The Alesis SR-16 drum machine delivers comprehensive MIDI programming and and use as a sound module for serious music programmers. The drum machine's samples can be tweaked with Dynamic Articulation which alters the drum tone depending on how hard it's hit. Alesis includes 50 preset rhythm patterns, each with an A and B variation plus A and B fill, for a total of 4 different rhythms in each pattern. The SR-16 drum machine's 50 user drum kits give you plenty of versatility. The Alesis... Read more
Part Numbers: (db) DE6658, SR-16, SR16, SR16 16, SR16X110
UPC: 0694318001004, 6.94318E+11, 694318001004
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Alesis SR-16, size: 490 KB
Alesis SR-16 Quick Start
Alesis SR-16 Reference Manual
Alesis SR-16 Supplementary Guide
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Name, "Dialog" box, Real time Song/Pattern readout, beat counter Pattern/Song readout (also drum set edit)
Press Play Selected Function P l a y / Record Page number Swing Quantize Compose and Tempo Click Perform display
1.2H Text Protocols Throughout the text, button names are shown in UPPER CASE and words that appear on the display are shown in BOLD. When referring to a numbered step in a set of steps, the step
number will be in parenthesisfor example, step (4)to prevent confusion with Song steps or step edit mode. 1.3 IMPORTANT: HOW TO COMMUNICATE WITH THE SR-16 1.3A Entering Numbers The SR-16 identifies Patterns and Songs, as well as many other parameters, with numbers. You need to type in (enter) these numbers in a specific way (as described below). 1.3B The Cursor When the SR-16 wants you to enter a number in the "Dialog" box, the display will show the previously-entered number (or the default number), and the first digit will have a small underline called the cursor. If the cursor is not present, the number is there for reference only. You are expected to enter something only if the cursor is present. 1.3C Leading Zeroes If a value to be edited is a two-digit number, you must enter a two-digit number. If the number is a three-digit number, you must enter a three-digit number. If necessary, enter a leading 0 (i.e., a zero at the beginning of the number) to fill out the required number of digits. Example: The beat length is a three-digit number. To enter a beat length of 16, enter 016. 1.3D Automatic Revert This feature may confuse you at first, but save you from potential problems as you become more familiar with the machine. If all the required digits of a number aren't entered within two seconds, the display will revert back to the previous number, with the cursor under the first digit of the previous number. This is handy because if you start to enter a new number, but then change your mind halfway through, you don't have to key in (or remember) the original number againjust wait two seconds, and the display will revert to the original setting. 1.3E The INC/DEC Buttons The two small buttons with the up arrow and down arrow symbols (next to the number keys) are called the INC/DEC buttons respectively. Pressing the INC button once increases the value of the entire number indicated by the cursor (not just a single digit) by one. Pressing the DEC button once decreases the value of the entire number indicated by the cursor (not just a single digit) by one. Example: If the display shows 00 and you want to enter 01, tap the INC button once.
These buttons, and the TEMPO/PAGE buttons, also have a "scroll" feature. If you press and hold a button, after a short pause the display will either increment or decrement at a rapid rate. 1.3F Buttons that Toggle The Mode buttons, FILL button, and several function buttons (DRUM SET, RECORD SETUP, MIDI SETUP, and BACKUP) "toggle" between two states. Each button press sets the switch to its alternate state. Example: Press the PATTERN/SONG button once to change from Pattern to Song; press again to change from Song to Pattern. Example: Press RECORD SETUP to call up the Record Setup menu; press RECORD SETUP again to get out of the Record Setup menu. 1.STEPS TO INSTANT GRATIFICATION (SETUP AND CHECKOUT) 1. Connect the Main outputs (either left or right for a mono monitoring system, or both for stereo) to a high-quality musical instrument amplifier or PA. The amp and SR-16 volume controls should be all the way down (counter-clockwise). 2. Leave the MIDI jacks (rear panel) disconnected for now. 3. Plug the SR-16's AC adapter into the wall. The smaller plug inserts in the 9V AC Power jack on the back. 4. Turn on the rear panel On/Off switch, then turn on the amplifier. 5. The LCD will show a sign-on message. The upper right of the display should say PATTERN and not SONG; if it shows SONG, press the PATTERN/SONG button and the display will show PATTERN.
