OWNERS MANUAL

SPECIAL MESSAGE SECTION
This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or specically recommended by Yamaha. WARNING: Do not place this product in a position where anyone could walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25 cord (or less ) is 18 AWG. NOTE: The smaller the AWG number ,the larger the current handling capacity. For longer extension cords, consult a local electrician. This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product. Battery Notice: This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately ve years. When replacement becomes necessary, contact a qualied service representative to perform the replacement. This product may also use household type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged. When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture. Warning: Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information. Disposal Notice: Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly.
SPECIFICATIONS SUBJECT TO CHANGE:
The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the specications without notice or obligation to update existing units. This product, either alone or in combination with an amplier and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs. Some Yamaha products may have benches and / or accessory mounting xtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional xtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other uses are recommended.

NAME PLATE LOCATION:

The name plate is located on the bottom of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

NOTICE:

Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturers warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.
Model Serial No. Purchase Date

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

ADVARSEL: Netspendingen til dette apparat er IKKE
afbrudt, slenge netledningen siddr i en stikkontakt, som er t endt ogs selvom der or slukket p apparatets afbryder.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: 1) this device may not cause harmful interference, and 2) this device must accept any interference received including interference that may cause undesired operation. See user manual instructions if interference to radio reception is suspected.
VAROITUS: Laitteen toisiopiiriin kytketty kyttkytkin ei irroita koko laitetta verkosta.

(standby)

(FCC DoC)

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING
* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, re or other hazards. These precautions include, but are not limited to, the following:
Power supply/AC power adaptor
Only use the voltage specied as correct for the instrument. The required voltage is printed on the name plate of the instrument. Use the specied adaptor (PA-300B or an equivalent recommended by Yamaha) only. Using the wrong adaptor can result in damage to the instrument or overheating. Check the electric plug periodically and remove any dirt or dust which may have accumulated on it. Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Water warning

Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. If any liquid such as water seeps into the instrument, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualied Yamaha service personnel. Never insert or remove an electric plug with wet hands.

Fire warning

Do not put burning items, such as candles, on the unit. A burning item may fall over and cause a re.

Do not open

Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualied Yamaha service personnel.
If you notice any abnormality
If the AC adaptor cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualied Yamaha service personnel.

@2 TOM slider (page 31)

Adjusts the volume of the toms.
@3 CYMBAL slider (page 31)
Adjusts the volume of the cymbals.

!2 Audition button

You can use this button instead of the drum pad. Pressing this button is equivalent to receiving a signal from the currently selected trigger input source (page 58). When turning the power on, pressing this button is equivalent to striking the head of the snare pad (the pad connected to the SNARE jack).
@4 HI-HAT slider (page 31)
Adjusts the volume of the hi-hat cymbals.

@5 MISC slider (page 31)

Adjusts the volume of miscellaneous rhythm or percussion sounds other than snare and bass drums, toms, hi-hats, and ride and crash cymbals.
!3 [F1] [F6] (Function) buttons
These buttons located directly below the LCD display call up the corresponding functions indicated in the display. In the display hierarchy, these functions [F] rank just below the modes.

@6 Data dial

For editing the currently selected parameter. To increase the value, turn the dial right (clockwise); to decrease the value, turn the dial left (counter-clockwise). If a parameter with a wide value range is selected, you can change the value in broader strokes by quickly turning the dial.
!4 [SF1] [SF6] (Sub-Function) buttons
These buttons located directly below the LCD display call up the corresponding sub functions indicated in the display. In the display hierarchy, these sub functions [SF] rank just below the functions [F].
@7 [DEC/NO] button (page 13)
For decreasing the value of the currently selected parameter. Also use it to cancel a Job or a Store operation.
!5 Transport buttons (page 35)
These buttons control recording and playback of the Song sequence data.
@8 [INC/YES] button (page 13)
For increasing the value of the currently selected parameter. Also use it to actually execute a Job or a Store operation.

p (Top) button

Instantly returns to the beginning of the current Song (i.e., the rst beat of the rst measure).

