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
6: EXTERNAL TRIGGERING... 39
Overview....39 About Trigger Parameters....40 Trigger Selection....43 Trigger Note Assignment...44 Gain....44 Velocity Curve...44 Crosstalk....46 Decay....47 Noise....47 Footswitch Mode....47 Understanding Hi Hat Pedal Mode..48 Tips On Triggering From Acoustic Drums...49 Output Sensitivity....49 Mounting....49 Trigger Placement....49 Muffling....51 Mounting Hardware and Configuration..51

APPENDIX A: TROUBLE-SHOOTING.. 53
Trouble-Shooting Index...53 Re-initializing....53 Checking Software Version...53 Maintenance/Service....53 Cleaning....53 Maintenance....54 Obtaining Repair Service....54
APPENDIX B: MIDI SUPPLEMENT... 55
MIDI Basics...55 MIDI Hardware....55 MIDI Message Basics....56 Channel Messages: Mode Messages...56 Channel Messages: Voice Messages...56 System Common Messages...58
MIDI IMPLEMENTATION CHART.. 59

Setting Up: Chapter 1

CHAPTER 1

SETTING UP

UNPACKING AND INSPECTION
Your DM5 was packed carefully at the factory. The shipping carton was designed to protect the unit during shipping. Please retain this container in the highly unlikely event that you need to return the DM5 for servicing. The shipping carton should contain the following items: DM5 with the same serial number as shown on shipping carton AC Power Supply Adapter This instruction manual Alesis warranty card
It is important to register your purchase; if you have not already filled out your warranty card and mailed it back to Alesis, please take the time to do so now.

AC POWER HOOKUP

The DM5 comes with a power adapter suitable for the voltage of the country it is shipped to (either 110 or 220V, 50 or 60 Hz). With the DM5 off, plug the small end of the power adapter cord into the DM5s [POWER] socket and the male (plug) end into a source of AC power. Its good practice to not turn the DM5 on until all other cables are hooked up.
Alesis cannot be responsible for problems caused by using the DM5 or any associated equipment with improper AC wiring.
LINE CONDITIONERS AND PROTECTORS
Although the DM5 is designed to tolerate typical voltage variations, in todays world the voltage coming from the AC line may contain spikes or transients that can possibly stress your gear and, over time, cause a failure. There are three main ways to protect against this, listed in ascending order of cost and complexity: Line spike/surge protectors. Relatively inexpensive, these are designed to protect against strong surges and spikes, acting somewhat like fuses in that they need to be replaced if theyve been hit by an extremely strong spike. Line filters. These generally combine spike/surge protection with filters that remove some line noise (dimmer hash, transients from other appliances, etc.). Uninterruptible power supply (UPS). This is the most sophisticated option. A UPS provides power even if the AC power line fails completely. Intended for computer applications, a UPS allows you to complete an orderly shutdown of a computer system in the event of a power outage, and the isolation it provides from the power line minimizes all forms of interferencespikes, noise, etc.

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 [MIDI] button.

The [MIDI] button will light.
Press the [ ] button twice to select the Thru parameter.
The Thru parameters value will flash.
Turn the [VALUE] knob clockwise until the Thru parameters value reads On.
For more information about MIDI connections, see Chapter 3.

EXTERNAL TRIGGERS HOOKUP

Plug all of the triggers you will be using into the rear panel jacks. Since the triggers are interactive, the DM5 needs to see all of the signals simultaneously. Therefore, you should make sure that all triggers are connected before you begin editing the External Trigger parameters. Use the table below as a guide for connecting your trigger inputs. The trigger default note numbers correspond to these drum sounds. If you are using a Hi-Hat trigger, be sure to connect its output to Trigger Input [1], as it is already assigned to note Bb1, which is always the Open Hi-Hat sound (except in Drum Set 18; see below). By connecting a footswitch, you can have the Hi-Hat trigger play a different note when the footswitch is pressed (F#1, for example, which is the Closed Hi-Hat sound). For more information about Footswitch Control, see page 22. Trigger Note Bb1 C1 D1 C2 A1 F1 # Sounds Hi-Hat Bass Drum Snare Tom 1 Tom 2 Tom 3 Trigger Note Eb2 C#2 A2 D3 F3 G3 # Sound Ride Cymbal Crash Cymbal 1 Crash Cymbal 2 Conga Hi Timbale Hi Agogo

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).
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.

