ALESIS D4

Reference Manual

CHAPTER 1 - INTRODUCTION

1.0 PRINCIPAL FEATURES... 1 1.1 RETURN YOUR WARRANTY CARD NOW!.. 2 1.2 HOOKUP/INSTANT GRATIFICATION... 2 1.2A Installation... 3 1.2B Hook Up Audio (rear panel)... 3 1.2C Hook Up MIDI (rear panel)... 3 1.2D Hook Up External Triggers (rear panel).. 4 1.2E Hook Up Power (rear panel)... 4 1.2F Turn On Power... 4 1.2G Select Drum Sets... 5 1.2H Audition Different Drum Sounds.. 5 1.2I Assign Drum Sounds to Particular MIDI Notes. 7 1.3 BASICS AND DEFINITIONS... 7 1.3A The Voice.... 7 1.3B About the Edit Buffer... 8 1.3C About Defaults... 8 1.3D MIDI Note Range... 8 1.4 ABOUT THE USER INTERFACE... 9 1.4A Function Buttons... 10 1.4B Cursor Buttons... 10 1.4C Multi-Page Functions... 10 1.4D Editing Parameter Values.. 11 1.4E The Store and Note Chase buttons.. 11 1.4F The Preview Button.... 11
CHAPTER 2 - DRUM SET MANAGEMENT
2.0 SELECTING DRUM SETS.... 12 2.1 STORING/NAMING AN EDITED DRUM SET... 12 2.2 RECALLING FACTORY DRUM SETS... 14
CHAPTER 3 - FUNCTION BUTTONS
3.0 3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9 NOTE CHASE/DRUM NOTE SELECTION.. 15 VOICE..... 15 TUNE.... 16 MIX.... 16 OUTPUT.... 17 DRUM SET.... 18 EXT TRIG.... 19 GROUP BUTTON.... 19 MIDI BUTTON.... 20 COPYING A NOTE'S PARAMETERS TO ANOTHER NOTE.. 20
CHAPTER 4 - MIDI FUNCTIONS
DRUM SET ROOT NOTE... 21 MIDI CHANNEL SELECTION.... 23 MIDI THRU/OUT SELECTION... 23 PROGRAM CHANGE ENABLE... 24 CONTROLLER ENABLE... 24 PROGRAM CHANGE TABLE.... 26 SAVE DATA VIA MIDI... 26 4.6A Save to DataDisk... 28 4.7 RECEIVE DATA FROM ANOTHER MIDI DEVICE... 28 4.7A Load from DataDisk... 29 4.0 4.1 4.2 4.3 4.4 4.5 4.6
CHAPTER 5 - EXTERNAL TRIGGERING
ABOUT TRIGGER PARAMETERS... 32 5.0 TRIGGER SELECTION... 36 5.1 TRIGGER NOTE SELECTION... 36 5.2 TRIGGER VELOCITY SELECTION... 37 5.3 TRIGGER PARAMETER SELECTION... 40 5.7 TRIGGER GAIN SELECTION.... 43 5.8 FOOTSWITCH MODE... 44 5.8A Understanding Hi Hat Pedal Mode... 45

CHAPTER 6

MIDI SUPPLEMENT... 47 6.0 MIDI BASICS.... 47 6.1 MIDI HARDWARE.... 47 6.2 MIDI MESSAGE BASICS... 48 6.3 CHANNEL MESSAGES... 48 6.3A Voice Messages.... 48 6.3B Mode Messages.... 50 6.4 SYSTEM COMMON MESSAGES... 51 6.5 BOOKS ON MIDI... 51 6.6 VIDEOS ON MIDI... 51

CHAPTER 1: INTRODUCTION

Thank you for purchasing the Alesis D4 Drum Sound Module. The D4 provides over 500 high-quality drum/percussion sounds (many of them in stereo), that use the same drum recording expertise responsible for making the SR-16 and HR-16 standards in the music world. And thanks to Dynamic Articulation, which triggers different samples according to velocity, the D4s sounds have a realism and presence that make these sounds stand out in any track or performance.

1.0 PRINCIPAL FEATURES

Over 500 Sounds. Sounds include: 99 kicks, 99 snares, 55 cymbals, 92 toms, 76 percussion sounds, and 80 effects. 48 kHz Sample Rate and 20 Hz-20 kHz Bandwidth. The D4's high sample rate and full bandwidth insure maximum audio clarity from each sound. 12 acoustic trigger inputs. Drummers can trigger D4 sounds with conventional drum pads as well as MIDI pads. Studios can trigger D4 sounds from existing taped drum tracks to replace taped sounds with the D4s high-quality drum sounds. Older drum machines with individual outputs can be revitalized by using them to trigger the D4 sounds instead of triggering the drum machines internal sounds. Full MIDI implementation. The D4s master volume responds to MIDI controller 7, allowing for smooth fades and easy changes in overall dynamics, as well as to other important MIDI controllers including pitch bend. Program change commands can call up different Drum Sets. Simultaneous MIDI/trigger operation. Notes can be triggered by MIDI and/or triggers simultaneously. Trigger to MIDI conversion. Triggers received by the D4 are converted into MIDI note data that appears at the MIDI Out/Thru connector. Single rack space size. The D4 fits conveniently into a single rack space. 21 programmable drum kits. Assign different drums to different MIDI notes (or triggers) to create a kit, and recall individual kits with Program Change commands. A footswitch, when pressed, can increment from one drum kit to the next. Multiple outputs. The D4 offers four outputs, which are arranged as two stereo pairs. Any sound can be sent to either stereo pair (and panned to any of seven positions in the stereo field). However, these can also serve as individual outputs if you pan a single sound hard left or hard right so that it appears over only one output. One possible application is to use one stereo pair for a mix of drum sounds, and the other stereo pair as two individual outputs for specific drum sounds that may need separate processing.

Velocity-sensitive Preview button. Audition sounds at the D4 itself, so you dont have to go back and forth between a controller and the D4 when making drum kit assignments or checking out sounds. Headphone jack. This is excellent for practicing, or for creating drum kits while other activity is taking place in the studio. Hi hat pedal footswitch. This lets you incorporate a footswitch to create very realistic hi hat effects. Note chasing. You can select a note for editing or previewing based on the most recently received MIDI note or trigger input. Drum sound editing. Vary tuning, mix, and panning, as well as assign drums to groups for special effects (such as hi-hat sounds that cut each other off, or cymbals that restrike).
1.1 RETURN YOUR WARRANTY CARD NOW!
Your warranty will be in effect and you will receive product update information only if you send in your warranty card.
1.2 HOOKUP/INSTANT GRATIFICATION
This section describes how to hook up the D4, select Drum Sets, and audition different drum sounds. For more detail on these and other operations, refer to Chapters 2-5.

MIDI THRU/OUT Jack

Main Output Jacks

Footswitch Jack

MIDI IN Jack

Trigger Jacks

Aux Output Jacks

1.2A Installation

For most applications the D4 should be installed in a rack frame so that you can tap the Preview button without causing the unit to slide around. The D4 generates very little heat so it is not necessary to leave an empty space for ventilation above or below the unit.
1.2B Hook Up Audio (rear panel)
1. Turn down the master volume control of your monitoring system, PA, mixer, instrument amp, etc. 2. Turn down the D4s front panel volume control. 3. Connect the D4s Main stereo outputs to a suitable stereo monitoring system or mixer. 4. The D4s Aux jacks can provide additional outputs for selected drums. To use these optional outputs, patch them into your monitoring system or mixer. 5. To monitor via headphones, plug them into the front panel Phones jack. If you monitor only through headphones, it is not necessary to hook up the Main and/or Aux outputs.
Note: The front panel volume control simultaneously sets the level of the Main, Aux, and Headphone ouputs.
1.2C Hook Up MIDI (rear panel)
MIDI commands can trigger the D4s drum sounds, select different Drum Sets, and control the overall level.
1. Connect the MIDI Out from the source of MIDI data (sequencer, MIDI drum pads, trigger-to-MIDI converter, keyboard, etc.) to the D4s rear panel MIDI In. 2. To distribute the MIDI signal present at the D4s MIDI In to other units, connect the D4s MIDI Out/Thru to the other units MIDI In. MIDI Out has other applications, as described in section 4.2.

1.2D Hook Up External Triggers (rear panel)
The D4s drum sounds can be triggered by non-MIDI electronic drum pads, audio signals from tape, drum sounds from other drum machines, etc.
1. If youre using a hi hat pad, connect its output to rear panel trigger input 1. 2. Connect up to 11 more pads to any of the remaining 11 rear panel trigger inputs.
1.2E Hook Up Power (rear panel)
1. Locate the AC adapter and check that the AC adapters INPUT spec (printed on the adapter label) uses the correct voltage for your part of the planet. 2. Insert the AC adapters smaller plug into the 9V AC Power jack on the D4s rear panel, and plug the AC adapter itself into a source of AC power. Use only the AC adapter supplied with the D4; use of any other AC adapter will void your warranty.
Note: To prolong the AC adapters life, unplug it when not in use (turning the D4s power switch to off is not sufficient to disconnect the AC adapter from AC power). Alesis recommends plugging your AC-powered devices into a switched barrier strip, so that turning off the barrier strip turns off power to your gear.

