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

5: MIDI FUNCTIONS... 33

Drum Set Root Note...33 MIDI Channel....34 MIDI Thru/Out....34 Local Control....35 Program Change Enable...35 Program Change Table....37 Saving Data via MIDI....37 Receiving Data From Another MIDI Device..38

Chapter 1: Setting Up

ABOUT AUDIO CABLES
The connections between the DM5 and your studio are your musics lifeline, so use only high quality cables. These should be low-capacitance shielded cables with a stranded (not solid) internal conductor and a low-resistance shield. Although quality cables cost more, they do make a difference. Route cables to the DM5 correctly by observing the following precautions: Do not bundle audio cables with AC power cords. Avoid running audio cables near sources of electromagnetic interference such as transformers, monitors, computers, etc. Do not place cables where they can be stepped on. Stepping on a cable may not cause immediate damage, but it can compress the insulation between the center conductor and shield (degrading performance) or reduce the cables reliability. Avoid twisting the cable or having it make sharp, right angle turns. Never unplug a cable by pulling on the wire itself. Always unplug by firmly grasping the body of the plug and pulling directly outward. Although Alesis does not endorse any specific product, chemicals such as Tweek and Cramolin, when applied to electrical connectors, are claimed to improve the electrical contact between connectors.

BASIC AUDIO HOOKUP

When connecting audio cables and/or turning power on and off, make sure that all devices in your system are turned off and the volume controls are turned down. The DM5 has two Main and two Aux audio outputs on the rear panel, as well as a headphone output on the front panel. These can provide an amplification system or mixer with several different audio hookup options: Mono. Connect a mono cord from the [MAIN OUTPUTR] to a mono amplification system or individual mixer input. Stereo. Connect two mono cords from the [MAIN OUTPUTL] and [MAIN OUTPUT R] to a stereo amplification system or two mixer inputs. Dual Stereo/Four Individual Outs. Connect two mono cords from the [MAIN OUTPUTL] and [MAIN OUTPUTR] and two mono cords from the [AUX OUTPUTL] and [AUX OUTPUTR] to a dual stereo amplification system, or four mixer inputs. Stereo Headphones. Plug a set of high-quality stereo headphones into the front panel [PHONES] jack.

MIDI HOOKUP

If you are using a MIDI keyboard or sequencer, connect its [MIDI OUT] to the DM5s [MIDI IN]. If you have another MIDI device you wish to control from the same keyboard or sequencer, connect the DM5s [MIDI OUT/THRU] to the other devices [MIDI IN]. This also requires that you turn the DM5s MIDI Thru parameter on. To turn on the MIDI Thru parameter:

Press the [ ] button once to select the Chan parameter (MIDI channel).
The Chan parameters value will flash in the display to indicate it is selected for editing.
Use the [VALUE] knob to select a MIDI channel from 01 16, or 00 to select all
channels (this is also known as omni mode). The display will change to indicate the currently selected MIDI channel. For more information about MIDI functions, see Chapter 5.
CHOOSING VOICES IN A DRUM SET
In this section, we will choose Voices for a Drum Set. There are many other parameters of a Drum Set we may wish to edit, however. Refer to Chapter 4 for more information about editing. There are 61 possible notes in a Drum Set. To select a note, turn on the [NOTE CHASE] button (it will light). Now, whenever you play a note on your MIDI keyboard, the corresponding pitch will be displayed. When you want to edit a particular note, just play it and there it is! You can also select a note from the front panel by pressing the [ ] button to select the Note value in the display (it will flash) and then turning the [VALUE] knob to select the note you wish to edit.
Press [DRUM SET] and use the [VALUE] knob to select a Drum Set you wish to edit. Press [VOICE].
This selects the Voice function. The display will look like this:
In the upper section of the display there will appear two parameters: Voice Family and Voice Number (a slash / appears between them). The above example shows Note #36 (C1) is selected, and its assigned Voice is the first sound (001) in the Kick (Kik) Family. Note that the Voice Number (001) is underlined, indicating that it is selected for editing (using the [VALUE] knob).
With [NOTE CHASE] turned on (lit), play a note on your MIDI keyboard (or hit a
drum pad) that corresponds to the note you want to change the Voice for. The selected notes pitch will appear in the middle of the display. Example: If you played middle-C, the middle section of the display would read 36 C 1.
Turn the [VALUE] knob to select a different Voice Number within the current
Voice Group; Tap the [PREVIEW] button to audition the selected drum sound. Example: If the selected note was assigned to a kick drum, turning the [VALUE] knob would let you audition the other kick drum sounds available in the Kick Voice Group.
Press the [ ] button once to select the Voice Family parameter.
The cursor will appear beneath the Voice Family parameter.
Turn the [VALUE] knob to select a different Voice Family. Press the [ ] button once to select the Voice Number parameter again. Turn the [VALUE] knob to select a Voice within the newly selected Family; Tap the
[PREVIEW] button to audition the selected drum sound.
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).

