The SEND button is used to send data stored on a diskette to either a sequencer, synthesizer, or sampler, through MIDI. Either a single or multiple files can be sent.

DELETE

The DELETE button is used to erase an unwanted file or files from a diskette. CAUTION: Once a file is deleted, it is lost forever!

DESCRIPTION OF CONTROLS

BACKUP
The BACKUP button is used to copy either a single file or multiple files of a diskette onto another for safety purposes. This is known as "Backing Up" the diskette.

DO/YES

The DO/YES button is used to initiate all operations of the DATADISK , and to select any choices which might appear in the display. The DO/YES button is actually a fail safe, giving the user a final choice to either initiate or abort any previously selected operation.

REQUEST

The REQUEST button allows the user to request sample or program bulk dumps from a MIDI device that requires a request before it can send MIDI data. When the DO/YES button is pressed, the transfer is handled as in the Receive MIDI data function.
This button is used to display information about the diskette currently inserted in the disk drive. The information displayed in the first page will be the number of files stored on the diskette, the percentage of memory used, and the amount of free space available on the diskette. The second page will show each individual file name and the number of bytes in each file (see Section 4). A third page will show the DATADISK software version.
The MIDI button is used to set the MIDI output of the DATADISK to echo the data received at the MIDI input. MIDI ECHO ON sets the MIDI output to operate as a MIDI THRU port. MIDI ECHO OFF sets the MIDI output to send only MIDI file data initiated from the front panel of the DATADISK. A second page selects if the DATADISK is to receive program change information (for initiating sending files from the DATADISK ) and on which MIDI channel.

FORMAT

The FORMAT button is used to prepare an unformatted diskette (a diskette that hasn't been especially adapted for DATADISK) for use by the DATADISK.
The POWER button turns the DATADISK on or off. 7

BACKPANEL

MIDI IN
The MIDI IN jack is used to receive MIDI data from a sequencer, sampler, synthesizer, or effects processor for storage on diskette.

MIDI OUT

The MIDI OUT jack is used to send MIDI file data to a sequencer, synthesizer, or sampler. This jack can also be selected to function as a MIDI THRU jack so that it echo's an exact copy of what is being received by the MIDI IN jack.
The POWER jack is a 4 pin DIN jack which connects to the outboard 9 VAC power transformer.

SOFTWARE FUNCTIONS

There are nine functions in the DATADISK which allow the user to send and receive MIDI data, prepare a disk for send/receive operations, and view files stored on the disk. Each function has several choices, called pages, which further allows the user to tailor the function to his specific needs. These functions are selected by pushing the appropriate function button, and the pages are chosen by then pressing the same function button repeatedly until the desired page is displayed. All operations are then initiated by pressing the DO/YES button. The current digit value of a parameter is displayed on the LCD within the relevant page. An underline under the left most digit of a value indicates that this value can be edited. Values are edited by pressing the SCROLL buttons. Files are viewed in alphabetical order by manufacturer, with numbers coming before letters. Exceptions to the rule are the following: Unknown manufacturer names (either displayed as "Id xxH" or "xxxxxx") are displayed after known manufacturer names. Unknown product names are left blank and are displayed after known product names within each manufacturer. Sample dump files are displayed after all manufacturer specific files. 16
RECEIVE MIDI DATA FUNCTION
The RECEIVE MIDI Data Function is used to store MIDI system exclusive data received from a synthesizer, sequencer, or effects processor to a floppy disk inside the DATADISK. There are two pages to this function which are:

RECV ONE SYSEX

Receive One Sysex (the display will read "RECV ONE SYSEX:") is used to receive a single system exclusive file over MIDI. One sysex (system exclusive) file may be a single program or a complete dump from a synthesizer, sampler, or sequencer.

RECV MULT SYSEX

In this mode, system exclusive data from multiple products is received by DATADISK and stored as a single file. This makes it fast and easy to locate the file and load the data back into the multiple synthesizers or devices at a later time. The display will read "RECV MULT SYSEX".

SEND MIDI DATA FUNCTIONS

The SEND MIDI Data Function is used to send MIDI system exclusive files to a synthesizer, sequencer, or effects processor. There are two pages to this function which are:
SEND FILE XXXXXX YYYYYY ZZZZZZZZ
This page is used to send a single system exclusive file over MIDI, where XXXXXX is the manufacturers name of the file stored on disk, YYYYYY is the product model name, and ZZZZZZZZ is the name of the file to send. Files are selected by pressing the SCROLL UP or SCROLL DOWN buttons until the desired file is displayed. The files are viewed alphabetically.

SEND ALL FILES

In this page, all files stored on the disk will be sent over MIDI to their respective instruments. This way, an entire setup of a number of instruments, sequencers, samplers, and processors can quickly be sent from just this one page.
DELETE FILE FROM DISK FUNCTION
This function is used to erase unwanted files from a disk. There are two pages, which are:
DEL NNNK: XXXXXX YYYYYY ZZZZZZZZ
This page is used to delete (erase) a single file from the disk, where NNN is the size of the selected file in kilobytes (1024 bytes = 1K), XXXXXX is the manufacturers name of the file, YYYYYY is the product name of the file, and ZZZZZZZZ is the name of the file to delete. Files are selected by pressing the SCROLL UP or SCROLL DOWN buttons until the desired file is displayed. The files are viewed alphabetically.

DELETE ALL FILES

This page is used to erase all of the files from the disk. PLEASE NOTE: As an added safety feature, DATADISK will ask "ARE YOU SURE?" before erasing any file from the disk, allowing you to change your mind if necessary by pressing any other function button. CAUTION!!! Once you delete a file it is lost forever!