Enter the desired swing percentage with the INC/DEC or number buttons (1 = 54%, 2 = 58%, 3 = 62%, 4-0 = Swing Off). Swing shifts notes as specified while you record, so choose the desired value before tapping out your rhythms.
Background Swing affects the timing of pairs of equal-value notes. Each note normally defaults to taking up 50% of the total duration of both notes; adding swing lengthens the first note of the pair, and to keep the total duration of both notes the same, shortens the second note of the pair. This imparts the kind of feel found in shuffles and some jazz tunes. Example: With Swing set to 62%, the first note of the pair takes up 62% of the total duration of the pair of notes, while the second note takes up 38% of the total duration.
2.3 PAGE 3: ENABLE CLICK (METRONOME) AND SET RHYTHM (CLICK SELECT) The display shows CLICK SELECT; the Click window shows the click's rhythmic value.
SETUP RECORD PAGE
Enter the click value with the INC/DEC or number buttons (1 = quarter note, 2 = quarter note triplet, 3 = 8th note, 4 = 8th note triplet, 5 = 16th note, 6 = 16th note triplet, 7-0 = Click Off). The click is audible only in Compose mode.
2.4 PAGE 4: SET CLICK (METRONOME) VOLUME (CLICK VOL) The display shows CLICK VOL and a two-digit number representing click volume (= inaudible, = maximum volume). Enter the desired click level with the INC/DEC or number buttons.
CLICK VOL 70
2.5 PAGE 5: ADJUST VELOCITY RESPONSE (VELOCITY) There are 11 ways in which a pad's output level can respond to the force with which you tap it: soft, medium, loud, and eight fixed responses.
SETUP RECORD PAGE PERFORM
The display says VELOCITY. To select the desired dynamic response, use the INC/DEC or number buttons (1 = Fixed 1, 2 = Fixed 2, 3 = Fixed 3, 4 = Fixed 4, 5 = Fixed 5, 6 = Fixed 6, 7 = Fixed 7, 8 = Fixed 8, 9 = Soft, and 0 = Loud). Medium can be selected only with the INC/DEC buttons.
Background This feature accommodates players with a heavier or lighter touch. Referring to the diagram, soft response weights the response toward softer sounds; with medium response, the level is directly proportional to how hard you tap the pad; loud response weights the response toward louder sounds. Fixed volume plays back the associated drum sound at one of eight possible volume levels. With Fixed Volume 1, all drums assume the level of the softest possible tap, regardless of how hard you tap the pads. With Fixed Volume 8, all drums assume the level of the loudest possible tap, regardless of how hard you tap the pads. Fixed Volumes 2-7 provide the levels between the softest and loudest extremes, with lower numbers giving softer levels.
Background Step mode provides detailed Pattern editing. (Note that "step" does not refer to Song steps, but to the steps in a Pattern that hold drum events.) You can move through a Pattern one step at a time, stop at each event as desired, and delete the event, add an event, or change an event's volume. While occasionally somewhat tedious, Step Edit mode allows editing drum parts to your exact specifications. Each step (also called a sub-beat) is 1/96th of a beat in duration, so at maximum resolution it takes 96 steps to "move through" a quarter note. To save time, you can step through the Pattern at various note values, as set by the quantization value (which is why it's preferable to select the quantization rate at which the Pattern was recorded). Example: A 16th note consists of 24 sub-beats, so setting the quantization value to 1/16 lets you step through the Pattern 24 sub-beats at a time. The following chart relates the number of sub-beats to note/quantization values.
NOTE VALUE 1/4 1/6 1/8 1/12 1/16 1/24 1/32 1/48 = = = = = = = =
NOTE NAME = = = = = = = = QUARTER NOTE =
SUB-BEATS 12 8
QUARTER NOTE TRIPLET= EIGHTH NOTE =
EIGHTH NOTE TRIPLET = 16th NOTE 16th NOTE TRIPLET 32nd NOTE 32nd NOTE TRIPLET = = = =
The following page summarizes the step edit options.