Connections: Chapter 3

CHAPTER 3

CONNECTIONS

MIDI is an internationally-accepted protocol that allows musical-related data to be conveyed from one device to another. See the MIDI Supplement in Appendix B if you are not familiar with how MIDI works. The MIDI connections on the DM5 provide three different functions. To trigger the DM5 from a MIDI control device (keyboard, drum pad, guitar or bass controller, sequencer, etc.), connect the control devices MIDI OUT to the DM5s [MIDI IN].
The [MIDI OUT/THRU] connector sends MIDI data from the DM5s keyboard to other MIDI devices, but can also send System Exclusive data (see the MIDI supplement in Appendix B) to a storage device for later recall. You can also convert the signals generated by the external triggers into MIDI signals to send out to other MIDI devices (such as a sequencer).

MIDI OUT/THRU MODE

The [MIDI OUT/THRU] connector can be switched to a Thru mode so that it carries a replica (or echo) of the messages appearing at the DM5s [MIDI IN], allowing you to trigger other devices from the same controller which is feeding the DM5. Simply connect the DM5 [MIDI OUT/THRU] to the other devices MIDI IN. Note: The [MIDI OUT/THRU] connector will not send messages originating from the DM5 (via the external triggers) itself while in MIDI Thru mode. To turn on MIDI Thru Mode:

Chapter 3: Connections

EXAMPLE 1: U SING A MIDI KEYBOARD
The DM5 may be played from a MIDI keyboard (or some other type of MIDI controller) by connecting the keyboards [MIDI OUT] to the DM5s [MIDI IN]. This is illustrated in the diagram on page 17. This connection requires that two MIDI parameters be set to your satisfaction: MIDI Channel and Root Note.

MIDI Channel

Once connected, you will need to set the MIDI channels on both your keyboard and the DM5 so that they match. You can choose any of the 16 available channels. However, if you are also connected to other MIDI devices from your keyboard, you should consider assigning the DM5 to a MIDI channel that is not already in use. If you do assign the DM5 to the same channel as another device your keyboard is connected to, understand that (when the keyboard is set to that channel) both the DM5 and the other device(s) will be played simultaneously. Note: If you are not sure which MIDI channel your keyboard is set to, set the DM5 to MIDI Channel 00 (omni mode); this selects all 16 MIDI channels. To set the MIDI Channel:
The [MIDI] button will light. This selects the MIDI parameters for editing. There are 5 different pages of parameters; the bottom left corner of the display will indicate that 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).
channels (this is also known as omni mode). The display will change to indicate the currently selected MIDI channel.

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.

Press [ ] to select the VCrv parameter, and use the [VALUE] knob to set the
selected triggers Velocity Curve (0-7). Choose the sensitivity value which bests suits the style of play, or the pads being used. For average play, (hits ranging from very soft to very hard) the default setting of 4 will give you the full range of sensitivity which corresponds to MIDI velocities 1 through 127. Note: Velocity Curve 0, Unassigned, is fully explained on page 44.
Chapter 3: Connections Repeat steps through for the remaining triggers you will be using. After completing these steps, you should be able to play on all of the pads plugged in to the DM5 and hear the sounds being triggered. Before going on to the next few parameters (described in the following sections), you should be aware that the amount of adjustment needed for the remaining parameters will depend on several variables. Since all drum pads do not utilize the same design and materials, they vary somewhat in sensitivity and how they respond to outside surroundings. The factors that most effect the performance of triggers will be your hardware configuration, the different types of pads or drums being used, and the environment in which you will be using the DM5.

