Yamaha DTX-Multi User Manual

Page 1

Owner’s Manual

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SPECIAL MESSAGE SECTION

This product utilizes batteries or an external power supply (adapter). DO NOT connect this product to any power supply or adapter other than one described in the manual, on the name plate, or speciﬁcally recommended by Yamaha.

WARNING:

walk on, trip over ,or roll anything over power or connecting cords of any kind. The use of an extension cord is not recommended! If you must use an extension cord, the minimum wire size for a 25’ cord (or less ) is 18 AWG. NOTE: The smaller the AWG number ,the larger the current handling capacity. For longer extension cords, consult a local electrician.

This product should be used only with the components supplied or; a cart, rack, or stand that is recommended by Yamaha. If a cart, etc., is used, please observe all safety markings and instructions that accompany the accessory product.

Do not place this product in a position where anyone could

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be correct at the time of printing. However, Yamaha reserves the right to change or modify any of the speciﬁcations without notice or obligation to update existing units.

This product, either alone or in combination with an ampliﬁer and headphones or speaker/s, may be capable of producing sound levels that could cause permanent hearing loss. DO NOT operate for long periods of time at a high volume level or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should consult an audiologist. IMPORTANT: The louder the sound, the shorter the time period before damage occurs.

Some Yamaha products may have benches and / or accessory mounting ﬁxtures that are either supplied with the product or as optional accessories. Some of these items are designed to be dealer assembled or installed. Please make sure that benches are stable and any optional ﬁxtures (where applicable) are well secured BEFORE using. Benches supplied by Yamaha are designed for seating only. No other

uses are recommended.

NOTICE:

Service charges incurred due to a lack of knowledge relating to how a function or effect works (when the unit is operating as designed) are not covered by the manufacturer’s warranty, and are therefore the owners responsibility. Please study this manual carefully and consult your dealer before requesting service.

ENVIRONMENTAL ISSUES:

Yamaha strives to produce products that are both user safe and environmentally friendly. We sincerely believe that our products and the production methods used to produce them, meet these goals. In keeping with both the letter and the spirit of the law, we want you to be aware of the following:

Battery Notice:

This product MAY contain a small non-rechargeable battery which (if applicable) is soldered in place. The average life span of this type of battery is approximately ﬁve years. When replacement becomes necessary, contact a qualiﬁed service representative to perform the replacement.

This product may also use “household” type batteries. Some of these may be rechargeable. Make sure that the battery being charged is a rechargeable type and that the charger is intended for the battery being charged.

When installing batteries, do not mix batteries with new, or with batteries of a different type. Batteries MUST be installed correctly. Mismatches or incorrect installation may result in overheating and battery case rupture.

Warning:

Do not attempt to disassemble, or incinerate any battery. Keep all batteries away from children. Dispose of used batteries promptly and as regulated by the laws in your area. Note: Check with any retailer of household type batteries in your area for battery disposal information.

Disposal Notice:

Should this product become damaged beyond repair, or for some reason its useful life is considered to be at an end, please observe all local, state, and federal regulations that relate to the disposal of products that contain lead, batteries, plastics, etc. If your dealer is unable to assist you, please contact Yamaha directly.

NAME PLATE LOCATION:

The name plate is located on the bottom of the product. The model number, serial number, power requirements, etc., are located on this plate. You should record the model number, serial number, and the date of purchase in the spaces provided below and retain this manual as a permanent record of your purchase.

Model

Serial No.

Purchase Date

92-BP

Owner’s Manual

(bottom)

PLEASE KEEP THIS MANUAL

Page 3

FCC INFORMATION (U.S.A.)

1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!

This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modiﬁcations not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product.

2. IMPORTANT:

or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA.

3. NOTE:

requirements listed in FCC Regulations, Part 15 for Class “B” digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does

* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA. (class B)

When connecting this product to accessories and/

This product has been tested and found to comply with the

not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit “OFF” and “ON”, please try to eliminate the problem by using one of the following measures:

Relocate either this product or the device that is being affected by the interference.

Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line ﬁlter/s.

In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable.

If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620

The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

COMPLIANCE INFORMATION STATEMENT

(DECLARATION OF CONFORMITY PROCEDURE)

Responsible Party : Yamaha Corporation of America

Address : 6600 Orangethorpe Ave., Buena Park, Calif. 90620

Telephone : 714-522-9011

Type of Equipment : Electronic Percussion Pad

Model Name : DTXM12

This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:

1) this device may not cause harmful interference, and

2) this device must accept any interference received including interference that may cause undesired operation.

See user manual instructions if interference to radio reception is suspected.

* This applies only to products distributed by

YAMAHA CORPORATION OF AMERICA.

Information for Users on Collection and Disposal of Old Equipment

This symbol on the products, packaging, and/or accompanying documents means that used electrical and electronic products should not be mixed with general household waste. For proper treatment, recovery and recycling of old products, please take them to applicable collection points, in accordance with your national legislation and the Directives 2002/96/EC.

By disposing of these products correctly, you will help to save valuable resources and prevent any potential negative effects on human health and the environment which could otherwise arise from inappropriate waste handling.

For more information about collection and recycling of old products, please contact your local municipality, your waste disposal service or the point of sale where you purchased the items.

[For business users in the European Union]

If you wish to discard electrical and electronic equipment, please contact your dealer or supplier for further information.

[Information on Disposal in other Countries outside the European Union]

This symbol is only valid in the European Union. If you wish to discard these items, please contact your local authorities or dealer and ask for the correct method of disposal.

(FCC DoC)

IMPORTANT NOTICE FOR THE UNITED KINGDOM

Connecting the Plug and Cord

IMPORTANT. The wires in this mains lead are coloured in accordance with the following code:

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured makings identifying the terminals in your plug proceed as follows:

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

Making sure that neither core is connected to the earth terminal of the three pin plug.

• This applies only to products distributed by Yamaha Music U.K. Ltd.

BLUE : NEUTRAL BROWN : LIVE

(2 wires)

OBSERVERA!

Apparaten kopplas inte ur växelströmskällan (nätet) så länge som den ar ansluten till vägguttaget, även om själva apparaten har stängts av.

ADVARSEL:

stikkontakt, som er t endt — også selvom der or slukket på apparatets afbryder.

VAROITUS:

Netspændingen til dette apparat er IKKE afbrudt, sålæenge netledningen siddr i en

Laitteen toisiopiiriin kytketty käyttökytkin ei irroita koko laitetta verkosta.

(standby)

Owner’s Manual

Page 4

PRECAUTIONS

PLEASE READ CAREFULLY BEFORE PROCEEDING

* Please keep this manual in a safe place for future reference.

WARNING

Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock, short-circuiting, damages, ﬁre or other hazards. These precautions include, but are not limited to, the following:

Power supply/AC power adaptor

• Only use the voltage speciﬁed as correct for the instrument. The required voltage is printed on the name plate of the instrument.

• Use the speciﬁed adaptor (page 110) only. Using the wrong adaptor can result in damage to the instrument or overheating.

• Check the electric plug periodically and remove any dirt or dust which may have accumulated on it.

• Do not place the AC adaptor cord near heat sources such as heaters or radiators, and do not excessively bend or otherwise damage the cord, place heavy objects on it, or place it in a position where anyone could walk on, trip over, or roll anything over it.

Do not open

• Do not open the instrument or attempt to disassemble the internal parts or modify them in any way. The instrument contains no user-serviceable parts. If it should appear to be malfunctioning, discontinue use immediately and have it inspected by qualiﬁed Yamaha service personnel.

Water warning

• Do not expose the instrument to rain, use it near water or in damp or wet conditions, or place containers on it containing liquids which might spill into any openings. If any liquid such as water seeps into the instrument, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualiﬁed Yamaha service personnel.

• Never insert or remove an electric plug with wet hands.

Fire warning

• Do not put burning items, such as candles, on the unit. A burning item may fall over and cause a ﬁre.

If you notice any abnormality

• If the AC adaptor cord or plug becomes frayed or damaged, or if there is a sudden loss of sound during use of the instrument, or if any unusual smells or smoke should appear to be caused by it, immediately turn off the power switch, disconnect the adaptor plug from the outlet, and have the instrument inspected by qualiﬁed Yamaha service personnel.

CAUTION

Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others, or damage to the instrument or other property. These precautions include, but are not limited to, the following:

Power supply/AC power adaptor

• When removing the electric plug from the instrument or an outlet, always hold the plug itself and not the cord.

• Unplug the AC power adaptor when not using the instrument, or during electrical storms.

• Do not connect the instrument to an electrical outlet using a multiple-connector. Doing so can result in lower sound quality, or possibly cause overheating in the outlet.

Location

• Do not expose the instrument to excessive dust or vibrations, or extreme cold or heat (such as in direct sunlight, near a heater, or in a car during the day) to prevent the possibility of panel disﬁguration or damage to the internal components.

• Do not use the instrument in the vicinity of a TV, radio, stereo equipment, mobile phone, or other electric devices. Otherwise, the instrument, TV, or radio may generate noise.

• Do not place the instrument in an unstable position where it might accidentally fall over.

• Before moving the instrument, remove all connected adaptor and other cables.

(3)-13

• When setting up the product, make sure that the AC outlet you are using is easily accessible. If some trouble or malfunction occurs, immediately turn off the power switch and disconnect the plug from the outlet. Even when the power switch is turned off, electricity is still ﬂowing to the product at the minimum level. When you are not using the product for a long time, make sure to unplug the power cord from the wall AC outlet.

• Use only the stand/rack speciﬁed for the instrument. When attaching the stand or rack, use the provided screws only. Failure to do so could cause damage to the internal components or result in the instrument falling over.

• Do not place objects in front of the instrument's air vent, since this may prevent adequate ventilation of the internal components, and possibly result in the instrument overheating.

Connections

• Before connecting the instrument to other electronic components, turn off the power for all components. Before turning the power on or off for all components, set all volume levels to minimum. Also, be sure to set the volumes of all components at their minimum levels and gradually raise the volume controls while playing the instrument to set the desired listening level.

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Owner’s Manual

Page 5

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Maintenance

• When cleaning the instrument, use a soft, dry cloth. Do not use paint thinners, solvents, cleaning ﬂuids, or chemical-impregnated wiping cloths.

Saving data

Saving and backing up your data

• Saved data may be lost due to malfunction or incorrect operation. Save important data to external USB storage device.

Handling caution

• Never insert or drop paper, metallic, or other objects into the gaps on the panel or keyboard. If this happens, turn off the power immediately and unplug the power cord from the AC outlet. Then have the instrument inspected by qualiﬁed Yamaha service personnel.

• Do not place vinyl, plastic or rubber objects on the instrument, since this might discolor the panel or keyboard.

• Do not rest your weight on, or place heavy objects on the instrument, and do not use excessive force on the buttons, switches or connectors.

• Do not use the instrument/device or headphones for a long period of time at a high or uncomfortable volume level, since this can cause permanent hearing loss. If you experience any hearing loss or ringing in the ears, consult a physician.

Yamaha cannot be held responsible for damage caused by improper use or modiﬁcations to the instrument, or data that is lost or destroyed.

Backing up the USB storage device

•To protect against data loss through media damage, we recommend that you save your important data onto two USB storage devices.

Always turn the power off when the instrument is not in use.

Even when the power switch is in the standby position, electricity is still ﬂowing to the instrument at the minimum level. When you are not using the instrument for a long time, make sure you unplug the AC power adaptor from the wall AC outlet.

Latest Firmware Version

From time to time, Yamaha may update product ﬁrmware without prior notice. We recommend, therefore, that you check our web site (below) for the latest version and keep your DTX-MULTI 12 ﬁrmware up to date.

http://www.yamaha.co.jp/english/product/drums/ed/

The content of this Owner’s Manual applies to the newest version of the ﬁrmware as of printing. Details regarding any functions added to later versions will also be made available via the above web site.

Optional Pads

Within this Owner’s Manual, the optional external pads that may be connected to the DTX-MULTI 12 are referred to by model name. Please note that these model names were up-to-date as of printing of this manual. Details regarding any subsequently released models will be made available via the following web site.

http://www.yamaha.co.jp/english/product/drums/ed/

Special Notice

• This Owner’s Manual and all content thereof is copyright of Yamaha Corporation.

• The illustrations and LCD screens as shown in this Owner’s Manual are for instructional purposes only and may appear somewhat different from those on your instrument.

• This product incorporates and bundles computer software and other content for which Yamaha retains the copyright or, with respect to which, has license to use others’ copyrights. Such copyrighted materials include, but are not limited to, all computer software, style ﬁles, MIDI data, wave data, musical scores, and sound recordings. Any unauthorized use of said software and content for non-personal applications is prohibited under applicable laws. Any violation of copyright has legal consequences. DO NOT MAKE, DISTRIBUTE, OR USE ILLEGAL COPIES.

• This device is capable of using various musical-data types and formats by optimization thereof in advance to a speciﬁc proprietary format. As a result, this instrument may not play back said data exactly as the producers or composers thereof originally intended.

• Copying of commercially available musical data including, but not limited to, MIDI data and/or audio data is strictly prohibited except when intended for personal use.

• The company names and product names in this manual are the trademarks or registered trademarks of their respective companies.

(3)-13

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Owner’s Manual

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●

Welcome

Thank you for purchasing the Yamaha DTX-MULTI 12 Electronic Percussion Pad.

To get the most out of your new instrument, please read this owner’s manual carefully. And after reading this

document, be sure to store it in a safe place so that you can refer back to it again as needed.

Additional Package Contents

Power adaptor Owner’s Manual (this document) Data List booklet DVD-ROM* (containing software)

* For details on the bundled DVD-ROM, see page 114.

Features of the DTX-MULTI 12

12 built-in pads and versatile input connectors

The DTX-MULTI 12 features 12 built-in pads that have been conveniently arranged for ease-of-use in a wide variety of performance situations. On the rear panel, furthermore, you will ﬁnd input connectors for ﬁve additional Yamaha electronic drum pads and drum triggers. By combining separately-sold pads and drum triggers with a central DTX-MULTI 12 unit, you can create your own compact electronic drum kit and also integrate acoustic drums. Furthermore, with a foot switch jack and a hihat controller jack also included, you can use foot switches and controllers to select drum kits, to simulate hi-hat playing techniques, and to enhance your performances in a wide range of other ways.

High-quality sound

In addition to a broad spectrum of voices from the top-of-theline DTXTREME III Drum Trigger Module, the DTX-MULTI 12 also features many newly-sampled percussion sounds and versatile, ready-to-use effect sounds for a grand total of 1,277 voices. What’s more, this rich variety of sounds also includes timpani, marimba, vibraphone, and many other chromatic percussion instruments. Together with great-sounding Reverb and Chorus effects that can be applied to entire drum kits, the DTXMULTI 12 also features a Variation effect unit that can be used to enhance individual voices in many exciting ways.

Wide selection of patterns

The DTX-MULTI 12 comes complete with 128 ready-to-use melodic and rhythmic phrases (including 3 demos) known as patterns. You can easily start and stop patterns by simply striking pads to which they are assigned, greatly adding to the expressiveness of your performances. In addition, you can also record your own performances as patterns and assign them to pads in order to conveniently add original grooves to your drum kits.

Powerful USB expandability

Using the USB TO HOST port and a USB cable (sold separately), the DTX-MULTI 12 can be conveniently connected to a computer. This affords you a much greater level of efﬁciency and speed when recording performances and carrying out many other music-production processes using computer-based DAW (digital audio workstation) software such as Cubase AI, which is bundled with your DTX-MULTI 12.

A USB TO DEVICE port allows USB memory devices to be plugged in for ﬂexible data exchange. This allows you to store your DTX-MULTI 12 settings on such a device as standard computer ﬁles; furthermore, you can also import WAV or AIFF audio ﬁles from a USB memory device and assign them to individual pads, thus adding a unique, highly personal ﬂavor to your performances.

