Pearl MIMP24B User Manual

ELECTRONIC DRUM MODULE

MIMP24B

USER MANUAL

VER 1.01

OVERVIEW

A powerful, modern drum module designed for incredible sound and performance.

•

Steven Slate Drums 5 sample library - 24 bit multi channel samples. Each instrument supports adjustment of

•

Attack, Sustain, Release, Tune, Pan, Volume (including separate volume for close, overhead and room mics),
Dynamics Response and Velocity Curve. Separate velocity and volume adjustment for each articulation
inside instruments (cross stick, etc.), easily customizable articulations for each zone on connected pads.
More than 120 instruments with several velocities and round-robin hits. More than 60 easily customizable

•

drum kits. Create new instruments with kick and snare layering. Individual eects for each instrument (Eq/
Compressor). Use the USB ash drive to import custom samples and songs.

16 trigger inputs - compatible with Pearl Tru-Trac Pads and most other pads. All cymbal and aux inputs have

•

Choke function. Supports dual and triple zone cymbals as well as dual zone Hi-Hat.
16 balanced line outputs and stereo headphones mixed independently - Two separate mixers for headphone

•

and line outs - the drummer gets a personal mix that does not aect master out or direct outputs.
120GB Solid State Drive for instrument storage plus USB ash drive for removable storage.

•

MIDI in and out for external triggering and midi recording.

•

7” IPS Touchscreen.

•

Built-in metronome. Play backing tracks using USB ash drive or AUX input. Record and store performances

•

to Flash drive.

FROM THE DESIGN TEAM

Pearl Mimic Pro is a revolutionary new breed of electronic drum sound module. For the rst time in electronic

drums the module has full resolution, multi microphone, and 24 bit samples. Adjustable routing to the 16 outputs

allows for incredible exibility. For quick and easy operation, Mimic Pro has an IPS LCD touchscreen and a push

button Data Wheel (encoder). Mimic Pro has two mixers – headphones and main mix - for perfect monitoring and
perfect sound at FOH. Mimic Pro has more than 120 instruments in the factory library and a 120GB SSD drive to
expand your sound with new sample packs. Mimic Pro even allows you to import custom samples!

FROM THE SSD TEAM

The sounds inside Mimic Pro are the best drum samples ever created. They are called Steven Slate Drums or
SSD. Mimic Pro’s factory sound library has the newest SSD-5 drum samples library and as a bonus it also has
components from the SSD-4 drum sample library. These are all full resolution multi mic 24 bit samples with
velocity layers. They have alternative hits per each velocity layer which is also called round-robin. Another feature
of Mimic Pro is articulations, the area on a drum where the drummer strikes it or characteristics of a certain

playing technique. Mimic Pro’s factory library has up to 28 velocity layers with up to 12 round robin hits per

each velocity layer. These hits in combination with the amount of channels in the samples plus the amount
of articulations, gives the user up to 3000 samples per instrument. With a powerful physical modeling engine

Mimic Pro supports up to 4096 velocities, so even if an instrument has 28 velocities, it will still have 4096 levels

of dynamics, or volume. This gives users thousands of sound nuances on each instrument, something never
possible in electronic drums before Pearl’s Mimic Pro.

2

WARNINGS AND IMPORTANT NOTES

Mimic Pro and all accessories need careful handling.

•

Make sure that Data Wheel (encoder knob) is protected while Mimic Pro is being

•

transported.
Do not apply undue pressure on the Data Wheel (encoder knob)

•

Make sure that the LCD screen is protected during transportation.

•

Make sure nothing abrasive contacts Mimic Pro’s LCD screen during transportation.

•

Do not twist or stretch power supply cable. Handle with care.

•

Do not connect Mimic Pro to an outlet that’s being used with an air conditioner, refrigerator,

•

welder, washing machine, microwave oven – anything that has a motor or inverter. This
may cause noise, improper function, or even hardware damage.
Try to avoid using the unit near strong electromagnetic emitting devices (big transformers,

•

satellite transmitters, etc) as well as high power wireless hardware.

Make sure to turn o the power before making any connections.

•

Never switch o Mimic Pro immediately after an operation is nished, such as copying to

•

or from a USB stick. Always wait at least 5-10 seconds.
Use only a dry soft cloth to clean Mimic Pro. Never use any chemicals to clean Mimic Pro.

•

You can use a protective lm (like used on smart phones) to prolong the LCD screen life

•

and protect it from possible damage.
If there is a malfunction, all data on Mimic Pro’s internal storage (solid state drive) may be

•

lost, or damaged. Please backup your data.
Do not expose Mimic Pro to high vibration levels.

•

Do not bend and drop Mimic Pro.

•

Do not expose Mimic Pro to high humidity.

•

Do not use Mimic Pro in temperatures below 0° Celsius, 32° Fahrenheit.

•

Do not keep Mimic Pro and its accessories under direct sunlight.

•

Do not disassemble Mimic Pro and do not touch the contact points on connectors

•

(especially USB).

Keep Mimic Pro away from dust and liquids.

•

FROM THE SSD TEAM

3

TABLE OF CONTENTS

2

3

4

5 - 6

7

8

9

10

11

12

13 - 14

15 - 17

18

19

20

21

22 - 23

24

25

26

26

27

28

29

30 - 32

33 - 34

35

35 - 42

43

44

45

46

47 - 51

52

53

54

Overview

Warnings & Notes

Table of Contents

Connections

Home Screen

Setting Up

Operation / Touch Screen

Data Wheel

Setup

Quick Start

Home Screen

Calibrating the Hi-Hat

Hi-Hat Control Curve

Dynamics

Trigger Settings Threshold

Trigger Settings Rimshot Threshold

Advanced Triggered Settings

Triggering Settings Kit Instrument Assign

Triggering Settings Zone Volume

Triggering Settings Curves

MIDI

Triggering Settings Crosstalk Suppression and Ride Split

Setting Up a Pad with the Mimic Pro Preset Trigger List

Steps to Setup a New Pad without It Being Listed

Edit Kit

Mixer

Phones Mix and Master Mix

Mic, Mod, FX Adjustments Working in Kit Presets

Metronome

Setlist

Player

Recorder

Settings

Instruments List

Specs / Credits

Declarations of Conformity

4

CONNECTIONS

2

1

3

5

4

8

7

TRS Cable

Rear Panel (where all Mimic PRO connections are made)

TRIGGER INPUTS – Connect the triggers of your drum pads and cymbals to the appropriate inputs. Use only

1.

standard 1⁄4” TRS cables for multi zone or TS cables for single zone connectors and high quality, shielded

cables to connect to Mimic Pro.
EXT & USB – Use a standard USB cable or thumb drive to connect to the module and add additional sounds.

2.

The EXT RJ45 connection is of future expansion.
MIDI IN/OUT – Use a standard ve-pin MIDI cable to transfer MIDI data to and from an external MIDI source.

3.

LINE OUT 1 – 6 – Six balanced TRS outputs.

4.

HEADPHONE JACK – Connection for a pair of stereo headphones or in ears device.

5.

POWER IN – Connect the DC power supply to this terminal. Secure the power cable to the cable clip to

6.

prevent accidental unplugging.
AUX IN – Use a standard TRS cable to connect Mimic Pro to an external analog signal source.

7.

LINE OUT 7–14 –Use a DB25 cable to access channels 7–14.

8.

6

5

CONNECTIONS

Local AC Voltage

90-230v

MIMIC PRO SYSTEM

AC/DC Converter

M120 3 0 0 B911

Electronic Drum

Module “Mimic PRO”

Audio Interface,

PA sys tem,

audio mixer or

headphones

AC Volt age DC Voltage

Trigger Pads or

electronic trigger signals

2

Analog Audio

Signal Outputs (16x)

Signal (16x)

Tri gger

Analog

MIDI I/O

MIDI Enabled

equipment

3

1

POWER – Press to turn power ON and OFF.

1.

BOOT – For use with software updates.

2.

SD CARD SLOT – Future expansion.

3.

Pic 1: Side Panel

6

HOME SCREEN

1

2

3

4

5

7 8 9 10 11

12

6

Pic 2: Home Screen

13

14 15 16 17 18

The volume control adjustments on the Home screen only aect the headphone levels.

Windows that contain two squares in the upper right corner require a double tap to enter.

HEADPHONES – Adjust the volume level of the headphones output by dragging your nger to the desired

1.

setting. The Data Wheel default function controls headphone volume.

AUX INPUT – Adjust the volume level of an ex ternal sound source by drag ging your nger to the desired set t ing

2.

or double tap the Aux Input window to activate the Data Wheel. Press the Data Wheel to lock in your setting.

CLICK TRACK – Adjust the volume level of the click track by dragging your nger to the desired setting or

3.

double tap the Click Track window to activate the Data Wheel. Press the Data Wheel to lock in your setting.

PL AYER – Adjust the volume level of your playback by dragging your nger to the desired setting or double

4.

tap the Player window to activate the Data Wheel. Press the Data Wheel to lock in your setting.
PLAY/FAST FORWARD/REWIND – Navigate your playback with these touchscreen buttons.

5.

PL AYLIST - Double tap to access the Playlist window.

6.

KIT DISPLAY SCREEN – This window displays the name of the kit that is currently selected.

7.

KIT SCROLL WINDOW – Navigate forward and backward through Mimic Pro’s kits.

8.

SETLIST: MAIN KIT LIST – Build a setlist of kits in performance sequence with assigned tempo settings for

9.

each kit. Double tap to access the Setlist window.
TEMPO – Adjust the metronome time signature and BPM. Double tap to access the Tempo window.

10.

HOME – Press the Home icon in any screen to return to the Home menu.

11.

VOLUME FADERS – Independently adjust the volume for the Kicks, Snares, Toms, Overhead, Room and

12.

Metronome in the headphone mix.

METRONOME ON – Turns the metronome on and o.

13.

