EMU Procussion Manual - Polynominal.com

Procussion operation manual 1

INTRODUCTION 5Procussion ............................................................................................................................... 6

CONNECTION INSTRUCTIONS 7Basic Pad Setup ...................................................................................................................... 7Quick Setup for MIDI Keyboard ......................................................................................... 8Keyboard Setup ..................................................................................................................... 9Quick Setup for MIDI Drum Pads .................................................................................... 10Live Performance Setup ...................................................................................................... 11Electronic Drum Kit Setup ................................................................................................. 12Overview of Outputs .......................................................................................................... 13

BASIC OPERATION 15Controls ................................................................................................................................. 17Selecting Kits ........................................................................................................................ 18Selecting MIDI Channels, Volume and Pan .................................................................... 18Multi-Timbral Operation .................................................................................................... 19Master Menu Functions ..................................................................................................... 20Master Tune .......................................................................................................................... 20Transpose .............................................................................................................................. 21Submix Outputs ................................................................................................................... 21MIDI Modes ......................................................................................................................... 22Global Velocity Curve ......................................................................................................... 22Global Trigger Tempo ......................................................................................................... 23Zone Maps ............................................................................................................................ 23User Zone Maps 1 + 2 ......................................................................................................... 24Drum Replacement with the User Zone Maps ................................................................ 24Procussion Factory Zone Assignment Chart ................................................................... 25Envelope Mode .................................................................................................................... 26MIDI Enable ......................................................................................................................... 26Program Change .................................................................................................................. 26MIDI Mode Change............................................................................................................. 27MIDI Controller Assign ...................................................................................................... 27MIDI Footswitch Assign ..................................................................................................... 28MIDI Program -> Kit ........................................................................................................... 28Auto Select ............................................................................................................................ 29Remote Edit .......................................................................................................................... 29Send MIDI Data ................................................................................................................... 30Viewing Angle ..................................................................................................................... 30Demo Sequence .................................................................................................................... 31About Procussion ................................................................................................................ 32

PROGRAMMING BASICS 33Modulation ........................................................................................................................... 36Procussion Modulation Sources ........................................................................................ 37Envelope Generators ........................................................................................................... 38Low Frequency Oscillators ................................................................................................. 39

CONTENTS

Procussion operation manual2

PROGRAMMING BASICS (cont)Modulation Patches ............................................................................................................. 40Accent and Volume ............................................................................................................. 40Instrument Layer Block Diagram ...................................................................................... 41Key Number ......................................................................................................................... 41Stack Block Diagram ........................................................................................................... 42Velocity Curves .................................................................................................................... 43MIDI Realtime Controls ...................................................................................................... 44Stereo Mix Outputs ............................................................................................................. 46

EDIT MENU 47Enabling the Edit Menu ...................................................................................................... 49Procussion Block Diagram ................................................................................................. 50

Kit and Zone Programming FunctionsKit Name and Keyboard Character Charts ...................................................................... 51Stack Select ............................................................................................................................ 52Key Range ............................................................................................................................. 52Zone Tuning ......................................................................................................................... 52Zone Volume ........................................................................................................................ 53Zone Pan ............................................................................................................................... 53Nontranspose ....................................................................................................................... 53Assignment Mode ............................................................................................................... 54Zone Submix......................................................................................................................... 55Modulation Enable .............................................................................................................. 55Footswitch Enable ................................................................................................................ 56Modulation Patch 1 and 2 ................................................................................................... 56Footswitch Control .............................................................................................................. 57Velocity Curve ..................................................................................................................... 57Trigger Tempo ..................................................................................................................... 59

Stack Programming FunctionsStack Name and Keyboard Character Chart ................................................................... 59Stack Instruments ................................................................................................................ 60Stack Tune ............................................................................................................................. 60Stack Volume........................................................................................................................ 60Stack Pan ............................................................................................................................... 60Delay/Sound Start ............................................................................................................... 61Reverse .................................................................................................................................. 62Alternate Envelope .............................................................................................................. 62Pitch Envelope ..................................................................................................................... 62Low Frequency Oscillator .................................................................................................. 63Stack Modulation Control .................................................................................................. 64Stack Footswitch 3 and 4 .................................................................................................... 65Switch Mode ......................................................................................................................... 65Switch Group ....................................................................................................................... 67Switch Source ....................................................................................................................... 67Switch Points ........................................................................................................................ 68Audition Layer ..................................................................................................................... 68

CONTENTS


Copy and Save FunctionsCopy Zone ............................................................................................................................ 68Copy Stack ............................................................................................................................ 69Save Kit ................................................................................................................................. 69

PROGRAMMING PROCUSSION 73Creating a Custom Kit ........................................................................................................ 73Editing Kits ........................................................................................................................... 74Programming Tutorial ........................................................................................................ 75Hi-Hat Investigation ........................................................................................................... 81Programming Tips and Ideas ............................................................................................ 82Procussion Synthesis ........................................................................................................... 83Spatial Convolution ............................................................................................................. 85Using Procussion with a Sequencer .................................................................................. 86More Advanced Sequencing .............................................................................................. 86

REFERENCE SECTION 89Factory Kit Listing ............................................................................................................... 90Standard Kit Layout ............................................................................................................ 91Factory Stack Listing ........................................................................................................... 92Instrument Listing ............................................................................................................... 99LFO, Delay and Envelope Times ..................................................................................... 103Pitch Modulation Interval Charts ................................................................................... 104Zone Map Chart ................................................................................................................. 105Technical Specifications .................................................................................................... 106MIDI Specifications ........................................................................................................... 107

INDEX

WARRANTY

REGISTRATION CARD

CONTENTS

Procussion operation manual 5Introduction

INTRODUCTION

MASTER EDIT DATA VOLUMEC01 Vol127 Pan=K031 Sluggo Drums

CURSORENTER

MAXIMUM PERCUSSION MODULE

I/O

What is PROCUSSION?Procussion is a multi-timbral percussion instrument whose sounds arebased on actual digital recordings of “real” instruments. With Procussion,you can instantly have hundreds of different drum and percussioninstruments at the tip of your drumstick.

Procussion begins with sound. Four megabytes of the highest quality 16bit percussion samples selected from the Emulator III sound library andstored on ROM (Read Only Memory) for instant access.

But this is only the beginning. Procussion gives you the ability to literallytake these sounds apart and re-assemble them into an almost limitlessnumber of entirely new percussion sounds, combining parts of oneinstrument with another or with any of a selection of digital waveformsalso stored on ROM. The extensive cross-switching functions allow ahigh degree of musical expression not normally attainable from sampledpercussion instruments. The 16 bit samples are arranged into 128 kitlocations, 64 of which are user-programmable.

Procussion also features 32 voice polyphony allowing you to take fulladvantage of its layering capabilities (up to 8 sounds on each key or drumpad) and its ability to respond multi-timbrally to all 16 MIDI channelsmakes it ideally suited for multitrack sequencing and composing usinga MIDI sequencer.

Other features include 3 stereo outputs for individually processingsounds (also configurable as 6 polyphonic submixes with fully program-mable panning), integral sends and returns to allow the addition ofexternal effects units without the need for a separate mixer, and of course,an extensive MIDI implementation.


PROCUSSION INTRO

Procussion is organized as shown in the simplified diagram below.

Basic Organization

A number of sampled percussion instruments are mapped across akeyboard or set of drum pads. Each instrument has many individualattributes such as tuning, volume, pan, etc.

The Kit is a complete set of all program parameters for a set of up to 24Procussion drum Stacks. There are 128 kit locations in the Procussion.

Kits 0-63 are unalterable factory kits; Kits 64-127 are user kits which canbe changed.

Stacks, which can be made of up to 4 percussion Instruments, areassigned to MIDI key ranges called Zones. Up to 24 zones may beassigned in one kit.

The instruments in a stack can be modulated in many ways or switchedon and off depending on various parameters such as velocity (how harda drum is played) or perhaps the position of the high hat pedal, stickingspeed, etc.

DrumStack

Up to 4 Instrumentswhich can be

controlled or switchedin various ways.

Up to 24 Zones

Zone1

Zone2

Zone24

MIDI Drums

36 48 60 72 84 96MIDINote # -

DrumStack



DrumStack



Zones larger than 1 note are used forTuned Percussion

PROCUSSION KIT

Zone 2

Zone 24Zone 1


SUB 2 SUB 1 MAININ OUT THRU L L LR

STEREOMONOMIDI OUTPUTS POWER

RR

MIDI Controller(MIDI Drum Pads, Keyboard, Sequencer, etc.)

MIDI Out

OR

Speakers

Amp

Mixer

Home StereoSystem

Aux. orTape In

Male RCA plugto

Male Phone plug

ToMain Outs

Use the Left Main Outputfor Stereophones

Home StudioSystem

Setup #1 BASIC PAD SETUP

CONNECTION INSTRUCTIONS

Connection Instructions - Basic Setup

MIDI In - Procussion is controlled by MIDI messages received at the MIDIIn connector. Connect the MIDI In of the Procussion to the MIDI Outconnector of a MIDI controller such as a MIDI keyboard, MIDI Drum Padsor MIDI sequencer.

Outputs - Procussion is a high quality, stereo audio device. In order toreproduce its wide dynamic range and frequency response, use a highquality amplification and speaker system such as a keyboard amplifier orhome stereo system. A stereo setup is highly desirable because of theadded realism of stereophonic sound. Headphones can be used if anamplifier and speaker system is not available. Plug stereo headphonesinto the Left Main output jack. The Right Main output jack serves as amono output when the left jack is not plugged in.

This diagram shows a typical equipment setup for the Procussion.

If Procussion does notseem to be respondingcorrectly, make surethat both Procussionand your MIDI Control-ler are set to the sameMIDI channel.

Procussion operation manual8 Quick Setup - MIDI Keyboard

These instructions will get you up and running in the shortest amount oftime. Connect Procussion to your sound system and MIDI keyboard asshown on the following page and turn everything on.

SET LEVELS1) Turn the Procussion's volume control to minimum.

2) Press the Master button on Procussion.

3) Turn the Data knob clockwise to the very last screen which reads,“DEMO SEQUENCE”.

4) Press the Cursor button to move the flashing cursor to the bottom linein the display.

5) Press Enter to start the demo sequence, then slowly turn up the volumecontrol to a comfortable listening level. You may have to adjust thevolume of your sound system. Press Enter again to stop the demo.

PROCUSSION SETUPThe Zone Map function re-maps every kit in Procussion to fit your MIDIkeyboard. This is much easier than having to modify each individual kit.


2) Turn the Data knob to the screen which reads, “ZONE MAPS”.

3) Verify that the bottom line of the display reads “Kit”. If the displayreads something other than “Kit”, press the Cursor button to move theflashing cursor to the bottom line in the display, then press it again sothat the flashing cursor line is underneath the word in the lower line.Turn the data knob until it does read “Kit”.

4) Press the Master button to return to the main screen.

5) Play your MIDI keyboard. You should now be hearing sound. If not,verify that the MIDI light on Procussion flashes as the keys are played.If it doesn't flash, check the MIDI connection.

6) Turn the data knob clockwise to select another kit. Remember,Procussion has 128 different kits! Have fun.

QUICK SETUPUsing the PROCUSSION with a MIDI Keyboard

Procussion operation manual 9Connection Instructions - Keyboard Setup

Setup #2 KEYBOARD SETUP



RR

MIDI Out

MIDI Controller(MIDI Keyboard, Sequencer, etc.)

Computer

MIDI In

MIDI In

AdditionalMIDI

Devices

MIDI In

Sub

2

Sub

1

Mai

n

OR

Home StereoSystem

Aux. orTape In

Male RCA plugto

Male Phone plug

ToMain Outs

MIDI In - Procussion is controlled by MIDI messages received at the MIDIIn connector. Any MIDI controller such as a MIDI keyboard, MIDI drumpads or a computer can be connected.

MIDI Out - The MIDI Out jack is normally used to transmit program datato a computer or other device.

MIDI Thru - MIDI Thru transmits an exact copy of the messages receivedat the MIDI In jack to additional MIDI devices.

Outputs - Procussion has three sets of programmable stereo outputs;Main, Sub 1, and Sub 2. Specific sounds can be routed to one of these stereopairs in order to be further processed or mixed separately.


QUICK SETUPUsing the PROCUSSION with Drum Pads

Quick Setup - MIDI Drum Pads

These instructions will get you up and running in the shortest amount oftime. Connect Procussion to your sound system and MIDI drum pads asshown on the facing page (or on page 7) and turn everything on.

1) Play your MIDI drum pads and verify that the MIDI light onProcussion flashes as the pads are played. If not, check the MIDIconnection.

2) Set Procussion to Kit 000, “Ampitheater” (or any of the kits markedwith an asterisk in the kit listing).

3) Assign each pad of your MIDI drum pad controller to a MIDI notenumber using the Standard Factory Kit Layout on page 91. Set theMIDI pads up however you like, but be sure to save your layout to thepad controller when you have finished.

4) Turn the data knob on Procussion clockwise to select another kit. Sinceyou used one of the Standard Kits as your model, most otherProcussion factory kits (marked *) will follow the same pad layout.

drumKAT

Note #38Main Snare

Your MIDI Controllerassigns each

Pad a MIDI Number

Note #39Aux. Snare

Note #52Hi Hat

Note #47Tom Tom

Note #43Tom Tom

Note #45Tom Tom

Note #49Cymbal

Note #46Perc.

Note #51Cymbal

Note #50Cymbal

33 35 36 38 40 41 43 45 47 48 50 52 53 55 57 59 60 62 64 65 67 69 71 72 74 76 77 79 81 83 84 86 88 89 91 93 95 96 98MIDI Key #

Mai

n S

nare

Aux

. Sna

re

Hi H

at

Tom

Tom

Tom

Tom

Tom

Tom

Cym

bal

Cym

bal

Cym

bal

Per

cuss

ion

Standard Factory Kit Layout

Use the Standard Factory Kit Layout to assign your Drum Pads so that most of theProcussion Factory Kits will match up with your pad assignments.

Procussion operation manual 11Connection Instructions- Performance Setup

SETUP #3 LIVE PERFORMANCE SETUP

MIDI In - Procussion is controlled by MIDI messages received at the MIDIIn connector. Connect the MIDI In of Procussion to the MIDI Out connec-tor of a MIDI controller such as a MIDI percussion controller, or MIDIkeyboard.

MIDI Thru - The MIDI Thru jack is used to connect additional MIDIdevices onto the MIDI chain. MIDI Thru transmits an exact copy of themessages received at the MIDI In jack.

Outputs - Each of the Sub 1 and Sub 2 output jacks on the Procussion arestereo jacks. The tip of each jack (accessed when a standard phone plug isinserted) connects to the left or right output of that group. If a stereo plugis inserted, the Ring of the stereo plug serves as a signal Return whichsums into the Main outputs. See page 13 for additional details.

Sub OutputReturn(To Main Output)

Tip Ring

To Effect From Effect

SEND/RETURN CABLES



RR

MIDI Controller(MIDI Drum Pads, Keyboard, etc.)

MIDI In

drumKAT

MIDI Out

MIDI In

AdditionalMIDI

Devices

Main Outputs

Sen

d/R

etur

n

Effect Device

Sen

d/R

etur

n

Effect Device


MIDI Controller(MIDI Drum Pads or Trigger Device)

MIDI In

dw5

00

0

PocKetPEDAL

MIDI Out



RR

Pedal

Kick DrumPedal

ControlFootswitchPocket

Pedal

TriggerInput 1

Hi-Hat andControl Pedal

External Pads

drumKAT

Set to:Modulation

SETUP #4 FULL ELECTRONIC DRUMKIT

Connection Instructions - Electronic Drum Kit

Make sure that thevelocity response iscorrectly calibrated onyour MIDI Drum Pads.

The diagram above shows how to connect the Procussion as a fullelectronic drum kit containing: a Kick Drum Pedal, Hi-Hat Pedal, MIDIDrum Controller (with 2 external pads) and a Control Footswitch.

Kick Drum Pedal In - In this example, a spring-loaded trigger pedal byDrum Workshop is used. Connect the output of the pedal to Trigger #1of your MIDI drum pads.

Hi-Hat Pedal In - A standard electronic music voltage pedal functions asa combination Hi-Hat/Control Pedal. In this example, an Anatek PocketPedal is used to merge the pedal into the MIDI data. Connect theFootswitch and CV Pedal to the inputs of the Pocket Pedal as shown in theexample above. See your dealer about obtaining a suitable control pedal.

MIDI - Connect MIDI Out from your MIDI drum pads to MIDI In of thePocket Pedal. Connect MIDI Out of the Pocket Pedal to MIDI In ofProcussion.

Outputs - Connect the audio outputs to your other equipment as shownin setup procedures 1, 2, and 3.

The Hi-Hat Pedalcorresponds to MIDIkey number 52 in theStandard Factory KitLayouts.

When using theAnatek Pocket Pedal,the first pedal move-ment determines thepedal's polarity.

Down 1st = NormalUp 1st = Reversed


SUBMIX OUTPUTS

Tip

Ring

Tip

Ring

Tip

Ring

Tip

Ring

Tip Tip

Ring

SUB 2 SUB 1 MAIN

R L R L R L

R Bus

L Bus

Procussion Output Section

If a stereo plug is inserted into a Sub jack, the Ring of the stereo plug servesas a signal Return which sums into the Main outputs.

Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returnsin order to further process selected instruments and then return them tothe main mix.

The diagram below shows the Sub 1 and Sub 2 jacks being used as send/returns in order to further process selected Procussion instrumentswithout using the effects bus on the mixing board. In a pinch, the effectreturns could also be used to sum additional instruments into the mainoutputs of the Procussion.

POWER UP!The power switch is located on the left side of the front panel. TheProcussion and its MIDI controller may be turned on in any order. Whenpower is applied, the liquid crystal display will light, indicating that theProcussion is operating.

You may have noticed that there is no 110/220 Volt power selectorswitch on the Procussion.

Procussion automatically switches itself for 110 or 220 Volt opera-tion.

The Sub 1 and Sub 2 jacks can be used as effect returns to the Main Outputs.

Sub OutputReturn(To Main Output)

Tip Ring

To Effect From Effect

SEND/RETURN CABLES

Use Send/Returncables as shown aboveto access the SubmixReturn points.

Submix I/O

15Procussion operation manual Basic Operation

BASIC OPERATION

16 Procussion operation manual

17Procussion operation manual Main Controls

MAIN CONTROLS

Power Switch - Switches AC power to the Procussion ON and OFF.

MIDI Activity LED - Indicates that MIDI data is being received.

Master Menu Select Button - The Master menu contains parametersthat affect the entire machine, not just certain Kits. An illuminated LEDabove the button indicates that you are in the Master menu.

Edit Menu Select Button - The Edit menu is used when you want tochange parameters of a Kit. An illuminated LED above the buttonindicates that you are in the Edit menu.

Enter Button - The Enter button is used as a “Home” key or to initiatea particular operation within the Procussion. The red LED above the enterbutton flashes to indicate that the Procussion is waiting for your response.

Cursor Control - This button moves the cursor to the next parameteron the display. (The cursor is a little flashing line underneath one of theparameters in the display.) Press the cursor control repeatedly until thecursor is underneath the desired parameter. The cursor can also be movedbidirectionally using the data entry control while the cursor select buttonis being held down (i.e. Press and hold the cursor button and turn the dataentry knob).

Data Entry Control - The data entry control is a stepped, variable controlwhich is used to change parameter values. The control increments ordecrements the current value one unit with each click.

Volume Control - This is the master volume control for all audiooutputs. Note: For maximum dynamic range, set this control at full level.