1.2F Turn On Power

1. Turn on the D4s front panel On/Off switch by pushing on it, then turn on your monitoring system. The D4s LCD should light to indicate that power is being received.
Caution: It is always good practice to keep your monitoring systems level all the way down until all units feeding it have been turned on. Although the D4 doesnt make noise on power-up or power-down, other units may not operate in an equally polite manner.
2. Turn up the D4s front panel volume control about halfway. Turn up the monitoring systems volume control to a low level to prevent blasting your amp and speakers. After the D4 starts making sounds, adjust the monitoring system levels for a comfortable listening level.

1.2G Select Drum Sets

1. After turning on power, the LCD will show a sign-on message. If the LCD does not light, check your power connections. 2. Press the Drum Set button; its LED will light. The LCD will show a Drum Set number on the upper line and the Drum Sets name on the lower line (similar to the example below).

NOTE: It is important to note that your MIDI controller (keyboard or drum pad controller) must have its MIDI note numbers assigned to the corresponding set of note numbers which you have selected for the D4. You now know how to select Drum Sets, Banks, and individual sounds, as well as how to assign sounds to MIDI notes. However, there is much more to the D4. The next part describes all of the D4s editing features in detail. Please read the entire manual at some point to understand the D4s many capabilities.
1.3 BASICS AND DEFINITIONS

1.3A The Voice

Each time the D4 receives a MIDI or acoustic trigger, it plays a voice. A voice is a sound-generating element with several variable parameters: Drum sound, tuning, volume, output assignment (the voices audio output can go to either one of two sets of stereo outputs), panning (the voices audio output can be positioned at any of the seven positions available within the stereo field of the chosen set of outputs), and MIDI note number. Each voice is velocity-sensitive: the harder you hit a drum pad (or the Preview button) or the higher the velocity value of the MIDI trigger, the louder the drum sound assigned to the pad will play. Thanks to the Dynamic Articulation techniques mentioned earlier, the timbre (tonal content) and pitch will often change as well, just like real drums.
1.3B About the Edit Buffer
Whenever you select a Drum Set, all parameters associated with the Drum Set load into a temporary memory buffer. As you edit the Drum Set, changes are made to this temporary version rather than the original Drum Set. This is important for two reasons: If you dont like the results of your edit, you can always revert to the original Drum Set. If you do like the results of your edit, you must save the buffers contents. It can overwrite the original Drum Set data, or be written to a different Drum Set.
If you select another Drum Set, the data in the edit buffer will be overwritten with the newly-selected Drum Sets parameters.

1.3C About Defaults

A default is a setting that is automatically assumed until you purposely change it. Example: When you turn on a VCR, it automatically defaults to Stopyou have to purposely tell the machine to go into Record or Play. Stop is therefore the VCRs power-up default status. The D4 includes several default settings. Example: If you want to save a Drum Set, the D4 will default to saving it to its existing memory slot. However, if desired you can save to another location in memory. Defaults save time by giving you a setup thats instantly ready to go; sometimes youll need to change only a few parameters to modify the default setup to your liking. Often the default is whatever was selected last. Example: If the D4 was set to Drum Set 14 just before you shut off power, upon power-up the D4 will return to Drum Set 14.

1.3D MIDI Note Range

The D4s sounds can be assigned to any note within a 5-octave (61 note) range, from MIDI note 36 to 96. However, this range may be shifted using the Root Note feature (section 4.1). For example, the bottom root note could be shifted to MIDI note 0, in which case the highest note would be five octaves above that, or MIDI note 60. Shifting the root note to the highest possible value, 67, means that the highest note will end up on MIDI note 127.
Alesis D4 Trigger / Note Relationship

External Triggers

Programmable Drumset trigger note number assignments (any trigger may be assigned any note number within the 61 note window)

MIDI IN DATA

000 C-2

036 CNote Window

096 C6

127 G8

Programmable Drumset Rootnote
Note Data to Sound Generator
1.4 ABOUT THE USER INTERFACE
The D4 is very easy to edit. The various buttons are organized as follows.
Store Volume Data Wheel Preview Voice Note Chase Tune Mix Power Output

Headphone Jack

Display

Cursor Buttons

External Trigger Drum Set Group

1.4A Function Buttons

The eight Function buttons select eight different groups of parameters, as shown on the LCD. Pushing a Function button lights its associated LED and deselects any previously-selected Function button (its LED goes out). The functions are:
Voice Chooses the drum sound to be edited and/or assigned. Tune Sets the drum sounds tuning. Mix Sets the drum sounds Volume and Pan parameters. Output Selects one of the two sets of stereo outputs. Drum Set Selects one of the 21 Drum Sets. Ext Trig Determines which trigger inputs will trigger which drums, and sets up trigger input response for the most reliable triggering. Group Determines how a drum sound (or group of drum sounds) will respond to successive series of triggers. MIDI Edits D4 MIDI parameters.

1.4B Cursor Buttons

Upon selecting a function, the LCD will show one or more editable parameters. A cursor (underline) will appear under whichever parameter is ready to be edited. You can select a different parameter to be edited by pressing the appropriate cursor button (see next paragraph) until the selected parameter is underlined. Pressing the > cursor button moves the cursor from left to right, or from the top line to the bottom line. Pressing the < cursor button moves the cursor from right to left, or from the bottom line to the top line.

3.1 VOICE

Press Voice, and the LCD shows the selected MIDI note number on the top line and two parameters, drum Bank and Drum Sound, on the bottom line. Example: NOTE: 054 F#2 Kik/01: Big "O" To select a drum Bank, place the cursor under the drum Bank name and turn the Data wheel. Bank options are:
To select a drum sound within the Bank, place the cursor under the drum sound and turn the Data wheel. The accompanying chart included with the D4 shows the names of all available drum sounds.

3.2 TUNE

Press Tune, and the LCD shows the selected MIDI note number on the top line and the Pitch on the bottom line. Example: NOTE: 054 F#2 PITCH: +0.00 To change the pitch one semitone at a time, place the cursor under the units (leftmost) digit and turn the Data wheel. To change the pitch one cent at a time, place the cursor under the tens (middle) digit and turn the Data wheel. The range is from +3.00 (most sharp) to 0 (normal pitch) to -4.00 (most flat).

3.3 MIX

Press Mix, and the LCD shows the selected MIDI note number on the top line and two parameters, Volume and Pan, on the bottom line. Example: NOTE: 054 F#2 VOL: 90 PAN <> To change the Volume, place the cursor under the Vol value and turn the Data wheel. Values are variable from 00 to 99. The D4 has two pairs of stereo outputs. Drum sounds can be assigned to either pair of outputs as described in section 3.4, and placed anywhere within the stereo field of the assigned outputs via the pan function. To change a drums panning (position in the stereo field), place the cursor under the Pan value and turn the Data wheel. The seven available pan positions correspond to the number shown in parentheses: hard left (1), soft left (2), left of center (3), center (4), right of center (5), soft right (6), and hard right (7). Note: When heard from the drummers perspective, the high-hat will usually be on the left, snare and kick in the center, and toms trailing from left-center to right. Of course, one of the advantages of electronic drum sets is that you need not follow any standard way of placing drum sounds in the stereo field.

3.4 OUTPUT

Press Output, and the LCD shows the selected MIDI note number on the top line and the drums Output assignment on the bottom line. Example:
NOTE: 054 F#2 OUTPUT: MAIN To change the output assignment, turn the Data wheel. To send the drum sound to the Main outputs, select Main. To send the drum sound to the Aux outputs, select Aux. Having two stereo output pairs allows for several options. Stereo with Fixed Placement: Plug the left Main output into the left channel of your amp (or mixer), and the right Main output into the right channel. The default voice mix for the preset Drum Sets pans the drums between the Main output jacks in a way that works well for most applications. Stereo with Variable Placement: Plug the left Main output into the left channel of your amp (or mixer), and the right Main output into the right channel. Pan the Drum Set drums between the Main output jacks as desired. Stereo with Individual Outputs: This requires a stereo mixer with at least four channels, and provides individual outputs for any two drum voices. Plug the left Main out into a mixer channel panned fully to the left. Plug the right Main out into a mixer channel panned fully to the right. Plug the left Aux output into a third channel (panned to center for now) and the right Aux output into a fourth channel (also panned to center for now). Decide which two voices should be individual voices, such as kick and snare; assign these to the Aux outputs, and all other drums (panned as desired) to the Main outputs. Pan the kick full left and the snare full right. Thus, the kick will appear in the left aux output, and the snare will appear in the right aux output. These outputs can feed different signal processors and then be sent to a mixing board. Make sure that the drums selected for individual outputs are panned to the extreme left or right in the D4. Otherwise, some of the sound from one drum will leak into the other output. Separate Percussion/Drum Outputs: Standard drum kit sounds can be spread in stereo and assigned to the main outputs, with percussion sounds spread in stereo and assigned to the Aux outputs. Run the outputs to a mixing console, and you can treat the drum kit and percussion sounds as two submixes. This technique might also be useful if youre recording the part on tape; feed the drums to two tape tracks, and the percussion to two other tracks. Adjust the balance between the two in the mix, or fade the percussion in and out independently of the trap drum sounds. Or, process the two groups individually.