MIXER – Access the Mixer menu through this window.

14.

TRIGGERS – Access the Trigger settings menu through this window.

15.

LIBRARY – Access the instrument library through this window.

16.

SETTINGS – Access the Settings menu through this window.

17.

RECORD – Access the Record menu through this window.

18.

7

SETTING UP

CAREFULLY UNPACK THE MODULE

•

If mounting the module on the Pearl RDMM Module Mount, follow the steps below.

•

If using without a module mount, move to “Plug in your pads”.
i. Carefully turn the module upside down.

ii. Be sure to protect the screen and Data Wheel/encoder from damage.
iii. Install the mount ONLY with the included 10-32 screws.

iv. Screws that are too long will damage the unit.

PLUG IN YOUR PADS

•

i. Using the diagram in the “Connections” section, plug appropriate pads into each 1⁄4” jack.

ii. Dress cables neatly and away from AC sources to avoid crosstalk.
iii. Do not use unshielded cables.
iv. Additional information on editing and tweaking your pads is included in the Trigger section.
v. The default settings are for Pearl Tru-Trac pads.

CONNECT YOUR HEADPHONES

•

i. Plug in headphones to the 1⁄4” headphone jack on the back of the unit.

The volume is controlled digitally via the encoder & touchscreen.
ii. Be sure to lower the volume before you start playing, and slowly raise to a comfortable level.
iii. The headphone output has it’s own mixer,
where each instrument can be adjusted independently.

CONNECT TO OTHER AUDIO EQUIPMENT

•

i. Line Out 1-2 carry the Main Mix.
ii. Line Out 3-14 are assignable inside Mimic Pro.

1. Typical use would be a direct-out for individual instruments to feed
a mixer or audio interface.

iii. The AUX IN can be used to input pre-recorded music, a monitor mix,

or other reference source.

CONNECTING THE POWER SUPPLY

•

i. Select an AC outlet that is safe from foot trac, dry, and has at least 3 amps of current to
spare. This specically pertains to live stage performance environments where voltages

could vary.

ii. Ensure that this outlet is closely related electrically to any other equipment that Mimic Pro

will be connected to.
iii. Connect the AC cable to the power supply and then your local mains AC.
iv. Connect the DC cable to the Mimic Pro.
v. Turn the power switch located on the left side to the “I” (ON) position.

You are ready to begin!

8

OPERATION

1

2

Front Panel

DATA WHEEL

1.

7” LCD TOUCH SCREEN

2.

TOUCH SCREEN

Mimic Pro is operated primarily through a touch screen interface. Most
operations are done by tapping the screen, double tapping and dragging.

Tap on the screen to press buttons, open menus and choose positions
in menus. Tap and drag to adjust faders and other continuous controls.

There are also areas on Mimic Pro’s user interface that accept a double
tap. On the Home Screen, double tap on the Kit Display Window, the grey
bar (see Pic 3) between the headphones fader and Home button will open

the Load Kit menu.

Pic 3: Home Screen, Kit Display Window.

Note: You don’t have to tap
in the exact point on the
fader. You can tap at any
place inside fader frame and
make adjustments. This is
especially useful if your fader
becomes hidden outside of
the screen’s visible area.

Double tap the grey bar to

open the Load Kit menu

9

DATA WHEEL

Pic 4: Mimic Pro

Mimic Pro also has a Data Wheel (encoder) which can be rotated as well
as pressed to input values during some operations.

By default, rotating the Data Wheel adjusts the headphone volume fader.
If controls in Edit Mode are selected, or if menus are not opened, then
rotating the Data Wheel will adjust the selected fader.

When on the Home Screen, pressing the Data Wheel will open the Load

Kit menu. By rotating the Data Wheel, you can scroll through the presets
selections and press the Data Wheel to load the chosen kit preset.

If you double tap on a fader, a red blinking frame around the fader will
appear, (see Pic 5). This means that the fader is in Edit Mode and can be
adjusted using the Data Wheel. To exit Edit Mode, push the Data Wheel,
or tap on any free space on the screen.

Pic 5: Fader in Edit Mode

Double tapping any window
with two squares in the
right top corner of the box
(see Pic 6) will open the
corresponding menu.

Pic 6: Double Tap Box

Double tap on any fader

to activate the Data Wheel

Edit Mode.

When you open any menu, you can navigate in that menu by rotating the
Data Wheel and then select the menu item by pressing the Data Wheel.

10

SETUP

MOUNTING MIMIC ON THE STAND

•

Carefully turn Mimic upside down, ensuring that Mimic Pro’s display and Data Wheel are protected. Once
turned over, screw the mounting plate to Mimic Pro’s base. Do not overtighten, use gentle force only. If the

screw is not threading properly, then there may be a problem with the screw (too long, or too big). Use ONLY

the screws that come with the mount to prevent damage to internal components. Use only Pearl’s RDMM
Module Mount. After the mount is attached to Mimic Pro you can attach the module to a stand using a
suitable all-purpose clamp.

CONNECTING THE PADS

•

Mimic Pro supports all popular electronic drum pads and cymbals from dierent manufacturers. In most
cases, pads must be connected to Mimic using 1/4” (6.3 mm) TRS (Tip Ring Sleeve), balanced/stereo cables.
There are also unbalanced/mono cables which are the same size, called TR (Tip Ring) - these are not
recommended for use with Mimic Pro. It is recommended to always use balanced/stereo connectors for

pads that you are connecting to Mimic Pro.

TRS

Balanced

Pic 7: Connectors Example

Most drum pads and cymbals connect via a single TRS cable except Hi-Hat and many Ride cymbals (there
are some ride cymbals on the market that use single cable connection). Hi-Hat uses two cables, because it
has a pad jack and controller (device which reads Hi-Hat pedal movement) jack. Ride cymbals use two cables

to send to Mimic Pro signals from Bow/Edge zone and from bell zone separately.

Connect pads to corresponding Mimic Pro input jacks. The names of each input is printed on the back panel.
MAKE SURE MIMIC PRO IS TURNED OFF BEFORE CONNECTING COMPONENTS. After all components are
connected, turn Mimic Pro ON. Make sure you have headphones plugged into the HP output, or a PA system
plugged into outputs 1 and 2 to be able to hear sound when testing.

Since Mimic Pro is designed to work with many dierent brands of pads, it is recommended that when you
rst turn it on you should choose between pad presets and set the triggering sensitivity. This is the most

important step in getting the best triggering and dynamic response.

Visit the next sections, “Example Setups” and “Getting Started” for Quick Start instructions.

Visit the “Detailed Instructions” section for more information on how to tweak the advanced triggering
and mixing options featured inside Mimic Pro.

TR

Unbalanced

11

QUICK START

GETTING STARTED - “QUICK START”

“Quick Start” guide - fastest way to get playing. Does NOT include advanced pad setup.

Pic 8: Quick Start 1

https://youtu.be/7wLHPdlwkRs

Pic 9: Quick Start 2

12

HOME SCREEN

1

2

3

Pic 10: Home Screen

When you power up the Mimic Pro for the rst time you will see the Home Screen, see (Pic 10).

To begin triggering, you will need to address 3 things on the Home Screen.

Make sure you turn the headphones fader down to protect your ears and headphones. You can do this on

1.

the touch screen with your nger, or simply by turning the Data Wheel.

Double tap on the top bar to open the Kit Loading menu and load the rst Kit Preset in the list by selecting

2.

it and pressing the Load button.

Press the Trigger window (drum, sticks and gear icon) to open the Trigger Settings menu.

3.

Step 3 will take you to the Triggers Setting screen ( Pic 11).

13

HOME SCREEN

1

Pic 11: Triggering Settings

Understanding this screen is the most important part of getting Mimic Pro to trigger drums

correctly with your playing style. On the picture, there are two menus (numbered 1 and 2 in Pi c 11).

This is the Trigger Input Channel that is currently

1.

being adjusted. Tap on the menu and choose the
desired input channel to adjust. You can choose it by
tapping on any position in the menu, or by turning
the Data Wheel and pushing it to select.

This is the Trigger Pad Pre set Selector for the selected

2.

Trigger Input Channel, which contains presets for
most pad models by major manufacturers.

2

Pic 12: Trigger Input Channel

To start set ting up the triggering, choose your Trigger
Input Channel and see if the pad connected to that

trigger input is in the Trigger Pad Preset Selector
list. If it’s not in the preset list, select the closest pad
to your pad (judging by the used technology and
materials). If your pads are in the list and they are
all in good condition, then you’re almost set after
selecting the right pad presets. The only things left
to do after setting the pad presets are calibrating the
Hi-Hat pad, and adjusting dynamics to your taste.

Note: If your pad is not in the preset
list (or if your pad is in the preset

list, but dynamic response is o and

can’t be adjusted with Top Velocity
as described below) go to the section
Advanced Triggering Settings.

Note: The trigger input meter should
never go red as seen here (Pic 14). If
it’s going red during normal playing,
then you need to lower sensitivity

and/or amplication settings. Read

about that below in the section
Advanced Triggering Settings.

14

Pic 13: Trigger Pad Preset

Pic 14: Trigger

Input Overload

CALIBRATING THE HI-HAT

Red

1

Yellow

Blue

Pic 15: Triggering Setting, Hi-Hat Controller Tab

Install the Hi-Hat pad onto a stand according to your Hi-Hat pad’s manual. Hi-Hats may be single zone or

dual/multi zone and they always have a controller of some type. It can be a device inside the bottom, or

top hat, or a pedal with a built-in controller. The controller reads the pedal movement and translates the
data into Mimic Pro. First of all, make sure that the correct controller output cable goes into the Hi-Hat

controller input in Mimic Pro. Reminder - the cables must be 1⁄4” TRS and not a 1⁄4” mono connection.