DISK BACKUP FUNCTIONS

Once DATADISK has stored your files to disk, it's always a wise idea to make a copy of the disk in case it is lost, accidently erased, or in some way made unreadable. This disk copy is called a Backup. DATADISK has a Backup function which is quick and easy, and a lot more practical than restoring all of your data information onto a different disk. There are three pages which are:

BACKUP XXXXXX

YYYYYY ZZZZZZZZ This page makes a Backup copy of just a single file, where XXXXXX is the manufacturers name of the file to be backed up, YYYYYY is the product name, and ZZZZZZZZ is the file name. Files are selected by pressing the SCROLL UP or SCROLL DOWN buttons until the desired file is displayed. The files are viewed alphabetically.

BACKUP ALL FILES

This page makes a Backup copy of an entire disk. During the Backup process, DATADISK will prompt the user when to insert either the original or Backup disk, and will indicate when the Backup is complete.

BACKUP TO MIDI

Rather than making a Backup copy of your data to a disk, it's also possible to send all files out via MIDI to another DATADISK. All files are sent out in alphabetical order.

REQUEST FUNCTION

DATADISK can store samples as well as synth programs and se-
quencer data. In most cases, this will be stored by using the RECEIVE function. Certain samplers require a request from the storage unit before they will send the sample dump data. In these cases, the REQUEST function will send the required request to let the sampler know that it is available for a sample dump. There are two pages which are:

REQUEST SAMPLE DUMP XX

This page allows a specific single sample to be requested from the sampler. XX is the sample number between 00 and 99 requested by DATADISK from the sampler connected to the MIDI input. When the DO/YES button is pressed, the transfer is handled as in the RECEIVE MIDI data function.

REQUEST SYSEX FOR YYYYYY

Product specific data dumps can be requested by DATADISK of products that cannot initiate bulk dumps from their front panel. By pressing the REQUEST button a second time, the user can scan the manufacturers (viewed alphabetically) by using the SCROLL UP and SCROLL DOWN buttons. YYYYYY is the manufacturer name. After the desired manufacturer is selected, pressing the DO/YES button will display a model to be requested (also viewed alphabetically). Various products from that manufacturer can be scanned by using the SCROLL UP or SCROLL DOWN buttons. Only products that require a Request are displayed.

DISK INFO FUNCTION

This button is used to display information about the diskette currently inserted in the disk drive. There are 3 pages which are:
XX FILES = ZZZ% YYY Kbytes free
The information displayed in the first page is the number of files stored on the diskette (XX), the percentage of space used (ZZZ), and the amount of free space (in Kilobytes) available on the diskette (YYY).
NNNNN XXXXXX YYYYYY ZZZZZZZZ
The second page shows the individual file name (ZZZZZZZZ), the number of bytes in the file (NNNNN), and, in most cases, the manufacturer and model of the unit which sent the file (XXXXXX + YYYYYY). If the file was a multiple message file an "m" will appear after the bytes in the file, otherwise it is left blank.

SOFTWARE VERSION

A third page shows the DATADISK software version currently in use.

MIDI FUNCTIONS

When receiving data for storage, DATADISK is not particular which MIDI channel is used. Therefore, only two MIDI pages are required. They are:

MIDI ECHO

This function is used to echo the signal that arrives at the the MIDI input to the MIDI output of DATADISK. Effectively, this makes the MIDI output of DATADISK into a MIDI Thru port and sends the MIDI signal out to the rest of the units connected in the system. This function can be turned On or Off by using the SCROLL UP and SCROLL DOWN buttons. PLEASE NOTE: No MIDI data is echoed while in RECV.

RCV PROGRAM CHANGE

Sometimes it is desirable to have a file send initiated during a sequence or performance to change a program or sample. Even though DATADISK will receive MIDI system exclusive data on any channel, a single channel must be selected to receive a MIDI program change command. When such a command is received, DATADISK will initiate a file send with the program number (#0 to 52) selecting the file to be sent.

DISK UNFORMATTED

The following message will appear if the disk is not properly formatted: DISK UNFORMATTED or DISK UNREADABLE
The user must now insert a formatted disk or format the disk in the drive by selecting the FORMAT DISK function.

DISK WRITE PROTECTED

3 1/2" disks have the ability to be write protected so that any data is not accidentally erased. This is accomplished by setting the tab on the lower right hand corner of the disk (when it is turned over) to the down position so that the window is open. Entering any function requiring disk writes (Receiving, Deleting, or Renaming a file or files) with a write protected disk will bring the following display: DISK WRITE PROTECTED The write protect must be defeated on the disk before any information can be stored or altered on the disk.

DISK EMPTY

The following message will appear upon initiating an operation in which the disk has no data yet stored on it: DISK EMPTY

DISK FULL

The following message will appear during a receive and/or request operation in which the disk is full before the operation is started: DISK FULL

OPERATION ABORTED

An operation can be aborted at any time by pressing either SCROLL button while the operation is in progress, doing so will bring the following display: OPERATION ABORTED
PLEASE NOTE: Disk data will be unaffected if a Receive operation is aborted. Aborting a Send operation will result in incomplete data being sent over MIDI.

DUPLICATE FILE NAME

This display occurs if a name is attempted to be given to a file that is the same as the name of another file. DUPLICATE FILE NAME

MAXIMUM NUMBER OF FILES

This display occurs if there are 53 files already stored on the disk. MAXIMUM NUMBER OF FILES

NOT ENOUGH DISK SPACE

This display occurs if there is not enough space left on the disk to store the incoming data. NOT ENOUGH DISK SPACE

5) Press the DO/YES button to transmit a request. The transfer is handled as in the Receive MIDI data function.

