ALESIS D4 Reference Manual
CHAPTER 1 - INTRODUCTION 1.0 PRINCIPAL FEATURES..................................................................................... 1 1.1 RETURN YOUR WARRANTY CARD NOW! ....................................................... 2 1.2 HOOKUP/INSTANT GRATIFICATION ............................................................... 2 1.2A Installation ........................................................................................... 3 1.2B Hook Up Audio (rear panel) .........................................
CHAPTER 4 - MIDI FUNCTIONS 4.0 4.1 4.2 4.3 4.4 4.5 4.6 DRUM SET ROOT NOTE ................................................................................... 21 MIDI CHANNEL SELECTION ............................................................................. 23 MIDI THRU/OUT SELECTION............................................................................ 23 PROGRAM CHANGE ENABLE .......................................................................... 24 CONTROLLER ENABLE..........................
CHAPTER 1: INTRODUCTION Thank you for purchasing the Alesis D4 Drum Sound Module. The D4 provides over 500 high-quality drum/percussion sounds (many of them in stereo), that use the same drum recording expertise responsible for making the SR-16 and HR-16 standards in the music world. And thanks to Dynamic Articulation, which triggers different samples according to velocity, the D4’s sounds have a realism and presence that make these sounds stand out in any track or performance. 1.
• Velocity-sensitive Preview button. Audition sounds at the D4 itself, so you don’t have to go back and forth between a controller and the D4 when making drum kit assignments or checking out sounds. • Headphone jack. This is excellent for practicing, or for creating drum kits while other activity is taking place in the studio. • Hi hat pedal footswitch. This lets you incorporate a footswitch to create very realistic hi hat effects. • Note chasing.
Power MIDI THRU/OUT Jack Footswitch Jack MIDI IN Jack Main Output Jacks Trigger Jacks Aux Output Jacks 1.2A Installation For most applications the D4 should be installed in a rack frame so that you can tap the Preview button without causing the unit to slide around. The D4 generates very little heat so it is not necessary to leave an empty space for ventilation above or below the unit. 1.2B Hook Up Audio (rear panel) 1.
The D4’s drum sounds can be triggered by non-MIDI electronic drum pads, audio signals from tape, drum sounds from other drum machines, etc. 1. If you’re using a hi hat pad, connect its output to rear panel trigger input 1. 2. Connect up to 11 more pads to any of the remaining 11 rear panel trigger inputs. 1.2E Hook Up Power (rear panel) 1. Locate the AC adapter and check that the AC adapter’s “INPUT” spec (printed on the adapter label) uses the correct voltage for your part of the planet. 2.
3. Trigger D4 notes via MIDI or acoustic triggers. Different MIDI notes (within the range of 36-96) or triggers should trigger different drum sounds. 4. Turn the Data wheel clockwise to select higher-numbered drum kits or counterclockwise to select lower-numbered drum kits. Each click calls up a Drum Set. You cannot select a Drum Set number lower than 00 or higher than 20. 1.2H Audition Different Drum Sounds Drum sounds are organized as Banks of individual drum sounds.
1. Press the Voice button, and its LED lights. The display shows a MIDI note number on the top line and the name of the currently selected drum sound on the lower line. Here’s a typical screen: NOTE: 038 D1 Snr/25: Piccolo This example shows that the sound will be triggered by MIDI note 038, belongs to the Snare (Snr) Bank, is the 25th sound of the snare Bank, and is named Piccolo. Note that the 25 is underlined. An underline (cursor) indicates that a parameter is available for editing.
1.2I Assign Drum Sounds to Particular MIDI Notes 1. Press the Voice button. 2. Use the cursor buttons to place the cursor under the MIDI note number on the top line. 3. Rotate the Data knob and select the note to which you want to assign a particular drum sound. 4. Select the desired Bank and drum sound as described in section 1.2H, “Audition Different Drum Sounds.
1.3B 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 don’t 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 buffer’s contents.
Alesis D4 Trigger / Note Relationship External Triggers 1 2 3 4 5 6 7 8 9 10 11 12 Programmable Drumset trigger note number assignments (any trigger may be assigned any note number within the 61 note window) MIDI IN DATA 000 C-2 036 C1 096 C6 127 G8 61 Note Window Programmable Drumset Rootnote Note Data to Sound Generator 1.4 ABOUT THE USER INTERFACE The D4 is very easy to edit. The various buttons are organized as follows.