Crosstalk

Note: In our Crosstalk scenario we will use two pads, a snare pad and the tom 1 pad, both mounted on a single stand. If you are using a set up which consists of several pads mounted on one rack or stand, you may be hearing some crosstalk as you play around the kit. Crosstalk is when you hit the snare pad and the tom pad also triggers. This is usually the result of stand vibrations causing the pad (the tom 1 in this case) to trigger. If so, the Crosstalk for this pad needs to be re-calibrated. The important thing to determine is which pad needs the Crosstalk adjustment. Remember, the trigger that needs adjustment is the pad that is false triggering, not the pad being struck. So, if you are hitting the snare pad and the tom 1 pad triggers, adjust the tom pad, not the snare pad. Now, to correct the problem. To Set the CROSSTALK value:
Press [EXT TRIG] repeatedly until PAGE 2 is selected.
In the bottom left corner of the display, PAGE 2 will have a square around it. There are three parameters in this page: Xtalk, Dec and Nois. The Trigger Number will be selected (i.e. a circle around the currently selected Trigger Number will be flashing).
Turn the [VALUE] knob to select the desired trigger (tom 1). Press [ ] to select the Xtalk parameter.
The value beneath it will be flashing.
Turn the [VALUE] knob to gradually increase the Crosstalk level of the tom 1
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.

FUNCTION BUTTONS

The eight Function buttons select eight different groups of parameters, as shown in the display. Upon pushing a Function button, it will illuminate and deselect any previously-selected Function button (its buttons light goes out). The Functions are: Button VOICE TUNE MIX OUTPUT DRUM SET EXT TRIG GROUP MIDI Function Chooses the drum sound to be edited and/or assigned. Sets the drum sounds tuning. Sets the drum sounds Volume and Pan parameters. Selects one of the two sets of stereo outputs. Selects one of the 21 Drum Sets. Determines which trigger inputs will trigger which drums, and sets up trigger input response for the most reliable triggering. Determines how a drum sound (or group of drum sounds) will respond to successive series of triggers. Edits DM5 MIDI parameters.
For more information about each Function button, see pages 28 though 30.

BUTTONS

Upon selecting a function, the display will show one or more editable parameters. A flashing parameter indicates that it is selected and ready to be edited (using the [VALUE] knob). You can select a different parameter to be edited by pressing the appropriate [ ] or [ ] button (see next paragraph) until the selected parameter is flashing. Pressing the [ ] button moves the cursor from left to right, or clockwise (if editing External Trigger parameters). Pressing the [ ] button moves the cursor from right to left, or counterclockwise.

MULTI-PAGE FUNCTIONS

The [MIDI] and [EXT TRIG] Function buttons have more parameters than can fit in the display at once. Therefore, their parameters are divided among multiple pages (the [MIDI] Function button has five different pages, [EXT TRIG] also has five). To access different pages within these functions, either: Press the [EXT TRIG] or [MIDI] button to advance to the next page. Upon reaching the last page in the series, further pressing of these buttons wraps around to the first page in the series. Repeatedly pressing either [ ] or [ ] button will eventually move past all the parameters on the current page to another page.
The total number of pages is indicated by the numbers appearing in the bottom left corner of the display. The currently selected page will have a box around its number.

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.

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.

Chapter 6: External Triggering

ABOUT TRIGGER PARAMETERS

The DM5 now offers five user controllable trigger parameters. These are: VCrv. (Velocity Curve). 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 DM5s 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 velocity curve 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 the section entitled Velocity Curve on page 44. 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 DM5 triggers its sound. Shortly after this hit the DM5 receives a secondary, softer signal from a nearby pad. Before the DM5 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 DM5 will trigger its sound. If the signal is less than the allowable threshold level, the DM5 will ignore it. By adjusting the crosstalk level to a higher value, you set a higher threshold for the signal to exceed, and reduce the ability of a pad (drum) to crosstalk. The following chart shows a scenario with a properly adjusted Xtalk level.
This chart represents three signals which are seen by the 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.

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 DM5 triggers can be found in the DM5 Factory Drum Set Reference Chart. Editable parameters are identical for all 12 triggers. With the exception of the Trigger Note Assignments (see page 44), the trigger set up is global for all drum sets. Ext Trig page 1 shows four parameters, including: Trigger (1 12), Note, Gain and Velocity Curve (VCrv).
As with the other screens, the [ parameters.

