E-Mu Pro/cussion User Manual

Procussion operation manual

INTRODUCTION 5

Procussion ............................................................................................................................... 6

CONNECTION INSTRUCTIONS 7

Basic Pad Setup ...................................................................................................................... 7

Quick Setup for MIDI Keyboard ......................................................................................... 8

Keyboard Setup ..................................................................................................................... 9

Quick Setup for MIDI Drum Pads .................................................................................... 10

Live Performance Setup ...................................................................................................... 11

Electronic Drum Kit Setup ................................................................................................. 12

Overview of Outputs .......................................................................................................... 13

BASIC OPERATION 15

Controls ................................................................................................................................. 17

Selecting Kits ........................................................................................................................ 18

Selecting MIDI Channels, Volume and Pan .................................................................... 18

Multi-Timbral Operation .................................................................................................... 19

Master Menu Functions ..................................................................................................... 20

Master Tune .......................................................................................................................... 20

Transpose .............................................................................................................................. 21

Submix Outputs ................................................................................................................... 21

MIDI Modes ......................................................................................................................... 22

Global Velocity Curve ......................................................................................................... 22

Global Trigger Tempo ......................................................................................................... 23

Zone Maps ............................................................................................................................ 23

User Zone Maps 1 + 2 ......................................................................................................... 24

Drum Replacement with the User Zone Maps................................................................ 24

Procussion Factory Zone Assignment Chart ................................................................... 25

Envelope Mode .................................................................................................................... 26

MIDI Enable ......................................................................................................................... 26

Program Change .................................................................................................................. 26

MIDI Mode Change............................................................................................................. 27

MIDI Controller Assign ...................................................................................................... 27

MIDI Footswitch Assign ..................................................................................................... 28

MIDI Program -> Kit ........................................................................................................... 28

Auto Select ............................................................................................................................ 29

Remote Edit .......................................................................................................................... 29

Send MIDI Data ................................................................................................................... 30

Viewing Angle ..................................................................................................................... 30

Demo Sequence .................................................................................................................... 31

About Procussion ................................................................................................................ 32

CONTENTS

PROGRAMMING BASICS 33

Modulation ........................................................................................................................... 36

Procussion Modulation Sources ........................................................................................ 37

Envelope Generators ........................................................................................................... 38

Low Frequency Oscillators ................................................................................................. 39

CONTENTS

Procussion operation manual

PROGRAMMING BASICS (cont)

Modulation Patches ............................................................................................................. 40

Accent and Volume ............................................................................................................. 40

Instrument Layer Block Diagram ...................................................................................... 41

Key Number ......................................................................................................................... 41

Stack Block Diagram ........................................................................................................... 42

Velocity Curves .................................................................................................................... 43

MIDI Realtime Controls...................................................................................................... 44

Stereo Mix Outputs ............................................................................................................. 46

EDIT MENU 47

Enabling the Edit Menu ...................................................................................................... 49

Procussion Block Diagram ................................................................................................. 50

Kit and Zone Programming Functions

Kit Name and Keyboard Character Charts ...................................................................... 51

Stack Select............................................................................................................................ 52

Key Range ............................................................................................................................. 52

Zone Tuning ......................................................................................................................... 52

Zone Volume ........................................................................................................................ 53

Zone Pan ............................................................................................................................... 53

Nontranspose ....................................................................................................................... 53

Assignment Mode ............................................................................................................... 54

Zone Submix......................................................................................................................... 55

Modulation Enable .............................................................................................................. 55

Footswitch Enable................................................................................................................ 56

Modulation Patch 1 and 2................................................................................................... 56

Footswitch Control .............................................................................................................. 57

Velocity Curve ..................................................................................................................... 57

Trigger Tempo ..................................................................................................................... 59

Stack Programming Functions

Stack Name and Keyboard Character Chart ................................................................... 59

Stack Instruments ................................................................................................................ 60

Stack Tune............................................................................................................................. 60

Stack Volume........................................................................................................................ 60

Stack Pan ............................................................................................................................... 60

Delay/Sound Start............................................................................................................... 61

Reverse .................................................................................................................................. 62

Alternate Envelope .............................................................................................................. 62

Pitch Envelope ..................................................................................................................... 62

Low Frequency Oscillator .................................................................................................. 63

Stack Modulation Control .................................................................................................. 64

Stack Footswitch 3 and 4 .................................................................................................... 65

Switch Mode ......................................................................................................................... 65

Switch Group ....................................................................................................................... 67

Switch Source ....................................................................................................................... 67

Switch Points ........................................................................................................................ 68

Audition Layer ..................................................................................................................... 68

Procussion operation manual

Copy and Save Functions

Copy Zone ............................................................................................................................ 68

Copy Stack ............................................................................................................................ 69

Save Kit ................................................................................................................................. 69

PROGRAMMING PROCUSSION 73

Creating a Custom Kit ........................................................................................................ 73

Editing Kits ........................................................................................................................... 74

Programming Tutorial ........................................................................................................ 75

Hi-Hat Investigation ........................................................................................................... 81

Programming Tips and Ideas ............................................................................................ 82

Procussion Synthesis ........................................................................................................... 83

Spatial Convolution ............................................................................................................. 85

Using Procussion with a Sequencer .................................................................................. 86

More Advanced Sequencing .............................................................................................. 86

CONTENTS

REFERENCE SECTION 89

Factory Kit Listing ............................................................................................................... 90

Standard Kit Layout ............................................................................................................ 91

Factory Stack Listing ........................................................................................................... 92

Instrument Listing ............................................................................................................... 99

LFO, Delay and Envelope Times ..................................................................................... 103

Pitch Modulation Interval Charts ................................................................................... 104

Zone Map Chart ................................................................................................................. 105

Technical Specifications .................................................................................................... 106

MIDI Specifications ........................................................................................................... 107

INDEX WARRANTY REGISTRATION CARD

Procussion operation manual

Introduction

INTRODUCTION

What is

MASTER EDIT DATA VOLUME

I/O

MAXIMUM PERCUSSION MODULE

PRO CUSSION?

C01 Vol127 Pan=K 031 Sluggo Drums

CURSORENTER

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

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

But this is only the beginning. Procussion gives you the ability to literally take these sounds apart and re-assemble them into an almost limitless number of entirely new percussion sounds, combining parts of one instrument with another or with any of a selection of digital waveforms also stored on ROM. The extensive cross-switching functions allow a high degree of musical expression not normally attainable from sampled percussion instruments. The 16 bit samples are arranged into 128 kit locations, 64 of which are user-programmable.

Procussion also features 32 voice polyphony allowing you to take full advantage of its layering capabilities (up to 8 sounds on each key or drum pad) and its ability to respond multi-timbrally to all 16 MIDI channels makes it ideally suited for multitrack sequencing and composing using a MIDI sequencer.

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

Basic Organization

PROCUSSION INTRO

Procussion is organized as shown in the simplified diagram below.

Procussion operation manual

MIDI Drums

Zone 1

Zone 24

Zone 2

MIDI Note # -

Zone

Drum Stack

Up to 4 Instruments

which can be

controlled or switched

in various ways.

Drum Stack

Up to 4 Instruments

which can be

controlled or switched

in various ways.

60 72 84 96

Zone

Up to 24 Zones

Zone

Drum Stack

Up to 4 Instruments

which can be

controlled or switched

in various ways.

Zones larger than 1 note are used for Tuned Percussion

PROCUSSION KIT

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

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

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

Stacks, which can be made of up to 4 percussion Instruments, are

assigned to MIDI key ranges called Zones. Up to 24 zones may be assigned in one kit.

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

Procussion operation manual

Connection Instructions - Basic Setup

CONNECTION INSTRUCTIONS

MIDI Controller

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

MIDI Out

MIDI

IN OUT THRU

Main Outs

Male RCA plug

Male Phone plug

Aux. or Tape In

OUTPUTS POWER

SUB 2

SUB 1

LLLR

MAIN

Amp

Setup #1 BASIC PAD SETUP

Use the Left Main Output

for Stereophones

STEREOMONO

Mixer

■

If Procussion does not

seem to be responding correctly, make sure that both Procussion and your MIDI Controller are set to the same MIDI channel.

Home Stereo

System

Speakers

Home Studio

System

This diagram shows a typical equipment setup for the Procussion.

MIDI In

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

Outputs

- Procussion is a high quality, stereo audio device. In order to reproduce its wide dynamic range and frequency response, use a high quality amplification and speaker system such as a keyboard amplifier or home stereo system. A stereo setup is highly desirable because of the added realism of stereophonic sound. Headphones can be used if an amplifier and speaker system is not available. Plug stereo headphones into the Left Main output jack. The Right Main output jack serves as a mono output when the left jack is not plugged in.

Quick Setup - MIDI Keyboard

Procussion operation manual

QUICK SETUP Using the PROCUSSION with a MIDI Keyboard

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

SET LEVELS

1) 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 line in the display.

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

PROCUSSION SETUP

The Zone Map function re-maps every kit in Procussion to fit your MIDI keyboard. This is much easier than having to modify each individual kit.

1) Press the Master button on Procussion.

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 display reads something other than “Kit”, press the Cursor button to move the flashing cursor to the bottom line in the display, then press it again so that 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.

Procussion operation manual

MIDI Controller

(MIDI Keyboard, Sequencer, etc.)

Connection Instructions - Keyboard Setup

Setup #2 KEYBOARD SETUP

Computer

MIDI Out

MIDI In

Male RCA plug

Male Phone plug

Aux. or Tape In

Home Stereo

System

MIDI

IN OUT THRU

Main Outs

MIDI In

OUTPUTS POWER

SUB 2

SUB 1

LLLR

Sub 2

MAIN

Sub 1

STEREOMONO

Main

Additional

MIDI

Devices

MIDI In

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

MIDI Out

- The MIDI Out jack is normally used to transmit program data

to a computer or other device.

MIDI Thru

- MIDI Thru transmits an exact copy of the messages received

at 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 stereo pairs in order to be further processed or mixed separately.

Quick Setup - MIDI Drum Pads

QUICK SETUP Using the PROCUSSION with Drum Pads

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

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

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

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

Procussion operation manual

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

Your MIDI Controller

assigns each

Pad a MIDI Number

Note #43

Tom Tom

Note #38

Main Snare

drumKAT

Note #50

Note #45 Tom Tom

Note #39 Aux. Snare

Cymbal

Note #46

Perc.

Note #47 Tom Tom

95 96 98

MIDI Key #

Note #49

Cymbal

Note #52

Hi Hat

Aux. Snare

Cymbal

Percussion

Cymbal

Standard Factory Kit Layout

33 35 36 38 40 41 43 45 47 48 50 52 53

Note #51

Cymbal

55 57 59 60 62 64 65 67 69 71 72 74 76 77 79 81 838486 88 89 91 93

Main Snare

Tom Tom

Cymbal

Hi Hat

Use the Standard Factory Kit Layout to assign your Drum Pads so that most of the

Procussion Factory Kits will match up with your pad assignments.

Procussion operation manual

Connection Instructions- Performance Setup

SETUP #3 LIVE PERFORMANCE SETUP

MIDI Controller

(MIDI Drum Pads, Keyboard, etc.)

MIDI In

MIDI Out

MIDI

IN OUT THRU

Sub Output Return

(To Main Output)

drumKAT

OUTPUTS POWER

SUB 2

Effect Device

SUB 1

LLLR

Send/Return

Effect Device

STEREOMONO

MAIN

Main Outputs

Additional

MIDI

Devices

MIDI In

Tip Ring

To Effect From Effect

SEND/RETURN CABLES

MIDI In

- Procussion is controlled by MIDI messages received at the MIDI

In connector. Connect the MIDI In of Procussion to the MIDI Out connector of a MIDI controller such as a MIDI percussion controller, or MIDI keyboard.

MIDI Thru

- The MIDI Thru jack is used to connect additional MIDI

devices onto the MIDI chain. MIDI Thru transmits an exact copy of the messages received at the MIDI In jack.

Outputs

- Each of the Sub 1 and Sub 2 output jacks on the Procussion are

stereo jacks. The tip of each jack (accessed when a standard phone plug is inserted) connects to the left or right output of that group. If a stereo plug is inserted, the Ring of the stereo plug serves as a signal Return which sums into the Main outputs. See page 13 for additional details.

Connection Instructions - Electronic Drum Kit

SETUP #4 FULL ELECTRONIC DRUMKIT

MIDI Controller

(MIDI Drum Pads or Trigger Device)

drumKAT

Trigger Input 1

Control

Footswitch

■

Make sure that the velocity response is correctly calibrated on your MIDI Drum Pads.

