Analog Compressors; Using The Analog Compressors; Saving Your Analog Compressor Settings (Comp Program); Recalling Analog Compressor Settings (Comp Program) - Korg D32XD Owner's Manual

(3) Check the input to the sub-mixer.
• Set LEVEL, PAN, and EQ in the same way as when
making settings for the ordinary mixer.
Sub mixer 13–16 EQ and sub mixer 17–24 are not available
for 96 kHz/24-bit songs.
• Verify that you hear the input source through your
headphones or monitor system.

1-4. Analog compressors

You can use the analog compressors to prevent distortion
from being caused by excessive input levels prior to digital
conversion.
There are fifty preset programs containing analog compres-
sor settings, and another fifty user-writable programs in
which you can store your own settings, giving you a total of
one hundred compression programs.
You can store your own settings in a user compression pro-
gram, and recall it in the same way as a preset program.
The analog compressors are particularly effective in cases
such as the following:
• If the input material fluctuates widely between low and
high levels, adjusting the level according to the high por-
tions will make the volume too low when a low-level por-
tion follows. In such situations, use compression to hold
down the volume of the high-level portions and boost the
low-level portions, making the volume more consistent.
• When inputting a vocal from a mic, compression can be
used to prevent the peaks from clipping during climactic
passages or shouts.
• Compression can be used to enhance the sound of a gui-
tar, making it more cohesive.
Due to the characteristics of analog circuitry, it will take approxi-
mately 15 minutes after power-on for the value of the parameter
settings to stabilize.

Using the analog compressors

Restraining the maximum level of a guitar connected to
the GUITAR IN jack.
(1) Connect your guitar to the GUITAR IN jack.
Refer to 1-1. Analog input, "i.e. Connecting a guitar to
the GUITAR IN jack and assigning it to mixer channel
1."
(2) Access the MIXER, "ANALOG COMP," "Comp1-8"
tab page.
(5)
(4)
(4)
(3)
(2)
(3) Press the channel 1 ON button to turn it on.
Comp channels 1–8 correspond to INPUT 1–8 jacks; i.e., the
comp channel 1 is for the INPUT 1 jack, and comp channel 2
is for the INPUT 2 jack, etc.
(4) Begin playing the guitar, and view the level curve as
you adjust the compressor.
While watching the OUT level meter, lower the Thresh-
old and adjust the Ratio.
46
(5) If you want the adjacent Comp channel to have the
same settings, press the Link button to display the
Select Link dialog box.
• Press the button for the channel you want to link, and
press the OK button.
• The settings of the odd-numbered channel will be cop-
ied to the even-numbered channel.
• The knobs of the odd-numbered and even-numbered
channels will be linked; operating either side will
affect both channels.
Saving your analog compressor settings (Comp Pro-
gram)
(1) Use the MIXER, "ANALOG COMP," "Comp1-8" tab
page to adjust the compressor.
(2) Press the Store button to display the Store Program
dialog box.
(3) Select the compressor channel whose settings you
want to store.
Press the cell to highlight it, and use the value dial (or
the +/– keys) to make your selection.
(4) Select the store-destination program number.
Press the cell to highlight it, and use the value dial (or
the +/– keys) to make your selection.
(5) If you want to name or rename the program, press the
Rename button to open the Rename dialog box.
(6) Save the program.
Press the Yes button to save the program.
If you decide not to save, press the No button.
Recalling analog compressor settings
(Comp Program)
(1) Access the MIXER, "ANALOG COMP," "Comp1-8"
tab page.
(2) Press the Recall button to display the Recall dialog
(4)
box.
(3) Select the compressor channel where you want use the
program.
Press the cell to highlight it, and use the value dial (or
the +/– keys) to make your selection.
(4) Select the program you want to use.
Press the cell to highlighted it, and use the value dial (or
the +/– keys) to make your selection.
(5)
(3)
(4)
(6)
(3)
(4)
(5)