routing page (of which there are two) at 44.1kHz or 48kHz, or half that at 96kHz. Photo: Mark Ewing The Routing A page shows eight channels of insert effects plus the two master (post-fade send) effects and the Final (mix buss) effect, while the Routing B page shows a further 16 channels of insert effects only. The insert effects can be assigned to any channel. Where a stereo insert effect is assigned to a mono channel, the next channel along is automatically used to provide a stereo signal path, so you can set up a mono-in, stereo-out reverb or similar very easily. Any of the 128 effect presets can be used in any position and, in the case of inserts, you can either dial through the whole list or press Select on the Insert Effects screen to bring up a menu of mono and stereo effect types for direct selection. A 16-bar DSP meter at the side of the screen shows how much of the available power you've used up for the page that you're working on. While in some ways I prefer the certainty of Yamaha's system of offering a limited number of effects plus dynamics on every channel, Korg's system is very flexible, as you can use some powerful effects on channel inserts, including guitar amp modelling, mic modelling, rotary speaker simulation and so forth. The downside is that you are responsible for balancing your DSP resources budget.Examples of all the other main amp models are also listed, along with radio simulators, ring modulators, filters, and all the expected compressor, expander, gate and limiter programs. These compressors are accessed simply by hitting the Mixer button, then the Analog Comp button, after which the parameters for all eight compressors are visible.

Once in this page, all you have to do is touch one of the virtual knobs on screen and then change its value using the data wheel. Tiny analogue-style meters at the top of each channel monitor the gain reduction, and though these have no scale they are much better than having no gain-reduction meter at all. Furthermore, a sensible-sized gain-reduction meter is shown in a panel to the right of the screen, which relates to the compressor on the currently selected channel. Pairs of adjacent compressors may also be linked for stereo operation. Having said that, it's rivals also have to juggle their recording and playback capabilities according to the recording format used. The D16XD is the odd one out amongst the higher-end audio workstations, because it doesn't have moving faders — something we tend to take for granted these days. It's maximum playback capacity is 16 tracks, but it has the same quality of processing and display management as the top-of-the-line D32XD. Korg's approach to effects is unusual insomuch as the machines offer analogue compressors on the analogue inputs, which is clearly a benefit if you like to compress as you record. The digital effects side is also very flexible, but having to manage your own DSP budget leads to a degree of uncertainty over just how many effects and processing devices you can deploy at any one time. The Yamaha machine takes the opposite approach of giving you dynamic processing on every channel, plus a known number of effects blocks, which may not be quite as versatile, but you always know how many effects are available. Yamaha's AW4416, which has 24-bit input converters, works in much the same way as the company's 0-series mixers, and though the basic model only has eight analogue ins, these may be expanded to 24, with both analogue and digital cards available. A 16-voice phrase sampler is built in but, unlike that in the Roland VS2480, this doesn't eat into the track playback count.

Other options include an optional Waves Y56K processing board and an internal CD-RW drive. It has an output for a conventional VGA monitor and also includes a basic phrase sampler, though using this decreases the track playback count. Some surround capability is built in, and an optional meterbridge is available. Although an internal CD-RW drive was an option on the original unit, the newer VS2480CD model comes with it as standard. When it comes to the quality of the recorded sound, it's hard to be critical without having all the machines set up side by side, but I can say that all are more than adequately good even for serious work, though for the main vocal part you might still prefer to use an external high-end mic preamp. The Submixer levels are controlled from the screen rather than by a separate fader bank, which seems a missed opportunity. If the ADAT card is fitted, this can also be fed into the Submixer, making a total of 24 possible Submixer inputs, each with two-band, variable-frequency EQ, level and panning. The analogue compressors come between the inputs and the A-D converters, so compression may also be used on the guitar input. Making manual mixer adjustments is very easy and follows the Yamaha paradigm very closely, including the ability to pair channels for stereo control. The same is true for storing and recalling mixer Scenes, which can be named. You can also specify parameters to be disabled for a Scene on a channel-by-channel basis. Functions that can be disabled are Fader, Channel On, Pan, EQ, Eff 1, Eff 2, Aux 1, Aux 2, Aux 3 and Aux 4. It's also possible to specify parameters that will be disabled for all Scenes. There are two automation writing modes: Overwrite, which replaces any existing automation data from the point recording is started to the point it stops, or Punch Write mode, which replaces the automation data between two specified locators.