1.4A Function Buttons The eight Function buttons select eight different groups of parameters, as shown on the LCD. Pushing a Function button lights its associated LED and deselects any previously-selected Function button (its LED goes out). The functions are: Voice Chooses the drum sound to be edited and/or assigned. Tune Sets the drum sound’s tuning. Mix Sets the drum sound’s Volume and Pan parameters. Output Selects one of the two sets of stereo outputs. Drum Set Selects one of the 21 Drum Sets.
After selecting the parameter to be edited, use the Data wheel 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 not been edited. DRUMSET 00 “Standard Stuff” This Drum Set has been edited. Note the period. DRUMSET 00. “Standard Stuff” The period reminds you that if the Data wheel is rotated and another set selected, any changes made to the current Drum Set will be lost. 1.
CHAPTER 2: DRUM SET MANAGEMENT In most cases, you will call up a particular Drum Set when you want to use the D4. Drum Sets can be selected, named, edited, and saved (stored). 2.0 SELECTING DRUM SETS 1. Press the Drum Set function button; its LED will light. The LCD will show a Drum Set number on the upper line and the Drum Set’s name on the lower line (similar to the example below). DRUMSET 00 “Standard Stuff” 2.
R Y a h o v } S Z b i p w T [ c j q x U ] d k r y V ^ e l s z W _ f m t { X ` g n u | 4. After naming the Drum Set and selecting where it should be stored, press the Store button again. The LCD will briefly show DRUMSET STORED to confirm that it has been stored. The Store LED will then go out and the D4 will return to the mode it was in prior to the Store button being pressed.
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CHAPTER 3: FUNCTION BUTTONS The function buttons allow you to edit Drum Set parameters on a fairly detailed level. 3.0 NOTE CHASE/DRUM NOTE SELECTION The Voice, Tune, Mix, Output, and Group buttons all require selecting a particular drum note for editing. The top line of each of these screens shows the note that is being edited.
To select a drum sound within the Bank, place the cursor under the drum sound and turn the Data wheel. The accompanying chart included with the D4 shows the names of all available drum sounds. 3.2 TUNE Press Tune, and the LCD shows the selected MIDI note number on the top line and the Pitch on the bottom line. Example: NOTE: 054 F#2 PITCH: +0.00 To change the pitch one semitone at a time, place the cursor under the units (leftmost) digit and turn the Data wheel.
NOTE: 054 F#2 OUTPUT: MAIN To change the output assignment, turn the Data wheel. To send the drum sound to the Main outputs, select Main. To send the drum sound to the Aux outputs, select Aux. 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.
To select a particular Drum Set, turn the Data wheel. Numbers range from 00 to 20. Drum Set selection and management was already covered in more detail in Chapter 2. 3.6 EXT TRIG Press Ext Trig, and the LCD shows the Trigger input and Trigger Characteristics (Type) on the top line, and the note associated with the Trigger on the bottom line. Example: TRIG: 01 TYPE: 01 NOTE: 050 D2 External triggering is a somewhat complex topic and is described in detail in Chapter 5. 3.
problem, try assigning all the toms to a group so that they only use up one voice at a time. 3.8 MIDI BUTTON Press MIDI, and the LCD shows the root note for the selected drumset on the bottom line. Example: DRUMSET ROOT NOTE: 036 C1 MIDI options are spread over five different screen displays, which are described in detail in Chaper 4. 3.
1. Press and hold the Note Chase function button. While holding this button, press the Store button. Release both buttons. The Store LED will light and the display shows something like: COPY 036 C1 TO 042 F#1 2. The cursor will be under the destination note number. Use the Data wheel to select the note. 5. To complete the operation, press the Store button. The display will confirm that the source note's settings have been stored to the destination note.
2. Turn the Data wheel to select the desired Drum Set root note.
4.1 MIDI CHANNEL SELECTION The D4 can receive and transmit MIDI data in Omni mode (receives data appearing on any of the 16 MIDI channels, transmits data over channel 1) or Poly mode (transmits and receives over any one of the 16 MIDI channels). Use Omni when playing the D4 from an external MIDI controller (MIDI drum pads, MIDI keyboard, etc.) since it’s not necessary to match channels. When several instruments are being driven by MIDI (e.g.