] and [

] buttons let you move between the four
With the TRIGGER parameter selected (circle flashing around one of the 12 triggers), turn the [VALUE] knob to select the desired trigger for editing (1 12).

TRIGGER NOTE ASSIGNMENT

Each trigger can be assigned to any MIDI note number, which is associated with a corresponding drum sound (programmed according to the instructions on page 27). Trigger note assignments are the only trigger settings that are recalled as part of a Drum Set whenever a new set is selected. With the NOTE parameter selected (flashing), turn the [VALUE] knob to select the note that will be assigned to the selected trigger input.
To compensate for differences in transducer outputs, the gain for each trigger can be set independently. With the Gain parameter selected (flashing), turn the [VALUE] knob to select the desired amount of gain (00 is minimum gain, 99 maximum gain). To aid in the adjustment of this parameter, strike the pad or drum whose transducer is plugged into the selected input. The TRIG LEVEL bar-graph meter at the bottom of the display will show 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 This indicates that the input is reaching its full dynamic range. When a triggers Gain is properly adjusted, this will occur only on the strongest hits.

VELOCITY CURVE

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. Example: A hard hitting player might have a difficult time in playing the softer velocity sounds available in the DM5 due to the high impact of most of his hits. Using a lower Velocity Curve 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 Velocity Curve setting (5 - 7) the opposite applies, or a much softer hit would generate a MIDI velocity of 127. With the VCrv parameter selected (flashing), turn the [VALUE] knob 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 [VALUE] knob fully counterclockwise. This is a special case Velocity Curve setting which allows a trigger input to contribute to the DM5s 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

will allow the maximum signal to be detected by the DM5.
Using the TRIG LEVEL bar graph meter, adjust the level according to the severity
of the false triggering. If notes are constantly triggering, use a high gain. If only occasional, select a lower level.
Now when the DM5 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 DM5 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.
Chapter 6: External Triggering 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 (page 44), use the [VALUE] knob to select the corresponding trigger input (page 43).

CROSSTALK

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 the next section, Decay. With the Xtalk parameter selected (flashing), turn the [VALUE] knob 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.
First, press [MIX] and reduce the volume of the snare pad to 00. Now when you hit
the snare pad you wont hear it, but youll hear the tom 1 pad false triggering.
Next, press the [EXT TRIG] button twice (which gets you to the Xtalk parameter on
page 2) and select the tom 1 trigger to edit.
Press the [ ] button once to select the Xtalk parameter. While you hit the snare
pad (false triggering the tom pad) gradually raise the crosstalk level of the tom 1 pad. 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.

The quality and sturdiness of your hardware will make a big difference in eliminating potential problems. When you use unsteady hardware, it is an open invitation to crosstalk problems. Toms that are mounted on the bass drum, and drums which share a stand with other instruments such as cymbals, are areas where you should be sure your hardware and mountings are solid and sturdy. Always check to be certain that none of your stands or drums are leaning up against, or touching any other drums or piece of hardware. To sum it up, the more heavy-duty your hardware is, the better.
Troubleshooting: Appendix A

APPENDIX A

TROUBLE-SHOOTING

TROUBLE-SHOOTING INDEX

If you are experience problems while operating the DM5, please use the following table to locate possible causes and solutions before contacting Alesis customer service for assistance.

Symptom

The display does not light when the [POWER] switch is turned on. No sound.

No power.

Solution
Check that the power cable is plugged in properly.

Bad connections.

No sound from external triggers. No MIDI input
Check your audio cables; if necessary, swap cables. Volume is turned down. Turn up the [VOLUME] knob. Local Control is turned Turn Local Control on off. (MIDI p. 2). Bad connections. Check MIDI cables.

RE- INITIALIZING

If your unit behaves erratically or freezes, the first step is to power down the unit. and power it back up again. Disconnect any cables connected to the MIDI IN jack, and make sure that a sequencer or keyboard is not sending messages to the DM5 that would make it behave erratically (such as a long stream of pitch bend messages on 16 channels simultaneously). If these steps do not solve the problem, you must reinitialize the software. To re-initialize the DM5, hold down both the [VOICE] and [OUTPUT] buttons while turning on the power. Once the power is turned on, immediately release both buttons. The display will momentarily read: Initializing. This will reset all MIDI and Trigger parameters and all of the Drum Sets to their default settings, and will initialize the edit buffer.