Pedal

Hi-Hat and

Control Pedal

Set to:

Modulation

PocKet

PEDAL

Pocket

Pedal

MIDI Out

Procussion operation manual

External Pads

Kick Drum

Pedal

▼

When using the Anatek Pocket Pedal, the first pedal movement determines the pedal's polarity.

Down 1st = Normal Up 1st = Reversed

■

The Hi-Hat Pedal corresponds to MIDI key number 52 in the Standard Factory Kit Layouts.

MIDI In

MIDI

IN OUT THRU

SUB 2

OUTPUTS POWER

SUB 1

LLLR

STEREOMONO

MAIN

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

Kick Drum Pedal In

- In this example, a spring-loaded trigger pedal by

Drum Workshop is used. Connect the output of the pedal to Trigger #1 of your MIDI drum pads.

Hi-Hat Pedal In

- A standard electronic music voltage pedal functions as

a combination Hi-Hat/Control Pedal. In this example, an Anatek Pocket Pedal is used to merge the pedal into the MIDI data. Connect the Footswitch and CV Pedal to the inputs of the Pocket Pedal as shown in the example above. See your dealer about obtaining a suitable control pedal.

MIDI

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

Outputs

- Connect the audio outputs to your other equipment as shown

in setup procedures 1, 2, and 3.

Procussion operation manual

SUBMIX OUTPUTS

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

Therefore, the Sub 1 and Sub 2 jacks can serve as effect sends and returns in order to further process selected instruments and then return them to the 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 instruments without using the effects bus on the mixing board. In a pinch, the effect returns could also be used to sum additional instruments into the main outputs of the Procussion.

Submix I/O

Procussion Output Section

L Bus

R Bus

Tip

RL RL RL

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

Tip

Ring

SUB 2 SUB 1 MAIN

Ring

Tip

Ring

Tip

Tip Tip

Ring

POWER UP!

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

Sub Output Return

(To Main Output)

Tip Ring

To Effect From Effect

SEND/RETURN CABLES

■

Use Send/Return cables as shown above to access the Submix Return points.

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

Procussion automatically switches itself for 110 or 220 Volt operation.

Procussion operation manual

Procussion operation manual Basic Operation

BASIC OPERATION

Procussion operation manual

Procussion operation manual Main Controls

BASIC OPERATION

MAIN CONTROLS

MIDI

ACTIVITY

I/O

MAXIMUM PERCUSSION MODULE

POWER

SWITCH

MASTER MENU

SELECT

■

Power Switch

■

MIDI Activity LED

■

Master Menu Select Button

EDIT MENU

SELECT

MASTER EDIT DATA VOLUME

BUTTON

- Switches AC power to the Procussion ON and OFF.

- Indicates that MIDI data is being received.

C01 Vol127 Pan=K 031 Sluggo Drums

DISPLAY

ENTER

- The Master menu contains parameters

CURSOR

CONTROL

CURSORENTER

DATA ENTRY

CONTROL

VOLUME

CONTROL

that affect the entire machine, not just certain Kits. An illuminated LED above the button indicates that you are in the Master menu.

■

Edit Menu Select Button

- The Edit menu is used when you want to

change parameters of a Kit. An illuminated LED above the button indicates that you are in the Edit menu.

■

Enter Button

- The Enter button is used as a “Home” key or to initiate

a particular operation within the Procussion. The red LED above the enter button flashes to indicate that the Procussion is waiting for your response.

■

Cursor Control

- This button moves the cursor to the next parameter

on the display. (The cursor is a little flashing line underneath one of the parameters in the display.) Press the cursor control repeatedly until the cursor is underneath the desired parameter. The cursor can also be moved bidirectionally using the data entry control while the cursor select button is being held down (i.e. Press and hold the cursor button and turn the data entry knob).

■

Data Entry Control

- The data entry control is a stepped, variable control

which is used to change parameter values. The control increments or decrements the current value one unit with each click.

■

Volume Control

- This is the master volume control for all audio

outputs. Note: For maximum dynamic range, set this control at full level.

BASIC OPERATION

KIT SELECTION

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

Procussion operation manualChannel Selection

■

If your Procussion is

not responding properly or plays the wrong kit, make sure that Procussion and your MIDI controller are set to the same MIDI channel and that the MIDI Volume is turned up.

For more information about MIDI, see MIDI Realtime Controls on page 44.

C01 Vol127 Pan=K 00

0 Kit Name ÷ Kit Information

÷ MIDI Channel Parameters

MIDI CHANNEL SELECTION

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

1 Vol127 Pan+0

000 Kit Name

CHANNEL VOLUME

Press the cursor key repeatedly until the cursor is underneath the volume value. Rotate the data entry control to select volume 00-127. (This is the same parameter as MIDI volume control #7, and changes made over MIDI will be shown in the display.)

■

Channel Pan should normally be set to “K” unless realtime control of panning is desired. This will allow the preprogrammed pan settings for each zone or stack to be used.

CHANNEL PAN

Press the cursor key repeatedly until the cursor is underneath the pan value. 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. Any other value will override the pan parameter in the kit. (This is the same parameter as MIDI pan control #10, and changes made over MIDI will be shown in the display.)

Procussion operation manual Multi-Timbral Operation

BASIC OPERATION

MULTI-TIMBRAL OPERATION

Multi-timbral operation means that the Procussion can play more than one kit at the same time. For example, a MIDI sequencer could be playing one kit while you play along on another. To access multiple kits on different MIDI channels simultaneously, follow these instructions:

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

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

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

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

Channel 01

Channel 02

Channel 03

Volume

Pan

Volume

Pan

Volume

Pan

KIT

■

Kit numbers for each MIDI channel can also be selected via MIDI program changes. (This is so simple that it is often overlooked.)

Channel 16

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

Volume

Pan

KIT

Master Menu

MASTER MENU

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

TO ENABLE THE MASTER MENU

Press the Master key, lighting the LED. The current screen will be the one most recently selected since powering up the Procussion. The cursor will appear underneath the first character of the screen heading on line one.

TO SELECT A NEW SCREEN

Press the cursor key repeatedly (or hold the cursor key while turning the data 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.

Procussion operation manual

TO MODIFY A PARAMETER

Press the cursor key repeatedly (or hold the cursor key while turning the data entry control) until the cursor is underneath the parameter value. Rotate the data entry control to change the value.

TO RETURN TO KIT SELECT MODE

Press the Master key, turning off the LED.

MASTER MENU FUNCTIONS

MASTER TUNE

Master Tune adjusts the overall tuning of all kits so that the Procussion

may be tuned to other instruments. The master tuning range is ± 1

semitone 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

Procussion operation manual

TRANSPOSE

This function transposes the key of the Procussion in half-step intervals.

The transpose range is ± 12 semitones or one octave.

TRANSPOSE +12 semitones

SUBMIX OUTPUTS

The function provides a convenient method of assigning types of instruments a particular output. For example, you might want to direct the kick drum to one of the submix output for external processing. Each zone may be assigned to a particular submix group for each kit (As programmed in the Edit menu). The Submix Output function assigns each of the 16 Submixes to a particular output channel or turns the submix Off. The Submix Output function selects at which output jack each submix group will 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 be directed to a separate output jack. This function also allows you to change the output assignment of the factory kits.

SUBMIX OUTPUTS Kick ->Main

Transpose

MASTER MENU

SUBMIX LAYER

Layer 1---- > Sub 1L Layer 2---- > Sub 1R Layer 3---- > Sub 2L

Layer 4---- > Sub 2R

■

If no plugs are inserted into the sub outputs, the audio will be automatically directed to the main outputs.

EDIT MENU MASTER MENU

Layer 4

Outputs

Main

Sub 1

Sub 2

Zone

1 2 3 4 5 6 7 8

(Sub 16 Set to Submix Layer)

Each zone is assigned to a submix group in the Edit menu. Each submix group is assigned to

the output jacks in the Master menu. The Edit menu functions are programmed for each kit.

The Master menu functions affect ALL kits.

Submix

Kick Snare Hi-hat Tom 1 Tom 2 Sub 6 Sub 7

Sub 16

Layer 1

Layer 2

Layer 3

MIDI Mode

MASTER MENU

Procussion operation manual

MIDI MODE

This function selects one of the four MIDI modes and the MIDI system exclusive ID number.

■ Omni mode - Procussion responds to note information on all MIDI

channels and plays the kit currently displayed in the main screen.

■ Poly mode - Procussion only responds to note information received on

the currently selected MIDI channel (on the kit selection screen) and plays that channel’s associated kit.

■ Multi mode - Procussion responds to data on any combination of MIDI

channels and plays the specific kit associated with each of the MIDI channels.

■ ID number - This function allows an external programming unit to

distinguish between multiple Procussion units. When an external programmer is being used, each Procussion should have a different ID number. When transferring SysEx data from one Procussion to another, both units must have the same ID number.

MIDI MODE ID Omni 00

GLOBAL VELOCITY CURVE

Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or to better adapt to a MIDI controller. This function allows you to select one of the 9 velocity curves or leave the velocity data unaltered (Linear) for each MIDI channel. When "Kit" is selected, the velocity curves selected in the kits are used. For more information on the velocity curves, see page

43.

GLOBAL VEL CURVE C01 Curve #4

Procussion operation manual Global Pitch Bend

260

120

180

127

Output

Amount

Tempo Played

Trigger Tempo

MASTER MENU

GLOBAL TRIGGER TEMPO

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

GLOBAL TR TEMPO 101 BPM

ZONE MAPS

This function automatically sets up Procussion to respond to various types of MIDI pad controllers without reprogramming the controller. Select the Zone Map for the type of controller you are using. There are preset Zone Maps to match many popular controllers as well as two user definable maps. If you are using a MIDI keyboard, use the Kit Zone Map. Zone Maps can be selected for each of the 16 MIDI channels.

ZONE MAPS C01 Drum Kat

Zone Maps assign

MIDI Numbers to Zones

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

CURSORENTER

E-mu Systems, Inc.

Your MIDI Controller assigns each

Pad a MIDI Number

Note

#58

Note

#48

Note

#60

drumKAT

Note

#50

Note

#43

Note

#53

Note

#46

Note

#62

Note

#65

Note

#55

MIDI

POWER

ON/OFF

C01 Vol127 Pan=K 000 Kit Name

MAXIMUM

PERCUSSION MODULE

CUSSION

PRO

MASTER EDIT DATA VOLUME

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

■

When the tempo of your playing exceeds the selected Trigger Tempo, the amount of the control signal increases from zero.

▼

Make sure you are setting the Zone Map for the correct MIDI channel.

■

When using a preprogrammed Zone Map, set your MIDI controller to the following Kit numbers:

Alesis - default drumKat - Kit 21 E-mu SP-12 - default Impulse - default Roland Octa I - Kit A Roland Octa II - Kit 11 Roland Pad80 - Kit 11 Roland SPD8 - Kit 1 Roland R5 - default Roland R8 - default

User Zone Maps 1 + 2

USER ZONE MAP 1 + 2

This function allows you to program the two user definable Zone Maps. The User Zone Maps are useful to route MIDI note data from existing drum machine patterns to the appropriate stacks in Procussion for drum replacement. Each zone may be assigned a MIDI key range. The User Zone Maps are retained in memory when power is removed.

Procussion operation manual

USER ZONE MAP 1 Z01 036 -> 037

DRUM REPLACEMENT WITH THE USER ZONE MAPS

The two User Zone Maps can be used to replace tracks from your drum machine or MIDI sequencer with killer Procussion Stacks.

1) Press the Master button on Procussion.

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

ZONE MAPS C01 Kit

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

4) Turn the data knob until the display reads:

ZONE MAPS C01

User 1

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

USER ZONE MAP 1 Z01 036->036

Procussion operation manual

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

7) Assign each of your drum machine buttons to a zone. Place the cursor underneath the key number and press the button on you drum machine to automatically assign the correct number. The chart at the bottom of this page shows which types of Procussion drum sounds will be assigned to each zone. For example, if you want the first button on your drum machine to function as a snare drum, and it is assigned to note number 43, set up the display to look like this:

User Zone Maps

USER ZONE MAP 1 Z03 04

3->043

Zones 3-6 are reserved for Snare Drums (see below).

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

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

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

PROCUSSION FACTORY ZONE ASSIGNMENTS

Zone 1........... Kick Drum

Zone 2........... Kick Drum

Zone 3........... Snare Drum

Zone 4........... Snare Drum

Zone 5........... Snare Drum

Zone 6........... Snare Drum

Zone 7........... Hi-Hat

Zone 8........... Hi-Hat

Zone 9........... Hi-Hat

Zone 10......... Hi-Hat

Zone 11......... Tom

Zone 12......... Tom

Zone 13......... Tom

Zone 14......... Tom

Zone 15......... Cymbal

Zone 16......... Cymbal

Zone 17......... Cymbal

Zone 18......... Cymbal

Zone 19......... Misc. Percussion

Zone 20......... Misc. Percussion

Zone 21......... Misc. Percussion

Zone 22......... Misc. Percussion

Zone 23......... Misc. Percussion

Zone 24......... Misc. Percussion

■

All Procussion kits will not fit into the factory zone assignment scheme so this chart should be used as a basic guide rather than an absolute rule.