Next select the Hi-Hat from your trigger instrument window shown in Pic 11. Then select the correct Hi­Hat preset in the Mimic Pro’s triggering settings window (Pic 13). Then proceed to TRIGGER-HH Control-
HH Pos tab to calibrate your Hi-Hat (Pic 15).

Make sure that your Hi-Hat is in the fully open position. If a
controller is built into the pedal, fully open means not applying
any pressure on it. If the controller is on a Hi-Hat stand, the top
hat must barely touch the controller’s contact point without
applying any pressure on it (Pic 16).

On the left side of the HH Control-HH Pos window there is a grey
meter with three strips on it (number 1 on Pic 15). Strips are red,
yellow and blue. Make sure that the Hi-Hat controller cable is
connected to the correct input by applying pressure to the pedal.
If the grey meter moves then the connections are correct.

Like all other cables for Mimic Pro, the Hi-Hat control cable must be a TRS cable. Do

not assume an existing wiring harness from another e-kit uses a TRS cable for Hi-Hat

control. Many do not! Without a TRS cable from the Mimic Pro to your controller, your

Hi-Hat will not calibrate or function properly.

CONTACT POINT

Pic 16: Hi-Hat Controller

Contact Point

15

CALIBRATING THE HI-HAT (continued)

Here are steps to calibrate the Hi-Hat:

With the Hi-Hat wide open set the Max Open fader right on top of the grey bar as shown in Pic 15 to the red

1.

strip. You can adjust the fader using your nger or the Data Wheel. To adjust with the Data Wheel, double

tap on the fader and the wheel will go into “edit mode.” In edit mode the fader will have a blinking red frame,

(Pic 17). To exit edit mode, push the Data Wheel, or tap on any empty space on the screen.

Pic 17: Fader in Edit Mode

Close the Hi-Hat applying your typical maximum pressure to the pedal. Typical means – do not stand on

2.

pedal with all your weight, just close the pedal like you would playing a tight Hi-Hat. With a fully closed Hi­Hat adjust the Max Close fader so it would be right on top of grey bar. It is the blue strip in Pic 18.

Pic 18: Hi-Hat Max Close Level Setup

Step three is very important! If the Max Open and Max Close levels are set correctly then the Hi-Hat pedal

3.

playability will depend on setting the correct value for the Close/Open Border Threshold. It is the yellow

strip on the controller meter. To adjust it, imagine you are closing an acoustic Hi-Hat and the top hat barely
touches the bottom hat, but the sound of the Hi-Hat is not really closed yet.

Set the Close/Open Border Threshold fader right on top of grey meter in its current position (Pic 19). If you

4.

are not satised with pedal playability, try to experiment with that fader until you get the desired results.

Pic 19: Hi-Hat Close/Open Border Threshold Level Setup

16

CALIBRATING THE HI-HAT (continued)

To adjust the controller behavior to your taste, it is possible to adjust the Hi-Hat Control Curve (Pic 20). It has

a xed point on Max Closed, Max Open and Close/Open Border levels, but it is possible to adjust controller

behavior in-between these points.

Pic 20: Hi-Hat Control Curve

Note: Some Hi-Hats, for instance, Pearl E-Pro EHH 2 may work better if you apply just
a little bit of pressure on the controller contact point to pre-load the spring. To do that,
loosen the clamp, put a small amount of pressure on the top hat, it will press down the
spring a little, then tighten the clutch back. Make sure that grey meter moved down just a
little bit. If it went down too much, then there is too much pressure.

If the Mimic Pro contains the presets for all your pads and you’re nished calibrating the Hi-Hat, the next step

would be adjusting the dynamics.

17

HI-HAT CONTROL CURVE

The Hi-Hat trigger input has a Settings Tab.

Pic 21: Hi-Hat Control Curve

Please be careful when adjusting these settings.

There are four faders:

Foot Splash Sensitivity adjusts how the Mimic Pro reacts to the foot splash articulation. The higher values

1.

make the foot splash easier but it could increase the possibility of a foot splash sound occurring during a
normal pedal chik.

Close to Open Max Delay adjusts the speed of opening the pedal. If you are playing fast, then the lower

2.

values will be your best option and the feel would be natural. On the High settings,it will be easier to play
but the natural feel will decrease.

Close to Open Pedal Travel adjusts the release of the pedal to achieve a fully open Hi Hat sound. The

3.

Higher values achieve a stable performance but may be harder to play. Lower settings on a closed hat may

trigger random open sounds. To avoid random notes,you need to apply to full pressure on the closed pedal.
Values lower than 65 to 70 are not recommended.

Hat Move Denoise is included to lter unwanted noise from the Hi-Hat stand or trigger pad. Higher values

4.

may aect the actual top hi-hat pad signal, so it is recommended to use values from 0 to 10.

18

DYNAMICS

ADJUSTING THE DYNAMICS WITH TOP VELOCITY FADER

Why adjust dynamics at all? The answer is simple. Most pads are using
piezo sensors to pick up an audio signal, which is going into the Mimic

Pro trigger inputs. All piezo sensors have dierent characteristics. Even

the same piezo model made in one batch in the same day could have

dierent characteristics. The dierence is not huge, but it may be enough

to feel. In this case you can adjust the triggering dynamics and playability

in a quick and convenient way.

To quickly adjust dynamic response from the pad use Top Velocity fader,

see number 1 on Pic 22.

1

Pic 22: Top Velocity Fader

Note: Why is the pad
condition important? Old,
worn pads tend to have

dierent piezo sensor

characteristics. Worn pads
may have low output levels

from the piezo sensors. If

you are using some well
worn pads, you may need
to make big changes to the
existing preset (even if the
preset in Mimic Pro matches
your pad model) to be able to
play the pad with the correct
triggering and dynamics.

Note: Setting Top Velocity
even to low values does not

aect dynamic range in any

way. It just makes it easier
for the drummer to play
or makes a more natural
dynamic response.

It’s important to understand how this parameter works to be able to adjust dynamic response from the pads.
Basically it makes it harder, or easier to reach top velocity on the loaded drum sample instruments. The higher
you set the Top Velocity value, the harder it is to reach the top velocity, you have to hit really hard to get the top
velocity. The lower Top Velocity, the easier it is to reach the top velocity. You don’t need to hit it hard at all and you
reach the highest velocity. When are you adjusting the Top Velocity fader the red strip in the meter on the right
side from that fader moves along with the top edge of Top Velocity fader.

Top Ve locity adjustment is available for each zone of the connected drum pad. If you have great response on
the Center zone of your snare drum pad, but you have to hit the Rim zone really hard to get the needed dynamic
response, try adjusting it for the Rim zone. Same will work vice versa – if you are not hitting really hard and getting
the loudest velocity then setting the Top Velocity fader to a higher value should help.

It is helpful when you need to even out the dynamic response of dierent zones on big pads such as crash and

ride cymbals. Usually they have one piezo in the Bow zone and switches in the Edge and Bell zones. These zones

are usually played with dierent playing techniques like hitting with tip of the stick, or with shank of the stick. This
makes the dynamic response very uneven. Use Top Velocity to adjust the dynamic response of dierent zones on

your drum pad for an even playing feel.

19

TRIGGER SETTINGS THRESHOLD

The Threshold parameter (see Pic 23) sets the border that controls the ow of audio being sent to the trigger. It’s
very important to understand how it works and how to use it.

Pic 23: Triggering Settings Threshold Fader

When you adjust the Threshold there is a corresponding blue strip moving along with the fader in the Trigger
input meter, see Pic 22.

If the Mimic Pro is connected to a bad power source it can cause a hum in Mimic Pro’s trigger inputs. Also if
there is something vibrating, or very noisy located near your electronic drumkit, for instance, a loud bass guitar

cabinet, this may create noise in your pad sensors. All this hum and noise may cause misres. For instance, if you

hear random ghost notes triggering on the snare, tom, or any other drum input, this means that there is some

audio signal (hum, noise) going to that trigger input. You can lter this out by increasing the Threshold value.

Note: In some very rare conditions you may need to set Threshold parameter to very high
values – 100, or even more. This may happen if, for instance, your drum kit is located on a big
subwoofer. This seems extreme, but sometimes drummers have to work in these conditions.

Apart from noise described above, there is one more kind of noise that may cause false triggering – It’s when
you are hitting one of the pads on your drum kit and it triggers one of the other pads. This is called Crosstalk.
You would have to have a separate stand for every drum to avoid this. But conditions are almost never perfect.
Usually crosstalk happens when pads are mounted on the same stand, so when you hit one pad, the energy from
the hit goes to the stand and reaches other pads causing false triggers. Mimic Pro has the Advanced Crosstalk
Elimination System, you can read about this below in the Crosstalk Elimination section. Even though Mimic Pro
has the Crosstalk Elimination System, in some cases, you can just use the Threshold fader instead. Especially if
crosstalk is very minor and you don’t have to increase 30-45 value.

Note: It’s very important to understand that Threshold doesn’t lter useless signals and
only allows the actual signal from your drum pads. Threshold lters everything that

comes into Mimic Pro’s trigger input. So the higher Threshold value the less soft hits can
be triggered by Mimic Pro. If you set Threshold to 50 on your snare drum you probably

won’t be able to play ghost notes, because they will be ltered by Threshold. Always use

Threshold carefully and increase it in small steps checking triggering with soft hits.

20

TRIGGER SETTINGS RIMSHOT THRESHOLD

Unlike Threshold fader this parameter has nothing to do with ltering unwanted audio signal. Using Rimshot
Threshold allows you to adjust how hard, or how easy it is to play a rimshot articulation. If your pad has a piezo
in center and a switch on the rim like Pearl TruTrac pads, the Rimshot Threshold must be set on the Center zone
tab only. If your pad has two piezo sensors (center and rim) like a typical mesh head electronic drum pad, it must
be set on both - Center zone tab and rim zone tab.

When you adjusting the Rimshot Threshold the corresponding yellow strip on trigger input meter (see Pic 22) will
move along with the fader.