1. The top line of the second page shows the channel status. Example:

CHANNEL: OMNI THRU: OFF

2. Make sure the cursor is set under the channel status. 3. Turn the Data wheel to select Omni or one of the 16 channels (selecting a single channel automatically puts the D4 in Poly mode).
4.2 MIDI THRU/OUT SELECTION
When on, this function passes data appearing at the MIDI In to the MIDI Out/Thru jack as well as to the D4s internal circuitry. This input data is merged with any data being generated by the D4. Example: If the D4 is being used for trigger-to-MIDI conversion and Thru is on, the notes generated by the triggers will be merged with the data appearing at the MIDI In jack. When off, the MIDI Out/Thru jack serves as a MIDI Out only from the D4. Input data present at the D4s MIDI In is not passed through.
1. The bottom line of the second page shows the Thru status. Example:
2. Place the cursor under the Thru status. 3. Turn the Data wheel to select Off (Out/Thru acts as a MIDI Out jack) or On (Out/Thru acts as a MIDI Thru jack).
4.3 PROGRAM CHANGE ENABLE
Program Change commands can change Drum Sets at any time, including while the D4 is playing. A Program Change Table (section 4.5) determines which Drum Set will be called up in response to a particular Program Change number. The default is Program Changes 00-20 call up Drum Sets 00-20; so do Program Changes 21-41, 42-62, 63-83, 84-104, and 105 to 125. 126 calls up Drum Set 00, and 127 calls up Drum Set 01. Caution: Some MIDI devices number Program Changes as 1-128, others as 0-127, and some as banks of programs. Use the Program Change Table to compensate for these differences.
1. The top line of the third page shows the Program Change status. Example:
PROG CHANGE: ON CONTROLLERS: ON
2. Make sure the cursor is under the Program Change status. 3. Use the Data wheel to select a status of On (the D4 selects Drum Sets when it receives Program Change commands) or Off (the D4 ignores Program Change commands). Note that even with status set to On, you can still select Drum Sets manually at any time.

4.4 CONTROLLER ENABLE

The D4 can respond to several standardized MIDI controllers appearing at the D4s MIDI In jack:
6 Data Slider (0-127) This allows an external data slider assigned to controller 6 to vary values, just as if you were using the Data wheel. Main Volume (0-127) Controller 7 messages set the D4s master volume. Note that this is independent of velocity settings. With many D4 sounds, velocity affects the sounds timbre, so lowering velocity to change the level may affect the timbre. Controller 7 messages alter the overall volume of the entire kit without affecting any sounds timbre. Data Increment (0 or 127) Send any value for this controller and the currently-selected parameters value will increment by one. Data Decrement (0 or 127) Send any value for this controller and the currently-selected parameters value will decrement by one. Non-Registered Parameter MSB (0-127) This allows for remote control editing of virtually all parameters via continuous controller messages. The controller value selects the parameter to be edited. The data entry slider can then change the parameters value. The controller/data slider messages can be recorded into a sequencer to allow for complex, sequenced parameter control.

Non-Registered Parameter LSB (0-127) This works similarly to controller 98 but the controller value selects the Least Significant Byte of the parameter to be controlled. Reset All Controllers (0) Any value sent for this controller resets volume to maximum, pitch bend to zero, and restores all non-registered parameters to their default values. Pitch Bend Sending a pitch bend command prior to triggering a note or group of notes will change the pitch of the notes being triggered. Pitch bend messages sent while a drum sound is playing have no effect on the sound. The amount of pitch bend range depends on the sound youve called up, and can deviate by more than the amount allowed by the tuning function.
1. The bottom line of the third page shows the Controllers status. Example:
2. Make sure the cursor is under the Controllers status.
3. Use the Data wheel to select a status of On (the D4 responds to controller messages) or Off (the D4 ignores controller messages).

4.5 PROGRAM CHANGE TABLE

1. The fourth MIDI page shows the Program Table. Example:
PROGRAM TABLE 000 = 00 The lower left, three-digit number represents the incoming Program Change number. The lower right, two-digit number represents the D4 Drum Set that will be selected in response to the displayed Program Change number. To edit the Program Change table:
1. Place the cursor under the incoming (left) MIDI Program Change number. 2. Use the Data wheel to select the desired Program Change number. 3. Press the > cursor button to move the cursor under the D4 Drum Set number (right). 4. Use the Data wheel to select the desired Drum Set to be called up in response to the specified Program Change number. 5. Repeat steps 1-4 until the table is edited as desired.

4.6 SAVE DATA VIA MIDI

The D4s memory requires power to save data, so when the power switch is off, the memorys contents are normally backed up with an internal battery. However, it is vitally important to back up whats in the D4s memory! A mechanical problem (surge on the power line, a quick zap of static electricity) or operator error could alter the data in memory. Save your data whenever youve done enough work on something that you wouldnt want to lose that work. If possible, make two backups, and store the second backup in a different physical location from the primary backup. The D4 converts its program data into a special type of MIDI data, called System Exclusive or sys ex data, that can be sent over MIDI. This data can go to another D4 or to a MIDI system exclusive storage device, such as the Alesis DataDisk, a computer running System Exclusive storage software, or a musical instrument capable of recording System Exclusive data. Either way, your data is backed up. To allow for running several D4s in the same MIDI setup, System Exclusive data is channelized. In other words, if you save the data over channel 1 to a DataDisk, when you read back data from the DataDisk the D4 must be set to channel 1 (or Omni,

About Trigger Parameters

The D4 now offers five user controllable trigger parameters. These are:
VCURVE. This represents the velocity curve, or the sensitivity of the trigger input. There are eight separate curve tables, 0 through 7. Using these settings it is possible to adjust the D4s' triggers to accompany a wide variety of playing styles, and to help compensate for sensitivity variances between different brands of drum pads and triggers.
The lower the setting, the less sensitive the velocity curve and the higher the setting, the more sensitive. For example, a pad using a setting of 7 will reach a MIDI velocity of 127 with just a moderate strike. For a pad whose VCURVE setting is 1, only a very hard hit would generate such a velocity. For average type of play (striking pads with velocities ranging from very soft to very hard) the default setting of 4 is ideal in achieving the full range of sensitivity which corresponds to MIDI velocities of 1 through 127. Note: Curve 0 is named "Unassigned". The function of this curve is explained fully in section 5.2 "Trigger Velocity Section".
XTALK. (Crosstalk). Sometimes hitting one pad will cause a nearby pad to false trigger or "crosstalk". This is generally due to stand vibrations which can affect the other pads. These vibrations send signals to the nearby pads which can cause false triggering. The XTALK adjustment acts as a suppression control.
A higher value adjustment equals greater suppression of the signal, a lower value equals less suppression. Therefore, the higher the value setting, the less likely the nearby pad (or drum) will trigger from stand or head vibrations. This is how it works: First, you strike a pad and the D4 triggers its sound. Shortly after this hit the D4 receives a secondary, "softer" signal from a nearby pad. Before the D4 will play this softer signal, it will scan the other inputs to determine whether this was a legitimate hit, or simply a vibration from a stand or head. It does this by comparing the level of this soft signal with the threshold level set in the XTALK parameter. If this secondary signal level is greater than the allowable threshold level, the D4 will trigger its sound. If the signal is less than the allowable threshold level, the D4 will ignore it. By adjusting the crosstalk level to a higher value, you set a higher threshold for the signal to exceed, and reduce the ability of a pad (drum) to crosstalk. The following chart shows a scenario with a properly adjusted XTALK level.
This chart represents three signals which are "seen" by the D4. Signal 1 is a legitimate hit from the snare pad. Signal 2 is the Tom 1 pad, but it is not a hit. It is the pad being triggered by stand vibrations from the first snare hit. Signal 3 is a second "real" hit from the snare pad. As you can see the XTALK threshold is set at a value of 30 (represented by the dotted line). The two snare hits (signals 1 and 3) both register well above the XTALK threshold. However, the tom (signal 2) registers too soft (at 20), and is correctly ignored by the D4. If the XTALK level had been set at an improper value (in this case lower than 20), signal 2 would exceed the XTALK threshold, and the D4 would have triggered the sound. This illustrates how proper adjustment of the XTALK parameter will result in the elimination of this "interaction" between the pads.