2.9A Add a New Drum to a Step Use the PAGE buttons to select the step where the drum is to be added. Press the pad that corresponds to the sound you want to add. That drum, along with its volume (how hard the pad was hit), will be recorded into the displayed step. If you play a pad and there is already a drum event played by that pad on the displayed step, you will edit the volume rather than add another event. This is true even if there are several events on the displayed beat, and an event other than the one to be edited is showing. 2.9B Erase a Drum Sound From a Step Use the PAGE buttons to locate the step containing the drum to be erased. While holding down the ERASE button, press PLAY. The drum that was being displayed will be erased. 2.9C Change a Drum Sound's Volume in a Given Step Use the PAGE buttons to select the step containing the drum whose volume needs to be changed. Either press a number button from 1-8 (1=softest, 8=loudest), use the INC/DEC buttons, or tap the displayed drum pad at the desired level. If you play a pad to change the level and there are several events on the same step, the display need not show the specific drum whose volume you want to edit. 2.9D Exit Step Mode To exit step mode, press STOP, RECORD SETUP, or PLAY (the latter will begin playing the Pattern from the beginning).
2.10 PAGE 10: NAME THE PATTERN (NAME)
NO NAME NAME
The display shows NAME and the current name (or NO NAME if the Pattern has not yet been named). To name, use the PAGE UP/DOWN buttons to select the character to be changed; select the desired character with the INC/DEC buttons. Lower case and upper case letters, numbers, punctuation, and various special-purpose characters are available. You can also enter numbers with the number buttons.
CHAPTER 3: PLAYING BACK/RECORDING PATTERNS
3.1 PLAYBACK/RECORD BASICS Please make sure you've read section 1.2B, which explains the different types of SR-16 Patterns. It is important to understand the differences between these Pattern types. The PATTERN/SONG button chooses between Pattern and Song modes. For all of the following Pattern operations, Pattern mode must be selected, as confirmed by the display.
3.1A The Dual-Purpose Fill Button In addition to calling up Fill Patterns as described in the Introduction, the FILL button can also be used while recording to create a series of notes at the desired quantization rate, as described in section 3.1K. 3.1B Perform/Compose Modes The SR-16 doesn't have a record button. Instead, press PLAY to start the Pattern, then select either Perform or Compose mode (as selected by the PERFORM/COMPOSE button). To record, choose Compose mode (as shown in the display). This also activates the click.
QUANTIZE SWINGOFF CLICK
To listen, choose Perform (this de-activates the click). You can drop in and out of these two modes as you record. While the SR-16 is in either mode, you can change Pattern quantization, swing, click rhythm and volume, pad velocity response, name, drumset, drumset parameters, and MIDI parameters. You can therefore keep the groove going at all times, even while you make adjustments prior to recording another part. NOTE: Compose mode cannot be selected when using Preset Patterns, since they cannot be altered. If you wish to alter one of the Preset Patterns, copy it to an empty User Pattern first. (see section 3.3A)
Background While in Pattern mode, the tempo remains as is until changed. If you switch over to Song mode and the programmed Song tempo is different, the SR-16 will assume the Song's tempoeven if you switch back into Pattern modeuntil the tempo is changed again (either manually, or by selecting a different Song). 36
5.1C Continue, Re-start, or Jump to Next Song Step In Compose mode, if you stop a Song and then press PLAY, the Song will continue from the first beat of the Pattern that was playing when STOP was pressed. In Perform mode, if you stop a Song and then press PLAY, the Song will re-start from the beginning. In either Compose or Perform mode, press PLAY while the Song is playing to immediately jump ahead to the next Song step. Its associated Pattern will begin on the downbeat. This is a convenient way to "fast forward" over certain parts of a Song. 5.1D "Loop" a Pattern Indefinitely In Song Perform mode, pressing and holding FILL until the end of a song step will cause that step to repeat. A footswitch plugged into the Count/A/B/Fill jack will perform the same function. Examples: Use this feature if a soloist decides to take another few bars. Another use is if two Songs share the same tempo. Follow the first Song with a blank Pattern, then append the second Song. Between Songs, hold down the footswitch on the blank Pattern song step, then release to start the second Song. 5.1E Start from the Middle of a Song You need not start a Song from the beginning each time; in Compose mode, a Song can start at any Song step. 1. Make sure the SR-16 is in Compose mode, even if you don't plan to record anything. 2. Use the INC/DEC buttons to select the Song step at which you want the SR-16 to start playing. 3. Press PLAY. The SR-16 will start playing at the downbeat of the selected Song step. 4. If you don't want to extend the Song length, go into Perform mode before reaching the end of the Song. If you do want to extend the Song length, remain in Compose mode. 5.1F Name a Song (NAME) 1. The SR-16 can be in either Compose or Perform mode. 2. Press RECORD SETUP. If the Song has been named, the name will show on the top line. If the Song has not been named, the display says NO NAME. 3. Enter the name using the PAGE UP/DOWN buttons to select the character to be changed, and the INC/DEC buttons to select the desired character. Lower case and upper case letters, numbers, punctuation, and various special-purpose characters are available. You can also enter numbers with the number buttons.