Pic 24: Triggering Settings Rimshot Threshold Fader

If you use a drum pad with two piezo sensors – one on the center and one on the rim, like typical mesh head
pads then both zone tabs have a Rimshot Threshold fader – Center and Rim. This makes setting the Rimshot
Threshold more complicated, but if set up correctly, you can have full dynamic range of rim articulation (rim click,
or sidestick) with the ability to play rimshots. There are a few steps to setup the Rimshot Threshold on such drum
pads:

1. While on the Center-Piezo tab, hit the rim zone
with your typical hardest hit, but don’t hit it harder
than you would normally play the hardest hits. Set
the Center Rimshot Threshold value (yellow line on
meter) just above the meter grey bar, see Pic 25.

Pic 25: Dual Piezo Pad, Center Piezo Rimshot Threshold

After these two steps are completed you should have full dynamic range of rim articulation available for playing
as well as being able to play rimshots. If rimshots are very easy to play, you may need to increase Rimshot

Threshold for Rim Piezo, or for both piezos. If rimshots are too hard to play, you may need to lower the Rimshot
Threshold on some of the piezos, or both piezos.

2. While on the Rim-Piezo tab, hit the center zone

with your typical hardest hit, but don’t hit it harder
than you would normally play the hardest hits. Set
the Rim Rimshot Threshold value (yellow line on
meter) just above the meter grey bar, see Pic 26.

Pic 26: Dual Piezo Pad, Rim Piezo Rimshot Threshold

21

ADVANCED TRIGGERING SETTINGS

Pic 27: Advanced Settings

ADVANCED SETTINGS include parameters that allow the user to setup or adjust a pad, which is not currently in
pad preset list. It is also possible that you might need to adjust these settings when a pad is worn or outdated.
The characteristics of the piezo are changing with age and its performance could diminish.

When you press the Advanced Settings button, you will see more parameters than just a Threshold. There is

also an Input Settings button. By pressing it you can setup the actual trigger input amplication and sensitivity.
Let’s take a closer look at these parameters.

DETECT TIME fader sets the amount of time that the triggering engine may have to analyze the signal. By default
it’s 3 ms. By setting it lower on all pads you can make latency lower, but it actually won’t be noticeable. While the

quality of triggering may become worse if you set it really low, the triggering engine won’t have enough time to

analyze the signal. But all this doesn’t mean that setting it to higher values it will produce better triggering. First
of all, you will make latency higher by setting it to higher values. Rarely are any useful info is sent to the triggering

engine after 3-4 ms. So 3 ms works ne on most pads.

RETRIGGER CANCEL adjusts the triggering engine’s ability to avoid misleading parts of the signal and not trigger
them. It usually happens on acoustic drum triggering when the drums have real heads. They may perform in an

unpredictable manner producing spikes and other aws in the soundwaves after you hit the drum. Experimenting

with this parameter may help in this situation.

22

ADVANCED TRIGGERING SETTINGS (continued)

MASK TIME sets the minimum amount of time between two hits. By default it ’s 10 ms which is usually enough
for fast rolls and swells. 10 ms means that if you make a hit and then after 15-20 ms, for example, your next hit - it
will be triggered. But if you make the next hit in less than 10 ms (which is not typical) like 5-6 ms then this next hit
won’t be triggered. If you set the mask time to really low values, you can get some false triggers because in some
situations the triggering engine may think that one hit is actually multiple hits and may trigger multiple hits. So
generally it’s recommended in most cases to keep the Mask time around 6-10 ms.

HEAD-RIM BALANCE setting doesn’t appear on every pad. Only on pads with two piezos, like mesh head pads.
With this setting you can adjust the balance in triggering between the head and rim zones.

Pic 28: Input Settings

INPUT SETTINGS AMPLIFY (press Input Settings bu t ton to see this) ad j us t s th e ac tual am p l i  c a t i on of t h e tr ig g er
input. Be very careful working with this setting and try to avoid trigger input overload (meter near Top Velocity
becomes red). The setting itself is pretty straight forward. There is a button with the amplication multiplier, like
Normal is x1 and x2 is two times higher.

INPUT SETTINGS SENSITIVITY (press Input Settings button to see this) adjusts the sensitivity of the trigger
input. It varies from 1 to 6 and typically the settings used here are from 4 to 6. Just as with Amplify settings, be
careful using this to avoid trigger input overload.

23

TRIGGERING SETTINGS KIT INSTRUMENT ASSIGN

This part of the triggering settings is very important, because it is saved with the kit
preset. So it can be unique for every kit. Here you can assign dierent articulations for

dierent zones on the drum pad. There are many brands of pads available and they all dier
in the type and amount of zones. Like bow, or bell on cymbals and head, or rim on shells.

On the kick and snare drum there are two layers to assign articulations to the zones. This feature gives you

many possibilities. You can just mix two snare drums to get a unique sound, or you can turn o the sidestick on
rim zone in Layer 1 and turn o all articulations except sidestick in Layer 2. This way you can get unique sidestick
sounds just by switching drums in Snare Layer cell. You can do the same adjustment for any other articulation.

Pic 29: Kick Drum Layer 1

Pic 30: Kick Drum Layer 2

On all other trigger inputs there are no layers, so there are many options for creating unique hybrid kits. For

instance you can put any sounds you want (clap, tambourine, cowbell) on tom rims. Since this settings saves with

the kit preset, it can be dierent for each kit.

24

TRIGGERING SETTINGS ZONE VOLUME

Under this tab you can further adjust dynamics. It is recommended to make changes here after you’re sure
that the pad has been properly set up and you just need to adjust nuances to your taste. On the left side of the
screen there is a Velocity Amp adjustment per each zone. On the right side there is a Volume Amp adjustment
for each zone.

Velocity Amp adjusts the actual velocity triggering of the zone. Typical example of using this adjustment is when
the head of the pad has a piezo and the rim is a switch. It doesn’t have separate sensitivity and amp adjustment in
Advanced Triggering Settings. The only way to adjust the dynamics before Velocity Amp is using the Top Velocity
fader. Adjust the Top Velocity fader down but don’t move it all the way down. You need to keep a fair amount of
dynamic range untouched. You need to amplify the whole velocity range. That’s when Velocity Amp comes into
play. Go to this tab and adjust the Velocity Amp to your taste (consider making the fader value higher).

Pic 31: Velocity Amp

Volume Amp is just a volume adjustment for the zone. Typical example - You want the rimshot on the snare to

be quieter or louder. Another example would be the chick on the Hi-Hat. When you don’ t want to adjust velocities

and you want to adjust only volume - use the Volume Amp.

25

TRIGGERING SETTINGS CURVES

This tab contains two amazing tools to adjust dynamics to your playing style. Make sure your pad has been
properly set up and then go to this tab.

Dynamics fader adjusts the dynamics of
samples, but unlike Volume Amp, which
adjust the volume of the whole zone the

Dynamics fader adjusts the volume of the

dierent velocities. If you set this fader to
low values, then you will have less dynamic
range. This means that soft hits will still be
soft hits in terms of velocity layer playing, but
they will sound louder. If you set this fader to
higher values, the soft hits will also be soft
hits in terms of velocity layer, but they will

sound quieter.

Velocity Curve adjusts velocities (velocity
layers) to your playing style. If you drag the
dot in left bottom corner up, this will make
soft hits on the pad trigger medium velocity
layers in instrument. So unlike Dynamics
faders this curve changes actual sample
velocities according to curve that was
drawn. And you basically can draw with your

nger thousands of variations of the curve.

To reset Velocity Curve to default settings
press Reset Velocity Curve button.

Pic 32: Dynamics

Pic 33: Velocity Curve

MIDI

In this tab you can setup MIDI notes and
channels for your pad zones. You can edit
MIDI Input and MIDI Output notes and
channels independently from each other, or

together by pressing the Link Edit button in

the bottom left corner of the screen.

Pic 34: MIDI

26

TRIGGERING SETTINGS CROSSTALK SUPPRESSION AND RIDE SPLIT

In Triggering Settings main screen there is a button near the Pad Preset menu called Settings. After you press it
you’ll see the menu that oers to Split Ride Input and Capture Crosstalk.

Since most ride cymbals use two inputs the Mimic Pro has two inputs for 3-zone ride cymbal pads, but there are
also ride cymbals on the market that have 3 zones using only one input. If you turn on the Split mode for ride
input you can connect two ride cymbals, which use one input per cymbal.

Pic 35: Capture Crosstalk Pic 36: XTalk Support

Crosstalk capture allows you to eliminate crosstalk that’s happening inside the kit. For instance, if you use a
drum rack that hosts the entire drumkit, there will be a lot of crosstalk. When you hit one pad the vibration and
energy goes through the whole drum rack to all the other pads. So when you hit a tom pad you can get the crash
cymbal triggering as well. It will be almost inaudible, because it will be triggered with fairly low velocity, but it will
be triggered. All electronic drums have crosstalk inside the kit and you may have some false triggers that make
the playing experience far from perfect. For instance, you want to hit a tom and crash at the same time. You hit
them at the same time, but the tom hit was 1 ms earlier than the crash hit and the tom hit triggered the cymbal
(crosstalk), this means that your actual hit on cymbal may not be triggered. Remember, it just was triggered 1
ms before and even of it was triggered on a very low velocity it still was triggered. Considering that Mask Time
is 10 ms. The two hits with less than 10 ms between them may not be triggered correctly. That’s why crosstalk
elimination is important.

If you have to play in conditions when all your drums are on the same drum stand and you have a lot of crosstalk
you can still rely on Mimic smart Crosstalk (XTalk) Suppression.