Versatile triggering for enhanced musical possibilities

With the Stack function, each pad can produce up to four different sounds; meanwhile, the Alternate function triggers different sounds each time a pad is struck. In addition, you can setup the instrument to automatically select different sounds based on how hard or soft you strike the corresponding pad or in response to foot-switch operation.

The DTX-MULTI 12 can also be setup to allow sounds to be silenced when a hand is pressed down on the pad and to allow different sounds to be produced when a hand is pressed down on a pad as it is struck. And you are not restricted to drumsticks alone! The DTX-MULTI 12 can be easily setup to support a rich variety of hand playing styles.

Owner’s Manual

Page 7

Additional Package Contents ........................................ 6

Features of the DTX-MULTI 12..................................... 6

Component Names & Functions............................ 8

Setting Up .............................................................. 10

Using with Acoustic Drums .........................................10

Power supply...............................................................10

Connecting Speakers and/or Headphones .................10

Connecting to Other Audio Equipment........................10

Turning on the DTX-MULTI 12.................................... 11

Connecting a USB Memory Device.............................11

Connecting Other MIDI Devices..................................12

Connecting to a Computer .......................................... 13

Making Music with a Computer ................................... 13

Setting up Cubase Remote Control ............................15

Quick Guide

Producing Sounds with the Pads................................. 16

Listening to Patterns ..................................................... 20

Making Your Own Patterns ........................................... 21

Saving Your Data on a USB Memory Device............... 23

Importing Audio Files.................................................... 25

Reference

Internal Design ...................................................... 27

Functional Blocks ........................................................ 27

Pads & Trigger Signals ...............................................28

Sounds Produced Using the Pads ..............................31

Kit Makeup .................................................................. 32

Effects ......................................................................... 36

Internal Memory .......................................................... 42

Basic Operations .................................................. 44

KIT Setting Area (KIT)........................................... 46

Makeup of KIT Setting Area ........................................ 46

KIT1 Select Kit ............................................................47

KIT2 Kit Volume, Tempo & Name ............................... 47

KIT3 Effect Send Levels..............................................48

KIT4 Variation Effect Setup......................................... 48

KIT5 Chorus Effect Setup ...........................................49

KIT6 Reverb Effect Setup ...........................................50

KIT7 Other Drum Kit Settings......................................51

KIT8 Kit Management .................................................53

MIDI Setting Area (MIDI) ....................................... 61

Structure of MIDI Setting Area ....................................61

MIDI1 Select Message Type .......................................62

MIDI2 MIDI Destination Switches................................66

MIDI3 Other MIDI Settings ..........................................67

WAVE Setting Area

Makeup of WAVE Setting Area ...................................69

WAVE1 Wave Selection & Playback...........................70

WAVE2 Playback Mode, Trim Points & Name ............70

WAVE3 Other Wave-Related Tasks ...........................71

WAVE4 Wave Memory Status ....................................73

(WAVE) ................................ 69

PATTERN Setting Area (PTN) .............................. 74

Makeup of PATTERN Setting Area .............................74

PTN1 Select Pattern....................................................75

PTN2 Looping, Tempo & Pattern Names....................75

PTN3 MIDI Settings for Patterns .................................76

PTN4 Pattern Quantization & Management ................78

PTN5 Pattern Memory Status .....................................81

UTILITY Setting Area (UTIL)................................. 82

Makeup of UTILITY Setting Area ................................82

UTIL1 System Settings................................................83

UTIL2 Click Track Settings..........................................84

UTIL3 Master Equalization ..........................................86

UTIL4 Pad Utilities.......................................................88

UTIL5 Hi-hat Setup......................................................89

UTIL6 Instrument MIDI Setup......................................90

UTIL7 File Management..............................................92

UTIL8 Instrument Reset ..............................................98

TRIGGER Setting Area (TRG) .............................. 99

Makeup of TRIGGER Setting Area .............................99

TRG1 Select Trigger Setup .......................................100

TRG2 Pad Setup .......................................................100

TRG3 Trigger Setup Names......................................104

TRG4 Copy Trigger Parameters ...............................104

Troubleshooting ................................................. 105

On-screen Messages.......................................... 108

Specifications ..................................................... 110

Index .................................................................... 111

About the accessory disk .................................. 114

SOFTWARE LICENSE AGREEMENT................. 114

VOICE Setting Area

Makeup of VOICE Setting Area ..................................55

VCE1 Select Voice...................................................... 56

VCE2 Voice Tuning, Volume & Pan............................ 57

VCE3 Voice Timbre.....................................................58

VCE4 Effect Send Levels............................................ 59

VCE5 Other Voice-Related Settings ........................... 60

(VCE).................................... 55

Owner’s Manual

Page 8

Component Names & Functions

■

Front Panel

e !5

r !1 !2 !3tqw

≤≤≤≤≤YAMAHA <<DTX-MULTI≤12>>

o !0 !4 !6 !7iuy

VOLUME Dial

This dial controls the master volume (i.e., the volume at the OUTPUT jacks). Turn the dial clockwise to increase the volume or counter-clockwise to decrease it.

Display

This LCD screen shows information and data needed for operation.

Pad Indicator

This array of LEDs shows the pads that have been struck and are currently producing a sound. The displayed numbers 1 to 12 correspond to the twelve main and rim pads on the instrument itself. In addition, the lamp [13-17] turns on in response to playing of expansion pads (sold-separately), which are connected via the PAD jacks on the rear panel, or to signals from a foot switch or hi-hat controller (sold-separately), which is connected via the FOOT SW or HI-HAT CONTROL jack, also on the rear panel.

NOTE

• Before use, be sure to remove the transparent ﬁlm applied to the indi-

cator panel to protect it during transportation.

[MIDI] Button

This button is used to access the MIDI setting area (see page

61). In addition, you can turn on and off the Cubase Remote function by holding down the [SHIFT] button and pressing the [MIDI] button. When this function is turned on, the buttons on the DTX-MULTI 12 front panel can be used to control Cubase operations (see page 15).

[VOICE] Button

This button is used to access the Voice setting area (see page

55).

[KIT] Button

This button is used to access the Kit setting area (see page

46). In addition, you can toggle effects applied to the current drum kit on and off by holding down the [SHIFT] button and pressing the [KIT] button (see page 83).

[PTN] Button

The Pattern button is used to access the Pattern setting area (see page 74). In addition, you can also activate Record Mode by holding down the [SHIFT] button and pressing the [PTN] button (see page 21).

[WAVE] Button

This button is used to access the Wave setting area (see page

69). In addition, you can also open the Import page by holding down the [SHIFT] button and pressing the [WAVE] button (see page 25).

[UTILITY] Button

This button is used to access the Utility setting area (see page

82). In addition, you can also access the Trigger setting area by holding down the [SHIFT] button and pressing the [UTILITY] button (see page 99).

[SHIFT] Button

Hold down this button and press another button to access the setting area or function indicated above or below it.

[EE

] Button

The Click-track button is used to start and stop the built-in clicktrack (or metronome). In addition, you can also activate the Tap Tempo function by holding down the [SHIFT] button and pressing

the [ ] button.

[EXIT] Button

The parameter-setting pages in each setting area are arranged in a hierarchical structure. Press this button to leave the current page and move one step back towards the top of the setting area. In addition, you can instantly turn off all sound by holding down the [SHIFT] button and pressing the [EXIT] button.

[ENTER] Button

This button is used to execute processes and conﬁrm values. In addition, you can activate the Panel Lock function to lock and unlock the front panel by holding down the [SHIFT] button and pressing the [ENTER] button. In this way, the front panel can be deactivated during performances in order to avoid making unintentional changes to settings. Even with the Panel Lock activated, the [KIT] and [VOICE] buttons can be used to access the corresponding setting areas; however, you will only be able to change the current kit using the [-/DEC] and [+/INC] buttons or visually conﬁrm the voice assigned to struck pads. To check voices with the Panel Lock activated, press the [VOICE] button.

[STORE] Button

This button is used to store settings and other data in the DTXMULTI 12’s internal memory. In addition, this button will light up whenever parameters have been changed but not yet stored.

!5 [B] [D] [C] Buttons

• These selector buttons are used to navigate between parameter-setting pages and parameters in the various setting areas.

•You can activate and deactivate Input Lock mode by holding

down the [SHIFT] button and pressing the [D] button (see

page 103).

•With a parameter-setting page displayed, you can move to the ﬁrst parameter-setting page of the previous or next parameter section in the current setting area by holding down the

[SHIFT] button and pressing the [B] or [C] button.

Owner’s Manual

Page 9

Component Names & Functions

!6 [-/DEC] Button

This button is used when setting parameters to decrease the value at the cursor position. In addition, the selected value can be decreased in units of 10 by holding down the [SHIFT] button and pressing the [-/DEC] button or by holding down the [-/DEC] button and pressing the [+/INC] button.

■ Side Panel

USB TO DEVICE Port

This port is used to plug in a USB memory device (such as a ﬂash drive or external hard disk), either directly or via a USB cable. When connected in this way, you will be able to save data created on the DTX-MULTI 12 to the USB memory device and to import settings, sound ﬁles, and the like.

!8 !9

!9 USB TO HOST Port

This port is used to connect the DTX-MULTI 12 to a computer via a USB cable. When connected in this way, you will be able to exchange MIDI data between the instrument and your computer.

■ Rear Panel

@3 @9@6@4@0 @5 @7 @8 #0 #1@1 @2

!7 [+/INC] Button

This button is used when setting parameters to increase the value at the cursor position. In addition, the selected value can be increased in units of 10 by holding down the [SHIFT] button and pressing the [+/INC] button or by holding down the [+/INC] button and pressing the [-/DEC] button.

@0 Standby/On Switch

Use this switch to turn your DTX-MULTI 12 on ( ) and off ().

@1 Cord Clip

Wrap the cord from the power adaptor around this clip to prevent accidental unplugging during use.

@2 DC IN Terminal

Connect the power cord from the power adaptor (provided) to this terminal.

@3 MIDI IN/OUT Connectors

The MIDI IN connector is used to receive control or performance data from another MIDI device, such as an external sequencer, via a MIDI cable. When connected in this way, you can play the internal tone generator and control a wide range of parameters using another MIDI device. Meanwhile, the MIDI OUT connector is used to send performance data from this instrument to other devices in the form of MIDI messages.

@4 FOOT SW Jack

The Foot Switch jack is used to connect an optional foot switch (FC4, FC5, FC7, etc.) or hi-hat controller (HH65, etc.) to the DTX-MULTI 12.

@5 HI-HAT CONTROL Jack

The Hi-hat Control jack is used to connect an optional hi-hat controller (HH65, etc.).

@6 PAD Jacks (!3 to !7)

These trigger-input jacks are used to connect optional pads. The PAD !3 jack is compatible both with mono and stereo (two- and three-zone) types; meanwhile, the PAD !4/!5 and the PAD !6/!7 jacks support standard mono-output pads (see page 30).

@7 AUX IN Jack

External audio signals can be input via this standard stereophone plug. In this way, you can connect an MP3 or CD player to play along with your favorite tunes.

@8 GAIN Knob

Use this knob to adjust the gain level for audio being input via the AUX IN jack. This adjustment may be necessary given that external audio devices output signals at a wide range of different volumes. Increase the gain by rotating the knob clockwise, and decrease it by rotating the knob counter-clockwise.

@9 OUTPUT L/MONO and R Jacks

Use these jacks to output line-level stereo mixes. For example, you can connect each of the jacks to the left and right inputs of an external stereo ampliﬁer or mixer using mono audio-jack cables. For mono output, use the L/MONO jack only.

#0 PHONES Jack

Use this standard audio jack to connect a pair of stereo headphones.

#1 VOLUME Knob

Use this knob to adjust the level of audio output from the PHONES jack. Increase the volume by rotating the knob clockwise, and decrease it by rotating the knob counter-clockwise.

Owner’s Manual 9

Page 10

Setting Up

Using with Acoustic Drums

If you intend to use your DTX-MULTI 12 together with a set of acoustic drums, you can attach an MAT1 Module Attachment (sold separately) to the bottom of the unit so that it can be conveniently assembled to a tom holder or a stand. For details regarding assembly, refer to the owner’s manual that comes with the MAT1.

Power supply

Ensure that the (Standby/On) switch on the

rear panel is turned off.

Connect the DC power cord from the power adap-

tor (included) to the DC IN terminal on the rear panel. To prevent the cord from being accidentally unplugged, wrap it around the cord clip.

Connecting Speakers and/or Headphones

The DTX-MULTI 12 has no built-in speakers. In order to hear it, therefore, you will need to connect headphones or an external ampliﬁer and speakers. (See the connection diagram below.)

CAUTION

• Whenever making connections, ensure that the plugs on the cables being used match the DTX-MULTI 12’s output jacks.

● OUTPUT L/MONO and R Jacks

(standard mono audio jacks)

Use these jacks to connect your instrument to an external ampliﬁer and speakers in order to hear yourself play. If the ampliﬁer has only a single input jack, be sure to connect it via the OUTPUT L/MONO jack.

● PHONES Jack (standard stereo audio jack)

Use this audio jack to connect a pair of stereo headphones. The headphone volume can be adjusted using the VOLUME knob on the rear panel.

CAUTION

•To prevent hearing loss, avoid using headphones at high volumes for extended periods of time.

Connecting to Other Audio Equipment

Audio input from an MP3 or CD player via the AUX IN jack can be mixed with the sound produced by the DTX-MULTI 12 and output together from the OUTPUT (L/MONO and R) and PHONES jacks. This makes it very easy to play along with your favorite tunes. If necessary, furthermore, you can adjust the input volume using the GAIN knob.

CAUTION

• Ensure that the power cord is not bent at an extreme angle when wrapped around the clip. Excessive bending can damage the cord and create a ﬁre hazard.

Plug the adaptor’s AC power cord into an AC wall

socket or another electrical outlet.

WARNING

• Use only the power adaptor provided. Operation with other adaptors may damage the instrument, cause it to overheat, or create a ﬁre hazard.

• Ensure that the power supply is correct for the power adaptor provided.

• The DTX-MULTI 12 remains charged and draws a small amount of power even when the (Standby/On) switch is in the Off position. If it is not to be used for an extended period of time, therefore, be sure to unplug the AC power adaptor from the power supply.

10 Owner’s Manual

MS100DRJ or MS50DRJ Electronic Drum Kit Monitor System, etc.

AUX IN

Por table music player, etc.

Headphones

PHONES jackOUTPUT L/MONO and R jacks

DTX-MULTI 12

Page 11

Setting Up

Turning on the DTX-MULTI 12

After you have connected speakers, an audio

player, and any other necessary equipment, turn the volume of the DTX-MULTI 12 itself and the other devices fully down as a precaution.

Press the (Standby/On) switch on the DTX-

MULTI 12’s rear panel to turn it on.

The opening screen will be displayed, followed by the Select Kit page (from the KIT setting area).

≥≥≥≥≥YAMAHA <<DTX-MULTI≥12>>

■ Connecting a mixer or other MIDI

devices

Ensure that the volume on all devices is turned fully down. Then, turn on the devices one-by-one in the following sequence: q MIDI controllers (master devices), w MIDI receivers (slave devices), e audio equipment (mixers, ampliﬁers, speakers, etc.).

NOTE

• When turning off your system, ﬁrst turn the volume of each audio device fully down, and then switch off the devices one-by-one in the reverse order to above (i.e., starting with the audio equipment).

■ Precautions When Using USB TO

DEVICE Port

Whenever connecting a USB device via the USB TO DEVICE port, be sure to handle it with care and to observe the following important precautions.

NOTE

•For more details on how to use your USB device, refer to the owner’s manual that came with it.

● Supported USB devices

Flash drives, external hard disks, and other USB-compatible, mass-storage devices may be plugged in for use with this instrument.