Background Select ON V1 or ON V2 if you're using the SR-16 as an expander module, or want to play real time drum controllers into the SR-16 as it plays a Pattern or Song. Select O F F if you're using the SR-16 as a drum machine slaved to a sequencer; when O F F, the SR-16 follows the sequencer timing data but not note data (you don't want it to play other parts). Note that Clock In (page 5) must be on.
6.3 PAGE 3: TRANSMIT MIDI DRUM NOTES (DRUM OUT)
DRUM OUT OFF
The display shows DRUM OUT. To have the SR-16 output MIDI note data from pad hits or when playing a Pattern/Song, use the INC/DEC buttons to select ON. Select OFF if you don't want the SR-16 to transmit note data.
Background Select ON to send Pattern data into a sequencer for recording, or drive other drum sound expander modules. If the SR-16 is acting as a drum machine and provides the master clock to a MIDI system, select O F F so that other devices don't respond to the MIDI note data. 43
6.4 PAGE 4: ASSIGN MIDI NOTE NUMBERS TO DRUM PADS (NOTE) This page determines which MIDI in NOTE will trigger a pad, or MIDI out note will be produced if you play a pad. The display shows the note number/name in the upper left, and the drum pad number in the upper right window.
NOTE 049 C#2
MIDI Note Number/Name
Drum Pad Number
Play the drum pad to be assigned to a MIDI note, as confirmed by the Drum Pad Number display. Enter the note number/name with the number or INC/DEC buttons.
Background Note assignments are "global" and affect every Pattern. MIDI note assignments are not individually selectable for each Pattern. The default note assignments are: Drum/Pad Kick Snare Cls Hat Open Hat Claps Perc 2 Tom 1 Tom 2 Tom 3 Ride Crash Perc 1 MIDI Note # Key Name C1 D1 F#1 A#1 D#1 G3 C2 A1 F1 D#2 C#2 F3
6.5 PAGE 5: ACCEPT EXTERNAL CLOCK DATA (CLOCK IN)
CLOCK IN ON
The display shows CLOCK IN. To have the SR-16 recognize clock (timing) messages present at its MIDI input, use the INC/DEC buttons to select ON (if no clock messages are present, the SR-16 will follow its internal clock tempo). Select OFF to have the SR-16 ignore clock messages and follow its internal clock tempo regardless of what timing data appears at the MIDI in. When using the SR-16 as an expander module, set CLOCK IN to OFF so that timing signals don't start playing a Pattern.
Background The SR-16 can have its tempo set by another device (this overrides the internal clock tempo) if: The external device (sequencer, drum machine, etc.) generates MIDI timing signals. These signals go from the external device's MIDI out to the SR-16's MIDI in. CLOCK IN is ON.
6.6 PAGE 6: SEND CLOCK DATA TO OTHER DEVICES (CLOCKOUT)
The display shows CLOCKOUT. To have the SR-16 generate timing data at its MIDI out, use the INC/DEC buttons to select ON. Select OFF to inhibit MIDI timing signals from appearing at the MIDI out jack.