To use the XTalk Suppression function, press the Capture Crosstalk button in the Settings menu within the
Triggering Settings screen. Once you’re in the XTalk Suppression screen, press the Enable XTalk Suppression

button. Now you need to go through the XTalk Learn

Procedure. Select a pad and follow the instructions
on the screen. For instance, you need to capture
Head and Bow (Rim) signal for the Snare drum.
Press the Start Capture Head button, hit the snare
head with 5 high velocity strokes, and then press
the Store button. Repeat the process for the Snare
Bow (Rim) and the remaining pads before pressing

Exit. Make it a habit to apply the XTalk Suppression

function to all your pads before a performance.

Pic 37: XTalk Stunt Capture

27

SETTING UP A PAD WITH THE MIMIC PRO PRESET TRIGGER LIST:

Pic 38: Preset Trigger List

Choose the correct preset for your pad.

1.

Adjust the Top Velocity fader for each zone.

2.

Adjust Threshold if needed.

3.

Adjust Rimshot Threshold if needed.

4.

Adjust Velocity Amp if needed.

5.

If you feel like the setting is way o (too much adjustment needed in Top Velocity or Velocity Amp and the

6.

performance is lacking) then go to section called “Steps to Set Up a New Pad, not on the Trigger List”. If
everything is working to your satisfaction, go to step 7.

Try using a few dierent kits and adjust the Dynamics and Velocity Curve to your taste and playing style.

7.

28

STEPS TO SETUP A NEW PAD WITHOUT IT BEING LISTED:

Choose the preset, which is closest to your pad in terms of technology used. For instance, if you have a

1.

mesh head pad with two piezos, then chose something like R- PD-125 as a starting point. You can learn
about technology used in your pad in your pad manual, or online.

Set Top Velocity somewhere around 800 for each zone.

2.

Set Threshold close to zero.

3.

Go to Advanced Settings > Input Settings. Set Amplify to x1 and Sensitivity to 4. Do this for each zone, if

4.

your pad has more than 1 piezo.

Test the drum. If you feel like you are almost there but the top velocity is too easy to peak, then try to make

5.

the Sensitivity higher. Move it to 3 and play the drum. If it is still too easy to get top velocity, try to move it
to 2, or you can leave it to 3 and try to lower Amplify to x0.9, or x0.7.

If you feel like there is not enough sensitivity and you need to hit really hard to get the desired velocity, then

6.

probably you need higher Sensitivity and Amplify settings. Try to increase the Sensitivity to 5 and, if it’s not
enough, to 6. If it’s still not enough, then move Sensitivity to 3, or 4 and increase Amplify to x2. It’s very rare
when you may need to increase Amplify to x5 (like rim piezos on some mesh head pads). So try to not make
it higher than x2. If x2 and Sensitivity 3 is not enough then increase the Sensitivity to 4, then to 5, then to 6.
Then try lowering the Top Velocity fader. Only then, when you feel like Amplify x2 is really not enough you
can try Amplify x5.

Set the Threshold. If you set it close to zero before, then set it to 10, or 20. Try playing the drum with

7.

occasional ghost notes and adjust Threshold to the value where the ghost notes are still there.

Adjust the Top Velocity fader.

8.

Set the Rimshot Threshold.

9.

Set Head-Rim balance if needed.

10.

Set Velocity Amp if needed.

11.

29

EDIT KIT

The Edit Kit screen has two pages with cells to load instruments in them. It is easy to load, modify, and create
new kits.

Each cell represents a Mimic Pro trigger input (e.g. Kick, Snare, etc). There are also Xtra type of cells (e.g. Xtra 1).

These cells can be used with an external MIDI controller, keyboard, multi-pad to trigger instruments from the

device. Use Xtra cells to create unique hybrid kits by loading various instruments and assigning them to dierent

pad zones in the Triggering Settings Kit Instruments Assign tab. For instance, you can load claps, tambourines,
or even small parts of your tracks and assign them to the tom’s rims.

It is important to remember that any changes made to the User Kit preset will be automatically saved to the
module. If you want to experiment with a User Kit preset that you love and you don’t want to lose it by changing
anything in the kit, don’t make changes in that preset, because it will alter the kit. If you want to experiment with

settings in the kit preset, clone it rst (check New Kit section below).

Edit Kit screen controls:

Pic 39: Edit Kit

30

EDIT KIT (continued)

Pic 40: Edit Kit Controls

AUTO SELECT

Auto Select button is located in the right bottom corner. When it’s turned on, you can select a cell by hitting the
corresponding pad.

PLAY ON SELECT

Play on Select button is located next to Auto Select. When it’s turned on, you can audition already loaded
instruments by tapping on the cell on the screen.

PAGES

Page I and Page II button switch pages. There are two pages with cells.

NEW KIT

New Kit button lets you create new kit presets. When you press this button, you’ll see a dialog asking “Clone
Current Kit?”. If you press YES, then the currently loaded kit preset will be duplicated and you can save it under

dierent name, experiment with settings, or change any instrument. If you press NO, then a new empty kit will
be created. All cells will be empty, FXs and mix balance will be reset. This is the correct way to create kits from

the beginning.

LOAD KIT

Load Kit button takes you to the Load Kit menu. You can select a kit by tapping on the name and load a kit by
pressing the Load Kit button in that menu. You can also delete kit presets by pressing the Delete Kit button. To

exit from that menu to the Edit Kit screen, press the Exit button in the bottom right corner.

CLEAR INSTRUMENT

Clear Inst button lets you clear the selected cell. The loaded instrument will be removed and the cell will be
empty. Use this if you want to remove an instrument from the cell.

31

EDIT KIT (continued)

Pic 40: Edit Kit Controls

LOAD INSTRUMENT

Load Inst button let’s you load instruments in a selected cell. When you press this button, it takes you to the
Instrument Loading menu.

Depending on how many instruments you have, there may multiple pages. In the Instrument Loading menu, you

can see cells with instrument pictures, names, and library names. Factory Instruments consist of two libraries; the
Steven Slate SSD5 and SSD4. SSD4 was recorded earlier than SSD5 and may have more noise. Since both libraries
were recorded on tape using vintage consoles, preamps and mics, some of the samples may have audible noise
on softer velocities if you have Dynamics fader in Triggering Settings Curves tab set to low values. The noise is
not considered a problem. It’s typical of samples recorded on tape because of the nature of the process. It’s part
of the analog vibe and warmth in an instrument’s sound.

To load an instrument, you’ll need to tap on the instrument cell. An instrument will load when you tap the cell for

the rst time. Instruments that contain multiple samples like Hi-Hats may take 1-2 seconds to load. Tap the cell

again to audition the loaded instrument. This makes it easy to decide which instrument to load in your kit preset.
Make note that cells have to be populated with corresponding types of instruments, like kicks in kick cell and
snares in snare cell. There are also AUX trigger input and Xtra cells. In these cells, choose the type of instrument
you want to load and browse through the instruments before loading them. When the AUX or Xtra cells are
selected, the INSTR TYPE button will appear in the bottom left corner. Press it to select the type of instrument
you want to load in that cell.

Mimic Pro supports one-shot (single sample) WAV les to use as instruments. You can import WAV les in the

Mimic Pro (read about this in the Settings section) and load them into the AUX or Xtra Cell after choosing Wave
as the INSTR TYPE for the cell. WAV les should be 16-bit or 24-bit and have 44100 Hz sample rate. The max
length is 20 seconds but the end of a 20 second WAV will be shaped by the ASR’s Release parameter (read about
this in the Mod and Working on Kit Preset section).

To exit from the Instrument loading menu, press the Exit button in the bottom right corner.

32

MIXER

The Mimic Pro Mixer is a key feature of the module and oers powerful sound editing capabilities. Regardless of
the depth and complexity of the given parameters, it’s simple to understand and easy to customize and create

unique sounds.

Pic 41: Mixer

To access the Mixer menu, start from the Home Screen then press on the

tab located at the bottom left of the touch screen.

Once at the Mixer menu there are ve sub groups of editing functions located at the bottom of the Mixer screen.

PHONES MIX (Headphone only mix)

1.

MASTER MIX (Master outputs)

2.

FX (Eects for kit presets)

3.

MIC (Specic microphone volume adjustments for instrument balance within kit presets)

4.

MOD (Modication of instruments within the kit presets)

5.

MISC (contains various settings related to mixing)

6.

To activate your choice, simply touch the desired tab to see the respective menu. Once the tab is activated it will

light up. Example: PHONES MIX.

Pic 42: Phones Mix

33

MIXER (continued)

The Mimic Pro Mixer oers similar functionality and control to that found in
the professional studio recording world. Unlike other elec tronic drum modules,
Mimic Pro allows you to edit your sound by adjusting the actual microphones
used during the recording session. You can independently adjust the volume
of the direct, room and overhead mics used to record the drum kit.

To add to the realism of this feature, the crash and splash cymbal gains are
controlled by the overhead and room microphone channels of the mixer in

the same way they are in a professional recording/mixing session for acoustic

drums. They are also channeled through the overhead and room outputs on
the module and may be routed to the output of your choice.

EXCEPTION: The ride
and Hi-Hat cymbals use
direct microphones and
may also be individually
routed to the output of
your choice. For more
information on routing,
check the routing section
of the manual.

COLOR CODING

The Instrument name header strips on the mixer screen are color coded for easy reference.

Red indicates a subgroup of instruments with a “SHOW” or “HIDE” guide. Example: The red “Toms”

•

group may contain four tom strips inside the group. Each strip represents an individual tom. To access the
subgroup, you will notice the word “SHOW” under “TOMS,” tap on the red header to expand the group. To
retract, tap on the red header that now reads “TOMS HIDE.” You can adjust the fader (volume) of the whole
group in addition to each instrument separately.
Green indicates the direct microphone(s) on the instrument.

•

Yellow indicates the ambient microphones used on the instruments. These are the Overheads

•

(OH) and Room mics not located close to the instrument. Because of this they capture the sound of the room
and are considered ambient mics. Most of the cymbal sounds are in the OH and Room mixer channels.
Dark Blue indicates the Reverb and Master channels.

•

The vertical strip faders for Phones Mix and Master Mix are also color coded for easy identication.