SURGE CYMBALS SETUP GUIDE

INTRODUCTION

Electronic cymbals produce no sound themselves and require the use of external sound modules in order to be used as musical instruments. Surge Cymbals are compatible with many drum modules on the market including those manufactured by Roland, Yamaha, Ddrum, and, of course, Alesis. Surge Cymbals can also be used to trigger sounds on any MIDI instrument using a Trigger to MIDI interface such as the Alesis Trigger IO module.

QUICK SETUP

1. 2. 3. 4. 5. Insert the right angle plug into the trigger housing on the underside of the cymbal. Place the cymbal onto a cymbal stand. Connect the other end of the cable to your drum module. Set the trigger type specified for your cymbal and module. Adjust the trigger settings to suit your needs.

CONNECTING THE CABLE

Each Surge cymbal comes complete with a stereo 1/4 male-to-male cable. One end of the cable has a right angle plug. This end should be connected to the trigger housing on the underside of the Surge Cymbal while the straight end should be connected to your modules trigger input.

PROPER CYMBAL MOUNTING

Surge Cymbals are designed to be mounted on any standard cymbal stand or mounting arm. Typical cymbal stands come with a 6mm or 8mm threaded mounting rod, a series of washers, and a wingnut. Your Surge Cymbal should be mounted between the two felt washers, and the wing-nut should keep these fastened to the cymbal stand. Gibraltar cymbal arms are very good for mounting acoustic cymbals and electronic Surge Cymbals as they come standard with a T-shaped plastic cymbal sleeve (which is covers the mounting rod so the cymbals hole does not rub against it). Alternately, you can always use Aquarian Cymbal Springs or other mounting systems with a standard 1/2 bore. Note that you CAN NOT use a cymbal sleeve with the Surge Ride cymbal as it already has a built-in sleeve, but be sure to use felt washers when mounting it. Mounting the Hi-Hat Cymbals The Surge Hi-Hat Cymbals are designed to be mounted on a fixed hi-hat arm stand not a standard hi-hat stand with a pedal and clutch. These are manufactured by most drum hardware companies and are available from your favorite drum shop. 1
Furthermore, the Surge Hi-Hat cymbal is only the trigger. The foot controller is actually responsible for the difference between open and closed hi-hat sounds. We recommend the Alesis DM5 Pro Kit Expansion Hi-Hat Pedal. You can also use the Roland FD-7 or FD-8.
SETTING THE TRIGGER INPUTS
The following information is a starting point for setting your module to use Surge Cymbals. There are many factors that will affect the triggering and sensitivity of your modules inputs including: Playing style Type of drum sticks Cymbal mounting (stands vs. racks) Types of drums used and their sizes Module features How hard you play
Start with the recommended trigger input settings and then adjust your modules trigger input parameters to best match your needs.

MODULE SETTINGS

ALESIS DRUM MODULE SETTINGS
For specific Alesis Module information, refer to the manual that came in the box with your Surge Cymbals.
ROLAND DRUM MODULE SETTINGS
Roland produces several popular drum modules. We have included the default settings for some of the most recent ones here. If you have a Roland module which is not listed here, experiment with the trigger input settings and e-mail us to let us know what works best for you and well try to include it in the next version of this user guide. Roland TD-20 and TD-12
Type Splash Crash China Ride Bow Ride Bell Hi-Hat CY-6 CY-14C CY-14C CY-6 CY-8 CY-12H Sens 8-10 8-10 8-10 8-10 12-14 8-10 Thold Curve 1.0 0.8 0.8 1.0 1.1 1.0 Rim Gain Linear Linear Linear Linear Linear Linear Scan 2.0 1.6 1.6 2.0 2.0 2.0 ReTrg Can. Mask Xtalk Mount Cym Cym Cym Cym Cym Cym

