ALESIS DM5

Reference Manual

INTRODUCTION

Thank you for purchasing the Alesis DMBit Drum Module. To take full advantage of the DM5s functions, and to enjoy long and trouble-free use, please read this users manual carefully.

HOW TO USE THIS MANUAL

This manual is divided into the following sections describing the various modes of the DM5. Though we recommend you take time to read through the entire manual once carefully, those having general knowledge about drum modules and MIDI should use the table of contents to reference specific functions while using the instrument. Chapter 1: Setting Up. Deals with the necessary preparation before playing, including connections to external devices. Chapter 2: Your First Session with the DM5. This section provides a brief tour of the DM5, shows you how to audition the various sounds of the DM5, and points out the various performance features. Chapter 3: Connections. Details rear panel connections (like MIDI, footpedals and the serial interface), proper hook-up procedures, plus application examples. Chapter 4: Overview. Covers the structure of sound sources within the DM5, how to read and navigate through the LCD display pages, how to edit parameters, and how to store edited Drum Sets. Chapter 5: MIDI Functions. Explains how to edit MIDI parameters. Chapter 6: External Triggering. Describes all external trigger functions. Appendices. MIDI basics, trouble-shooting, maintenance and service information, and the MIDI Implementation Chart.

Conventions

The buttons, knobs, and rear panel connectors and switches are referred to in this manual just as their names appear on the DM5, using all capital letters and in brackets (Example: [DRUM SET] button, [ ] and [ ] buttons, [VALUE] knob, etc.).
When something important appears in the manual, an icon (like the one on the left) will appear in the left margin. This symbol indicates that this information is vital when operating the DM5.

DM5 Reference Manual

CONTENTS

1: SETTING UP... 5

Unpacking and Inspection....5 AC Power....5 Line Conditioners and Protectors...5 About Audio Cables....6 Basic Audio Hookup....6 MIDI Hookup....7 External Triggers Hookup....8
2: YOUR FIRST SESSION WITH THE DM5.. 9
Powering Up....9 Playing the Demo Sequence...9 Whats a Drum Set?...10 Playing the DM5....10 Auditioning Internal Programs...10 Selecting the MIDI Channel...10 Choosing Voices in a Drum Set...11 Storing an Edited Drum Set...12 Naming a Drum Set...12 Recalling the Factory Drum Sets...12

3: CONNECTIONS... 13

MIDI.....13 Example 1: Using a MIDI Keyboard...14 Example 2: Using a MIDI Sequencer...15 Example 3: Using Two or More DM5 Modules...17 External Triggers....18 Footswitch Hookup...22

4: OVERVIEW... 23

Basic and Definitions....23 The Voice....23 Random Voices...23 About the Edit Buffer....23 MIDI Note Range....24 DM5 Polyphony....24 Reading The Display...25 Function Buttons...26 / Buttons...26 Multi-Page Functions....26 The Store button....27 The Note Chase Button...27 The Preview Button...27 Drum Note Selection....27 Function Buttons....28 Voice....28 Tune....28 Mix...29 Output...29 Drum Set....31
Index Ext Trig....31 Group....31 MIDI....32 Copying a Notes Parameters to Another...32

Hold the [DRUM SET] button, and press [PREVIEW].
The display will read: Playing Demo.
Press any button to stop the demo.
There will be no MIDI out messages during the demo, and the external triggers will be disabled.
Chapter 2: Your First Session With The DM5

WHAT S A D RUM SET?

A Drum Set is a stored configuration of drum sounds and their parameters. This setup of drum sounds and parameters can be stored so that you can get back to it instantly. When you select a Drum Set, all of its sounds and parameter settings are recalled to recreate the original kit. The DM5 provides up to 21 internal Drum Sets. A Drum Set contains 61 notes. Each note is assigned a voice. Each voice is an actual digital recording, called a sample. There are 4 megabytes of drum and percussion samples to choose from. The voices are organized into groups, for easy selection (Kicks, Snare, etc.). Once a note has been assigned a voice, you may then edit its other parameters. These include Pitch (transposing the playback pitch of the sample), Volume, Panning, and Output (Main or Aux). 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. Using Dynamic Articulation techniques, the timbre (tonal content) and pitch will often change as well, just like real drums.