MASTER EDIT DATA VOLUMEC01 Vol127 Pan=K031 Sluggo Drums

CURSORENTER

CURSORCONTROL

ENTERBUTTON

POWERSWITCH

MASTER MENUSELECT

EDIT MENUSELECT

DATA ENTRYCONTROL

VOLUMECONTROL

DISPLAY

MIDIACTIVITY

MAXIMUM PERCUSSION MODULE

I/O

BASIC OPERATION

18 Procussion operation manualChannel Selection

BASIC OPERATION

Channel Pan shouldnormally be set to “K”unless realtime controlof panning is desired.This will allow thepreprogrammed pansettings for each zoneor stack to be used.

KIT SELECTIONPress the cursor key repeatedly until the cursor is underneath the kitnumber. (The cursor is a little flashing line underneath one of theparameters in the display.) As the data entry control is rotated, the kitnumber and name will change. The displayed kit will be assigned to thedisplayed MIDI channel. Kit numbers range from 000 to 127.

C01 Vol127 Pan=K ÷ MIDI Channel Parameters000 Kit Name ÷ Kit Information

MIDI CHANNEL SELECTIONPress the cursor key repeatedly until the cursor is underneath the channelnumber. (The cursor is a little flashing line underneath one of theparameters in the display.) Rotate the data entry control to select MIDIchannel 01-16. As the channel is changed, the display will change to showthe kit, volume and pan associated with the displayed channel.

C01 Vol127 Pan+0000 Kit Name

CHANNEL VOLUMEPress the cursor key repeatedly until the cursor is underneath the volumevalue. Rotate the data entry control to select volume 00-127. (This is thesame parameter as MIDI volume control #7, and changes made overMIDI will be shown in the display.)

CHANNEL PANPress the cursor key repeatedly until the cursor is underneath the panvalue. Rotate the data entry control to select pan values -7 to +7 or “K”.When “K” is selected, the pan value specified in the kit is selected. Anyother value will override the pan parameter in the kit. (This is the sameparameter as MIDI pan control #10, and changes made over MIDI will beshown in the display.)

If your Procussion isnot responding properlyor plays the wrong kit,make sure thatProcussion and yourMIDI controller are setto the same MIDI chan-nel and that the MIDIVolume is turned up.

For more informationabout MIDI, see MIDIRealtime Controls onpage 44.

19Procussion operation manual Multi-Timbral Operation

Each of the 16 MIDI channels can be assigned to play a specific kit in Procussion.

MULTI-TIMBRAL OPERATIONMulti-timbral operation means that the Procussion can play more thanone kit at the same time. For example, a MIDI sequencer could be playingone kit while you play along on another. To access multiple kits ondifferent MIDI channels simultaneously, follow these instructions:

1. Set the MIDI mode to MULTI-Mode, using the MIDI mode function inthe Master menu (page 24).

2. Decide which MIDI channels you wish the Procussion to receive, andturn all other channels OFF using the MIDI Enable function in the Mastermenu (page 26). Up to 16 channels can be selected simultaneously!

3. Select the desired kit for each of the MIDI channels you wish theProcussion to receive using the MIDI Channel/Kit selection screen (seeprevious instructions).

4. Procussion will now respond multi-timbrally on the MIDI channelsyou have specified. The volume and pan position parameters can beadjusted over MIDI (for each MIDI channel) or using the Cursor and DataEntry control in the MIDI Channel/Kit selection screen.

Channel 01Volume

Pan

Channel 02Volume

Pan

Channel 03Volume

Pan

Channel 16Volume

Pan

KIT

KIT

KIT

KIT

BASIC OPERATION

Kit numbers for eachMIDI channel can alsobe selected via MIDIprogram changes.(This is so simple that itis often overlooked.)


The Master menu contains functions that affect the overall operation ofthe Procussion. For example, changing the Master Tune will change thetuning of all the drum kits, not just the one currently displayed.

TO ENABLE THE MASTER MENUPress the Master key, lighting the LED. The current screen will be the onemost recently selected since powering up the Procussion. The cursor willappear underneath the first character of the screen heading on line one.

TO SELECT A NEW SCREENPress the cursor key repeatedly (or hold the cursor key while turning thedata entry control) until the cursor is underneath the screen title heading.(You may also press the Enter button to return the cursor to “Home”position.) Rotate the data entry control to select another screen.

TO MODIFY A PARAMETERPress the cursor key repeatedly (or hold the cursor key while turning thedata entry control) until the cursor is underneath the parameter value.Rotate the data entry control to change the value.

TO RETURN TO KIT SELECT MODEPress the Master key, turning off the LED.

MASTER MENU FUNCTIONS

MASTER TUNEMaster Tune adjusts the overall tuning of all kits so that the Procussionmay be tuned to other instruments. The master tuning range is ± 1semitone in 1/64th semitone increments. A master tune setting of "00"would indicate that the Procussion is perfectly tuned to concert pitch(A=440 Hz).

MASTER TUNE+63

Master Menu

MASTER MENU

21Procussion operation manual

TRANSPOSEThis function transposes the key of the Procussion in half-step intervals.The transpose range is ± 12 semitones or one octave.

TRANSPOSE+12 semitones

SUBMIX OUTPUTSThe function provides a convenient method of assigning types of instru-ments a particular output. For example, you might want to direct the kickdrum to one of the submix output for external processing. Each zone maybe assigned to a particular submix group for each kit (As programmed inthe Edit menu). The Submix Output function assigns each of the 16Submixes to a particular output channel or turns the submix Off. TheSubmix Output function selects at which output jack each submix groupwill appear. The choices are: Main, Sub 1, Sub 1L, Sub 1R, Sub 2, Sub 2L,Sub 2R, or Layer. When Layer is selected, each layer in the stack will bedirected to a separate output jack. This function also allows you to changethe output assignment of the factory kits.

SUBMIX OUTPUTSKick ->Main

Transpose

SUBMIX LAYER

Layer 1---- > Sub 1LLayer 2---- > Sub 1RLayer 3---- > Sub 2LLayer 4---- > Sub 2R

MASTER MENU

If no plugs are insertedinto the sub outputs, theaudio will be automati-cally directed to the mainoutputs.

Each zone is assigned to a submix group in the Edit menu. Each submix group is assigned tothe output jacks in the Master menu. The Edit menu functions are programmed for each kit.

The Master menu functions affect ALL kits.

KickSnareHi-hatTom 1Tom 2Sub 6Sub 7

Sub 16

Zone

Main

Sub 1

Sub 2

L

R

L

R

L

R

12345678

24

Submix Outputs

EDIT MENU MASTER MENU

(Sub 16 Set to Submix Layer)

Laye

r 1

Layer 2

Layer 3

Layer 4


MIDI MODEThis function selects one of the four MIDI modes and the MIDI systemexclusive ID number.

Omni mode - Procussion responds to note information on all MIDIchannels and plays the kit currently displayed in the main screen.

Poly mode - Procussion only responds to note information received onthe currently selected MIDI channel (on the kit selection screen) and playsthat channel’s associated kit.

Multi mode - Procussion responds to data on any combination of MIDIchannels and plays the specific kit associated with each of the MIDIchannels.

ID number - This function allows an external programming unit todistinguish between multiple Procussion units. When an external pro-grammer is being used, each Procussion should have a different IDnumber. When transferring SysEx data from one Procussion to another,both units must have the same ID number.

MIDI MODE IDOmni 00

GLOBAL VELOCITY CURVEIncoming velocity data can be modified by a velocity curve in order toprovide different types of dynamics in response to your playing or tobetter adapt to a MIDI controller. This function allows you to select oneof the 9 velocity curves or leave the velocity data unaltered (Linear) foreach MIDI channel. When "Kit" is selected, the velocity curves selected inthe kits are used. For more information on the velocity curves, see page43.

GLOBAL VEL CURVEC01 Curve #4

MIDI Mode

MASTER MENU

23Procussion operation manual Global Pitch Bend

MASTER MENU

260

60

120

180

0

127

0

OutputAmount

Mor

e

TempoPlayed

TriggerTempo

When the tempo ofyour playing exceedsthe selected TriggerTempo, the amount ofthe control signalincreases from zero.

GLOBAL TRIGGER TEMPOTrigger Tempo is a function which generates a control signal based on thetempo of your playing. When your playing tempo exceeds the selectedTrigger Tempo, the amount of the control signal begins to increase fromzero. This control signal can be used either to switch between drums in astack or as a general controller which can affect virtually any parameter(set in the Edit menu). For example, Trigger Tempo could be routed tobrighten the Tone as you play faster. The Global Trigger Tempo can be setto any tempo from 20 BPM (Beats-Per-Minute) to 260 BPM or set to useincoming MIDI clocks as the reference. Alternately, the Trigger Tempo setin each kit may be used (turn data knob all the way counter-clockwise).

GLOBAL TR TEMPO101 BPM

ZONE MAPSThis function automatically sets up Procussion to respond to varioustypes of MIDI pad controllers without reprogramming the controller.Select the Zone Map for the type of controller you are using. There arepreset Zone Maps to match many popular controllers as well as two userdefinable maps. If you are using a MIDI keyboard, use the Kit ZoneMap. Zone Maps can be selected for each of the 16 MIDI channels.

ZONE MAPSC01 Drum Kat

POWER MASTER EDIT DATA VOLUMEC01 Vol127 Pan=K000 Kit Name

CURSORENTER

PROCUSSION

ON/OFF

E-mu Systems, Inc.M A X I M U MPERCUSSION MODULE

drumKAT

Note#43

Note#46

Note#48

Note#55

Note#50

Note#58

Note#60

Your MIDI Controller assigns each Pad a MIDI Number

Note #43 -----> Zone 3 = Snare Stack 1Note #46 -----> Zone 4 = Ambient Snare StackNote #48 -----> Zone 11 = Tiny Tom StackNote #50 -----> Zone 12 = Med. Tom StackNote #53 -----> Zone 13 = Big Tom StackNote #55 -----> Zone 14 = Huge Tom StackNote #58 -----> Zone 7 = Hi-Hat StackNote #60 -----> Zone 17 = Splash StackNote #62 -----> Zone 16 = Crash StackNote #65 -----> Zone 15 = Ride Stack

Zone Maps assignMIDI Numbers to Zones

MIDI

Note#62

Note#65

Note#53

This diagram shows how MIDI key numbers are “mapped” to Procussion Zones.

When using apreprogrammed ZoneMap, set your MIDIcontroller to thefollowing Kit numbers:

Alesis - defaultdrumKat - Kit 21E-mu SP-12 - defaultImpulse - defaultRoland Octa I - Kit ARoland Octa II - Kit 11Roland Pad80 - Kit 11Roland SPD8 - Kit 1Roland R5 - defaultRoland R8 - default

Make sure you aresetting the Zone Mapfor the correct MIDIchannel.


USER ZONE MAP 1 + 2This function allows you to program the two user definable Zone Maps.The User Zone Maps are useful to route MIDI note data from existingdrum machine patterns to the appropriate stacks in Procussion for drumreplacement. Each zone may be assigned a MIDI key range. The UserZone Maps are retained in memory when power is removed.

USER ZONE MAP 1Z01 036 -> 037

DRUM REPLACEMENT WITH THE USER ZONE MAPSThe two User Zone Maps can be used to replace tracks from your drummachine or MIDI sequencer with killer Procussion Stacks.


2) Turn the data knob until you find the screen:

ZONE MAPSC01 Kit

3) Press the cursor button twice so that the flashing cursor line isunderneath the word “Kit”. (There may be another word there, butplace it underneath the word in the second line, OK?)

4) Turn the data knob until the display reads:

ZONE MAPSC01 User 1

5) Press the Enter button and turn the data knob until the display reads:

USER ZONE MAP 1Z01 036->036

User Zone Maps 1 + 2


6) Press the cursor button to move the flashing cursor line to the secondline of the display under Z01. Turning the data knob will show you thekey numbers which are currently mapped to each zone.

7) Assign each of your drum machine buttons to a zone. Place the cursorunderneath the key number and press the button on you drum ma-chine to automatically assign the correct number. The chart at thebottom of this page shows which types of Procussion drum sounds willbe assigned to each zone. For example, if you want the first button onyour drum machine to function as a snare drum, and it is assigned tonote number 43, set up the display to look like this:

USER ZONE MAP 1Z03 043->043

8) Continue assigning zones until each button on your drum machine isassigned to a different zone, then press the Master button to exit themodule.

9) Start the drum machine and verify that the correct types of drums arebeing played. If the sounds are not assigned as you want them, go backinto the “User Zone Map” screen and re-assign them.

The chart below shows how the various types of drums are mapped to theUser Zone Maps in the Procussion factory presets.

PROCUSSION FACTORY ZONE ASSIGNMENTS

Zone 1 ........... Kick DrumZone 2 ........... Kick DrumZone 3 ........... Snare DrumZone 4 ........... Snare DrumZone 5 ........... Snare DrumZone 6 ........... Snare DrumZone 7 ........... Hi-HatZone 8 ........... Hi-HatZone 9 ........... Hi-HatZone 10 ......... Hi-HatZone 11 ......... TomZone 12 ......... Tom

Zone 13......... TomZone 14......... TomZone 15......... CymbalZone 16......... CymbalZone 17......... CymbalZone 18......... CymbalZone 19......... Misc. PercussionZone 20......... Misc. PercussionZone 21......... Misc. PercussionZone 22......... Misc. PercussionZone 23......... Misc. PercussionZone 24......... Misc. Percussion

All Procussion kitswill not fit into the fac-tory zone assignmentscheme so this chartshould be used as abasic guide ratherthan an absolute rule.

Zones 3-6 arereserved for SnareDrums (see below).

User Zone Maps

26 Procussion operation manualUser Zone Maps

ENVELOPE MODEThis function allows you to select either a Trigger or Gate mode for eachof the 16 MIDI channels when MIDI note on messages are received. Formore information on the Envelope Generators, see page 36.

Trigger mode allows a sound's volume envelope to cycle through allits stages when a note on is received. Trigger mode is almost always usedwith MIDI drum pads and even when using a MIDI keyboard.

Gate mode allows a sound's volume envelope to cycle through its Attackand Hold stages when a MIDI note on command is received. When theMIDI note off command is received, the Decay phase begins immediately.Gate mode is used when you want the length of the sound to be controlledby how long a key is held.

ENVELOPE MODEC01 Trigger

MIDI ENABLEWhen in MIDI Multi mode, this function lets you turn each MIDI channelOn or Off. This is useful when you have other MIDI devices connectedand do not want the Procussion to respond to the MIDI channels reservedfor the other devices. MIDI Enable only operates when in Multi Mode.

MIDI ENABLEC01 On

PROGRAM CHANGEThis function lets the Procussion utilize or ignore incoming MIDI pro-gram (also called Preset or Kit) change commands for each channel.

PROGRAM CHANGEC01 On

MASTER MENU


MIDI MODE CHANGEThis function selects whether or not MIDI mode change commands(omni, poly, etc.) are accepted or ignored when received over MIDI (seeMIDI Mode).

MIDI MODE CHANGEDisabled

MIDI CONTROLLER ASSIGNThe Procussion allows you to assign up to six realtime control sourcesfrom your MIDI controller. These control sources could be foot pedals,data sliders or whatever. In this screen, you set up which controllers willbe received by Procussion. What effect the controller will have is pro-grammed separately for each Kit. Volume and Pan each have their owncontroller. Four other MIDI controllers are assigned a letter A-D. Each ofthe controllers can be assigned to a MIDI realtime controller number from01-31. The MIDI controller number will be automatically sensed bysimply moving the controller (pedal, wheel, etc.) when the cursor isunderneath the value. This way you don't have to remember the control-ler numbers. For more information, see MIDI Realtime Controls in theProgramming Basics section.

CONTROLLER#VOL:07 PAN:10

Next Screen:

CONTROLLER# ABCD01 02 03 04

MIDI Program Change

MASTER MENU

Some of the standardMIDI Controller num-bers are listed below.

1 - Modulation Wheel orLever

2 - Breath Controller3 - Pressure: Rev 1 DX74 - Foot Pedal5 - Portamento Time6 - Data Entry7 - Volume8 - Balance9 - Undefined

10 - Pan


MIDI FOOTSWITCH ASSIGNLike the MIDI Controllers, 4 MIDI footswitches can be assigned to MIDIfootswitch numbers. Footswitches may be assigned numbers from 64-79.The MIDI footswitch number can be automatically sensed by simplypressing the footswitch when the cursor is underneath the value. Desti-nations for the footswitch controllers are programmed in the Edit menu.

FOOTSWITCH# 123464 65 66 67

MIDI PROGRAM KITIncoming MIDI program changes can be “mapped” to call a differentnumbered kit. This is a handy feature when you want a specific programnumber sent from your controller to be linked with a specific kit on theProcussion. Simply selecting a program on your MIDI controller willautomatically call up the proper Procussion kit. Any of the kits in theProcussion may be mapped to any incoming MIDI program changenumber.

MIDI PROG > KIT 026 > 012

MIDI Footswitch Assign

MASTER MENU

This chart shows how MIDI program changes can be re-mapped. In this example, programchanges 10-29 have been re-mapped. All other programs will be selected normally.

SelectedProgram

MappedProgram

0 1 2 3 4 5 6 7 8 9

0

1

2

3

4

5

6

7

8

9

10

11

12

00 01 02 03 04 05 06 07 08 09

30 31 32 33 34 35 36 37 38 39

40 41 42 43 44 45 46 47 48 49

50 51 52 53 54 55 56 57 58 59

60 61 62 63 64 65 66 67 68 69

70 71 72 73 74 75 76 77 78 79

80 81 82 83 84 85 86 87 88 89

90 91 92 93 94 95 96 97 98 99

100 101 102 103 104 105 106 107 108 109

110 111 112 113 114 115 116 117 118 119

120 121 122 123 124 125 126 127

44 191 50 01 15 88 151 78 99 88

34 73 106 55 43 75 120 121 10812

-- Selecting Kit 26 calls up Kit 12

Some of the standardMIDI switch numbersare listed below.

64 - Sustain Switch(on/off)

65 - Portamento Switch(on/off)

66 - Sostenuto (chordhold, on/off)

67 - Soft Pedal (on/off)69 - Hold Pedal 2 (on/off)

Note that Procussiondoes not have footswitchinputs on the rear panel.Use the footswitch inputson your MIDI controllerand set Procussion toreceive the footswitchcommands over MIDI.


AUTO SELECTWhen editing a zone or stack parameter, the current zone or stack can be"auto-selected" by simply playing it. While this is a very handy feature, itcan sometimes be confusing. Therefore, Auto-Select can be turned On orOff.

AUTO-SELECTOn

REMOTE EDITThe Remote Edit function allows access to the front panel controls usingMIDI note-on events. When Remote Edit is turned On, MIDI key numbers0-5 activate the following functions.

MIDI NOTE # FUNCTION

0 Play Current Zone1 Toggle MASTER menu2 Toggle EDIT menu3 Cursor4 Increment Value5 Decrement Value

Remote Edit is designed to be used with MIDI drum pads. Create a preseton your MIDI drum pads which assigns the pads to MIDI key numbers0-5. Now you can program Procussion without putting down your sticks.

Example - To change the stack assigned to a zone using Remote Edit:

a) Hit pad 2 (Edit) to enter the edit menu.b) Hit pad 4 twice (Increment) to move to the stack select screen.c) Hit pad 3 twice (Cursor) to move the cursor down to the lower line.d) Hit pad 4 (Increment) to increment the stack number.e) Hit pad 0 (Play Current Zone) to hear the new stack.f) Alternate between steps "d" and "e" until you have the desired stack.