MASTER MENU

Procussion operation manualUser Zone Maps

ENVELOPE MODE

This function allows you to select either a Trigger or Gate mode for each of the 16 MIDI channels when MIDI note on messages are received. For more information on the Envelope Generators, see page 36.

■ Trigger mode allows a sound's volume envelope to cycle through all

its stages when a note on is received. Trigger mode is almost always used with MIDI drum pads and even when using a MIDI keyboard.

■ Gate mode allows a sound's volume envelope to cycle through its Attack

and Hold stages when a MIDI note on command is received. When the MIDI note off command is received, the Decay phase begins immediately. Gate mode is used when you want the length of the sound to be controlled by how long a key is held.

ENVELOPE MODE C01 Trigger

MIDI ENABLE

When in MIDI Multi mode, this function lets you turn each MIDI channel On or Off. This is useful when you have other MIDI devices connected and do not want the Procussion to respond to the MIDI channels reserved for the other devices. MIDI Enable only operates when in Multi Mode.

MIDI ENABLE C01 On

PROGRAM CHANGE

This function lets the Procussion utilize or ignore incoming MIDI program (also called Preset or Kit) change commands for each channel.

PROGRAM CHANGE C01 On

Procussion operation manual

MIDI Program Change

MIDI MODE CHANGE

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

MIDI MODE CHANGE Disabled

MIDI CONTROLLER ASSIGN

The Procussion allows you to assign up to six realtime control sources from your MIDI controller. These control sources could be foot pedals, data sliders or whatever. In this screen, you set up which controllers will be received by Procussion. What effect the controller will have is programmed separately for each Kit. Volume and Pan each have their own controller. Four other MIDI controllers are assigned a letter A-D. Each of the controllers can be assigned to a MIDI realtime controller number from 01-31. The MIDI controller number will be automatically sensed by simply moving the controller (pedal, wheel, etc.) when the cursor is underneath the value. This way you don't have to remember the controller numbers. For more information, see MIDI Realtime Controls in the Programming Basics section.

CONTROLLER# VOL:07 PAN:10

Next Screen:

CONTROLLER# ABCD 01 02 03 04

MASTER MENU

Some of the standard MIDI Controller numbers are listed below.

1 - Modulation Wheel or

Lever 2 - Breath Controller 3 - Pressure: Rev 1 DX7 4 - Foot Pedal 5 - Portamento Time 6 - Data Entry 7 - Volume 8 - Balance 9 - Undefined

10 - Pan

MIDI Footswitch Assign

MASTER MENU

■

Note that Procussion does not have footswitch inputs on the rear panel. Use the footswitch inputs on your MIDI controller and set Procussion to receive the footswitch commands over MIDI.

Some of the standard MIDI switch numbers are listed below.

64 - Sustain Switch

(on/off)

65 - Portamento Switch

(on/off)

66 - Sostenuto (chord

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

Procussion operation manual

MIDI FOOTSWITCH ASSIGN

Like the MIDI Controllers, 4 MIDI footswitches can be assigned to MIDI footswitch numbers. Footswitches may be assigned numbers from 64-79. The MIDI footswitch number can be automatically sensed by simply pressing the footswitch when the cursor is underneath the value. Destinations for the footswitch controllers are programmed in the Edit menu.

FOOTSWITCH# 1234 64 65 66 67

MIDI PROGRAM ➔KIT

Incoming MIDI program changes can be “mapped” to call a different numbered kit. This is a handy feature when you want a specific program number sent from your controller to be linked with a specific kit on the Procussion. Simply selecting a program on your MIDI controller will automatically call up the proper Procussion kit. Any of the kits in the Procussion may be mapped to any incoming MIDI program change number.

MIDI PROG > KIT

Selected Program

026 > 012

0 1 2 3 4 5 6 7 8 9

00 01 02 03 04 05 06 07 08 09

44 191 50 01 15 88 151 78 99 88

34 73 106 55 43 75 120 121 108

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

11 12

120 121 122 123 124 125 126 127

-- Selecting Kit 26 calls up Kit 12

Mapped

Program

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

Procussion operation manual

AUTO SELECT

When 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, it

can sometimes be confusing. Therefore, Auto-Select can be turned On or

Off.

AUTO-SELECT On

REMOTE EDIT

The Remote Edit function allows access to the front panel controls using

MIDI note-on events. When Remote Edit is turned On, MIDI key numbers

0-5 activate the following functions.

Auto-Select

MASTER MENU

MIDI NOTE # FUNCTION

0 Play Current Zone 1 Toggle MASTER menu 2 Toggle EDIT menu 3 Cursor 4 Increment Value 5 Decrement Value

Remote Edit is designed to be used with MIDI drum pads. Create a preset

on your MIDI drum pads which assigns the pads to MIDI key numbers

0-5. 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 EDIT Off

■

To Record MIDI Data into a Sequencer:

1. Setup your

sequencer to receive system exclusive data.

2. Place sequencer

into record mode, then Send Data.

Procussion operation manualSend MIDI Data

SEND MIDI DATA

This function will send MIDI System Exclusive data to the MIDI Out port of Procussion. The MIDI data can either be sent to a computer/sequencer or 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 except

program/kit map and viewing angle. This includes the Kit, Volume, and Pan information for all 16 MIDI channels.

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

■

To Receive MIDI

Data from a

Sequencer:

1. Simply play back

the sequence into Procussion.

▼

When transferring SysEx data from one

Procussion to another, the ID numbers of both

units must match.

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 the operation. To receive MIDI data, simply send the MIDI data into Procussion from another Procussion or your sequencer.

SEND MIDI DATA 024 Industry

VIEWING ANGLE

This function allows you to change the viewing angle of the display so that it may be easily read from either above or below. The angle is adjustable from +7 to -8. Positive values will make the display easier to read when viewed from above. Negative values make the display easier to read from below.

VIEWING ANGLE +7

Procussion operation manual

DEMO SEQUENCE

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

DEMO SEQUENCE Start Sequence

Demo Sequence

About Procussion

Procussion operation manual

about

PROCUSSION

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

To perform this modern miracle, sounds and instrument waveforms are first sampled into the Emulator III, our top of the line, 16 bit stereo digital sampler. After the sounds and waveforms have been truncated, looped and processed, they are “masked” into the Procussion ROM (Read Only Memory) chips.

Conceptually, the sampling process is very simple, as shown in the Basic Sampling System diagram. As a sound wave strikes the diaphragm of a microphone, a corresponding voltage is generated. To sample the sound, the voltage level is repeatedly measured at a very high rate and the voltage measurements are stored in memory. To play the sound back, the numbers are read back out of memory, converted back into voltages, then amplified and fed to a speaker which converts the voltage back into sound waves. Of course, playing back 32 channels at different pitches tends to complicate matters, but this is basically how it works. In Procussion, we have left out the Analog/Digital converter stage since the sounds are already sampled for you.

Analog/Digital Converter

1011001

Basic Sampling System

Memory

10100101001 01010010100 10101010100 10101001010

-3V

Digital/Analog Converter

1011001

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

Amplifier

Procussion operation manual

Instrument

TonePitch

INSTRUMENT LAYER

DelayReverse

Sample

Start

DCA

Pan

Instrument Layer Block Diagram

PROGRAMMING BASICS

Level

Accent

Modulation Destinations

Volume

Envelope

Hld

Atk Dcy

INSTRUMENT LAYER BLOCK DIAGRAM

The diagram above shows the basic architecture of a single instrument layer. 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 in ROM. The instrument can be reversed or delayed and the pitch, tone and sample start point can be modulated as shown by the small arrows.

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

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

CENTER of ZONE

-127 +1280

KEY NUMBER

Key Number is a value generated at the start of the note which varies according to which key is played. The center of the zone acts as a zero reference (no effect at the center) and increases in the positive and negative direction as shown above. The end keys of the zone are always the maximum values (-127, +128), but these can be scaled in the patch.

Stack Block Diagram

PROGRAMMING BASICS

Procussion operation manual

Modulation Sources:

Velocity Key Number Trigger Tempo (Rate) Random MIDI Control A/B/C/D Pressure Pitch Wheel LFO

Destinations:

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

VELOCITY

STACK

INSTRUMENT LAYER 1

INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

INSTRUMENT LAYER 4

Instrument

Wet Snare 2

DelayReverse

Sample

Start

TonePitch

KEY

NUMBER

TRIGGER

RATE

RANDOM

Modulation Sources

DCA

Accent

CONTROL

Level

MIDI

A/B/C/D

Volume

Envelope

Hld

Atk Dcy

PRESSURE

Pan

PITCH

WHEEL

LFO

Rate Amt

■

Drum Kits may be assembled using the factory stacks or by creating your own custom stacks. There are 8 custom stacks for each kit in Procussion.

STACK BLOCK DIAGRAM

The diagram above shows the organization of a Procussion Stack. You can think of a stack as a single sound, although it can be made up of up to four different instruments. "Stacking" instruments, in combination with the various modulation parameters can create almost unlimited variations in the final sound.

At the stack level, a modulation source can control up to four destinations or one destination can be controlled by up to four sources. The modulation sources can be applied to an individual instrument layer or all four layers simultaneously. The possible modulation routings are completely flexible as shown in the example above.

Three of the modulation destinations, Tone, Sample Start, and Pan cannot be dynamically varied during the course of the note. Their value is "locked in" at the start of the sound. All the other destinations marked with black arrows can be dynamically varied over time.

Procussion operation manual

PROGRAMMING BASICS

VELOCITY CURVES

Incoming velocity values can be scaled by one of the 10 velocity curves in order 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 be selected globally (for all kits) for each MIDI channel (Master menu), or be programmed separately for each individual kit. Experiment with the curves to find the one that works best for your style and MIDI controller.

Velocity Curves

Compresses Velocity Range. For Hard Hitters.

Expands Velocity Range. Soft -> Loud.

Outputs High Values. Linear Dynamics.

Outputs High Values Only. Limits Dynamics.

CURVE 1

127

Output

0 127

Input

CURVE 3

127

Output

0 127

Input

CURVE 5

127

Output

0 127

Input

CURVE 7

127

Output

0 127

Input

LINEAR

127

CURVE 2

127

Output

0 127

Input

CURVE 4

127

Output

0 127

Input

CURVE 6

127

Output

0 127

Input

CURVE 8

127

Output

0 127

Input

CONSTANT

127

Outputs Medium Values. Compressed Dynamics.

Expands Velocity Range. Soft -> Loud.

Outputs High Values Only. Limits Dynamics.

Shifts Velocity Values Upward. Good Dynamic Range.

Leaves Incoming Velocity Values Unaltered.

Output

0 127

Input

Output

0 127

Input

Outputs Maximum Value Only. No Dynamics.

MIDI Realtime Controllers

PROGRAMMING BASICS

MIDI REALTIME CONTROLS

The MIDI realtime controllers may seem confusing at first, but they are really very simple to understand. You probably already know that there are 16 MIDI channels that can be used. Each of the 16 MIDI channels uses 3 basic types of messages; note on/off, program changes, and continuous controller messages. Your MIDI keyboard or MIDI drum pads, in addition to telling Procussion which note was played, may also send realtime control information, which simply means occurring in real time or live. (You may be using a MIDI device other than a keyboard, but for simplicity's sake we'll presume that you're using a keyboard.) Realtime control sources include such things as pitch wheels or levers, modulation wheels or levers, control pedals, aftertouch, etc. and are used to add more expression or control. Your MIDI keyboard sends out realtime controller information on separate channels called continuous controller channels. There is a set of 32 continuous controller channels for each of the 16 MIDI channels. Some of the controller channels, such as pitch wheel, volume, and pan have been standardized. For example, volume is usually sent on continuous controller channel #7.

Procussion operation manual

MIDI

Channel 1

Note

On/Off

Program

Change

Continuous

Controllers

MIDI

Channel 2

Note

On/Off

Program

Change

Continuous

Controllers

MIDI

Channel 3

Note

On/Off

Program

Change

Continuous

Controllers

MIDI

Channel 16

Note

On/Off

Program

Change

Continuous Controllers

Common realtime controllers such as the pitch wheel, volume, pan and pressure are pre-programmed to their proper destinations. Your keyboard may have other realtime controls such as a control pedal or data slider which can also be programmed to control most of the parameters on Procussion.