PLAYING THE DM5

The DM5 is shipped from the factory with 21 Preset Drum Sets.
AUDITIONING INTERNAL PROGRAMS
Press the [DRUM SET] button.
The [DRUM SET] button will light. You can play the DM5 from a MIDI keyboard or via the external triggers; the Drum Set will be whatever was selected last (00 20).
Select a Drum Set by turning the [VALUE] knob.
The selected Drum Set number and its name will appear in the display.
SELECTING THE MIDI CHANNEL
The DM5 can receive information on any single MIDI channel of the 16 available channels, or on all 16 MIDI channels.
The [MIDI] button will light. This selects the MIDI parameters for editing. There are 5 different pages of parameters; this is page 1. There are three parameters in this page: Root, Chan and Thru. The first parameter, Root will be selected (the value beneath it will be flashing).
Press the [ ] button once to select the Chan parameter (MIDI channel).

Repeat steps through to select new Voices for other notes in the Drum Set.
Changes you make to a Drum Set are temporary and will be lost if another Drum Set is selected. To make changes permanent, you must store the Drum Set (see next section).
STORING AN EDITED DRUM SET
Once you have made changes to a Drum Set, you will need to store it; that is, if you want to keep the changes you have made. The internal memory is designed to hold up to 21 (00 20) Drum Sets. Once you store over an existing Drum Set, the previous Drum Set that was stored in that location is gone forever. However, you can recall any of the 21 original factory preset Drum Sets at any time (see below).

Press [STORE].

The [STORE] button will light. The display will show a Drum Set number identical to the last Drum Set number selected.
Optional: Use the [VALUE] knob to select a different Drum Set location (00 20). Press [STORE] to save the Drum Set into the selected location.
The display briefly reads: DRUMSET STORED!. The [STORE] button will turn off.

NAMING A DRUM SET

The Store function has a second page which allows you to change the name of the Drum Set before storing it.
Press [STORE]. Press the [ ] button once to select page 2 of the Store function.
The Drum Sets name appears in the display; a cursor appears beneath the first character. In the bottom left corner of the display, PAGE 2 will have a square around it.

Use the [ ] and [

] buttons to move the cursor in the display and select a character for editing. If you move the cursor beyond either end of the Drum Sets name, page 1 will be selected.
Turn the [VALUE] knob to change the selected character. Press [STORE] to save the Drum Set with its new name.
RECALLING THE FACTORY DRUM SETS
The DM5 includes 21 factory-programmed Drum Sets that are useful in a wide range of applications. These are permanently stored in ROM (Read Only Memory), so even if you edit one of them or replace one by storing a Drum Set into its memory location, you can recall any of the original presets whenever you want.
Hold the [DRUM SET] button and press [STORE].
The display will read: Recall Set Into.
Turn the [VALUE] knob to select the factory Drum Set to be recalled (00-20). Press the [ ] button once and turn the [VALUE] knob to select the Drum Set
memory to recall the Drum Set into.
Press [STORE] to recall the selected factory Drum Set into the selected Drum Set

memory location.

Recalling a preset permanently erases and replaces the Drum Set in the location you select. Only recall a preset into a Drum Set location you are sure you dont want to keep.