REMOTE EDITOff

Auto-Select

MASTER MENU

30 Procussion operation manualSend MIDI Data

To Record MIDIData into aSequencer:

1. Setup yoursequencer toreceive systemexclusive data.

2. Place sequencerinto record mode,then Send Data.

To Receive MIDIData from aSequencer:

1. Simply play backthe sequence intoProcussion.

When transferringSysEx data from oneProcussion toanother, the IDnumbers of bothunits must match.

SEND MIDI DATAThis function will send MIDI System Exclusive data to the MIDI Out portof Procussion. The MIDI data can either be sent to a computer/sequenceror to another Procussion. Using the cursor key and the data entry control,select the type of MIDI data you wish to transmit. The choices are:

Master Settings: Transmits all parameters in the Master menu exceptprogram/kit map and viewing angle. This includes the Kit, Volume, andPan information for all 16 MIDI channels.

Program/ Kit Map: Transmits only the program/kit map.

User Zone Maps: Transmits user zone maps 1 and 2.

Factory Kits: Transmits all the factory kits.

User Kits: Transmits all the user kits.

Any Individual Kit: Transmits only the selected kit.

The Enter LED will be flashing. Press the Enter button to confirm theoperation. To receive MIDI data, simply send the MIDI data intoProcussion from another Procussion or your sequencer.

SEND MIDI DATA024 Industry

VIEWING ANGLEThis function allows you to change the viewing angle of the display sothat it may be easily read from either above or below. The angle isadjustable from +7 to -8. Positive values will make the display easier toread when viewed from above. Negative values make the display easierto read from below.

VIEWING ANGLE+7


DEMO SEQUENCEProcussion contains a play-only sequencer in order to give you some ideaof what is possible using this amazing machine. Press the cursor switchto move the cursor to the bottom line of the display. The Enter LED willbegin flashing. Press the Enter switch to start the sequence. The Enter LEDwill be lit and the bottom line of the display will change to "Stop". Pressingthe Enter button again will stop the sequence.

DEMO SEQUENCEStart Sequence

Demo Sequence


Procussion utilizes digital recordings of real percussion instruments forthe basis of its sound. This is similar to a tape recorder except that in theProcussion, the sounds are permanently recorded on digital memorychips.

To perform this modern miracle, sounds and instrument waveforms arefirst sampled into the Emulator III, our top of the line, 16 bit stereo digitalsampler. After the sounds and waveforms have been truncated, loopedand processed, they are “masked” into the Procussion ROM (Read OnlyMemory) chips.

Conceptually, the sampling process is very simple, as shown in the BasicSampling System diagram. As a sound wave strikes the diaphragm of amicrophone, a corresponding voltage is generated. To sample the sound,the voltage level is repeatedly measured at a very high rate and thevoltage measurements are stored in memory. To play the sound back, thenumbers are read back out of memory, converted back into voltages, thenamplified and fed to a speaker which converts the voltage back into soundwaves. Of course, playing back 32 channels at different pitches tends tocomplicate matters, but this is basically how it works. In Procussion, wehave left out the Analog/Digital converter stage since the sounds arealready sampled for you.

about PROCUSSION

Memory

10100101001010100101001010101010010101001010

Digital/AnalogConverter

1011001

Amplifier

Basic Sampling System

Analog/DigitalConverter

10110011011001

-1V -2V3V-1V-2V3V1V

0V

3V

-3V

About Procussion


PROGRAMMING BASICS

Programming Basics

PROGRAMMING BASICS


PROGRAMMING BASICS


PROGRAMMING BASICS

General Information

Your initial involvement with the Procussion will most likely consist ofusing the existing kits and selecting MIDI channels. While the factory kitsare very good, there are probably some things you would like to change,perhaps the tuning, or the tone of a stack. You may also want to make yourown custom kits using complex modulation routings. Entirely newsounds can be created by combining the attack portion of one sound withthe body of another sound or by combining the digital waveforms withsampled sounds. There are 64 user locations (64-127) available to storeyour own creations or edited factory kits. Best of all, it’s easy to edit orcreate new kits using the edit menu.

Creating your own custom kit is easy. First, you select the key range fora zone. Then you can simply select the desired stack from the palette ofpre-programmed factory stacks. Repeat these two steps until you have alarge enough drum kit. You may assign up to 24 stacks to a kit and a zonemay contain up to 4 instruments. MIDI drum pads may be programmedto trigger successive note numbers within a given zone for easy tunedpercussion.

PROGRAMMING BASICS

DrumStack



Up to 24 Zones

Zone1

Zone2

Zone24

MIDI Drums

36 48 60 72 84 96MIDINote # -

DrumStack



DrumStack




PROCUSSION KIT

Zone 2

Zone 24Zone 1


PROGRAMMING BASICS

Modulation

Procussion has an extensive modulation implementation using multi-wave LFO’s (Low Frequency Oscillators), envelope generators and theability to respond to multiple MIDI controllers. You can simultaneouslyroute any combination of these control sources to multiple destinations.

MODULATIONModulation means to dynamically change a parameter, whether it be thevolume (amplitude modulation), the pitch (frequency modulation), orwhatever. Turning the volume control on your home stereo rapidly backand forth would be an example of amplitude modulation. To modulatesomething we need a modulation source and a modulation destination.The source is your hand turning the knob, and the destination is thevolume control. If we had a device that would automatically turn thevolume control, we would also call that device a modulation source. TheProcussion is designed so that for each of the variable parameters, suchas the volume, there is an initial setting which can be changed by amodulation source. Therefore in the case of volume, we have an initialvolume and we can change or modulate that volume with a modulationsource. Two main types of modulation sources on the Procussion areEnvelope Generators and Low Frequency Oscillators. In the example above,an envelope generator could be routed to automatically turn the volumecontrol as programmed by the envelope. Or, a low frequency oscillatorcould be routed to automatically turn the volume control up and downin a repeating fashion.

Turning the volume control back and forth on your home stereo is an example of Amplitude Modulation.


PROGRAMMING BASICS

Modulation Sources

MODULATION SOURCESProcussion has several different types of modulation sources, including:

MODULATION SOURCES

Velocity - How hard the key or pad is played.

Key Number - Generates a value at the start of the note. Outputs a valueof zero at the center of the zone's range and increases in the positive (+)direction as keys are played up the scale and in the negative (-) directionas keys are played down the scale.

Trigger Tempo - A value which increases as the playing tempo increasesbeyond a programmed threshold.

Random - Generates a random value at the start of the note.

MIDI Controllers A/B/C/D (4) - Any type of MIDI controller data.

Keyboard Pressure (mono aftertouch) - Key pressure applied after thekey is initially pressed.

Pitch Wheel - A synthesizer pitch bend wheel.

Low Frequency Oscillator - Generates repeating waves.

Envelope Generator - Generates a programmable “contour” whichchanges over time when a note is played.

FOOTSWITCH MODULATION SOURCESChanges a parameter when one of the three MIDI footswitches arepressed. The footswitches can be programmed to switch: Sustain (Layers1, 2, 3, 4 or All), Alternate Volume Envelope (Layers 1, 2, 3, 4 or All),Alternate Volume Release (Layers 1, 2, 3, 4 or All), or Reverse the Sound(Layers 1, 2, 3, 4 or All).

Note that the Procussion does not have actual footswitch input jacks.Your MIDI controller (keyboard, MIDI drum pads, etc.) should havefootswitch input jacks and be able to send MIDI footswitch commands.


PROGRAMMING BASICS

Envelope Generators

ENVELOPE GENERATORSAn envelope can be described as a “contour” which can be used to shapethe sound in some way over time. Each channel of the Procussion containstwo envelope generators. One of the envelope generators, the AlternateVolume Envelope, controls the volume of each instrument and has 3stages, Attack, Hold and Decay. The other envelope, the Pitch Envelope,is permanently routed to control the pitch of an instrument and has onlyone stage, Decay.

There are two envelope modes on Proformance: Trigger Mode (mostoften used with drum pads) and Gate Mode (most often used with akeyboard). In Trigger mode, the envelope always completes the Attack-Hold-Decay stages, regardless of how long the key was held down. InGate Mode, the envelope follows the Attack and Hold phases only as longas a key is pressed and held. At any time the key is released, the Decayphase begins. The Envelope parameters can be described as follows:

Attack - The time it takes to go from zero to the peak (full) level.

Hold - The time the envelope will stay at the peak level before startingthe decay phase. If a footswitch is being used to control Sustain, theenvelope will remain in this stage as long as the footswitch is pressed.

Decay - The time it takes the envelope to fall to the zero level after thekey is released or the hold time has elapsed (in trigger mode).

Percussion

Organ

String

These aregeneralizedvolume envelopesof a few types ofsounds.

level

keydown

keyreleased

timeAttack Hold Decay

Each Instrument hasits own factory presetAHD envelope which isnormally employed. If aprogrammable volumeenvelope is desired, thealternate envelope isused.


PROGRAMMING BASICS

LFO

LOW FREQUENCY OSCILLATORS (LFOs)A Low Frequency Oscillator is simply a wave which repeats at a slow rate.Procussion has two multi-wave LFOs for each percussion stack. The LFOwaveforms are: Triangle, Sine, Sawtooth and Square.

By examining the diagram of the LFO waveforms, you can see how theLFO will affect a modulation destination. Suppose we are modulating thepitch of an instrument. The sine wave looks smooth, and will smoothlychange the pitch. The square wave changes abruptly, and will abruptlychange the pitch from one pitch to another. The sawtooth wave smoothlyincreases, then abruptly changes back down. The sound’s pitch willfollow the same course. Controlling the pitch of an instrument is an easyway to hear the effects of the LFO waves.

When the amount of an LFO is a negative value, the LFO shape will beinverted. For example, inverting the sawtooth wave produces a wave thatsmoothly decreases, then instantly resets up.

Triangle

Sine

Sawtooth

Square

Inverted Sawtooth

Negative Amount

+-

Sawtooth


PROGRAMMING BASICS

Modulation Patch

MODULATION PATCHESConnecting a modulation source to a destination is called a patch.Procussion lets you connect the modulation sources in almost any pos-sible way to the modulation destinations. Each patch also has an amountparameter which determines “how much” modulation is applied to thedestination. The modulation amount can be positive or negative and willeither add or subtract from the initial value. Modulation sources can besimultaneously patched to any 4 of the 57 destinations for each stack.

VolumeModulation

InitialVolume

Volume Cannot ExceedInitial Volume Level

Volume

AccentModulation

InitialVolume

Accent toInitial Volume Level

ADDs

Volume

Sources

VelocityTrig. Tempo

RandomMIDI A/B/C/D

PressurePitch Wheel

ModulationSource

Amount +/-

VelocityLFORate

+-Destination

Destinations

PitchVolume

LFO Amt.LFO Rate

Attacketc.

In the example above, Velocity (or how hard a key or pad is played) is "Patched" to control theLFO rate. Since the modulation amount is negative, the harder the note is played, the slower

the LFO rate. If the modulation amount was set to a positive value, the LFO rate wouldincrease, the harder the key was played.

ACCENT AND VOLUMEAccent and Volume both control loudness, but behave in a slightlydifferent way when they are modulated. Volume can be modulatedbetween zero and the maximum initial programmed level. When Accentis modulated, it adds to the initial level.

Procussion operation manual

PROGRAMMING BASICS

41Instrument Layer Block Diagram

KEY NUMBERKey Number is a value generated at the start of the note which variesaccording to which key is played. The center of the zone acts as a zeroreference (no effect at the center) and increases in the positive andnegative direction as shown above. The end keys of the zone are alwaysthe maximum values (-127, +128), but these can be scaled in the patch.

INSTRUMENT LAYER BLOCK DIAGRAMThe diagram above shows the basic architecture of a single instrumentlayer. The large, horizontal lines and arrows show the audio signal path.The small vertical arrows indicate parameters which can be modulated.

The Instrument is one of the 221 sampled percussion sounds stored inROM. The instrument can be reversed or delayed and the pitch, tone andsample start point can be modulated as shown by the small arrows.

Following the signal path, the sound passes through a DCA (DigitallyControlled Amplifier) which controls the volume of the instrument. Inaddition to Volume and Accent modulation, a Volume Envelope Gen-erator can control the DCA in order to shape the volume of the instrumentover the course of the note.

Lastly, the sound reaches the Panning Network, which positions theinstrument in the stereo field.

R

L

Hld

VolumeEnvelope

Atk Dcy

Level

DCA

Accent

INSTRUMENT LAYER

InstrumentDelayReverse

TonePitchSample

Start

Modulation Destinations

Pan

CENTER of ZONE

+--127 +1280


PROGRAMMING BASICS

42 Stack Block Diagram

KEYNUMBER

TRIGGERRATE

RANDOMMIDI

CONTROL A/B/C/D

PRESSURE PITCHWHEEL

LFO

Rate Amt

STACK

Modulation Sources

INSTRUMENT LAYER 1

INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

R

L

Hld

VolumeEnvelope

Atk Dcy

Level

DCA

Accent

INSTRUMENT LAYER 4Instrument

DelayReverse

TonePitchSample

Start

Wet Snare 2

VELOCITY

Pan

STACK BLOCK DIAGRAMThe diagram above shows the organization of a Procussion Stack. Youcan think of a stack as a single sound, although it can be made up of upto four different instruments. "Stacking" instruments, in combinationwith the various modulation parameters can create almost unlimitedvariations in the final sound.

At the stack level, a modulation source can control up to four destinationsor one destination can be controlled by up to four sources. The modula-tion sources can be applied to an individual instrument layer or all fourlayers simultaneously. The possible modulation routings are completelyflexible as shown in the example above.

Three of the modulation destinations, Tone, Sample Start, and Pan cannotbe dynamically varied during the course of the note. Their value is"locked in" at the start of the sound. All the other destinations markedwith black arrows can be dynamically varied over time.

Modulation Sources:VelocityKey NumberTrigger Tempo (Rate)RandomMIDI Control A/B/C/DPressurePitch WheelLFO

Destinations:Pitch, Pitch 1/2/3/4Volume, Volume 1/2/3/4Accent, Accent 1/2/3/4Attack, Attack 1/2/3/4Hold, Hold 1/2/3/4Decay, Decay 1/2/3/4Pitch Env. AmountPitch Env. Amt 1/2/3/4Pitch Env. DecayPitch Env. Dcy 1/2/3/4Pan, Pan 1/2/3/4Tone, Tone 1/2/3/4Sample StartSample Start 1/2/3/4LFO Rate, LFO Amount

Drum Kits may beassembled using thefactory stacks or bycreating your own cus-tom stacks. There are 8custom stacks for eachkit in Procussion.


PROGRAMMING BASICS

43Velocity Curves

VELOCITY CURVESIncoming velocity values can be scaled by one of the 10 velocity curves inorder to match your playing style or better adapt to the MIDI controller.Selecting "Linear" leaves the velocity data unaltered and "Constant"always outputs the maximum value of 127. The velocity curve can beselected globally (for all kits) for each MIDI channel (Master menu), or beprogrammed separately for each individual kit. Experiment with thecurves to find the one that works best for your style and MIDI controller.

Ou

tpu

t

127

00 127Input

CURVE 2

Ou

tpu

t

127

00 127Input

CURVE 1

Ou

tpu

t

127

00 127Input

CURVE 3

Ou

tpu

t

127

00 127Input

CURVE 4

Ou

tpu

t

127

00 127Input

CURVE 5

Ou

tpu

t

127

00 127Input

CURVE 6

Ou

tpu

t

127

00 127Input

CURVE 7

Ou

tpu

t

127

00 127Input

CURVE 8

Outputs MediumValues. CompressedDynamics.

Expands VelocityRange. Soft -> Loud.

Outputs High ValuesOnly.Limits Dynamics.

Shifts VelocityValues Upward.Good DynamicRange.

Outputs MaximumValue Only.No Dynamics.

Compresses VelocityRange. For HardHitters.

Expands VelocityRange. Soft -> Loud.

Outputs High Values.Linear Dynamics.

Outputs High ValuesOnly.Limits Dynamics.

Leaves IncomingVelocity ValuesUnaltered. O

utp

ut

127

00 127Input

CONSTANT

Ou

tpu

t

127

00 127Input

LINEAR


PROGRAMMING BASICS

44 MIDI Realtime Controllers

Common realtime controllers such as the pitch wheel, volume, pan andpressure are pre-programmed to their proper destinations. Your key-board may have other realtime controls such as a control pedal or dataslider which can also be programmed to control most of the parameterson Procussion.

The Procussion is equipped with a sophisticated MidiPatch™ system,which allows you to route any continuous controller to any realtimemodulation destination. The MidiPatch system is also very easy to use.First, you must know which controller numbers your keyboard or padsetup can transmit.

MIDI REALTIME CONTROLSThe MIDI realtime controllers may seem confusing at first, but they arereally very simple to understand. You probably already know that thereare 16 MIDI channels that can be used. Each of the 16 MIDI channels uses3 basic types of messages; note on/off, program changes, and continuouscontroller messages. Your MIDI keyboard or MIDI drum pads, in additionto telling Procussion which note was played, may also send realtimecontrol information, which simply means occurring in real time or live.(You may be using a MIDI device other than a keyboard, but forsimplicity's sake we'll presume that you're using a keyboard.) Realtimecontrol sources include such things as pitch wheels or levers, modulationwheels or levers, control pedals, aftertouch, etc. and are used to add moreexpression or control. Your MIDI keyboard sends out realtime controllerinformation on separate channels called continuous controller channels.There is a set of 32 continuous controller channels for each of the 16 MIDIchannels. Some of the controller channels, such as pitch wheel, volume,and pan have been standardized. For example, volume is usually sent oncontinuous controller channel #7.

NoteOn/Off

ContinuousControllers

MIDIChannel 1

ProgramChange

NoteOn/Off


MIDIChannel 2

ProgramChange

NoteOn/Off


MIDIChannel 16

ProgramChange

NoteOn/Off


MIDIChannel 3

ProgramChange


PROGRAMMING BASICS

45

Let's say for instance, that you are using a Yamaha DX7 as your masterkeyboard. The DX has pitch and modulation wheels, a breath controller,a data slider and a foot pedal, all of which transmit their values over MIDI.The standard MIDI controller numbers for the controls are listed below(the pitch wheel has a dedicated controller, PWH). First, we would go tothe Master menu, MIDI Controller Assign and define the 4 MIDI control-lers that we wish to use. Assign each controller number to one of the lettersA-B-C-D.

01 - Modulation Wheel A02 - Breath Controller B04 - Foot Pedal C06 - Data Entry D

To complete the connections for a particular kit, go to the Edit menu,Realtime Control, and route the MIDI A, B, C, D to the desired destina-tions. These could be patched to any 4 destinations or even to the samedestination. The MIDI Controller Amount menu, (in the Edit menu)allows you to scale the amounts of each of the controllers by a positive ornegative value. The signal flow is shown in the diagram below.

The MIDI controllers A-B-C-D must have both a source (0-31), and a control destination assigned.