The Procussion is equipped with a sophisticated MidiPatch

™ system,

which allows you to route any continuous controller to any realtime modulation destination. The MidiPatch system is also very easy to use. First, you must know which controller numbers your keyboard or pad setup can transmit.

Procussion operation manual

MIDI Realtime Controllers

PROGRAMMING BASICS

Let's say for instance, that you are using a Yamaha DX7 as your master keyboard. 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 to the Master menu, MIDI Controller Assign and define the 4 MIDI controllers that we wish to use. Assign each controller number to one of the letters A-B-C-D.

01 - Modulation Wheel A 02 - Breath Controller B 04 - Foot Pedal C 06 - 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 destinations. These could be patched to any 4 destinations or even to the same destination. The MIDI Controller Amount menu, (in the Edit menu) allows you to scale the amounts of each of the controllers by a positive or negative value. The signal flow is shown in the diagram below.

Standard MIDI Controller Numbers:

1- Modulation Wheel 2- Breath Controller

Pressure Rev 1 DX7

3 4- Foot Pedal 5- Portamento Time 6- Data Entry 7- Volume 8- Balance 9- Undefined 10- Pan

MIDI

Master Menu

0 1

MIDI

2 3

Controller

0 1

MIDI

2 3

Controller

0 1

MIDI

2 3

Controller

0 1

MIDI

2 3

Controller

Edit Menu

Amount

Control Destinations

Pitch Pitch (layer 1-4)

Volume Volume (layer 1-4) Accent Accent (layer 1-4) Attack Attack (layer 1-4) Hold Hold (layer 1-4) Decay Decay (layer 1-4) Pitch Envelope Amount Pitch Env. Amount (layer 1-4) Pitch Envelope Decay Pitch Env. Decay (layer 1-4) Pan Pan (layer 1-4) Tone Tone (layer 1-4) Sound Start Sound Start (layer 1-4) LFO Amount LFO Rate

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

Stereo Mix Outputs

PROGRAMMING BASICS

STEREO MIX OUTPUTS

Procussion 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 of these 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", and so on.

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

Procussion operation manual

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

EDIT MENU MASTER MENU

Zone

1 2 3 4 5 6 7 8

The Edit menu zone assignments are made for each particular kit, while the Master menu

Submix

Kick Snare Hi-hat Tom 1 Tom 2 Sub 6 Sub 7

Sub 16

output assignments apply to all kits.

Outputs

Main

Aux 1

Aux 2

Procussion operation manual

Programming Basics

PROGRAMMING BASICS

Procussion operation manual

General Information

PROGRAMMING BASICS

Your initial involvement with the Procussion will most likely consist of using the existing kits and selecting MIDI channels. While the factory kits are 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 your own custom kits using complex modulation routings. Entirely new sounds can be created by combining the attack portion of one sound with the body of another sound or by combining the digital waveforms with sampled sounds. There are 64 user locations (64-127) available to store your own creations or edited factory kits. Best of all, it’s easy to edit or create new kits using the edit menu.

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

MIDI Note # -

Up to 4 Instruments

controlled or switched

in various ways.

Zone

Drum

Stack

which can be

Zone 1

Drum Stack

Up to 4 Instruments

which can be

controlled or switched

in various ways.

MIDI Drums

Zone 24

Zone 2

60 72 84 96

Zone

Up to 24 Zones

Zone

Drum Stack

Up to 4 Instruments

which can be

controlled or switched

in various ways.

Zones larger than 1 note are used for Tuned Percussion

PROCUSSION KIT

Modulation

PROGRAMMING BASICS

Procussion has an extensive modulation implementation using multiwave LFO’s (Low Frequency Oscillators), envelope generators and the ability to respond to multiple MIDI controllers. You can simultaneously route any combination of these control sources to multiple destinations.

MODULA TION

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

Procussion operation manual

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

Procussion operation manual

Modulation Sources

PROGRAMMING BASICS

MODULATION SOURCES

Procussion has several different types of modulation sources, including:

■

MODULATION SOURCES

Velocity Key Number

of 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 (-) direction as keys are played down the scale.

Trigger Tempo

beyond a programmed threshold.

Random

MIDI Controllers A/B/C/D (4)

Keyboard Pressure (mono aftertouch)

key is initially pressed.

Pitch Wheel

Low Frequency Oscillator

- How hard the key or pad is played.

- Generates a value at the start of the note. Outputs a value

- A value which increases as the playing tempo increases

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

- Any type of MIDI controller data.

- Key pressure applied after the

- A synthesizer pitch bend wheel.

- Generates repeating waves.

Envelope Generator

changes over time when a note is played.

■

FOOTSWITCH MODULATION SOURCES

Changes a parameter when one of the three MIDI footswitches are pressed. The footswitches can be programmed to switch: Sustain (Layers 1, 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 have footswitch input jacks and be able to send MIDI footswitch commands.

- Generates a programmable “contour” which

Envelope Generators

PROGRAMMING BASICS

ENVELOPE GENERATORS

■

Each Instrument has its own factory preset AHD envelope which is normally employed. If a programmable volume envelope is desired, the alternate envelope is used.

An envelope can be described as a “contour” which can be used to shape the sound in some way over time. Each channel of the Procussion contains two envelope generators. One of the envelope generators, the Alternate Volume Envelope, controls the volume of each instrument and has 3 stages, Attack, Hold and Decay. The other envelope, the Pitch Envelope, is permanently routed to control the pitch of an instrument and has only one stage, Decay.

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

Procussion operation manual

Percussion

Organ

String

■

These are generalized volume envelopes of a few types of sounds.

■ 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 starting

the decay phase. If a footswitch is being used to control Sustain, the envelope 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 the

key is released or the hold time has elapsed (in trigger mode).

level

time

Attack Hold Decay

key down

key released

Procussion operation manual

PROGRAMMING BASICS

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 LFO waveforms are: Triangle, Sine, Sawtooth and Square.

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

LFO

Triangle

Sine

Sawtooth

Square

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

Negative Amount

Sawtooth

Inverted Sawtooth

Modulation Patch

PROGRAMMING BASICS

MODULATION PATCHES

Connecting a modulation source to a destination is called a patch. Procussion lets you connect the modulation sources in almost any possible way to the modulation destinations. Each patch also has an amount parameter which determines “how much” modulation is applied to the destination. The modulation amount can be positive or negative and will either add or subtract from the initial value. Modulation sources can be simultaneously patched to any 4 of the 57 destinations for each stack.

Procussion operation manual

Modulation

Source

Amount +/-

Destination

Velocity

Sources

Velocity

Trig. Tempo

Random

MIDI A/B/C/D

Pressure

Pitch Wheel

In the example above, Velocity (or how hard a key or pad is played) is "Patched" to control the

LFO 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 would

increase, the harder the key was played.

LFO Rate

Destinations

Pitch

Volume LFO Amt. LFO Rate

Attack

etc.

ACCENT AND VOLUME

Accent and Volume both control loudness, but behave in a slightly different way when they are modulated. Volume can be modulated between zero and the maximum initial programmed level. When Accent is modulated, it adds to the initial level.

Volume

Modulation

Initial

Volume

Volume Cannot Exceed

Initial Volume Level

Volume

Accent to

ADDs

Initial Volume Level

Initial

Volume

Accent Modulation

Procussion operation manual

PITCH ENV S1L1 On D23 AMT+255

Envelope

Amount

increasing pitch

normal

pitch

time

Decay Time

normal

pitch

decreasing pitch

time

Decay Time

Envelope

Amount

Low Frequency Oscillator

EDIT MENU

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

LOW FREQUENCY OSCILLATOR

This screen controls the Waveshape, Rate, Amount and Destination of the LFO. There is one LFO per stack which can be routed to the Pitch of layers 1, 2, 3, 4 or all, or Volume of layers 1, 2, 3, 4 or all. (If a parameter is not labeled 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). The four LFO waveshapes are: Triangle, Sine, Sawtooth, and Square. The amount can be varied from -128 to +127. Negative values will produce inverted waveshapes.

LFO Tri R36 S1

->Off AMT+016

■

Since the LFO always starts from the beginning of its cycle at the start of a note, it can be used as an extra envelope generator when set to a slow rate.

Triangle

Sine

Sawtooth

Square

Stack Modulation

EDIT MENU

Procussion operation manual

STACK MODULATION CONTROL

These functions allow you to route modulation sources to any of the destinations in the eight custom stacks. Up to 4 simultaneous patches may be programmed (3-6). For each of the modulation patches, there is a Modulation Source, a Modulation Destination, and an Amount parameter. The amount parameter is variable from -128 to +127. Place the cursor

under the appropriate parameter and change the Patch Number, User Stack Number, Modulation Source, Modulation Destination, and the Amount using the data entry control. If a modulation destination is not

labeled with a layer number, it affects all layers.

Patch Number (3-6)

Custom Stack Number 1-8

Modulation Sources:

Velocity Key Number Trigger Tempo (Rate) Random MIDI Control A/B/C/D Pressure Pitch Wheel LFO

Destinations:

VELOCITY

STACK MOD 6 S1 Vel->Tone +099

STACK

INSTRUMENT LAYER 1

INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

INSTRUMENT LAYER 4

Instrument

DelayReverse

Sample

Start

TonePitch

Modulation Destinations

KEY

NUMBER

TRIGGER

RATE

RANDOM

Modulation Sources

DCA

Accent

Level

MIDI

CONTROL

A/B/C/D

Amount

Modulation Destination Modulation Source

Pan

Volume

Envelope

Hld

Atk Dcy

PRESSURE

PITCH

WHEEL

LFO

Rate Amt

Procussion operation manual

STACK FOOTSWITCH 3 AND 4

This function allows you to route the two stack level footswitches (3 and

4) to any of the footswitch destinations for each of the 8 custom stacks. The footswitches 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 MODE

The Super-Switch feature allows a control input (velocity, a control pedal, 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.

Stack Footswitch

EDIT MENU

■

There are 8 Custom

Stacks for each Kit.

OFF

CROSSFADE

Crossfade

Points

SWITCH MODE S1 Threshold

All layers within the stack are played at their programmed volumes. The control input is ignored.

The control input determines the relative volumes of the layers. As the control input is increased, layer 1 will crossfade into layer 2, layer 2 will crossfade into layer 3, then layer 3 will crossfade into layer 4. Unassigned layers will not be included in the level calculation.

Layer 1 Layer 2 Layer 3 Layer 4

Control Input Pedal

CROSSFADE

MODE

■

Note that other

modulation sources (Velocity, Trigger Rate, Random, etc.) besides a pedal may be used to control switch mode. Velocity is commonly used to switch between different layers as the drum pad is struck harder.

In this example, a control pedal feeds the control input. When the pedal is fully up, only layer 1 will 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.

Switch Mode

EDIT MENU

Procussion operation manual

▼

Only ONE hi-hat zone is allowed per kit (low-number priority). If other zones are set to hi-hat mode, they will simply behave as if in threshold mode.

■

Instruments 45-54 are particularly useful with Hi-Hat mode. Use Mono assignment mode for the most realistic effect.

▼

Only controller A, B, C or D can be used as the control source when in hi-hat mode. If another source is selected, it will revert to threshold mode behavior.

THRESHOLD

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

THRESHOLD

MODE

Switch Points

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

HI-HAT

This mode is similar to Threshold mode in the first 3

Increasing Velocity

123

Layer 1

Layer 2

Layer 3

Layer 4

layers, but simulates an actual Hi-Hat pedal in that layer 4 is only triggered when the control input crosses points 2 and 3 and is equal or greater than switch point

3. The control source must be controller A, B, C, or D.

Switch

Points

Layer 4

Triggers

ALTERNATE 1

Layers

Control Input Pedal

HI-HAT

MODE

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

ALTERNATE 2

If the control input is greater than switch point 1, then layer 1 will be played. Otherwise, a layer will be selected in a cyclical manner.

Procussion operation manual

Switch Mode

EDIT MENU

RANDOM 1

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

RANDOM 2

If the control input is greater than switch point 1, then layer 1 will be played. Otherwise, a layer will be selected at random.

SWITCH GROUP

This function operates together with Switch Mode and selects either 4-way switching (1/2/3/4) or 2-way switching (1+2/3+4) for each of the 8 custom stacks. If a given stack does not have an instrument assigned, it will 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 is below switch point 1. When the switch source exceeds switch point 1, layers 3 and 4 will play.

SWITCH GROUP S1 1/2/3/4

SWITCH SOURCE

This function selects the control input for switch mode. The control input can 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 S1 Velocity

Switch Points

EDIT MENU

Procussion operation manual

SWITCH POINTS

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

SWITCH PTS S1 032 064 096

▼

Remember to turn Audition Layer Off when you are finished auditioning.