Program Change commands can change Drum Sets at any time, including while the D4 is playing. A Program Change Table (section 4.5) determines which Drum Set will be called up in response to a particular Program Change number. The default is Program Changes 00-20 call up Drum Sets 00-20; so do Program Changes 21-41, 42-62, 63-83, 84-104, and 105 to 125. 126 calls up Drum Set 00, and 127 calls up Drum Set 01.
99 Non-Registered Parameter LSB (0-127) This works similarly to controller 98 but the controller value selects the Least Significant Byte of the parameter to be controlled. 121 Reset All Controllers (0) Any value sent for this controller resets volume to maximum, pitch bend to zero, and restores all non-registered parameters to their default values. PB Pitch Bend Sending a pitch bend command prior to triggering a note or group of notes will change the pitch of the notes being triggered.
3. Use the Data wheel to select a status of On (the D4 responds to controller messages) or Off (the D4 ignores controller messages). 4.5 PROGRAM CHANGE TABLE 1. The fourth MIDI page shows the Program Table. Example: PROGRAM TABLE 000 = 00 The lower left, three-digit number represents the incoming Program Change number. The lower right, two-digit number represents the D4 Drum Set that will be selected in response to the displayed Program Change number. To edit the Program Change table: 1.
which receives all channels) to retrieve this data. It’s a good idea to include the channel assignment in the System Exclusive file name to prevent possible confusion. To back up: 1. Connect the D4’s MIDI Out to the MIDI In of the other D4 or system exclusive storage device, such as the DataDisk. 2. Select the fifth MIDI page, Sysex Backup. With the Sysex Backup page selected, the Store LED will light. 3.
6. Press the D4 Store button. The D4 display says SENDING SYSEX DATA OUT MIDI… and the DD display says RECEIVING Alesis D4 to indicate that data has been received. 7. To prevent future confusion, name the DD file using the DD NAME function. 4.7 RECEIVE DATA FROM ANOTHER MIDI DEVICE The D4 will automatically load D4 system exclusive data present at its MIDI In.
CHAPTER 5: EXTERNAL TRIGGERING External triggering has three main uses: • Driving D4 sounds from electronic drum pads. Some electronic drum pads provide MIDI triggers when hit; these can feed directly into the D4’s MIDI input. Other pads generate analog triggers, which can interface with the trigger inputs. • Using contact transducers (triggers) mounted on acoustic drums to trigger sounds from the D4.
About Trigger Parameters The D4 now offers five user controllable trigger parameters. These are: • VCURVE. This represents the velocity curve, or the sensitivity of the trigger input. There are eight separate curve tables, 0 through 7. Using these settings it is possible to adjust the D4s' triggers to accompany a wide variety of playing styles, and to help compensate for sensitivity variances between different brands of drum pads and triggers.
This chart represents three signals which are "seen" by the D4. 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.
Selecting a higher DCAY value (long decay times) will allow for the most reliable triggering but may miss quickly repeated hits. Lower DCAY 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. 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.
• NOISE. The noise floor is is the signal level threshold a vibration or sound must exceed before it can trigger a drum sound. When selecting lower values, very soft signals (hits) will trigger the D4. While this allows for the greatest sensitivity, there’s 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.
2. Place the cursor under the TRIG parameter. 3. Turn the Data wheel to select the desired trigger for editing. 5.1 TRIGGER NOTE SELECTION Each trigger can be assigned to any MIDI note number, which is associated with a corresponding drum sound (programmed according to the instructions in section 3.0). Trigger note assignments are recalled as part of a Drum Set whenever a new set is selected. 1. The first Ext Trig page shows three parameters. Example: TRIG:02 VCURVE:4 NOTE: 036 C1 2.
Note: The setting of 0, Unassigned, is selected by rotating the Data wheel fully counterclockwise. This is a special case VCURVE setting which allows a trigger input to contribute to the D4’s 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.
3. Go to the next page and set the XTALK, DCAY and NOISE levels all to 00. This low level will allow the maximum signal to be detected by the D4. 4. Press the EXT TRIG button again to get to the GAIN page. Using the bar graph meter, adjust the level according to the severety of the false triggering. If notes are constantly triggering, use a high gain. If only occasional, select a lower level. Note: The peak level indicator (a period) explained in section 5.
5.3 TRIGGER PARAMETER SELECTION To compensate for differences in transducer outputs, the crosstalk, decay time, and noise floor level for each trigger can be set independently. These are Global settings that apply to all Drum Sets. 1. The second Ext Trig page shows four parameters. Example: TRIG:02 XTALK:30 DCAY:10 NOISE:00 As with the other screens, the cursor buttons move between the three parameters. 5.