Local Mode

The Local parameter determines whether or not the external triggers will play the internal voices of the DM5 or not. The triggers will generate MIDI note information when played, which can be recorded onto a MIDI sequencer (as long as the DM5s MIDI Thru parameter is turned off; see page 17). In this situation, you may want to have the sequencer echo back the information it receives from the DM5 and consequently play the DM5s voices for those notes (the sequencer may have a different name for this feature, such as Thru mode, Echo, etc.). If the sequencer is echoing back what it receives from the DM5, it is not necessary for the external triggers to directly play the DM5, since this would result in each note being played twice (once by the trigger and then again when the note is echoed back by the sequencer). The solution is to either turn the sequencers echoing feature off, or turn the DM5s Local parameter off. The latter is a better choice if you intend to use the DM5s triggers to record tracks on the sequencer for other MIDI devices (since you wouldnt want to hear the DM5 play when you hit the external triggers).
To turn the Local Control off:
If not already selected, press the [MIDI] button repeatedly until PAGE 2 is selected.
In the bottom left corner of the display, PAGE 2 will have a square around it. There is only one parameter in this page: Local. Its current state (on or off) will appear below, and will be flashing.
Turn the [VALUE] knob counterclockwise to turn the Local Control parameter off.
The display will change to indicate that the Local Control parameter is turned Off.
EXAMPLE 3: USING TWO OR MORE DM5 MODULES
The DM5 provides 16-note polyphony, which means at any single moment, up to 16 different Drum Voices can be triggered at once. This polyphony is shared by all 61 notes in a Drum Set. So, although you have 61 different Drum Voices available to you, a maximum of 16 can be played at the exact same time. Once a Drum Voice is finished playing back, polyphony is restored so another Drum Voice may be played. If, however, the DM5 receives note commands and/or external triggers that instruct it to play more than 16 Drum Voices at the same time, you may notice some interesting things occurring (such as Drum Voices being cutoff before their finished sounding). This is an infrequent occurrence, since usually there are fewer than 16 Drum Voices being played at any given moment; normally they are spaced apart to provide a syncopated rhythm. And since many of the Drum Voices have quick decays, having another Drum Voice triggered hot on its heels will almost never cutoff the Voice that preceded it.

MIDI Overflow Mode

In the event that you require more than 16 Drum Voices at the same time, it is possible to connect a second DM5 to catch the overflow of notes and consequently accommodate all the Drum Voices you need (for 32-note polyphony). You can actually connect as many DM5s in a chain as you like to accomodate your needs. For example, connecting 8 DM5s would provide 128-note polyphony. To do this, connect the first DM5s [MIDI OUT/THRU] to the second DM5s [MIDI IN]. This connection requires that the MIDI Thru parameter be set to Overflow Mode (see below). To turn the MIDI Overflow Mode on:

trigger until it stops triggering when you hit the snare pad (00 is minimum, 99 maximum). A properly adjusted Crosstalk level will stop the pads interaction, and still allow you to play quick hits without loosing any notes.
Note: In this scenario we will use only the snare pad. Depending on the type of pads being used and your mounting configuration, you may be experiencing some double triggering. If shortly after the initial strike to the snare pad it re-triggers or sounds a second time, the pad is double triggering. This can be controlled by altering the Decay parameter value. To set the DECAY value:
Turn the [VALUE] knob to select the desired trigger (snare). Press [ ] twice to select the Dec parameter.
Turn the [VALUE] knob to gradually increase the value until the snare stops
double triggering on hard hits. A properly adjusted Decay parameter will end double triggering, and still allow you to play fast, repetitive hits on the snare pad.
Note: In this scenario we will be using the tom 1 and the tom 2 pads in a live performance situation. The two tom pads are mounted together on a single floor stand, and the Crosstalk and other parameters have already been correctly adjusted. When you play the pads while no other instruments are being sounded, all of the hits are triggering and tracking properly. Now as the band begins and the stage volume is very loud, the stage starts trembling which causes the drum hardware to vibrate. At times the tom 1 and the tom 2 pad are triggering when not being played. This is because the DM5 is interpreting the signals from the stand vibrations as hits. By adjusting the Noise parameter the DM5 can determine which signals are vibrations caused by the surrounding noise level, and which signals are actual hits. To set the NOISE value:
Turn the [VALUE] knob to select the desired trigger (tom 1). Press [ ] three times to select the Nois parameter.
Turn the [VALUE] knob to increase the value to a level that will stop the pad from
false triggering when the strong vibrations occur. If the triggering is frequent and strong, try starting with an increase of 20 or more. If the triggering is not as often and is softer in volume, first try adding 10 to the value, then gradually add more if necessary.
Repeat steps through to correct the problem with the tom 2 pad. Finally, return to the Drum Set mode by pressing the [DRUM SET] button. This
will protect from the possibility of accidentally editing your settings. Note: Whenever possible, keep some distance between your drum kit and the nearest speaker cabinets (especially bass cabinets), and make sure they are not facing directly at your set up. Remember that the closer and louder in volume the cabinets are, the greater the chances are that they will cause false triggering problems.