Switch

Point 1

Switch

Point 2

Switch Point 3

AUDITION LAYER

When 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 LAYER Layer 1

COPY ZONE

This function allows you to copy a zone from any kit, and place it in any zone 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 from 127 Eartha

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

Source Zone #

COPY ZONE from Z01 to Z24

Destination Zone # (in current kit)

Procussion operation manual

COPY STACK

This function allows you to copy a stack from any kit, and place it in any of 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 the

kit (or Factory Stacks) and press the Enter button.

COPY STACK from 127 Eartha

Copy Stack

EDIT MENU

▼

In order to modify a factory stack, it must first be copied to a custom stack location.

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

previous step.

Source

Stack

COPY STACK from S001 Kicker

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

Destination

Stack

(in current kit)

COPY STACK to S001 Custom #1

SAVE KIT

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

SAVE KIT to 127 --Default--

To Save a Kit:

1. Select the new location.

2. Press Enter.

EDIT MENU

Procussion operation manual

EDIT MENU

Procussion operation manual

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

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

Edit Menu Operation

EDIT MENU

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 MENU

Press the Edit button, lighting the LED. The current screen will be the one most recently selected since powering up the machine. The cursor will appear underneath the first character of the screen heading on line one.

TO SELECT A NEW SCREEN

Press the cursor key repeatedly (or hold the cursor key while turning the data 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 PARAMETER

Press the cursor key repeatedly (or hold the cursor key while turning the data 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 value may be changed from your MIDI controller by simply playing the proper key or drum pad. For example, to select a particular Zone, you would simply play the key or drum pad to which the Zone is assigned.

TO RETURN TO KIT SELECT MODE

Press the Edit button, turning off the LED.

Procussion Block Diagram

EDIT MENU

PROCUSSION BLOCK DIAGRAM

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

Zone

Hi/Lo Key Stack # Coarse/Fine Tune Volume Pan Output Assign Mode Non-Trans Mod 1,2/Ft 1,2 Ena

Zone Zone Zone

Stack

Name Mod 3-6 Src/Dest/Amt Ftsw. 3, 4 Dest Sw Pts 1-3 Sw Mode/Grp/Src

KIT

Stack

Name Mod 3-6 Src/Dest/Amt Ftsw. 3, 4 Dest Sw Pts 1-3 Sw Mode/Grp/Src

Stack

Name Mod 3-6 Src/Dest/Amt Ftsw. 3, 4 Dest Sw Pts 1-3 Sw Mode/Grp/Src

Procussion operation manual

●

Up to 24 Zones

Up to 24 Stacks

●

per Kit

8 Custom Stacks

●

per Kit

Layer

Instrument

Instrument # Coarse/Fine Tune Volume Pan Delay Reverse Alt Env On/A/H/D

Pitch Env. Amt/Dcy

Instrument

Instrument # Coarse/Fine Tune Volume Pan Delay Reverse Alt Env On/A/H/D

Pitch Env. Amt/Dcy

Instrument

Instrument # Coarse/Fine Tune Volume Pan Delay Reverse Alt Env On/A/H/D

Pitch Env. Amt/Dcy

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 about which level you are currently editing.

KEY RANGE Z01 Zone Level Zone 01

032 > 035

STACK VOL S1L1 Stack Level Stack 1, Instrument Layer 1

110

Procussion operation manual

EDIT KIT FUNCTIONS

KIT NAME

Kit Name allows you to name each of the user kits with a name of up to 12 characters. Position the cursor under the character location and use the data entry control to change the character. The keyboard can also be used to select characters. The charts below show the keyboard character assignment.

KIT NAME 000 Untitled

Kit Name

EDIT MENU

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Octave No.

Stack Select

EDIT MENU

■

Zones can be easily selected by playing the MIDI note number assigned to that zone.

■

The Key Range can be selected by simply

playing the MIDI note numbers when the cursor is under the key numbers on the display.

Procussion operation manual

STACK SELECT

This function allows you to select which of the available instrument sounds (or none) will be placed in each zone of the current user kit.

STACK SELECT Z01 S002 Robert

KEY RANGE

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

▼

If the Key Range function does not seem to be working properly, make sure the Zone Map function in the Master menu is set to Kit. You may be re-mapping the key assignments.

■

Most factory stacks

have been tuned to C.

KEY RANGE Z01 036 -> 039

ZONE #1

= Original Pitch

CENTER of ZONE

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

ZONE #2

CENTER of ZONE

ZONE TUNING

This function allows you to change the overall tuning of the selected zone.

Coarse tuning is in semitone intervals with a range of ±48 semitones. Fine

tuning is in 1/64 semitone intervals (approx. 1.56 cents) with a range of

± 1 semitone.

TUNING Z01 CRSE+00 FINE+00

Procussion operation manual

ZONE VOLUME AND PAN

Volume sets the overall amplitude of the selected zone. This function also

allows you compensate for the relative volume differences between

stacks.

VOLUME PAN Z01 127 =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 hard

right. This pan setting overrides the pan settings made at the stack level

unless the screen is set to Pan = Stack. The pan setting made here is only

valid if “K”, for kit pan, is selected in the main display.

Zone Pan

EDIT MENU

VOLUME PAN Z01 127 -7

The Pan Setting on the Main Screen Overrides Zone Pan!

C01 VOL127 PAN=K Pan in Main Screen 071 Conga must be set to KIT

for Zone pan to have any effect.

NONTRANSPOSE

Nontranspose mode allows a stack to play throughout its assigned

keyboard 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 to

play several keys at once for a thicker sound. Turning Nontranspose

mode On would let all the notes play at the same pitch.

■

Assign a non-transposed sound and play several keys at once for phasing/flanging effects.

NONTRANSPOSE Z01 Off

Assignment Mode

EDIT MENU

■

If you don't want to use the assignment modes, set the zone to Poly (32).

Procussion operation manual

ASSIGNMENT MODE

There are a total of 32 output channels on the Procussion. The assignment mode affects note polyphony and interaction. Using assignment mode, each zone can be programmed to be polyphonic, with a certain number of available channels, or can be made monophonic with special assignments.

ASSIGNMENT Z01 Poly (32)

The various assignment modes are described below.

■

Layer Mono 1 + 2

assignment modes are designed to be used in combination with Switch Mode.

POLY (32)

POLY (8)

POLY (4)

MONO

LAYER MONO 1

LAYER MONO 2

EXCLUSIVE 1-8

Notes are played polyphonically, with dynamic channel assignment, using all 32 channels.

Notes are played polyphonically, with dynamic channel assignment, but using no more than 8 channels at a time.

Notes are played polyphonically, with dynamic channel assignment, but using no more than 4 channels at a time.

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

Any layer in the stack interrupts itself, but does not affect other layers or other zones.

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

The zone's stack is assigned to one of the 8 exclusive “channels”. Notes in any zone in the kit will interrupt each other if they are assigned to the same exclusive channel.

For example, playing a fast roll on a ride cymbal in Poly (32) mode will assign a new channel on each strike which might tend to “muddy” the sound or use up too many output channels. One solution might be to use Poly (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. In this case, you would assign the High Hats a Mono assignment.

Procussion operation manual

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

ZONE SUBMIX

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

SUBMIX Z01 Kick

Zone Submix

EDIT MENU

EDIT MENU MASTER MENU

Zone

1 2 3 4 5 6 7 8

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

Submix

Kick Snare Hi-hat Tom 1 Tom 2 Tom 3 Tom 4

Effects 3

Outputs

Main

Sub 1

Sub 2

MODULATION ENABLE

This function allows the Modulation 1 and 2 routings to be turned On or Off 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-toVolume, but you want your snare drum to be at a constant level. Simply turn Mod 1 Off for the snare drum zone.

MOD ENABLE Z01 1:Off 2:On

Footswitch Enable

EDIT MENU

■

If the Modulation Patches do not seem to be working, check to make sure that the Modulation Enable is turned On for the Zone.

Procussion operation manual

FOOTSWITCH ENABLE

This function allows the Footswitch 1 and 2 routings to be turned On or Off for each zone in the kit. (Footswitches 1 and 2 affect the entire kit.) For example, suppose you want Footswitch 1 to reverse zone 1 only. Simply turn FTSW 1 Off for all zones except zone 1.

FTSW ENABLE Z01 1:On 2:Off

MODULATION PATCH 1 AND 2

These functions allow you to route modulation sources to any of the modulation destinations and affect all zones in the kit, although they may be turned On or Off for each zone. For each of the two modulation patches, there is a Modulation Source, a Modulation Destination, and an Amount parameter which is variable from -128 to +127. Place the cursor under the

appropriate parameter and change the patch number, modulation source, modulation destination, or the amount using the data entry control. If a parameter is not labeled with a layer number, it affects all.

Modulation Sources:

Velocity Key Number Trigger Tempo Random MIDI Control A/B/C/D Pressure Pitch Wheel

Destinations:

VELOCITY

MODULATION 1 Vel >Vol4 +072

Modulation

Source

Modulation Destination

Modulation

Amount

ALL STACKS

INSTRUMENT LAYER 1

INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

INSTRUMENT LAYER 4

Instrument

DelayReverse

Sample

Start

TonePitch

Mod 2

Mod 1

KEY

NUMBER

TRIGGER

RATE

RANDOM

Accent

DCA

Level

Volume

Envelope

Atk Dcy

MIDI

CONTROL

A/B/C/D

Patch Number

Hld

PRESSURE

Pan

PITCH

WHEEL

Procussion operation manual

FOOTSWITCH CONTROL

This function allows you to route the two kit level footswitches (1 and 2) to any of the footswitch destinations. These two “patchcords” affect all zones in the kit, although they may be turned On or Off for each zone. The footswitches 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 the zones 1-8.

FOOTSWITCH 1 > Note-on Z8

Footswitch Control

EDIT MENU

■

The Alternate Envelope must be initially turned Off in order for the footswitch to turn it On.

■

If the Footswitches do not seem to be working, check to make sure that the Footswitch Enable is turned On for the Zone.

VELOCITY CURVE

Incoming velocity data can be modified by a velocity curve in order to provide different types of dynamics in response to your playing or better adapt to your MIDI controller. Velocity curves affect the entire kit. This function allows you select one of the 8 velocity curves, leave the data unaltered (Linear), or have the velocity scaled to full level (Constant). This velocity curve selection is only valid if the Global Velocity Curve in the Master menu is set to “Kit”.

VELOCITY CURVE Linear

127

LINEAR

127

CONSTANT

■

Use a footswitch as a kick drum pedal by triggering a Note-on event.

Output

0 127

Input

Output

0 127

Input

Velocity Curves

Procussion operation manual

EDIT MENU

127

CURVE 1

Output

0 127

127

Input

CURVE 3

Output

VELOCITY CURVES

127

Output

0 127

127

Output

CURVE 2

Input

CURVE 4

0 127

127

Input

CURVE 5

Output

0 127

127

Input

CURVE 7

Output

0 127

127

Input

CURVE 6

Output

0 127

127

Input

CURVE 8

Output

0 127

Input

0 127

Input

Procussion operation manual

Trigger Tempo

EDIT MENU

TRIGGER TEMPO

Trigger Tempo is a function which generates a control signal based on the tempo of your playing. When your playing tempo exceeds the selected Trigger Tempo, the amount of the control signal begins to increase from zero. This control signal can be used either to switch between drums in a stack or as a general controller which can affect virtually any parameter (see pages 64 + 67). For example, Trigger Tempo could be routed to raise the 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 valid if the Global Trigger Tempo set in the Master menu is set to “Per Kit”.

TRIGGER TEMPO 120 BPM

STACK NAME

Stack 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 character location and use the data entry control to change the character. A MIDI keyboard can also be used to select characters. The chart below shows the keyboard character assignment.

Trigger Tempo

Output

Amount

127

Tempo Played

260

180

120

■

When the tempo of your playing exceeds the selected Trigger Tempo, the amount of the control signal increases from zero.

STACK NAME S1 SOO1 Boss Bass

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Stack Instruments

EDIT MENU

■

There are 8 custom stacks for each kit in the Procussion.

Procussion operation manual

STACK INSTRUMENTS

This function allows you to select one of the available instrument sounds for each layer in the 8 custom stacks.

Custom Stack 1-8 Instrument Layer 1-4

STACK INST S1L1 I001 Dry Kick 1

Instrument

STACK TUNE

This function allows you to change the coarse and fine tuning of each

layer in the 8 custom stacks. The coarse tuning range is ±48 semitones (8 octaves) in semitone steps. The fine tuning range is ±1 semitone in 1/64

semitone steps (approx. 1.56 cents).

STACK TUNE S1L1 CRSE+00 FINE+00

STACK VOLUME

Stack Volume sets the amplitude of each layer in the 8 custom stacks. This function allows you to blend the four instrument layers or compensate for the relative volume differences between instruments.