2 Connect the DC plug of the included AC
1 DTXTREME III (transmitting device)

2 MIDI slave

power adaptor to the DC IN jack on the rear panel. To prevent the cord from being unplugged accidentally, wrap the cord around the cable clip and secure it.
3 External audio equipment

(mixer amplier)

Make sure that the power adaptors cord is not bent at an extreme angle when wrapping the cord around the clip. Doing this can damage or sever the cord and create a re hazard.
NOTE When powering down the setup, rst turn down the volume for each audio devices, then switch off each device in the reverse order (rst audio equipment, then MIDI).
3 Connect the other end of the power cord

to an AC outlet.

Use only the included power adaptor or an equivalent recommended by Yamaha. The use of any other adaptors may cause irregular operation or damage to the device. Only use the voltage specied as correct for the DTXTREME III. Even when the instrument is turned off, electricity is still owing to the instrument at the minimum level. When you are not using the DTXTREME III for a long time, make sure to unplug the AC power adaptor from the wall AC outlet.
Connecting to Speakers or Headphones
Since the DTXTREME III has no built-in speakers, youll need an external audio system or a set of stereo headphones to properly monitor it.
Monitor system for the DTX series MS100DRJ, MS50DRJ, etc. Headphones
Connecting to External Audio Equipment
When recording your performance on a DTXTREME III Drum Kit or sending its sounds to a mixer, connect your equipment as follows:

CH1-4 CH5-8 CH9-12

PHANTOM +48V

IN OUT

-10dBV (UNBAL)

PHONES

INSERT OUT IN (UNBAL)

INSERT I/O

CH15/16 2TR IN

MONITOR 2TR IN

20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB 20dB +4 GAIN -26 +4 GAIN -LEVEL LEVEL 10

MONITOR OUT

-16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 -16 GAIN PEAK SIGNAL -60 +4 GAIN -26 +4 GAIN -26

PEAK SIGNAL

PEAK 16 SIGNAL

DISPLAY ACCESS

SCENE MEMORY

DIO/SETUP

UTILITY STORE RECALL
OVER PAN/ / INSERT/ ROUTING DELAY PAIR/ GROUP PATCH 0 -3 -6 DYNAMICS EQ EFFECT VIEW -9 -12 -15 -18 -24 -30 AUX 1 AUX 2 AUX 3 AUX 4 -36 -48

Mute Hitting the pad while holding the edge produces a muted sound.
Edge Shot Hitting the outside edge produces the Edge Shot sound.
Bell Shot Hitting the cup produces the Bell Shot sound.

Playing the DTXTREME III

Now that your DTXTREME III is properly connected, its time to make some music!

Hitting the Pads

While hitting the pads, move the MASTER slider or PHONES slider on the panel to raise the overall volume to a comfortable level.

Selecting a Drum Kit

A Drum Kit is a collection of drum sounds (or voices) that play when you hit the pads. Try selecting some of the Drum Kits and enjoy the variety of sounds and drum setups available.
1 Press the [DRUM KIT] button to enter the Drum Kit Select display.
If another display appears, press the [F1] PLAY button to call up the Drum Kit Select display.
NOTE Keep in mind that the example displays shown in this manual are for instruction purposes only, and may appear somewhat different from those on your instrument.
1 Drum Kit number Indicates the current Drum Kit bank, number and its name. PRE: 01 PRE: 50 are preset kits and USR: 01 USR: 50 are user kits stored in internal ash ROM, while EXT-A: 01 EXT-P: 99 are user kits stored in the external USB storage device connected to the USB TO DEVICE terminal. B Drum Kit icon Indicates the music genre of the current Drum Kit. C [SF4] << BANK D [SF5] BANK >> Use these buttons to change the Drum Kit Bank. (PRE, USR, EXT-A, EXT-B EXT-P)
NOTE With the initial default settings, the Drum Kit number is shown also in the LED display. Some preset Drum Kits have Pad Songs and Drum Loop Voices that will start when the corresponding pad is hit. The Drum Kit icon can be changed by setting the Icon parameter in the display called up via [F6] OTHER [SF4] NAME (page 97).
2 Select the desired Drum Kit by using the [INC/YES] button, [DEC/

NO] button or data dial.