Pic 43: Color Coding

Phones mix section has blue faders

Pic 44: Master Mix

Master mix section has green faders.

Reverb and Master faders have dark rose color in

both mixers.

34

PHONES MIX AND MASTER MIX

The Mimic Pro has two separate independent mixers; PHONES MIX and MASTER MIX. Their function
allows you to adjust the instrument volume for the respective outputs. This is a global setting and is not

programmable for the individual kit presets. The PHONES MIX and MASTER MIX do not save to one unique
kit preset VS another. Any changes made aect all kit presets and automatically save/remain. This provides

consistent output levels regardless of the Kit Preset in use and is perfect for performances that require multiple

kit changes.

For example, during a live performance if the front house sound engineer needs your kick drum volume lower,
you simply lower the “Kicks” fader, now regardless of the Kit preset used the level you send him is constant.

To adjust the volume fader of any channel simply use your nger to move the fader up or down. For ner

incremental adjustments the Data Wheel works best. To use this method simply double tap on the fader column
and it will go into edit mode with the fader column highlighted in red. Next adjust it with Data Wheel, turn
clockwise to increase and counterclockwise to decrease, once set push the Data Wheel in (should click) to exit
edit mode and save changes.

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS

As noted the PHONES MIX and MASTER MIX are global volume controls and do not aect the individual kit presets.

From the MIXER Screen individual Kit Presets can be adjusted from the three main menus below that allow you
to tweak each Kit to make it unique.

1.

2.

3.

FX
MIC
MOD

Pic 45: Master Mix / Mic Volume

1

2

3

In this section, we’ll explain each of these tools and the options they provide.

35

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

MIC ADJUSTMENTS WITHIN KIT PRESETS

After you have assembled a virtual drum kit in the Edit Kit screen, the rst thing to do is to create the right volume
balance between dierent drum kit pieces and dierent channels (OH, Room, etc.) To do this you must access the
MIC tools. From the Home screen tap on the MIXER menu, choose the desired MIX you wish to edit (PHONES or
MASTER) then tap on MIC VOL to access the available options.

From the MIC VOL menu, on the right side of the screen you can see the Instrument Volume fader. This fader

adjusts the volume of the whole instrument after it was processed and mics inside that instrument were balanced
in a desired way. If you only want to change the volume of the instrument this is the desired fader.

Note: Some mixer channels such as OH, Room, Reverb have only this fader and nothing more. This is because their

sounds are from a lot of dierent sources. Kicks, snares, cymbals - they all have overheads and room mics, so when

you’re playing drums, they all sound in these channels if they have corresponding mics. This means that you still
can adjust OH, Room and Reverb for each drum separately for the Kit Preset, but those changes must be done in

that drum mixer channel. Changes made to the OH, Room and Reverb volume from the PHONES or MIX menu aect

the whole channel regardless of Kit Preset.

On the left side depending on instruments you may see dierent sets of parameters. Usually there are Direct
mic faders, Overhead mic fader and Room mic fader.

If the instrument has two direct mics such as a Snare Top and Snare Bottom, or Kick In and Kick Out, then there
are two methods of working with them:

COMBINED MODE. This mode is set by default. In this mode, you will see Volume fader and Balance fader.

1.

Volume adjusts the volume of combined direct mics. Balance adjusts balance between two direct mics

before they are mixed together. The benet of combined mode is to be able to process the direct mic with
the eects (compressor, EQ) as one piece. This is an easy and eective method.

SPLIT MODE. (recommended for advanced users) Press Split button in the middle of the screen to activate

2.

this mode. The direct mics are separated and you will see faders for them respectively. For example it
may be Snare Top and Snare Bottom, or Kick In and Kick Out. In split mode each direct mic is processed

separately with eects, so you can apply FX on, for instance, Snare Top and Snare Bottom mics individually.

Below the direct mic faders there are OH and Room faders. If the instruments show the direct mics then OH and
Room faders will be the only faders on the left side of the screen.

The Pan fader(s) allow you to change the pan of each mic to the left, or right side of a stereo eld.

The Reverb Send faders (read more about Reverb eect in the Reverb section). Reverb is an additional ambient
mic channel, but unlike the recorded OH and Room channels, it is a virtual mic. This Reverb eect can be sent to
your choice of mics for each instrument. It is also possible to modify the sound of the Reverb eect by changing
the settings in the FX menu. This combination oers a lot of creative possibilities. In addition, the sound of Reverb

will also vary depending on the mics it is applied to. For example, the snare drum has a Direct, OH and Room mics

and each of these have their own unique sound. You can then apply Reverb to each of these mics individually and

in various proportions to create literally thousands of variations.

36

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

MOD ADJUSTMENTS WORKING IN KIT PRESETS

Mod section in the Mimic Pro Mixer
screen is another important part of
working on a kit preset. It gives user
the possibility to tune and shape
instruments as well as take some
velocity layers out of the instrument.

On the left side of the Mod section
locate the ASR curve faders. ASR
stands for Attack, Sustain, Release.
Pay attention that ASR is presented for
each mic for the respective instrument .
If you want to shape all the mics used
for an instrument, then set the ASR for your desired mics.

Attack: is the initial part of the sample. Basically, it’s a fade-in for the sample. When you increase attack, it
smooths out the beginning (transient) end of the sample and provides options for sound design purposes. For
example, adding attack to the ride cymbal provides smoothness to the sound, this is applicable to many other
instruments.

Pic 46: MOD

Sustain is the middle part of the sample. The phase of sustain starts right after the Attack. The amount of

sustain denes how much time the sample will sound unchanged.

Release is the end of the sample. Basically, it’s a fade-out for the sample. The longer release the longer the fade­out will be. It works great for taming the tails of samples. If you want to make a short pop, or funk snare, you can
shorten the Sustain to 150-200 ms, and set release to a range of 150-200. You’ll get a short snare drum, which

most likely will sound dierent from the original instrument because of the shaping.

Tune and Range parameters are located on the right side of the Mod screen

Tune allows you to pitch the instrument higher or lower. Please note: increasing and decreasing tune to extreme

values may produce some artifacts of sound. That is the natures of tuning an audio signal.

Range allows you to remove some of the velocity layers. If the user wants to create a soft sounding kit, then using
the Range parameter may help.

When decreasing the Range, it virtually removes the top velocity layer (those punchy hard hits) making the
instrument sound softer and more mellow. However, decreasing the Range doesn’t aect the dynamic range. You
still have full dynamic range. When top velocities are taken out by decreasing the Range fader, the other velocities
are getting virtually remapped across the entire dynamic range.

37

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

FX ADJUSTMENTS WORKING IN KIT PRESETS

The FX tools of the Mimic Pro are very powerful and

provide many sound possibilities and variations

that allow you to create unique sounding drum
kits. In this section, we will identify the FX tools

and explain how to use them.

The three FX (eects) menus are:

COMPRESSOR

1.

EQ (SOUND FREQUENCY EQUALIZER)

2.

REVERB

3.

COMPRESSOR

A Com pressor is an eect that typical l y reduc es the volum e of loud so unds or am p lies qu iet sound s by narro w ing

or compressing an audio signal’s dynamic range. Compression is commonly used in recording and for live sound.

The eect compression has on the sound of instruments varies greatly depending on the control settings used; it

could range from being hardly noticeable, to drastically changing the tonal character. It’s truly a powerful tool for
sound shape and design. The Compressor tool on Mimic Pro is referred to as “COMP” and is only available for the
individual instruments (direct mics) and on the main OH and Room channels. In addition, the “COMP” feature is
also available for the entire headphones output. To properly setup the compressor or “COMP” we need to review

the controls available and what they should oer:

Pic 47: Compressor Screen

Threshold controls how loud a signal must be before any compression is applied. The “COMP” reduces the level
of an audio signal if its amplitude exceeds a certain threshold. It is commonly set in decibels dB, where a lower
threshold, for instance -30 dB means a larger portion of the signal is treated compared to a higher threshold of,
for instance -10 dB.

Ratio is the amount of gain reduction. For example, a ratio of 4:1 means that if the input level is 4 dB over the
threshold, the output signal level is 1 dB over the threshold. The gain, or signal level has been reduced by 3 dB. It
is important to understand, that when the compressor is lowering the signal to the desired ratio that it is lowering
the entire signal, so that the compressor is still working even after the input signal has fallen below the threshold,
for an amount of time determined by the release.

Attack is the period when the “COMP” is decreasing gain to reach the level that is determined by the ratio.

Release is the period when the “COMP is increasing gain to the level determined by the ratio, or to zero dB once

the level has fallen below the threshold.

Output is the volume of the whole signal after the compressor. Because the compressor is reducing the gain, or

level of the signal, the ability to add a xed amount of output gain is provided in Mimic Pro “COMP” so that an

optimum volume level can be used.

38

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

SC HPF is a high pass lter. When you are compressing the signal the “COMP” reacts more to low frequencies,
because they are usually louder. SC HPF lets you ignore some part of the low frequencies. It’s easy to hear this
eect when the compres sion is applied to the whole mix. The kic k drum there will have slightly more compre ssion

than the snare drum. To even things out try to set SC HPF to 40 Hz, or 60 Hz.

Clip is a clipper after the output gain. Usually when you

compress the signal, it gets quieter, so you even it out with

Output fader, but depending on Attack setting some of the
peaks are not getting any gain reduction, so they also get
louder by the amount of dB set on the Output fader. This
may lead to clipping, or overload (the meter becomes red). To
avoid the overload (clipping) use the Clip button. Clipper may
distort the signal slightly or a lot depending on how much
overloaded signal is going into it.

There are presets available for the “COMP” categorized by
the type of signal they were created for. Presets are a good
starting point to make changes.

Pic 48: Comp Preset List

Everything described above may be dicult to understand if

you have never us ed a Compressor. To help with unde rstanding
below are some typical steps to setup “COMP”:

Turn ON the “COMP.”