TO RENAME A FILE

When a file is received, it is given a name and number in the order that it was received. For instance, the first file is named "File 01", the second "File 02", etc. A file can be renamed with a name up to 8 characters long using the Rename function. To Rename a file, do the following: 1) Press the NAME button on the front panel. The display will then read: RENAME XXXXXX YYYYYY ZZZZZZZZ? 2) To scan the disk to select the desired file, press the SCROLL UP and SCROLL DOWN buttons until the desired file is found. Files are displayed alphabetically by manufacturer. 3) When the desired file is found, press the DO/YES button. An underline will now appear under the first character of the name as shown below, indicating that it is ready for editing. RENAME XXXXXX YYYYYY ZZZZZZZZ? 4) Select the desired letter, number, or character from the keypad. Each function key except NAME and DO/YES has the numbers or letters which can be accessed marked directly below it. RECEIVE
ABCDE 4a) Press the function key repeatedly until the desired letter, number, or character appears. Press the FORMAT button for a space (blank character). A space will automatically increment to the next character. 4b) Press the SCROLL UP or SCROLL DOWN buttons to move the cursor to the desired location. This will appear in the display as: 33
RENAME XXXXXX YYYYYY ZZZZZZZZ?
4c) Repeat steps 4a and 4b until all characters are changed as desired. 5) When the file has been renamed, complete the operation by pressing the DO/YES button. This brings us back to the beginning of the Rename function, allowing other files to be selected to be renamed, if desired. 6) Exit the Rename function by pressing another function button.
PLEASE NOTE: To remain in the Name function without storing the newly edited
name, press the NAME button again. This will recall the original name.
If a file with the same name already exists, the following message will temporarily appear and the newly edited name will not be stored to disk. DUPLICATE FILE NAME
DATADISK will then return to the beginning of the Rename

function.

If the answer is no, press another function button to exit the Delete function. 36
4) If the answer is yes, press the DO/YES button. The display will show: DELETING.
After the file has been erased, the display will read: FILE DELETED
After deleting is complete, DATADISK will return to the start of the Delete function with the next file ready to be erased. 5) Exit the Delete function by pressing another function button.
PLEASE NOTE: Once a file is deleted, it is lost forever! Deleting all files does not format a disk. Files are only removed
from the disk directory. Use the Format function to properly format a disk.
TO DELETE (ERASE) ALL FILES FROM DISK
1) Press the DELETE button on the front panel. The following display will appear. DEL NNNK: XXXXXX YYYYYY ZZZZZZZZ? In this display, NNN is the size of the selected file, XXXXXX is an abbreviation of the manufacturer's name of the device sending the data, YYYYYY is an abbreviation of the model name, and ZZZZZZZZ is the name of the file to be erased. 2) Pressing the DELETE button a second time will make the display read:

DELETE ALL FILES?

If the answer is no, press the another function button to exit the Delete function.
After the file has been erased, the display will read: DISK EMPTY
5) Exit the Delete function by pressing another function button.

TO SET MIDI ECHO

1) Press the MIDI button on the front panel. The display will read the following: MIDI ECHO OFF 2) To turn the MIDI Echo to On (or Off if it is already On), press the SCROLL UP and SCROLL DOWN buttons. 38
3) Press another function button to exit the MIDI Echo function.
TO SET UP A MIDI PROGRAM CHANGE
1) Press the MIDI button on the front panel twice. The display will read: RCV PROG CHANGE ON MIDI CH: XXX 2) Press the SCROLL UP and SCROLL DOWN buttons to select the channel number (1 through 16) or Off. 3) Press another function button to exit the MIDI function.
TO DISPLAY AVAILABLE DISK SPACE
1) Press the INFO button on the front panel. The display will read: XX FILES = ZZZ% YYY Kbytes free XX is the number of files stored on the disk, ZZZ is the percentage of space that the files occupy, and YYY is the free space available on the disk. 2) Press another function button to exit the Info function.

SYNCING DATADISK TO A SEQUENCER
It is possible to have the DataDisk play along in sync with an external sequencer or drum machine. 1) Press the MIDI button three times. The display will read: 48
EXT MIDI SYNC OFF 2) Press the "up" SCROLL button. read: EXT MIDI SYNC ON The display will now
3) Now press the SEND button. The display will read: SEND FILE MIDI Seqnce FILE ZZ ? 4) Use the SCROLL buttons to select the desired sequence to playback. 5) When the desired sequence is found, press the DO/YES button. The display will then read: Waiting for MIDI Start/Continue.
6) Start the external sequencer or drum machine. Once a MIDI Start or Continue command is received, the display will read: SENDING: MIDI Seqnce File ZZ Where File ZZ is a file name (the same as sending any other file).
PLEASE NOTE: a) The sequence recorded by the DataDisk MUST be recorded with MIDI clock in order to use the external sync feature. If the file does not contain MIDI clock, then all file data will be sent with the first MIDI CLOCK received. b) DataDisk will assume that the start of the MIDI Sequence file is the start of the song, as far as Start, Continue, and Song Position Pointer commands are concerned. For example, if the sequence was recorded 49
in the DataDisk starting at bar 2, beat 1, then that point becomes the beginning of the sequence as far as DataDisk is concerned. When the file is played back from the DataDisk (synced to MIDI Clock), a Start command will start playing from the beginning of the file, which will be 1 bar ahead of the original sequence's start location. Continue and Song Position Pointer commands will be 1 bar ahead of the original sequence's location as well. c) Since a Continue command may occur anywhere within a MIDI Sequence File, there may be a slight delay while the DataDisk searches through the disk for the specified location before executing the command. The DataDisk will, however, remain in sync. d) If, while syncing to an external sequencer, the DataDisk is connected to the sequencer (such as an MMT-8) in a MIDI loop (that is, sequencer MIDI output to DataDisk MIDI input and DataDisk MIDI output to Sequencer MIDI input as in figures 2A and 4 of the DataDisk user's manual), then either the MIDI Clock must be filtered from the DataDisk's output, or the sequencer should be set to not receive MIDI Clock. This is done to make sure that the speed of the sequence playback remains constant, and is accomplished in the following manner: 1) Press the MIDI button four times. The display will then read: MIDI CLOCK OUT FILTER: OFF