For more detailed information and examples, regarding the functions of these individual parameters, please refer to Chapter 5.
Connections: Chapter 3 To setup the external triggers:
Plug in all of the triggers you will be using.
Refer to the chart on page 8 as a guide for connecting your triggers.
Press the [NOTE CHASE] button to turn the Note Chase feature off.
The [NOTE CHASE] buttons light should be off. Note Chase is a feature that automatically displays the most recently struck pad, enabling you to easily move around the kit for editing purposes. However, the active trigger should always be selected manually since other unadjusted inputs could fire simultaneously during editing, resulting in confusion in the display.

Press [EXT TRIG].

The [EXT TRIG] button will light and the display will look like this:
In the middle section of the display there will appear three parameters: Note (NOTE), Gain (Gain) and Velocity Curve (VCrv). The lower section shows all 12 triggers; the selected trigger has a circle around it. The above example shows Trigger 1 selected. It is assigned to Note #46 (b1), its Gain is set to 80, and its Velocity Curve is set to 7. Note that the circle around Trigger 1 is flashing, indicating that it is selected for editing (using the [VALUE] knob).
Turn the [VALUE] knob to select a trigger from 1 to 12.
The selected trigger will have a flashing circle around its number in the display.
Press [ ] to select the NOTE parameter (the circle around the selected Trigger
will stop flashing, and the NOTE parameter will flash); turn the [VALUE] knob to select a different note for the selected trigger. Only follow this step if you want the trigger to play a different note than what it is already assigned to. If you wish to change the Drum Sound (Voice) associated with this note, see page 11.
Press [ ] to select the Gain parameter, and use the [VALUE] knob to set the
selected triggers Gain (00-99) while watching the TRIG LEVEL bar-graph meter. Be aware that the gain values are extremely sensitive even in small increments. If the TRIG LEVEL shoots all the way from left to the far right, it indicates that the trigger level is reaching its full dynamic range. If a triggers Gain is adjusted properly, this will occur only on the strongest hits.
Press [ ] to select the VCrv parameter, and use the [VALUE] knob to set the

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.

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.

Press [MIX], and the display shows the selected MIDI note number in the middle and two parameters, Volume and Pan, on the top line.
To change the Volume, use the [ ] and [ ] buttons to place the cursor under the Vol value and turn the [VALUE] knob. Values are variable from 00 to 99. The DM5 has two pairs of stereo outputs. Drum sounds can be assigned to either pair of outputs as described in the following section, and placed anywhere within the stereo field of the assigned outputs via the pan function. To change a drums panning (position in the stereo field), use the [ ] and [ ] buttons to place the cursor under the Pan value and turn the [VALUE] knob. The seven available pan positions correspond to the number shown in parentheses: hard left (<3), soft left (<2), left of center (<1), center (0), right of center (1>), soft right (2>), and hard right (3>). Note: When heard from the drummers perspective, the high-hat will usually be on the left, snare and kick in the center, and toms trailing from left-center to right. Of course, one of the advantages of electronic drum sets is that you need not follow any standard way of placing drum sounds in the stereo field.

OUTPUT

Press [OUTPUT], and the display shows the selected MIDI note number in the middle and the drums Output assignment on the top line. OUTPUT: Main To change the output assignment, use the [ ] and [ ] buttons to place the cursor under the current Output setting and turn the [VALUE] knob. To send the drum sound to the Main outputs, select Main. To send the drum sound to the Aux outputs, select Aux.

Output Options

Having two stereo output pairs allows for several options. Stereo with Fixed Placement: Plug the left Main output into the left channel of your amp (or mixer), and the right Main output into the right channel. The default voice mix for the preset Drum Sets pans the drums between the Main output jacks in a way that works well for most applications. Stereo with Variable Placement: Plug the left Main output into the left channel of your amp (or mixer), and the right Main output into the right channel. Pan the Drum Set drums between the Main output jacks as desired. Stereo with Individual Outputs: This requires a stereo mixer with at least four channels, and provides individual outputs for any two drum voices. Plug the left Main out into a mixer channel panned fully to the left. Plug the right Main out into a mixer channel panned fully to the right. Plug the left Aux output into a third channel (panned to center for now) and the right Aux output into a fourth channel (also panned to center for now). Decide which two voices should be individual voices, such as kick and snare; assign these to the Aux outputs, and all other drums (panned as desired) to the Main outputs. Pan the kick full left and the snare full right. Thus, the kick will appear in the left aux output, and the snare will appear in the right aux output. These outputs can feed different signal processors and then be sent to a mixing board. Make sure that the drums selected for individual outputs are panned to the extreme left or right in the DM5. Otherwise, some of the sound from one drum will leak into the other output. Separate Percussion/Drum Outputs: Standard drum kit sounds can be spread in stereo and assigned to the main outputs, with percussion sounds spread in stereo and assigned to the Aux outputs. Run the outputs to a mixing console, and you can treat the drum kit and percussion sounds as two submixes. This technique might also be useful if youre recording the part on tape; feed the drums to two tape tracks, and the percussion to two other tracks. Adjust the balance between the two in the mix, or fade the percussion in and out independently of the trap drum sounds. Or, process the two groups individually.