Try out the different Drum Kits and select one Drum Kit you like.
Adjusting the Volume by Using the Sliders
You can change the volume for each pad and adjust the overall balance of the Drum Kit by using the sliders on the front panel.
1 MASTER slider Adjusts the output volume of the stereo mix from the OUTPUT L/MONO and R jacks. B PHONES slider Adjusts the output volume of the stereo-mixed sounds for the PHONES jack. This is independent from the MASTER slider setting. C CLICK slider Adjusts the output volume of the click sound. D ACCOMP slider Adjusts the output volume of the accompaniment parts (those other than MIDI channel 10) in the Song. E KICK slider Adjusts the volume of the bass drum. You can change the destination instruments or voices of which the volume is adjusted by setting the SliderSel parameter called up via [DRUM KIT] [F2] VOICE [SF4] OTHER. F SNARE slider Adjusts the volume of the snare drum. You can change the destination instruments or voices of which the volume is adjusted by setting the SliderSel parameter called up via [DRUM KIT] [F2] VOICE [SF4] OTHER. G TOM slider Adjusts the volume of the toms. You can change the destination instruments or voices of which the volume is adjusted by setting the SliderSel parameter called up via [DRUM KIT] [F2] VOICE [SF4] OTHER. H CYMBAL slider Adjusts the volume of the cymbals. You can change the destination instruments or voices of which the volume is adjusted by setting the SliderSel parameter called up via [DRUM KIT] [F2] VOICE [SF4] OTHER. I HI-HAT slider Adjusts the volume of the hi-hat cymbals. You can change the destination instruments or voices of which the volume is adjusted by setting the SliderSel parameter called up via [DRUM KIT] [F2] VOICE [SF4] OTHER. J MISC slider Adjusts the volume of miscellaneous rhythm or percussion sounds other than snare and bass drums, toms, hi-hats, and ride and crash cymbals. You can change the destination instruments or voices of which the volume is adjusted by setting the SliderSel parameter called up via [DRUM KIT] [F2] VOICE [SF4] OTHER.

Recording Additional Notes to an Already-recorded Track (Overdub)
Use the Overdub recording method when you want to add more data to a track that already contains data. The Overdub Recording procedure is almost the same as Replace except that the Record type is set to overdub and you need to press the [>/] (Play/Stop) button when you want to stop recording.

Type = overdub

When the song reaches the end of the last measure, it will automatically start again from the beginning and new data will be added to the tracks previous data.
Recording Along With the Preset Song
Although your drum performance cannot be recorded to a Preset Song, you can add your own drum performance data to a Preset Song by copying the Preset Song data to a User Song.
1 Select an empty User Song (containing no data) in the Song
Note that the TR1 and TR2 indications are not shown in the display when an empty User Song is selected.
2 Press the [F2] JOB button followed by the [SF1] SONG button to
call up the SONG JOB SELECT display.
3 Move the cursor to 01: Copy Song then press the [ENTER/
STORE] button to call up the Copy Song Job display.
This Job lets you copy the source Song (specied in this Job display) to the current Song.
1 Song bank and number Indicates the bank number and name of the source Song.

[ENTER/STORE] button.

The display prompts you for conrmation. To cancel the Copy Song operation, press the [DEC/NO] button.
5 Press the [INC/YES] button to execute the Copy Song operation. 6 Press the [REC] button to call up the REC STANDBY display.
7 Move the cursor to Type, then set this parameter to replace. 8 Move the cursor to Track, then set this parameter to 2.
Because the Preset Song data is recorded only to track 1, you can record your drum performance to track 2 along while track 1 plays back.
9 Press the [SF1] DRUM button to mute the drum part of the Preset

Song data.

Type = replace

Track = 2

> 10 Press the [>/] (Play/Stop) button to start recording.
11 After recording stops automatically when the last measure is
> reached, press the [>/] (Play/Stop) button to hear the newly recorded Song.
12 Save the recorded Song to a USB storage device.
4 Select the desired Preset Song as the copy source then press the
Re-recording a Track After Clearing
To record again, use the following procedure to clear previously recorded data in the track, then try recording again.