A FEW RULES:

If in RECV ONE mode and a delay of more than 1/2 second
occurs between individual sysex messages, the messages will be stored in separate DATADISK files. (Please note that some instruments send their bulk data dump as several individual sysex messages, as opposed to a single message. If an instrument places a delay greater than 1/2 second between consecutive messages and it is desired to save these messages in a single file, use the RECV MULT mode.)
DATADISK.places a 25 millisecond delay between each sysex message it sends. If your device requires more than this amount of time to process consecutive messages, then place the sysex messages into separate files (if possible) and send each message with the reqired delay in between. DATADISK implements the MIDI Manufacturers Association (MMA) Sample Dump Standard. Instruments that do not implement the MMA Sample Dump Standard (such a the Akai S900 or Roland S-50) will not work with DATADISK.
If the instrument requires handshaking, it is unlikely that it will
work with DATADISK. Only a few of the more commonly used handshaking schemes are implemented on DATADISK. NOTE: Some instruments give the user an option of sending and receiving in handshaking or non-handshaking mode (Roland does this with some of its instruments; they allow handshaking and one-way transfers). If this is the case, then use the non-handshaking mode with DATADISK.

SPECIFICATIONS

MEMORY IMPLEMENTATION Direct to disk; no RAM buffer. DATA STORAGE COMPATIBILITY Universal; Operates with virtually all manufacturers products which provide MIDI System Exclusive. 3 1/2" Floppy Diskette Double-sided, double density 800 Kilobytes

METHOD

MAXIMUM MEMORY PER DISK
MAXIMUM NUMBER OF DATA FILES 53 (total size of data cannot exceed disk size) FUNCTIONS SEND RECEIVE DELETE BACKUP DISK REQUEST FILE DISPLAY DISK DISPLAY MIDI FUNCTIONS

FORMAT DISK NAME FILE

Single or multiple files Single or multiple files Single or multiple files Single or multiple files Sample dump or device specific File number, manufacturer, model, number of bytes Number of files, storage space available, percentage of disk space used MIDI Echo: On, Off MIDI Program Change Channel: Off, channel 1 through seconds Upper case alphabet, A to Z, 0 to 9, 15 characters, space

FRONT PANEL CONTROLS

Name, Receive, Send , Delete, Backup, Request, Info, MIDI, Format, Do/Yes, Scroll Up, Scroll Down, Power LCD display;16 Character by 2 lines Disk Drive In Operation LED

INDICATORS

REAR PANEL JACKS
MIDI Input and Output Power - 4 pin DIN connector
POWER REQUIREMENTS 9 Volts AC, 5 Volt Amps external Transformer, UL approved and made in USA DIMENSIONS (W x H x D) WEIGHT 19" X 1.75" X 7" 4.5 lbs.

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.

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.

SQ FEATURES

REAL-TIME MIDI SEQUENCE PLAYBACK
DataDisk can receive and play back entire sequences (as well as sysex data) in real time. All MIDI data received is time-stamped and can therefore be sent from the DataDisk with the same timing with which it was received (a MIDI tape recorder)! This allows the DataDisk to be used in several new ways. Playing an MMT-8 (or any other sequencer or computer) sequence into the DataDisk and then using the DataDisk as a rack mount sequence playback unit. Playing live into the DataDisk from a MIDI keyboard and letting the DataDisk record the performance in real-time. Storing and retrieving sysex messages from devices that do not handle MIDI data at full speed and/or require time gaps of up to one minute between bytes. Although it is not possible to edit a sequence stored by the DataDisk, it is possible to have some control over the sending of a sequence. This includes the ability to sync the DataDisk playback of a sequence to an external MIDI clock (sync to another sequencer or drum machine), and the ability to filter MIDI Clock, Song Position Pointer, Start, Stop, and Continue messages from the output being sent by the DataDisk.
1) Press the RECEIVE button three times. The display will read: RECV MIDI SEQ: WAITING FOR DATA This page is used to receive and time-stamp any MIDI data (except system reset - FFH and active sense - FEH), not only system exclusive data. 2) Begin sending the sequence from your sequencer or computer. As soon as the first non-MIDI clock MIDI byte is received, the display changes to: 58