Background The SR-16 can generate timing signals to which other devices can synchronize if: 45
The external device (sequencer, drum machine, etc.) can respond to MIDI timing signals. These signals go from the SR-16's MIDI out to the external device's MIDI in. CLOCKOUT is ON. When slaving the SR-16 to other devices, CLOCKOUT should be O F F and CLOCK IN should be ON.
6.7 PAGE 7: MERGE MIDI IN WITH MIDI OUT (MIDITHRU)
The display shows MIDITHRU. To have the SR-16 merge data appearing at the MIDI in with the timing and/or note data appearing at the MIDI out, use the INC/DEC buttons to select ON. Select OFF to have the SR-16 MIDI out carry SR-16 timing and note data only.
Background Turning MIDI out to MIDI thru can be handy for some system applications. Example: Assume a MIDI keyboard connects to the SR-16 MIDI in. The SR-16 serves as the master clock for an MMT-8 sequencer; the SR16 MIDI out connnects to the MMT-8 MIDI in. With MIDITHRU set to ON, the keyboard note data will be passed through the SR-16 and appear at the MMT-8 MIDI in. Other SR-16 settings should be DRUM IN OFF (so the SR-16 doesn't respond to your keyboard playing) and CLOCKOUT ON so that the SR-16 clock drives the MMT-8. DRUMOUT should also be O F F so that the MMT-8 doesn't record the SR-16 drum notes. Plugging the MMT-8 MIDI out to the keyboard MIDI in plays back the sequenced notes through the keyboard. Technically speaking, MIDI timing data (as provided by a master unit such as a sequencer) received at the SR-16's MIDI in is not sent to the MIDI out. However, this will appear to be the case since the SR-16 will generate its own timing data in response to the timing data received at its MIDI in, if CLOCK IN and CLOCK OUT are both ON.
6.8 PAGE 8: SELECT DRUM SETS VIA MIDI PROGRAM CHANGES (PRG CHNG)
PRG CHNG OFF
The display shows PRG CHNG. Program Change commands can change Drum Sets numbers at any time, including while the SR-16 is playing. To have the SR-16 receive Program Changes, use the INC/DEC buttons to select ON. Select OFF to have the SR-16 ignore Program Changes.
Background Program Change (PC) 00 selects User Drum Set 00; PC 01 selects User Drum Set 01; PC 02 selects User Drum Set 02; etc. Caution! Some units number Program Changes as 1-128, others as 0-127, and some as banks of programs. If the device generating Program Changes follows a non-standard protocol, it's a good idea to make up a conversion chart that shows which Program Changes call up which Drum Sets. Program Changes 00-49 select the 50 User Drum Sets. Program Changes 50-99 select Preset Drum Sets 00-49. Program Changes 100-127 select User Drum Sets 00-27. The current Pattern will remember whatever Drum Set is selected via Program Changes, just as if you had selected it manually, unless the SR-16 is in Manual mode (described in Page 9 of the Drum Set menu). If Program Change is enabled, and the SR-16 is in MULTI-DRUMSET mode (see section 6.9 below), and a program change is received in the 00-49 range, the SR-16 will automatically select the drumset group corresponding to the program change number. For example, if program 36 is received with the above conditions met, the note map will change to drumset group 30-39.
7.7 PAGE 4: LOAD DATA FROM TAPE (LOAD IN TAPE?)
LOAD IN TAPE?
This loads all data stored in the tape dump being loaded. The display says LOAD IN TAPE? Press PLAY; the display says START TAPE Press the recorder's Play button. While loading, the display shows the current Pattern or Song being loaded, until all data has been loaded. Upon completion the display says DONE.
Background This function reloads a Bank of Patterns and Songs stored on tape back into the SR-16. Data loaded from tape will take its original position in memory (e.g., SONG 15 will reload back into SONG 15). Loading all Patterns and Songs overwrites all existing data in memory, so if necessary, save your current work before loading.