MIDI Realtime Controllers

Standard MIDI Controller Numbers: 1- Modulation Wheel 2- Breath Controller 3- Pressure Rev 1 DX7 4- Foot Pedal 5- Portamento Time 6- Data Entry 7- Volume 8- Balance 9- Undefined10- Pan

0123

31

MIDI

ControllerC

Control Destinations

PitchPitch (layer 1-4)VolumeVolume (layer 1-4)AccentAccent (layer 1-4)AttackAttack (layer 1-4)HoldHold (layer 1-4)DecayDecay (layer 1-4)Pitch Envelope AmountPitch Env. Amount (layer 1-4)Pitch Envelope DecayPitch Env. Decay (layer 1-4)PanPan (layer 1-4)ToneTone (layer 1-4)Sound StartSound Start (layer 1-4)LFO AmountLFO Rate

+-

MasterMenu

EditMenu

A

B

C

D

0123

31

MIDI

ControllerA

0123

31

MIDI

ControllerB

0123

31

MIDI

ControllerD

MIDI

Amount

+-

+-

+-


PROGRAMMING BASICS

46 Stereo Mix Outputs

STEREO MIX OUTPUTSProcussion has three sets of polyphonic stereo outputs (Main, Sub 1,Sub 2). Each zone in a particular kit may be directed to appear at any ofthese three stereo outputs. This feature is useful for signal processing (EQ,reverb, etc.) of individual sounds prior to final mixdown.

Each zone in a kit can be assigned to one of the submix groups. In general,all the kick drums will be assigned to "Kick", snare drums to "Snare", andso on.

Suppose you wanted to add heavy reverb just to the snare drum. Simplygo into the Master menu, Submix Outputs and assign Snare to a particularoutput. The snare drum will now be directed to that output for process-ing, regardless of what kit you are using.

Note: All kits will be automatically routed to the Main outputs unlessplugs are inserted into the Sub 1 or Sub 2 outputs.

KickSnareHi-hatTom 1Tom 2Sub 6Sub 7

Sub 16

Zone

Main

Aux 1

Aux 2

L

R

L

R

L

R

12345678

24

Submix Outputs


The Edit menu zone assignments are made for each particular kit, while the Master menuoutput assignments apply to all kits.


EDIT MENUEDIT MENU


EDIT MENU


EDIT MENU

The edit menu contains functions that can be modified by the user andthen saved as kit information in one of the user kits. For example, thetuning or other parameter can be edited, then the kit can be saved to a userlocation (64-127).

While the Edit menu is activated, incoming MIDI kit changes are ignored. Thisis a quick and easy way to temporarily turn MIDI Program Change OFF.

WARNING!Changes made in the Edit menu will be forever lost unless the kit is"saved" using the Save Kit function (page 69) before changing the kit.

TO ENABLE THE EDIT MENUPress the Edit button, lighting the LED. The current screen will be the onemost recently selected since powering up the machine. The cursor willappear underneath the first character of the screen heading on line one.

TO SELECT A NEW SCREENPress the cursor key repeatedly (or hold the cursor key while turning thedata entry control) until the cursor is underneath the parameter value.(You may also press the Enter button to return the cursor to “Home”position.) Rotate the data entry control to select the screen.

TO MODIFY A PARAMETERPress the cursor key repeatedly (or hold the cursor key while turning thedata entry control) until the cursor is underneath the parameter value.Rotate the data entry control to change the value.

Note: In many cases, such as selecting Key Ranges, and Zones, the valuemay be changed from your MIDI controller by simply playing the properkey or drum pad. For example, to select a particular Zone, you wouldsimply play the key or drum pad to which the Zone is assigned.

TO RETURN TO KIT SELECT MODEPress the Edit button, turning off the LED.

Edit Menu Operation

EDIT MENU


EDIT MENU

The Procussion is organized as shown in the diagram above.

A Procussion kit can be organized into four levels:1) Kit - Parameters which affect the entire kit.2) Zone - Parameters affecting the key assignment range.3) Stack - A composite percussion sound.4) Instrument - An individual instrument.

The Edit menu encompasses all levels of the kit. The display reveals information aboutwhich level you are currently editing.

KEY RANGE Z01 Zone Level Zone 01032 > 035

STACK VOL S1L1 Stack Level Stack 1, Instrument Layer 1110

PROCUSSION BLOCK DIAGRAM

Procussion Block Diagram

KIT

StackNameMod 3-6 Src/Dest/AmtFtsw. 3, 4 DestSw Pts 1-3Sw Mode/Grp/Src

InstrumentInstrument #Coarse/Fine TuneVolumePanDelayReverseAlt Env On/A/H/DPitch Env. Amt/Dcy

12

34

Zone Zone Zone

Hi/Lo KeyStack #Coarse/Fine TuneVolumePanOutputAssign ModeNon-TransMod 1,2/Ft 1,2 Ena

Zone

Layer

Kit Name; Vel Curve; Trig. Tempo; Mod. 1 Src/Dest/Amt; Mod. 2 Src/Dest/Amt; Ftsw. 1/2 Dest



12

34



12

34

Up to24 Zones

Up to 24 Stacksper Kit

8 Custom Stacksper Kit


EDIT MENU

C C# D D# E F F# G G# A A# B Pitch

OctaveNo.

-1

0

1

2

3

4

5

6

"! # $ % &blank

' ( ) * + , - . / 0 1 2

3 4 5 6 7 8 9 : ; < >=

? @ A B C D E F G H I J

K L M N O P Q R S T U V

W X Y Z [ ¥ ] ^ _ ` a b

c d e f g h i j k l m n

o p q r s t u v w x y z

|

-2

EDIT KIT FUNCTIONS

KIT NAMEKit Name allows you to name each of the user kits with a name of up to12 characters. Position the cursor under the character location and use thedata entry control to change the character. The keyboard can also be usedto select characters. The charts below show the keyboard characterassignment.

KIT NAME000 Untitled

Kit Name

46

9;

=@

B

EG

IL

N

QS

UX

Z

]_

ad

f

ik

mp

r

uw

y|->

-/

1(

*

!#

%

02

3

57

8

:<

>

?A

C

DF

H

JK

M

OP

R

TV

W

Y[

¥

^`

b

ce

g

hj

l

no

q

st

v

xz

<-

+,

.

&'

)

blank

"$

C3C2 C4 C5 C6C1C0C-1


EDIT MENU

STACK SELECTThis function allows you to select which of the available instrumentsounds (or none) will be placed in each zone of the current user kit.

STACK SELECT Z01S002 Robert

KEY RANGEThis function allows you to assign each of the 24 zones to a range of MIDIkeys. Zones may overlap, but only 2 zones may be assigned to the samekey. If more than two zones are assigned, only the lowest numbered twozones will play. The original pitch of the stack will always be assigned tothe exact center of the key range. If there are an even number of keys inthe range, then the original pitch will be placed on the lower of the twocenter keys.

KEY RANGE Z01036 -> 039

Stack Select

Zones can be easilyselected by playingthe MIDI note numberassigned to that zone.

The Key Range canbe selected by simplyplaying the MIDI notenumbers when thecursor is under thekey numbers on thedisplay.

Most factory stackshave been tuned to C.

If the Key Rangefunction does notseem to be workingproperly, make surethe Zone Map functionin the Master menu isset to Kit. You may bere-mapping the keyassignments.

ZONE TUNINGThis function allows you to change the overall tuning of the selected zone.Coarse tuning is in semitone intervals with a range of ±48 semitones. Finetuning is in 1/64 semitone intervals (approx. 1.56 cents) with a range of± 1 semitone.

TUNING Z01CRSE+00 FINE+00

Zone #1 has an Odd number of keys in its range (25), so the original pitch of the stack falls exactlyon the center of the zone. Zone #2 has an Even number of keys in its range (34) and the centerof the zone is a key boundary, therefore the original pitch falls on the next lower key.

ZONE #1

CENTER of ZONE= Original Pitch

ZONE #2

CENTER of ZONE


EDIT MENU

Zone Pan

Assign a non-trans-posed sound and playseveral keys at oncefor phasing/flangingeffects.

ZONE VOLUME AND PANVolume sets the overall amplitude of the selected zone. This function alsoallows you compensate for the relative volume differences betweenstacks.

VOLUME PAN Z01127 =Stack

Zone Pan allows you to set the initial pan position for each zone in the kit.A value of -7 pans the zone hard left and a value of +7 pans the zone hardright. This pan setting overrides the pan settings made at the stack levelunless the screen is set to Pan = Stack. The pan setting made here is onlyvalid if “K”, for kit pan, is selected in the main display.

VOLUME PAN Z01127 -7

The Pan Setting on the Main Screen Overrides Zone Pan!

C01 VOL127 PAN=K Pan in Main Screen071 Conga must be set to KIT

for Zone pan to haveany effect.

NONTRANSPOSENontranspose mode allows a stack to play throughout its assignedkeyboard range, but at its original pitch only - there will be no transposi-tion. Nontranspose mode can be turned On or Off for each zone.

When the Procussion is used with a MIDI keyboard you might want toplay several keys at once for a thicker sound. Turning Nontransposemode On would let all the notes play at the same pitch.

NONTRANSPOSE Z01Off


EDIT MENU

ASSIGNMENT MODEThere are a total of 32 output channels on the Procussion. The assignmentmode affects note polyphony and interaction. Using assignment mode,each zone can be programmed to be polyphonic, with a certain numberof available channels, or can be made monophonic with special assign-ments.

ASSIGNMENT Z01Poly (32)

The various assignment modes are described below.

POLY (32) Notes are played polyphonically, with dynamicchannel assignment, using all 32 channels.

POLY (8) Notes are played polyphonically, with dynamicchannel assignment, but using no more than8 channels at a time.

POLY (4) Notes are played polyphonically, with dynamicchannel assignment, but using no more than4 channels at a time.

MONO Any layer in the zone interrupts itself or any otherlayer, but does not affect other zones.

LAYER MONO 1 Any layer in the stack interrupts itself, but does notaffect other layers or other zones.

LAYER MONO 2 Any layer in the zone interrupts any other layer,but does not affect its own layer or other zones.

EXCLUSIVE 1-8 The zone's stack is assigned to one of the 8 exclu-sive “channels”. Notes in any zone in the kit willinterrupt each other if they are assigned to thesame exclusive channel.

For example, playing a fast roll on a ride cymbal in Poly (32) mode willassign a new channel on each strike which might tend to “muddy” thesound or use up too many output channels. One solution might be to usePoly (4) mode, which only allows the cymbal to use 4 channels.

You also might want the closed High Hat to cut off the open High Hat. Inthis case, you would assign the High Hats a Mono assignment.

Assignment Mode

If you don't want touse the assignmentmodes, set the zoneto Poly (32).

Layer Mono 1 + 2assignment modesare designed to beused in combinationwith Switch Mode.


EDIT MENU

Zone Submix

If you had a cymbal crash on one drum pad and a choked cymbal onanother, you might assign both zones to Exclusive 1 (or any of the otherexclusive channels) so that hitting the choke pad would cut off the crash.

ZONE SUBMIXThis function allows you to assign each zone to one of the 16 submixbusses. The submix busses are routed to an output jack in the Mastermenu. For more information on Submixes, see pages 23 and 46.

SUBMIX Z01Kick

KickSnareHi-hatTom 1Tom 2Tom 3Tom 4

Effects 3

Zone

Main

Sub 1

Sub 2

L

R

L

R

L

R

12345678

24

Submix Outputs


The Submix buss makes it easy to keep track of your output assignments.

MODULATION ENABLEThis function allows the Modulation 1 and 2 routings to be turned On orOff for each zone in the kit. (Modulation 1 and 2 affect the entire kit.)

For example, suppose you are using Modulation 1 to route Velocity-to-Volume, but you want your snare drum to be at a constant level. Simplyturn Mod 1 Off for the snare drum zone.

MOD ENABLE Z011:Off 2:On


EDIT MENU

Footswitch Enable

FOOTSWITCH ENABLEThis function allows the Footswitch 1 and 2 routings to be turned On orOff for each zone in the kit. (Footswitches 1 and 2 affect the entire kit.) Forexample, suppose you want Footswitch 1 to reverse zone 1 only. Simplyturn FTSW 1 Off for all zones except zone 1.

FTSW ENABLE Z011:On 2:Off

MODULATION PATCH 1 AND 2These functions allow you to route modulation sources to any of themodulation destinations and affect all zones in the kit, although they maybe turned On or Off for each zone. For each of the two modulation patches,there is a Modulation Source, a Modulation Destination, and an Amountparameter which is variable from -128 to +127. Place the cursor under theappropriate parameter and change the patch number, modulationsource, modulation destination, or the amount using the data entrycontrol. If a parameter is not labeled with a layer number, it affects all.

MODULATION 1Vel >Vol4 +072

If the ModulationPatches do not seemto be working, check tomake sure that theModulation Enable isturned On for the Zone.

PatchNumber

ModulationSource Modulation

Destination

ModulationAmount

INSTRUMENT LAYER 1INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

KEYNUMBER

TRIGGERRATE

RANDOMMIDI

CONTROL A/B/C/D

PRESSURE PITCHWHEEL

R

L

INSTRUMENT LAYER 4

ALL STACKS

Mod 1

Hld

VolumeEnvelope

Atk Dcy

Level

DCA


TonePitchSample

Start

Mod 2Accent

VELOCITY

Pan

Modulation Sources:VelocityKey NumberTrigger TempoRandomMIDI Control A/B/C/DPressurePitch Wheel



EDIT MENU

Footswitch Control

FOOTSWITCH CONTROLThis function allows you to route the two kit level footswitches (1 and 2)to any of the footswitch destinations. These two “patchcords” affect allzones in the kit, although they may be turned On or Off for each zone. Thefootswitches can be routed to switch: Sustain (Layers 1/2/3/4 or All),Alternate Volume Envelope (Layers 1/2/3/4 or All), Reverse Sound(Layers 1/2/3/4 or All), or may trigger a Note-on event on any of thezones 1-8.

FOOTSWITCH1 > Note-on Z8

VELOCITY CURVEIncoming velocity data can be modified by a velocity curve in order toprovide different types of dynamics in response to your playing or betteradapt to your MIDI controller. Velocity curves affect the entire kit. Thisfunction allows you select one of the 8 velocity curves, leave the dataunaltered (Linear), or have the velocity scaled to full level (Constant). Thisvelocity curve selection is only valid if the Global Velocity Curve in theMaster menu is set to “Kit”.

VELOCITY CURVELinear

Ou

tpu

t

127

00 127Input

LINEAR

Ou

tpu

t

127

00 127Input

CONSTANT

The AlternateEnvelope must beinitially turned Off inorder for the footswitchto turn it On.

If the Footswitchesdo not seem to beworking, check to makesure that the FootswitchEnable is turned On forthe Zone.

Use a footswitch asa kick drum pedal bytriggering a Note-onevent.


EDIT MENU VELOCITY CURVES

Ou

tpu

t

127

00 127Input

CURVE 2

Ou

tpu

t

127

00 127Input

CURVE 1

Ou

tpu

t

127

00 127Input

CURVE 3

Ou

tpu

t

127

00 127Input

CURVE 4

Ou

tpu

t

127

00 127Input

CURVE 5

Ou

tpu

t

127

00 127Input

CURVE 6

Ou

tpu

t

127

00 127Input

CURVE 7

Ou

tpu

t

127

00 127Input

CURVE 8

Velocity Curves


EDIT MENU

TRIGGER TEMPOTrigger Tempo is a function which generates a control signal based on thetempo of your playing. When your playing tempo exceeds the selectedTrigger Tempo, the amount of the control signal begins to increase fromzero. This control signal can be used either to switch between drums in astack or as a general controller which can affect virtually any parameter(see pages 64 + 67). For example, Trigger Tempo could be routed to raisethe pitch as you play faster. Any tempo from 20 BPM (Beats-Per-Minute)to 260 BPM can be programmed. This Trigger Tempo setting is only validif the Global Trigger Tempo set in the Master menu is set to “Per Kit”.

TRIGGER TEMPO120 BPM

STACK NAMEStack Name allows you to name each of the 8 custom stacks (for each kit)with a name of up to 12 characters. Position the cursor under the characterlocation and use the data entry control to change the character. A MIDIkeyboard can also be used to select characters. The chart below shows thekeyboard character assignment.

STACK NAME S1SOO1 Boss Bass

260

60

120

180

0

127

0

OutputAmount

Mor

e

TempoPlayed

TriggerTempo

When the tempo ofyour playing exceedsthe selected TriggerTempo, the amount ofthe control signalincreases from zero.

Trigger Tempo

46

9;

=@

B

EG

IL

N

QS

UX

Z

]_

ad

f

ik

mp

r

uw

y|->

-/

1(

*

!#

%

02

3

57

8

:<

>

?A

C

DF

H

JK

M

OP

R

TV

W

Y[

¥

^`

b

ce

g

hj

l

no

q

st

v

xz

<-

+,

.

&'

)

blank

"$

C3C2 C4 C5 C6C1C0C-1


EDIT MENU

There are 8 customstacks for each kit inthe Procussion.

Stack Instruments

STACK INSTRUMENTSThis function allows you to select one of the available instrument soundsfor each layer in the 8 custom stacks.

STACK INST S1L1I001 Dry Kick 1

STACK TUNEThis function allows you to change the coarse and fine tuning of eachlayer in the 8 custom stacks. The coarse tuning range is ±48 semitones (8octaves) in semitone steps. The fine tuning range is ±1 semitone in 1/64semitone steps (approx. 1.56 cents).

STACK TUNE S1L1CRSE+00 FINE+00

STACK VOLUMEStack Volume sets the amplitude of each layer in the 8 custom stacks. Thisfunction allows you to blend the four instrument layers or compensate forthe relative volume differences between instruments.

STACK VOL S1L1127

STACK PANStack Pan allows you to independently set the initial pan position of eachlayer in the 8 custom stacks. A value of -7 pans the zone hard left and avalue of +7 pans the zone hard right. The pan setting made here is onlyvalid if “Stack” is selected in the zone pan setting and if “K”, for kit pan,is selected in the main display.

STACK PAN S1L1+2

Custom Stack 1-8Instrument Layer 1-4

Instrument


EDIT MENU

For Stack Pan to Have any Effect :

C01 VOL127 PAN=K079 Tibetan Bell

PAN Z01=Stack

STACK PAN S1L1+5

DELAY/SOUND STARTDelay varies the time between MIDI Note-on reception and the onset ofthe sound for each layer in the 8 custom stacks. The delay time isadjustable from 0-13 seconds (0-63).

Sound Start allows you to set where in the sample the instrument beginsplaying. A setting of 000 plays the instrument from the beginning; highervalues move the sound start point toward the end of the sound.

DELAY START S1L100 000

The Delay parameter is very useful in producing echo type effects and theSound Start parameter can be used to remove the attack portion of thesound for “Procussion Synthesis” or to “fine tune” when modulating theSound Start parameter with velocity or any other modulation source.

Delay/Sound Start

Kit Pan must be set to“K”...

and

Zone Pan must be setto “Stack”


EDIT MENU

Reverse Sound

REVERSEWhen reverse is turned On, the instrument will be played backwards.Reverse can be turned On or Off for each layer in the 8 custom stacks.

REVERSE S1L1Off

ALTERNATE ENVELOPEEach instrument layer in the stack has its own preset Attack/Hold/Decayvolume envelope which is normally employed. If a programmable vol-ume envelope is desired, the alternate envelope is used. This screenallows you to turn the alternate envelope On or Off and set the Attack,Hold and Decay parameters for each layer in the 8 custom stacks.

ALT ENV S1L1On A00 H19 D33

DCA

Atk Dcy

NormalEnvelope

Hld

AlternateEnvelope

Atk DcyHld

PITCH ENVELOPEThe Pitch Envelope is a “decay only” envelope which can control the pitchof an instrument. This screen allows you to turn the pitch envelope On orOff, and set the Decay and Amount parameters for each layer in the 8custom stacks. Larger decay values increase the decay time. Similarly,larger amount values will increase the amount of pitch modulation. Apositive envelope amount setting will sweep the pitch downward and anegative setting will sweep the pitch upward.


