Korg D3200 owner manual Main features, Track digital multi-track recorder, Session Drums

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.

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