The automation system drops into read mode (Automation Play) whenever you stop the transport. An illuminated Automation panel on the mixer shows when the automation is active. The Scene page's Automation tab allows you to select which channels to automate in the current operation by pressing virtual Record buttons. At the bottom of the page are radio buttons that select what types of automation data you wish to record. Again, very familiar. Finally, you press Mode to select whether you want to Overwrite or Punch Write, and in this window you can also set how long the faders and other parameters take to move back to their stored data positions at the stop point, so as to smooth out abrupt changes. An automation event list can be opened to make manual edits (is life really long enough?) if you don't fancy simply redoing the offending part manually. Similarly, you can copy and paste automation data to different locations in the Song, again via the event list. Also, the assignable pan control by the display of the D32XD is replaced on the D16XD with individual channel pan controls. Photo: Mark Ewing The less costly D16XD can record up to a maximum of 16 tracks, but still supports all the sample rates and bit depths of the D32XD and takes the same expansion cards and modules. In 16-bit mode it can record eight tracks simultaneously (or all 16 with the extra analogue card installed), though the track count statistics are the same as for the D32XD model when used at 24-bit or 96kHz. Perhaps the biggest difference between the two machines is that the D16XD uses 60mm non-motorised faders, though this isn't such a limitation, as the faders are only used to control mix levels and there is no need to switch banks, as there's one fader per track. Anyone with dry fingers might prefer the manual mode of operation anyway, as there's no issue with faders not 'knowing' they've been touched.

A further difference is that the D16XD has individual pan pots for each track, so there is no need for the assignable pan control. The same touchscreen technology is used, and the same effects are available, though you have the limit of using up to eight insert effects, two aux send effects and one main mix effect. The analogue compressors on the inputs are the same, and you still get the built-in CD burner. The machine comes with a pre-recorded demo Song, which is useful if you want to familiarise yourself with the controls, and it also confirms that your monitor system is correctly connected. But enough of that, we want to record something! The Song will be numbered to follow any previous Songs you have recorded and you can also give your Song a name. The keypad on the touchscreen makes naming a doddle. Once this is done, you can connect your audio sources, after which you need to assign the physical inputs to the mixer and recorder channels — you can assign any physical input to any track. Once the assignment has been made, it's simply a matter of adjusting the record level and then recording. It may be worth setting up your main aux effects first, though, so that you can hear some reverb when recording vocals. I particularly like the effect editing page, where up to 16 parameters (the maximum required by any effect I could find) can be displayed at once and where you can either tap a parameter and then adjust it using the data wheel, or simply tap the parameter row you want and then use the four knobs below the screen to adjust all four on-screen parameters in the row. In fact the only thing I didn't really like about the layout was having to share mute and solo functions via a single channel button.

As an experiment, I tried to insert an effect from the Routing B page into a mixer channel that already had an insert effect loaded from the Routing A page and found I couldn't, so you clearly aren't allowed to cascade insert effects in the same way you do software plug-ins on a computer. Slightly more vexing was the fact that the touch-sensitive faders occasionally failed to recognise that I was touching them. This is no problem if you have slightly damp skin, but I evidently don't! I also tested the ability of the machine to punch in on multiple tracks simultaneously, and at 44.1kHz (where you can record a maximum of 16 tracks at once), I found that I wasn't able to punch-in on more than eight tracks. If you try for more, a dialogue box appears telling you that you are out of luck. Admittedly you don't often need to punch in more than eight tracks at a time, so this shouldn't normally be a problem, but the number will reduce further at 24-bit, and again at 96kHz. The guitar amp modelling is also quite impressive, though I found my Parker Nightfly sounded a little thin through it unless I made significant EQ changes. How well you like the models depends on your playing style and expectations, but I found them comparable with many of the modelling processors on the market, and they respond quite well to playing dynamics. Combining analogue compression with an amp model also works well for some guitar sounds, and lets you get the necessary sustain with less overdrive. I checked out the USB computer transfer routine using a Mac running OS X, and the Korg's PC partition was recognised immediately as a regular external drive. I converted an existing stereo file to WAV format, copied it into the Korg's folder and then ran the import routine, which places the file at the start of whichever track or track pair you designate. This worked faultlessly.