EDIT MENU

PITCH ENV S1L1On D23 AMT+255

Low Frequency Oscillator

LOW FREQUENCY OSCILLATORThis screen controls the Waveshape, Rate, Amount and Destination of theLFO. There is one LFO per stack which can be routed to the Pitch of layers1, 2, 3, 4 or all, or Volume of layers 1, 2, 3, 4 or all. (If a parameter is notlabeled 1, 2, 3, or 4 it affects all.) The LFO can be used to produce vibrato(when routed to pitch), or tremolo (when routed to control volume). Thefour LFO waveshapes are: Triangle, Sine, Sawtooth, and Square. Theamount can be varied from -128 to +127. Negative values will produceinverted waveshapes.

LFO Tri R36 S1->Off AMT+016

A positive envelope amount setting will sweep the pitch downward and a negative setting willsweep the pitch upward.

decreasing pitch

time

Decay Timenormal

pitch

EnvelopeAmount

-

incr

easi

ng p

itch

time

Decay Time

normalpitch

EnvelopeAmount

+

Since the LFOalways starts from thebeginning of its cycleat the start of a note, itcan be used as an extraenvelope generatorwhen set to a slow rate.

Triangle

Sine

Sawtooth

Square


EDIT MENU

Stack Modulation

STACK MODULATION CONTROLThese functions allow you to route modulation sources to any of thedestinations in the eight custom stacks. Up to 4 simultaneous patches maybe programmed (3-6). For each of the modulation patches, there is aModulation Source, a Modulation Destination, and an Amount parameter.The amount parameter is variable from -128 to +127. Place the cursorunder the appropriate parameter and change the Patch Number, UserStack Number, Modulation Source, Modulation Destination, and theAmount using the data entry control. If a modulation destination is notlabeled with a layer number, it affects all layers.

STACK MOD 6 S1Vel->Tone +099

KEYNUMBER

TRIGGERRATE

RANDOMMIDI

CONTROL A/B/C/D

PRESSURE PITCHWHEEL

LFO

Rate Amt

STACK

Modulation Sources

INSTRUMENT LAYER 1

INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

R

L

Hld

VolumeEnvelope

Atk Dcy

Level

DCA

Accent

INSTRUMENT LAYER 4


TonePitchSample

Start

Modulation Destinations

VELOCITY

Pan

Patch Number (3-6)Custom Stack Number 1-8

Amount

Modulation DestinationModulation Source

Modulation Sources:VelocityKey NumberTrigger Tempo (Rate)RandomMIDI Control A/B/C/DPressurePitch WheelLFO



EDIT MENU

Stack Footswitch

STACK FOOTSWITCH 3 AND 4This function allows you to route the two stack level footswitches (3 and4) to any of the footswitch destinations for each of the 8 custom stacks. Thefootswitches can be routed to switch: Sustain (Layers 1/2/3/4 or All),Alternate Volume Envelope (Layers 1/2/3/4 or All), or Reverse Sound(Layers 1/2/3/4 or All).

STACK FTSW 3 S1->Reverse1

SWITCH MODEThe Super-Switch feature allows a control input (velocity, a controlpedal, trigger rate, etc.) to determine which stack layer(s) will be heard.This function selects the switch mode for each of the 8 custom stacks.

SWITCH MODE S1Threshold

OFF All layers within the stack are played at theirprogrammed volumes. The control input is ignored.

CROSSFADE The control input determines the relative volumes ofthe layers. As the control input is increased, layer 1will crossfade into layer 2, layer 2 will crossfade intolayer 3, then layer 3 will crossfade into layer 4.Unassigned layers will not be included in the levelcalculation.

In this example, a control pedal feeds the control input. When the pedal is fully up, only layer 1will play. As the pedal is moved down, layer 2 will be faded in as layer 1 is faded out. Next,layer 3 will fade in as layer 2 is faded out. Finally, layer 4 will fade in as layer 3 is faded out.

CrossfadePoints Layer 3

Layer 4

Layer 2

Layer 1 CROSSFADEMODE

Control Input Pedal

Note that othermodulation sources(Velocity, TriggerRate, Random, etc.)besides a pedal maybe used to controlswitch mode. Velocityis commonly used toswitch betweendifferent layers as thedrum pad is struckharder.

There are 8 CustomStacks for each Kit.


EDIT MENU

Switch Mode

ALTERNATE 1 If the control input is less than switch point 1, thenlayer 1 will be played. Otherwise, a layer will beselected in a cyclical manner.

ALTERNATE 2 If the control input is greater than switch point 1, thenlayer 1 will be played. Otherwise, a layer will beselected in a cyclical manner.

THRESHOLD If the control input is between 0 and switch point 1,then layer 1 will be played. If the control input isbetween switch points 1 and 2, then layer 2 will beplayed. Likewise for layers 3 and 4.

In this example velocity feeds the control input. When the velocity value is below the first switchpoint, only layer 1 will play. When the velocity value is between switch points 1 and 2, only layer2 will be played. When the velocity value is between switch points 2 and 3, only layer 3 will beplayed. When the velocity exceeds switch point 3, only layer 4 will play.

HI-HAT This mode is similar to Threshold mode in the first 3layers, but simulates an actual Hi-Hat pedal in thatlayer 4 is only triggered when the control input crossespoints 2 and 3 and is equal or greater than switch point3. The control source must be controller A, B, C, or D.

Switch Points

Lay

er 3

Lay

er 4

Lay

er 2

Lay

er 1

THRESHOLDMODE

Increasing Velocity

1 2 3

SwitchPoints

HI-HATMODE1

23

1

2

3

4

Layers

Layer 4Triggers

Control Input Pedal

Only ONE hi-hatzone is allowed per kit(low-number priority).If other zones are setto hi-hat mode, they willsimply behave as if inthreshold mode.

Instruments 45-54are particularly usefulwith Hi-Hat mode. UseMono assignmentmode for the mostrealistic effect.

Only controller A, B,C or D can be used asthe control sourcewhen in hi-hat mode. Ifanother source isselected, it will revertto threshold modebehavior.


EDIT MENU

Switch Mode

RANDOM 1 If the control input is less than switch point 1, thenlayer 1 will be played. Otherwise, a layer will beselected at random.

RANDOM 2 If the control input is greater than switch point 1, thenlayer 1 will be played. Otherwise, a layer will beselected at random.

SWITCH GROUPThis function operates together with Switch Mode and selects either4-way switching (1/2/3/4) or 2-way switching (1+2/3+4) for each of the8 custom stacks. If a given stack does not have an instrument assigned, itwill not be used. Only the first switch point is used in 2-way switching.In 2-way switching, layers 1 and 2 will play when the switch source isbelow switch point 1. When the switch source exceeds switch point 1,layers 3 and 4 will play.

SWITCH GROUP S11/2/3/4

SWITCH SOURCEThis function selects the control input for switch mode. The control inputcan be:

Layer switches depending on:Velocity ------------------ How hard a pad or key is played.Trigger Rate ------------- How fast a pad or key is played.Random Number ------ A random number.Controller A/B/C/D --- The position of a MIDI controller.Footswitch 1/2/3/4 ----- The position of a footswitch.

The footswitches generate a value of 127 when depressed.

SWITCH SOURCE S1Velocity


EDIT MENU

Switch Points

SWITCH POINTSThis function selects the control input switch points used in Switch Mode(for each of the 8 custom stacks).

SWITCH PTS S1032 064 096

AUDITION LAYERWhen Audition Layer is turned on, only the selected layer will be heard.This function is useful when editing a specific layer in a stack.

AUDITION LAYERLayer 1

COPY ZONEThis function allows you to copy a zone from any kit, and place it in anyzone location of the currently selected kit.

To Copy a Zone:1) First select the kit containing the zone you want to copy. Move the

cursor to the bottom line, select the kit and press the Enter button.

COPY ZONE from127 Eartha

2) Next, select the source and destination zones, and confirm by pressingthe Enter button. The source zone is from the kit you selected in theprevious step. The destination zone is always in the current kit.

COPY ZONE fromZ01 to Z24

SwitchPoint 3

SwitchPoint 2

SwitchPoint 1

DestinationZone # (in current kit)

SourceZone #

Remember to turnAudition Layer Offwhen you are finishedauditioning.


EDIT MENU

Copy Stack

COPY STACKThis function allows you to copy a stack from any kit, and place it in anyof the 8 custom stack locations of the currently selected kit.

To Copy a Stack:1) First select either the user kit containing the stack you want to copy or

select “Factory Stacks”. Move the cursor to the bottom line, select thekit (or Factory Stacks) and press the Enter button.

COPY STACK from127 Eartha

2) Next, select the stack you wish to copy, and confirm by pressing theEnter button. The selected stack is from the kit you selected in theprevious step.

COPY STACK fromS001 Kicker

3) Select the destination stack, and confirm by pressing the Enterbutton. The destination stack is always in the current kit.

COPY STACK toS001 Custom #1

SAVE KITChanges made to a kit in the Edit menu are not made permanent until theKit is Saved. To save a kit, move the cursor to the bottom line and selectthe location for the new kit with the data entry control. The Enter LED willbe flashing. Pressing the Enter button will confirm the operation. Anyuser kit (64-127) can be selected using the data entry control. Writing toa user kit erases the existing kit in that location. Make sure that thedestination preset does not contain information that you wanted to keep.

SAVE KIT to127 --Default--

SourceStack

DestinationStack

(in current kit)

To Save a Kit:

1. Select the new location.2. Press Enter.

In order to modify afactory stack, it mustfirst be copied to a cus-tom stack location.


EDIT MENU


PROGRAMMING PROCUSSIONPROGRAMMING PROCUSSION

Programming Procussion


PROGRAMMING PROCUSSION


PROGRAMMING PROCUSSIONPROGRAMMING PROCUSSION

CREATING A CUSTOM KITCreating your own custom kit is easy. First, you select the key range forthe zone. Then you may simply select the desired stack from the paletteof pre-programmed factory stacks. Repeat the two steps until you have alarge enough drum kit. You may assign up to 24 stacks to a kit and a zonemay contain 1 or 2 stacks.

BUILDING A CUSTOM KIT … STEP BY STEP1) Select one of the “--default--” kits which are located at numbers 105-127.

2) Press the Edit button and go to the second screen, “STACK SELECT”.

3) Play the Pad or Key to select the Zone.

4) Move the Cursor underneath the Stack number and use the Data Knobto change stacks until you find one you like.

5) Repeat steps 3 and 4 until your kit is complete. Then press Enter.

6) If you wish to rename your new kit, do so now using the “KIT NAME”function.

7) Rotate the Data Knob to the last screen, “SAVE KIT". Move the Cursorto the lower line and press Enter.

If you are using theProcussion with a MIDIkeyboard, set the ZoneMap to “Kit” (MasterMenu). If you are usingMIDI drum pads or adrum machine youshould use one of theUser Zone Maps or aZone Map which ispreprogrammed foryour controller.

The center of thezone is always the origi-nal pitch of the stack.The original pitch ofmost factory stacks isset at “C”. If the zone isout of tune, use theZone Tuning function totune the stack to thecorrect pitch.

DrumStack



Up to 24 Zones

Zone1

Zone2

Zone24

MIDI Drums

36 48 60 72 84 96MIDINote # -

DrumStack



DrumStack




PROCUSSION KIT

Zone 2

Zone 24Zone 1

Creating a Custom Kit



EDITING KITSThe easiest way to make a kit is to edit an existing kit. This is also anexcellent way of becoming familiar with Procussion. You can find a kitthat is almost the way you want it and then slightly modify it to suit yourtaste. If you don't like what you hear, simply change the kit andProcussion reverts back to the original sound. Changes are not madepermanent until you Save them using the “SAVE KIT” function, which isthe last screen in the Edit menu. We'll start with a function that has anobvious effect on the sound; Stack Tuning. First, choose a kit that strikesyour fancy and press the Edit button.

CHANGING THE TUNING OF A ZONEChanging the tuning of a zone is something you will often want to do.And it's so easy. Scroll through the Edit menu until you come to thescreen:

TUNING Z01CRSE+00 FINE+00

Move the cursor under the Zone Number (using the cursor button) andplay the keyboard key or drum pad containing the stack you want to tune.The proper zone will automatically be selected.

Next, move the cursor to the bottom line so that it is underneath theCoarse Tuning amount. As you play the stack, turn the data knob tochange the tuning in semitone intervals. The Fine Tuning parameterchanges the tuning in 1/64 of a semitone intervals.

By moving the cursor back under the Zone Number you could select thenext zone to be tuned. Easy, isn't it? And, if you wanted to save the newtunings? Press the Enter button and continue.

SAVING YOUR WORKEvery time you have made a series of changes to a kit that you would hateto lose, you should SAVE your work using the “SAVE KIT” functionwhich is the last screen in the Edit menu. Kits can be save to any of the UserKit locations 64-127. Kits 105-127 have been left empty to encourage youto modify and save your own custom kits.

Editing Kits



When first learningyour way aroundProcussion, keep youreye on the flashingcursor to make sure itis under the correctparameter.

TO SAVE A KIT1) Turn the Data Knob clockwise until you get to the last screen, “SAVE

KIT”.

2) Move the Cursor to the lower line in the display.

3) Turn the Data Knob to select the Kit number where the new kit will beplaced (64-127). Remember - Writing to a kit location erases whateverkit was already there.

4) When you have selected the new kit location, press Enter. The displaywill say, “SAVING KIT”. The kit is now saved.

BUILDING YOUR OWN STACKSLet's go a step further now and create a hot new sound completely fromscratch. In order to get the most out of this section, you should havealready read the Programming Basics section of this manual and have abasic understanding of the Procussion architecture.

Assign a Custom StackThere are 8 Custom Stacks for each User Kit in Procussion.

1) Select one of the “--default--” kits which are located at numbers 105-127.

2) Press the Edit button and turn the Data Knob clockwise to the secondscreen, “STACK SELECT”.

3) Move the Cursor to the lower line and select “Custom #1”, then pressEnter.

4) Turn the Data Knob clockwise to the next screen, “KEY RANGE”.Choose zone 1 with cursor or data knob or by playing a key.

5) Move the Cursor to the lower line by pressing it twice. The displayshould look like this, with the cursor under the first key number:

KEY RANGE Z01036 -> 036

Saving a Kitoverwrites theprevious Kit inthat location!

Save the Kits!



6) Play a note on your Keyboard or Drum Pad, and press the Cursor.

7) Play the note again and press Enter to assign the zone to a one-noterange. (The one-note range is only for simplicity. You may of course,assign a wider range if desired.)

Select and Tune Instruments

8) Turn the Data Knob clockwise until you find the screen:

STACK INST S1L1I000 None

Set the Stack and Layer numbers to S1 L1 as shown above.

9) Move the Cursor to the lower line as shown above.

10) While playing the note that you assigned in step 7, turn the Data Knobuntil you find an instrument that you like. Press Enter.

11) Turn the Data Knob clockwise to the next screen:

STACK TUNE S1L1CRSE+00 FINE+00

12) Move the Cursor to the lower line underneath the Coarse Tuningvalue. Now turn the Data Knob to change the tuning. Notice how youcan completely change the character of the sound by tuning it out ofits normal range. Also notice the distortionless pitch shifting fromProcussion that makes this possible. Tune this first layer to yourliking, then press Enter.

13) Now go back to the “STACK INST” screen to select the instrument forlayer 2.

14) Move the Cursor underneath the Instrument Layer parameter (see thediagram above) and use the Data Knob to select Layer 2.

The cursor can bemoved to the functionselect position (top-left)by pressing Enter or byusing the cursor con-trol. Either method isfine.

Custom Stack 1-8Instrument Layer 1-4

Instrument

Selecting and Tuning Instruments



15) Now move the Cursor back down to the bottom line and repeat steps10 through 12. Try to find an instrument which complements the firstone you selected. Remember that the tunings have a lot to do with howan instrument sounds. Play around awhile with the instruments andtunings until you have a composite sound that you like. If you want,you can even add a third or fourth layer to the brew. In any case, pressEnter to select the next screen.

This might be a good time to introduce another cool feature, “AuditionLayer”. This feature allows you to completely mute all layers but the oneyou are working on. It is often useful, when working on a complex sound,to be able to hear exactly what you are doing to a single layer.

16) Turn the Data Knob until you find the screen “AUDITION LAYER”and move the cursor down to the lower line. Use the Data Knob toselect Layers 1, 2, 3, or 4. When you are finished, be sure to turnAudition Layer “Off” again and press Enter. Now, back to ourprogramming.

Volume and Panning

17) Turn the Data Knob counter-clockwise until you find the screen:

STACK VOL S1L1100

Now we will adjust the relative volumes of the instruments. This canreally “fine tune” the composite sound.

18) Go back and forth between the Layer and the Volume amount whileplaying the sound until you get the mix just right. Don't turn any ofthe levels up full or you won't be able to add accents later (the volumewill already be “Maxed”). A maximum setting of around 100-110 willleave a little headroom.

19) Move the cursor back up to the top line by either pressing Enter orsimply pressing the Cursor button until it is underneath “Stack Vol”.

Volume and Panning



20) Turn the Data Knob to the next screen, “STACK PAN”. Adjust the panpositions to hear how this separates the layers. Leave them set nearcenter (0-2) and press Enter.

Delay, Sound Start and Reverse

21) Turn the Data Knob to the next screen, “DELAY/START”. Playaround with these two parameters and note the effects. Delay will beobvious. Sound Start removes samples from the start of the sound. Asetting of 000 plays the sound from the beginning, higher valuesmove the start point toward the end of the sound. These parametersmay or may not appeal to your artistic sensibilities. In any case, nowyou know what they do. Next…

22) Let's move on to the next screen - Reverse. Reverse can be turned onor off for each layer. Try reversing each layer and note the effects.Reverse works especially well for special effects. Next function …

23) Alternate Envelope. This function allows you to change the defaultvolume envelope for each instrument. The Alternate Envelope is areally powerful function for shaping the sound. Percussion soundsand waveforms can be shaped and blended over the course of thesound, creating new and dramatic textures.

When first working with this function, keep track of which layer youare working on and where your cursor is located. It's easy to getconfused and modify the wrong layer. You may want to make use ofthe Audition Layer function while experimenting with the AlternateEnvelope, as it will allow you to hear each layer separately.

24) Pitch Envelope. The Pitch Envelope allows you to add a pitch sweep(up or down) to each layer of your stack. The decay time of the sweepand the amount are adjustable. Positive amounts sweep the pitchdown and negative amounts sweep the pitch up. This is anotherpowerful synthesis function which can completely change the char-acter of a sound. The effect of this function can be subtle or veryobvious. Try changing the initial tuning of the instrument as it relatesto the Pitch Envelope.

25) LFO. The LFO (or Low Frequency Oscillator) allows you to cyclicallysweep either the pitch or the volume of any layer. Note that there is

From here on out we'lldispense with the step-by-step explanationssince you are probablybecoming familiar withthe way Procussionoperates.

Delay, Sound Start, Reverse



only one LFO for all four layers. There are four different LFO wave-forms from which to choose from, as well as a rate (speed) and amountparameter. Modulating the pitch is an easy way to hear the effects ofthe different waveforms.

26) Stack Modulation Routings 3-6. We'll walk you through this onesince it can be confusing. You can make four “patches” in this module(3, 4, 5, 6) to connect modulation sources to destinations.