Receiving Seq. File Complete? 3) Press the DO/YES button when all desired MIDI data has been received to store the data into a file. If no MIDI data is received for 1 minute, the DataDisk will automatically store the received data into a file. If either SCROLL button is pressed before the minute is up, the sequence data WILL NOT BE STORED ON DISK. When a file is stored the display will read: STORED AS MIDI Seqnce FILE ZZ The manufacturer and product names will be displayed as "MIDI Seqnce" (similar to sample dump) and the file name will default to "File ZZ" where ZZ is an automatically assigned number. NOTE: If additional MIDI messages are received, the display will automatically revert to the Receiving Sequence display. Therefore, it's best to stop the sending sequencer first before pressing the DO/YES button to store the sequence. If, while receiving a sequence, you decide that you wish to abort the operation, press either of the SCROLL buttons. The display will then read: OPERATION ABORTED
To exit this display, press any function button.
PLEASE NOTE: a) The MIDI Echo (MIDI Thru) function is ignored when in the Receive MIDI Sequence mode. b) When recording to a sequencer from the DataDisk, keep in mind that the incoming data is subject to the quantize resolution that the sequencer is currently set at. c) In all circumstances of handshaking, do not echo data being sent from the DataDisk through a sequencer and back into the DataDisk. If this is done, the sequencer will crash and most likely lose all of its data.
MONITORING A SEQUENCE BEING SENT TO DATADISK Out IN
1) Press the SEND button. 2) Press one of the SCROLL buttons until the desired sequence is displayed. The display will read: SEND FILE MIDI Seqnce FILE ZZ ? FILE ZZ is the desired MIDI Sequence name. 3) Press the DO/YES button to play back the sequence. The display will read: SENDING : MIDI Seqnce FILE ZZ When playback is complete, the display will return to the start of the send function with the next file ready to be sent. If the sequence sent was the last file, the display will revert to: SEND FILE MIDI Seqnce FILE ZZ ? The same sequence can be played back again by pressing the DO/YES button, or another sequence or sysex file can be selected by pressing the SCROLL buttons.
If, while playing back a sequence, you decide that you wish to abort the operation, press either of the SCROLL buttons. The display will briefly read: OPERATION ABORTED The display will then return to the Send File MIDI Sequence page. If a MIDI Sequence is aborted while being sent or if a MIDI Stop command is received while the file is being sent, the DataDisk will automatically send the following: 1) MIDI Stop Command 2) Controller #64 "sustain pedal" OFF (all 16 channels) 3) Note-offs for all playing notes (all 16 channels) NOTE: The DataDisk will not merge MIDI data being sent with data being received when the MIDI Echo function is enabled.

SYNCING DataDisk TO A SEQUENCER
It is possible to have the DataDisk play along in sync with an external sequencer or drum machine. 1) Press the MIDI button three times. The display will read: EXT MIDI SYNC OFF 2) Press the "up" SCROLL button. The display will now read:

EXT MIDI SYNC ON

Now press the SEND button. The display will read: SEND FILE MIDI Seqnce FILE ZZ ?

4) playback.

Use the SCROLL buttons to select the desired sequence to
5) When the desired sequence is found, press the DO/YES button. The display will then read: Waiting for MIDI Start/Continue.
PLEASE NOTE: a) The sequence recorded by the DataDisk MUST be recorded with MIDI clock in order to use the external sync feature. If the file does not contain MIDI clock, then all file data will be sent with the first MIDI CLOCK received. b) DataDisk will assume that the start of the MIDI Sequence file is the start of the song, as far as Start, Continue, and Song Position Pointer commands are concerned. For example, if the sequence was recorded in the DataDisk starting at bar 2, beat 1, then that point becomes the beginning of the sequence as far as DataDisk is concerned. When the file is played back from the DataDisk (synced to MIDI Clock), a Start command will start playing from the beginning of the file, which will be 1 bar ahead of the original sequence's start location. Continue and Song Position Pointer commands will be 1 bar ahead of the original sequence's location as well. c) Since a Continue command may occur anywhere within a MIDI Sequence File, there may be a slight delay while the DataDisk searches 62
through the disk for the specified location before executing the command. The DataDisk will, however, remain in sync. d) If, while syncing to an external sequencer, the DataDisk is connected to the sequencer (such as an MMT-8) in a MIDI loop (that is, sequencer MIDI output to DataDisk MIDI input and DataDisk MIDI output to Sequencer MIDI input as in figures 2A and 4 of the DataDisk user's manual), then either the MIDI Clock must be filtered from the DataDisk's output, or the sequencer should be set to not receive MIDI Clock. This is done to make sure that the speed of the sequence playback remains constant, and is accomplished in the following manner: 1) Press the MIDI button four times. The display will then read: MIDI CLOCK OUT FILTER: OFF
Press the "up" SCROLL button. The display will read:
a) Place the MMT-8 into MIDI & INTERNAL b) The MMT-8's countdown should be set to 00, and length should be changed either to the highest number available or the known length of the sequence. c) The DataDisk's EXT MIDI SYNC and MIDI Clock Out filter should both be set to OFF 2) Select the MMT-8 track that you wish to record on. Press Record on the MMT-8 3) Enable record without pressing the PLAY button on the MMT-8 (a MIDI Start command at the beginning of the sequence file sent to the MMT-8 will place the MMT-8 into record mode) 4) Press the DataDisk's Send button and use the scroll buttons to select the file that you wish to send 5) Press the DataDisk's Do/Yes button 6) When the DataDisk has finished sending the file, press the Stop button on the MMT-8 to stop recording. 7) Press Edit while in the part that you have just recorded to on the MMT-8, then scroll through the sequence to determine the total number of beats. Change the length of the sequence to equal the number of beats. This will eliminate any empty beats at the end of the sequence. Synchronizing the DataDisk to a Sequencer In a closed loop configuration (see page 13, fig. 4 of the DataDisk User's Guide), to prevent timing errors caused by MIDI clock returning to the sequencer, you must either: 1) Set the sequencer's clock source to INTERNAL ONLY (ignore incoming MIDI clock), or 2) Set the DataDisk's MIDI clock filter to ON. NOTE: In either case MIDI echo on the DataDisk should be set to OFF.

1) Press the MIDI button. The display will read: MIDI ECHO OFF 2) After setting the DataDisk MIDI parameters as desired (see page 35 of the DataDisk user's manual), press the DO/YES button while on any MIDI page to store any MIDI parameters to disk. The display will temporarily read: MIDI Parameters Stored The display will then return to the current MIDI page. PLEASE NOTE: a) If no MIDI setup is stored on the inserted disk, the current MIDI parameter settings in the DataDisk will not be altered. b) If the DataDisk is powered-on with a disk that has no MIDI setup stored on it, all MIDI parameters will default to OFF.