Notes for using the Surge Triple-Zone Crash/Ride Cymbal: 1. 2. 3. Turn off 3-way triggering. Connect one stereo cable from the bow trigger jack to the RIDE input on your module. Connect the other stereo cable from the bell trigger jack to the EDGE input on your module. IMPORTANT: Make sure you have the two inputs set to trigger the appropriate sounds for each kit: RIDE Input HEAD = Ride Bow sound. RIDE Input RIM = Ride Edge sound. EDGE Input HEAD = Ride Bell sound. EDGE Input RIM = Ride Edge sound (same as Ride RIM input).
Notes for using the Surge Dual-Zone Ride Cymbal: 1. 2. 3. Turn off 3-way triggering on the RIDE input and use the included Y-cable on the modules end of the rides stereo cable. Plug the black tip plug into the RIDE input and the orange ring plug into the EDGE input. This places the bow ride sound on the RIDE input and the bell ride sound on the EDGE input. Make sure you have a Ride Bow sound assigned to the HEAD of the Ride input and the Ride Bell sound assigned to the HEAD of the EDGE input. 3
Alternately, you can use one of the AUX inputs for the ride without the Y-cable. The AUX inputs are dual-piezo inputs (like the toms and snare) and allow for dual-piezo stereo triggers like the Surge Ride. This frees up inputs 10 and 11 (RIDE and EDGE) for two additional cymbals. Make sure to select PD-120 for the input type on the AUX input as this will allow the bell and bow sounds to be triggered, then select a Ride Bow instrument and assign it to the HEAD of the AUX input and a Ride Bell instrument and assign it to the RIM of the AUX input. Make sure you have a Ride Bow sound assigned to the HEAD and a Ride Bell sound assigned to the RIM of the AUX input. Roland TD-9
Type Splash Crash China Ride Bow Ride Bell Hi-Hat CY-8 CY-14C CY-14C CY-6 CY-8 CY-12H Sens 8-10 8-10 8-10 8-10 12-14 8-10 Thold Curve Linear Linear Linear Linear Linear Linear Rim Gain 1.0 0.8 0.8 1.0 1.1 1.0 Scan 2.0 1.6 1.6 2.0 2.0 2.0 ReTrg Can. Mask Xtalk Mount Cym Cym Cym Cym Cym Cym
Notes for using the Surge Triple-Zone Crash/Ride Cymbal: 1. 2. Connect the cable marked RIDE to the cymbals bow trigger jack (the left jack while looking at the bottom). Connect a separate stereo cable (not one in the cable harness) from the cymbals bell trigger jack to the AUX input on the side of your TD-9 module. IMPORTANT: Make sure you have the two inputs set to trigger the appropriate sounds for each kit: RIDE Input HEAD = Ride Bow sound RIDE Input RIM = Ride Edge sound AUX Input HEAD = Ride Bell sound AUX Input RIM = Ride Edge sound (same as Ride RIM input) Notes for using the Surge Dual-Zone Ride Cymbal: 1. 2. Plug the included stereo cable into the RIDE Input. A Ride sound should be assigned to the HEAD trigger and a Ride Bell sound should be assigned to RIM trigger. Use the CY8 Trigger Type and increase the RIM GAIN to 5.0 and adjust from there.

Roland TD-10

Type Splash Crash China Ride Bow Ride Bell Hi-Hat PD-7 PD-7 PD-7 PD-7 PD-7 PD-7 Sens Thold Curve Linear Linear Linear Linear Linear Linear Scan 0.3 0.3 0.3 0.3 0.3 0.3 ReTrg Can. Mask Xtalk 30 30
Notes for using the Surge Triple-Zone Crash/Ride Cymbal: 1. 2. Connect one stereo cable from the bow trigger jack to the RIDE input on your module. Connect the other stereo cable from the bell trigger jack to the AUX 1 input on your module. IMPORTANT: Make sure you have two inputs set to trigger the appropriate sounds for each kit: Ride Input HEAD = Ride Bow Sound Ride Input RIM = Ride Edge Sound Roland TD-6 and TD-6V
Type Splash Crash China Ride Bow Ride Bell Hi-Hat CY-6 CY-6 CY-6 CY-6 CY-6 CY-6 Sens Thold Curve Linear Linear Linear Linear Linear Linear Scan 2.5 2.5 2.5 2.5 2.5 2.5 ReTrg Can. Mask Xtalk 40 40
Notes for using the Surge Triple-Zone Crash/Ride Cymbal: 1. 2. Connect one stereo cable from the bow trigger jack to the RIDE input on your module. Connect the other stereo cable from the bell trigger jack to the AUX input on your module. IMPORTANT: Make sure you have the two inputs set to trigger the appropriate sounds for each kit: RIDE Input HEAD = Ride Bow Sound RIDE Input RIM = Ride Edge Sound AUX Input HEAD = Ride Bell Sound AUX Input RIM = Ride Edge Sound (same as Ride RIM input)
Notes for using the Surge Dual-Zone Ride Cymbal: Use the included Y-cable on the module end of the rides stereo cable. Plug the black tip plug into the Ride input and the orange ring plug into any other available input. 5