1.

Set Threshold to 0 dB, Ratio to 2:1, Attack to 8-15 ms, Release to 60-120 ms, Output to 0 dB, SC HPF to 40

2.

Hz, turn on the Clip.

Start to decrease Threshold until you see the green meter on the left side (gain reduction meter, or GR

3.

meter) moving a little. When it’s moving the gain reduction, or GR is happening. The lower Threshold the

higher Gain Reduction. You probably will hear the sound changing. The only way to setup eects is by using

your ears. Try to experiment and listen to the sound.

After you conrm that Gain Reduc tion is happening try to experiment with Ratio, At tack, and Release values.

4.

Usually the audio signal gets quieter after compression, so try to compensate for it by increasing the Output

5.

fader.

Experiment with SC HPF, if you think that the eect on the instrument(s) is not needed, then simply turn it

6.

o. Again, use your ears to shape the sound you like.

Pic 49: Compressor Parameters

Try to turn Clip o and see if there is signal overload on hard hits. If there is no signal overload then it’s safe

7.

to leave the Clip turned o.

39

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

EQ

EQ (Equalization) is the process of adjusting the balance between frequency components within an electronic

signal. EQ is a very useful tool in sound design. You can change the spectrum of audio signal by adjusting

frequencies (boosting, or cutting them). This gives you thousands of sound variations of the same instrument.
The EQ on Mimic Pro has ve bands. This means that you have ve EQ lters that can work at the same time. To

adjust the band, tap on the band point and drag it on the EQ display. To reset the band, tap and hold on the Hold
to Reset button on the top of EQ display.

Pic 50: FX Adjustment

Bands 1 and 5 are shelf lter types. This means that it can be used to reduce or increase signal above or below a
set frequency.

Other bands are bells, each with a bit dierent Q (bandw idth). Bell means that it can be use d to reduce or increase
the signal around a set frequency.

Steps to setup EQ:

Turn it ON.

1.

Adjust the bands.

2.

The only way to setup EQ is to use your ears.

Sculpt the sound until you get your desired result. Have fun and experiment!

40

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

REVERB

REVERB emulates how musical instruments sound

when played in a specic place/room/location.

For example; a medium sized Room, Concert Hall,
Chamber, Church, Cave, literally any place that comes
to mind. In Mimic Pro REVERB is a virtual mic in a
third ambiance channel. The sound produced in this

channel is a result of sending a signal from dierent
mics of dierent instruments into the Reverb eect

simulator. Reverb is also a powerful tool for sound

design and oer countless variations of sound.

To access Reverb when in the FX section of the Mixer screen, tap on Reverb mixer strip header and you’ll see a
Reverb eect and EQ after the Reverb. EQ may also be used to further sculpt the Reverb sound if needed.

Pic 51: FX Reverb

Reverb has three

variable controls/

faders and is very
easy to setup. You
only need to listen and
experiment.

ROOM SIZE

1.

DAMPENING

2.

WIDTH

3.

How to setup Reverb:

From the MIX screen tap the Reverb tab. Then Tap FX then Turn the Reverb on by taping the “On” button.

1.

(you have the option to turn on/o)
Next tap the MIC VOL tab and choose an instrument. For example: snare, kick, or any other instrument on

2.

the mixer strip in your kit preset. Next increase the Reverb fader to send the mic, or combination of mics
of desired instruments to the Reverb. The reverb fader corresponds directly to the adjacent mic channel.
Now you should have instruments sent to Reverb. Play them to check to ensure you can hear reverb applied.

3.

Be sure to also check that the Reverb fader of the Mixer is up and not turned o or set to low.
If needed go back to the FX section and try to adjust the Reverb settings.

4.

Apply and adjust the EQ after the Reverb if needed.

5.

Try to experiment with how much signal you send from dierent instruments to the Reverb channel.

6.

Dierent combinations of mics sent into Reverb with dierent levels will greatly vary the sound of the

instrument. When used in just this way it will produce countless sound variations without even changing the

Reverb eect settings (size etc.)

Room Size is the size of a virtual room.

Dampening is how fast high frequencies fade out. Simply put, lowering the

Dampening values means that the room has nothing inside and it’s only a room
with bare stone walls and the sound is ringing, resonant and harsh. Higher
Dampening values means that room is not empty. The higher the Dampening
the more things in that virtual room that absorb the sound making it softer and
more mellow.

Width is how far apart the virtual mics are located/placed in that virtual room in

relation to the instrument placement in that virtual room.

41

MIC, MOD, FX ADJUSTMENTS WORKING IN KIT PRESETS (continued)

MIXER MISC

Pic 52: Misc Headphones FX

The Misc section of Mimic Pro’s Mixer screen has two tabs; Headphones FX and Misc Sound Src Aux Vol.

The Headphones FX tab controls compression and EQ (Comp and EQ) which are a global eects for the
headphones output.

EQ is useful for headphones frequency correction as some headphones have harsh high frequencies and hyped
low frequencies.

The Comp (compression) is us e f u l fo r mak i ng s l ig h t (or signicant depending on s e t tings) changes to th e dynamics
of the sound coming out of the headphones output. We do not recommend using extreme settings on this Comp
as it may distort the perception of the drums dynamics.

Pic 53: Misc Sound Src Aux Vol

The Misc Sound Src Aux Volume tab controls the master volume output for the Metronome Aux, Song Player

Aux, and Click Track Aux. Double tap each fader to activate the Data Wheel for ne adjustments.

42

METRONOME

Pic 54: Metronome Tempo

The Metronome settings are controlled through the Tempo menu. Double tap the Tempo window to access
the menu.

Press Start to begin and again to end the click track. The Metronome ON button on the Home Screen will
also perform this function.

To change the tempo/BPM, press or press and hold the +/- to increase or decrease the beats per minute.
To change the time signature, press or press and hold the +/- to increase or decrease the top and bottom
numbers in the time signature.

At the bottom of the Metronome menu you can choose from four sound eects; Square, Click, Sticks, or

Cowbell. Tap the window to choose the desired sound.

43

SETLIST

Pic 55: Setlist

The Setlist functionality in Mimic Pro is an amazing new feature. The Setlist is like a playlist of kits and you can

assign a specic tempo to each kit. A Setlist can be created for any performance situation, for example, if you
have a show where you are supposed to play 12 songs using only one kit, but in 12 dierent tempos, you can build

this in the Setlist.

The Setlist menu contains 8 windows per screen where you load the kit and tempo. Each Setlist can contain up
to 128 kits.

Begin by selecting the New Setlist box.

1.

You will be given an option to Clone Current Setlist, select Yes or No.

2.

Select No to create a new Setlist then name and enter your list.

3.

Choose your new Setlist from the Load Setlist menu then Exit.

4.

You are ready to load kits. Select window #1 which will take you to the Tempo screen, then choose Select Kit.

5.

Choose from the library of kits then select Load Kit.

6.

Next you will set the time signature and BPM then choose Exit.

7.

The name of the kit chosen and the tempo will appear in window #1.

8.

Repeat this process for all the kits in your Setlist.

9.

Use the Prev Page and Next Page buttons to navigate through long Setlists.

10.

The Use Kit Tempo button will activate or deactivate the tempo.

44

PL AYER

Pic 56: Playlist

The player in Mimic Pro allows you to play audio backing tracks, create playlists with the tracks and assign a
custom click track to each of your backing tracks.

The format of your audio les should be mono or stereo 16 bit, or 24 bit WAVs with 44100 Hz sample rate. All
les must be on a USB ash drive.

To begin working with your tracks , turn Mimic Pro OFF. Insert a USB stick with WAV les and turn Mimic ON. On
the Home Screen double tap the Playlist window to open the Playlist menu.

The Playlist menu features the Play/pause, Previous and Next controls for your tracks.

Press Add Song to add a song to the Playlist.

1.

Use the Move The Song Up or Move The Song Down buttons to change the location of a song in the Playlist.

2.

Use the Remove Song button to delete a song from the Playlist.

3.

After songs have been added to the Playlist, select CT to assign a custom click track to any of your songs.
This may be useful for backing tracks with changing tempos.

45

RECORDER

Pic 57: Recorder

The Recorder in Mimic Pro allows to record your performance along with other audio sources and play it back

looped and in dierent speeds.

Record source is selected in Setup. It is possible to:

• Record some music from external source

(using Mimic Pro AUX IN) and jam with it.

• Record drums only.

• Record external source plus Mimic Pro
Drums.

Maximum length of the recording in the current
version of Mimic Pro software is 10 minutes.

Recorder Control Buttons:

• LOOP enables the loop mode.

• GRID SNAP enables the snap to grid
mode (for play position cursor movement,
left and right loop locator movements).

• RETURN TO START makes the play
position cursor return to the playback
start position after stopping.

• FOLLOW makes the wave follow the play
position cursor movement.

• METR turns on the Metronome.

Other controls include Record, Play, and Setup.

Buttons on the right side are a bit dierent from

others. Their functions are enabled by holding
the button down and turning the data wheel while
holding:

• LOOP START sets the position of the loop
start locator (red vertical line).

• LOOP END same for the loop end locator
(blue vertical line).

• ZOOM zooms the wave in/out.

• MOVE moves the wave start position. Use
it for aligning the wave to the tempo grid.

• BPM is current metronome tempo value
adjustment.

• SPEED is playback speed adjustment,
which is great for practice (slowing down
the records).

• VOL is playback volume.

You can save your recording to a USB ash drive.

To start a new recording rst save your current

one, then go to the start of the playback and record
over the existing recording.

46

SETTINGS

Pic 58: Settings

Settings screen in the Mimic Pro has many tabs, buttons, and functions. See the descriptions below:

FILES

This tab shows the buttons to work with les:

Pic 59: File Screen

Import Instruments from USB Stick lets you import instruments from a USB stick into Mimic Pro. They are

•

supposed to come in folders ending with “.lib”. Inside the folder should be two folders named “instruments”
and “kits”

Import One Shot Wave Files from USB Stick lets you import your WAV les and use them as instruments.