3. Go to the next page and set the XTALK, DCAY and NOISE levels all to 00. This low level will allow the maximum signal to be detected by the D4. 4. Press the EXT TRIG button again to get to the GAIN page. Using the bar graph meter, adjust the level according to the severety of the false triggering. If notes are constantly triggering, use a high gain. If only occasional, select a lower level.
Note: The peak level indicator (a period) explained in section 5.7 will not appear next to the value when in the Unassigned mode.
5. Now when the D4 receives a signal (from the tom 1 pad) which was generated by the string pop from the bass, not only will it compare this signal to the other drum pads, it will also compare it to the bass. In essence, the D4 isolates the bass from the noise floor and "thinks" the bass is a another drum pad. It will now treat it the same as any other pad and "filter" out the unwanted signals.
Note: Note Chase will not follow any trigger that has been set to Unassigned. To view an Unassigned triggers VU-style bar graph meter in order to adjust gain (section 5.7s), use the Data wheel to select the corresponding trigger input (section 5.0).
5.3 TRIGGER PARAMETER SELECTION
To compensate for differences in transducer outputs, the crosstalk, decay time, and noise floor level for each trigger can be set independently. These are Global settings that apply to all Drum Sets.
1. The second Ext Trig page shows four parameters. Example:
TRIG:02 XTALK:30 DCAY:10 NOISE:00 As with the other screens, the cursor buttons move between the three parameters.
5.4 TRIGGER CROSSTALK SELECTION
If several pads are mounted on one stand or rack it is possible to experience interaction or "crosstalk" problems. Adjustment of the XTALK parameter makes it possible to resolve these problems. Note: In configurations where some pads are individually mounted, the default setting of 30 may be sufficient, making it unnecessary to adjust this parameter. In that case, skip this section and go on to 5.5 DCAY Control Selection.
1. After selecting the desired Trigger place the cursor under the XTALK parameter. Example:
TRIG:03 XTALK:30 DCAY:10 NOISE:00
2. Turn the Data wheel to select the desired level of crosstalk suppression necessary to stop the problem pad from triggering. (00 is minimum, 99 maximum) This level will depend entirely on your current pad or drum configuration. Remember: When experiencing an interaction problem, the trigger that needs adjustment is the pad that is false triggering, not the pad being struck. One easy way to remedy an interaction problem is to "silence" the pad(s) which are not "false triggering".

5.8 FOOTSWITCH MODE

There are two footswitch options, Hi Hat Pedal (which lets a footswitch act like a hi hat pedal) and Drumset Advance (pressing the footswitch increments the Drum Set to the next higher number; past 20, it wraps around to 00 again). You can use either a normally closed or normally open momentary contact footswitch. Plug it in to the rear panel footswitch jack before powering up the D4; on power up, it will automatically sense the footswitch polarity and calibrate itself accordingly. If your footswitch seems to respond backwards, turn off the D4, make sure the footswitch plug is fully inserted into the footswitch jack, then turn power back on.
1. Select the fourth Trigger page, which shows:
FOOTSWITCH MODE: HI HAT PEDAL
2. Use the Data wheel to select the desired footswitch function. 3. When Hi Hat Pedal mode is selected, the External Trigger has two more pages. The fifth Trigger page shows the MIDI note number that the footswitch will trigger when it is pressed. 4. The sixth Trigger page shows the MIDI note number that Trigger Input #1 will play when that pad is hit while the footswitch is held closed.
5.8A Understanding Hi Hat Pedal Mode
This is a feature for hardcore drummers. Its a little complicated, but hang in there the D4 finally gives you a way to get truly realistic hi hat effects with electronic drums. An acoustic hi hat produces three main types of sound: Open hi hat. The pedal is up so that the upper and lower cymbals do not touch. Striking the upper cymbal causes it to ring until it is struck again, or until the pedal begins closing. Foot closed hi hat. This is the sound generated by pushing down on the pedal; it is not initiated by hitting the hi hat with a drum stick, but by the sound of the upper cymbal striking the lower one. Closed hi hat. Once the hats are closed (pedal down), then striking the upper cymbal with the drumstick produces the closed hi hat sound.
To replicate these individual effects:
1. Patch a drum pad (the hi hat striking surface) into D4 Trigger input 1 and a footswitch (for opening and closing the hi hat) into the footswitch input. Hi Hat Pedal must be selected for the footswitch mode. 2. If it isn't assigned already, assign an open hi hat sound to the note triggered by Trigger Input 1. 3. Press the EXTERNAL TRIG button until the display shows the Footswitch Closing note. This is the note that will be played when the footswitch is pressed. If it hasn't been assigned already, assign a closing hi hat sound to this note. This will give the hi hat a realistic closing sound, as opposed to an abrupt switch from an open sound to a closed sound.

machines) can often transmit and/or receive additional MIDI timing messages that keep other rhythmically-oriented units in a system synchronized with each other. An optional MIDI Thru jack provides a duplicate of the signal at the MIDI In jack. This is handy if you want to route MIDI data appearing at one device to another device as well. Some devices, like the D4, switch their MIDI Out between the Out and Thru functions. Example: Suppose a keyboards MIDI Out feeds the D4s MIDI In. If the D4s MIDI Out is set to function as a Thru jack, you could patch it to the input of an MMT-8 sequencer. Thus, the keyboard would control the D4 and be able to record data into the sequencer. Note that any notes generated by the D4 would be recorded into the sequencer as well.

6.2 MIDI MESSAGE BASICS

The are two main types of MIDI messages. Channel messages, which are channelspecific, 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.

6.3 CHANNEL MESSAGES

6.3A Voice Messages
A synthesizers voice is the most basic unit of sound generation. Usually, each voice plays one note at a time, so the number of notes you can play at one time will be limited by the available number of voices. MIDI messages that affect voices include:
Note On Corresponds to a key being pressed down; values range from 000 (lowest note) to 127 (highest note). Middle C is 60. Note Off Corresponds to a key being released; values are the same as note on. Velocity Corresponds to dynamics; values range from 001 (minimum velocity) to 127 (maximum velocity). A velocity of 000 is equivalent to a note-off message. Pressure Indicates the pressure applied to a keyboard after pressing a key. Program Change Sending a Program Change command from a sequencer or other MIDI keyboard can change synth patches automatically. There are 128 Program Change command numbers.
Also note that not all units number programs consistently. Some number them as 000-127, others as 001-128, and still others arrange programs in banks of 8 programs (such as A1-A8, B1-B8, C1-C8, etc.).

Continue Unlike a Start command, which re-starts a sequencer or drum machine from the beginning of a song each time it occurs, sending a continue message after stop will re-start units from where they were stopped.

6.5 BOOKS ON MIDI

The preceding does not substitute for reading a good book on the subject of MIDI. For further information, refer to the following: MIDI For Musicians and The Electronic Musicians Dictionary by Craig Anderton; AMSCO Publications. The former was written specifically for musicians with no background in MIDI, and the latter defines terms related to musical electronics. Music Through MIDI by Michael Boom; Microsoft Press. An excellent text for those just getting started with MIDI, synthesis, and related topics. The Murphys Law MIDI Book by Jeff Burger; Alexander Publishing. Emphasizes applications and problem-solving. Using MIDI by Helen Casabona and David Frederick; Alfred Publishing. A general guide to MIDI with an emphasis on applications. Understanding MIDI and Understanding MIDI 2 by various authors; Amordian Press. A collection of MIDI-oriented articles from Musician magazine. Descubriendo MIDI by Jos Valenzuela; Alesis Publishing. A thorough overview of MIDI in Spanish, suitable for beginners and/or advanced users.

6.6 VIDEOS ON MIDI

The Basics Of MIDI featuring Craig Anderton with Steve Smythe; Alesis Publishing. An overview of the concepts and applications of the MIDI interface. Available through Alesis Command Performance Accessory Collection.

ALESIS D4/DM5 Drum Modules Service Manual V1.00 10/17/95
Alesis D4/D5 Drum Modules Service Manual

02/19/03

PREFACE
This document is intended to assist the service technician in the operation, maintenance and repair of the D4/DM5 Drum Modules. Together with the D4 and DM5 Reference Manuals, this document provides a complete description of the functionality and serviceability of the D4 and DM5. Any comments or suggestions you may have pertaining to the document are welcome and encouraged.

WARNINGS

TO REDUCE THE RISK OF ELECTRIC SHOCK OR FIRE, DO NOT EXPOSE THIS PRODUCT TO WATER OR MOISTURE.

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
The arrowhead symbol on a lightning flash inside a triangle is intended to alert the user to the presence of un-insulated "dangerous voltage" within the enclosed product which may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point inside a triangle is intended to alert the user to the presence of important operating, maintenance and servicing instructions in the literature which accompanies the product. REPAIR BY ANY PERSON OR ENTITY OTHER THAN AN AUTHORIZED ALESIS SERVICE CENTER WILL VOID THE ALESIS WARRANTY. PROVISION OF THIS MANUAL DOES NOT AUTHORIZE THE RECIPIENT TO COMPETE WITH ANY ALESIS DISTRIBUTOR OR AUTHORIZED REPAIR SERVICE CENTER IN THE PROVISION OF REPAIR SERVICES OR TO BE OR MAKE REPAIRS AS AN AUTHORIZED SERVICE CENTER. ALL REPAIRS DONE BY ANY ENTITY OTHER THAN AN AUTHORIZED ALESIS SERVICE CENTER SHALL BE SOLELY THE RESPONSIBILITY OF THAT ENTITY, AND ALESIS SHALL HAVE NO LIABILITY TO THAT ENTITY OR TO ANY OTHER PARTY FOR ANY REPAIRS BY THAT ENTITY.