5 Press the [SF1] EXEC to execute the Load operation.
After the data has been loaded, a Completed message appears and operation returns to the original display.
While the data is being loaded, make sure to follow these precautions: Never remove or eject the media from the device (USB storage). Never unplug or disconnect any of the devices. Never turn off the power of the DTXTREME III or the relevant devices.
Basic Structure of the DTXTREME III

Reference Sampling mode

Audio signal
This section describes the internal design of the DTXTREME III so that you can fully take advantage of the advanced and convenient functions of this instrument. Take a few moments here to understand how trigger signals are generated and transferred to the DTXTREME III when you hit the pads and how the sound is produced.

The Functional Blocks

Pad (Trigger Input Source)

Trigger Signal

Trigger Input jacks
Trigger Setup Preset User Recording your drum performance as MIDI data. Playing the tone generator by hitting the pad. or MIDI output [UTILITY] [F5] MIDI [SF3] OTHER MIDI IN/OUT
Playback Playback Preset Song User Song External Song Recording Recording your drum performance to a User Song as MIDI data.

Tone Generator

Drum Kit Created by assigning a Drum Voice to each of the Trigger Input Sources on the pad. The following banks are available. Preset Drum Kit User Drum Kit External Drum Kit A P Drum Voice Assigned to each Trigger Input Source of the pad to make up a Drum Kit. Preset Voice User Voice

Effect

Set for each Drum Kit Reverb Chorus Variation Set in the Utility mode Master Effect Master EQ

Audio output

Sampling
Assigns the audio signal (obtained from the external device) to a User Voice.
[DRUM KIT] [F2] VOICE [SF2] OUT-TUNE OutputSel
Recording the audio signal from the external audio device or microphone in the Sampling mode, or loading the audio le from the USB storage device in the File mode.

Microphone, etc.

Paramater name DyLvlOfs DyThreshLvl Edge Emphasi EQ1Freq EQ1Gain EQ2Freq EQ2Gain EQ2Q EQ3Freq EQ3Gain EQ3Q EQ4Freq EQ4Gain EQ4Q EQ5Freq EQ5Gain EQFreq EQGain EQWidth ER/Rev F/RDpth FBHiDmp FBHiDmR
Descriptions Determines the offset value added to the output from the envelope follower. Determines the minimum level at which the envelope. follower starts.
Determines the change of the characteristics in high frequencies. Determines the Cutoff frequency of EQ1 (Low Shelving). Determines the level gain of EQ 1 (Low Shelving). Determines the center frequency of EQ2. Determines the level gain of EQ2. Determines the Q of EQ2. Determines the center frequency of EQ3. Determines the level gain of EQ3. Determines the center frequency of EQ4. Determines the level gain of EQ4. Determines the Q of EQ4. Determines the Cutoff frequency of EQ5 (High Shelving). Determines the center frequency for each band of the EQ. Determines the level gain of the EQ center frequency for each band. Determines the width of the EQ band. Determines the level balance of the early reection and reverb sound. This Auto Pan parameter (available when PAN Direction is set to L turn and R turn) determines the depth of the F/R (front/rear) pan. Determines how the high frequencies of the feedback sound decay. Determines the amount of decay in high frequencies for the R channel as offset. [For CHORUS effects, DELAY effects, TECH effects, CLASSIC FLANGER, TEMPO FLANGER, DYNAMIC FLANGER, COMP DISTORTION DELAY] Determines the feedback level output from the delay and returned to the input. [For TEMPO PHASER, DYNAMIC PHASER] Determines the feedback level output from the delay and returned to the input. [For REVERB effects] Determines the feedback level of the initial delay. Determines the feedback level of the delayed sound in the 1st series. Determines the feedback level of the delayed sound in the 2nd series. Determines the feedback level for the R channel as offset. Determines the delay time of the feedback. Determines the delay time of feedback 1. Determines the delay time of the feedback for the left channel. Determines the delay time of the feedback for the right channel. Determines the level of the sound signal output from the effect block and returned to its own input. Determines the ne pitch setting for the 1st series. Determines the ne pitch setting for the 2nd series. [For LO-FI] Determines the type of tonal characteristics. [For DYNAMIC FILTER] Determines the lter type. Determines the delay time of feedback 2. Determines the Q of EQ3.