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.

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).

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,
which receives all channels) to retrieve this data. Its a good idea to include the channel assignment in the System Exclusive file name to prevent possible confusion. To back up:
1. Connect the D4s MIDI Out to the MIDI In of the other D4 or system exclusive storage device, such as the DataDisk. 2. Select the fifth MIDI page, Sysex Backup. With the Sysex Backup page selected, the Store LED will light. 3. Use the Data wheel to call up one of the four available types of data for backup (figures in parenthesis give the approximate amount of memory required by each type): Edit Buffer data (500 bytes) Trigger Setup data (50 bytes) Program Table data (150 bytes) System (All) data, which includes Drum Sets, trigger setup, program table, and MIDI assignments (8Kbytes) 4. Press the Store button. The display will say SENDING SYSEX DATA OUT MIDI. to confirm that data is being sent. The sys ex receiving device should indicate that it is receiving data.
After the transfer is complete, the D4s LCD reverts to the Sysex Backup page. Note: The MIDI Thru function is disabled while Sys Ex is being transmitted.

4.6A Save to DataDisk

Heres an example of how to save D4 MIDI data to the Alesis DataDisk.
1. Connect the D4 MIDI Out to the DataDisk (DD) MIDI In. 2. Insert a formatted disk into the DD. If the disk is not formatted, insert it in the drive and press the DD Format switch. When the DD display says FORMAT DISK?, press DO/YES. When the display says ARE YOU SURE? press DO/YES again. 3. Press the DD Receive button. The display says RECV ONE SYSEX: WAITING FOR DATA. 4. Press the D4 MIDI button (if you are not already in the MIDI function) and select the Sysex Backup page. 5. Select the type of data to be saved (System, Edit Buffer, Trigger Setup, Program Table).

6. Press the D4 Store button. The D4 display says SENDING SYSEX DATA OUT MIDI and the DD display says RECEIVING Alesis D4 to indicate that data has been received. 7. To prevent future confusion, name the DD file using the DD NAME function.
4.7 RECEIVE DATA FROM ANOTHER MIDI DEVICE
The D4 will automatically load D4 system exclusive data present at its MIDI In. Therefore, there is no associated function since reception can occur at any time that a sys ex storage device or another D4 sends data through its MIDI Out into the D4s MIDI In. The D4 is compatible only with D4 system exclusive data; for example, you cannot load system exclusive data from another drum device into the D4. The following describes how to load data from the Alesis DataDisk; other system exclusive storage devices work similarly, but please refer to the owners manual for your particular device to find out how to set it up to send MIDI sys ex data. Note: When loading the Edit Buffer via sys ex, be sure and save the Drum Set before changing to another Drum Set. Otherwise, the data will be lost.

4.7A Load from DataDisk

1. Connect the DD MIDI Out to the D4 MIDI In 2. Insert the disk into the DD that contains the file to be loaded into the D4. 3. Press the DD SEND button. The display says SEND FILE Alesis D4 (filename)? 4. Press the DD DO/YES button. The D4 automatically senses the presence of this data; no button-pushing is required. The DD display says SENDING: Alesis D4 (filename), the D4 display says RECEIVING SYSEX DATA FROM MIDI. Note that loading sys ex data overwrites the resident memory. 5. The D4 will revert to whatever screen was showing prior to receiving MIDI data.
CHAPTER 5: EXTERNAL TRIGGERING
External triggering has three main uses: Driving D4 sounds from electronic drum pads. Some electronic drum pads provide MIDI triggers when hit; these can feed directly into the D4s MIDI input. Other pads generate analog triggers, which can interface with the trigger inputs. Using contact transducers (triggers) mounted on acoustic drums to trigger sounds from the D4. These transducers can be plugged directly into the D4 trigger input, which will convert the trigger's signal to MIDI information. Drum substitution. If the drum sounds on a tape are poorly recorded, and the sounds to be substituted are on different tracks (or sufficiently far apart in pitch that equalization can help separate the sounds), these drum sounds can trigger the high-fidelity drum sounds inside the D4.
All of these applications present certain challenges. With electronic drum pads, crosstalk from one drum hit can leak into another drum pad and trigger it accidentally. Acoustic drum pickups are much more finicky than electronic pads. They are subject to extraneous noise pickup, varying gain, and system noise, all of which make reliable triggering difficult. The D4 includes five editable parameters that let you electronically tailor the D4 trigger inputs to the characteristics of your drum transducers. It may take considerable experimentation to achieve reliable triggeringthen again, it may not. At some point, youll hit on the right combination of transducer placement and D4 parameter values necessary for proper triggering. The external trigger function contains six pages of parameters. When you first press the Ext Trig button, it calls up the first page. Pressing the Ext Trig button again calls the second page, a third time calls the third page, and so on. You can also use the cursor buttons to go from one page to another by cursoring past the parameters on the current screen. For more details, see sections 1.4B and 1.4C. In the rest of this section, well assume you know how to select the appropriate page.

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.