3. Place the cursor under the XTALK parameter. While you hit the snare pad (triggering the tom pad) gradually raise the crosstalk level of the tom 1 pad. 4. Continue to raise the level until the tom pad stops triggering when you apply hard hits to the snare pad. By using this technique, you have isolated the problem drum, and made it easy to "dial in" the proper XTALK value without the sound from the other drum becoming distracting or confusing. 5.
5.5 TRIGGER DCAY CONTROL SELECTION If a pad or drum "double triggers" when it is struck, it may be necessary to adjust the DCAY level. This is evident when shortly after the initial strike to a pad, a second trigger from the same pad is generated, or it "double triggers". Note: With certain pads it may not be necessary to adjust this parameter. In that case, skip this section and go on to 5.6 Noise Control Selection). 1.
Remember: In keeping potential problems to a minimum, it is always a good idea to try to keep some distance between your pad or drum kit, and nearby speaker cabinets (especially bass cabinets). Whenever possible, try to aim them so they are not facing directly towards your set up. Also, avoid unsteady drum risers and hardware. 5.7 TRIGGER GAIN SELECTION To compensate for differences in transducer outputs, the gain for each trigger can be set independently. 1. The third Ext Trig page shows two parameters.
4. To aid in the adjustment of this parameter, strike the pad or drum whose transducer is plugged into the selected input. The lower LCD line will turn into a bar-graph meter that shows the peak strength of the transducer signal. Adjust the gain so that a powerful strike results in the meter reaching the right-most side of the display, and a period appears to the right of the GAIN number. This period indicates that the input is reaching it's full dynamic range.
5.8A Understanding Hi Hat Pedal Mode This is a feature for hardcore drummers. It’s a little complicated, but hang in there— the D4 finally gives you a way to get truly realistic hi hat effects with electronic drums. An acoustic hi hat produces three main types of sound: • Open hi hat. The pedal is up so that the upper and lower cymbals do not touch. Striking the upper cymbal causes it to ring until it is struck again, or until the pedal begins closing. • Foot closed hi hat.
Striking the pad while the footswitch is held down plays the closed hi hat sound.
CHAPTER 6: MIDI SUPPLEMENT (This chapter is an abridged version of material from Power Sequencing with Master Tracks Pro/Pro 4 and The Complete Guide to the Alesis HR-16 and MMT-8, copyright 1990 and 1989 respectively by AMSCO Publications, and is adapted with permission.) 6.0 MIDI BASICS Most current electronic instruments and signal processors, including the D4, contain an internal computer.
machines) can often transmit and/or receive additional MIDI timing messages that keep other rhythmically-oriented units in a system synchronized with each other. An optional MIDI Thru jack provides a duplicate of the signal at the MIDI In jack. This is handy if you want to route MIDI data appearing at one device to another device as well. Some devices, like the D4, switch their MIDI Out between the Out and Thru functions. Example: Suppose a keyboard’s MIDI Out feeds the D4’s MIDI In.
Pitch Bend This “bends” a note from its standard pitch. Continuous Controller Footpedals, breath controllers, and modulation wheels can vary sounds as you play, thus adding expressiveness. MIDI allows for 64 continuous controllers (these act like potentiometers in that you can choose one of many different values) and 58 continuous/switch controllers (these can act like continuous controllers but some are assumed to choose between two possible states, such as on/off).
124 125 126 127 Omni Off (0) Omni On (0) Mono On (0-16; 0=Omni Off) Poly On (0) 6.3B Mode Messages There are two messages that determine the MIDI mode (i.e., how the D4 will receive MIDI data). The “Omni” message determines how many channels will be recognized. Omni On means that data from all channels will be received; Omni Off limits the number of channels, usually to one. The “Mono/Poly” message deals with voice assignment within the synthesizer.
Continue Unlike a Start command, which re-starts a sequencer or drum machine from the beginning of a song each time it occurs, sending a continue message after stop will re-start units from where they were stopped. 6.5 BOOKS ON MIDI The preceding does not substitute for reading a good book on the subject of MIDI. For further information, refer to the following: MIDI For Musicians and The Electronic Musician’s Dictionary by Craig Anderton; AMSCO Publications.