Density

Detune Device

Diffuse

Directn Div.Lvl DivFreqH DivFreqL DivideType DlyLvl DlyLvlC DlyMix DlyOfst DlyTrnsit

FBLevel

FBLvl1 FBLvl2 FBLvlR FBTime FBTime1 FBTime2 FBTimeL FBTimeR Feedback Fine1 Fine2 FltType

The rst page when the SOURCE display is called up:
When MIDI is selected as SOURCE, the following display appears.

1 Note number

Determines the MIDI note number to which you can assign the desired Drum Voice.

Settings C#1 A#5

The initial page when the SOURCE display is called up and MIDI is selected:
NOTE MIDI note messages from an external MIDI device can also be used to set this parameter. Once this is set via MIDI, Input Lock can be used to disable further inadvertent editing.

1 Volume

When the INPUT display is called up, this parameter (for which the value is indicated in the knob icon) determines the volume of each selected Trigger Input Jack. When the SOURCE display is called up, this parameter determines the volume of each selected Trigger Input Source. You can adjust the volume balance among the Voices assigned to the pads by setting this parameter.

Range 0 127

B Tuning
When the INPUT display is called up, this parameter (for which the value is indicated in the knob icon) determines the pitch of each selected Trigger Input Jack. When the SOURCE display is called up, this parameter determines the pitch of each selected Trigger Input Source. The Tuning parameter can be adjusted nely in cents.

Range -24.00 +24.00

C PAGE >
This appears when another page can be called up from the current page. Use the Cursor [M] or [N] button to call up another page.
The second page when the INPUT display is called up:
When the INPUT display is called up, this parameter (for which the value is indicated in the knob icon) determines the pan (stereo) position of each selected Trigger Input Jack. When the SOURCE display is called up, this parameter determines the pan (stereo) position of each selected Trigger Input Source.

Range L63 C R63

I OutputSel (Output Select)
The second page when the SOURCE display is called up:
8 When the INPUT display is called up, this parameter (for which the value is indicated in the knob icon) determines the Output jack of each selected Trigger Input Jack will be transmitted to the external device. When the SOURCE display is called up, this parameter determines the Output jack of each selected Trigger Input Source will be transmitted to the external device.
L&R+ph (OUTPUT and PHONES), ind1&2 ind5&6 (INDIVIDUAL OUTPUT 1 and and 6), ind1 ind6 (one of the INDIVIDUAL OUTPUTs), dryL&R (OUTPUT, Effect is not applied.)

D RevSend (Reverb Send)

When the INPUT display is called up, this parameter (for which the value is indicated in the knob icon) determines the Reverb Send level of each selected Trigger Input Jack. When the SOURCE display is called up, this parameter determines the Reverb Send level of each selected Trigger Input Source.

Settings off, HHOpen, HHClose, 1 124
From this display, you can set parameters such as Mono/ Poly and Alternate Group. This display consists of two pages, which can be called up via the Cursor [N] and [M] buttons.
NOTE Concerning the Drum Voices assigned to the same number (1 124) of the Alternate Group, only one of these Voices will be played back following the last-hitting priority. Concerning the Drum Voices assigned to the HHOpen and HHClose, a special rule (below) is applied. Playing the Voice assigned to HHOpen will not stop the sound of the Voice assigned to HHOpen or HHClose. Playing the Voice assigned HHClose will stop the sound of the Voice assigned to HHOpen. In the INPUT display, an asterisk (*) will appear when the value set at each Trigger Input source is different from this parameter.
C RcvKeyOff (Receive Key Off)
When the INPUT display is called up, this parameter determines whether or not each selected Trigger Input Jack responds to MIDI Note Off messages. When the SOURCE display is called up, this parameter determines whether or not each selected Trigger Input Source responds to MIDI Note Off messages. This parameter is normally set to off since the sounds of many Drum Voices naturally decay and stop without the need for Note Off messages. This parameter should be set to on when the current Drum Voice has a sustained, non-decaying sound, so that you can stop the sound by sending MIDI note off messages to the internal tone generator. The timing the MIDI note off message is transmitted to the internal tone generator is determined by the Gate Time parameter in the STK/ALT display. You can also use the Hold Mode parameter to control MIDI Note Off messages (page 94).