On the other hand, this chart shows the same hit but with the DCAY parameter set at a higher value. Notice how the DCAY threshold is slightly higher and stays consistent for a longer time before it tapers off. Now only the initial strike of the drum triggers the D4.
NOISE. The noise floor is is the signal level threshold a vibration or sound must exceed before it can trigger a drum sound. When selecting lower values, very soft signals (hits) will trigger the D4. While this allows for the greatest sensitivity, theres a chance that unwanted, exterior signals such as vibrations from drum risers, bass cabinets, or even people jumping up and down on the dance floor may trigger a sound.
Higher settings are useful when trying to extract drum sounds from tape where other sounds are present; often the snare or kick drum will be louder than other sounds, so setting the threshold above the other sounds will allow the snare or kick to trigger the D4. However, the higher the threshold, the more likely that the instruments full dynamic range wont be captured and some soft hits to the pad may not be recognized. Note: The NOISE parameter in the D4 is similar to XTALK in that the level you set determines whether the trigger will fire on "softer" signals. But there is a difference. The NOISE parameter "looks" only at exterior causes of the signal, whereas the XTALK parameter "looks" at all of the other triggers in the D4 to determine whether the "soft" signal it is receiving is actually a "real hit".
GAIN. This is the signal strength that the transducer is sending to the triggers in the D4. It's adjustment is very similar to that of a tape recorder's VU meter. With the gain set too low, soft hits may never be recognized. With the gain set too high, you may experience false, or double triggering. A properly adjusted gain setting will allow the highest dynamic range for the pad being used. The gain is the most important parameter in the D4. It must be correctly set for the remaining parameters to work properly, and to assure reliable triggering with the D4.

5.0 TRIGGER SELECTION

There are 12 input triggers with corresponding rear panel jacks. Each is edited independently, so it is first necessary to select a trigger input for editing. Note: The MIDI note number default settings for the D4 triggers can be found in the D4 Factory Drumset Reference Chart. Editable parameters are identical for all 12 triggers, and the trigger set up is global for all drum sets.
1. The first Ext Trig page shows three parameters, such as:
TRIG:01 VCURVE:4 NOTE: 046 A#1 As with the other screens, the cursor buttons move between the three parameters.

2. Place the cursor under the TRIG parameter. 3. Turn the Data wheel to select the desired trigger for editing.
5.1 TRIGGER NOTE SELECTION
Each trigger can be assigned to any MIDI note number, which is associated with a corresponding drum sound (programmed according to the instructions in section 3.0). Trigger note assignments are recalled as part of a Drum Set whenever a new set is selected.
1. The first Ext Trig page shows three parameters. Example:
TRIG:02 VCURVE:4 NOTE: 036 C1
2. Place the cursor under the Note parameter. 3. Turn the Data wheel to select the note that will be assigned to the selected trigger input.
5.2 TRIGGER VELOCITY SELECTION
The velocity sensitivity of each trigger input can be adjusted to accompany a wide variety of playing styles, and to help compensate for sensitivity variances between various brands of drum pads and transducers. For example, a hard hitting player might have a difficult time in playing the softer velocity sounds available in the D4 due to the high impact of most of his hits. Using a lower VCURVE setting (1 - 3) would require a much harder strike to generate a full MIDI velocity of 127, and make it much easier to obtain the more "subtle" velocity sounds when playing the drum pad. When using a higher VCURVE setting (5 - 7) the opposite applies, or a much softer hit would generate a MIDI velocity of 127.
1. While in the first Ext Trig page, place the cursor under the VCURVE parameter. Example:
2. Turn the Data wheel to select the sensitivity value desired to suite the style of play, or the pads being used. The default setting of 4 is the "median" velocity curve. For average play (hits ranging from very soft to very hard) this curve gives you the full range of sensitivity which corresponds to MIDI velocities 1 through 127.
Note: The setting of 0, Unassigned, is selected by rotating the Data wheel fully counterclockwise. This is a special case VCURVE setting which allows a trigger input to contribute to the D4s master suppression threshold. However, it will not trigger any sounds or MIDI note messages. In certain circumstances this setting can help suppress false triggering on the other inputs. Example: Suppose three drum pads are mounted on a single drum stand while set up on a noisy stage. Normally, a higher XTALK setting would be used to eliminate interaction between the pads, and a high NOISE floor setting would be selected to reject the high level of ambient noise and vibration. In certain cases with crosstalk and noise floor settings too high, softer hits might become rejected because the D4 assumes that they are noise. Instead of compromising between the two parameters, there are two methods which can improve this scenario.

Method One: 1. First, attach an inexpensive contact transducer to the center of the drum stand and plug it into a D4 input. 2. Next, go to the VCURVE page under the EXT TRIG function and select the VCURVE setting of 0 (Unassigned) for this trigger. 3. Go to the next page and set the XTALK, DCAY and the NOISE levels all to 00. This low level will allow the maximum amount of noise and stand vibrations to be detected by the D4. 4. Press the EXT TRIG button again to get to the GAIN page showing the bar graph meter display. Using the meter, adjust the level to select a "hotter" than usual GAIN setting. Since in this case the gain is effected only by the the stand vibrations, a very strong signal is needed to maximize the trigger's performance. 5. Now as the stage vibrates, or when other signals trigger the drum stand transducer, the suppression function will note this signal and determine that any softer signals coming from the other three pads must be crosstalk. Also, if the suppression function sees a soft signal from the three main pads but little or no signal from the drum stand transducer, it will assume that the pad signals are valid hits and trigger the D4 sounds. Method Two:
In severe cases, this is another way in which the Unassigned feature can be used. For this scenario lets use the bass as the reason the surrounding noise level is making proper triggering difficult. Each time the bass player "pops" a string, the vibration triggers the tom 1 pad.
1. First, take a direct out from the bass amplifier, and plug it into an unused trigger input on the D4. 2. Next, go to the VCURVE page under the EXT TRIG function and select the VCURVE setting of 0 (Unassigned) for this trigger.
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".
Example: Suppose you hit the snare pad and the tom 1 pad triggers.
1. First, go to the MIX page and reduce the volume of the snare pad to 00. Now when you hit the snare pad you won't hear it, but you will hear the tom 1 pad when it false triggers. 2. Next, press the EXT TRIG button twice (which gets you to the XTALK parameter page) and select the tom 1 trigger to edit.
3. Place the cursor under the XTALK parameter. While you hit the snare pad (triggering the tom pad) gradually raise the crosstalk level of the tom 1 pad. 4. Continue to raise the level until the tom pad stops triggering when you apply hard hits to the snare pad. By using this technique, you have isolated the problem drum, and made it easy to "dial in" the proper XTALK value without the sound from the other drum becoming distracting or confusing. 5. Finally, return to the MIX page and reset the volume of the snare pad to it's original level.
Note: Always increase the XTALK value in small amounts for two reasons. The values are very sensitive, so an increase of as little as 2 or 3 can make a difference in suppression. Also, an unnecessarily high XTALK setting actually suppresses the sensitivity of the trigger input, resulting in the occasional loss of softer hits. If a situation where a high XTALK setting is necessary to stop false triggering, but pad sensitivity loss is noticeable, try this combination. Start by slightly lowering the GAIN setting for the pad. This should make it possible to lower the XTALK value, which will allow the pad sensitivity to increase. With some experimentation and time, you should be able to find the right combination.