7.8 PAGE 5: LOAD ONE PATTERN FROM TAPE (LOAD IN PATT)
LOAD IN PATT01
This loads a single Pattern from a tape dump. The display says LOAD IN PATT00. Enter the desired Pattern number with the number or INC/DEC buttons, press the A or B button to specify the desired variation, then press PLAY; the display says START TAPE Press the recorder's Play button. While loading, the display shows the Pattern being loaded. Upon completion the display says DONE.
Background You may just want to load one Pattern from tape rather than all data. A Pattern being loaded from tape will take its original position in memory (e.g., PATT 01B will reload back into PATT 01B) and will overwrite any data currently stored in that location. Remember that loading a Pattern also loads its associated Fill.
7.9 PAGE 6: LOAD ONE SONG FROM TAPE (LOAD IN SONG)
LOAD IN SONG01
This loads a single Song of Patterns (not the Patterns used in the Song) from a tape dump. The display says LOAD IN SONG00. Enter the desired Song number with the number or INC/DEC buttons, then press PLAY; the display says START TAPE Press the recorder's Play button. While loading, the display shows the Song being loaded. Upon completion the display says DONE.
Background You may just want to load one Song from tape rather than all data. A Song being loaded from tape will take its original position in memory (e.g., SONG 32 will reload back into SONG 32) and will overwrite any data currently stored in that location.
7.10 PAGE 7: CHECK AVAILABLE MEMORY (FREE MEM)
FREE MEM 100%
When you select Page 7, the display will show the approximate amount of free memory available (expressed as a percentage of the total amount).
8.1B SR-16 as MIDI Timing Slave The SR-16 can slave to a MIDI master clock source by turning on Clock In. Example: This lets you slave the SR-16 to a MIDI sequencer on which you have recorded other instruments. 1. Set the SR-16 Clock In to on (Section 6.5). 2. Make sure the master is set to generate MIDI timing data (refer to the unit's manual for specific instructions on how to do this). Enable Song Position Pointer if necessary.
3. Press PLAY on the system master. The SR-16 should start at the same time, and progress at the same tempo. If the master generates Song Position Pointer, you can start the master at any point, and both units will synchronize from that point on. The following diagram shows an SR-16 slaved to the MIDI system master clock, provided in this case by a keyboard "workstation" on-board sequencer.
MIDI Clock In = On
MIDI Out Keyboard "workstation"
8.1C Synching to Synthesizer Sequencers Many synthesizers include built-in sequencers (Ensoniq EPS16+ and VFX-SD, Roland D-20, Korg M1 and T1, Peavey DPM-3, etc.). You can use the SR-16 as a drum expander module and record the required notes in one of the sequencer tracks. Or, record a Song in the SR-16, and sync it to the keyboard sequencer's timing data so you don't need to use up a sequencer track.
8.2 STRATEGIES FOR ASSEMBLING PATTERNS AND SONGS Ideally, you should be able to translate your inspirations into tangible form with a minimum amount of effort. The following tips and techniques help speed up the process of creating Patterns and Songs. 8.2A Create Fills Quickly with the Copy Function Many times a Fill will simply be a variation on another Pattern, but with a few minor differences to add variety or serve different musical purposes. To save time, use the Copy function to copy the main Pattern to the Fill, then add variations to the Fill in real time or with Step Edit mode. 8.2B Assemble Short Patterns into Longer Patterns with the Copy Function It's less time-consuming to work with short Patterns, since you don't have to wait for the entire Pattern to cycle through before overdubbing or "spot erasing" events. After assembling several short Patterns, use the copy function to append Patterns into a longer Pattern. Example: Create four eight-beat Patterns, then use the copy function to combine these into a single 32-beat Pattern. 8.2C Save Memory Through Song Steps Whenever possible, repeat Patterns using Song steps rather than program long Patterns. Example: Suppose you have a 16-measure figure where the first three groups of four measures are identical, and the final group of four measures provides some sort of variation. Recording this as one 16-measure Pattern will take up more memory than recording two Patterns (one of the first group of four measures and one of the last group of four measures), and while in Song mode repeating the first group three times followed by the last group once. 8.2D Odd Time Signatures For time signatures based on quarter notes, changing the number of beats in a Pattern can also change the time signature. Example: Programming a Pattern length seven beats long will yield a measure of 7/4. Programming a Pattern length 14 beats long will yield two measures of 7/4. Time signatures such as 2/4, 3/4, 5/4, 9/4, and so on are easy to implement. For time signatures based on eighth notes, it's easiest to double the tempo so that each beat lasts an eighth note instead of a quarter note. However, you will have to take this into account when quantizing and setting the metronomeif the display says a quarter note, read it as an eighth note. Plan carefully when mixing odd time signatures within the same piece. If some Patterns use a time signature based on quarter notes and others on eighth notes, you will need to double the tempo for the quarter note-based Patterns to match up with the eighth-note based Patterns.