SAFETY SUGGESTIONS

Carefully read the applicable items of the operating instructions and these safety suggestions before using this product. Use extra care to follow the warnings written on the product itself and in the operating instructions. Keep the operating instructions and safety suggestions for reference in the future.
1. 2. 3. 4. 5. 6. 7. 8. Power Source. The product should only be connected to a power supply which is described either in the operating instructions or in markings on the product. Power Cord Protection. AC power supply cords should be placed such that no one is likely to step on the cords and such that nothing will be placed on or against them. Periods of Non-use. If the product is not used for any significant period of time, the product's AC power supply cord should be unplugged from the AC outlet. Foreign Objects and Liquids. Take care not to allow liquids to spill or objects to fall into any openings of the product. Water or Moisture. The product should not be used near any water or in moisture. Heat. Do not place the product near heat sources such as stoves, heat registers, radiators or other heat producing equipment. Ventilation. When installing the product, make sure that the product has adequate ventilation. Improperly ventilating the product may cause overheating, which may damage the product. Mounting. The product should only be used with a rack which the manufacturer recommends. The combination of the product and rack should be moved carefully. Quick movements, excessive force or uneven surfaces may overturn the combination which may damage the product and rack combination. Cleaning. The product should only be cleaned as the manufacturer recommends. Service. The user should only attempt the limited service or upkeep specifically described in the operating instructions for the user. For any other service required, the product should be taken to an authorized service center as described in the operating instructions. Damage to the Product. Qualified service personnel should service the unit in certain situations including without limitation when: a. Liquid has spilled or objects have fallen into the product, b. The product is exposed to water or excessive moisture, c. The AC power supply plug or cord is damaged, d. The product shows an inappropriate change in performance or does not operate normally, or e. The enclosure of the product has been damaged.

As mentioned before, the reset circuit is extremely important to battery backup. While covered more extensively in later sections, it should be noted here that it ties into backup system at the SRAM's chip enable line (pin 20) via Q4, and ensures that all access to the SRAM is shut off during power up, and power down. In the case of the D5, reset is tied in through the D56IFT ASIC and Q5. Any time any part of the backup circuit (including the SRAM) is changed, battery current should be checked. This is accomplished by measuring the voltage across R38 {R92}. Specification for this is 1mV<VR76<8mV. Most units are in the range of 1mV to 2mV. Values outside of the normal range usually indicate a problem, and should be troubleshot. 2.20 PUP Circuit The PUP (quiet Power UP) circuit is designed to prevent the unit from making noise during power up. The circuit utilizes the RESET line (section 3.11) to control the power supply lines to U42 {U2}, which is the final active stage before the outputs. The circuit essentially consists of a switchable regulator. Q12 {Q2} and Q14 {Q4} regulate the + and - analog supplies respectively. Q10, Q11, and Q13 {Q1, Q3} are used to switch the regulating transistors on and off depending on the state of the RESET line.
3.00 Digital Signal Paths
3.10 The 8031 The 8031 MPU is the heart of the D4/D5's control section. It handles everything from keypad input and MIDI I/O, to triggers. Note that the 8031 data buss serves a dual purpose. This buss multiplexes between low order addresses (1st 8 bits), and data. Latch U4 {internal to 56IFT ASIC} is used to hold the low order address half, during 8031 read and write cycles. The (U5) {U15} is used to hold 8031 program information. The SRAM (U6) {U16} holds system variables, as well as user parameter data. Z1 {Z1} provides the 12MHz 8031 clock. MIDI I/O is handled through the 8031's built in RXD (Read Serial Data), and TXD (Transmit Serial Data) ports. Piezo input is handled through the regular 8031 I/O ports. Keypad decoding, DM3AG ASIC control, and LCD output are handled through memory mapped I/O (see section 3.12). 3.11 Reset The reset circuit is perhaps the most singly important circuit in the D4/D5. Failures in the reset circuit can cause symptoms ranging from loss of battery backup to a complete machine lock up. The circuit utilizes the positive raw supply voltage to determine when the supply voltage is high enough for the regulators to function properly. Diagram Error! Bookmark not defined. shows the sequence of events during power up. When the raw Diagram 3 supply voltage reaches approximately 7.2V, Q1 {Q11} switches on, pulling the base of Q2 {Q7} low and shutting it off. This allows C32 {C106} to charge via R23 {R126}. Once C32 {C106} reaches roughly 3V, U7 {U27A} (pins 10 and 11) switches states, Alesis D4/D5 Drum Modules Service Manual 3 02/19/03

4.00 Analog Signal Paths

4.10 D4 Audio Output Output from the DAC is routed to the four individual output (Main and Aux, Left and Right) by an analog switch (U39). Output selection is controlled directly by the DM3AG ASIC. Each output section consists of an output sample capacitor (C96-C99), and a buffer/anti aliasing filter amplifier (U42, associated resistors and capacitors). 4.11 D4 Headphone Output The left and right headphone outputs are a sum of the main and aux outputs sent though a pair of X10 inverting amplifiers. The output impedance is fixed by the sum of the op-amps output impedance, and R141/R142 in parallel with C34/C35, at roughly 150. This makes the headphone outs more compatible with 600 pro headphones than the 8 consumer variety. 4.20 D5 Audio Output The outputs of the '4319 DACs are buffered and low pass filtered by U2 (and surrounding resistors and capacitors) before being routed to the outputs via A.C. coupling capacitors {C11, C3, C35, C31}. Note that only the main outs run through the volume potentiometer just before being sent to the outputs. Output impedances are fixed at roughly 300. C1, C2, C29, and C30 provide R.F. filtering at the outputs.
4.21 D5 Headphone Output Headphone outputs are taken from the main out lines after the volume potentiometer. These signal are passed through a gain stage (approximately X10) consisting of U5 and it's associated circuitry. The signal is R.F. filtered {C42, C43} before passing on to the output jack. Note that supply lines to U5 are taken from the raw +/-12V. This is to provide the maximum possible amount of headroom to this output. A lower output impedance than the D4 provides for a little extra current when using 8 "consumer" headphones. 4.30 Trigger Inputs The trigger input circuitry is much simpler than it might first appear. Note that due to the fact that the trigger inputs are the same, only "typical" designations appear on the D4 schematic. A chart of actual part designations appears below the trigger input circuit on the schematic. The input from JT1 is noise filtered by CT0 and CT1. The two sections of an LM339 act as a differential buffer amplifier, providing isolation for the input signal. CT2 provides further filtering and smoothing. The signal is then sent to the analog switches U22 {U11} (trigger ins 1-6) and U23 {U13} (trigger ins 7-12) where it is multiplexed with the other trigger inputs before analog to digital conversion. Trigger input selection is handled by the 8031 via memory mapped I/O (see section 3.12) latch U10 {U20} (TRG A0-TRG A4). The D5s trigger input circuitry is virtually identical to that of the D4. Note that on the D5 schematics all triggers are shown separately. 4.30 Analog-Digital Conversion Successive approximation is an empirical approach to the process of analog to digital conversion. The idea is to divide the process into short, manageable sections. Each significant binary weight (starting with the Most Significant Bit) is taken in turn, thus requiring only 8 comparisons to achieve a final value. U2 {U18} is used to buffer the 8031 output ports. These signal are summed through the binary weighted resistor network consisting of R1-R5 and the resistor SIP R7 {R104-R114, R137}. This signal is compared to the filtered and shaped trigger input signal. The result of this comparison is sent back to the 8031. Once the 8031 has obtained a value for all 8 bits, it stores the final result in memory for further processing, and continues with the next trigger input. Note that when the 8031 examines the states of the trigger inputs, it doesn't use a specific amplitude to trigger on, rather it looks for a large change in amplitude over a short period of time. This helps to prevent false triggering from the other drums in the kit.

fails, the D5 will display "Failed MIDI I/O!" and won't exit the test. In this case, the user must press OUTPUT to exit. 7. Output Test. This tests the four output channels by playing a trio of drum sounds through them. Pressing the STORE button starts the test. It starts with the Main Left channel. Pressing the OUTPUT button cycles through the Main and Aux channels, and then exits the test. 8. Trigger Test. This tests the twelve trigger inputs by playing a sound through the MAIN LEFT output, and triggering a trigger input. A cable must be connected from the MAIN LEFT output to one of the 12 Trigger Inputs, in order from 1 to 12 Pressing the STORE button starts the test. Once the test has been started, connect a cable from the MAIN LEFT output to the Trigger 1 input ONLY! Do NOT connect the output to all 12 triggers simultaneously! When the test has started, the LCD will display the message, "Testing Trig 1". At this point, plug the cable from the MAIN LEFT output into Trigger Input 1. Soon after, the display should change to "Testing Trig 2". If the display does not change, or displays the message "Fail Trig 1", then the test has failed for this trigger input. Pressing the OUTPUT will skip to the next trigger if an error occurs. Once the display shows "Testing Trig 2", unplug the cable from the Trigger 1 input, and plug it into the Trigger 2 input. The display should then show "Testing Trig 3". Repeat the process until all 12 triggers have been tested. 5.30 Further Testing Because of the extensive self test capabilities of the D4/D5 very little extra testing is necessary. It is always a wise policy to listen to the unit (both through the headphones and via the main and aux outs) for any signs of distortion. Trigger inputs can be tested using a piezo element (such as the type commonly used for establishing front panel velocity) wired to a 1/4" jack. MIDI can be further tested using a sequencer or SYS-EX storage device (SYS-EX is probably more accurate as it allows data travel to be sent as well as received). As always, it is a good idea to shake the fully reassembled unit to ensure that no loose components are inside.