Settings off, on

D PAGE >
3 This appears when another page can be called up from the current page. Use the Cursor [M] or [N] button to call up another page.

1 Mono/Poly

When the INPUT display is called up, this parameter determines the playback of each selected Trigger Input Jack, mono or polyphonic. When the SOURCE display is called up, this parameter determines the playback of each selected Trigger Input Source, mono or polyphonic. If Mono is selected, hitting the same pad repeatedly in succession will stop the sound generated by the previous hit, then start the same sound again. If Poly is selected, this limitation does not apply.

1 INPUT (Trigger Input jack)
Determines the Trigger Input jack (equivalent to the connected pad) to be edited. Note that this parameter can be set only for each Trigger Input jack.

B Pad Controller Type

Determines the function assigned to the Pad Controller of the pad connected to the Trigger Input jack specied at 1.
Settings off, snares, tuning, tempo, lter, voice

Snappy Settings

[SF2] SNARES

off snares

tuning
No function is assigned to the Pad Controller. Turning the Pad Controller adjusts how strongly or softly the snappy parameter is stretched, or adjusts the Snares On/Off and Snares Adjust parameters in the display called up via the [DRUM KIT] [F5] PAD [SF2] SNARES. Turning the Pad Controller to the left (counterclockwise) progressively loosens the snappy effect, and nally unlocks it. Turning the Pad Controller to the right (clockwise) tightens the snappy effect. If the snappy effect is unlocked, turn the Pad Controller to the right to lock it. The Pad Controller adjusts the tuning of the Drum Voice, or adjusts the Tuning parameters in the display called up via the [DRUM KIT] [F2] VOICE [SF2] OUT-TUNE. Turning the Pad Controller to the left (counterclockwise) lowers the pitch. Turning the Pad Controller to the right (clockwise) raises the pitch. The Pad Controller adjusts the tempo of the Song playback or Click sound. The LED display shows the tempo of the Song or Click sound while turning the Pad Controller. The Pad Controller adjusts the tonal characteristics of the Drum Voice, or adjusts the Filter parameter in the display called up via the [DRUM KIT] [F2] VOICE [SF3] EQ-TONE. Turning the Pad Controller to the left (counterclockwise) makes the Drum Voice sound more mufed or darker. Turning the Pad Controller to the right (clockwise) makes the Drum Voice sound brighter.
From this display, you can set the parameters related to the snappy effect of the snare drum pad connected to the SNARE jack. These parameters can be changed also from the Pad Controller of the drum pad connected to the SNARE jack. Keep in mind that the settings in this display are available only for the drum pad connected to the SNARE jack.

1 Snares On/Off

Determines the snappy effects status. When set to on, the snappy effect is locked. When set to off, it is unlocked.

I [F4] EXT.KIT

This menu appears only when the cursor is located on any of the VCE NUM, BANK MSB, and BANK LSB settings of channel 10. Pressing this button calls up the Bank Select MSB and LSB values corresponding to the External Drum Kit of the DTXTREME III.
The third page of the Voice Job

C VOLUME

J FILTER
Determines the value of the Brightness (Control Change number 74) for each MIDI channel.

K REV SEND (Reverb Send)

The second page of the Voice Job

L CHO SEND (Chorus Send)

This job sets tone generator parameters, such as voice, volume and pan, for all 16 MIDI channels. According to the settings here, the parameter values for all MIDI channels are transmitted to the internal tone generator or external tone generator via MIDI OUT when the current Song is selected. This Job display consists of three pages.

F BANK MSB/LSB

Determines the number of the Bank Select MSB and LSB for each MIDI channel. You can specify a specic Voice by setting the Bank Select MSB, LSB and Program Change (Voice number).