16's MIDI out jack can be switched to a thru function that merges MIDI in data with SR-16 MIDI data. 9.1B About Sequencing Sequencing, the computerized equivalent of tape recording, is a very common and popular MIDI application. The SR-16 is a special-purpose sequencer optimized for drum machine applications. Sequencing takes advantage of the fact that MIDI data can be time-stamped with rhythmic data and recorded in computer memory. The computer acts like a recorder, but instead of recording audio, it stores digital data that represents the pads you played, the exact order in which you played those pads, and the pad dynamics. Once stored in memory, the performance can be played back. The principle is the same as a player piano, but instead of having keys triggered by holes in a roll of paper, drum sounds are triggered by data contained in the computer's memory. The SR-16 also works well as a drum sound expander module for separate stand-alone or computer-based sequencers. Each of MIDI's 16 available channels can carry a unique set of MIDI data. Since all this data travels over one cable, each piece of data includes its appropriate channel ID so that MIDI receivers can "tune in" to a particular channel and accept only that data. The SR-16 can tune in to the channel that plays drum notes, and respond by triggering sounds.
9.2 MIDI CHANNEL MESSAGES There are two main types of MIDI messages. Channel messages, which are channel-specific, consist of Voice and Mode messages. System messages, which do not have a channel number and are received by all units in a system, include Common, Real Time, and Exclusive messages. 9.2A Voice Messages Playing a pad on the SR-16 produces the following MIDI data: Note On Corresponds to the pad's assigned MIDI pitch; values can range from 000 (lowest note) to 127 (highest note). Middle C is 60. Note Off This indicates the end of the note. Velocity Corresponds to the dynamics of your playing; values range from 001 (minimum velocity) to 127 (maximum velocity).
9.2B Mode Messages There are two messages that determine the MIDI mode (i.e., how devices will receive MIDI data). The "omni" message determines how many channels will be recognized. Omni on means that data from all channels will be received; Omni off limits the number of channels, usually to one. The "mono/poly" message deals with voice assignment within the synthesizer. In Mono mode, only one note at a time plays in response to voice messages; in Poly mode, as many voices can play notes as are available to play notes. The SR-16 offers the following: Omni On/Poly (Mode 1) The SR-16 responds to MIDI data occuring on any channel. Omni Off/Poly (Mode 3) The SR-16 is tuned to one channel and ignores other channels. 9.3 SYSTEM COMMON MESSAGES Intended for all units in a system, some of these messages are: Song Position Pointer This indicates how many "MIDI beats" (normally a 16th note) have elapsed since a piece started (up to16,384 total beats). It is primarily used to allow different sequencers and drum machines to auto-locate to each other so that if you start one sequencer, the other device will automatically jump to the same place in the song, whereupon both continue on together. System Exclusive This message (called sys ex for short) is considered "exclusive" because different manufacturers send and receive data over MIDI which is intended only for that manufacturer's equipment. Example: sending an Alesis SR-16 message to an Ensoniq VFX-SD or Roland MT-32 won't do anything but will be understood by other SR-16s. This data often contains information about individual instrument patches (such as the SR-16 Pattern/Song/Drum Set information). Timing Clock The SR-16 emits 24 timing messages per quarter note. Each device synchronized to the SR-16 advances by 1/24th of a quarter note when it receives the clock message, thus keeping units in sync after they've both started at the same time. However, note that to provide an internal resolution of 96 timing messages per quarter note, the SR-16 internally subdivides the MIDI clock by a factor of four. Start Signals all rhythmically-based units when to start playing. Stop Signals all rhythmically-based units when to stop playing. 9.4 BOOKS ON MIDI There have been many books written on MIDI; the following are just a few examples of what's available.