STACK VOL S1L1 127

STACK PAN

Stack Pan allows you to independently set the initial pan position of each layer in the 8 custom stacks. A value of -7 pans the zone hard left and a value of +7 pans the zone hard right. The pan setting made here is only valid 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

Procussion operation manual

For Stack Pan to Have any Effect:

Delay/Sound Start

EDIT MENU

C01 VOL127 PAN=K 079 Tibetan Bell

Kit Pan must be set to

“K”...

and

PAN Z01 =Stack

Zone Pan must be set

to “Stack”

STACK PAN S1L1 +5

DELAY/SOUND START

Delay varies the time between MIDI Note-on reception and the onset of the sound for each layer in the 8 custom stacks. The delay time is adjustable from 0-13 seconds (0-63).

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

DELAY START S1L1 00 000

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

Reverse Sound

EDIT MENU

Procussion operation manual

REVERSE

When 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 S1L1 Off

ALTERNATE ENVELOPE

Each instrument layer in the stack has its own preset Attack/Hold/Decay volume envelope which is normally employed. If a programmable volume envelope is desired, the alternate envelope is used. This screen allows 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 S1L1 On A00 H19 D33

DCA

Normal

Envelope

Atk Dcy

Hld

Alternate

Envelope

Atk DcyHld

PITCH ENVELOPE

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

Procussion operation manual

Programming Procussion

PROGRAMMING PROCUSSION

Procussion operation manual

Creating a Custom Kit

PROGRAMMING PROCUSSION

CREATING A CUSTOM KIT

Creating your own custom kit is easy. First, you select the key range for the zone. Then you may simply select the desired stack from the palette of pre-programmed factory stacks. Repeat the two steps until you have a large enough drum kit. You may assign up to 24 stacks to a kit and a zone may contain 1 or 2 stacks.

BUILDING A CUSTOM KIT … STEP BY STEP

1) 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 Knob to 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 Cursor to the lower line and press Enter.

MIDI Drums

Zone 1

Zone 24

Zone 2

MIDI Note # -

Up to 4 Instruments

controlled or switched

Zone

Drum Stack

which can be

in various ways.

Drum Stack

Up to 4 Instruments

which can be

controlled or switched

in various ways.

60 72 84 96

Zone

Up to 24 Zones

Zone

Drum Stack

Up to 4 Instruments

which can be

controlled or switched

in various ways.

Zones larger than 1 note are used for Tuned Percussion

PROCUSSION KIT

■

If you are using the Procussion with a MIDI keyboard, set the Zone Map to “Kit” (Master Menu). If you are using MIDI drum pads or a drum machine you should use one of the User Zone Maps or a Zone Map which is preprogrammed for your controller.

■

The center of the zone is always the original pitch of the stack. The original pitch of most factory stacks is set at “C”. If the zone is out of tune, use the Zone Tuning function to tune the stack to the correct pitch.

Editing Kits

PROGRAMMING PROCUSSION

EDITING KITS

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

CHANGING THE TUNING OF A ZONE

Changing 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 the screen:

Procussion operation manual

TUNING Z01 CRSE+00 FINE+00

Move the cursor under the Zone Number (using the cursor button) and play 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 the Coarse Tuning amount. As you play the stack, turn the data knob to change the tuning in semitone intervals. The Fine Tuning parameter changes the tuning in 1/64 of a semitone intervals.

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

SAVING YOUR WORK

Every time you have made a series of changes to a kit that you would hate to lose, you should SAVE your work using the “SAVE KIT” function which is the last screen in the Edit menu. Kits can be save to any of the User Kit locations 64-127. Kits 105-127 have been left empty to encourage you to modify and save your own custom kits.

Procussion operation manual

PROGRAMMING PROCUSSION

TO SAVE A KIT

1) Turn the Data Knob clockwise until you get to the last screen, “SAVE KIT”.

Save the Kits!

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 be placed (64-127). Remember - Writing to a kit location erases whatever kit was already there.

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

BUILDING YOUR OWN STACKS

Let's go a step further now and create a hot new sound completely from scratch. In order to get the most out of this section, you should have already read the Programming Basics section of this manual and have a basic understanding of the Procussion architecture.

Assign a Custom Stack

There are 8 Custom Stacks for each User Kit in Procussion.

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

▼

Saving a Kit overwrites the previous Kit in that location!

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

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

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 display should look like this, with the cursor under the first key number:

KEY RANGE Z01 036 -> 036

■

When first learning your way around Procussion, keep your eye on the flashing cursor to make sure it is under the correct parameter.

Selecting and Tuning Instruments

PROGRAMMING PROCUSSION

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-note range. (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:

■

The cursor can be moved to the function select position (top-left) by pressing Enter or by using the cursor control. Either method is fine.

STACK INST S1L1 I

000 None

Procussion operation manual

Custom Stack 1-8 Instrument Layer 1-4

Instrument

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 Knob until you find an instrument that you like. Press Enter.

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

STACK TUNE S1L1 CRSE+

00 FINE+00

12) Move the Cursor to the lower line underneath the Coarse Tuning

value. Now turn the Data Knob to change the tuning. Notice how you can completely change the character of the sound by tuning it out of its normal range. Also notice the distortionless pitch shifting from Procussion that makes this possible. Tune this first layer to your liking, then press Enter.

13) Now go back to the “STACK INST” screen to select the instrument for

layer 2.

14) Move the Cursor underneath the Instrument Layer parameter (see the

diagram above) and use the Data Knob to select Layer 2.

Procussion operation manual

Volume and Panning

PROGRAMMING PROCUSSION

15) Now move the Cursor back down to the bottom line and repeat steps 10 through 12. Try to find an instrument which complements the first one you selected. Remember that the tunings have a lot to do with how an instrument sounds. Play around awhile with the instruments and tunings 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, press Enter to select the next screen.

This might be a good time to introduce another cool feature, “Audition Layer”. This feature allows you to completely mute all layers but the one you 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 to select Layers 1, 2, 3, or 4. When you are finished, be sure to turn Audition Layer “Off” again and press Enter. Now, back to our programming.

Volume and Panning

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

STACK VOL S1L1 100

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

18) Go back and forth between the Layer and the Volume amount while

playing the sound until you get the mix just right. Don't turn any of the levels up full or you won't be able to add accents later (the volume will already be “Maxed”). A maximum setting of around 100-110 will leave a little headroom.

19) Move the cursor back up to the top line by either pressing Enter or

simply pressing the Cursor button until it is underneath “Stack Vol”.

Delay, Sound Start, Reverse

PROGRAMMING PROCUSSION

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

Delay, Sound Start and Reverse

21) Turn the Data Knob to the next screen, “DELAY/START”. Play around with these two parameters and note the effects. Delay will be obvious. Sound Start removes samples from the start of the sound. A setting of 000 plays the sound from the beginning, higher values move the start point toward the end of the sound. These parameters may or may not appeal to your artistic sensibilities. In any case, now you know what they do. Next…

Procussion operation manual

➛ ➛ ➛ ➛ ➛ ➛

From here on out we'll dispense with the stepby-step explanations since you are probably becoming familiar with the way Procussion operates.

22) Let's move on to the next screen - Reverse. Reverse can be turned on or 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 default volume envelope for each instrument. The Alternate Envelope is a really powerful function for shaping the sound. Percussion sounds and waveforms can be shaped and blended over the course of the sound, creating new and dramatic textures.

When first working with this function, keep track of which layer you are working on and where your cursor is located. It's easy to get

confused and modify the wrong layer. You may want to make use of

the Audition Layer function while experimenting with the Alternate Envelope, 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 sweep and the amount are adjustable. Positive amounts sweep the pitch down and negative amounts sweep the pitch up. This is another powerful synthesis function which can completely change the character of a sound. The effect of this function can be subtle or very obvious. Try changing the initial tuning of the instrument as it relates to the Pitch Envelope.

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

Procussion operation manual

Stack Modulation Routings

PROGRAMMING PROCUSSION

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

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

Patch Number (3-6)

Custom Stack Number 1-8

STACK MOD 3 S1 Vel->Tone4 +058

Amount

VELOCITY

INSTRUMENT LAYER 1

INSTRUMENT LAYER 2

INSTRUMENT LAYER 3

INSTRUMENT LAYER 4

Instrument

Wet Snare 2

DelayReverse

Sample

Start

TonePitch

TRIGGER

KEY

NUMBER

RATE

RANDOM

Modulation Sources

STACK

DCA

Level

Accent

MIDI

CONTROL

A/B/C/D

Modulation Destination Modulation Source

Pan

Volume

Envelope

Hld

Atk Dcy

PRESSURE

PITCH

WHEEL

LFO

Rate Amt

Note how the screen parameters relate to the stack block diagram. Try making a few “patches” and note the effects. The flexible modulation routing scheme is probably the most powerful feature of Procussion because it allows you to produce subtle variations in the sound using performance parameters such as velocity, playing speed, etc. Remember that everything is “legal” when it comes to making music. Experiment!

Trigger Tempo, Pitch Wheel

PROGRAMMING PROCUSSION

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

GLOBAL TR TEMPO 150 BPM

■

Modulation destinations followed by a number (Pitch 1, Pitch 2, etc.) affect only one layer. Destinations without numbers affect all layers.

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

it works!

Procussion operation manual

■

By setting the Global Trigger Tempo to MIDI Clocks, the Trigger Tempo rate will follow along with a sequencer or drum machine.

▼

Modulation Enable must be turned On for each Stack or the Pitch Wheel will not work!

MODULATION 3 Trig->Pitch +100

Further your experiments by using Trigger Tempo as a switch source to switch in different instrument layers depending on your playing speed. As an example, copy Stack 150, “Rapper Snare” to a User location (in a Default Kit). Set Switch Mode

➔

Trigger Rate and play. The Tempo controls which layers are heard.

➔

Threshold; Switch Source

28) Routing the Pitch Wheel to Control … Pitch. This is something that you 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's control the pitch of the entire Kit. The Modulation 1 and 2 parameters affect the entire Kit. Simply set the Modulation 1 (or 2) screen as shown below and voilà, Pitch Wheel control. Incidentally, the setting of +114 will produce a pitch bend interval of a perfect fifth. See the Pitch Modulation Interval Charts (in the Reference Section) for more information.

MODULATION 1 PWhl->Pitch +056

Procussion operation manual

Hit-Hat Investigation

PROGRAMMING PROCUSSION

HI-HAT INVESTIGATION

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

Copy Stack

In 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-Hat

1. Set Stack Select, Zone 9 to: ModHiHat 2

2. Set Key Range, Zone 9: 052 -> 052.

3. Play MIDI Key # 52. You should be hearing the Hi-Hat.

Examination of the Hi-Hat

1. 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 four instruments; L1-HihatB open, L2-HihatB 2/3, L3-HihatB 1/3, L4HihatB 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, a control 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., but when in Hi-Hat mode, only controllers A-D will have any effect.

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

■

You can create custom Hi-Hats by simply changing the instruments.

■

You can change the

switch points to adjust the modulation wheel or pedal to your own specifictions.

Programming Tips

PROGRAMMING PROCUSSION

ON YOUR OWN

In the course of these exercises you have hopefully learned a little about programming a Procussion Stack. You can experiment as much as you want and when you come up with something good, save it to one of the empty kit locations. Feel free to try out all the other parameters that we did not cover such as the Footswitches and other Super-Switch modes. Simply trying out the various functions will remove a lot of the mystery associated with them. Procussion is an extremely powerful tool which will do a lot of things that no one has even thought of yet. Dig in and discover them yourself.

PROGRAMMING TIPS and IDEAS

Procussion operation manual

● Use the Stack Select screen in the Edit menu to monitor which stacks

you are playing. This is also a quick way to temporarily disable MIDI program changes.

● Routing Velocity to Sound Start with a negative amount will remove

the Attack portion of the drum when played softly, simulating the effect of an actual drum head.

● Remember that the center of the Zone is always the original pitch of the

Stack (usually C), so you may have to retune the stack using the Zone Tune function when creating tuned instruments such as Marimbas.

● Key Number can be routed to control Pitch (+ or -) in order to change

the normal equal tempered tuning relationship between notes.

● Remember that Sample Start, Tone, Attack and Pan Position are set at

the beginning of the note. Continuous controllers used after the start of the note (such as pressure) will not have any effect.

● In order to modify a Factory Stack, it must first be copied to a Custom

Stack location.

● Interesting factory ROM stacks may be analyzed by first copying them

to RAM stack locations and then examining the various parameters.