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.
On the other hand, this chart shows the same hit but with the Decay parameter set at a higher value. Notice how the Decay 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 DM5. Nois. (Noise). The Noise floor 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 DM5. 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.

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

FOOTSWITCH MODE

There are two footswitch options, Hi Hat Pedal (which lets a footswitch act like a hi hat pedal) and Drum Set 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 DM5; on power up, it will automatically sense the footswitch polarity and calibrate itself accordingly. If your footswitch seems to respond backwards, make sure the footswitch plug is fully inserted into the footswitch jack, then turn power off and on.
Press the [EXT TRIG] button repeatedly until page 3 is selected. Use the [VALUE] knob to select the desired Footswitch function (HAt or Adv).
Two additional parameters (located in pages 4 and 5) are used when the Footswitch Mode is set to HAt. Ext Trig page 4 shows the MIDI note number that the footswitch will trigger when it is pressed. Page 5 shows the MIDI note number that Trigger Input #1 will play when that pad is hit while the footswitch is held closed.
UNDERSTANDING HI HAT PEDAL MODE
This is a feature for hardcore drummers. Its a little complicated, but hang in there the DM5 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:
Patch a drum pad (the hi hat striking surface) into DM5 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.

If it isnt assigned already, assign an open hi hat sound to the note triggered by

Trigger Input 1.

Press the [EXT TRIG] button until the display shows the Footswitch Close 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 dont necessarily have to use hi hat sounds while using this mode. If you wish, you can use any sound available in the DM5.
Press the [EXT 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.
Using the Group function (see page 31), 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.
TIPS ON TRIGGERING FROM ACOUSTIC DRUMS
When triggering from an acoustic drum, that is using a contact pick up (transducer) mounted to the head or shell, the same general set-up procedures and parameter principles of triggering from pads apply. However, due to extreme head vibrations and resonance of acoustic drums, keeping the factors under control is considerably more difficult. These tips should help you in eliminating potential problems. There are several things to consider when purchasing transducers (triggers), and when mounting them to your drums.

OUTPUT SENSITIVITY

The difference in output levels between transducers is considerable. While a really hot trigger might work great on the snare, it may not work as well on a bass drum. For example, a high sensitivity trigger will detect the softer grace notes on a snare drum and provide the best tracking in a tight pressed roll. On a bass drum however, because that same trigger is so sensitive, it may be overdriven due to the sheer velocity of each impact from the beater on the head. Overdriving the trigger can allow it to detect every slight vibration as you hit the bass drum. This results in double triggering and contributes to cross talk problems. It can also reduce the life of the trigger itself. When considering trigger output sensitivity towards applications, generally these tips will apply.

For shell mounting:

Firmly mount the trigger to the shell so that it is approximately one inch from the

batter rim.

Use a mid to high sensitivity setting if the trigger has an adjustment.
External Triggering: Chapter 6 LARGE TOMS 14"-18" In most cases shell mounting will work the best. However, you might experiment with head mounting and find great results.
Placement of the trigger should be near the side you sit, within a lug or two of
where your stick would hit if you played a rimshot.
Note: In most cases when shell mounting triggers, internal permanent mounting will provide the best results. This permanent form of mounting allows the trigger to be more firmly attached to the shell, which tends to improve the performance. However, when using this technique it is usually necessary to install an audio jack into the drum shell to connect the audio cable to the trigger.