STACK MOD 3 S1Vel->Tone4 +058

Patch Number (3-6)Custom Stack Number 1-8

Amount

Modulation DestinationModulation Source

Note how the screen parameters relate to the stack block diagram. Trymaking a few “patches” and note the effects. The flexible modulationrouting scheme is probably the most powerful feature of Procussionbecause it allows you to produce subtle variations in the sound usingperformance parameters such as velocity, playing speed, etc. Rememberthat everything is “legal” when it comes to making music. Experiment!

KEYNUMBER

TRIGGERRATE

RANDOMMIDI

CONTROL A/B/C/D

PRESSURE PITCHWHEEL

LFO

Rate Amt

STACK

Modulation Sources

INSTRUMENT LAYER 1

INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

R

L

Hld

VolumeEnvelope

Atk Dcy

Level

DCA

Accent

INSTRUMENT LAYER 4Instrument

DelayReverse

TonePitchSample

Start

Wet Snare 2

VELOCITY

Pan

Stack Modulation Routings



Trigger Tempo, Pitch Wheel

By setting theGlobal TriggerTempo to MIDIClocks, the TriggerTempo rate willfollow along with asequencer or drummachine.

Modulationdestinations followedby a number (Pitch 1,Pitch 2, etc.) affect onlyone layer. Destinationswithout numbers affectall layers.

M o d u l a t i o nEnable must beturned On for eachStack or the PitchWheel will not work!

27) Using Trigger Tempo. Trigger Tempo is a modulation source whichincreases from zero when your playing speed exceeds a preset tempo.First of all, go into the Master menu and turn to the Global TriggerTempo screen. Set it to 150 beats-per-minute as shown below.

GLOBAL TR TEMPO150 BPM

Go back to the Edit menu, Stack Modulation screen and route TriggerTempo to control the Pitch as shown below. Now start playing,slowly at first, then faster. Notice that the pitch stays constant untilyou play faster than 150 BPM, then it begins to increase. That's howit works!

MODULATION 3Trig->Pitch +100

Further your experiments by using Trigger Tempo as a switch sourceto switch in different instrument layers depending on your playingspeed. As an example, copy Stack 150, “Rapper Snare” to a Userlocation (in a Default Kit). Set Switch Mode Threshold; Switch Source Trigger Rate and play. The Tempo controls which layers are heard.

28) Routing the Pitch Wheel to Control … Pitch. This is something thatyou might want to do either at the Stack level (to affect only one Stack)or at the Kit level (to affect all the Stacks in the Kit). For now let'scontrol the pitch of the entire Kit. The Modulation 1 and 2 parametersaffect the entire Kit. Simply set the Modulation 1 (or 2) screen asshown below and voilà, Pitch Wheel control. Incidentally, the settingof +114 will produce a pitch bend interval of a perfect fifth. See thePitch Modulation Interval Charts (in the Reference Section) for moreinformation.

MODULATION 1PWhl->Pitch +056



You can change theswitch points to adjustthe modulation wheelor pedal to your ownspecifictions.

You can createcustom Hi-Hats bysimply changing theinstruments.

Hit-Hat Investigation

HI-HAT INVESTIGATIONThe Hi-Hat is perhaps the most expressive part of a drum set. Procussionoffers expressive Hi-Hat control; up to 4 different Hi-Hat samples can beswitched-in depending on the position of a pedal or control wheel. Manyof the factory kits already have a Hi-Hat programmed to respond to theModulation Wheel of a MIDI keyboard. The Hi-Hat is assigned to MIDIkey number 52 (Zone 9). Play key number 52 (E) while moving theModulation Wheel. You will notice that the closed Hi-Hat sound triggersas the wheel nears maximum. If you are using a MIDI drum pad setup,you will need a continuous controller pedal which has its output trans-lated into MIDI. The diagram on page 12 shows one such arrangement.

Copy StackIn order to modify a factory stack, it must first be copied to a user location.1. Start with a Default Kit (105-127) in the Edit Menu.2. Press the Edit button and move to the second to last screen, Copy Stack.3. Copy from: Factory Stacks. Select #243 Mod Hi-Hat 2 (for this example).4. Copy to: Custom #1 (or any of the Custom Stacks).

Assign the Hi-Hat1. Set Stack Select, Zone 9 to: ModHiHat 22. Set Key Range, Zone 9: 052 -> 052.3. Play MIDI Key # 52. You should be hearing the Hi-Hat.

Examination of the Hi-Hat1. Go to the Stack Inst. screen. Move the cursor to the Layer (L1) and turn

the data knob. You will see that the ModHiHat 2 stack is made up of fourinstruments; L1-HihatB open, L2-HihatB 2/3, L3-HihatB 1/3, L4-HihatB shut. Press Enter to return to the screen identifier.

2. Turn to the Switch Mode screen. Notice that the switch mode is Hi-Hat.3. Turn to the Switch Source screen. Notice that the switch source is

Control A. Control A is normally a Modulation Wheel. Alternately, acontrol pedal can be used as shown in the drum kit diagram on page 12.(If you do not understand the concept of Control A, see pages 44 and 45.)There are other possible sources such as: Velocity, Trigger Rate, etc., butwhen in Hi-Hat mode, only controllers A-D will have any effect.

4. Turn to the next screen, Switch Points. Think of the Modulation Wheelor Pedal as going from 0-127. These are the points at which the differentHi-Hat Instruments will be switched in. Try changing the switch pointsand note the effects. The points should be in an ascending order for thisfunction to work correctly. Now continue on your own. Experiment!



ON YOUR OWNIn the course of these exercises you have hopefully learned a little aboutprogramming a Procussion Stack. You can experiment as much as youwant and when you come up with something good, save it to one of theempty kit locations. Feel free to try out all the other parameters that wedid not cover such as the Footswitches and other Super-Switch modes.Simply trying out the various functions will remove a lot of the mysteryassociated with them. Procussion is an extremely powerful tool whichwill do a lot of things that no one has even thought of yet. Dig in anddiscover them yourself.

PROGRAMMING TIPS and IDEAS

Use the Stack Select screen in the Edit menu to monitor which stacksyou are playing. This is also a quick way to temporarily disable MIDIprogram changes.

Routing Velocity to Sound Start with a negative amount will removethe Attack portion of the drum when played softly, simulating theeffect of an actual drum head.

Remember that the center of the Zone is always the original pitch of theStack (usually C), so you may have to retune the stack using the ZoneTune function when creating tuned instruments such as Marimbas.

Key Number can be routed to control Pitch (+ or -) in order to changethe normal equal tempered tuning relationship between notes.

Remember that Sample Start, Tone, Attack and Pan Position are set atthe beginning of the note. Continuous controllers used after the startof the note (such as pressure) will not have any effect.

In order to modify a Factory Stack, it must first be copied to a CustomStack location.

Interesting factory ROM stacks may be analyzed by first copying themto RAM stack locations and then examining the various parameters.

Programming Tips



Procussion Synthesis

PROCUSSION SYNTHESISProcussion Synthesis is a form of additive synthesis. Normal additivesynthesis uses simple sine waves as the basis of its sound. In ProcussionSynthesis, we start off with complete sampled sounds or complex wave-forms and combine all or part of these together to form new sounds. Theprocess is illustrated below.

PROCUSSION SYNTHESIS

The envelope generators controlling the DCAs (digitally controlled am-plifiers) can be used to fade between up to four instruments during thecourse of a note. This powerful technique allows you to combine elementsof different instruments together to form completely new sounds. Newsounds that are totally natural, because they are based on natural sounds.Procussion also contains many digitally generated waveforms that maybe combined with other digital waves or with the sampled instrumentsin order to change the character of the sound, perhaps to add a digital“edge” or add more bottom. In addition to the envelope generators,parameters such as Tone, Tuning, Delay, Sound Start, and Super-Switchallow you to further control the texture and blend of the four instruments.

In this example, portions of two sounds are dynamically crossfaded in order to produce a newsound containing elements of both.

Instrument

Layer 1

Layer 2

FadeArea

FadeArea

Shaped with DCA Added Together toform Resultant Sound



As an example, let’s combine two cymbals in order to create a new cymbalcontaining elements of both. Use one of the 8 Custom Stacks in a “DefaultKit” for your experiments. Refer to the Edit menu parameters in the chartbelow and do not change any parameters but the ones specified.

The Ride Bell instrument is used for the “Attack” (or the sound you hearwhen the cymbal is first struck). We'll put this sound on layer 1. The 19"Pang instrument is used for the “Decay” (or the sound you hear after theinitial strike until the sound fades away). The Pang sound will be layer 2.The 19" Pang cymbal doesn't seem to quite fit with the Ride cymbalsomehow, but by tuning it up an octave, it sounds fine. Next we'll adjustthe Delay of the Pang so that it comes in after the Ride Bell sound. Movingthe Sound Start parameter of the 19" Pang to 124 removes the attackportion of the cymbal since we only want to hear the Ride Bell at the startof the note. The Alternate Envelope generators are used to fade out theRide Bell during the decay portion of the sound and also to shorten the 19"Pang's decay a little. Finally we adjust the volume of the Pang cymbal tomatch it up with the Ride Bell. That's it! You have just bought yourself anew cymbal!

The example above shows one way that you can transform the ROMinstruments into completely new sounds. In this example we have onlyused two layers and no modulation parameters at all! Remember that youcan have up to eight layers by assigning two zones to a key range.

Next, we'll cover another exciting new technique, Spatial Convolution.

Layer 1 Layer 2Instrument: Ride Bell Instrument: 19" Pang

Tuning: C:00 F:00

Volume: 100 Volume: 074

Pan: +0 Pan: +0

Tuning: C:12 F:00

On A H D 00 02 21

On A H D 00 23 36

Sound Start: 000 Sound Start: 124

Delay: 00 Delay: 03

Stack Name: Ride Pang

Programming Examples



SPATIAL CONVOLUTION“It's technical…” Spatial Convolution is a technique of adding reverbambience to the sound by combining a “convolved” reverb sound with a“dry” drum sound of the same type. Convolution involves combiningtwo sounds so that only frequency components common to both soundsare accentuated while uncommon frequencies are discarded. In simpleterms this produces a nearly ideal reverb “tail” that can be tuned andshaped like an ordinary sample. There are four Spatial Convolution“spaces” (instruments 132-135) in Procussion which were created usingthe Transform Multiplication function on our Emax II 16-bit sampler.

Enough tech talk. Let's get busy and add some space to the sound. Asbefore, use one of the 8 Custom Stacks in a “Default Kit” for yourexperiments. Set up the Edit menu parameters as in the chart below andchange only the parameters specified.

Layer 1 Layer 2Instrument: Dry Snare8b Instrument: Dry Snare 7

Tuning: C:00 F:-55


Pan: +0 Pan: +0

Tuning: C:00 F:00


Delay: 00 Delay: 00

Layer 3 Layer 4Instrument: Snare Space Instrument: Snare Space

Tuning: C:00 F:+12


Pan: +7 Pan: -7

Tuning: C:-01 F:-26


Delay: 00 Delay: 01

Stack Name: Ambient Snare

Examine the first two layers. This is a straightforward combination of twosnare sounds. Layer 1 has been slightly detuned in order to “fatten up” thesound a bit. In layers 3 and 4 things start to get interesting. Notice that weare using the same instrument (#134-Snare Space) on both layers, onepanned hard right and the other hard left. In addition they are quitedetuned from each other in order to give each one a separate identity. TheDelay and Sound Start parameters are used on layer 4 to prevent flangingeffects which occur when identical samples are mixed together. Use theAudition Layer function in order to hear what each layer contributes tothe overall sound. You will be impressed!

The reverb tail can be further shaped using the Alternate Envelope,Reverse, the Pitch Envelope or any of the other modulation parameters.

Spatial Convolution



Sequencing Tips

USING PROCUSSION WITH A SEQUENCERWe thought you’d never ask. Procussion was designed from its concep-tion with multi-timbral sequencing in mind. Just take a look at the mainscreen.

C01 Vol127 Pan=K000 Ampitheatre

The kit for each MIDI channel is selected from the main screen. Press thecursor button to move the cursor up so that it is underneath the channelnumber.

C01 Vol127 Pan=K000 Ampitheatre

Turn the data entry control and you will see that every MIDI channel hasa kit assigned to it. Just select a kit for each of the MIDI channels. It’ssimple! In order to respond to multiple MIDI channels, Procussion mustbe in Multi-Mode. Multi-Mode is selected in the Master menu. Press theMaster menu button and use the data entry control to scroll through thescreens until you find MIDI MODE.

MIDI MODE IDMulti 00

Move the cursor down to the second line and change the mode to Multias shown. Procussion will now respond to multiple MIDI channels.

MORE ADVANCED SEQUENCING

PRE-SEQUENCE SETUPSuppose that you want to have your sequencer set up everything for youbefore the start of the song. Good idea. This will make the Procussionsetup procedure automatic and prevent the wrong kits from playing.



The basic idea of a pre-sequence setup is to send out MIDI informationjust before the start of the song. This MIDI information will select all theproper kits, adjust the mix, and pan positions of each kit.

Note: Procussion setup information should be transmitted from thesequencer before the song actually starts, perhaps during a lead-in mea-sure or countdown. DO NOT send setup information just before the firstbeat of the song or MIDI timing errors could result.

INITIAL SETUP1) Set PAN in the main screen to any setting other than Kit. This allows

Procussion to receive pan data over MIDI.In the Master menu:

2) Turn ON Multi-Mode

3) Turn ON Kit Change enable for each channel.

4) Turn OFF MIDI Enable on MIDI channels that are to be used for otherinstruments.

KIT, VOLUME and PAN SETUPProgram your MIDI sequencer to transmit the following informationbefore the song starts.

1) Select the proper kits for each MIDI channel used on Procussion(program change command).

2) Send MIDI volume information (controller #7) for each MIDI channelused on Procussion.

3) Send MIDI pan information (controller #10) for each MIDI channelused on Procussion.

Now your song will play perfectly every time using the proper kits,volumes and pan positions. In addition, kits, volumes and pan positions(or anything else for that matter) can be adjusted in realtime during thesong. Note: If the wrong kits are being selected, check the MIDI Program-> Kit map.

To carry the pre-sequence setup even further, you can even include kitdata for each kit used in the sequence. See page 30 for details.

Transmitting theMaster Settings will setup the Kit, Volume andPan information for all16 MIDI channels.

Pre-Sequence Setup



CHANNEL RIPOFFIn very rare instances you may encounter what is commonly known as“channel ripoff”. When Procussion uses up all its 32 channels and needsmore, it steals a channel from the key that has been held the longest.Because percussion sounds are generally so short and because 32 instru-ments are almost never played all at once, the “ripoff” effect wouldprobably only occur when using Procussion in multi-timbral mode. SinceProcussion dynamically allocates channels as needed, to eliminate ripoffyou must either, play fewer notes, or use simpler stacks (ones without allfour layers used).

USING EXTERNAL PROCESSINGDon’t be afraid to use external processing on specific sounds if you feel theurge. The submix sends and returns on Procussion are there for a reason.In many instances a bit of reverb or EQ will be just the thing a drum stackneeds to give it a distinct identity. By dedicating a multi-effects box to asubmix out/in, you can open up a whole new world of possibilities byeffecting only those drums you have routed through the submix.

SUB 2 SUB 1 MAINL L LR

STEREOMONOOUTPUTS

RR

RingTip

Equalizer

RingTip RingTip

StereoReverb Unit

Channel Ripoff


REFERENCE SECTION

Reference


PROCUSSION FACTORY KITS

ROM KITS

32. Rocket Drums33. Huge Room *34. Churchyard35. Drum Dance *36. Percussion 337. Mallet Bells38. Hip House39. Latin Layers40. Big Band41. Multi FX42. Heavyosity *43. Ritual Night44. Dance Club *45. Indo Steel46. Orch Perc47. Country Kit *48. Killer Synth49. Heavy Handed50. Percussives51. Mystic Land52. Beach Party53. Intervallix54. Jazzy Traps55. Clavarimba56. Rockabilly *57. Control Snares58. Lotsa Kicks59. All Snares60. More Toms61. More Cymbals62. More Percussion63. More Basses

The ROM kits listedon this page arepermanently locatedin kits 0-63.

The User Kits 64-127,are listed on a sepa-rate insert page whichallows them to be eas-ily updated.

Kits marked with anasterisk (*), follow thestandard kit layoutshown on the follow-ing page.

0. Ampitheater *1. Mega Drums *2. Rock n Roll *3. Palladium *4. Jazz Drums *5. Metal Drums *6. Rap Session *7. Latin Drums8. Percussion 19. Tool Kit10. Ambient Rock *11. Acoustic Kit *12. Thundadome13. Disco Ball14. Vibrations15. Rock Drums *16. House Machine *17. Fusion Stix *18. Found Sound19. Marimba20. Space Drums *21. Hard Rock *22. Stadium Rox *23. Dance 2000 *24. Industry25. Heavy Metal *26. Hip Hop *27. Rosewood Tine28. Percussion 229. Sound FX30. Sluggo Drums *31. Beat Box

Factory Kits


STANDARD FACTORY KIT LAYOUT

This diagram shows the layout of the standard trap kits in Procussion.Special kits, such as Latin Percussion or Sound Effects, will not follow thestandard layout.

Factory Kits

MIDI Key #

33

35

36

38

40

41

43

45

47

48

50

52

53

55

57

59

60

62

64

65

67

69

71

72

74

76

77

79

81

83

84

86

88

89

91

93

95

96

98

Main Kick (Tuned)Main Kick (Tuned)Main Kick (Tuned)

Main Kick (Tuned)

Auxiliary Snare 1

Auxiliary Snare 2

Closed Hihat

PercussionOpen Hihat

Crash or Ride Cymbal 1Crash or Ride Cymbal 2

Kick (Nontransposed)

Tom Tom (Tuned)Main Snare

Tom Tom (Tuned)Tom Tom (Tuned)Tom Tom (Tuned)Tom Tom (Tuned) +7

-7

Pan

ning

Auxiliary Ride CymbalCymbal Choke (or other perc)

Hihat Stack (Controller A)

Snare (Nontransposed)Snare (Nontransposed)Snare (Nontransposed)

Snare (Nontransposed)

Kick (Nontransposed)Kick (Nontransposed)

Kick (Nontransposed)Kick (Nontransposed)Kick (Nontransposed)

Snare (Nontransposed)Snare (Nontransposed)

Hihat StompHihat Shut

Hihat OpenHihat 2/3

Hihat Open

Hihat 2/3Hihat Shut

Tuned Toms,Bass or other Instrument

Tuned Toms,Bass or other Instrument

+7

-7

Pan

ning

+7

-7

Pan

ning

Z01

Z03Z19Z11Z12Z20Z19

Z15Z17

Z09

Z02

Z06

Z21Z22

Z23Z24

Z14

Z01

Z04Z05

Z07Z08Z10

Z16Z18

Z02

Z06

Z22Z23

Z24

Z14


PROCUSSION FACTORY STACKS

9. Dry Kick 110. Dry Kick 211. Dry Kick 312. Dry Kick 413. Dry Kick 514. Dry Kick 615. Room Kick 116. Room Kick 217. Gated Kick18. Round Kick19. The Kicker20. Fat Kick21. Mansion Kick22. Big Foot23. Bonzo Kick24. Good Kick25. Wet Kick 126. Wet Kick 227. Wet Kick 328. Wet Kick 429. Wet Kick 530. Thick Kick31. Kick Punch32. Reek Keek33. ModSnapKik34. Kahnbo Kick35. Metal Kick36. Havok Kick37. Cave Kick38. Boom Bass39. Bellow Kik40. Kooky Kick41. Kick Space42. DrkK-Space43. House Kick 144. House Kick 245. House Kick 346. Dance Kick47. Rap Kick48. ModToneRap

49. Cymbal Kick50. Floor Kick51. Janz Kick52. Mambo Kick53. Rapper Kick54. Kick In55. SuprSinKik56. Butt Kicker57. Space Kick58. Growth Kick59. Tam Kick 160. Tam Kick 261. Tam Kick 362. Kick Shake 163. Kick Shake 264. Tik Kick65. Kidz Kick66. Trash Kick67. Orch Bass68. Earth Kick69. Big Bass Drum70. Stereo BD71. Timpani72. Kettle Drum73. Kettle Drum 274. Jazz Kick75. Dry Snare76. Dry Rim77. Dry Click 178. Dry Click 279. Arid Snare80. Brush Snare A81. Brush Snare B82. Brush Snare C83. Snap Snare 184. Snap Snare 285. Snap Snare 386. Snap Snare 487. Snap Snare 588. Snap Snare 6

Factory Stacks



89. Brush Sweep90. Room Snare 191. Room Snare 292. Stereo Snare93. Big Snare94. Body Snare95. God's Snare96. Tight Snare97. Big Whack98. Smack Snare99. Modern Snare100. Tonal Snare101. Bonzo Snare102. Dan's Snare103. Tite Snare104. Slap Snare105. Modern Twin106. Snare Center107. Space Snare108. Aerobic Snare109. Big Fat Snare110. Wet Snare 1111. Wet Snare 2112. Wet Snare 3113. Wet Snare 4114. Ambient Snare115. Ambi-Snare 1116. Ambi-Snare 2117. Krakatoa!118. Mod Verb Snare119. Mod Verb Rim120. Mod Pan Snare121. ReverbaRim122. Rim Snare123. Metal Snare124. Prairie Snare125. SNARE 1157126. SNARE AMB!127. Noisy SNR128. BigOSnare

129. HerboSnare130. Kooky Snare131. Tough Snare132. Snare Smash133. Pipe Snare134. Sewer Snare135. Ringer136. Ratt Dance137. Canon Snare 1138. Canon Snare 2139. Canon Snare 3140. Dance Snare141. Analog Snare142. Synth Snare143. House Snare 1144. House Snare 2145. House Snare 3146. House Snare 4147. House Snare 5148. House Snare 6149. PW Snarey150. Rapper Snare151. Tambo Snare152. Deep Tam Snare153. Garbage Boy154. Trash Snare 1155. Trash Snare 2156. Trash Snare 3157. Trash Snare 4158. Bullet Snare159. Brush Dance160. Rim Tin Tin161. Vel-XSnare162. Tam Snare 1163. Tam Snare 2164. Clave Snare165. Clap Snare166. Backward Snare 1167. Backward Snare 2168. Backward Snare 3

Factory Stacks


169. Backward Snare 4170. Rev Snare 1171. Rev Snare 2172. Rev Snare 3173. Center Reverse174. Bband Snare175. Bband Rim176. Bband Click177. Psyko Snare178. Swept Snare179. Dry 12" Tom180. Dry 16" Tom181. Brushed Tom182. Punch Tom183. Sloppy Toms184. 2 Head Tom185. Tim & Tom186. Tuned Tom187. Rock Tom X188. Room Tom 1189. Room Tom 2190. Electro Tom191. SubaTomic192. Ambi Tom 1193. Ambi Tom 2194. Power Toms195. Power Tom 1196. Power Tom 2197. Power Tom 3198. Power Tom 4199. Real Tom200. Epic Tom201. ResonanTom202. EleckTom203. Tom Stack X204. dB Toms205. Tom Hall206. Tommy Toon207. Homie Tom208. House Toms


209. Tuned Tomz210. Analog Toms211. Roto Dance212. Roto 2213. Minor Tom214. Apache215. Tacky Bang216. Pots & Pans217. Stereo Tom218. Bband Tom219. Wunder Tom220. Echo Tom221. Pitch Toms222. Syn-Tom223. AcousRoto 1224. ElecTomic225. Echo Tom X226. Falling Tom227. Backward Tom228. Mod Tom Fall229. Mod Wund Tom230. Mod Brush Tom231. Mod Echo Tom232. Hihat A shut233. Hihat A 1/3234. Hihat A 2/3235. Hihat A open236. Hihat A stomp237. Hihat B shut238. Hihat B 1/3239. Hihat B 2/3240. Hihat B open241. Hihat B stomp242. Mod Hihat 1243. Mod Hihat 2244. Closed Tip Hat A245. Open Hihat A246. Open Hihat B247. Closed Tip Hat B248. 1/2 Open Hat B

Factory Stacks



249. Pedal Hat B250. Metal Hat 1251. Metal Hat 2252. Metal Hat 3253. Syn Hat 1254. Syn Hat 2255. Synth Hat A256. Synth Hat B257. Elec Hat 1258. Elec Hat 2259. Elec Hat 3260. Elec Hat 4261. Dance Hat 1262. Dance Hat 2263. House Hat 1264. House Hat 2265. House Hat 3266. House Hat 4267. House Hat 5268. House Hat 6269. Tam Hat270. Beasty Hat271. Beasty Open272. Horny Hat273. Blasty Hat274. Noise Hat A275. Noise Hat B276. Noise Hat C277. Hatsoff278. Hats Off 2U279. Bband Hat Cl280. Bband Hat Op281. Bband Hat St282. Servo Hat #1283. Servo Hat #2284. Servo Hat #3285. Backward Hat286. 16" Crash 1287. 16" Choke 1288. 16" Crash 2

289. 19" Pang290. Ride Ping291. Ride Bell292. Mallet Cymbal293. China Gong294. Mallet Roll295. Combo Crash296. Dubl Crash297. Cymbal Decay298. HypeRidCym299. Pang Cymbal300. Big Crash301. Velocity Ride302. Dark Cymbal 1303. Dark Cymbal 2304. House Cymbal305. Crash Dance306. Splash Dance307. SoChokeMe308. Finger Cymbal309. Gongo'Doom310. Cymbal Six311. SFX 1312. SFX 2313. SFX 3314. Smash Cymbal315. Brash Cymbal316. SteroCrash317. Stereo Malt318. Hypereal319. Backward Cymbal320. Backward Cym321. Noise Burst322. Big Thwack323. White Noise324. Big Rasp325. Big Hammer326. Metal Stack327. Stilleto328. Stilleto Flange

Factory Stacks


329. Pipe330. Clank331. Lazer Hit332. Sonic Crack333. Rap Scratch334. Doubl Scratch 1335. Double Scratch 2336. Syn Scratch337. ErsatScrch338. BASScratch339. Squea…340. Finger Snap341. RevSnapper342. Reverb Snaps343. Hand Claps344. Fat Claps345. Odd Claps346. Wack Claps347. Klapz348. RapClav349. Vox Eek!!350. Backward Sweep351. Hand Drum352. Analog Tick353. Kick Cymbal354. Choke-Pipe355. Choke Clank356. Castapan357. Tick Tock358. Thwack Echo359. Raspiness360. Temple Block361. Agogo Bell362. Triangle363. Triangle Mute364. Hi Triangle365. Clave366. Castanet367. Wood Block368. Tamborine


369. Cowbell370. Cow Block371. Ambi-Stick372. Bband Cowbell373. Cowtombell374. Stereo Marimba375. Syn Celesta376. Carillon377. Log Drum378. Vibrations379. Shakatam380. Synclaves381. Plastic Cow382. Octarimba383. Mambo Open384. Mambo Closed385. Campana Open386. Campana Heel387. ChaCha Open388. ChaCha Closed389. Cabasa Front390. Cabasa Back391. Cabasa Roll392. Guiro Down393. Guiro Up394. Shekere Net395. Shekere Snap396. Shaker Back397. Shaker Front398. Timbale 1a399. Timbale 1b400. Timbale 1c401. Timbale 2a402. Timbale 2b403. Timbale 2c404. Tumba Tone405. Tumba Rim406. Quinto Tone407. Quinto Slap Open408. Quinto Slap Closed

Factory Stacks



409. Quinto Tip410. Quinto Heel411. Hembra Tone412. Hembra Slap413. Macho Tip Left414. Macho Tip Right415. Macho Rim416. Macho Tone417. Macho Slap418. Slide Conga419. Shake It420. Conga Set421. Indo Steel422. Bongo! Boy!423. Tone Drum424. Velocity Guiro425. Bass 1426. Balzy Bass427. Synth Bass428. Lazer Bass429. Bass Stack430. Mod Bass Tone431. Mod Woof Tone432. Mod Saw Tone433. Mod Pipe Tone434. Monsta Bass435. Hip Moog436. Rap Moog437. Warm Bass438. Stone Bone439. Amazon440. Hallowell441. Star Tree442. Thundadome443. ShakerDrum444. Drumborine445. Gutt Bust446. Dust Pang447. Warble Wave448. Temple Bell

449. Vox Freak 1450. Vox Freak 2451. Synth Lead452. Metalimba453. Red Sky454. Jungle Night455. Kalimdrum456. Pit o Doom457. Shaker Drum 2458. Silvoon459. Big Al460. Woodpecker461. Ganga Log462. Pipeline463. Springz464. Melodic Bel465. Shaker Bell 1466. Shaker Bell 2467. Mutant Mal 1468. Mutant Mal 2469. Backward Agogo470. Big Pipe471. Marimboid472. House Pipe473. Weird O Slap474. Tinkle Tine475. Bellhause476. Golden Gate477. Mod Shots478. Surfin' USA479. Velocity Sweep480. Metl Ketl481. Klincker482. Crackssss!483. Space Stone484. Fantasy 99485. Zapster486. Cymbaline487. Mega Garbo488. BAM BAM

Factory Stacks


489. Super Spring490. Tone Drum 2491. Industry492. Master Blast493. Ice Missile494. Fire Biter495. DUNK496. Klinkle497. Pipertam498. Bellism499. Jangler500. Double Drum501. Mystic Land502. Macho Cow503. Inner Val504. Fibersnap505. Whole Tone 1506. Whole Tone 2507. Gong Pow508. Ritual Drum509. Cymbal Drum510. Springy511. Baby Breath512. Bent China513. Ant Itch514. Water Pin515. Sigh…516. Indian Man517. Hat Thang518. Thwack519. Crack520. CirckeNoys521. Gong Attack522. UFOs523. Cheering524. Generator X525. Noise FX526. Snare Pegg Left527. Snare Pegg Right528. Pipegg Left


529. Pipegg Right530. Rocket #1531. Rocket #2532. Tweek533. Ear Splitter534. Space Block535. Cool FX536. Qool KlanQ537. Stick/Tamb538. The Shaker539. The Stick540. Twank541. Mega Planks542. Temple O Doom543. Glong544. Giant Ratchet545. Echo Thud546. Awk Bosk547. Gymnasium548. Klicker549. Der Aufish550. Bubl Trubl551. FunkinNoys552. Lazer Stew553. Kloggers554. Rasparity555. Drum Tree556. They're Here

Factory Stacks


PROCUSSION INSTRUMENTS

SAMPLED SOUNDS1. Dry Kick 12. Dry Kick 23. Dry Kick 34. Room Kick 15. Room Kick 26. Wet Kick 17. Wet Kick 28. Wet Kick 39. Machine K110. Machine K211. Rap Kick12. Orch Bass13. Dry Snare 114. Dry Snare 215. Dry Snare 316. Dry Rim 317. Dry Click 318. Dry Click 419. Dry Snare 520. Dry Snare 621. Dry Snare 722. Dry Snare 8a23. Dry Snare 8b24. Dry Snare 8c25. Wet Snare 126. Wet Snare 227. Wet Snare 328. Wet Snare 429. Wet Snare 530. Wet Snare 631. Snap'n Snare32. Dance Snare33. Analog Snare34. Synth Snare35. Brush Snare A

36. Brush Snare B37. Brush Snare C38. Brush Sweep39. Dry 12" Tom40. Dry 16" Tom41. Room Tom 142. Room Tom 243. Brushed Tom44. Electro Tom45. Hi-Hat A shut46. Hi-Hat A 1/347. Hi-Hat A 2/348. Hi-Hat A open49. Hi-Hat A stomp50. Hi-Hat B shut51. Hi-Hat B 1/352. Hi-Hat B 2/353. Hi-Hat B open54. Hi-Hat B stomp55. Mallet Roll56. 16" Crash 157. 16" Choke 158. 16" Crash 259. 19" Pang60. Ride Ping61. Ride Bell62. Springy63. Cowbell64. Side Stick65. Tambourine66. Finger Snap67. Hand Claps68. Noise Hat A69. Noise Hat B70. Noise Hat C

Sampled Sounds


71. Noise Burst72. Big Thwack73. White Noise74. Big Rasp75. Big Hammer76. Metal Stack77. Stiletto78. Pipe79. Clank80. Lazer Hit81. Sonic Crack82. Rap Scratch 183. Rap Scratch 284. Syn Scratch85. Hand Drum86. Analog Tick87. Vox Eek !88. HypeRideCym89. Temple Block90. Agogo Bell91. Triangle92. Triangle Mute93. Mambo Open94. Mambo Closed95. Campana Open96. Campana Heel97. Cha Cha Open98. Cha Cha Closed99. Cabasa Front100. Cabasa Back101. Cabasa Roll102. Wood Block103. Claves104. Guiro Down105. Guiro Up

106. Shekere Net107. Shekere Snap108. Shaker Back109. Shaker Front110. Timbale 1a111. Timbale 1b112. Timbale 1c113. Timbale 2a114. Timbale 2b115. Timbale 2c116. Tumba Tone117. Tumba Rim118. Quinto Tone119. Quinto Slap Open120. Quinto Slap Closed121. Quinto Tip122. Quinto Heel123. Hembra Tone124. Hembra Slap125. Macho Tip L126. Macho Tip R127. Macho Rim128. Macho Tone129. Macho Slap130. Marimba131. Celeste132. Kick Space133. DarkK-Space134. Snare Space135. DarkSnSpace136. Synth Bass137. SE Bass138. Filter Bass139. Saw Bass140. Woofer Pulse


Sampled Sounds



CLASSIC WAVEFORMS141. Sine Wave

142. Triangle Wave

143. Square Wave

144. Sawtooth

HARMONIC WAVEFORMS145. Oct 1 (Sine)

146. Oct 2 All

147. Oct 3 All

148. Oct 4 All

149. Oct 5 All

150. Oct 6 All

151. Oct 7 All

152. Oct 2 Odd

153. Oct 3 Odd

154. Oct 4 Odd

155. Oct 5 Odd

156. Oct 6 Odd

157. Oct 7 Odd

158. Oct 2 Even

159. Oct 3 Even

160. Oct 4 Even

161. Oct 5 Even

162. Oct 6 Even

163. Oct 7 Even

164. Low Odds

165. Low Evens

166. Four Octaves

Starting from the first octave (fundamental), theharmonic waveforms contain the harmonics(odd, even, or all) present in each octave. In eachsuccessive octave the number of harmonicsdoubles. By combining (layers 1-4) the harmonicwaveforms in various amounts (volume), andtransposing them (coarse/fine tuning), a broadrange of timbres may be produced.

The harmonic waveforms can also be combinedwith the sampled instruments to accent certainharmonics or to create synthesized types ofsounds.

1 2 3 4 5 6 7 8 9 10 15 1617 3118

1 2 3 4 5

Harmonic

Octave

Frequency (log)

Lev

el

OCTAVE-5 ODD

1719

2123

2527

2931

As an example, this chart shows the harmonics present in theOctave 5 Odd waveform.

Waveforms


DIGITAL WAVEFORMS167. Pulse 33%

168. Pulse 25%

169. Pulse 10%

170. Saw Odd Gone

171. Ramp

172. Ramp Even Only

173. Buzzoon

174. Brassy Wave

175. Reedy Buzz

176. Growl Wave

177. Harpsiwave

178. Fuzzy Gruzz

179. Power 5ths

180. Filter Saw

181. Moog Lead

182. Synth Cycle 1

183. Synth Cycle 2

184. Synth Cycle 3

185. Bite Cycle

186. Buzzy Wave

187. Metalphone 1

188. Metalphone 2

189. Metalphone 3

190. Duck Cycle 1

191. Duck Cycle 2

192. Wind Cycle 1

193. Wind Cycle 2

194. Wind Cycle 3

195. Wind Cycle 4

196. Organ Cycle

197. Soft Bell

198. Swirly

199. Tack Attack

200. Shimmer Wave

201. B3 SE

202. Mild Tone

203. Piper

204. Ah Wave

205. Vocal Wave

206. Fuzzy Clav

207. Electrhode

208. Whine 1

209. Whine 2

210. Metal Drone

211. Silver Race

212. Metal Attack

213. Ice Bell

214. Bronze Age

215. Iron Plate

216. Aluminum

217. Lead Beam

218. Steel Extract

219. Winter Glass

220. Town Bell Wash


Digital Waveforms


LFO, DELAY and ENVELOPE TIMES

DELAYTime (sec)

63504030201053

Knob

1.46.85.53.31.17.07.02.015

0 0

PITCH ENV.DECAY

Time (sec)

5063

40302015105

0Knob

17.863.2

6.22

.72

.42

.23.1

03 .03

LFO RATESRate (Hz)

40

6350

30252015105

0Knob

5.43

13.458.22

3.42.62

1.34.85.42

.0893 .13

Time (sec)

5063

40302015105

0Knob

7.1720.63

3.141.34.53.31.17.07

03 .015

DECAY

Time (sec)

5063

40302015105

0Knob

4.510

2.751.76.7.47.26.11

03 .032

ATTACK

Time (sec)

5063

40302015105

0Knob

7.1720.63

3.141.34.53.31.17.07

03 .015

HOLD

Envelope Times


PITCH MODULATION INTERVAL CHARTS

PositiveStack Modulation

minor 2ndmajor 2ndminor 3rdmajor 3rdperfect 4thminor 5thperfect 5thminor 6thmajor 6thminor 7thminor 9thmajor 9thoctaveminor 10thmajor 10th

+8+16+24+32+40+49+57+65+73+81+89+97+105+113+121

Amount Interval

PositiveLFO

minor 2ndmajor 2ndminor 3rdmajor 3rdperfect 4thminor 5thperfect 5th

+16+33+49+65+81+97+113

Amount Interval

NegativeLFO

minor 2ndmajor 2ndminor 3rdmajor 3rdperfect 4thminor 5thperfect 5thminor 6th

-16-32-48-64-80-96-112-128

Amount Interval

NegativeStack Modulation


-8-16-24-32-40-48-56-64-72-80-88-96-104-113-121

Amount Interval

Pitch Envelope


±8±16±24±32±40±48±56±64±72±80±88±96±104±112±120 Etc. up to ±256

Amount Interval

These charts mayprove helpful whenmodulating pitch. Set-ting the amounts asshown, will producethe indicated intervals.

When Pitch Wheelis used as thecontroller, Doublethe ModulationAmounts shown.

Pitch Modulation Interval Charts


ZONE MAP CHART

24

Misc. Perc.Misc. Perc.Misc. Perc.

CymbalCymbalCymbal

TomTom

Cymbal

Claps

Misc. Perc.Misc. Perc.

202122

161718

131415

19

23

394658

505165

4547, 48

49

37

6059

545668

505153

4547,48

49

39

7169

595753

5854

60-67

505256

49

5155

Hi-HatHi-HatHi-Hat

SnareSnareSnare

KickKick

Snare

Hi-Hat

TomTom

89

10

456

123

7

1211

ZoneSound

445456

535774

365238

42

4340, 41

Key #Standard

444675

406065

353638

42

4341

Key #Roland

444637

394345

3638

40,41

42

4847

Key #SP-12

697172

626465

575960

67

7674

485052

414345

363840

47

53

Key #Default

55

ZONE MAP CHART

There are four different factory zone maps resident in ROM. The chartbelow shows how the Zone Maps translate MIDI key numbers to Zones.