6.00 Updates and Corrections
6.10 D4 Updates Revision C and higher boards require no updates as of this manual release. The remainder of this section applies to all Revision A and B PCBs unless otherwise noted. Revision A PCBs will contain many odd jumpers. These were installed at the factory and should not be of too much concern to the technician. Revision A & early revision B PCBs have gray ribbon cables between the main and front panel PCBs. These were found to be unreliable and should be replaced with standard SIL cables (ALPARTNO 4-19-7511). These same PCBs will also have black headers where the gray cable attaches. These headers should also be replaced for the same reason. Add 20pF between left side of D3 and right side of R12. Note that this may already exist on the bottom of the board. This update filters out audio noise that occurs when the data wheel is in certain positions. R153 should be changed from 200k to 100k and the trimpot from 250k to 50k on revision A PCBs only (later revisions have already incorporated this change). This changes the range of the DAC adjust circuitry. On some early units the DAC may not be adjusted correctly due to the fact that the range is not large enough R9 should be changed to 100 from 470. This speeds up the response of the output sample and hold circuitry resulting in a timbrely brighter output.

7.00 Common Solutions

The following table presents solutions to the most common problems that we have seen. Please be aware that this does mean that every possible scenario is covered here. There is always the possibility that other "odd" failures may lead to the same symptom. This table should help about 90% of the time. NOTE: Due to the fact that the D5 has not been in the field long enough to establish a separate service history, a separate troubleshooting table will have to wait for future revisions of this manual. While the following applies specifically to the D4, it is likely that similar symptoms will lead to similar solutions in the D5.

Described Defect Unit Dead. Probable Cause Faulty power switch. Faulty D1. Faulty A.C. Adapter. C26 shorted. Faulty 7805 regulator. Faulty D1 or D2. Faulty 8031. Faulty SRAM. C32 leaking. (reset cap). Faulty D1 or D2. Faulty LCD. Faulty LCD Cable. Faulty D1.-This can be determined by checking the voltage at the cathode. If the peak voltage is less than 9V then the diode is defective. C32 (reset cap). Q3 or Q4 shorted. C33 shorted. Faulty SRAM. Dead Battery. Poor solder or missing component on D6. Crashed-(check MIDI and external trigger setups for missing pages). Faulty or wrong Q6-9. Faulty U21. Faulty 8031. Poor connection/bad cable at J5. Faulty D2. Faulty DAC. Faulty ASIC. Faulty PUP circuit. Faulty opto-isolator. Faulty 8031. Faulty U7. Faulty 8031. Faulty shaft encoder. Cable at J3 faulty or loose. J2 or J1 header backwards (up to rev Bs). Solution Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Troubleshoot and repair as necessary.

Unit locked up.

Only boxes in display.

Intermittent reset.

No battery backup.

Trigger failure.

Replace and retest. Troubleshoot and repair as necessary. Replace and retest. Replace and retest. Troubleshoot and repair as necessary. Troubleshoot and repair as necessary. Troubleshoot and repair as necessary. Troubleshoot and repair as necessary. Replace and retest. Replace and retest. Troubleshoot and repair as necessary. Replace and retest. Replace and retest. Replace and retest. Troubleshoot and repair as necessary. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Replace and retest. Troubleshoot and repair as necessary. Key towards front

Audio Distortion.

No MIDI In. No MIDI Out. Data wheel not working correctly. No button function/LEDs after repair.
All trademarks property of their respective companies.

8.00 Service Parts Lists

8.10 D4 Service Parts List
ASS ASS CAB CAB CAB CAB CAP CAP CER CER CER CER CER CER FIL HDR HDR HDR HDW HDW HDW HDW HDW HDW HDW IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC IC JAC JAC JAC JAC

DESCRIPTION

PCB, D4 MAIN ASSY PCB, D4 KEYPAD ASSY 14 PIN DIL 200mm 3 PIN SIL 175mm 3 PIN SIL 75mm 10 PIN SIL 75mm 0.47 MF ELEC 50V 2200 MF ELEC 16V 1000 PF CERDISC 0.01 MF CERDISC 0.1 MF CERDISC 150 PF CERDISC 20 PF CERDISC 5000 PF CERDISC 0.01 MF FILM 03 PIN SIL (SHROUDED) 10 PIN SIL (SHROUDED) 14 PIN DIL 6-32x1/4 PPB M3x7mm PHILSLOT 6-32x1/2 STANDOFF SOLDER LUG RETAINER STRIP 11x200mm FOAM STRIP 6.5x180mm FOAM STRIP 6.5x100mm 7805 +5 V REG TO-5 V REG TO220 74HC138 DEMUX 74HC153 DUAL 4-I/P MUX 74HC161 BINARY COUNTER 74HC541 OCTAL BUFFER 74HC573 3-STATE LATCH 74HC574 OCTAL FF 74HC04 HEX INVERTER 74HC74 DUAL D FF 8Kx8 SRAM 58128 27C512 EPROM 80C31 MPU TLOOP AMP NE5532N DUAL OP AMP LM311 ANALOG COMP LM339 QUAD COMP 4051 ANALOG SWITCH 4052 ANALOG SWITCH 6N138 OPTO ISO PCM54HP 16-BIT DAC MASK ROM D1 CHIP 1 MASK ROM D1 CHIP 2 MASK ROM D2 CHIP 1 MASK ROM D2 CHIP 2 MASK ROM D4-1 MASK ROM D4-2 DM3ET0 ASIC 5 PIN DIN JACK 1/4 CLIFF (MONO) 1/4 CLIFF (STER) 3.5mm BAR JACK (P3)

CAP 0.015uF 1206 ASIC DM3 ETO (SMD) IC 8K x 8 SRAM (LH5168N-10L) IC 80C31 PQFP SMD IC TL084 QUAD OPAMP SMD IC NE5532 DUAL OPAMP SMD IC AKM4319 DAC IC MASK ROM D5-1 IC MASK ROM D5-2 IC 74HC541 OCTAL BUFFER SM IC 74HC574 OCTAL D FF SMD IC 74HC14 HEX INVERTER IC LM311 ANALOG COMP SMD IC LM339 ANALOG COMP SMD IC CD4051 ANALOG MUX SMD DIODE SIGNAL 1N4148 SMD TRANS 2N4401 NPN SMD TRANS 2N4403 PNP SMD RES 1K OHM 1/8W 5% 1206 RES 10K OHM 1/8W 5% 1206 RES 100K OHM 1/8W 5% 1206 RES 1M OHM 1/8W 5% 1206 RES 120K 1/8W 1206 RES 2K OHM 1/8W 5% 1206 RES 20K OHM 1/8W 5% 1206 RES 200K OHM 1/8W 5% 1206 RES 220 OHM 1/8W 5% 1206 RES 2.2K OHM 1/8W 5% 1206 RES 22K OHM 1/8W 5% 1206 RES 2.7K OHM 1/8W 5% 1206 RES 39K OHM 1/8W 5% 1206 RES 390K OHM 1/8W 5% 1206 RES 47 OHM 1/8W 5% 1206 RES 470 OHM 1/8W 5% 1206 RES 4.7K OHM 1/8W 5% 1206 RES 5.1K OHM 1/8W 5% 1206 RES 51K OHM 1/8W 5% 1206 RES 820K 1/8W 1206 SOCKET 28-PIN DIP 0.6 SWITCH DPDT
C1, 2 U8 U16 U19 U2, 25 U5 U1, 3 U9 U7 U18, 22 U20, 26 U27 U24 U4,6,10,14,1721 U11, 13 D1-9 Q1, 4-12 Q2, 3 R6, 25-27, 84, 131, 135, 141 R5,19-23,39,40,44-46,52-57,62-64,66-69,71,72,75-77,79,81-83,87-90,92,95-99,101-103,129,133,146 R113, 130, 145 R91, 126 R132 R24, 28-30 R7,12,14,16,17,31,34,38,43,50,51,61,65,70,74,80,86,93,94,100 R112 R3,4,32,33,122-125,127,139,140,143,147,148 R138, 142 R104-109, 115-121, 137 R134 R8-11, 13, 15, 18, 35 R111 R48, 49 R47, 58-60, 78, 128 R1, 2, 36, 42, 85, 144 R136 R37, 41, 114 R110 SW1

9.00 D4 Software History

9.10 Version 1.01 9/15/91 First production release. Changed the offensive drumset names found in version 1.00. 9.20 Version 1.02 12/13/A triggering bug existed when using two or more drum pads that would cause a pad hit to be ignored when a neighboring pad had been struck hard immediately before it. This would usually occur on the second hit of a two pad flam, or on the first hit to a tom pad during a drum-roll on the snare. 2 The trigger TYPE parameter has been replaced with three new parameters. These are the crosstalk suppression parameter XTALK, the post-trigger decay/recovery time parameter DCAY, and the noise floor threshold parameter NOISE. To accommodate these new parameters, a new page has been added under the EXT TRIG functions. 3 The trigger inputs now have an adjustable VCURVE parameter on the first page under EXT TRIG. (Where TYPE was.) This parameter selects one of seven pad-force to midi velocity response curves to suit different playing techniques. 4 The diagnostics routine's ram test is now non-destructive.
5 The signal threshold for the diagnostics trigger self-test has been lowered to keep units from failing unnecessarily in repair. 6 The note number assignment of trigger 9 has been changed on most preset drumsets from 039 D#1 (handclap) to 057 A2 (crash cymbal 2). 7 The dynamic voice allocation scheme has been improved so that voice-stealing is less noticeable.