Range Reference

Click Mode

[CLICK]

This chapter explains the Click mode called up via the [CLICK] button. In the Click mode, you can set the Click (Metronome) related parameters such as Click Voice, time signature and tempo for the entire DTXTREME III. In addition, you can use the Groove Check function and Rhythm Gate function for rhythm training and practice.
Basic Procedure in the Click Mode
Drum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
1 Press the [CLICK] button to enter the Click
4 After setting, press the [ENTER/STORE]
2 Note the tab menus (corresponding to the
[F1] [F5] and [SF1] [SF3] buttons) to nd the desired function, then press the relevant button to call up the desired display.
button to store all the settings in the Click mode, other than tempo, beat (time signature) and subdivide.
All the settings in the Click mode will be lost if the power is turned off without storing. Never attempt to turn off the power while the message Please keep power on is shown on the display; otherwise, all the settings in the Click mode may be lost.
3 Move the cursor to each parameter, then
set the value by using the data dial, [INC/ YES] and [DEC/NO] button.

1 Voice category

Determines the voice category for the click sound.
kick1 2, snare1 3, tom1 2, cymbal, hihat, perc1 2, efct1 2, USR-A H

C TUNING

Determines the pitch of the Voice specied at 2.
Range -24.00 +24.00 (1.0 indicates one semitone.)
NOTE A User Voice assigned to a Click Voice will be played back with just one shot, even if the User Voice is set to loop in the Sampling mode. When you want to use the Click Voice having a User Voice, it is a good idea to save the le including your desired User Voice in the AUTOLOAD folder (page 125) of the USB storage device and use the Auto Load function (page 125).

Tap Tempo function

The Tap Tempo function is described in the Quick Guide section on page 34.

[F3] TAP

Groove Check Function
Performing the Groove Check

[SF1] G.CHECK

[F4] GROOVE
Parameter Settings for the Groove Check and Rhythm Gate

[SF3] SETTING

Explanations about this display are described in the Quick Guide section on page 51.
Explanations about this display are described in the Quick Guide section on page 50.
Performing the Rhythm Gate

[SF2] R.GATE

Explanations about this display are described in the Quick Guide section on page 52.

Click Sound Settings

Setting how the Click sound is played

[SF1] OUTPUT

[F5] OTHER
Using the Measure Break Function

[SF2] MEASBRK

From this display, you can set the parameters which determine under what circumstances the click and the output for the click sound.

1 Mode

Determines how and under what circumstances the click is played. The click can be started or stopped in synchronization with song playback/recording according to the setting here, as well as by pressing the [CLICK ON/OFF] button.
Settings manual, play, rec, play&rec

manual

B MIDI Out
Determines whether or not the MIDI note number corresponding to the Click Voice is transmitted via MIDI OUT. When this parameter is set to on, the following MIDI events are transmitted via MIDI OUT.
MIDI channel 10 off, on Note B#-1 C0 B-1 Velocity 127
Determines the amount of measure range within which the Click sound is played (not muted).

Range 19

C Break
Determines the amount of measure range within which the Click sound is muted.

Range 19 Utility mode

Accent note 1/4 note Other notes Settings
C OutputSel (Output Select)
Determines the output jack for the click sound.
L&R+ph (OUTPUT and PHONES), Phones (PHONES), L&R (OUTPUT), ind1&2 ind5&6 (INDIVIDUAL OUTPUT 1 and and 6), ind1 ind6 (one of the INDIVIDUAL OUTPUTs)