Procussion operation manual

Procussion Synthesis

PROGRAMMING PROCUSSION

PROCUSSION SYNTHESIS

Procussion Synthesis is a form of additive synthesis. Normal additive synthesis uses simple sine waves as the basis of its sound. In Procussion Synthesis, we start off with complete sampled sounds or complex waveforms and combine all or part of these together to form new sounds. The process is illustrated below.

PROCUSSION SYNTHESIS

Instrument

Layer 1

Layer 2

Fade Area

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

Shaped with DCA Added Together to

form Resultant Sound

Fade Area

The envelope generators controlling the DCAs (digitally controlled amplifiers) can be used to fade between up to four instruments during the course of a note. This powerful technique allows you to combine elements of different instruments together to form completely new sounds. New sounds that are totally natural, because they are based on natural sounds. Procussion also contains many digitally generated waveforms that may be combined with other digital waves or with the sampled instruments in 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-Switch allow you to further control the texture and blend of the four instruments.

Programming Examples

PROGRAMMING PROCUSSION

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

The Ride Bell instrument is used for the “Attack” (or the sound you hear when 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 the initial 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 cymbal somehow, but by tuning it up an octave, it sounds fine. Next we'll adjust the Delay of the Pang so that it comes in after the Ride Bell sound. Moving the Sound Start parameter of the 19" Pang to 124 removes the attack portion of the cymbal since we only want to hear the Ride Bell at the start of the note. The Alternate Envelope generators are used to fade out the Ride 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 to match it up with the Ride Bell. That's it! You have just bought yourself a new cymbal!

Procussion operation manual

Stack Name: Ride Pang

Layer 1 Layer 2

Instrument: Ride Bell Instrument: 19" Pang Tuning: C:00 F:00 Volume: 100 Volume: 074 Pan: +0 Pan: +0 Delay: 00 Delay: 03 Sound Start: 000 Sound Start: 124 On A H D

00 02 21

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

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

Tuning: C:12 F:00

On A H D 00 23 36

Procussion operation manual

Spatial Convolution

PROGRAMMING PROCUSSION

SPATIAL CONVOLUTION

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

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

Stack Name: Ambient Snare

Layer 1 Layer 2

Instrument: Dry Snare8b Instrument: Dry Snare 7 Tuning: C:00 F:-55 Volume: 100 Volume: 095 Pan: +0 Pan: +0 Delay: 00 Delay: 00 Sound Start: 000 Sound Start: 000

Tuning: C:00 F:00

Layer 3 Layer 4

Instrument: Snare Space Instrument: Snare Space Tuning: C:00 F:+12 Volume: 100 Volume: 100 Pan: +7 Pan: -7 Delay: 00 Delay: 01 Sound Start: 000 Sound Start: 085

Tuning: C:-01 F:-26

Examine the first two layers. This is a straightforward combination of two snare sounds. Layer 1 has been slightly detuned in order to “fatten up” the sound a bit. In layers 3 and 4 things start to get interesting. Notice that we are using the same instrument (#134-Snare Space) on both layers, one panned hard right and the other hard left. In addition they are quite detuned from each other in order to give each one a separate identity. The Delay and Sound Start parameters are used on layer 4 to prevent flanging effects which occur when identical samples are mixed together. Use the Audition Layer function in order to hear what each layer contributes to the 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.

Sequencing Tips

PROGRAMMING PROCUSSION

USING PROCUSSION WITH A SEQUENCER

We thought you’d never ask. Procussion was designed from its conception with multi-timbral sequencing in mind. Just take a look at the main screen.

C01 Vol127 Pan=K 000 Ampitheatre

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

Procussion operation manual

1 Vol127 Pan=K

000 Ampitheatre

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

MIDI MODE ID Multi 00

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

MORE ADVANCED SEQUENCING

PRE-SEQUENCE SETUP

Suppose that you want to have your sequencer set up everything for you before the start of the song. Good idea. This will make the Procussion setup procedure automatic and prevent the wrong kits from playing.

Procussion operation manual

Pre-Sequence Setup

PROGRAMMING PROCUSSION

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

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

INITIAL SETUP

1) 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 other instruments.

KIT, VOLUME and PAN SETUP

Program your MIDI sequencer to transmit the following information before 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 channel

used on Procussion.

3) Send MIDI pan information (controller #10) for each MIDI channel

used 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 the song. Note: If the wrong kits are being selected, check the MIDI Program

-> Kit map.

■

Transmitting the Master Settings will set up the Kit, Volume and Pan information for all 16 MIDI channels.

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

Channel Ripoff

PROGRAMMING PROCUSSION

CHANNEL RIPOFF

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

USING EXTERNAL PROCESSING

Don’t be afraid to use external processing on specific sounds if you feel the urge. 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 stack needs to give it a distinct identity. By dedicating a multi-effects box to a submix out/in, you can open up a whole new world of possibilities by effecting only those drums you have routed through the submix.

Procussion operation manual

SUB 2

LLLR

RingTip

Equalizer

OUTPUTS

SUB 1

STEREOMONO

MAIN

RingTip RingTip

Stereo

Reverb Unit

Procussion operation manual

Reference

REFERENCE SECTION

Factory Kits

PROCUSSION FACTORY KITS

ROM KITS

Procussion operation manual

■

The ROM kits listed on this page are permanently located in kits 0-63.

The User Kits 64-127, are listed on a separate insert page which allows them to be easily updated.

■

Kits marked with an asterisk (*), follow the standard kit layout shown on the following page.

0. Ampitheater *

1. Mega Drums *

2. Rock n Roll *

3. Palladium *

4. Jazz Drums *

5. Metal Drums *

6. Rap Session *

7. Latin Drums

8. Percussion 1

9. Tool Kit

10. Ambient Rock *

11. Acoustic Kit *

12. Thundadome

13. Disco Ball

14. Vibrations

15. Rock Drums *

16. House Machine *

17. Fusion Stix *

32. Rocket Drums

33. Huge Room *

34. Churchyard

35. Drum Dance *

36. Percussion 3

37. Mallet Bells

38. Hip House

39. Latin Layers

40. Big Band

41. Multi FX

42. Heavyosity *

43. Ritual Night

44. Dance Club *

45. Indo Steel

46. Orch Perc

47. Country Kit *

48. Killer Synth

49. Heavy Handed

18. Found Sound

19. Marimba

20. Space Drums *

21. Hard Rock *

22. Stadium Rox *

23. Dance 2000 *

24. Industry

25. Heavy Metal *

26. Hip Hop *

27. Rosewood Tine

28. Percussion 2

29. Sound FX

30. Sluggo Drums *

31. Beat Box

50. Percussives

51. Mystic Land

52. Beach Party

53. Intervallix

54. Jazzy Traps

55. Clavarimba

56. Rockabilly *

57. Control Snares

58. Lotsa Kicks

59. All Snares

60. More Toms

61. More Cymbals

62. More Percussion

63. More Basses

Procussion operation manual

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 the standard layout.

MIDI Key #

Factory Kits

Tuned Toms,

Bass or other Instrument

Z14

Hihat Open

Z24

Z23

Hihat Shut

Z22

Z06

Snare (Nontransposed) Snare (Nontransposed)

Kick (Nontransposed)

Z02

Kick (Nontransposed)

Crash or Ride Cymbal 2

Z18

Crash or Ride Cymbal 1

Z16

Percussion

Z10

Z08

Open Hihat

Z07

Closed Hihat

Auxiliary Snare 2

Z05 Z04

Auxiliary Snare 1

Main Kick (Tuned)

Z01

Panning

-7

Hihat 2/3

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

Tuned Toms, Bass or other Instrument

Panning

Z14

-7

Hihat Open Hihat 2/3 Hihat Shut Hihat Stomp

Z24

Z23

Z22

Z21

Snare (Nontransposed) Snare (Nontransposed) Snare (Nontransposed) Snare (Nontransposed) Kick (Nontransposed) Kick (Nontransposed) Kick (Nontransposed) Hihat Stack (Controller A) Auxiliary Ride Cymbal Cymbal Choke (or other perc) Tom Tom (Tuned) +7 Tom Tom (Tuned) Tom Tom (Tuned) Tom Tom (Tuned) Tom Tom (Tuned) Main Snare