The DTX-MULTI 12 does not necessarily support all commercially available USB memory devices, and Yamaha cannot guarantee the operation of all such devices that can be purchased. Before purchasing a USB device for use with this instrument, therefore, please check with your Yamaha dealer or an authorized Yamaha distributor (see list at end of the Owner’s Manual) or visit the following web page:

http://www.yamaha.co.jp/english/product/drums/ed/

NOTE

• Other USB devices, such as a computer keyboard or mouse, cannot be used.

● Connecting a USB memory device

Before plugging in a USB memory device, ensure that its connector matches the instrument’s USB TO DEVICE port and that both are oriented in the same direction.

This port supports the USB 1.1 standard; however, you can also plug in and use USB 2.0 memory devices. It should be noted that data will be transferred at the USB 1.1 speed in such a case.

Connecting a USB Memory Device

You can plug a USB memory device into the USB TO DEVICE port on the side panel of your DTX-MULTI 12.

USB memory

device

DTX-MULTI 12

Connection to USB

memory device

(hard disk, etc.)

■ Using a USB Memory Device

With a USB memory device plugged in, you will be able to save data that you have created and to import both settings and audio data.

NOTE

• Although USB-type CD-R and CD-RW drives can be used to load data into the instrument, they cannot be used to save data directly. You can, however, transfer data to a computer featuring a CD-R or CD-RW drive in order to write it to this type of media.

● Formatting USB Memory Devices

Certain types of USB memory device must be formatted before they can be used with this instrument. For details on how to do this, see page 97.

CAUTION

• When a USB memory device is formatted, all data stored on it will be permanently erased. Before formatting such a device, therefore, ensure that any important data contained on it has been copied to another location.

Owner’s Manual 11

Page 12

Setting Up

● Write Protection

Certain types of USB memory device can be write-protected to prevent data from being accidentally erased. If your USB memory device contains important data, we suggest that you use write protection to prevent accidental erasure. Meanwhile, if you need to save data on such a device, be sure to disable the write-protect function.

CAUTION

• If using a self-powered type of USB memory device, avoid turning it on and off repeatedly. In addition, avoid frequent plugging and unplugging of USB cables. If this precaution is not observed, the DTX-MULTI 12 may freeze and stop operating.

•Never turn off either a plugged-in USB memory device or the DTXMULTI 12 or unplug the memory device while it is being accessed within the UTILITY setting area in order to save, load, or delete data or to perform formatting. If this precaution is not observed, data on the USB memory device or the DTX-MULTI 12 may be corrupted.

Connecting Other MIDI Devices

Using standard MIDI cables (sold separately), you can connect other MIDI devices via the MIDI IN and MIDI OUT connectors. When connected in this way, the DTX-MULTI 12 can be used to control synthesizers and other sound modules. Meanwhile, the instrument’s internal tone generator can be played using other connected MIDI devices. These and many other MIDI functions allow for an even greater range of performance and recording possibilities.

NOTE

• In addition to the two built-in MIDI connectors, the USB TO HOST port can also be used to exchange MIDI data. Selection of whether to use the MIDI connectors or the USB TO HOST port for this purpose is performed on the MIDI In/Out page from the MIDI section of the UTILITY setting area (see page 91).

■ To Control a Sound Module or Synthe-

sizer

Using a MIDI cable, connect the MIDI OUT connector on the DTX-MULTI 12 to the MIDI IN connector on the device you want to control or play.

■ To Control the DTX-MULTI 12 from

Another MIDI Device

Using a MIDI cable, connect the MIDI IN connector on the DTXMULTI 12 to the MIDI OUT connector on the controller device.

MIDI IN

connector

DTX-MULTI 12

● Synchronizing with Other MIDI Devices

MIDI cable

External MIDI device

MIDI OUT connector

(Master and slave devices)

The playback of patterns on the DTX-MULTI 12 can be synchronized with playback on an external MIDI device. This instrument and other MIDI devices use an internal clock to control the tempo of playback, and when two such devices are synchronized, it is necessary to specify which clock will be used by both. The device set to use its own internal clock serves as a reference for all connected devices and is referred to as the “master” instrument. Connected devices set to use an external clock are referred to as “slaves”. For example, if devices were connected as shown above and you wanted to record playback data from the external MIDI device as a pattern on the DTX-MULTI 12, it would be necessary to set the external MIDI device as the master; furthermore, the DTX-MULTI 12 would need to be setup to use an external clock for synchronization. To do so, ﬁrst of all press the [UTILITY] button to access the UTILITY setting area, navigate to the MIDI sec-

tion (UTIL6) using the [B]/[C] buttons, and press the [ENTER]

button. Next, navigate to the MIDI Sync page (UTIL6-6) using

the [B]/[C] buttons, and set the MIDI Sync parameter to either

“ext” or “auto”.

UTIL6-6≥≥≥<MIDI> ≥MIDI≥Sync=ext

MIDI OUT connector

DTX-MULTI 12

12 Owner’s Manual

MIDI cable

MIDI IN connector

External MIDI device

auto

NOTE

• The MIDI Sync parameter is set to “auto” by default.

Page 13

Setting Up

Within DTX-MULTI 12

Internal tone

generator

Off

Sound is produced

Local Control Settings

No sound is produced.

Connecting to a Computer

Although the DTX-MULTI 12 is exceptionally powerful and versatile all by itself, connecting it to a computer via USB allows for even greater power and versatility. When connected in this way, MIDI data can be freely transferred between the instrument and the computer. In this section, you’ll learn how to make the necessary connections.

NOTE

• As the DTX-MULTI 12 has no built-in speakers, you will need to connect headphones or an external ampliﬁer and speakers in order to hear it. For details, see page 10.

•A USB cable is not included. In order to connect to a computer, use a USB A-B cable of no more than 3 meters in length.

Download the latest version of the USB-MIDI

driver to your computer from the following web page. After clicking the Download button, save the compressed ﬁle in a convenient location and then expand it.

http://www.global.yamaha.com/download/usb_midi/

NOTE

• Information on system requirements is also provided on the above web page.

• The USB-MIDI driver may be revised and updated without prior notice. Before installing, visit the above web page to conﬁrm the latest related information and ensure that you have the most up-to-date version.

■ Precautions When Using USB TO HOST

Port

When connecting to a computer via the USB TO HOST port, be sure to observe the precautions listed below. Failing to do so risks freezing your computer and corrupting or losing data. If your computer or DTX-MULTI 12 should freeze, restart the application being used, reboot the computer, or turn the instrument off once and then back on.

CAUTION

• Use a USB A-B cable of no more than 3 meters in length.

• Before connecting to the computer via the USB TO HOST port, restore the computer from any power-saving mode (such as Suspend, Sleep, or Standby).

• Connect the computer via the USB TO HOST port before turning on the DTX-MULTI 12.

• Be sure to always perform the following steps before turning the instrument on or off and either plugging or unplugging the USB cable.

• Quit all applications.

• Ensure that no data is being sent from the DTX-MULTI 12. (Data is transmitted by striking the pads or playing patterns.)

• When connected to a computer, allow at least 6 seconds to pass between turning the instrument on and off and plugging or unplugging the USB cable.

Install the USB MIDI driver on your computer.

For instructions on installing, refer to the guide included with the driver installer. When the guide indicates that your Yamaha product should be connected to the computer, do so as shown below.

USB TO HOST port

USB port

Computer

USB cable

To enable the exchange of MIDI data via the USB

TO HOST port, press the [UTILITY] button to

DTX-MULTI 12

access the UTILITY setting area and then navigate to the MIDI In/Out page (UTIL6-9).

UTIL6-9≥≥≥<MIDI> MIDI≥IN/OUT=MIDI

Set the MIDI IN/OUT parameter to “USB” (using

the [+/INC] button if necessary).

Making Music with a Computer

■ Recording DTX-MULTI 12 Performance

Data using a DAW Application

The following section will describe how to record your performances using a DAW application running on a connected computer.

Normally, when playing in order to record on a computer, performance data produced by striking the pads is ﬁrst sent to the computer and then returned to the instrument in order to play its internal tone generator. If local control of the DTX-MULTI 12 is turned on (via the Local Control page (UTIL6-5) from the UTILITY area), performance data will also be sent directly to the tone generator, and as a result, the direct and returned data will overlap, making it sound as if the pads are being struck twice.

UTIL6-9≥≥≥<MIDI> MIDI≥IN/OUT=USB

Press the [STORE] button and store this setting.

Owner’s Manual 13

Page 14

Setting Up

Most DAW applications allow MIDI Thru to be turned on, and therefore, you can setup your system as shown below with local control of the DTX-MULTI 12 turned off and the DAW application returning performance data to the tone generator. In this way, performances can be recorded in comfort without each strike being heard twice.

USB TO HOST port

DTX-MULTI 12

Internal

tone

generator

Local control

LocalCtrl =“off”

NOTE

•DAW is an abbreviation of digital audio workstation. DAW applications such as Cubase can be used to record, edit, and mix audio and MIDI data on a computer.

We will now describe how to setup parameters for recording your performances, ﬁrst on the instrument itself, and then within the DAW application.

● DTX-MULTI 12 settings

Turn off local control as follows.

Press the [UTILITY] button to access the UTILITY

setting area, navigate to the MIDI section (UTIL6)

using the [BBBB]/[CC

OUTIN

Pads

] buttons, and press the

Computer

OUT

MIDI Thru turned on within DAW application.

[ENTER] button.

● Setting DAW-Application Parameters

Within your DAW application, turn on MIDI Thru. This setting ensures that, when performance data is being recorded on a track within your application, it is also returned to the external MIDI system.

For example, let’s assume that performance data is being recorded on Track 3 by your DAW application. In addition, we’ll also assume that MIDI Channel 1 has been set for the return of performance data. If MIDI Thru is now turned on for Track 3, the DAW application will return the performance data to the DTX-MULTI 12 as it is being recorded, and the instrument’s internal tone generator will sound as if it is being played directly (on Channel 1).

NOTE

•For details on how to turn on MIDI Thru, refer to the manual that came with your DAW application.

• If local control on the DTX-MULTI 12 and MIDI Thru within your DAW application are both turned off, no performance data will be sent to the internal tone generator, either directly or indirectly. As a result, no sound will be produced.

■ Playing the DTX-MULTI 12 using MIDI

Data from a DAW Application

As described below, you can setup the DTX-MULTI 12 to operate as a multi-timbral tone generator for your DAW application. In this way, you can easily integrate the instrument’s high-quality MIDI tone generator into your music-production setup. For details on how to connect the DTX-MULTI 12 to your computer, see page 13.

Set each of the tracks within your DAW applica-

tion to output their MIDI data to the DTX-MULTI

12.

UTIL6 ≥≥≥≥≥≥MIDI

Navigate to the Local Control page (UTIL6-5)

using the [BBBB]/[CC

] buttons.

UTIL6-5≥≥≥<MIDI> ≥LocalCtrl=on

Set the LocalCtrl parameter to “off” (using the [-/

DEC] button if necessary).

UTIL6-5≥≥≥<MIDI> ≥LocalCtrl=off

Press the [STORE] button and store this setting.

With local control turned off in this way, performance data produced by striking the pads will not be sent to the internal tone generator.

Play MIDI performance data using the DAW appli-

cation.

14 Owner’s Manual

Page 15

Setting Up

<<≥≥≥Cubase≥≥≥>> <<≥≥≥Remote≥≥≥>>

Setting up Cubase Remote Control

Using a special feature, the DTX-MULTI 12 can operate as a remote controller for Cubase. For example, you can operate the Cubase transport, turn its metronome on or off, and control various other functions from the instrument’s front panel, signiﬁcantly increasing the efﬁciency of your music production workﬂow.

■ Computer settings

When setting up Cubase remote control for the ﬁrst time, complete the following steps to conﬁgure your computer correctly.

Download the latest version of the DTX-MULTI 12

Extension from the following web page.

Save the compressed ﬁle in a convenient location and then expand it. http://www.yamaha.co.jp/english/product/drums/ed

NOTE

• Ensure that the latest USB MIDI driver is installed on your computer (see page 13).

• Information on system requirements is also provided on the above web page.

• The DTX-MULTI 12 Extension may be revised and updated without prior notice. Before installing, visit the above web page to conﬁrm the latest related information and ensure that you have the most up-todate version.

Execute the expanded DTX-MULTI 12 Extension

to carry out the required installation procedure. For more details, refer to the owner’s manual included in the downloaded package.

Hold down the [SHIFT] button and press the

[MIDI] button.

The message “Cubase Remote” will be displayed to conﬁrm that the function has been activated.

NOTE

• When Cubase Remote mode has been activated, those front-panel buttons that can be used will light up.

To deactivate Cubase Remote mode, again hold

down the [SHIFT] button and press the [MIDI] button.

■

Button Functions in Cubase Remote Mode

NOTE

•For more details regarding the operation of Cubase Remote mode, refer to the owner’s manual included in the downloaded package.

Button Operation

[SHIFT] + [MIDI] Turns the Cubase Remote function on and off.

[KIT] Opens the VSTi window.

[PTN] Starts and stops playback.

■ DTX-MULTI 12 settings

Whenever the Cubase Remote function is to be used, the following steps must be completed on the DTX-MULTI 12.

Within the UTILITY setting area, navigate to the

MIDI In/Out page (UTIL6-9) and set MIDI IN/OUT to “USB”.

UTIL6-9≥≥≥<MIDI> MIDI≥IN/OUT=USB

Ensure that the DTX-MULTI 12 is connected to

your computer in the correct manner, and then launch Cubase.

For more details regarding connection, see page 13.

[SHIFT] + [PTN] Starts recording.

[-/DEC], [+/INC] Increases or decreases a preset by 1.

[B]Rewinds the transport (REW). [C]Fast forwards the transport (FF).

[D]

Returns the transport to the start of the song (TOP).

Tu r ns the click track on and off.

Owner’s Manual 15

Page 16

Producing Sounds with the Pads

In order that you can start having fun with your DTX-MULTI 12 as soon as possible, this section will begin by

explaining the basic way in which the pads can be played using drum sticks (sold separately), and following

that, will show how to select various kits (i.e., sets of pad sounds).

Pad Names

As shown below, numbers 1 through 12 are assigned to the builtin pads. These numbers are also shown at the corresponding positions within the Pad Indicator, and they will light up when the associated pad is struck.

123

456

789

10 11 12

Pad Indicator

CAUTION

• Do not place your ﬁngers into the gaps between Pads 1 to 3 and the instrument's plastic body. If this precaution is not observed, your ﬁngers may be injured as a result of crushing or squeezing.

Striking the Pads

When playing Pads 4 to 9 (i.e., the main pads), aim to strike the center of the pad with the tip of the drum stick.

● Playing Pads 4 to 9

Area of drumstick to use

Meanwhile, when playing Pads 1 to 3 and Pads 10 to 12 (i.e., the rim pads), aim to strike the center of the pad with the shoulder of the drum stick.

● Playing Pads 1 to 3 and Pads 10 to 12

Tip

16 Owner’s Manual

Area of drumstick to use

Shoulder

Page 17

Producing Sounds with the Pads

KIT1 P001:PercsMaster

KIT1≥≥≥≥≥≥≥ˇÁ P001:PercsMaster

● Kit suitable for playing by hand

KIT1 U001:User≥Kit

● User-deﬁned kit

Starts with “U”

You can also adjust the sensitivity of the pads to allow them to be played by hand (see page 19).

NOTE

•Drum and other individual instrument sounds known collectively as preset voices and rhythmic or musical phrases known as patterns can be assigned to each of the pads. Whenever you strike a pad to which a pattern has been assigned, the pattern will either be played through just once (one-shot) or repeated (loop), and the corresponding lamp within the Pad Indicator will light up. If a pad playing a looped pattern is struck again, the pattern will stop playing and the lamp will go out.