Roland TD-3

Type Splash Crash China Ride Bow Ride Bell Hi Hat CY-6 CY-6 CY-6 CY-6 CY-6 CY-6 Sens Thold Curve Linear Linear Linear Linear Linear Linear Scan 2.5 2.5 2.5 2.5 2.5 2.5 ReTrg Can. Mask Xtalk 40 40
Notes for using the Surge Triple-Zone Crash/Ride Cymbal: 1. 2. Connect one stereo cable from the bow trigger jack to the RIDE input on your module. Connect the other stereo cable from the bell trigger jack to any other available input on your module. IMPORTANT: Make sure you have the two inputs set to trigger the appropriate sounds for each kit: Ride Input HEAD = Ride Bow sound Ride Input RIM = Ride Edge sound Other Input HEAD = Ride Bell sound Other Input RIM = Ride Edge sound (same as Ride RIM input)

Notes for using the Surge Dual-Zone Ride Cymbal: Use the included Y cable on the module end of the rides stereo cable. Plug the black tip plug into the Ride input and the orange ring plug into any other available input. Roland TMC-6
Type Splash Crash China Ride Bow Ride Bell Hi Hat CY CY CY CY CY CY Sens Thold Curve Linear Linear Linear Linear Linear Linear Scan 2.5 2.5 2.5 2.5 2.5 2.5 ReTrg Can. Mask Xtalk 40 40
Notes for using the Surge Triple-Zone Crash/Ride Cymbal: 1. 2. Connect one stereo cable from the bow trigger jack to the RIDE input on your module. Connect the other stereo cable from the bell trigger jack to any other available input on your module. 6
IMPORTANT: Make sure you have the two inputs set to trigger the appropriate sounds for each kit: Ride Input HEAD = Ride Bow Sound Ride Input RIM = Ride Edge Sound Other Input HEAD = Ride Bell Sound Other Input RIM = Ride Edge Sound (Same as Ride RIM input) Notes for using the Surge Dual-Zone Ride Cymbal: Use the included Y-cable on the module end of the rides stereo cable. Plug the black tip plug into the any input (other than #2) and the orange ring plug into any other input (other than #2). Alternately, you can use Input #2 only which is a stereo input (the only one on the TMC-6 without the Y-cable. Use the following settings if you connect the Ride to Input #2. NOTE: You must set the pad type to P12 to be able to use the Bow and Rim sounds. You will have to adjust the Head and Rim settings independently.
Type Ride Head Ride Bell P12 P12 Sens Thold Curve Linear Linear Scan 2.5 2.5 ReTrg Can. Mask Xtalk 40 40
YAMAHA DRUM MODULE SETTINGS
Yamaha also offers a few very popular drum modules in the DTX line of electronic drums such as the DTXTREME IIS and the DTXPRESS III. The Surge Splash, Crash, China, and Hi-Hat Cymbals are supported when using the PCY-80 trigger input setting. Surge Ride Cymbals will work but are not supported at this time.
DDRUM DRUM MODULE SETTINGS
Ddrum modules are not officially supported, but may work with Surge Cymbals using mono inputs. Email us if you have one of these modules and want to report your trigger settings. Note: The Ddrum cymbal inputs are not compatible with the choke-able or dual-zone cymbals. You will only get one zone from all Surge Cymbals.

COMPATIBILITY GUIDES

The following charts represent the brands and types of drum modules that have been tested with the Surge Cymbals so far and show the Surge Cymbals functions with those modules.