•

WAVs must be 16 bit, or 24 bit and have 44100 Hz sample rate.
Export Mimic Cong to USB Stick saves the Mimic Pro’s settings to USB stick.

•

Import Mimic Cong from USB Stick imports previously saved Mimic Pro’s cong from a USB stick.

•

Export User Drum Kits to USB Stick saves user kit presets to a USB stick.

•

Import User Drum Kits from USB Stick imports user kit presets from USB stick.

•

Check Instrument Library Integrity checks if the Mimic Pro’s factory library is OK.

•

47

SETTINGS (continued)

ROUTING

Pic 60: Routing

On this tab you can change the audio routing in Mimic Pro. Routing is the path of an audio signal. If you want
your kick drum to go out through Output 6, you can do this as well as change it to any other output. Mimic Pro is
the only electronic drum module that has this capability.

On the left side of the Routing tab you will see Instruments Type and Trigger Input name. Instrument Type is

there because, for instance AUX can be kick, tom, or cymbals, so you don’t have to memorize it when you are

setting up routing.

On the right side you can select the Output. It can be mono, or stereo. If you are routing a signal, that is panned,
like toms, or ride, you will lose the pan if you route the instrument to the mono out (it’s obvious, because the
signal before mono can’t be panned to the right and keep sounding on the right, because mono is a single
channel). So if you choose, for instance, 4 toms to keep their panning then route all of them into stereo out.

To see live view of the Routing Screen, click the link below

https://youtu.be/mkV3nD8dEVY

48

SETTINGS (continued)

ROUTING - FULL VIEW

Pic 61: Full view of Complete Routing Screen

49

SETTINGS (continued)

ROUTING - FULL VIEW

Pic 61: Full view of Complete Routing Screen (continued)

50

SETTINGS (continued)

SYS

On this tab you can reset Mimic Pro to the factory settings and
apply software updates.

Pic 62: Sys

The button labeled Apply Software Update lets you update Mimic Pro’s
software. Detailed instructions about how to apply software update will
come with every software update individually.

If you press the Reset button it will reset Mimic Pro.

You will need to reboot Mimic Pro after resetting.

51

INSTRUMENTS LIST

Mimic Pro ver 1.0 contains instruments listed below. With future updates,additional instruments will be provided.

China R Sbn 19 AXT

China R Slt 22 CST
China R Slt 22 VTG

Crash L Pst 18 PWC
Crash L Pst 19 PWC
Crash L Slt 16 EXR
Crash L Slt 17 EXR
Crash L Slt 17 VTG
Crash L Slt 18 EXR
Crash L Slt 18 VTG
Crash L Slt 20 CST
Crash L Slt 20 VTG
Crash L Zld 18 ACU
Crash L Zld 19 ACU
Crash R Pst 18 PWC

Crash R Pst 19 PWC

Crash R Slt 16 EXR
Crash R Slt 17 EXR

Crash R Slt 17 VTG

Crash R Slt 18 EXR
Crash R Slt 18 VTG

Crash R Slt 20 CST
Crash R Slt 20 VTG

Crash R Zld 18 ACU

Crash R Zld 19 ACU
Crash R Zld 20 ACU

Crash X Zld 19 ACU
Crash X Zld 20 ACU

Hi-Hat Sbn 14 AAM
Hi-Hat Sbn 14 HHV
Hi-Hat Slt 14 VOS
Hi-Hat Slt 14 VTG
Hi-Hat Zld 13 KCU
Hi-Hat Zld 14 KCU

Kick Drw 22 CLH
Kick Drw 22 CLS
Kick Drw 22 MPL
Kick Gth 18 CAT
Kick Gth 18 JZY

Kick Gth 20 BYN

Kick Lwg 20 KEY
Kick Lwg 22 VSL

Kick Lwg 24 HRD
Kick Lwg 24 SFT
Kick Lwg 26 LGC

Kick Pearl 22 BRH
Kick Pearl 22 BRS
Kick Pearl 22 HRD

Kick Pearl 22 MHX

Kick Pearl 22 RFP
Kick Pearl 22 SFT
Kick Pearl 22 WRH
Kick Pearl 22 WRS

Kick Snr 22 PLS

Kick Snr 22 SQB
Kick Tma 24 SCM
Kick Yha 22 HRD
Kick Yha 22 SFT
Ride Pst 22 PWR
Ride Sbn 20 AAE
Ride Sbn 21 PTR
Ride Slt 21 CST
Ride Slt 22 VTG
Ride Zld 21 SWR

Snare Brd 6.5 SLK
Snare Brush 6 JZY
Snare Dnt 6.5 STL

Snare Dnt 6.5 STT
Snare Gth 5 GSS

Snare Hur 7 CSL

Snare Hur 7 CST

Snare Lwg 5 BLA
Snare Lwg 5 LBR
Snare Lwg 6.5 BLB
Snare Lwg 6.5 BLD
Snare Nac 6 ALD
Snare Nac 6 ALO

Snare Pearl 5 CSM

Snare Pearl 6.5 MHX

Snare Pearl 6.5 RBD
Snare Pearl 6.5 RBR
Snare Pearl 6.5 SEN
Snare Pmr 6 VTG
Snare Pmr 6 VTT

Snare Snr 6 ART

Snare Snr 6 PLS

Snare Tma 6 BBD
Snare Tma 6 BBR
Snare Tma 6.5 SCM

Snare Yha 6 JZY
Splash L Sbn 09 AXM
Splash L Slt 08 CST
Splash L Slt 10 CST
Splash L Zld 12 ACU
Splash X Sbn 09 AXM
Splash X Zld 12 ACU
Tom Brush JZY 08
Tom Brush JZY 10
Tom Brush JZY 14
Tom Drw MPL 10
Tom Drw MPL 12
Tom Drw MPL 14
Tom Drw MPL 16
Tom Gth JZY 08
Tom Gth JZY 10
Tom Gth JZY 14
Tom Lwg MAP 13
Tom Lwg MAP 16
Tom Lwg VSL 10
Tom Lwg VSL 12
Tom Lwg VSL 14
Tom Lwg VSL 16

Tom Pearl BRC 10
Tom Pearl BRC 12
Tom Pearl BRC 16

Tom Pearl MHX 10
Tom Pearl MHX 12
Tom Pearl MHX 16
Tom Pearl MHX 18

Tom Pearl MPE 10
Tom Pearl MPE 12
Tom Pearl MPE 14
Tom Pearl MPE 16

52

SPECS

•

i. System

•

1. I/O Complement
a. 14 Balanced Analog Outputs

i. 6 Line Level 1/4” TRS balanced
ii. 8 Line Level DB25
iii. Stereo headphone out 1/4” TRS
b. Stereo Line Input
i. 1/4” TRS stereo

c. 32 Pad Inputs on 16 TRS connectors
i. Designed to use with Dual-Zone Pads
d. SD Card Slot
i. For system installation
e. USB 2.0 Slot
i. For library and sample installation

f. RJ45 (Ethernet) Port

i. For future functionality extension

g. MIDI I/O

i. Standard 5-pin DIN MIDI connector
ii. In and out

2. Power

3. AC Input Voltage to supplied AC/DC converter 100V – 240V AC, 50 – 60 Hz

4. DC Requirements

a. 12 VDC
b. 3A
c. 2.1mm Center-Positive Coaxial DC plug

•

ii. Mechanical Dimensions & Weight

1. Width 12.5”

2. Height 6.5”

3. Depth, Chassis Only 2.75”

4. Depth, Including Knob & Jack Protrusions 3.0”

5. Shipping Box (Width x Depth x Height) 19” x 10.25” x 4.125”

6. Shipping Weight (with box & accessories) 8.55 lbs

7. Weight (bare unit) 5.5 lbs

CREDITS

•

Andrey Shetov System Software Engineer

•

Alex Arbuzov System Software Engineer

•

Alex Semichev UI Design / Sound Design

•

Sergey Danilov DSP Code / Sof tware Engineer

•

Oleg Pikhotskiy Electronic Design

•

Bob Sabellico Pearl Product Manager Electronic Percussion

•

Erika Earl Hardware Director

•

Jesse Honig Hardware Engineer

•

Rich Spindel Industrial Designer

53

DECLARATIONS OF CONFORMITY

FCC Compliance Federal Communications Commission United States Class B Manual Statement This equipment

has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 Section

15.107 & 15.109 of the FCC Rules.

These limits are designed to provide reasonable protection against harmful interference in a residential

installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and

used in accordance with the instructions, may cause harmful interference to radio communications. However,

there is no guarantee that interference will not occur in a particular installation. If this equipment does cause
harmful interference to radio or television reception, which can be determined by turning the equipment o and

on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit dierent from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

European Commission Compliance

We hereby declare under our sole responsibility that the product herein identied, to which this declaration
relates, is in conformity with the essential requirements and other relevant requirements of the European
Parliament, European Council, and meets all requirements of the Canadian Interference-Causing Equipment
Regulations. (Cet appareil numérique de la classe B respecte toutes lecs exigences du Règlement sur le matérial

brouilleur du Canada), : EN 55032(2012)+AC1, EN 61000-3-2 (2014), EN 61000-3-3 (2013) and EN 55103-2 (2009) KN
32 (2015) and KN 35 (2015) In accordance with RRA Notice 2016-24(2016. 12. 07) RRA Notice 2016-26(2016. 12. 19)
RRA Notice 2016-79(2016. 12. 19) VCCI CISPR 32 (2016)

KC & PSE certications are pending

Trade Name: PEARL Corporation

Model: Mimic Pro

Description: Electronic Drum Module

Information is contained in a report by: CKC Laboratories, Inc

Dated: May 3, 2017

54