• If looping patterns are assigned to multiple pads and you loose track of which ones are actually being played, you can silence all sound output by holding down the [SHIFT] button and pressing the [EXIT] button.

• If a pad is struck too lightly or very close to an edge or corner, the corresponding lamp in the Pad Indicator may not turn on.

■ Muting

Muting is the action of placing a hand on a struck percussion instrument in order to silence it, and the DTX-MULTI 12 pads support this playing technique. In addition, when multiple sounds have been assigned to a pad, you can use also muting to switch between these sounds for more expressive performances.

NOTE

•For details on how to switch sounds by muting, see page 51.

Selecting a Preset Kit

The term “kit” is used to refer to a collection of sounds (i.e., preset voices, waves, and patterns) produced when you strike each of the pads, and the DTX-MULTI 12 comes complete with an impressive range of specially-prepared preset kits. Using the procedure outlined below, select various kits and enjoy some of the stunning sounds that your instrument can produce.

NOTE

• The screen displays shown in this Owner’s Manual are for instructional purposes only, and they may appear somewhat different from those on your DTX-MULTI 12.

Press the [KIT] button to open the Select

Kit page.

The [KIT] button will light up.

Use the [-/DEC] and [+/INC] buttons to select a new drum kit.

Try playing the each of the pads from various different types of kit.

NOTE

•A number of the Preset kits have been specially setup for playing by hand. When you select one of them, a hand icon will be displayed on-screen as shown below.

Quick Guide

• Kits having a number preceded by the letter “U” are User kits (i.e., user-deﬁned kits). With these kits, you can create and save your own collections of preset voices, patterns, and waves.

Owner’s Manual 17

Page 18

Producing Sounds with the Pads

Assigning Preset Voices to Pads

In the following simple example, we will create a User kit by replacing one of the sounds assigned to the pads in a Preset kit. Speciﬁcally, we will assign a voice to Pad 4 from the selected kit, and we will then save the resultant kit to the empty User kit U001.

Press the [KIT] button to open the Select

Kit page.

KIT1 P001:PercsMaster

Use the [-/DEC] and [+/INC] buttons to select a kit to work with.

KIT1 P009:Oak≥Custom

Press the [VOICE] button to open the Select Voice page.

Strike Pad 4 to select it and to change the displayed pad number to .

Alternatively, you can move the ﬂashing cursor to the pad number, and then change it from to

-º¢-

Select the voice you want to assign to Pad

Move the ﬂashing cursor to the leftmost parameter from the lower row of text, and using the [-/DEC] and [+/INC] buttons, select the voice category and voice number of the voice you wish to assign.

using the [-/DEC] and [+/INC] buttons.

VCE01≥≥-º¢-≥≥≥ Tm001:OakCtm≥H

-º¢-

-º¡-

Pad number

VCE01≥≥-º¡-≥≥≥ Cy013:Thin16Eg

VCE01≥≥-º¢-≥≥≥ Sn004:MapleCtm

Voice nameVoice number

Voice category

Voice Categories

Similar voices are grouped together in voice categories. In addition to melodic instruments such as timpani and marimba, you can also select voice categories containing Preset patterns, User patterns, and waves. For more information, refer to the Data List booklet.

18 Owner’s Manual

Page 19

Producing Sounds with the Pads

Press the [STORE] button and store the edited kit as a User kit.

As shown here, select the empty User kit U001, using the [-/DEC] and [+/INC] buttons if necessary, and then press the [ENTER] button.

VCE≥Store≥to U001:User≥Kit

User kit number User kit name

NOTE

• The [STORE] button will light up whenever settings have been changed but not yet stored in the DTX-MULTI 12’s internal memory. The button will, therefore, go out when the modiﬁed settings are stored.

When asked to conﬁrm that you want to store the kit, press the [ENTER] button to proceed.

≥≥≥KIT≥Store ≥Are≥you≥sure?≥≥

■ Layers

Using the Layer function, you can assign a number of different voices to a single pad or external controller. Up to four layers (A to D) to be setup per pad, meaning that each pad can play as many as four different voices. Furthermore, a number of different playback modes can be employed for voices assigned to layers. For example, these voices can be triggered simultaneously, a different one can be played each time the pad is struck, or they can alternate between on and off upon successive hits. Details on layers can be found on page 32.

■ Playing by hand

The DTX-MULTI 12 features a number of different preset kits suitable for hand percussion – that is, for playing with hands instead of drum sticks. As described below, furthermore, you can use a trigger setup at any time to adjust the sensitivity of the pads to suit playing by hand.

● Setting pad sensitivity for playing by hand

q Hold down the [SHIFT] button and press the [UTILITY] but-

ton to access the Trigger setting area. The Select Trigger Setup page will be displayed.

TRG1≥≥≥≥≥≥≥≥≥≥ P01:Stick≥Wide≥≥

Quick Guide

CAUTION

• The message ”Please keep power on...” will be displayed while data is being stored. It is very important that the DTX-MULTI 12 is not turned off until this message disappears. If the instrument were to be turned off at this time, data for all User kits could be permanently lost.

≥≥Please≥keep ≥≥power≥on...

With User pad U001 selected, strike Pad 4 to hear the voice that you assigned.

w Use the [-/DEC] and [+/INC] buttons to select the “P04:

Hand” or “P05: Finger” trigger setup.

TRG1≥≥≥≥≥≥≥≥≥≥˛¸ P04:Hand

NOTE

• Whenever you select a hand-percussion preset kit, the pad sensitivity (i.e., the trigger setup) will automatically change to suit playing by hand.

•Very high levels of pad sensitivity are more likely to result in a phenomenon known as crosstalk, where pads other than the one struck trigger sounds due to vibration or interference between pads.

•For details on how to conﬁgure trigger setups in the Trigger setting area, see page 99.

Owner’s Manual 19

Page 20

Listening to Patterns

Your DTX-MULTI 12 has been pre-loaded with a rich variety of melodic and rhythmic phrases in the form of Preset patterns. The ﬁrst three Preset patterns (eP001 to eP003) have been specially setup to demonstrate the rich spectrum of sounds that your DTX-MULTI 12 can produce. Patterns numbered eP004 and higher can be freely

assigned to pads for use in your own User drum kits.

Listening to Demo Patterns

Press the [PTN] button to open the Select

Pattern page.

The [PTN] button will light up. Demo patterns are numbered eP001 to eP003.

PTN1≥≥≥ƒ=120≥4/4 ©P001:Demo≥01

Press the [PTN] button once again to start playback of a demo pattern.

The [PTN] button will ﬂash while the demo pattern is being played, and the name of the pattern will be displayed inside “<<” and “>>” characters on the upper row of text. Furthermore, the lower row of text will shown the name of the kit being used for playback of the demo pattern.

≥<<Demo≥01>> P039:Orchestra

Listening to Preset Patterns

Press the [PTN] button to open the Select

Pattern page.

Select the Preset pattern you want to listen to using the [-/DEC] and [+/INC] buttons.

Select a Preset pattern numbered eP004 or higher.

PTN1≥≥≥ƒ=120≥4/4 ©P004:80s≥Electo

Press the [PTN] button once again to start playback of the selected Preset pattern.

The [PTN] button will ﬂash while the Preset pattern is being played.

To stop the demo pattern, press any button

20 Owner’s Manual

other than [SHIFT].

To stop the pattern, press the [PTN] button on the Select Pattern page (PTN1).

NOTE

• If you wish to assign a Preset pattern to a pad, follow the procedure described on page 18, and at Step 5, select the Preset pattern instead of a preset voice.

Page 21

Making Your Own Patterns

REC≥≥≥≥ƒ=120≥4/4 Meas=004≥Q=©≥≥-“

t Playback modee Length

r Quantize

q Tempo w Time signature

q Tempo: The speed of the pattern in beats

per second.

w Time signature: The time signature of the

pattern to be recorded.

e Length: The length of the pattern in mea-

sures.

r Quantize: The precision of timing correc-

tion for the recorded pattern.

t Playback mode: The type of pattern to be

recorded – i.e., one-shot or loop.

Using the DTX-MULTI 12, you can also create User patterns by recording your own performances. And in the

same way as Preset patterns, these User patterns can then be freely assigned to pads and played back.

Quick Guide

Recording Your Performance as a Pattern

Following the steps below, let’s create a User pattern by recording a performance and then assign that pattern to Pad 6.

Press the [PTN] button to access the Pat-

tern setting area, and select an empty User pattern using the [-/DEC] and [+/INC] buttons.

Empty User patterns are named “Empty Ptn”.

PTN1≥≥≥ƒ=120≥4/4 ©U003:Empty≥Ptn

Pattern name

CAUTION

• If you select a User pattern already containing data, your performance will be added to that data as a result of recording. If you want to avoid this, be sure to select an empty User pattern for recording.

Hold down the [SHIFT] button and press the [PTN] button to activate Record Mode.

The [PTN] button will turn red.

NOTE

• If a Preset pattern is selected when you activate Record Mode, your performance will be recorded to an empty User pattern.

Set the required recording conditions.

On the Record Mode screen (REC), you can set the tempo and time signature of the click track to be played when recording, the length of the pattern in measures (or bars), and a number of other important parameters. Move the ﬂashing cursor to the required

parameter using the [B], [D], and [C] buttons, and

change the setting using the [-/DEC] and [+/INC] buttons.

NOTE

• If you select a User pattern already containing data for recording, you can add additional performance data to that pattern as you record.

•Two existing patterns can be merged to create a new User pattern (see page 79).

Press the [KIT] button to open the Select

Kit page, and using the [-/DEC] and [+/INC] buttons, select the drum kit you want to use for recording your pattern.

KIT1 P001:PercsMaster

Owner’s Manual 21

Page 22

Making Your Own Patterns

Press the [PTN] button to start recording.

The DTX-MULTI 12 will count you in over two measures. Then, play the pattern you want to record in time with the click track.

Measure currently being recorded

REC≥Meas=≥001 Now≥Recording...

CAUTION

•Turning off the DTX-MULTI 12 while recording can result in data for all User patterns being lost and must, therefore, be avoided.

Recording will end automatically after the number of measures set as the pattern length in Step 4 above.

The message ”Please keep power on...” will be displayed for a short period of time as data is being stored.

≥Please≥keep≥≥≥ ≥power≥on...

CAUTION

•Turning off the DTX-MULTI 12 while the message ”Please keep power on...” is being displayed can result in all User-pattern data being lost and must, therefore, be avoided.

NOTE

• Recording can be stopped at any time by pressing the [PTN] button. All performance data recorded up to that point will be stored.

• If looped playback was selected in Step 4 above, recording can be ended by pressing the [PTN] button.

When the Pad Assign page is displayed, strike Pad 6 to display pad number , and then press the [ENTER] button.

Alternatively, you can use the [-/DEC] and [+/INC] buttons to select on this page.

º§

Press the [KIT] button to access the KIT setting area.

KIT1 P001:PercsMaster

Press the [STORE] button and store the current kit and its new pattern assignment as a User kit.

As shown here, select an empty User kit using the [-/ DEC] and [+/INC] buttons, and then press the [ENTER] button.

VCE≥Store≥to U001:User≥Kit

User kit number User kit name

When asked to conﬁrm that you want to store the kit, press the [ENTER] button to proceed.

≥≥≥KIT≥Store ≥Are≥you≥sure?≥≥

CAUTION

≥≥Please≥keep ≥≥power≥on...

With the stored drum kit selected, strike Pad 6 to hear the pattern that you assigned.

NOTE

• If you set PadAssign to “off”, the recorded pattern will not be

• Although you can freely assign the recorded pattern to a pad

22 Owner’s Manual

REC ≥PadAssign=º§

Pad number

assigned to any pad.

at any time, it is best to use a pad from the drum kit selected in Step 1 above. If you assign it to a pad from another kit, the pattern may not play as recorded.

NOTE

• Up to 50 User patterns can be recorded on your DTX-MULTI

12. If an attempt is made to record more than this number, the message “Seq data is not empty” will be displayed and the recording process will end. In such a case, delete unneeded User patterns (see page 79) and begin recording again.

Page 23

UTIL7-1-1 Type=All

UTIL7-1-2 Name[≥≥≥≥≥≥≥≥≥≥]

≥≥≥Save≥File ≥Are≥you≥sure?

Saving Your Data on a USB Memory Device

Data that you have made, such as User kits and User patterns, can be conveniently saved as combined ﬁles on

a USB memory device. In the following example, we will create a single ﬁle containing all of the data created or

modiﬁed in the various DTX-MULTI 12 setting areas on a such a device.

Quick Guide

Plug a USB memory device into the USB TO DEVICE port on the side panel.

NOTE

•For more details regarding USB memory devices, see the section Connecting a USB Memory Device on page 11.

Press the [UTILITY] button to access the

]/[CC

UTILITY setting area, use the [ tons to navigate to the FILE section (UTIL7), and then press the [ENTER] button.

UTIL7 ≥≥≥≥≥≥FILE

Navigate to the Save File page (UTIL7-1),

]/[CC

using the [ and then press the [ENTER] button.

UTIL7-1 ≥≥≥Save≥File

] buttons if necessary,

] but-

Set Type to “All”, using the [-/DEC] and [+/ INC] buttons if necessary.

When you have made this setting, press the [ENTER] button.

NOTE

•For details on saving data with a Type setting other than “All”, see page 93.

Enter a name for the ﬁle to be saved.

For more details on how to input characters and the types of character that can be used for ﬁle names, seesee page 47.

NOTE

• File names can be up to eight characters in length.

When you have entered the required name, press the [ENTER] button.

You will be asked to conﬁrm that you want to save the ﬁle, and the [ENTER] button will ﬂash on and off.

Owner’s Manual 23

Page 24

Saving Your Data on a USB Memory Device

To proceed, press the [ENTER] button one

more time.

If a ﬁle with the same name already exists on the USB memory device, you will be asked to conﬁrm whether you want to overwrite it. If that ﬁle is no longer needed and can be overwritten, press the [ENTER] button. Alternatively, if the older ﬁle contains important data, press the [EXIT] button to return to the Name page and repeat the procedure from Step 5 above using a different ﬁle name.

The message “Now saving... [EXIT] to cancel” will be displayed while your data is being saved. The message “Completed.” will then be displayed when the data has been saved, and the display will return to the Save File page (UTIL7-1) from Step 4 above.

≥Now≥Saving [EXIT]≥to≥cancel

Completed

CAUTION

• Do not unplug the USB memory device from the USB TO DEVICE port or turn off either the USB memory device or the DTX-MULTI 12 while data is being loaded or saved. Failure to observe this precaution can lead to the USB memory device or the DTXMULTI 12 being permanently damaged.

CAUTION

• Be sure to always unplug USB memory devices from the DTX-MULTI 12 before you start to play. If you were to accidentally strike a memory device with a drum stick while playing, it could be permanently damaged and all data saved on it could be lost.

24 Owner’s Manual

Page 25

Importing Audio Files

Now≥Importing... [EXIT]≥to≥cancel

IMPORT ≥PadAssign=º¡

WAV and AIFF audio ﬁles from your computer and other media can be imported into your DTX-MULTI 12 via

USB memory devices. Referred to as “waves”, these voices can then be assigned to pads and played in the

same way as any other preset voice.

Quick Guide

Using a computer, place the WAV or AIFF ﬁle(s) for importing at the root directory of a USB memory device.

Unplug the USB memory device from the computer and plug it into the instrument via the USB TO DEVICE port on the side panel.

Press the [KIT] button to open the Select Kit page and then select the drum kit to which the imported wave(s) will be assigned.

KIT1 U001:User≥Kit

Hold down the [SHIFT] button and press the [WAVE] button to open the Import page.

When you have made your selection, press the [ENTER] button to import the ﬁle.

CAUTION

• Do not unplug the USB memory device from the USB TO DEVICE port or turn off either the USB memory device or the DTX-MULTI 12 while data is being loaded. Failure to observe this precaution can lead to the USB memory device or the DTX-MULTI 12 being permanently damaged.

Once the audio ﬁle has been imported, the Pad Assign page will open. Select the pad to which the imported wave is to be assigned and press the [ENTER] button.

Select the audio ﬁle you want to import

using the [-/DEC] and [+/INC] buttons.

IMPORT ≥≥≥Surdo.WAV

CAUTION

• If a voice has already been assigned to the selected pad, it will be deleted and replaced with the imported wave.

NOTE

• If you set PadAssign to “off”, the imported wave will not be assigned to any pad.

• Imported AIF and WAV audio ﬁles are stored as waves, or in other words, as one of the three types of DTX-MULTI 12 voices. As such, they can be freely assigned to pads at any time using the VOICE setting area (see page 56).

Owner’s Manual 25

Page 26

Importing Audio Files

Press the [KIT] button to return to the KIT

setting area.

Press the [STORE] button and store the current kit and its new wave assignment as a User kit.

As shown here, select an empty User kit using the [-/ DEC] and [+/INC] buttons, and then press the [ENTER] button.

When asked to conﬁrm that you want to store the kit, press the [ENTER] button to proceed.

VCE≥Store≥to U001:User≥Kit

User kit number User kit name

≥≥≥KIT≥Store ≥Are≥you≥sure?≥≥

CAUTION

≥≥Please≥keep ≥≥power≥on...

To hear the imported wave, strike the pad to which it was assigned.

26 Owner’s Manual

Page 27

Reference

Internal Design

In this reference section, you will ﬁnd a description of what takes place within the DTX-MULTI 12 between striking of a pad and the output of a sound from speakers. Understanding how signals ﬂow and are processed internally will allow you to utilize the powerful functions of this versatile instrument to their maximum potential.

Functional Blocks

Built-in pads

Tr igger signals

Trigger setup (Preset or User)

Kit (Preset or User)

Makeup of each kit

Each pad has up to four layers (A to D) to which voices can be assigned.

Preset voices

Waves

External pads, controllers, and foot switches

PAD jacks

Tr igger Signals

Preset voices, patterns, and waves are assigned to each of the built-in pads, external pads, and external controllers.

Preset

patterns

Import

User patterns

Import

Pattern recording

USB TO DEVICE

SMF ﬁle (Format 0)

WAV ﬁle AIFF ﬁle

Signals for controlling the

internal tone generator

Internal tone generator

Reverb, chorus, variation, and master EQ.

MIDI messages

Effects

MIDI messages

USB TO HOST

MIDI output

Signals for controlling external tone generators and MIDI devices

TRIGGER ReferenceKITMIDI VOICEUTILITY WAVEPATTERN

Por table music player, etc.

Audio output

Owner’s Manual 27

Page 28

Internal Design

Pads & Trigger Signals

The DTX-MULTI 12 is played by striking any of the twelve built-in pads and by striking and operating external pads, foot switches, or other controllers connected via the PAD jacks (M to Q), the HI-HAT CONTROL jack, and the FOOT SW jack. Whenever you perform this type of action, a trigger signal containing various items of performance data, such as the strength with which the pad was struck, will be produced. These trigger signals are delivered to a tone generator, which outputs the appropriate sound in response.

■ Built-in Pads (1 to 12)

As shown below, each of the DTX-MULTI 12’s built-in pads is assigned a unique number between 1 and 12. On the various parameter-setting pages used to conﬁgure the instrument, these numbers are presented in the format to as a means of identifying individual pads. Although

¡™

Pads 4 to 9 (main pads) and Pads 1 to 3 and 10 to 12 (rims) are shaped differently, they all function in exactly the same way. Whenever they are struck, the assigned voices, waves, or patterns will be played.

º¡ º™ º£

º¢ º∞ º§

º¶ º• ºª

¡º ¡¡ ¡™

º¡

Although each features just one connector, the PAD N/O and PAD P/Q jacks can be used to connect the mono outputs from a pair of pads. In this way, each of these jacks can handle two different trigger signals. Within the display, the numbers , , , and are used to identify

¡¢ ¡∞ ¡§ ¡¶

the corresponding pads.

Example: Connecting a TP65 and a PCY65 via the PAD N/O jack

When a trigger signal produced by striking the TP65 Single Zone Drum Pad is received, the voices assigned to Pad are played.

When a trigger signal produced by striking the PCY65 Single Zone Cymbal Pad is received, the voices assigned to Pad are played.

¡¢

TP65

PCY65

¡∞

■ HI-HAT CONTROL Jack

The Hi-hat Control jack is used to connect an optional RHH135 Two Zone Hi-Hat Pad (via its HH CTRL jack) or an HH65 Hi-hat Controller (via its OUTPUT jack). As you play the pad or controller, the DTX-MULTI 12 receives and recognizes trigger signals for both hi-hat close and hihat splash*. Within the display, these signals are identiﬁed as and , respectively.

∂∂œ› ∂∂‘á

* Hi-hat splash refers to the technique of producing sound by rapidly

depressing and releasing the hi-hat pedal.

■ PAD Jacks (M to Q)

The trigger-input jacks provided on the rear panel are used to connect optional pads. Furthermore, the PAD M jack can be used to connect a three-zone pad, which produces three different types of trigger signal based on the position at which it is struck. The DTX-MULTI 12 treats these zones as three individual pads, identifying them on-screen as , , and . For example, the three trig-

¡£ ¡£Ω¡ ¡£Ω™

ger signals output by a TP65S Three Zone Drum Pad are identiﬁed as shown below.

Example: TP65S

A: Rim 1

¡£Ω¡

A: When a trigger signal from rim 1 is received, the voices assigned to

Pad are played.

¡£Ω¡

B: When a trigger signal from rim 2 is received, the voices assigned to

Pad are played.

¡£Ω™

C: When a trigger signal from the head is received, the voices assigned

to Pad are played.

¡£

C: Head

¡£

B: Rim 2

¡£Ω™

RHH135

HH65

NOTE

•Parameters related to hi-hats can be set on the various pages from the UTILITY setting area’s HI-HAT section (UTIL5). (See page 89.)

28 Owner’s Manual

Page 29

Internal Design

■ FOOT SW Jack

The Foot Switch jack is used to connect an optional hi-hat controller (FC4 or FC5, etc.), hi-hat controller (HH65, etc.), or foot controller (FC7) to the DTX-MULTI 12. Within the instrument’s display, a signal input via this jack is identiﬁed as . Once you have told the DTX-MULTI 12 which type of controller or foot switch is connected, you can then select from a range of useful functions to assign to it. A number of typical examples are described below.

NOTE

• Be sure to always turn off the DTX-MULTI 12 before connecting a controller or foot switch. If you do not follow this precaution, the controller or foot switch may not function correctly.

● Using an HH65 as a bass drum pedal

[Function]

With parameters conﬁgured as described below, an HH65 Hi-hat Controller can be used to play bass-drum voices and the like. As with acoustic drums, furthermore, the tone of the sound produced can be inﬂuenced by how fast or slow you depress the controller. In addition, drum sounds can be produced without the vibration and mechanical noise typical of acoustic bass-drum pedals.

√¤‘’

• Open the Select Voice page (VCE1) and choose a preset voice, pattern, or wave to be assigned to . (See page 56.)

● Changing kits or patterns using an FC4 or FC5

√¤‘’

[Function]

With parameters conﬁgured as described below, you can use an FC4 or FC5 Foot Switch to change a range of different settings. For example, you could operate a foot switch to select the next kit or pattern, to increase or decrease the tempo by 1, to tap the tempo, or to turn the click-track on or off. Furthermore, you can also set a MIDI Control Change message number and value to be sent when the foot switch is depressed.

FC4, FC5

[Setup]

• With the DTX-MULTI 12 turned off, connect the FC4 or FC5 Foot Switch via the FOOT SW jack.

•Turn on the DTX-MULTI 12.

• On the Foot Switch Input page (UTIL4-2), set FootSwInSel to “ftSw”. (See page 89.)

• On the Pad Function page (UTIL4-1), select and then set Func to the function you want to control using the foot switch. (See page 88.)

√¤‘’

HH65

[Setup]

• With the DTX-MULTI 12 turned off, connect the HH65 Hihat Controller via the FOOT SW jack.

•Turn on the DTX-MULTI 12.

• On the Foot Switch Input page (UTIL4-2), set FootSwInSel to “HH65”. (See page 89.)

• On the Pad Function page (UTIL4-1), select and then set Func to “off”. (See page 88.)

• Open the Select Voice page (VCE1) and choose a voice, such as a bass drum, to be assigned to . (See page 56.)

● Playing sounds using an FC4 or FC5

√¤‘’

[Function]

With parameters conﬁgured as described below, you can play sounds by operating an FC4 or FC5 Foot Switch. Trigger signals generated in this way have a ﬁxed velocity, and therefore, they are ideal for playing effect sounds, patterns, and waves.

FC4, FC5

[Setup]

• With the DTX-MULTI 12 turned off, connect the FC4 or FC5 Foot Switch via the FOOT SW jack.

•Turn on the DTX-MULTI 12.

• On the Foot Switch Input page (UTIL4-2), set FootSwInSel to “ftSw”. (See page 89.)

• On the Pad Function page (UTIL4-1), select and then set Func to “off”. (See page 88.)

√¤‘’

● Adjusting volume (or other MIDI Control

Change values) using an FC7

[Function]

With parameters conﬁgured as described below, you can adjust volume and many other MIDI Control Change values by changing the pedal angle of an FC7 Foot Controller (in order to send MIDI Control Change messages). The FC7 retains its current pedal angle after you remove your foot, and therefore, it is ideal for making minute changes to the controlled parameter.

FC7

[Setup]

• With the DTX-MULTI 12 turned off, connect the FC7 Foot Controller via the FOOT SW jack.

•Turn on the DTX-MULTI 12.

• On the Foot Switch Input page (UTIL4-2), set FootSwInSel to “FC7”. (See page 89.)

• On the Pad Function page (UTIL4-1), select and then set Func to the MIDI Control Change message (“CC01” to “CC95”) that you want to control. (See page

88.)

√¤‘’

TRIGGER ReferenceKITMIDI VOICEUTILITY WAVEPATTERN

Owner’s Manual 29

Page 30

Internal Design

● Adjusting volume and other parameters using an HH65

[Function]

In the same way as with an FC7 Foot Controller, you can adjust volume and a wide range of MIDI Control Change values by adjusting the degree by which an HH65 Hi-hat Controller is operated.

HH65

[Setup]

• With the DTX-MULTI 12 turned off, connect the HH65 Hi-

hat Controller via the FOOT SW jack.

•Turn on the DTX-MULTI 12.

• On the Foot Switch Input page (UTIL4-2), set FootSwIn-

Sel to “HH65”. (See page 89.)

• On the Pad Function page (UTIL4-1), select and

√¤‘’

then set Func to the MIDI Control Change message (“CC01” to “CC95”) that you want to control. (See page

88.)

■ Using Acoustic Drums to Produce Trigger

Signals

Optional drum triggers, such as the DT10 or DT20, can be used to convert performances on acoustic drums into trigger signals and to input these signals into the instrument. You can even apply drum triggers to training pads in order to produce trigger signals.

■ Trigger Setups

Settings for all of the parameters associated with pad sensitivity are collectively referred to as a “trigger setup”. In addition to the actual sensitivity of the pad when it is struck, a trigger setup can also include parameter settings intended to prevent a pair of trigger signals being produced in response to a single strike (i.e., double triggering) and unwanted trigger signals being produced by pads other than the one that was struck (i.e., crosstalk). The DTXMULTI 12 supports many different playing styles using sticks and hands, and by selecting the most appropriate trigger setup for the style being used, you can ensure that trigger signals will be correctly processed. Trigger setups can also be adjusted in order to ensure that trigger signals from external pads and controllers are processed in an ideal manner. Your DTX-MULTI 12 comes pre-loaded with ﬁve Preset trigger setups suitable for many different needs, and you can also create up to ten unique User trigger setups to suit your own individual requirements.

■ Using Optional Pads & Drum Triggers with the PAD Jacks

Whenever you are using separately-sold pads and/or drum triggers, the types of trigger signal handled will depend on which of the PAD jacks is used for connection. The following table shows how optional pads and drum triggers will operate when connected via the various PAD jacks on the rear panel.

PAD M: Suitable for use with two-zone and three-zone pads. Not suitable for pad controllers. PAD N/O, PAD P/Q: Not suitable for two-zone pads, threezone pads, or pad controllers.

Input (PAD jacks)

Model Product name

TP65 Drum Pad C C

TP65S Drum Pad A C

TP100 Drum Pad A C

TP120SD Snare Pad B C

RHH130 Hi-hat Pad B C

RHH135 Hi-hat Pad B C

PCY65 Cymbal Pad C C

PCY65S Cymbal Pad B C

PCY130 Cymbal Pad C C

PCY130S Cymbal Pad B C

PCY130SC Cymbal Pad A C

PCY135 Cymbal Pad A C

PCY150S Cymbal Pad A C

PCY155 Cymbal Pad A C

KP65 Kick Pad C C

KP125 Kick Pad C C

DT10 Drum Trigger C C

DT20 Drum Trigger C C

A: Operates as a three-zone pad.

If using a compatible product from the TP series, voices assigned to each of the two rim sections and the head section can be played. If using a compatible product from the PCY series, voices assigned to each of the bow, edge, and cup sections can be played.

B: Operates as a two-zone pad.

If using a compatible product from the RHH series, voices assigned to each of the bow and edge sections can be played. If using a compatible product from the PCY series, voices assigned to each of the bow and edge sections can be played.

C: Operates as a monoaural pad.

NOTE

•For the most up-to-date information on support for optional pads and drum

triggers, visit the following web page. http://www.yamaha.co.jp/english/product/drums/ed/

PAD M

PAD N/O PAD P/Q

30 Owner’s Manual

Page 31

Internal Design

Sounds Produced Using the Pads

Whenever the internal tone generator receives a trigger signal produced by striking a pad or by operating a controller or foot switch, it will play a voice assigned to that pad, controller, or foot switch. As described below, three different types of voice are available for assigning – namely, preset voices, patterns, and waves.

• Preset voices

Drum sounds such as snares, bass drums, and cymbals; percussion sounds; and pitched-instrument sounds such as piano, xylophone, and guitar.

• Patterns

One-shot or looped phrases containing performance data for a range of different instruments.

• Waves

Audio ﬁles imported into the DTX-MULTI 12 from a variety of sources.

To assign a voice to a pad, controller, or foot switch, access the VOICE setting area’s Select Voice page (VCE1) by

pressing the [VOICE] button (and if necessary, the [B]

button). On this page, voices are categorized by instrument type (in the case of preset voices), as patterns, or as waves. While preset voices, patterns, and waves can all be assigned to pads in the same way, it is important to remember that each voice type plays in a different way and is conﬁgured using different parameters.

■ Preset Voices

As an electronic percussion instrument played by striking pads, the DTX-MULTI 12 comes preloaded with a vast library of drum sounds, such as snares, bass drums, and cymbals, together with a broad spectrum of percussioninstrument sounds. Also included are many pitched instruments, such as piano, xylophone, and guitar. The term “preset voices” is used to refer to these built-in drum and instrument sounds. Drum and percussion voices from this preset-voice collection are not rooted at one speciﬁc pitch; instead, you can intuitively adjust their tuning in order to match the sounds of other instruments. Meanwhile, pitched-instrument voices such as piano and guitar can be assigned to pads with a speciﬁc pitch setting, thus allowing you to play several different notes together to produce chords, or with voices at different semitones assigned to the twelve pads, to freely play melodic parts. With the timing and strength of your playing reﬂected in the sound produced by preset voices, you can perform with practically the same level of expressiveness as afforded by acoustic instruments.

■ Patterns

The DTX-MULTI 12 can also play rhythmic or melodic phrases known as “patterns”. Capable of reproducing the sound of performances on many different instruments, each pattern can be up to several measures in length. In the same way as snare sounds are produced by striking a pad to which a snare voice has been assigned, you can start and stop the playback of a pattern by striking the pad to which it is assigned. In effect, pads with pattern assignments operate as start/stop switches whenever struck (regardless of how hard or soft they are actually struck). Your DTXMULTI 12 comes pre-loaded with 128 Preset patterns (including 3 demo patterns) containing performance data from a host of different instrument genres, and by assigning these freely to pads, you can easily create your own unique kits. For even more ﬂexibility, you can also record your own performances and even import standard MIDI ﬁles (Format 0) to create up to 50 additional User patterns.

■ Waves

The DTX-MULTI 12 is fully equipped to playback audio ﬁles that can be created, edited, and played on computers. Commonly called “samples” or “sample data”, these ﬁles contain short portions of sound, and once imported into the DTX-MULTI 12, they are referred to as “waves”. Either WAV or AIFF type audio ﬁles can be imported into the instrument’s internal wave memory and assigned to pads in much the same way as preset voices and patterns. You can also edit imported waves. As audio ﬁles imported into the instrument’s wave memory are assigned to pads as a single voice much like preset voices and patterns, the term “wave data” is used within this manual in the same way as “preset voice data” or “pattern data”. In contrast, the term “wave ﬁle” is used to refer to data that has not yet been imported and is handled in the form of a ﬁle on a computer, sampler, or USB memory device.

TRIGGER ReferenceKITMIDI VOICEUTILITY WAVEPATTERN

Owner’s Manual 31

Page 32

Internal Design

Kit Makeup

The term “kit” is used to refer to a collection of preset voices, patterns, and waves assigned to each of the instrument’s built-in pads (1 to 12) and to any external pads, foot switches, or controllers connected via the PAD jacks (M to Q), the FOOT SW jack, and the HI-HAT CONTROL jack. For added convenience, the instrument comes pre-loaded with 30 different Preset kits. You are, however, free to make your own unique kits in whatever way you see ﬁt, and up to 200 of these User kits can also be stored internally.

■ Kits & Voices

Within the DTX-MULTI 12, voice data is grouped and stored in kit units. In other words, each kit contains the voice-related information for all of its pad and controller assignments. Whenever a User kit is created by editing voices, the voices themselves are not stored within the kit; instead, the settings for all associated parameters – such as tuning, stereo pan, attack time, release time, effects, etc. – are stored. As you would expect, each of the pads can have different parameter settings. Therefore, even when the Select Voice page shows the same voice assigned to two or more pads, the sounds produced by each will not necessarily be the same.

■ Voice Layers

Using the DTX-MULTI 12’s Layer function, you can assign a number of different voices to a single pad or external controller. Speciﬁcally, this instrument allows up to four layers (A to D) to be setup per pad, meaning that each pad can play as many as four different voices. These layered voices can also be triggered in a number of different ways – for example, they will all play together in Stack mode, a different one will be played for each strike in Alternate mode, and they can be sustained and turned off on each successive strike in Hold mode. In order that the Layer function may be put to use, the pad in question must ﬁrst be setup to send multiple MIDI messages whenever struck. Then, voices are assigned to each of the layers, and a layer playing mode is speciﬁed for the pad. For more details, refer to the section Specifying MIDI note numbers and assigning voices to each on page 34.

Arrangement of Voice Layers

When Pad 1 is struck, layers A through

Layer A

VCE1 -º¡- ç GM001:GrandPiano

Layer B

VCE1 -º¡- ¬ GM025:NylonGtr

Layer C

VCE1 -º¡- œ GM041:Violin

Layer D

VCE1 -º¡- ˚ GM051:SynthStr1

D are all played simultaneously.

GM001:GrandPiano

GM025:NylonGtr

GM041:Violin

GM051:SynthStr1

■ Information Contained in Kits

Three different setting areas apply speciﬁcally to kits: In the KIT setting area, you can specify a volume, conﬁgure effects, and set other parameters affecting the entire kit; in the VOICE setting area, you can assign preset voices, patterns, and waves to each pad, foot switch, and controller, and you can also set parameters such as tuning and volume for each of the assigned voices; and in the MIDI setting area, you can set MIDI-related parameters affecting the kit or individual pads and controllers. Setting a preset voice, pattern, or wave to be played when a pad is struck involves the following two steps.

1. Indication of the MIDI note number(s) to be sent when a speciﬁc pad is struck. (MIDI setting area)

2. Indication of the preset voice, pattern, or wave to be played for each MIDI note number. (VOICE setting area)

In cases where only a single layer is setup for a pad, however, it is possible to omit Step 1 above. (The required setting will be performed automatically when you select a voice in Step 2.)

The following two methods of allocating voices are described below.

• Assigning a voice directly to a pad

• Specifying MIDI note numbers and assigning voices to each

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Internal Design

● Assigning a voice directly to a pad

In order to assign a voice directly to a pad, we ﬁrst select the pad to be set, and then choose the required preset voice, pattern, or wave.

To start, press the [KIT] button to access the KIT setting

area. On the Select Kit page (KIT1), select the kit to be set. Next, press the [VOICE] button to access the VOICE setting area and navigate to the Select Voice page (VCE1).

Pad or controller being set

VCE1≥≥-º¡Cy013:Thin16Eg

Voice assigned to the pad or controller

Move the ﬂashing cursor to the upper row of text, and

using the [-/DEC] and [+/INC] buttons, select the pad or controller you want to set. You can also select a pad by striking it. The lower row of text will show the voice (i.e., a preset voice, pattern, or wave) currently assigned to the selected pad or controller. Move the ﬂashing cursor down to the lower row of text, and using the [-/DEC] and [+/INC] buttons, select the new voice to be assigned.

By repeating this process to assign preset voices, patterns, and waves to all pads and controllers, you can quickly and conveniently setup your own personalized drum kit. Furthermore, parameters such as volume, tuning, stereo pan, and effect levels can be set for the voices assigned to the various pads and controllers.

Once you have ﬁnished conﬁguring a kit in this way, you

can store it as one of the instrument’s User kits.

Example: Working with Preset kit 1

KIT setting area

KIT1 P009:Oak≥Custom

Kit name

VOICE setting area

VCE1≥≥-º¡Cy013:Thin16Eg

VCE1≥≥-¡™-≥≥≥≥≥ç HH005:Brite≥Op

VCE1≥≥-¡£Sn001:Oak≥Custom

VCE1≥≥-¡£Ω¡Sn002:OakCtmOpRm

VCE1≥≥-¡£Ω™Sn003:OakCtmClRm

VCE1≥≥-¡¢Kk001:OakCtm22

VCE1≥≥-¡¶-≥≥≥≥≥ç HH006:Brite≥EgOp

VCE1≥≥-√¤‘’-

-----:----------

VCE1≥≥-∂∂œ›HH003:Brite≥FtCl

VCE1≥≥-∂∂‘áHH004:Brite≥FtOp

Settings made in KIT setting area

•Volume of the entire kit

• Kit tempo

•Effect settings for the entire kit

• Muting

• Hi-hat settings

etc.

Assigning voices to built-in pads 1 to 12.

Assigning voices to pads connected via the PAD jacks

to Q.

Assigning a voice* to a controller or foot switch connected via the FOOT SW jack.

Assigning a voice* to a controller connected via the HI-HAT CONTROL jack.

Settings made in VOICE setting area

•Volume of each pad (or layer)

•Tuning of each pad

• Stereo pan of each pad

•Effect settings for each pad

etc.

*: Voices cannot be assigned to

any controller or foot switch already having a function assigned on the Pad Function page (UTIL4-1).

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Internal Design

● Specifying MIDI note numbers and assigning voices to each

The second approach to conﬁguring a pad involves setting one or more MIDI note numbers to be sent whenever the pad is struck and then telling the internal tone generator which voices to play when MIDI notes with these numbers are received. In contrast to the direct approach described above, this method allows multiple MIDI Note messages to be sent from a single pad in order to play layered or alternating voices using the Layer function. In addition, these MIDI Note messages can also be output via the MIDI OUT connector or USB TO HOST port in order to control another MIDI instrument.

In the following example, we will setup built-in Pad 1 to play two different voices simultaneously when it is struck.

Press the [KIT] button to access the KIT setting area. On

the Select Kit page (KIT1), select the kit to be set.

Press the [MIDI] button to access the MIDI setting area

and navigate to the Select Message Type page (MIDI1).

Pad

MIDI1≥-º¡MessageType=note

Press the [CC

(MIDI1-2).

] button to navigate to the MIDI Note page

MIDI1-2≥-º¡-≥≥≥ç

Layer

Note=≥≥≥D≥1/≥38

On this page, we can set the MIDI notes to be sent by the pad. Speciﬁcally, the Note parameter on the lower row of text is used to set a MIDI note number, while the indicator in the top right corner shows which of the pad’s four layers (A to D) is being set. For now, select “D1/38” as the MIDI note to be sent by Layer A.

Press the [VOICE] button to access the VOICE setting

area and navigate to the Select Voice page (VCE1).

MIDI note number

VCE1≥≥≥D≥1/≥38 Sn001:OakCustom

Assigned voice

On the upper row of text, use the [-/DEC] and [+/INC] buttons to select “D1/38” – that is, the MIDI note number that Layer A of Pad 1 will send. On the lower row of text, set “Sn001:OakCustom” as the voice to be played for that MIDI note number.

In the upper row of text, select “ ” as the pad to be set. Following this, move the ﬂashing cursor to the lower row of text and set the MessageType parameter to “note” (indicating that a MIDI Note message will be sent when the pad is struck).

Press the [ENTER] button to open the Playing Mode

page (MIDI1-1).

-º¡-

MIDI1-1≥-º¡≥Mode=stack

In the lower row of text, set the Mode parameter to “stack” (indicating that all MIDI notes assigned to the pad will be played simultaneously).

NOTE

• In addition to “stack”, you can also set the Mode parameter to “alternate”, which causes the notes assigned to the pad to play individually in turn each time it is struck, or “hold”, which causes the notes to be alternately turned on and off each time the pad is struck. (See page

62.)

With the settings now made, a MIDI note with MIDI note number 38 (i.e., D1) will be sent to the internal tone generator whenever Pad 1 is struck, and the tone generator will respond by playing the preset voice Sn001 (OakCustom).

Next, we will setup Pad 1 to also send the MIDI note number 40 (E1) whenever struck, and we will tell the internal tone generator to play the preset voice Cy013 (Thin16Eg) in response.

Press the [MIDI] button to access the MIDI setting area

and navigate to the MIDI Note page (MIDI1-2).

MIDI1-2≥-º¡-≥≥≥¬

Layer

Note=≥≥≥E≥1/≥40

Move the ﬂashing cursor to the “ ” indicator in the top right corner, and using the [+/INC] button, change this to “ ”. Move back to the lower row of text, and set

“E1/40” as the MIDI note number to be sent by Layer B.

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Internal Design

Press the [VOICE] button, navigate to the Select Voice

page (VCE1), and in the same way as described above, set “Cy013:Thin16Eg” as the voice to be played for MIDI notes with the MIDI note number 40 (E1).

VCE1≥≥≥≥E≥1/≥40 Cy013:Thin16Eg

Built-in Pad 1 is struck.

Two MIDI notes (“D1/38”

and “E1/40”) are simulta-

neously sent to the internal

tone generator.

With your DTX-MULTI 12 conﬁgured in this way, whenever you strike built-in Pad 1, two MIDI notes with the MIDI note numbers 38 (D1) and 40 (E1) will be simultaneously sent to the internal tone generator, and the tone generator will respond by playing the preset voices Sn001 (OakCustom) and Cy013 (Thin16Eg) together.

The following diagram illustrates exactly what happens inside the instrument when Pad 1 has been setup to play two voices simultaneously as described above.

MIDI note numbers on a standard keyboard.

The voices assigned to

each of these MIDI notes

are played.

240

Sn001: OakCustom

snare sound

Cy013: Thin16Eg cymbal sound

■ Using the DTX-MULTI 12 as a MIDI Controller

Instead of MIDI Note messages, the DTX-MULTI 12 can be setup to send MIDI Program Change messages, MIDI Control Change messages, and the like to MIDI devices connected via the MIDI OUT connector or USB TO HOST port whenever pads are struck or external controllers are operated. Using this functionality, you can easily conﬁgure pads to, for example, start and stop playback on a MIDI sequencer or to change presets on a MIDI instrument.

108 127

In contrast to the type of control introduced in the Pads & Trigger Signals section (see page 28), which makes it possible to play the DTX-MULTI 12 with trigger signals sent from a controller or foot switch connected via the FOOT SW jack, the MIDI control function allows the instrument’s built-in pads and external pads to operate as versatile MIDI controllers. In addition to selecting frequently-used kits and patterns or setting the tempo for click-track or pattern playback, this powerful function also allows you to assign MIDI Control Change numbers (01 to 95) and values to pads in order to facilitate a wide range of unique modes of use.

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Internal Design

Effects

The effect processor built into your DTX-MULTI 12 applies special audio effects to the output from the tone generator in order to modify and enhance its sound in a wide variety of ways. Normally applied during the ﬁnal stages of editing, such effects allow you to optimize the sound in line with your own speciﬁc requirements.

■ Effect Processor Structure

This instrument can apply effects to the tone generator’s output using the following four effect units.

● Variation

Variation effects allow you to sculpt your sound in a variety of different ways. A speciﬁc type of variation effect can be selected for each kit within the VARIATION section (KIT4); furthermore, you can also specify the degree to which this effect is applied to each layer on the Variation Send page (VCE4-1).

● Chorus

Chorus effects change the spatial characteristics of the sounds to which they are applied. A speciﬁc type of chorus effect can be selected for each kit within the CHORUS section (KIT5); furthermore, you can also specify the degree to which this effect is applied to each layer on the Chorus Send page (VCE4-2).

● Reverb

Reverb effects add a warm ambience to sounds, simulating the complex reﬂections of actual performance spaces, such as a concert hall or a small club. A speciﬁc type of reverb can be selected for each kit within the REVERB section (KIT6); furthermore, you can also specify the degree to which this effect is applied to each layer on the Reverb Send page (VCE4-3).

NOTE

• The degree to which User patterns are processed by these effect units can be speciﬁed on the Variation Send page (PTN3-5), the Chorus Send page (PTN3-6), and the Reverb Send page (PTN3-7); furthermore, these settings can then be saved as part of the User pattern data.

● Master EQ

Processing the overall instrument sound just before output, the Master EQ supports ﬁve-band equalization. As this equalization is applied to the sound of the entire instrument and not that of individual drum kits or voices, Master EQ settings do not change whenever a new drum kit is selected. To set the corresponding parameters, use the parameter-setting pages from the UTILITY setting area’s MASTER EQ section (UTIL3).

■ Effect Connection

AUX IN

VCE4-1 MIDI3-5 Var(Dry)

Dry signal

KIT3-1 VCE4-2 MIDI3-6

ChorusSend

VarToRev

KIT3-2 VCE4-3 MIDI3-7

ReverbSend

(Dry line)

(Wet line)

KIT4-4

KIT4-5 VarToCho

KIT5-4 ChoToRev

KIT4

VARIATION

KIT5

CHORUS

KIT6

REVERB

*1: Click-track voices cannot be sent to effects. *2: On the Variation Send page (VCE4-1), you can set the required balance

between the amount of the signal that will bypass the effect (i.e., the dry

level) and the amount that will be sent to the effect (i.e., the wet level). *3: Master EQ is not applied to the headphone output. *4: External audio signals (AUX IN) bypass all effects.

KIT4-3 VarPan

Pan

KIT5-3

ChoPan

Pan

KIT6-3

RevPan

Pan

KIT4-2

VarReturn

KIT5-2

ChoReturn

KIT6-2

RevReturn

UTIL3

MASTER EQ

Master EQ

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Internal Design

■ Effects & Effect Categories

The various individual effects provided by this instrument’s effect units are sorted into a number of different categories. What follows is a description of each category and the effects it contains. We recommend that you refer to these descriptions whenever setting effects. Each category’s effect table indicates which of the effect units – i.e., Reverb (Rev), Chorus (Cho), or Variation (Var) – can be used to apply the effect in question. Any effect marked using a symbol can be selected and modiﬁed on the corresponding effect unit’s parameter setting pages.

● Compressor & EQ

The compressor is an effect commonly used to limit and compress the dynamics (i.e., softness or loudness) of an audio signal. In the case of vocals, guitar parts, and other signals that have widely varying dynamics, this effect essentially squeezes the dynamic range, making soft sounds louder and loud sounds softer. Furthermore, a compressor’s attack and decay characteristics can be adjusted to modify how punchy or sustained an audio signal sounds. Multi-band compression, meanwhile, splits the input into three different frequency bands for processing independently of each other; accordingly, this type of effect can be thought of as combining compression with equalization.

Effect Type Va r Description

Compressor ✓

MltBndComp ✓ Three-band compressor.

3 Band EQ ✓

Vintage EQ ✓ Vintage ﬁve-band parametric equalizer.

Enhancer ✓

Relatively fast-acting compressor well suited to solo performances.

Three-band compressor also featuring equalization.

Adds higher-order harmonics to enhance a sound’s presence.

✓

● Flanger & Phaser

A ﬂanger creates a swirling, metallic sound, similar to that of a jet plane. While this effect operates using the same basic principles as chorus effects, it uses shorter delay times and also incorporates feedback to produce a very distinctive swelling sound. Rather than being used constantly throughout a song, it is more suited to selective use in speciﬁc sections in order to add variety. A phaser, meanwhile, introduces a phase shift into the sound being processed before returning it to the effect input using a feedback circuit in order to produce a characteristic animated yet mellow tone. Gentler overall than a ﬂanger, this effect can be put to use in a wider range of situations, and for example, is often used with electric pianos to sweeten their sound in a variety of ways.

Effect Type Cho Va r Description

SPX Flanger ✓✓Produces a swirling, metallic sound.

TempoFlanger ✓✓Tempo-synchronized ﬂanger.

PhaserMono – ✓ Vintage sounding mono phaser.

PhaserStereo – ✓ Vintage sounding stereo phaser.

TempoPhaser – ✓ Tempo-synchronized phaser.

● Distortion

As its name suggests, a distortion effect distorts the sound fed into it. It produces a sound similar to that of an ampliﬁer turned up too high or fed with a signal that is already sufﬁciently loud. This type of effect is widely used to add a harsh, biting edge; furthermore, the resultant sound is characterized by overall thickness and long sustain times. This thickness comes from the large numbers of harmonics contained within clipped signals. Meanwhile, the longer sustain is not produced by the original sound being stretched; rather, it is produced when the slowly-fading release portion that cannot normally heard is ampliﬁed and distorted.

Effect Type Va r Description

AmpSim 1 ✓ Guitar amp simulation.

AmpSim 2 ✓ Guitar amp simulation.

CompDist ✓ Combines compression and distortion.

CompDistDly ✓

Combines compression, distortion, and delay.

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Internal Design

● Wah

A wah effect dynamically changes the frequency characteristic of a ﬁlter in order to produce a highly unique ﬁltersweep sound. Auto wah changes the frequency in a cyclic manner using an LFO, while touch wah performs ﬁlter sweeps in response to the volume of the input signal.

Effect Type VAR Description

AutoWah ✓ Vintage automatic wah effect.

TouchWah ✓ Classic volume-responsive wah effect.

TouchWahDist ✓

Touch wah with distortion applied at the output.

● Reverb

Reverb effects model the complex reverberation produced by sounds within enclosed spaces. In this way, they add a natural-sounding sustain, which produces a feeling of depth and space. Furthermore, different types of reverb – such as hall, room, plate, and stage – can be used to simulate the sound of acoustic environments of varying sizes and constructions.

Effect Type Rev Var Description

Emulation of hall acoustics using an

SPX Hall ✓✓

SPX Room ✓✓

SPX Stage ✓✓

R3 Hall ✓ –

R3 Room ✓ –

R3 Plate ✓ –

EarlyRef – ✓

GateReverb – ✓ Simulation of gated reverb.

ReverseGate – ✓

algorithm derived from the classic Yamaha SPX1000 Digital MultiEffects Processor.

Emulation of room acoustics using an algorithm derived from the classic Yamaha SPX1000 Digital MultiEffects Processor.

Emulation of stage acoustics using an algorithm derived from the classic Yamaha SPX1000 Digital MultiEffects Processor.

Emulation of the acoustics of a concert hall using an algorithm derived from the Yamaha ProR3 – a digital reverberator for professional-audio applications.

Emulation of room acoustics using an algorithm derived from the above-mentioned Yamaha ProR3.

Emulation of plate reverb using an algorithm derived from the abovementioned Yamaha ProR3.

Early reﬂections without any subsequent reverberation.

Simulation of gated reverb played in reverse.

● Chorus

Chorus reproduces the sound of multiple instruments playing in unison for a thicker, deeper tone. As all instruments differ slightly from each other in terms of pitch and phase, their playing together produces an overall sound that is warmer and more spacious. In order to reproduce this type of behavior, chorus effects make use of delay. Speciﬁcally, a delayed, second version of the original signal is produced and given a vibrato-type effect by varying its delay time over a period of approximately one second using an LFO. When this second version is mixed back into the original signal, the resulting tone sounds as if multiple instruments are being played in unison.

Effect Type Va r Cho Description

G Chorus ✓✓

2 Modulator ✓✓

SPX Chorus ✓✓

Symphonic ✓✓

Ensemble – ✓

Rich, deep chorus with complex modulation.

Chorus effect allowing pitch and amplitude modulation to be adjusted for a more natural, spacious tone.

Enhances modulation and spaciousness using a 3-phase LFO.

Multi-stage modulation for a widersounding chorus.

Modulation-free chorus achieved by adding a slightly pitch-shifted sound.

● Tremolo & Rotary

Tremolo effects are characterized by the way in which they modulate volume in a cyclical fashion. An auto-pan effect, meanwhile, moves the sound from left to right in a similar cyclical manner, and a rotary speaker effect simulates the distinctive vibrato of rotary-type speakers often used with organs. In a rotary speaker, the horn and rotor are spun in order to create highly unique sounds using the Doppler Effect.

Effect Type Va r Description

AutoPan ✓

Tremolo ✓

RotarySp ✓ Rotary speaker simulator.

Cyclically moves the sound between left and right channels.

Cyclically modulates the volume of the processed signal.

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Internal Design

● Delay

Delay effects create a delayed version of the input signal, and as such, they can be used for many different purposes, such as creating a sense of spaciousness or thickening a sound.

Effect Type Va r Description

CrossDelay ✓

TempoCrosDly ✓

TempoDlyMono ✓

TempoDlySt ✓

Delay LR ✓

Delay LCR ✓

Delay LR St ✓

A pair of delays featuring cross-over feedback to produce a sound that swirls between the left and right channels.

A pair of delays with cross-over feedback and a tempo-synchronized delay time.

A single mono delay synchronized with the instrument’s tempo.

A stereo delay synchronized with the instrument’s tempo.

A delay with separate left and right channels.

A triple delay processing left, right, and center channels independently.

A stereo delay with fully independent left and right channels.

● Miscellaneous

This category contains effect types not included in the other categories.

Effect Type Va r Description

Isolator ✓

Telephone ✓

TalkingMod ✓

PitchChange ✓ Changes the pitch of the input signal.

Controls the volume of individual frequency bands using powerful ﬁlters.

Reproduces the sound of telephone speech by cutting high and low frequencies.

Incorporates a vowel-type formant into the input signal.

■ Effect Parameters

Each of the above-mentioned effects includes a range of parameters allowing you to adjust the way in which it processes the input signal. Using these parameters, the behavior of each effect can be optimized in line with, for example, the type of sound being processed or the type of music being played. While the function of each of these parameters is described in the following table, it is good practice to also listen to how they actually change the sound of the respective effect in order to achieve the best settings.

● Parameters with identical names

NOTE

• Certain effects contain parameters with identical names yet performing different functions. In the following table, the function of each such parameter is described separately and the corresponding effects are identiﬁed.

Parameter

name

AMDepth

AmpType

Attack

Bottom*

Color*

CommonRel

Compres

Cutoff

Delay

DelayC

DelayL

DelayL>R

DelayR

DelayR>L

Density

Depth

Detune

Device

Diffuse

Directn

Div.FreqH

Div.FreqL

*1 The Bottom parameter’s setting is valid only when less than that of

the Top parameter.

*2 The Color parameter’s setting has no effect with certain combina-

tions of Mode and Stage settings.

This parameter is used to set the depth of amplitude modulation.

This parameter is used to set the type of ampliﬁer to be simulated.

This parameter is used to set the amount of time that elapses before compression is fully applied.

This parameter is used to set the lowest point in the ﬁl-

ter’s sweep range.

This parameter is used to set the ﬁxed phase modula-

tion.

This parameter is used to set the amount of time that elapses before the compressor stops processing the input signal (common for all three bands).

This parameter is used to set the input-signal level at which the compressor starts to process the sound (i.e., the threshold).

This parameter is used to set the offset value for the ﬁlter’s control frequency.

This parameter is used to set the delay time in terms of note lengths.

This parameter is used to set the delay time for the center channel.

This parameter is used to set the delay time for the left channel.

This parameter is used to set the time that elapses between input of sound via the left channel and output via the right channel.

This parameter is used to set the delay time for the right channel.

This parameter is used to set the time that elapses between input of sound via the right channel and output via the left channel.

[Reverb effects other than EarlyRef] This parameter is used to set the reverb density.

[Early Ref] This parameter is used to set the density of early reﬂections.

This parameter is used to set the amplitude of the LFO wave that controls cyclic changes in phase modulation.

This parameter is used to set the degree to which pitches are detuned.

This parameter is used to select one of a number of devices that distort the sound in different ways.

[TempoPhaser and EarlyRef] This parameter is used to adjust the spaciousness of the sound produced.

[Reverb effects other than EarlyRef] This parameter is used to set how wide the reverb sounds.

This parameter is used to set the direction of envelopefollower modulation.

This parameter is used to set the mid-high frequency when splitting the sound into three bands.

This parameter is used to set the low-mid frequency when splitting the sound into three bands.

Descriptions

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Internal Design

Parameter

name

DlyLvlC

DlyMix

DlyOfst

Drive

DriveHorn

DriveRotor

DstL.Gain

DstM.Gain

Edge

EQ1Freq

EQ1Gain

EQ2Freq

EQ2Gain This parameter is used to set the gain for the EQ2 band.

EQ2Q

EQ3Freq

EQ3Gain This parameter is used to set the gain for the EQ3 band.

EQ3Q

EQ4Freq

EQ4Gain This parameter is used to set the gain for the EQ4 band.

EQ4Q

EQ5Freq

EQ5Gain

ER/Rev

F/RDpth

FBHiDmp

FBLevel

FBLvl1

FBLvl2

FBTime This parameter is used to set the feedback delay time.

FBTime1

FBTime2

This parameter is used to set the delay volume for the center channel.

This parameter is used to set the mixing level for the delayed sound.

This parameter is used to set the modulation delay time’s offset value.

This parameter is used to set the degree to which the effect is applied.

This parameter is used to set the depth of modulation produced through rotation of the high-frequency horn.

This parameter is used to set the depth of modulation produced through rotation of the low-frequency rotor.

This parameter is used to set the degree by which the low frequencies from the distorted sound are boosted or cut.

This parameter is used to set the degree by which the mid frequencies from the distorted sound are boosted or cut.

This parameter is used to specify a curve that determines how the sound is distorted.

This parameter is used to set the cutoff frequency for the EQ1 band (i.e., low shelving).

This parameter is used to set the gain for the EQ1 band (i.e., low shelving).

This parameter is used to set the center frequency for the EQ2 band.

This parameter is used to set the resonance of the EQ2 band.

This parameter is used to set the center frequency for the EQ3 band.

This parameter is used to set the resonance of the EQ3 band.

This parameter is used to set the center frequency for the EQ4 band.

This parameter is used to set the resonance of the EQ4 band.

This parameter is used to set the cutoff frequency for the EQ5 band (i.e., high shelving).

This parameter is used to set the gain for the EQ5 band (i.e., high shelving).

This parameter is used to set the relative volumes of early reﬂections and reverberation.

This parameter is used to set the front-to-rear pan depth (and is valid only when PanDirectn is set to “Lturn” or “Rturn”).

This parameter is used to set how the feedback sound decays in the high-frequency band (with smaller values corresponding to faster decay).

[Chorus effects, Delay effects, and TempoFlanger] This parameter is used to set how much of the delay sound is fed back into the effect’s input (with negative values indicating that its phase is to be inverted).

[TempoPhaser] This parameter is used to set how much of the phaser’s output is fed back into its input (with negative values indicating that its phase is to be inverted).

[Reverb effects] This parameter is used to set the initial delay’s feedback level.

This parameter is used to set the feedback level for the ﬁrst delay sound.

This parameter is used to set the feedback level for the second delay sound.

This parameter is used to set the delay time for feedback delay 1.

This parameter is used to set the delay time for feedback delay 2.

Descriptions

Parameter

name

FBTimeL

FBTimeR

Feedback

Fine1

Fine2

H.Freq

H.Gain

Height

HiAtk

HiGain

HiLvl This parameter is used to set the high-frequency level.

HiMute

HiRat

HiTh

HornF

HornS

HPF

InitDly

InitDly1

InitDly2

InitDlyL

InitDlyR

InpMode

InpSelect This parameter is used to select an input.

L.Freq

L.Gain

L/RDiffuse

L/RDpth

Lag

LFODpth

LFODiff

This parameter is used to set the delay time for the left feedback delay.

This parameter is used to set the delay time for the right feedback delay.

This parameter is used to set how much of the effect’s output is fed back into its input.

This parameter is used to adjust the ﬁrst ﬁne-pitch setting.

This parameter is used to adjust the second ﬁne-pitch setting.

This parameter is used to set the center frequency of the high-frequency EQ band.

This parameter is used to set the amount by which the high-frequency EQ band is boosted or cut.

This parameter is used to set the height of the simulated room.

This parameter is used to set the amount of time that elapses before compression is fully applied in the highfrequency band.

This parameter is used to set the output level of the highfrequency band.

This parameter is used to activate and deactivate highfrequency muting.

[MltBndComp] This parameter is used to set the compression ratio for the high-frequency band.

[Reverb effects] This parameter is used to adjust the high-frequency component.

This parameter is used to set the input-signal level at which the compressor starts to process the sound in the high-frequency band.

This parameter is used to set the speed of rotation of the high-frequency horn at the “fast” setting.

This parameter is used to set the speed of rotation of the high-frequency horn at the “slow” setting.

This parameter is used to set the high-pass ﬁlter’s cutoff frequency.

This parameter is used to set the amount of time that elapses before early reﬂections are produced.

This parameter is used to set the delay time for the ﬁrst delay.

This parameter is used to set the delay time for the second delay.

This parameter is used to set the delay time for the leftchannel delay.

This parameter is used to set the delay time for the rightchannel delay.

This parameter is used to switch between mono and stereo input.

This parameter is used to set the center frequency of the low-frequency EQ band.

This parameter is used to set the amount by which the low-frequency EQ band is boosted or cut.

This parameter is used to set the difference between left and right delay times in order to produce a more spacious sound.

This parameter is used to set the depth of the left-right panning effect.

This parameter is used to set a time lag for delay times speciﬁed in terms of note lengths.