8 Any system exclusive messages received that included nested midi real-time messages (i.e. timing clocks, active sensing, start, stop, or continue) would cause the system exclusive data to be ignored and the SYSEX DATA ERROR message would be displayed. This has been fixed so that any nested realtime message are ignored, and the sysex data reception continues uninterrupted. 9 A new system exclusive message has been added (opcode 05H) to transmit and receive the new trigger parameters. The new sysex messages will allow version 1.01 software to upload trigger gains to version 1.02, but the trigger types will be ignored. Version 1.02 trigger parameters sent to a version 1.01 machine will be ignored completely. 10 The reception of a "System Info Request" system exclusive message (opcode 40H) would result in the transmission of the complete 25 packet system exclusive dump of the entire D4's memory. This has been changed so that only the System Info message packet is sent. 11 The system exclusive message that allows an external device to display characters on the LCD (opcode 04H) had a bug that would cause the SYSEX DATA ERROR message to be displayed instead. This now works properly. Alesis D4/D5 Drum Modules Service Manual 16 02/19/03
9.30 Version 1.03 1/2/A bug existed in the v1.02 voice allocation routine that would cause short sounds or individual samples within sounds to drop out or sputter until the machine was powered off. This is now fixed. 2 A bug existed (in v1.02 only) that could prevent the user from selecting a new trigger note number for triggers 3, 7, and 11. This is now fixed. 9.40 Version 1.04 3/19/A bug existed (in v1.03 only) that could crash the machine if a flurry of notes were sent to the D4 and if some of the voices assigned to those notes were set to SINGLE, GROUP1, or GROUP2 mode. This is now fixed. 2 The system exclusive receive routine has been modified so that the time out period used to detect unplugged midi cables and unfinished system exclusive messages is now 250mS instead of 80mS as in earlier versions. This was done to allow slow computers more time while transmitting to the D4 before the D4 panics and aborts the sysex load. In addition, the LCD will now correctly display the "MIDI BUFFER OVERFLOW" message when the buffer overflows during sysex reception instead of the "SYSEX DATA ERROR" message. 3 The signal threshold for the diagnostics trigger self-test has been lowered even further to keep units from failing unnecessarily in repair.

10.00 D5 Software History
10.10 Version 1.01 9/22/95 First production release.
11.00 MIDI Implementation
April 3, 1992 D4 Software Version 1.04 Including September 22, 1995 D5 V1.01 D5 differences are noted in italics.
TRANSMITTED DATA Channel Messages Status 1001 nnnn

Second 0kkk kkkk

Third 0vvv vvvv
Description Note On kkk kkkk = 0-127 (61 Key Window + Root Note) vvv vvvv = 1-127 vvv vvvv = 0 = Note Off
Universal System Exclusive Messages (Transmitted on power up and when Inquiry Request is received) Byte 0uuu uuuu 0qqq qqqq 0qqq qqqq 0rrr rrrr 0rrr rrrr Description Exclusive Status Non-Real Time Message ID Universal Sysex Channel (Same as D4 Midi Channel) General Information Sub-ID Inquiry Message Identity Reply Manufacturers System Exclusive ID Code Alesis = 00H,00H,0EH Device Family Code LSB (D4 = 6 D5 = 13H) Device Family Code MSB Device Family Member LSB (D4 = 0) Device Family Member MSB Software Version LSB Software Version MSB Software Revision LSB Software Revision MSB EOX
D4/D5 System Exclusive Messages Byte 0000 nnnn 00oo oooo 0ddd dddd ---- ---Description Exclusive Status Manufacturers System Exclusive ID Code Alesis = 00H,00H,0EH Device ID (D4 = 6) Midi Channel Opcode (see Sysex section for opcode definitions and data structures) Data --EOX
RECOGNIZED RECEIVE DATA Channel Messages Status 1001 nnnn Second 0kkk kkkk Third 0vvv vvvv Description
Note On kkk kkkk = 0-127 (61 Key Window + Root Note) vvv vvvv = 1-nnnn 0vvv vvvv Data Entry MSB *nnnn 0vvv vvvv Volume *nnnn 0xxx xxxx Data Increment *1 xxx xxxx = Ignored 1011 nnnn 0xxx xxxx Data Decrement *1 xxx xxxx = Ignored 1011 nnnn 0vvv vvvv Non-Registered Parameter Number LSB *nnnn 0vvv vvvv Non-Registered Parameter Number MSB *1 (see Parameter section for specific values) 1011 nnnn 0vvv vvvv Registered Parameter Number LSB *nnnn 0vvv vvvv Registered Parameter Number MSB *1 (see Parameter section for specific values) 1011 nnnn 0xxx xxxx Reset All Controllers *nnnn Local Control Off 1011 nnnn Local Control On 1011 nnnn 0xxx xxxx Omni Mode Off 1011 nnnn 0xxx xxxx Omni Mode On 1100 nnnn 0ppp pppp ---- ---Program change 1110 nnnn 0mmm mmmm 0nnn nnnn Pitch Bend Change *1 *1 Recognized only if CONTROLLERS is set to ON in MIDI page Universal System Exclusive Messages Byte 0uuu uuuu Description Exclusive Status Non-Real Time Message ID Universal Sysex Channel (ignored if OMNI = ON, 7FH = any channel) General Information Sub-ID Identity Request EOX

D4 System Exclusive Messages Byte 0uuu uuuu 00oo oooo 0ddd dddd ---- ---Description Exclusive Status Manufacturers System Exclusive ID Code Alesis = 00H,00H,0EH Device I.D. (D4 = 6 D5 = 13H) Midi Channel 7FH = Any channel Opcode (see Sysex section for opcode definitions and data structures) Data --EOX
Byte 0uuu uuuu 01oo oooo 1111 0111
Description Exclusive Status Manufacturers System Exclusive ID Code Alesis = 00H,00H,0EH Device I.D. (D4 = 6 D5 = 13H) Midi Channel 7FH = Any channel Data Request (see Sysex section for opcode definitions) EOX
RECOGNIZED CONTINUOUS CONTROLLER PARAMETERS The most reliable way to edit a parameter using a registered or non-registered parameter number is to first transmit the parameter number MSB. In the D4 this is always zero, and it only needs to be sent once to initialize registered or non-registered parameter number reception. If both MSB and LSB messages have not been sent, any data entry, data increment, or data decrement messages will alter the parameter selected by the user as indicated by the cursor position in the display. When a valid parameter number has been set up for editing, the display and cursor will be updated just as though the parameter had been selected from the front panel. (If an associated display exists!) Since it is possible for the user to select a new parameter for editing from the front panel between a series of data entry, data increment, or data decrement messages, it is strongly recommended that the parameter number LSB always be re-sent immediately before transmitting any of these controllers. This will insure that they are always acting on the intended parameter. The actual 7 bit values for continuous controller messages 96 (data increment) and 97 (data decrement) are ignored. Likewise, continuous controller message 38 (data entry LSB) is ignored. To find the value of the 7 bit data entry MSB message (controller 6) to transmit in order to select a real-life setting, multiply the desired value by 127, and divide the result by the maximum allowable value for that parameter. For example, the data entry MSB value used to set the Preview note's volume to 50 is 64 because: 50 x 127 / 99 = 64 The data entry MSB value used to set the Drum set's Root Note's to 44 is 83 because: 44 x 127 / 67 = 83 Registered Parameter Numbers for Controllers 100 (LSB) and 101 (MSB) MSB 00H LSB 00H Description Pitch bend sensitivity. (maximum range = +/- 12 semitones)