Similarly, any files created on the D32XD and then placed in the PC partition became visible from the computer and could be copied easily. Having 32 tracks may seem a bit excessive, especially where you have virtual tracks to store alternative takes, but if you run a MIDI system and want to record all your MIDI parts as stereo audio tracks, then the more tracks you have available the better. Of course, you can't record on all 16 of the available record tracks (in 32-track mode) at once unless you have the input expansion card, but few project studio owners actually need to record more than eight tracks in one hit, even when recording a band. All the major features worked intuitively, I thought the effects were good, and using the automation proved to be no problem at all. If you've ever used a Yamaha digital mixer, you'll be able to find your way around the D32XD with very little trouble. I also felt that the Submixer input levels could have been given a fader bank rather than being controllable only from the screen, although if these inputs are being used only to mix MIDI instruments, it will probably be a case of set and forget. The Korg D32XD should appeal to anyone who needs straightforward operation with a lot of audio tracks, but who doesn't need to record on them all at once. Pros Easy to operate. Good audio quality. High-quality effects and amp modelling. Built-in CD burner. Cons Noisy fan. Faders don't always recognise dry fingers.The touchscreen is a great operational bonus, but the mechanical noise of the units is disappointing. Retro Jungle Production With Pete Cannon 1 month 3 weeks ago. Everything You Wanted To Know About Studio Headphones. 2 months 3 weeks ago. Reference Mixing Pedal of the week. Worth paying extra for Neutrik. Sound Magic Ruby Grand Special Sale, Up to 71% discount.

The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers. Supports up to 55 Radio keys. Up to 8 radio zones Also 2 way serial data Supports up to 3 Ness proximity access card readers Maximum 3 x 8 Ohm horn speakers Maximum 2 x 1 Watt strobe lights Maximum 500mA Use single quotes (') for phrases. We will get back to you ASAP. Our payment security system encrypts your information during transmission. We don’t share your credit card details with third-party sellers, and we don’t sell your information to others. Please try again.Please try again.Register a free business account With hands-on demonstrations to help visually guide you through your D32XD or D16XD series Digital Recorder so you can start making great music. Host David Wills has been teaching musicians and studio owners for over 20 years and now you can receive that same advice in the comfort of your own home.To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzes reviews to verify trustworthiness. Please try again later. Kevin Ball 4.0 out of 5 stars. Subscribe to our free newsletter Request a new review But I always manage to have good sound for my catch guitar, drums, keyboards. Anyway the sound quality depends on too many different factors to judge only the korg on this one (type of room, studio monitors, quality microphone.).

I plan to buy a T-type carbon microphone singing sct2000, I'll post an edited review once I tested the votes taken. I want to say that when I connect my preamp Peavey Rockmaster with the simulation of HP from Rocktron is integrated into multi effects Rocktron Multivalve I use, I sound CRAZY. Over the speaker phone has never interfered in the registration of a party. OVERALL OPINION I use it for about 2 years I made a model on this unit, I recorded my songs personal, I am using the D16XD listen to CDs, to practice my guitar, playing the synth. This is clearly the most amateur equipment. THIS IS NOT A TOY, just look at the price new at the time. Over the Korg D16XD is very reliable, never had a failure. Pads on each input, very helpful. UTILIZATION - Both simple and sophisticated. It ranges from simple basic recording functions editions, mixing, re-re, virtual tracks etc. - In one or two days we have in hand and the manual is very comprehensive, sometimes too (!) - There are many shortcuts with the touch screen, cursors, wheel etc. Nothing too serious, need to know. - The effects are many and quality. You can change all parameters of each effect (balance, wah, cabinet type, distortion, time, out.Cuts on the analog 8-track are very useful for recording. - The sound is a little dry if you have low-end mics but the dynamics are good and many treatments that can be corrected very easily. It took a little day to understand the overall functioning (especially to burn the songs on the CD, a manipulation to understand). I also do a lot of records on models 3-4 days recordings of concerts or educational interventions short and each time the equipment is suitable. I have a small park microphone SM 58 and 57 and 52 and 81 qqs PG, I'm mat. Qqs between my skills (I work in a theater and rehearsal but I am not a technician training) and the possibilities of the stuff all works fine. Reliable equipment, simple, not particularly bulky.