Z03

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

Z02

Z17

Z19 Z20 Z12 Z11

Panning

Z19

-7

Z01

Z06

Z09

Z15

Factory Stacks

PROCUSSION FACTORY STACKS

Procussion operation manual

9. Dry Kick 1

10. Dry Kick 2

11. Dry Kick 3

12. Dry Kick 4

13. Dry Kick 5

14. Dry Kick 6

15. Room Kick 1

16. Room Kick 2

17. Gated Kick

18. Round Kick

19. The Kicker

20. Fat Kick

21. Mansion Kick

22. Big Foot

23. Bonzo Kick

24. Good Kick

25. Wet Kick 1

26. Wet Kick 2

27. Wet Kick 3

28. Wet Kick 4

29. Wet Kick 5

30. Thick Kick

31. Kick Punch

32. Reek Keek

33. ModSnapKik

34. Kahnbo Kick

35. Metal Kick

36. Havok Kick

37. Cave Kick

38. Boom Bass

39. Bellow Kik

40. Kooky Kick

41. Kick Space

42. DrkK-Space

43. House Kick 1

44. House Kick 2

45. House Kick 3

46. Dance Kick

47. Rap Kick

48. ModToneRap

49. Cymbal Kick

50. Floor Kick

51. Janz Kick

52. Mambo Kick

53. Rapper Kick

54. Kick In

55. SuprSinKik

56. Butt Kicker

57. Space Kick

58. Growth Kick

59. Tam Kick 1

60. Tam Kick 2

61. Tam Kick 3

62. Kick Shake 1

63. Kick Shake 2

64. Tik Kick

65. Kidz Kick

66. Trash Kick

67. Orch Bass

68. Earth Kick

69. Big Bass Drum

70. Stereo BD

71. Timpani

72. Kettle Drum

73. Kettle Drum 2

74. Jazz Kick

75. Dry Snare

76. Dry Rim

77. Dry Click 1

78. Dry Click 2

79. Arid Snare

80. Brush Snare A

81. Brush Snare B

82. Brush Snare C

83. Snap Snare 1

84. Snap Snare 2

85. Snap Snare 3

86. Snap Snare 4

87. Snap Snare 5

88. Snap Snare 6

Procussion operation manual

Factory Stacks

PROCUSSION FACTORY STACKS

89. Brush Sweep

90. Room Snare 1

91. Room Snare 2

92. Stereo Snare

93. Big Snare

94. Body Snare

95. God's Snare

96. Tight Snare

97. Big Whack

98. Smack Snare

99. Modern Snare

100. Tonal Snare

101. Bonzo Snare

102. Dan's Snare

103. Tite Snare

104. Slap Snare

105. Modern Twin

106. Snare Center

107. Space Snare

108. Aerobic Snare

109. Big Fat Snare

110. Wet Snare 1

111. Wet Snare 2

112. Wet Snare 3

113. Wet Snare 4

114. Ambient Snare

115. Ambi-Snare 1

116. Ambi-Snare 2

117. Krakatoa!

118. Mod Verb Snare

119. Mod Verb Rim

120. Mod Pan Snare

121. ReverbaRim

122. Rim Snare

123. Metal Snare

124. Prairie Snare

125. SNARE 1157

126. SNARE AMB!

127. Noisy SNR

128. BigOSnare

129. HerboSnare

130. Kooky Snare

131. Tough Snare

132. Snare Smash

133. Pipe Snare

134. Sewer Snare

135. Ringer

136. Ratt Dance

137. Canon Snare 1

138. Canon Snare 2

139. Canon Snare 3

140. Dance Snare

141. Analog Snare

142. Synth Snare

143. House Snare 1

144. House Snare 2

145. House Snare 3

146. House Snare 4

147. House Snare 5

148. House Snare 6

149. PW Snarey

150. Rapper Snare

151. Tambo Snare

152. Deep Tam Snare

153. Garbage Boy

154. Trash Snare 1

155. Trash Snare 2

156. Trash Snare 3

157. Trash Snare 4

158. Bullet Snare

159. Brush Dance

160. Rim Tin Tin

161. Vel-XSnare

162. Tam Snare 1

163. Tam Snare 2

164. Clave Snare

165. Clap Snare

166. Backward Snare 1

167. Backward Snare 2

168. Backward Snare 3

Factory Stacks

PROCUSSION FACTORY STACKS

Procussion operation manual

169. Backward Snare 4

170. Rev Snare 1

171. Rev Snare 2

172. Rev Snare 3

173. Center Reverse

174. Bband Snare

175. Bband Rim

176. Bband Click

177. Psyko Snare

178. Swept Snare

179. Dry 12" Tom

180. Dry 16" Tom

181. Brushed Tom

182. Punch Tom

183. Sloppy Toms

184. 2 Head Tom

185. Tim & Tom

186. Tuned Tom

187. Rock Tom X

188. Room Tom 1

189. Room Tom 2

190. Electro Tom

191. SubaTomic

192. Ambi Tom 1

193. Ambi Tom 2

194. Power Toms

195. Power Tom 1

196. Power Tom 2

197. Power Tom 3

198. Power Tom 4

199. Real Tom

200. Epic Tom

201. ResonanTom

202. EleckTom

203. Tom Stack X

204. dB Toms

205. Tom Hall

206. Tommy Toon

207. Homie Tom

208. House Toms

209. Tuned Tomz

210. Analog Toms

211. Roto Dance

212. Roto 2

213. Minor Tom

214. Apache

215. Tacky Bang

216. Pots & Pans

217. Stereo Tom

218. Bband Tom

219. Wunder Tom

220. Echo Tom

221. Pitch Toms

222. Syn-Tom

223. AcousRoto 1

224. ElecTomic

225. Echo Tom X

226. Falling Tom

227. Backward Tom

228. Mod Tom Fall

229. Mod Wund Tom

230. Mod Brush Tom

231. Mod Echo Tom

232. Hihat A shut

233. Hihat A 1/3

234. Hihat A 2/3

235. Hihat A open

236. Hihat A stomp

237. Hihat B shut

238. Hihat B 1/3

239. Hihat B 2/3

240. Hihat B open

241. Hihat B stomp

242. Mod Hihat 1

243. Mod Hihat 2

244. Closed Tip Hat A

245. Open Hihat A

246. Open Hihat B

247. Closed Tip Hat B

248. 1/2 Open Hat B

Procussion operation manual

Factory Stacks

PROCUSSION FACTORY STACKS

249. Pedal Hat B

250. Metal Hat 1

251. Metal Hat 2

252. Metal Hat 3

253. Syn Hat 1

254. Syn Hat 2

255. Synth Hat A

256. Synth Hat B

257. Elec Hat 1

258. Elec Hat 2

259. Elec Hat 3

260. Elec Hat 4

261. Dance Hat 1

262. Dance Hat 2

263. House Hat 1

264. House Hat 2

265. House Hat 3

266. House Hat 4

267. House Hat 5

268. House Hat 6

269. Tam Hat

270. Beasty Hat

271. Beasty Open

272. Horny Hat

273. Blasty Hat

274. Noise Hat A

275. Noise Hat B

276. Noise Hat C

277. Hatsoff

278. Hats Off 2U

279. Bband Hat Cl

280. Bband Hat Op

281. Bband Hat St

282. Servo Hat #1

283. Servo Hat #2

284. Servo Hat #3

285. Backward Hat

286. 16" Crash 1

287. 16" Choke 1

288. 16" Crash 2

289. 19" Pang

290. Ride Ping

291. Ride Bell

292. Mallet Cymbal

293. China Gong

294. Mallet Roll

295. Combo Crash

296. Dubl Crash

297. Cymbal Decay

298. HypeRidCym

299. Pang Cymbal

300. Big Crash

301. Velocity Ride

302. Dark Cymbal 1

303. Dark Cymbal 2

304. House Cymbal

305. Crash Dance

306. Splash Dance

307. SoChokeMe

308. Finger Cymbal

309. Gongo'Doom

310. Cymbal Six

311. SFX 1

312. SFX 2

313. SFX 3

314. Smash Cymbal

315. Brash Cymbal

316. SteroCrash

317. Stereo Malt

318. Hypereal

319. Backward Cymbal

320. Backward Cym

321. Noise Burst

322. Big Thwack

323. White Noise

324. Big Rasp

325. Big Hammer

326. Metal Stack

327. Stilleto

328. Stilleto Flange

Factory Stacks

PROCUSSION FACTORY STACKS

Procussion operation manual

329. Pipe

330. Clank

331. Lazer Hit

332. Sonic Crack

333. Rap Scratch

334. Doubl Scratch 1

335. Double Scratch 2

336. Syn Scratch

337. ErsatScrch

338. BASScratch

339. Squea…

340. Finger Snap

341. RevSnapper

342. Reverb Snaps

343. Hand Claps

344. Fat Claps

345. Odd Claps

346. Wack Claps

347. Klapz

348. RapClav

349. Vox Eek!!

350. Backward Sweep

351. Hand Drum

352. Analog Tick

353. Kick Cymbal

354. Choke-Pipe

355. Choke Clank

356. Castapan

357. Tick Tock

358. Thwack Echo

359. Raspiness

360. Temple Block

361. Agogo Bell

362. Triangle

363. Triangle Mute

364. Hi Triangle

365. Clave

366. Castanet

367. Wood Block

368. Tamborine

369. Cowbell

370. Cow Block

371. Ambi-Stick

372. Bband Cowbell

373. Cowtombell

374. Stereo Marimba

375. Syn Celesta

376. Carillon

377. Log Drum

378. Vibrations

379. Shakatam

380. Synclaves

381. Plastic Cow

382. Octarimba

383. Mambo Open

384. Mambo Closed

385. Campana Open

386. Campana Heel

387. ChaCha Open

388. ChaCha Closed

389. Cabasa Front

390. Cabasa Back

391. Cabasa Roll

392. Guiro Down

393. Guiro Up

394. Shekere Net

395. Shekere Snap

396. Shaker Back

397. Shaker Front

398. Timbale 1a

399. Timbale 1b

400. Timbale 1c

401. Timbale 2a

402. Timbale 2b

403. Timbale 2c

404. Tumba Tone

405. Tumba Rim

406. Quinto Tone

407. Quinto Slap Open

408. Quinto Slap Closed

Procussion operation manual

Factory Stacks

PROCUSSION FACTORY STACKS

409. Quinto Tip

410. Quinto Heel

411. Hembra Tone

412. Hembra Slap

413. Macho Tip Left

414. Macho Tip Right

415. Macho Rim

416. Macho Tone

417. Macho Slap

418. Slide Conga

419. Shake It

420. Conga Set

421. Indo Steel

422. Bongo! Boy!

423. Tone Drum

424. Velocity Guiro

425. Bass 1

426. Balzy Bass

427. Synth Bass

428. Lazer Bass

429. Bass Stack

430. Mod Bass Tone

431. Mod Woof Tone

432. Mod Saw Tone

433. Mod Pipe Tone

434. Monsta Bass

435. Hip Moog

436. Rap Moog

437. Warm Bass

438. Stone Bone

439. Amazon

440. Hallowell

441. Star Tree

442. Thundadome

443. ShakerDrum

444. Drumborine

445. Gutt Bust

446. Dust Pang

447. Warble Wave

448. Temple Bell

449. Vox Freak 1

450. Vox Freak 2

451. Synth Lead

452. Metalimba

453. Red Sky

454. Jungle Night

455. Kalimdrum

456. Pit o Doom

457. Shaker Drum 2

458. Silvoon

459. Big Al

460. Woodpecker

461. Ganga Log

462. Pipeline

463. Springz

464. Melodic Bel

465. Shaker Bell 1

466. Shaker Bell 2

467. Mutant Mal 1

468. Mutant Mal 2

469. Backward Agogo

470. Big Pipe

471. Marimboid

472. House Pipe

473. Weird O Slap

474. Tinkle Tine

475. Bellhause

476. Golden Gate

477. Mod Shots

478. Surfin' USA

479. Velocity Sweep

480. Metl Ketl

481. Klincker

482. Crackssss!

483. Space Stone

484. Fantasy 99

485. Zapster

486. Cymbaline

487. Mega Garbo

488. BAM BAM

Factory Stacks

PROCUSSION FACTORY STACKS

Procussion operation manual

489. Super Spring

490. Tone Drum 2

491. Industry

492. Master Blast

493. Ice Missile

494. Fire Biter

495. DUNK

496. Klinkle

497. Pipertam

498. Bellism

499. Jangler

500. Double Drum

501. Mystic Land

502. Macho Cow

503. Inner Val

504. Fibersnap

505. Whole Tone 1

506. Whole Tone 2

507. Gong Pow

508. Ritual Drum

509. Cymbal Drum

510. Springy

511. Baby Breath

512. Bent China

513. Ant Itch

514. Water Pin

515. Sigh…

516. Indian Man

517. Hat Thang

518. Thwack

519. Crack

520. CirckeNoys

521. Gong Attack

522. UFOs

523. Cheering

524. Generator X

525. Noise FX

526. Snare Pegg Left

527. Snare Pegg Right

528. Pipegg Left

529. Pipegg Right

530. Rocket #1

531. Rocket #2

532. Tweek

533. Ear Splitter

534. Space Block

535. Cool FX

536. Qool KlanQ

537. Stick/Tamb

538. The Shaker

539. The Stick

540. Twank

541. Mega Planks

542. Temple O Doom

543. Glong

544. Giant Ratchet

545. Echo Thud

546. Awk Bosk

547. Gymnasium

548. Klicker

549. Der Aufish

550. Bubl Trubl

551. FunkinNoys

552. Lazer Stew

553. Kloggers

554. Rasparity

555. Drum Tree

556. They're Here

Procussion operation manual

SAMPLED SOUNDS

1. Dry Kick 1

2. Dry Kick 2

3. Dry Kick 3

4. Room Kick 1

5. Room Kick 2

6. Wet Kick 1

7. Wet Kick 2

8. Wet Kick 3

9. Machine K1

10. Machine K2

11. Rap Kick

12. Orch Bass

13. Dry Snare 1

14. Dry Snare 2

15. Dry Snare 3

16. Dry Rim 3

17. Dry Click 3

18. Dry Click 4

19. Dry Snare 5

20. Dry Snare 6

21. Dry Snare 7

22. Dry Snare 8a

23. Dry Snare 8b

24. Dry Snare 8c

25. Wet Snare 1

26. Wet Snare 2

27. Wet Snare 3

28. Wet Snare 4

29. Wet Snare 5

30. Wet Snare 6

31. Snap'n Snare

32. Dance Snare

33. Analog Snare

34. Synth Snare

35. Brush Snare A

Sampled Sounds

PROCUSSION INSTRUMENTS

36. Brush Snare B

37. Brush Snare C

38. Brush Sweep

39. Dry 12" Tom

40. Dry 16" Tom

41. Room Tom 1

42. Room Tom 2

43. Brushed Tom

44. Electro Tom

45. Hi-Hat A shut

46. Hi-Hat A 1/3

47. Hi-Hat A 2/3

48. Hi-Hat A open

49. Hi-Hat A stomp

50. Hi-Hat B shut

51. Hi-Hat B 1/3

52. Hi-Hat B 2/3

53. Hi-Hat B open

54. Hi-Hat B stomp

55. Mallet Roll

56. 16" Crash 1

57. 16" Choke 1

58. 16" Crash 2

59. 19" Pang

60. Ride Ping

61. Ride Bell

62. Springy

63. Cowbell

64. Side Stick

65. Tambourine

66. Finger Snap

67. Hand Claps

68. Noise Hat A

69. Noise Hat B

70. Noise Hat C

100

Sampled Sounds

PROCUSSION INSTRUMENTS

Procussion operation manual

71. Noise Burst

72. Big Thwack

73. White Noise

74. Big Rasp

75. Big Hammer

76. Metal Stack

77. Stiletto

78. Pipe

79. Clank

80. Lazer Hit

81. Sonic Crack

82. Rap Scratch 1

83. Rap Scratch 2

84. Syn Scratch

85. Hand Drum

86. Analog Tick

87. Vox Eek !

88. HypeRideCym

89. Temple Block

90. Agogo Bell

91. Triangle

92. Triangle Mute

93. Mambo Open

94. Mambo Closed

95. Campana Open

96. Campana Heel

97. Cha Cha Open

98. Cha Cha Closed

99. Cabasa Front

100. Cabasa Back

101. Cabasa Roll

102. Wood Block

103. Claves

104. Guiro Down

105. Guiro Up

106. Shekere Net

107. Shekere Snap

108. Shaker Back

109. Shaker Front

110. Timbale 1a

111. Timbale 1b

112. Timbale 1c

113. Timbale 2a

114. Timbale 2b

115. Timbale 2c

116. Tumba Tone

117. Tumba Rim

118. Quinto Tone

119. Quinto Slap Open

120. Quinto Slap Closed

121. Quinto Tip

122. Quinto Heel

123. Hembra Tone

124. Hembra Slap

125. Macho Tip L

126. Macho Tip R

127. Macho Rim

128. Macho Tone

129. Macho Slap

130. Marimba

131. Celeste

132. Kick Space

133. DarkK-Space

134. Snare Space

135. DarkSnSpace

136. Synth Bass

137. SE Bass

138. Filter Bass

139. Saw Bass

140. Woofer Pulse

E-Mu Pro/cussion User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual