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manual abstract
Drum and percussion voices from this preset-voice collection are not rooted at one specific pitch; instead, you can intuitively adjust their tuning in order to match the sounds of other instruments. Meanwhile, pitched-instrument voices such as piano and guitar can be assigned to pads with a specific pitch setting, thus allowing you to play several different notes together to produce chords, or with voices at different semitones assigned to the twelve pads, to freely play melodic parts. With the timing and strength of your playing reflected in the sound produced by preset voices, you can perform with practically the same level of expressiveness as afforded by acoustic instruments. ¦ Patterns The DTX-MULTI 12 can also play rhythmic or melodic phrases known as “patterns”. Capable of reproducing the sound of performances on many different instruments, each pattern can be up to several measures in length. In the same way as snare sounds are produced by striking a pad to which a snare voice has been assigned, you can start and stop the playback of a pattern by striking the pad to which it is assigned. In effect, pads with pattern assignments operate as start/stop switches whenever struck (regardless of how hard or soft they are actually struck). Your DTXMULTI 12 comes pre-loaded with 128 Preset patterns (including 3 demo patterns) containing performance data from a host of different instrument genres, and by assigning these freely to pads, you can easily create your own unique kits. For even more flexibility, you can also record your own performances and even import standard MIDI files (Format 0) to create up to 50 additional User patterns. ¦ Waves The DTX-MULTI 12 is fully equipped to playback audio files that can be created, edited, and played on computers. Commonly called “samples” or “sample data”, these files contain short portions of sound, and once imported into the DTX-MULTI 12, they are referred to as “waves”. Either WAV or AIFF type audio files can be imported into the instrument’s internal wave memory and assigned to pads in much the same way as preset voices and patterns. You can also edit imported waves. As audio files imported into the instrument’s wave memory are assigned to pads as a single voice much like preset voices and patterns, the term “wave data” is used within this manual in the same way as “preset voice data” or “pattern data”. In contrast, the term “wave file” is used to refer to data that has not yet been imported and is handled in the form of a file on a computer, sampler, or USB memory device. TRIGGER ReferenceKITMIDI VOICEUTILITY WAVEPATTERN Owner’s Manual 31 Internal Design Internal Design The term “kit” is used to refer to a collection of preset voices, patterns, and waves assigned to each of the instrument’s built-in pads (1 to 12) and to any external pads, foot switches, or controllers connected via the PAD jacks (M to Q), the FOOT SW jack, and the HI-HAT CONTROL jack. For added convenience, the instrument comes pre-loaded with 30 different Preset kits. You are, however, free to make your own unique kits in whatever way you see fit, and up to 200 of these User kits can also be stored internally. ¦ Kits & Voices Within the DTX-MULTI 12, voice data is grouped and stored in kit units. In other words, each kit contains the voice-related information for all of its pad and controller assignments. Whenever a User kit is created by editing voices, the voices themselves are not stored within the kit; instead, the settings for all associated parameters – such as tuning, stereo pan, attack time, release time, effects, etc. – are stored. As you would expect, each of the pads can have different parameter settings. Therefore, even when the Select Voice page shows the same voice assigned to two or more pads, the sounds produced by each will not necessarily be the same. ¦ Voice Layers Using the DTX-MULTI 12’s Layer function, you can assign a number of different voices to a single pad or external controller. Specifically, this instrument allows up to four layers (A to D) to be setup per pad, meaning that each pad can play as many as four different voices. These layered voices can also be triggered in a number of different ways – for example, they will all play together in Stack mode, a different one will be played for each strike in Alternate mode, and they can be sustained and turned off on each successive strike in Hold mode. In order that the Layer function may be put to use, the pad in question must first be setup to send multiple MIDI messages whenever struck. Then, voices are assigned to each of the layers, and a layer playing mode is specified for the pad. For more details, refer to the section Specifying MIDI note numbers and assigning voices to each on page 34. Arrangement of Voice Layers When Pad 1 is struck, layers A through D are all played simultaneously. Layer A VCE1 -..-c GM001:GrandPiano VCE1 -..-¬ GM025:NylonGtr VCE1 -..-oe GM041:Violin VCE1 -..-. GM051:SynthStr1 Layer B Layer C...