5.5 TRIGGER DCAY CONTROL SELECTION
If a pad or drum "double triggers" when it is struck, it may be necessary to adjust the DCAY level. This is evident when shortly after the initial strike to a pad, a second trigger from the same pad is generated, or it "double triggers". Note: With certain pads it may not be necessary to adjust this parameter. In that case, skip this section and go on to 5.6 Noise Control Selection).
1. After selecting the desired Trigger whose decay level needs to be set, place the cursor under the DCAY parameter. Example:
2. Turn the Data wheel to select the desired level of decay suppression necessary to stop the pad from double triggering. (00 is minimum, 99 maximum) This level will depend on your current set up, including the mounting configurations and the type of pads used.
When triggering from acoustic drums, the factors involved are staggering. Not only do the type and size of drum make a big difference, but things such as; if the drum is single or double headed, the tension of the head(s), the muffling, and the trigger placement all play very important roles in getting good results and proper "tracking" of your play. For more detailed tips and suggestions in these areas please refer to Tips On External Triggering From Acoustic Drums, included in the D4 literature package.
5.6 TRIGGER NOISE LEVEL SELECTION
When in a high noise floor level situation such as playing live on a stage with bass cabinets nearby, it may be necessary to adjust the NOISE parameter level. If your situation does not necessitate the need to make these type of adjustments, skip this section and go on to 5.7 Trigger Gain Selection.
1. After selecting the desired Trigger whose noise level needs to be set, place the cursor under the NOISE parameter. Example:
2. Turn the Data wheel to select the desired level of suppression necessary to stop the pad from false triggering. (00 is minimum, 99 maximum) Stage noise and rumble, the stability of drum risers and platforms, volume, and crowd vibrations are all factors in choosing the proper level.
Remember: In keeping potential problems to a minimum, it is always a good idea to try to keep some distance between your pad or drum kit, and nearby speaker cabinets (especially bass cabinets). Whenever possible, try to aim them so they are not facing directly towards your set up. Also, avoid unsteady drum risers and hardware.

5.7 TRIGGER GAIN SELECTION
To compensate for differences in transducer outputs, the gain for each trigger can be set independently.
1. The third Ext Trig page shows two parameters. Example:

TRIG:01 GAIN:50

As with the other screens, the cursor buttons move between the two parameters. The Trig parameter is identical to the one on the first two Ext Trig pages, and allows you to select different Trigger inputs for editing.
2. After selecting the desired Trigger whose gain needs to be set, place the cursor under the GAIN parameter. 3. Turn the Data wheel to select the desired amount of gain (00 is minimum gain, 99 maximum gain).
4. To aid in the adjustment of this parameter, strike the pad or drum whose transducer is plugged into the selected input. The lower LCD line will turn into a bar-graph meter that shows the peak strength of the transducer signal. Adjust the gain so that a powerful strike results in the meter reaching the right-most side of the display, and a period appears to the right of the GAIN number. This period indicates that the input is reaching it's full dynamic range. When a trigger's gain is properly adjusted, the period will appear only on the strongest hits.

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.
Note that you don't necessarily have to use hi hat sounds while using this mode. If you wish, you can use any sound available in the D4.
4. Press the EXTERNAL TRIG button until the display shows the Footswitch Held note. This is the note that will be played when Trigger 1 is struck AND the footswitch is held. If it hasn't been assigned already, assign a closed hi hat sound to this note. 5. Using the Group function (section 3.7), assign all the hi hat sounds to Group 1 so that you cant have two different hi hat sounds ringing at the same time. (The hi hat sounds could be assigned to Group 2 if youre already using Group 1 for other drum sounds.)
If you strike the hi hat pad while the footswitch is not pressed, youll hear the open hi hat sound. Pressing the footswitch triggers the foot closed sound (at the same velocity as the most recent open hi hat hit); just like a real hi hat, you dont have to strike the padsimply closing the hi hat by pressing the footswitch triggers the sound.
Striking the pad while the footswitch is held down plays the closed hi hat sound.
CHAPTER 6: MIDI SUPPLEMENT
(This chapter is an abridged version of material from Power Sequencing with Master Tracks Pro/Pro 4 and The Complete Guide to the Alesis HR-16 and MMT-8, copyright 1990 and 1989 respectively by AMSCO Publications, and is adapted with permission.)