Sound is distorted.
Drums dont pan in stereo field.
One or more pads not working.
Drums dont play back as recorded. Some beats seem shifted. Wont display certain drum beats in step edit mode. Pads not touch sensitive. Other sequencers wont slave to the SR-16.
" Pad dynamics set to fixed volume. SR-16 Clock Out turned off.
" Check pad velocity parameters in RECORD SETUP. Turn the SR-16s Clock Out on.
Other sequencers won't slave. (cont'd) SR-16 wont slave to other sequencer.
Sequencer not set to receive MIDI (external) clock. SR-16 Clock In turned off. Master sequencer not sending clock information. Unit in MIDI chain not passing on clock information. PRG CHNG turned off. SR-16 is not in Pattern mode. Incorrect MIDI channel. SR-16 "Drum Out" turned off. Incorrect MIDI channel. SR-16 "Drum In" turned off. Incorrect MIDI channel. Incorrect drum note assignments. Record and/or playback level incorrect.
Set slaves clock in accordingly. Turn SR-16s Clock In on. Set master sequencer clock source accordingly. Turn MIDI echo on on each individual unit in the chain. Turn it on (MIDI SETUP button). Switch to Pattern mode. Set MIDI channel accordingly. Turn it on. Set channel accordingly. Turn it on. Set channel accordingly. Set drum notes accordingly. Adjust levels for best results. 0dB is a good starting point for most tape recorders, however, some experimentation may be necessary. Check cables (plugs should be mono 1/8 mini plug). Avoid adapter plugs and make sure that cable is nonattenuating. Try new tape. Tape should be normally biased. Clean tape heads. Turn off all tape noise reduction. Reduce the amount of memory in the SR-16 by erasing unneeded parts. Check operational procedures for storage and retrieval in the storage units manual. The SR-16 is designed to send and receive generic, unchannelized, one way (no handshake) sys ex data. Retrieve Pattern or Song into a higher numbered Pattern or Song memory location. Or, reduce the amount of memory used by the SR-16 by erasing unneeded Patterns.
SR-16 not responding to Program Changes.
SR-16 not sending MIDI notes.
SR-16 not receiving MIDI notes.
Wont load from tape. Note: Be sure to verify all saves immediately.
Bad cable OR Adapter plugs or cable setup contains builtin attenuator (resistance). Bad tape. Tape heads dirty. Noise reduction turned on. Wont reload MIDI sys ex data dump from external disk drive or computer. Disk drive's buffer memory is too small to hold the entire contents of the SR-16. Disk drive or computer did not correctly store original information.
SR-16 wont receive one Song or Pattern.
This usually happens when trying to receive one Song or Pattern into a low numbered memory location when the SR-16 is very full. This is due to the internal storage format of the SR-16.
Printed in USA A058
Any momentary non-latching footswitch, also referred to as a keyboard sustain pedal, can be used with your Alesis product. Plug in the footswitch first and then power on your device to have it properly calibrated. Compatible footswitches can also be purchased from our Parts Dept. For pricing and availability please contact 401-658-5760 x1407 or email email@example.com.
The Alesis SR-16 drum machine delivers comprehensive MIDI programming and and use as a sound module for serious music programmers. The drum machine's samples can be tweaked with Dynamic Articulation which alters the drum tone depending on how hard it's hit. Alesis includes 50 preset rhythm patterns, each with an A and B variation plus A and B fill, for a total of 4 different rhythms in each pattern. The SR-16 drum machine's 50 user drum kits give you plenty of versatility. The Alesis SR-16 is also equipped with 2 stereo outputs, headphone out, 2 footswitch jacks, 12 velocity-sensitive pads, 16-voice polyphony, 24-bit resolution, and 20-255BPM tempo range.
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