Overview: Chapter 4

CHAPTER 4

OVERVIEW

BASIC AND DEFINITIONS

THE VOICE

Each time the DM5 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 DM5s Dynamic Articulation scheme, the timbre (tonal content) and pitch will often change as well, just like real drums. The Voices have been organized into 8 Voice Families for easy access (Kick, Snare, Hat, etc.).When assigning a Voice to one of the 61 notes in a Drum Set, you first select the Voice Family and the a Voice from within that group.

RANDOM VOICES

One of the Voice Families, called Random, has a unique collection of Voices. Each Voice within this Family includes a sampling of various other Voices from the other Families. When playing a Random voice, a different sample of the same Voice type will be heard each time it is triggered. This creates a very complimentary human element, just as a real drummer may not play the same drum quite the same way two times in a row or more.

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.

Chapter 4: Overview

Often the default is whatever was selected last. Example: If the DM5 was set to Drum Set 14 just before you shut off power, upon power-up the DM5 will return to Drum Set 14.

MIDI NOTE R ANGE

The DM5s 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 page 33). 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.

EDITING PARAMETER VALUES

After selecting the parameter to be edited, use the [VALUE] knob to vary its value. Once a Drum Set has been edited, a period appears in the display after the Drum Set number. Example: This Drum Set has been edited. Notice the period on the right. Standard Set. The period reminds you that if the [VALUE] knob is rotated and another Drum Set is selected, any changes made to the current Drum Set will be lost.

THE STORE BUTTON

The [STORE] button saves edited Drum Sets by overwriting existing Drum Set data with the contents of the edit buffer. See page 12 for more information.

THE NOTE CHASE BUTTON

[NOTE CHASE] allows a MIDI note or acoustic trigger to choose a particular note (and therefore its assigned drum sound) to be edited (see below).

THE PREVIEW BUTTON

You can tap the velocity-sensitive [PREVIEW] button at any time to trigger the currently selected sound.

DRUM NOTE SELECTION

The [VOICE], [TUNE], [MIX], [OUTPUT], and [GROUP] Function buttons all require selecting a particular drum note for editing. The middle of the display (labeled NOTE) indicates the note that is being edited. For example, the Voice selection screen shows:
There are two ways to select the drum sound to be edited or previewed: Place the cursor under the note and turn the [VALUE] knob to select a different note. When the [NOTE CHASE] button is turned on (lit), an incoming MIDI note or external trigger will select the note to be edited (and the [NOTE CHASE] button will flash). This makes it easy to change the same parameter for all drums; call up the editing function (Voice, Tune, Mix, etc.) and select various drums by playing their associated keys/triggers. The display will read out the MIDI note number and note name (Example: 36 C1).
Tip: Chase can also be used as a piece of MIDI test equipment to determine the note number of an incoming MIDI note. This will only happen if the sending device is on the same MIDI channel as the DM5 and if the sending note is within the note range of the currently selected drum kit.
Press [VOICE], and the display shows the selected MIDI note number in the middle of the display and two parameters, Voice Family and Voice Number, on the top line (see display example above). To select a Voice Family , use the [ ] and [ ] buttons to place the cursor (underline) under the Voice Family name and turn the [VALUE] knob. Bank options are: Kik (Kick) Snr (Snare) Tom (Tom toms) Hat (Hi-hats) Cym (Cymbals and hi hats) Prc (Percussion) Efx (Effects) Rnd (Random) To select a Voice within the Family , use the [ ] and [ ] buttons to place the cursor under the Voice Number and turn the [VALUE] knob. The accompanying chart included with the DM5 shows the names of all available drum sounds.
Press [TUNE], and the display shows the selected MIDI note number in the middle and the Pitch on the top line.

DRUM SET

Press [DRUM SET], and the display shows the selected Drum Set number on the left side and the Drum Sets name on the top line.
To select a particular Drum Set, turn the [VALUE] knob. The range is from 00 to 20. Drum Set selection and management is covered in more detail in Chapter 2.