Comparing the Titans: the Yamaha DTXtreme and the Roland V-Session By Rick Long I recently had the opportunity to compare the Yamaha DTXtreme and Roland V-Session electronic drum kits "head to head" with the help of Yamaha endorsee Russ Miller, one of the busiest drummers in the Los Angeles area. Having already reviewed both kits for Modern Drummer magazine, it has been evident to me for some time that they are two different animals. The goal here is to examine the differences between the kits so that you can help your customers make an informed decision about which kit is right for their needs. Both kits include the capability to create virtual drums by selecting shell and head types as well as other parameters like muffling and snare strainer tension. Each module has a mixer that helps get the kits balance correct and multiple outputs for routing the various drum and cymbal sounds to separate channels on a PA system or studio mixing console. The DTXtreme is shipped with one crash cymbal and the V-Session kit comes stock with two. You can add a second crash cymbal to the DTXtreme you will need to use a BP80 Bar Pad since the auxiliary inputs are configured for the rim switch of the PCY80S stereo cymbal pad. V-Drums are designed to work with mesh heads while the DTXtreme is supplied with Mylar heads but can accept aftermarket mesh heads. If mesh heads are used on DTXtreme pads, replace the foam pads under the Mylar heads with the waffle-topped foam pads included with the kit. This will quiet down the DTXtreme pads dramatically. As for color, the V-Session pads and rack have a striking red finish. The Yamaha pads have a more subtle natural wood finish with an aluminum colored rack. Some drummers will prefer one over the other but it is important to point out that both these colors are a step in the right direction for e-drums. The finish on an acoustic drum kit is one of the major considerations a drummer makes when purchasing new equipment. More color options for e-drums will increase consumer interest. The major differences between the kits are found inside the sound modules. The DTXtreme offers more individual drum voices than the Roland TD-10 but since both kits allow you to create virtual drums, multitudes of custom drum sounds can be achieved with either module. The V-Session kit with the included TDW-1 expansion board for V-Cymbals has the edge (literally) in the ride cymbal category. Both kits have three zone ride cymbal arrangements but the new TDW-1 ride cymbal sounds combined with a V-Cymbal ride pad comes very close to the experience of playing an acoustic ride cymbal. The DTXtreme cymbal sounds have more of a recorded type of sound. By this, I mean that they tend to sound much more like cymbals you would hear on a CD or on the radio
when listening to recorded music. The V-Session cymbals have more presence and have a "live" acoustic cymbal sound. Customers who intend to use the e-drum kit in a home studio situation may prefer the cymbal sounds of the DTXtreme while drummers intending to use their kit in live situations may prefer the V-Drum sounds. The DTXreme has a SmartCard slot that has several important uses. The most obvious is to use a SmartCard as a storage device for the modules internal memory data. Another not so obvious use is to hold sequence files that can be played back using the modules General MIDI sound set. The DTXtreme module is a one-box answer for MIDI bands that dont mind staying within the General MIDI sound set. Drummers will like the fact that the SmartCard can hold sample data (.aiff format). This allows players to record their favorite drums, cymbals, or any sound for that matter, and have it load into the module so that those sounds can be assigned to a pad. The limitations are that the DTXtreme internal memory can only hold 4MB of data and only mono samples will playback. There is also a slightly darker quality to the sound than when the same sample is played back through a Yamaha A3000 stand-alone sampler. As for tracking, the V-Drum pads have the best response available at the present time. V-Drum pads are sensitive enough to track brushes but the brush response is not exactly like an acoustic drum. If you press the brush into the head, the V-Drum doesnt track that movement like an acoustic drum would. During the comparison, we thought the DTXtreme had more output volume than the VSession kit. I later found this to be due to the fact that the V-Session "drum group" volume was not at the max setting. Moving this setting up to 127 greatly increases output of this module. Now for the two biggest differences. First is the user interface. The DTXtreme uses a text-based interface similar to the original DTX. The interface works but is more difficult to master when a drummer is first getting into e-drums. The V-Drum system is more graphic oriented with easy to follow menus and illustrations. Text-based data is often displayed along side the graphics so drummers with experience in sound module editing can use either system. Yamaha's menu structure tends to place all parameters for voices in one area. The V-Drum system spreads these parameters between instrument, studio, and control room categories. These resemble real-life settings and will be easier for new users to conceptualize. Drummers that have experience with sound module editing may prefer the text and numerical based DTXtreme interface. The second biggest difference, and perhaps the one most near and dear to consumer's hearts, is price. The DTXtreme DSXT11 lists for $4600.00 and sells for $3699.99. The V-Session lists for $6295.00 and sells for 4995.99. At street pricing, the difference between the kits comes down to $1296.00. To justify either purchase, the consumer with the help of sales personnel, must determine the following decision points: whether the kit will be used primarily in a home studio setting, a live setting, or both; if the kit will be used as part of a MIDI band where live music is mixed with sequencing; whether or not

samples of acoustic drums or other sounds is desired; and which user interface the customer prefers. As outlined above, each kit has strengths in certain areas. Many thanks to Russ Miller for taking the time to be a part of this review. For more information on Russ, visit his website at "http://www.russmiller.com" www.russmiller.com.