Alesis............................... StandarddrumKat .......................... StandardE-mu SP-12 ..................... SP-12Aphex Impulse................ StandardRoland Octapad I ............ RolandRoland Octapad II ........... RolandRoland Pad 80 ................ RolandRoland SPD8................... RolandRoland R5 / R8 ................ Roland

Do not confuse theStandard Zone Mapwith the StandardFactory Kit Layout.

Always check theZone Map if zonesseem to disappear orare not being correctlyassigned.

In the Default ZoneMap, the 24 zones fallon consecutive whitekeys starting at keynumber 36.

Zone Map Mysteries


Audio Channels: 32

Audio Outputs: 6

Submix Inputs: 4

Max. Output Level: +4 dB into 600Ω

Output Impedance: 100Ω

MIDI: In, Out, Thru

Data Encoding: 16 bit Linear

Sample Playback Rate: 39kHz

Signal to Noise: >90 dB

Dynamic Range: >90 dB

Frequency Response: 20Hz-18kHz

THD +N: <.05%

IMD: <.05%

Power Requirements: 25 Watts

Operating Temperature: 110° F Max.

Dimensions: H: 1.75" W: 19" L: 8.5"

Weight: 4 lb, 7 oz (2 Kg)

TECHNICAL SPECIFICATIONS

Specifications


RECEIVED CHANNEL COMMANDSChannels number (n) = 0-15. Message bytes are represented in hex. Allother numbers are decimal.

Command Message Comments

Note Off 8n kk vv release velocity is ignored

Note On 9n kk vv velocity 0 = note off

Program Change Cn pp

Channel Pressure Dn pp

Pitch Wheel En ll mm l = lsb, m = msb

Realtime Controller Bn cc vv cc = 00-31

Footswitch Bn cc vv cc = 64-79, vv ≥ 64 = on

Volume Bn 07 vv

Pan Bn 0A vv 0 = hard left, 127 = hard right

Reset All Controllers Bn 79 00 ignored in omni mode

All Notes Off Bn 7B 00 ignored in omni mode

Omni Mode Bn 7D 00 forces all notes & controls off

Mono Mode Bn 7E 00 forces all notes & controls off

Poly Mode Bn 7F 00 forces all notes & controls off

MIDI SPECIFICATIONS

Received Channel Commands


MIDI SPECIFICATIONS

RECEIVED SYSTEM COMMANDSFor system exclusive commands, the following format is used:

F0 system exclusive status byte18 E-mu ID byte06 product ID bytedd device ID bytecc command byte… data bytesF7 EOX


Kit Data Request F0 18 06 dd 00 ll mm F7 ll = kit # lsb,1024 = bank 0 (0-63) mm = msb1025 = bank 1 (64-127)1026 = bank 2, .. thru max bank

Kit Data F0 18 06 dd 01 ll mm ... cs F7cs = checksum = sum of all data bytes

Parameter Value Req. F0 18 06 dd 02 pl pm F7pl = parameter # lsb, pm = msb

Parameter Value F0 18 06 dd 03 pl pm vl vm F7vl = value lsb, vm = msb

User Zone Map Request F0 18 06 dd 04 zz F7 zz = map #

User Zone Map Data F0 18 06 dd 05 zz ... F7

Program Map Request F0 18 06 dd 06 F7

Program Map Data F0 18 06 dd 07 ... F7

Master Settings Request F0 18 06 dd 08 F7

Master Settings Data F0 18 06 dd 09 ... F7

Configuration Request F0 18 06 dd 0A F7

List Request F0 18 06 dd 0C ll F7 ll: 0 = kits, 1 = stacks, 2 = instruments

Two MIDI bytes (lsb,msb) are required foreach 14 bit data word.Bits 0-6 are sent first,followed by bits 7-13 inthe next MIDI byte. Alldata words are signed2's complement valueswith sign-extension outto the most significantbit (bit 13). This con-vention applies to alldata words, regardlessof the parameter'svalue range.

Received System Commands


MIDI SPECIFICATIONS

TRANSMITTED SYSTEM COMMANDS


Kit Data F0 18 06 dd 01 ll mm ... cs F7cs = checksum = sum of all data bytes

Parameter Value F0 18 06 dd 03 pl pm vl vm F7 vl = value lsb,vm = msb

User Zone Map Data F0 18 06 dd 05 zz ... F7 zz = map #

Program Map Data F0 18 06 dd 07 ... F7

Master Settings Data F0 18 06 dd 09 ... F7

Configuration F0 18 06 dd 0B vv r1 r2 r3kl km sl sm s1 l1 m1 s2 l2 m2 F7

vv = version r1, r2, r3 = revision # kl, km = # of kitssl, sm = # of stacks s1 = sound set 1 l1, m1 = # of insts

s2 = sound set 2 l2, m2 = # of insts

List Data F0 18 06 dd 0D ll ... ... F7ll: 0 = kits, 1 = stacks, 2 = instruments

Note: When sending a bank of kits to Procussion, the host shouldpause for about 100 milliseconds between each kit message.

MIDI GLOBALSOne group of global parameters determines how the machine willrespond to all MIDI commands. These variables are stored in nonvolatileRAM, and can be modified from the front panel or edited with systemexclusive commands. The standard MIDI program change, volume, andpan commands can also be used “on the fly” for individual channels.

One of three mutually exclusive modes (omni, poly, multi) is selectableby the user. A MIDI mode change command will turn off all notes andreset all controllers.

Transmitted System Commands


PARAMETER EDITINGParameters may be edited individually using system exclusive com-mands. The kit being edited is the current kit. The value of a givenparameter may be changed by sending a parameter value command. Thevalue of a parameter may be read by sending a parameter value request,to which the machine will respond by sending back the parameter valuecommand.

Kit data may also be transmitted or received in a single block (onecomplete kit) using system exclusive commands. A kit data request maybe issued by a host computer, to which the machine will respond bysending the data block for the requested kit. Conversely, the computermay send new kit data which will replace the specified kit currently in themachine.

DATA DUMPSThe user can send kits and global data via MIDI for backup onto asequencer or other device. The options are:

Master settingsMIDI program/kit mapUser zone mapsFactory kitsAll user kitsOne kit

PROGRAM/KIT MAPMIDI program changes will normally correspond to internal kit numbers0 to 127. However, the user may ‘re-map’ any MIDI program number,assigning it to an arbitrary internal kit. This feature allows any of theinternal kits to be selected from a MIDI keyboard controller.

SOUND SETSA sound set consists of 4 Megabytes of sample data (sound ROMs), plusadditional instrument data in the program ROMs. Procussion may con-tain one or two complete sound sets. Each sound set has a unique IDnumber.

MIDI SPECIFICATIONS

Parameter Editing


In order to achieve compatibility between different configurations, it isnecessary to include the sound set number as part of the instrumentnumber when exchanging data. The instrument number (as expressedover MIDI) contains two fields: bits 9-11 specify the sound set (0-7) andbits 0-8 specify the instrument within the sound set (0-511).

Instrument bit fields: 11 9 8 0<—sound set—> <———instrument #———>

(3 bits) (9 bits)

Within any given sound set, the first instrument is #1, and #0 selects“None”. The first version of Procussion will contain sound set #0.

CONFIGURATION MESSAGEExternal software may request the machine’s configuration. The configu-ration message consists of the following information:

versionsoftware revision stringnumber of kitsnumber of stacksnumber of instruments in each sound setsound set ID numbers

LIST REQUESTThe list request allows external software to upload the names of kits,instruments, and stacks as an array of ASCII strings. This allows editor/librarian programs to automatically configure to any future versions ofProcussion. Each element in the array is a 13-byte string consisting of 12ASCII name bytes followed by a null (zero) terminator.

MIDI SPECIFICATIONS

Configuration Message


MIDI SPECIFICATIONS

DATA FORMATSParameter Changes: All individual parameter changes use signed 14-bitvalues to represent the parameter number and value. Two MIDI bytes(lsb, msb) are required for each 14-bit data word. Bits 0-6 are sent first,followed by bits 7-13 in the next MIDI byte. All data words are signed 2’scomplement values with sign-extension out to the most significant bit (bit13). This convention applies to all data words, regardless of the parameter’svalue range.

Kits: Kit data is transmitted and received using the following format: Thestandard system exclusive header (described below) is followed by the kitnumber (lsb, msb), 1 or 2 bytes for each parameter value (see parameterlist), a one-byte checksum, and the end-of-exclusive byte (F7). Thechecksum is the modulo 128 sum of all the parameter value bytes; that is,all of the data bytes following the kit number and before the checksum.

The kit is transferred in the following sequence:

general kit parameterszone parameters for zone #0, 1, 2 ... 23stack parameters for stack #0, 1, 2, ... 7

Within each stack, the sequence is:

general stack parameterslayer parameters for layer #0,1,2,3

Refer to the parameter list for the actual ordering within each group.

Master Settings: The master settings are transferred in a group using 1 or2 bytes for each parameter value. The sequence is as follows:

global parametersMIDI channel parameters for channel #0, 1, 2, ... 15

Program/Kit Map: Each entry in the program/kit map is a 14-bit word inlsb, msb format as described above for parameter changes.

User Zone Map: The user zone map is transmitted as a 7-bit low key andhigh key for each zone, for a total of 48 MIDI bytes (excluding the sys exheader and EOX).

Data Formats


MIDI SPECIFICATIONS

PARAMETERS

Parameter Number EncodingBecause of the large number and different types of parameters inProcussion, the parameter number is actually a code made up of several“bit fields” which contain different information. Within the 14-bit param-eter number, the two most-significant bits (the “T” field) determine theparameter type, and the meaning of the other bits is dependent on thetype, as follows:

13 12 11 10 9 8 7 6 5 4 3 2 1 0 MSB LSB

0 0 PX

Kit parameter: T = 0P = parameter #X = don’t care

13 12 11 10 9 8 7 6 5 4 3 2 1 0 0 1 PZ

Zone parameter: T = 1Z = zone # (0-23)P = parameter #

13 12 11 10 9 8 7 6 5 4 3 2 1 0 1 0 PS L

Stack/layer parameter: T = 2S = stack # (0-7)L = layer # (0-3) if applicable, else don’tcareP = parameter #

13 12 11 10 9 8 7 6 5 4 3 2 1 0 1 1 PX C

Master parameter: T = 3C = MIDI ch. (0-15) if applicable, else don’t careP = parameter #X = don’t care

Parameters


MIDI SPECIFICATIONS

Please note: In the following tables, the “size” specification refers to thenumber of MIDI bytes used when transferring kit data or master settingsas a whole; when sending or reading individual parameter values, twoMIDI bytes are always used.

KIT PARAMETERS (T=0)

Parameter # Parameter Name Size Range

P= 0-11 kit name (12 ascii chars) 12 32-12712 mod source 1 1 0-913 mod dest 1 1 0-5714 mod amount 1 2 -128 to +12715 mod source 2 1 0-916 mod dest 2 1 0-5717 mod amount 2 2 -128 to +12718 footswitch dest 1 1 0-3919 footswitch dest 2 1 0-3920 trigger tempo 2 0-24021 velocity curve 1 0-9

ZONE PARAMETERS (T=1)


P= 0 stack select 2 0- # of stacks1 low key 1 0-1272 high key 1 0-1273 coarse tune 1 -48 to +484 fine tune 1 -64 to +635 volume 1 0-1276 pan 1 -8 to +77 output 1 0-158 assign mode 1 0-139 nontranspose 1 0-110 enable patch 1 1 0-111 enable patch 2 1 0-112 enable footswitch 1 1 0-113 enable footswitch 2 1 0-1

Kit Parameters


MIDI SPECIFICATIONS

STACK PARAMETERS (T=2)


P= 0-9 stack name (10 chars) 10 32-12710 mod source 3 1 0-911 mod dest 3 1 0-5712 mod amount 3 2 -128 to +12713 mod source 4 1 0-914 mod dest 4 1 0-5715 mod amount 4 2 -128 to +12716 mod source 5 1 0-917 mod dest 5 1 0-5718 mod amount 5 2 -128 to +12719 mod source 6 1 0-920 mod dest 6 1 0-5721 mod amount 6 2 -128 to +12722 footswitch dest 3 1 0-1523 footswitch dest 4 1 0-1524 LFO amount 2 -128 to +12725 LFO shape 1 0-326 LFO rate 1 0-6327 LFO dest 1 0-1028 switch mode 1 0-729 switch group 1 0-130 switch source 1 0-1031 switch point 1 1 0-12732 switch point 2 1 0-12733 switch point 3 1 0-127

Stack Parameters


LAYER PARAMETERS


P= 64 layer instrument 2 0- # of insts65 coarse tune 1 -48 to +4866 fine tune 1 -64 to +6367 volume 1 0-12768 pan 1 -7 to +769 reverse 1 0-170 delay 1 0-6371 start offset 2 0-25572 alt env on/off 1 0-173 alt env attack 1 0-6374 alt env hold 1 0-6375 alt env decay 1 0-6376 pitch env on/off 1 0-177 pitch env decay 1 0-6378 pitch env amount 2 -256 to +255

MASTER PARAMETERS (T=3)


P= 0 MIDI basic channel 1 0-151 master tune 1 -64 to +632 transpose 1 -12 to +123 MIDI mode 1 0-24 device id number 1 0-155 mode change enable 1 0-16 volume controller # 1 0-957 pan controller # 1 0-958-11 controller A-D numbers 4 0-9512-15 footswitch 1-4 numbers 4 0-9516 global trigger tempo 2 0-24217 auto-select 1 0-118 remote edit 1 0-119 audition layer * 0-432-47 submix output 16 0-8

* This parameter is not included in the “master settings” message.

MIDI SPECIFICATIONS

Layer Parameters


MIDI SPECIFICATIONS

PER MIDI CHANNEL


P= 64 kit select 2 0- max kit #65 MIDI volume 1 0-12766 MIDI pan 1 -8 to +767 global velocity curve 1 0-1068 envelope mode 1 0-169 MIDI channel enable 1 0-170 MIDI prog change enable 1 0-171 zone map 1 0-10

SysEx MESSAGE SIZES

Kit DataF0 18 06 dd 01 ll mm (1273 data bytes) cs F7 = 1282 bytes total

User Zone MapF0 18 06 dd 05 zz (48 data bytes) F7 = 55 bytes total

Program MapF0 18 06 dd 07 (256 data bytes) F7 = 262 bytes total

Master SettingsF0 18 06 dd 09 (180 data bytes) F7 = 186 bytes total

List DataF0 18 06 dd 0D ll (13 bytes x # of entries) F7

Per MIDI Channel Parameters


Hheadphones 7hi-hat

pedal connection 12switch mode 66tutorial 81

hold 38, 62

IID number, MIDI 22instrument 6, 41, 50, 60

instrument list 99-102inputs 7, 9, 11-13interval charts 104

Kkeyboard, setup 8-9key range 52key velocity 37

velocity modulation 37, 56, 64kit

description 6, 35, 50listing 90-91naming 51saving 69selection 18kit change via MIDI 26

Llayer 41, 42, 50, 60, 65-67LFO

definition 39programming 63, 64time chart 103

Mmapping, kit

See MIDI program->kitmaster menu 20master tune 20MIDIMIDI channel selection 18MIDI enable 26MIDI footswitch 28, 37, 56, 57, 65, 67MIDI in 7, 9, 11, 12MIDI mode 22MIDI mode change 27MIDI out 9, 30

INDEX

Aaccent 40, 56, 64aftertouch See pressurealternate envelope 62

See also envelope generatoralternate switch mode 66assignment mode 54attack 38, 62audition layer 68auto select 29

Cconnection instructions 7-12contour

See envelope generatorcontrols 17copy stack 69, 81copy zone 68crossfade mode 65custom stacks 59-68cursor 17

Ddecay 38, 62, 63delay

instrument delay 61time chart 103

demo sequence 31drum pads, connection 7, 10-12

Eedit menu 47envelope generator

alternate envelope 62description 32mode 26, 38pitch envelope 62, 63time chart 103

external processing 11, 13, 21, 46, 55, 88exclusive 1-8 mode 54

Ffootswitches 12, 28, 37, 57, 65, 67

Gglobal controls

global trigger tempo 23, 80global velocity curve 22

Index A-M


Rrandom number controller 56, 64random switch modes 67realtime modulation 44, 45, 56, 64remote edit 29reverse sound 62

Ssampling, basic description 32sampled sound listing 99-102saving

kits 69, 75MIDI data 30

sawtooth wave 39, 63sequencer

external sequencer setup 86-87Procussion demo sequence 31saving kits to 30

sine wave 39, 63sound start 47, 54, 67, 78, 82spatial convolution 85specifications

MIDI 107-117technical 106

split keyboard 6, 35, 50, 52square wave 39, 63stack

custom stacks 42, 50, 59-68copy stack 69description 6, 42, 50factory stack listing 92-98programming tutorial 71-88stack footswitch 65stack instrument 60stack modulation 64stack name 59stack pan 60, 77stack select 52, 76stack tune 60, 76stack volume 60, 77

submixinputs/outputs 7, 9, 13programming 23, 46, 55send/return cables 11, 13

sustain 26, 38, 62switch group 67switch mode 65-67switch source 67switch points 68

M (cont)MIDI panning control 18, 27MIDI program change 18, 26MIDI program-> kit 28MIDI specifications 107-117MIDI thru 9, 11MIDI realtime controllers 27, 44, 45

amounts 56, 64modulation assignment 56, 64

controller numbers 27, 45MIDI system exclusives 108-117

ID number 22MIDI volume control 18, 27mix outputs 7, 9, 11, 13, 21, 46, 55modulation

description 36enable 55footswitch 12, 28, 37, 57, 65, 67interval charts 104patching 40, 42, 44, 64, 56realtime mod. 42, 44, 64, 56sources 42, 56, 64

mono assignment mode 54multi-timbral operation 19, 86

Nnontranspose mode 53

Oomni See MIDI modeoutputs, audio 7, 9, 11, 13

MIDI 9, 30

Ppan 18

MIDI control of pan 18, 27sequencer control of 87

patch 40pitch See tuningpitch envelope 62, 63pitch wheel 42, 44-45, 56, 64, 80poly See MIDI mode

See also assignment modepower requirements 13, 106

See also precautions sectionpressure 27, 37, 42, 44, 45, 56, 64Procussion Synthesis 83-85programming tips 82programming tutorial 71-88

INDEX

Index M-T


Tthreshold switch mode 66tone 42, 56, 64transpose 21triangle wave 39, 63triggering, footswitch 57trigger mode 26, 38trigger tempo 25, 59, 80tuning

master tune 20instrument tuning 60tuning zones 52, 74

Uuser zone maps 24, 25

assignment chart 25

Vvelocity curves

global 22description 43kit curves 57, 58

viewing angle 30volume

volume control 17channel volume 18MIDI volume control 18, 27sequencer control of 87stack volume 60, 77

Wwaveforms

classic 101digital 102harmonic 101instruments 99-102LFO 39, 63

Zzones

assignment mode 54copy zone 68description 6, 35, 50zone key range 52zone maps 23-25, 105zone submix 55zone tuning 52, 74zone volume 52, 53zone pan 52, 53

INDEX

Index T-Z


NOTES

Notes

EMU Procussion Manual - Polynominal.com

Documents

Transcript of EMU Procussion Manual - Polynominal.com