SYSTEM EXCLUSIVE OPCODES AND DATA STRUCTURES General Format: All transmitted and received D4 system exclusive messages follow this template: On the D4- F0H,00H,00H,0EH,06H,cc,qq,DATA On the D5-F0H,00H,00H,0EH,13H,cc,qq,DATA ,F7H ,F7H
If the message originated from the D4/D5 the sixth byte "cc" will always be the same as the midi channel. If an originator wishes to send a system exclusive message to any D4 regardless of what midi channel is selected, "cc" should be set to 7FH. In addition, a D4/D5 set to OMNI will process all system exclusive messages it receives.
The seventh byte "qq" is the opcode. If bit 6 of this opcode is set the message is a data request and the opcode is always followed immediately by an end-of-exclusive status byte. Opcodes with bit 6 cleared are data dump headers that identify the type of data that is to follow. In either case, the lower six bits of the opcode represent the same data structure, whether the message is a data request or a data dump. Most system exclusive messages on the D4 include a checksum byte after the data immediately before the F7H end-of-exclusive status byte. This checksum is the modulo 128 addition of all the data bytes contained in the message starting with the byte immediately following the opcode. Opcode ---- ------- ---001p pppp ---- ------- ---01qq qqqq Length (Total bytes) System Info 11 Drumset Data for Edit Buffer 343 Old Trigger Setup (version 1.01 only) 33 Program Change Table 137 Display Message 40 New Trigger Setu 69 Reserved / Unused x --x --x Reserved / Unused x Drumset Data for Drumset 0-Reserved / Unused x --x --x Reserved / Unused x Requests for opcodes 0-Description Checksum No Yes Yes Yes No Yes x x x x Yes x x x x No
When a "SYSTEM (ALL)" bulk dump is initiated from the front panel the D4's entire memory contents get transmitted out MIDI in a series of 25 system exclusive messages. This series begins with the Program Change Table message, and is followed by the Trigger Setup message, the Edit Buffer message, 21 consecutive Single Set messages (beginning with Drumset 0), and finally the System Info message. Note that it is possible in some systems to overflow the D4's midi receive buffer when sending data for more than one drumset. If this happens the transmitting device should pause for at least 250 milliseconds every 256 bytes to insure that the receiving D4 has enough time to manage drumset memory. Message 0 / System Info Data Format (following header): Byte 11 Bit Field 0bbb bbbb 0000 nnnn 000s ssss Description Opcode = System Info System Byte (see specific bit definitions following) Midi Channel (0-15) Currently selected drumset (0-20) EOX

System Byte Bit Definitions: Bit 6 Function Polarity Omni Off Set if omni mode is off. Midi Thru Enable Set if MIDI thru is enabled. Program Change Enable Set if program change receive is enabled. Controllers Enable Set if MIDI controllers are enabled. Drumset Edited Set if drumset in edit buffer has changed. Footswitch Mode 0 = Hi Hat, 1 = Drumset Advance Note Chase Enable Set if Note Chase is on.
Message 1 / Edit Buffer Data Format (following header): Byte 9 --------36 37-41 42-46 ----337-343 Bit Field 0aaa aaaa 0aaa aaaa ---- ------- ---0aaa aaaa 0mmm mmmm 00nn nnnn 00nn nnnn 00nn nnnn 00nn nnnn ---- ------- ---00nn nnnn ---- ------- ------- ------- ------- ---0xxx xxxx Description Opcode = Edit Buffer Drumset name character 1 Drumset name character 2 ----Drumset name character 14 Drumset Root Note Footswitch "closing" note Footswitch "held" note Trigger 1 note number Trigger 2 note number ----Trigger 12 note number Data packet for note 0 Data packet for note 1 ----Data packet for note 60 Checksum EOX Range (ascii) (ascii) (ascii) (0-67) (0-60) (0-60) (0-60) (0-60)
(0-60) (see below for packet definitions) --------(0-127)
Note Data Packet Definitions (5 bytes per note): Byte Bit Field 0vvv vvvv 0ppp obbb Description v = volume (0-99) p = panning: 0=left, 3=center , 6=right o = output: 0=main, 1 = aux b = drum bank: (0-6) Kik, Snr, Cym, Tom, Prc, Efx {0-8} Kik, Snr, Tom, Hat, Cym, Prc, Efx, Rnd n = drum number (0-99, drum bank specific) f = fine tuning (0-99 cents) x = reserved, always 0 g = assign group (0-3): 0=multi, 1=single, 2=group 1, 3=group 2 c = coarse tuning (-4,+3 semitones)
0nnn nnnn 0fff ffff 0xxg gccc
Message 2 / Old Trigger Setup (version 1.01 only) Data Format (following header): Byte 9 ----21 ----33 Bit Field 000t tttt 000t tttt ---- ------- ---000t tttt 000t tttt 000t tttt ---- ------- ---000t tttt 0xxx xxxx Description Opcode = Trigger Setup Trigger 1 gain Trigger 2 gain ----Trigger 12 gain Trigger 1 type Trigger 2 type ----Trigger 12 type Checksum EOX Range (0-99) (0-99) ----(0-99) (0-25) (0-25) ----(0-25) (0-127)
Message 3 / Program Table Data Format (following header): Byte Bit Field 000p pppp 000p pppp ---- ------- ---000p pppp 0xxx xxxx Description Opcode = Program table Internal Drumset selected for external program change 0 Internal Drumset selected for external program change 1 ----Internal Drumset selected for external program change 127 Checksum EOX Range (0-20) (0-20) ----(0-20) (0-127)
Message 4 / Display Message This message will display 32 characters on the LCD for approximately 5 seconds and then restore the previous display. Data Format (following header): Byte 9 ----Bit Field 0aaa aaaa 0aaa aaaa ---- ------- ---0aaa aaaa Description Opcode = Display Message LCD character position 0 LCD character position 1 ----LCD character position 31 EOX Range (ascii) (ascii) ----(ascii)
Message 5 / New Trigger Setup (versions 1.02 and greater) Note that the D5 can both transmit and receive trigger setups to and from a D4. Data Format (following header): Byte 69 Bit Field 0ggg gggg 0ggg gggg ---- ------- ---0ggg gggg 0ggg gggg 0000 0ccc 0nnn nnnn 0xxx xxxx 0ddd dddd 0000 0ccc 0nnn nnnn 0xxx xxxx 0ddd dddd ---- ------- ---0000 0ccc 0nnn nnnn 0xxx xxxx 0ddd dddd 0xxx xxxx Description Opcode = New Trigger Setup Trigger 1 gain Trigger 2 gain ----Trigger 11 gain Trigger 12 gain Trigger 1 vcurve Trigger 1 cross-talk Trigger 1 noise floor Trigger 1 decay Trigger 2 vcurve Trigger 2 cross-talk Trigger 2 noise floor Trigger 2 decay ----Trigger 12 vcurve Trigger 12 cross-talk Trigger 12 noise floor Trigger 12 decay Checksum EOX Range (0-99) (0-99) ----(0-99) (0-99) (0-7) (0-99) (0-99) (0-99) (0-7) (0-99) (0-99) (0-99) ----(0-7) (0-99) (0-99) (0-99) (0-127)

Messages 32 thru 52 / Single Drumset Only These messages contain the same Drumset data structures as the Edit Buffer message and are identical, with the exception of the opcode byte. When a D4 receives a complete Single Drumset message it will automatically "Store" the data in one of the 21 memory locations (as specified in the opcode) replacing the existing Drumset data for that slot. Its important to note that this new Drumset data does not effect the edit buffer. For a detailed listing of the Drumset data structure see the description under Message 1 / Edit Buffer.
12.00 Service Manual History
10/17/95 V1.00 Preliminary Release

13.00 Schematics

13.10 D4 Schematics

RXD, 3

12MHz, 3, 5
SNH0, 5, 6 SNH1, 5 SNHIN, 5 SRAM, 3, 11, 12, 15 STB, 5 STRES, 5

74HC138, 4, 12

8031, iv, 1, 3, 5, 6, 7, 11, 12
A0-A19, 5 A15, 4 Analog switch, 1, 6, 12 ASIC, iv, 1, 3, 5, 6, 11, 12, 13, 14, 15
transformer, 2 triggers, 1, 3, 7, 8, 9, 17 TXD, 3, 4
battery, iv, 1, 2, 3, 11, 14 battery backup, iv, 1, 2, 3, 11
D4, i, ii, iv, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 14, 16, 17, 19, 20, 21, 23, 24, 27, 29 D5, i, ii, iv, 3, 4, 6, 7, 8, 9, 10, 11, 13, 14, 15, 18, 19, 20, 21, 23, 27, 31, 34 D56IFT, 1, 3, 4, 6, 14 DAC, 1, 5, 6, 8, 10, 11, 12, 15 DAC0-DAC16, 5 data buss, 3, 4, 5 data corruption, 3, 4 data entry knob, iv DM3AG, iv, 1, 3, 6

EPROM, 12, 14

footswitches, iv

I/O ports, 3

Keypad, iv, 1, 3, 12, 13, 14
LCD, 1, 3, 4, 8, 9, 11, 12, 13, 14, 17, 26
mapped I/O, iv, 3, 6, 7 Mask ROM, 1, 5, 6, 12, 15 MD0-MD7, 5 memory map, 1 MIDI, iv, 1, 3, 7, 8, 9, 11, 14, 16, 17, 19, 20, 21, 22, 23, 24, 25

opto isolator, 4

Piezo, 3, 9, 13, 14 power up, 3, 4, 7, 8, 19 PUP, iv, 2, 3, 11
raw supply, 2, 3, 4 reset, iv, 1, 2, 3, 4, 5, 11, 20 revisions, 1, 10, 11