SURGE 12 HI-HAT

DM5 DM Pro Alesis D4 Trigger IO Control Pad TD-12 / TD-20 TD-10 Roland TD-8 TD-6 / TD-6V TD-3 TMC-6 Yamaha DTXTREME DTXPRESS Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone Single-zone

SURGE 13 CRASH

DM5 DM Pro Alesis D4 Trigger io Control Pad TD-12 / 20 TD-10 Roland TD-8 TD-6 / TD-6V TD-3 TMC-6 Yamaha DTXTREME DTXPRESS Single-zone Single-zone Single-zone Single-zone Single-zone Dual-zone capability Dual-zone capability Dual-zone capability Dual-zone capability Dual-zone capability Dual-zone capability Single-zone Single-zone
SURGE 13 CRASH WITH CHOKE
DM5 DM Pro Alesis D4 Trigger IO Control Pad TD-12 / TD-20 TD-10 Roland TD-8 TD-6 / TD-6V TD-3 TMC-6 Yamaha DTXTREME DTXPRESS Single-zone (choke not functional) Single-zone (choke not functional) Single-zone (choke not functional) Single-zone with choke Single-zone (choke not functional) Single-zone with choke Single-zone with choke Single-zone with choke Single-zone with choke Single-zone with choke Single-zone with choke Single-zone (choke not functional) Single-zone (choke not functional)

SURGE 16 DUAL-ZONE RIDE

DM5 DM Pro Alesis D4 Trigger IO Control Pad TD-12 / TD-20 TD-10 Roland TD-8 TD-6 / TD-6V TD-3 TMC-6 Yamaha DTXTREME DTXPRESS Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable) Dual-zone (with Y-cable)
SURGE 16 DUAL-ZONE RIDE WITH CHOKE
DM5 DM Pro Alesis D4 Trigger IO Control Pad TD-12 / TD-20 TD-10 Roland TD-8 TD-6 / TD-6V TD-3 TMC-6 Yamaha DTXTREME DTXPRESS Dual-zone (choke not functional) Dual-zone (choke not functional) Dual-zone (choke not functional) Dual-zone with choke Dual-zone (choke not functional) Compatible as triple-zone * Compatible as triple-zone * Compatible as triple-zone * Compatible as triple-zone * Compatible as triple-zone * Compatible as triple-zone * Dual-zone (choke not functional) Dual-zone (choke not functional)
* The cymbal is compatible as a triple-zone cymbal if connected according to the instructions in "Notes for using the Surge Triple-Zone Crash/Ride Cymbal" for each module in the ROLAND DRUM MODULE SETTINGS section.

CYMBAL CARE

Surge cymbals are designed to the highest standards and should provide you with a lifetime of reliable service. As with any piece of electronic equipment, you should take care when transporting and cleaning your cymbals.
TRANSPORTING YOUR CYMBALS
You should transport your cymbals in protected and padded cases, which should be available from your favorite drum shop. The use of hard, plastic cymbal-safe type of cases isnt recommended because you can not fasten more than a few Surge Cymbals in the case before you run out of room. The trigger housings on the undersides of the cymbals are made from a very strong and lightweight ABS plastic and are very durable, but please be sure not to stack too much weight on the cymbals. Because of this trigger housing, you will not be able to stack these cymbals as flatly and neatly as you could stack the same number of acoustic cymbals.

CLEANING YOUR CYMBALS

Cleaning the Top Surface The top playing surfaces of your Surge Cymbals are made from a real brass alloy cymbal, therefore you should use a damp wet cloth or a non-abrasive cymbal cleaner or cymbal polish on the top surface only to remove stick marks or other debris. DO NOT USE CYMBAL CLEANER ON THE BOTTOM SURFACE. Cleaning the Bottom Surface The bottom surface is covered with the special plastic dampening material and should not be cleaned with cymbal cleaner or cymbal polish. Instead, dampen a cloth with water and clean the surface or, in extreme cases, use a specialty plastics cleaner (such as the kind used for cleaning the isinglass on a boat.

SUPPORT

If your drum module is not listed above and you would like to report the settings that work best for you, let us know and well try to include it in the next version of this manual. E-mail: support@alesis.com

MANUAL VERSION v1.2 11