EXT TRIG

Press [EXT TRIG], and the display shows the Trigger input at the bottom and Trigger Characteristics on the top line, and the note associated with the Trigger in the middle.
External triggering is a complex topic and is described in detail in Chapter 6.
Press [GROUP], and the display shows the selected MIDI note number in the middle and the assigned Drums mode on the top line. Group: Multi To change the mode, turn the [VALUE] knob. There are four options: Multi: When triggering a note repeatedly, each trigger will cause the sound to go through its entire decay. This is useful with cymbals, since early strikes continue to decay as you play later strikes. Single: When triggering a note repeatedly, a new hit will automatically terminate any sound that is still decaying. This is useful with many percussion sounds (such as tambourine, agogo, etc.). Group 1 and 2: A newly-triggered voice assigned to a particular group (1 or 2) will cut off a voice assigned to the same group if the older voice is still sustaining. The classic use of this is with hi-hats; a closed high-hat will cut off an open hi-hat, and hitting an open hi-hat sound will cut off a closed hi-hat.
The DM5 can play up to 16 voices at a time, so its possible to run out of voices if you play a flurry of notes and have lots of drum sounds assigned to Multi mode. If 16 sounds are playing and you ask the DM5 to play another one, the sound thats closest to finishing its decay cycle will be stolen so that the most recent sound can be played. In practice, its difficult (and usually not artistically desirable!) to create drum parts so complex that voice-stealing becomes a problem. However, if this is a problem, try assigning all the toms to a group so that they only use up one voice at a time. It is also possible to connect additional DM5s to increase polyphony. See page 17 for more information.
Press [MIDI], and the display shows the first of five pages which let you access the DM5s various MIDI parameters. MIDI options are described in detail in Chapter 5.

Unlike other MIDI parameters, this value (0-67) is stored as part of a Drum Set and can be different for each Drum Set.
Chapter 5: MIDI Functions

MIDI CHANNEL

The DM5 can receive and transmit MIDI data in Omni mode (receives data appearing on any of the 16 MIDI channels, transmits data over channel 1) or Poly mode (transmits and receives over any single one of the 16 MIDI channels). Use Omni mode when playing only the DM5 from an external MIDI controller (MIDI drum pads, MIDI keyboard, etc.) since its not necessary to match channels. When several instruments are being driven by MIDI (e.g., when a sequencer sends out data over several channels to different instruments), use Poly mode so that the DM5 tunes in to only the channel containing drum data. With the Chan parameter selected (flashing), turn the [VALUE] knob to select 00 (Omni mode) or one of the 16 channels (01 16); selecting a single channel automatically puts the DM5 in Poly mode.

MIDI THRU/OUT

This parameter has three settings: Off., On and Overflow (FLo). When set to on, this function passes data appearing at the [MIDI IN] to the [MIDI OUT/THRU] jack, as well as to the DM5s internal circuitry. This input data is merged with any data being generated by the DM5. Example: If the DM5 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 set to off, the [MIDI OUT/THRU] jack serves as a MIDI Out only from the DM5. Input data present at the DM5s [MIDI IN] is not passed through. When set to Overflow (FLo), a second DM5 may be used to double the polyphony to 32 notes. This requires that a second DM5s [MIDI IN] be connected to the first DM5s [MIDI OUT/THRU]. The second DM5 to catch the overflow of notes whenever more than 16 notes are required to be played at the exact same moment. With the Chan parameter selected (flashing), turn the [VALUE] knob to select either OFF ([MIDI OUT/THRU] acts as a MIDI Out jack), On ([MIDI OUT/THRU] acts as a MIDI Thru jack) or FLo ([MIDI OUT/THRU] sends extra notes to a second DM5).

LOCAL C ONTROL

MIDI page 2 has only one parameter: Local Control.
The Local parameter determines whether or not the external triggers will play the internal voices of the DM5. The triggers will generate MIDI note information when played, which can be recorded onto a MIDI sequencer (as long as the DM5s MIDI Thru parameter is turned off; see page 34). In this situation, you may want to have the sequencer echo back the information it receives from the DM5 (the sequencer may have a different name for this feature, such as Thru mode, Echo, etc.). If the sequencer is echoing back what it receives, it is not necessary for the external triggers to directly play the DM5, since this would result in each note being played twice (once by the trigger and again when the note is echoed back by the sequencer). The solution is to either turn the sequencers echoing feature off, or turn the DM5s Local parameter off. The latter is a better choice if you intend to use the DM5s triggers to record tracks on the sequencer for other MIDI devices (since you wouldnt want to hear the DM5 play when you hit the external triggers). With the Local parameter selected (flashing), turn the [VALUE] knob to select either OFF (external triggers only generate MIDI notes) or On (external triggers play internal drum sounds and generate MIDI notes).