MUFFLING

Another important part of triggering from acoustic drums is the degree of muffling you apply to your drums. The amount a head vibrates when it is struck is what causes most of the problems related to triggering from an acoustic drum. Often most drummers don't want to put a lot of tape or muffling on their heads, but the degree of improvement it makes may be well worth at least a little sacrifice. A slight amount of muffling can make a huge improvement in any triggering units ability to properly track your playing.
MOUNTING HARDWARE AND CONFIGURATION
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.

Quick Reference Guide

Front Panel Controls
Phones - Stereo Headphone Jack Volume - controls the Volume of the Main outputs and Headphone Out Value Wheel - increases or decreases the currently selected parameter or Drumset number Preview button - plays the currently selected voice Store button - saves changes made to the currently selected Drumset Note Chase button - allows the parameters of triggered notes to be instantly displayed for editing Cursor buttons - allow you to select any parameter on a page or menu
Voice button - selects what drum sound is assigned to the MIDI note Tune button - adjusts the tuning of the Voice assigned to the MIDI note Mix button - adjusts the Level and Pan settings of the selected Voice Output button - selects which outputs the selected Voice will be sent to Drumset button - the main menu where Drumsets are selected Ext Trig button - gives you access to parameters that control the Trigger sensitivity, crosstalk, and other parameters Group button - selects drum Voices to be combined into groups MIDI button - gives you access to parameters that affect MIDI control

DM5 Quick Facts

Welcome to the DM5 Quick Reference Guide. This is a supplement to the manual designed to quickly get you up and running with this drum module. Some of the key features of the DM5 include: Over 500 Drum and Percussion Voices in a single rack space module, including brand new and classic Alesis sounds Kicks, Snares, Toms, Cymbals, Hi-Hats, and Ethnic Percussion instruments, many with ambient effects 12 drum trigger inputs with multiple programmable trigger parameters 4 independent audio outputs 21 fully-programmable Drumsets (61 notes available in each) Custom backlight custom LCD Graphic User Interface with front panel trigger indicators Random Sample feature - adds even more realism MIDI overflow feature
For more information please refer to the DM5 Reference Manual that comes with your drum module.

How to Play The Demo

The DM5 is equipped with a demo sequence to show a few of its Drum Voices in various musical styles. To listen to the demo sequence: 1. Press and hold the DRUMSET button 2. Press the PREVIEW button

How to Recall Drumsets

The DM5 has 21 Drumsets available, each of which has 61 programmable drum sounds. To recall a Drumset on the DM5: 1. Press DRUMSET 2. Turn the VALUE encoder to select a Drumset

Editing A Voice

The DM5 has over 500 drum sounds arranged into 8 Families. These consist of Kick, Snare, Toms, Hi-Hats, Cymbals, Percussion, Effects and Random Samples. To assign a new Voice to a MIDI Note or External Trigger Pad: 1. Press VOICE, then press NOTE CHASE 2. Play a note on your MIDI controller or a Drum Pad 3. Press the CURSOR> button until you have selected the Voice Family parameter on the top left corner of the display. Choose one of the families listed above using the VALUE wheel 4. By pressing the CURSOR> button one more time you can then select one of the Voices in that Family using the VALUE wheel
Editing The External Triggers
The DM5s 12 Trigger Inputs allow it to be triggered from electronic drum pads, recorded percussion tracks, or even live drums. To give drummers and engineers maximum control and sensitivity with these triggers, we have provided several parameters to precisely control how the Trigger Inputs respond. To change which note is triggered by a certain Trigger Input: Press EXT TRIG, turn the VALUE wheel to choose a Trigger Input, press CURSOR>, and turn the VALUE wheel to choose a MIDI note number. To make a Trigger more or less sensitive: Press EXT TRIG, turn the VALUE wheel to choose a Trigger Input, press CURSOR> twice, and make sure that only the hardest hit light the top pixel on the display meter. Cursor right once again to edit the Velocity Curve, and turn the VALUE wheel to find a curve which matches your playing style. If one Trigger is being played falsely by another Trigger: Press EXT TRIG, turn the VALUE wheel to choose the Trigger Input which is being inadvertently played, press CURSOR> 5 times, and turn up the XTLK value on this trigger. If a sound is playing twice when a pad is struck once: Press EXT TRIG, turn the VALUE wheel to choose the Trigger Input which is double-triggering, press CURSOR> 6 times, and turn up the DECAY value using the VALUE wheel. For more information on the External Trigger Inputs refer to Chapter 6 of the DM5 Reference Manual.

1995 Alesis Corporation

Specifications Subject To Change Without Notice

7-51-1170