Connect the DM5s [MIDI OUT] to the [MIDI IN] of the other DM5 or System
Exclusive storage device.
Select MIDI page 5, SysEx Backup.
The Store LED will light.
Use the [VALUE] knob to call up one of the four available types of data for backup.
The table below shows the approximate amount of memory required by each type): Data Edit Buffer Trigger Setup Program Table System (All) Bytes 150 8K
System data includes Drum Sets, trigger setup, program table, and MIDI assignments.
Press the [STORE] button.
The display will say SENDING SYSEX. to confirm that data is being sent. The SysEx receiving device should indicate that it is receiving data. After the transfer is complete, the DM5s display reverts to the SysEx Backup page.
The MIDI Thru function is disabled while SysEx is being transmitted.
RECEIVING DATA FROM ANOTHER MIDI DEVICE
The DM5 will automatically load DM5 system exclusive data detected 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 DM5 sends data through its [MIDI OUT] into the DM5s [MIDI IN]. The DM5 is compatible only with DM5 system exclusive data; for example, you cannot load system exclusive data from another drum device into the DM5.
When loading the Edit Buffer via SysEx, be sure and save the Drum Set before changing to another Drum Set. Otherwise, the data will be lost.
External Triggering: Chapter 6

CHAPTER 6

EXTERNAL TRIGGERING
External triggering has three main uses: Driving DM5 sounds from electronic drum pads. Some electronic drum pads provide MIDI triggers when hit; these can feed directly into the DM5s 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 DM5. These transducers can be plugged directly into the DM5 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 DM5.
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 DM5 includes five editable parameters that let you electronically tailor the DM5 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 DM5 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 [ ] and [ ] buttons to go from one page to another by cursoring past the parameters on the current page. For more details, see page 26. For the remainder of this chapter, well assume you know how to select the appropriate page.

This chart represents three signals which are seen by the DM5. 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 DM5. 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 DM5 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. Decay. This parameter represents the signal decay time, or the amount of time between once a pad has been struck and triggers, to when it will trigger again from another hit. This is one of the more tricky issues of triggering. Heres why: When hits are spaced 2 or more seconds apart, the first signal has plenty of time to decay completely, making it easy to determine the second signal as an actual hit. However, when playing quick, repetitive hits it is much more difficult to determine where one hit ends and the next one begins. To further complicate things, some drum sounds (especially acoustic drums) take a long time to decay. During this period, part of the decay can be interpreted as another closely-spaced hit. This is where the Decay control comes in. The Decay control adjusts the time and threshold of the signal decay making it possible for the DM5 to correctly determine whether closely spaced signals are real hits or just decay. Selecting a higher Decay value (long decay times) will allow for the most reliable triggering but may miss quickly repeated hits. Lower Decay values (shorter times) will respond to quickly repeated hits but may be more prone to false triggering. Experimentation with these levels is necessary to achieve the proper results.
Chapter 6: External Triggering Example:
This chart simulates the waveform of a snare drum hit. The first big point in the signal is the actual hit, the rest of the waveform is all decay. Since the Decay time threshold is adjusted too low, the Decay level curves off too soon allowing a second point, during the signals decay, to exceed the threshold. Once this happens the DM5 will trigger the sound.

External Triggering: Chapter 6 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 DM5 assumes that they are Noise. Instead of compromising between the two parameters, there are two methods which can improve this scenario. Method One:
First, attach an inexpensive contact transducer to the center of the drum stand
and plug it into a DM5 input.
Next, go to Ext Trig page 1 and select the Velocity Curve setting of 0 (Unassigned)

for this trigger.

Go to the next page and set the Xtalk, Decay 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 DM5.
Using the TRIG LEVEL meter (at the bottom of the display), adjust the level to
select a hotter than usual Gain setting. Since in this case the gain is effected only by the stand vibrations, a very strong signal is needed to maximize the trigger's performance.
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 DM5 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.
First, take a direct out from the bass amplifier, and plug it into an unused trigger

input on the DM5.

Next, go to Ext Trig page 1 and select the Velocity Curve setting of 0
(Unassigned) for this trigger.
Go to page 2 and set the Xtalk, Decay and Noise levels all to 00. This low level