[SPX Flanger, TempoFlanger, SPX Chorus, and Symphonic] This parameter is used to set the depth of modulation.

[Tempo Phaser] This parameter is used to set the depth of phase modulation.

This parameter is used to set the left-right phase difference between modulation waveforms.

Descriptions

40 Owner’s Manual

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Internal Design

Parameter

name

[TempoFlanger, G Chorus, 2 Modulator, SPX Chorus, Symphonic, and Tremolo] This parameter is used to set the modulation frequency.

LFOSpeed

LFOWave

Livenss

LowAtk

LowGain

LowLvl This parameter is used to set the low-frequency level.

LowMute

LowRat

LowTh

LPF

M.Freq

M.Gain

M.Width

Manual

MicAngl

MidAtk

MidGain

MidLvl This parameter is used to set the mid-frequency level.

MidMute

MidRat

MidTh

MixLvl

Mode

MoveSpeed

On/Off

OutLvl This parameter is used to set the output level.

OutLvl1 This parameter is used to set the ﬁrst-stage output level.

OutLvl2

Output This parameter is used to set the output level.

[TempoPhaser] This parameter is used to set the modulation speed in terms of note lengths.

[AutoPan] This parameter is used to set the auto-pan frequency.

[AutoWah] This parameter is used to specify whether the ﬁltersweep effect is produced using a sine or square wave.

[AutoPan] This parameter is used to set the panning curve.

This parameter is used to set the way in which early reﬂections decay.

This parameter is used to set the amount of time that elapses before compression is fully applied in the lowfrequency band.

This parameter is used to set the output level of the lowfrequency band.

This parameter is used to activate and deactivate lowfrequency muting.

[MltBndComp] This parameter is used to set the compression ratio for the low-frequency band.

[Reverb effects] This parameter is used to adjust the low-frequency component.

This parameter is used to set the input-signal level at which the compressor starts to process the sound in the low-frequency band.

This parameter is used to set the low-pass ﬁlter’s cutoff frequency.

This parameter is used to set the center frequency of the mid-frequency EQ band.

This parameter is used to set the amount by which the mid-frequency EQ band is boosted or cut.

This parameter is used to set the width of the mid-frequency EQ band.

This parameter is used to set the phase-modulation offset value.

This parameter is used to set the left-right inclination of the microphone used to capture the speaker’s output.

This parameter is used to set the amount of time that elapses before compression is fully applied in the midfrequency band.

This parameter is used to set the output level of the midfrequency band.

This parameter is used to activate and deactivate midfrequency muting.

This parameter is used to set the compression ratio for the mid-frequency band.

This parameter is used to set the input-signal level at which the compressor starts to process the sound in the mid-frequency band.

This parameter is used to set how much of the effect sound is mixed back into the dry sound.

This parameter is used to adjust the mode of operation of the phaser.

This parameter is used to specify the amount of time that elapses until the sound set using the Vowel parameter is produced.

This parameter is used to activate and deactivate the isolator.

This parameter is used to set the second-stage output level.

Descriptions

Parameter

name

OverDr

Pan1

Pan2

PanDirectn This parameter is used to set the auto-pan type.

PhShiftOfst

Pitch1

Pitch2

PMDepth

Presenc

Ratio This parameter is used to set the compression ratio.

Release

Resonance This parameter is used to set the resonance of the ﬁlter.

ResoOfst This parameter is used to set the resonance offset value.

RevDly

RevTime This parameter is used to set the reverb time.

RoomSize This parameter is used to set the size of the room.

Rotor/Horn

RotorF

RotorS

Sens

S-FTmHorn

S-FTmRotor

Speaker

Speed

SpeedCtrl

Spread

Stage

Thresh

To p

Type

Vowel This parameter is used to select a vowel type.

*3 The Top parameter’s setting is valid only when equal to or greater

than that of the Bottom parameter.

This parameter is used to adjust the way in which the sound distorts.

This parameter is used to set the ﬁrst stereo-panning position.

This parameter is used to set the second stereo-panning position.

This parameter is used to set the phase-modulation offset value.

This parameter is used to set the ﬁrst pitch in semi-tone units.

This parameter is used to set the second pitch in semitone units.

This parameter is used to set the depth of pitch modulation.

Often seen on guitar ampliﬁers and the like, this parameter is used to control the high-frequency band.

This parameter is used to set the amount of time that elapses until the sound is no longer being compressed.

This parameter is used to set the interval between early reﬂections and subsequent reverberation.

This parameter is used to set the relative volumes of the high-frequency horn and the low-frequency rotor.

This parameter is used to set the speed of rotation of the low-frequency rotor at the “fast” setting.

This parameter is used to set the speed of rotation of the low-frequency rotor at the “slow” setting.

This parameter is used to set how sensitive the wah ﬁlter is to changes in the input level.

This parameter is used to set how long it takes for the high-frequency horn to switch between fast and slow rotation speeds.

This parameter is used to set how long it takes for the low-frequency rotor to switch between fast and slow rotation speeds.

This parameter is used to select the type of speaker to be simulated.

[PhaserMono and PhaserStereo] This parameter is used to set the frequency of the LFO that controls cyclic changes in phase modulation.

[AutoWah] This parameter is used to set the LFO speed.

This parameter is used to set the rotation speed as “fast” or “slow”.

This parameter is used to set how wide the effect’s output sounds.

This parameter is used to set the number of phase-ﬁlter steps.

This parameter is used to set the input-signal level at which the effect starts to process the sound.

This parameter is used to set the highest point in the ﬁlter’s sweep range.

[Wah effects] This parameter is used to set the wah-effect type.

[EarlyRef, GateReverb, and ReverseGate] This parameter is used to set the reﬂected-sound type.

Descriptions

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Page 42

Internal Design

Internal Memory

By storing User kits, User patterns, and waves that you have created and edited in the DTX-MULTI 12’s internal memory, you ensure that they will always be available for use, even after the instrument has been turned off. In addition, User trigger setups and the settings from the UTILITY setting area can also be stored in memory for reuse.

■ Data Retained by the DTX-MULTI 12

The following types of setting data can be stored in the instrument’s internal memory.

● User kits

Original drum kits that you have created by assigning voices to pads and external controllers can be stored as User kits in the instrument’s memory. After doing so, you can then recall these kits at any time in the same way as Preset kits. In total, up to 200 User kits can be stored, and they will be available even after the DTX-MULTI 12 has been turned off. In addition to settings from the KIT area, each User kit also retains associated data conﬁgured in the VOICE and MIDI setting areas.

■ Editing & Storing User Kits

Whenever you select a drum kit, the corresponding data is loaded into a non-permanent area of internal memory known as the Edit Buffer. If any of the kit’s parameter settings are changed, it is the data within the Edit Buffer – not the stored version – that is modiﬁed. In this way, User kits can be protected from accidental or unintended modiﬁcation.

Kit being edited (User or Preset)

[STORE] button lights up.

When the kit is stored, the version in permanent memory is updated with all modiﬁcations.

Edit buffer (containing all modiﬁcations)

If the DTX-MULTI 12 is turned off without storing the kit, all modiﬁcations will be lost.

● User patterns

User patterns – which may be put to use in exactly the same way as Preset patterns – can be created by recording your performances on the DTX-MULTI 12 or by importing standard MIDI ﬁles (Format 0). The corresponding data is stored as a User pattern within the DTX-MULTI 12 as it is recorded or imported, and the pattern will then be available even after the DTX-MULTI 12 has been turned off. Up to 50 of these User patterns can be stored internally.

● Waves

Wave data created by importing either WAV or AIFF type audio ﬁles from a USB memory device (connected via the USB TO DEVICE port) is automatically stored within the DTX-MULTI 12 and can then be assigned to pads for playback in the same way as preset voices and patterns. In total, up to 500 of these waves can be stored, ensuring that they will be available even after the DTX-MULTI 12 has been turned off.

● User trigger setups

The DTX-MULTI 12 can also store a number of original User trigger setups, which you can conveniently prepare by customizing a Preset trigger setup. In speciﬁc terms, the instrument’s internal memory can hold ten of these setups, ensuring that they will always be available, even after the power has been turned off and back on.

[STORE] button goes out.

The purpose of the Edit Buffer is to hold a temporary version of the kit being edited, and therefore, if a new kit is selected without storing any modiﬁcations, those modiﬁcations will be lost (i.e., overwritten with the settings from the newly selected kit). In addition, modiﬁcations to the kit in the Edit Buffer will also be lost when the DTX-MULTI 12 is turned off if they are not stored in advance. It is good practice, therefore, to store the content of the Edit Buffer as a User kit whenever you are happy with it.

■ Saving & Loading Data Files

All of the above-mentioned items of data that can be stored in the instrument’s internal memory can also be saved as ﬁles on a USB storage device. Whenever needed, furthermore, these memory ﬁles can be loaded back into the instrument from the storage device. For more details, refer to the description of the UTILITY setting area’s FILE section (UTIL7).

● UTILITY area settings

The parameter settings that you have conﬁgured within the UTILITY setting area can also be stored in the DTXMULTI 12’s internal memory. In this way, they can be instantly recalled whenever the instrument is turned on.

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Internal Design

■ Makeup of Internal Memory

The following diagram shows the correlation between the various functions that can be used to create data on the DTXMULTI 12, the data in the instrument’s internal memory, and the data on a USB memory device.

Data-creating functions

• Kit editing

•Voice setting

• MIDI setting

•Trigger setting

• Utility setting

•Wave editing

Internal memory

Store

Preset data (ROM)

• Kits

•Voices

•Patterns

•Trigger setups

User memory

Flash ROM

• User kits

• User trigger setups

• Utility setting

•Waves

UTIL7

FILE

Save / Load

External USB memory device

File extension: .MTK (ﬁle type = “AllKit”)

All combined

File extension: .MMT (ﬁle type = “AllTrigger”)

File extension: .MTU (ﬁle type = “Utility”)

File extension: .MTA (ﬁle type = “All”)

File extension: .MTW (ﬁle type = “AllWave”)

•Pattern editing

•Pattern recording

• User patterns

Record

Import SMF (PTN4-7)

File extension: .MTP (ﬁle type = “AllPattern”)

Audio data (.WAV or .AIFF)

Import

Standard MIDI ﬁle (.MID)

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Page 44

Basic Operations

The following section describes how to perform basic tasks such as the changing of parameter settings, execution of jobs, and storing of data.

■ Parameter Setting Areas

Within your DTX-MULTI 12, parameters associated with speciﬁc functions are conveniently grouped together into seven different parameter setting areas. These areas may be accessed using the buttons indicated below.

• KIT setting area: [KIT] button

This area is used to select and edit drum kits.

•VOICE setting area: [VOICE] button

A part of the KIT setting area, this area is used to select and edit voices.

•MIDI setting area: [MIDI] button

A part of the KIT setting area, this area is used to set MIDI-related parameters on an individual-kit basis.

•PATTERN setting area: [PTN] button

This area is used to select and edit patterns.

•WAVE setting area: [WAVE] button

This area is used to import and edit waves.

• UTILITY setting area: [UTILITY] button

This area is used to set parameters affecting the overall system and to manage ﬁles.

• TRIGGER setting area: [SHIFT] + [UTILITY] buttons

This area is used to edit trigger setup data.

■ Navigating between Sections

Each setting area is subdivided into a number of different sections. The current section is indicated at the left of the upper row of text using the name (or abbreviation) of the selected setting area together with the section number. Use

the [B]/[C] buttons to navigate between these sections.

Example: UTILITY setting area

Name of selected

area (UTILITY) Section number

UTIL1 ≥≥≥≥GENERAL

UTIL2 ≥≥≥≥≥CLICK

UTIL3 ≥≥≥MASTER≥EQ

UTIL4 ≥≥≥≥≥≥PAD

The button corresponding to each setting area will light up in green when that area is selected. In the case of the VOICE and MIDI setting areas, the [KIT] button will also light up.

UTIL5 ≥≥≥≥≥HI-HAT

UTIL6 ≥≥≥≥≥≥MIDI

UTIL7 ≥≥≥≥≥≥FILE

UTIL8 ≥≥FACTORY≥SET

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Basic Operations

KIT≥Store≥to U001:User≥Kit

Destination for stored data.

≥≥≥KIT≥Store ≥Are≥you≥sure?

■ Navigating between Pages

Each section contains a number of parameter setting pages that are used to make actual settings. With a section page displayed, press the lit [ENTER] button to access its parameter setting pages. (In certain cases, it may not be possible to access parameter-setting pages from a section page, and the [ENTER] button will not light up.) Each parameter-setting page is identiﬁed at the left of the upper row of text using the name (or abbreviation) of the setting area, the section number, and the page number (with

hyphens between the numbers). You can use the [B]/[C]

buttons to navigate between parameter setting pages.

Example: VOICE setting area’s TONE section (VCE3)

[ENTER]

VCE3 ≥≥≥≥≥≥TONE

Page number

[EXIT]

VCE3-1≥-º¡-≥≥≥≥ç ≥≥≥Attack=+≥0

■ Changing Parameter Settings

By pressing the [-/DEC] or [+/INC] button, you can increase or decrease the setting of the currently selected parameter.

NOTE

•A setting can be decreased in units of 10 by holding down the [SHIFT] button and pressing the [-/DEC] button or by holding down the [-/DEC] button and pressing the [+/INC] button.

• Similarly, it can be increased in units of 10 by holding down the [SHIFT] button and pressing the [+/INC] button or by holding down the [+/INC] button and pressing the [-/DEC] button.

■ Storing Parameter Settings

Whenever parameter settings have been changed on section and/or parameter-setting pages, the [STORE] button will light up to remind you to store your settings. The correct way to store parameter settings is as follows.

When you have ﬁnished setting parameters in a speciﬁc

setting area, press the [STORE] button to open the Store Kit page.

VCE3-2≥-º¡-≥≥≥≥ç ≥≥≥Decay=+≥0

VCE3-3≥-º¡-≥≥≥≥ç ≥≥Release=+≥0

VCE3-4≥-º¡-≥≥≥≥ç ≥Fc=+≥0≥≥Q=+≥0

In certain cases, a number of additional pages may be accessed from a parameter setting page using the [ENTER] button, which will light up whenever this is possible. By pressing the [EXIT] button, you can move back towards the top of the current setting area.

■ Moving the Cursor

Whenever a page contains a number of different parameters, you can move the ﬂashing cursor left and right using

the [B]/[C] buttons or between the upper and lower rows of text using the [D] button. In this way, you can select the

parameter setting to be changed (as described below). If there are no additional parameters to the left or right on the

current page when you press the [B]/[C] button, the cur-

sor will jump to the next parameter-setting page to the left

or right, respectively. In addition, the [B]/[C] and [D]

buttons will light up whenever they can be pressed to move to a different parameter on the current page or an adjacent page.

Using the [-/DEC] and [+/INC] buttons, indicate where

you want your data to be stored.

NOTE

• The above step is not required when storing settings in the UTILITY setting area.

Press the [ENTER] button. You will be asked to conﬁrm

that you wish to proceed. If necessary, you can press the [EXIT] button to return to the previous page without storing any data.

Press the [ENTER] button to store your data in the DTX-

MULTI 12’s internal memory.

CAUTION

• If you turn off the instrument without storing modiﬁed settings, these modiﬁcations will lost (i.e., the settings will revert to their previous state when the instrument is next turned on).

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Page 46

KIT Setting Area (KIT)

This section describes the KIT setting area, which can be accessed using the [KIT] button. Your DTX-MULTI 12 is preloaded with a rich selection of Preset kits (P001 to P050) for immediate use, and you can also create and save up to 200 of your own drum kits as User kits (U001 to U200). Use the KIT setting area to select and edit these drum kits.

CAUTION

• Be sure to store any settings that you have edited before turning off the instrument or selecting a new kit. (See page 45.)

Makeup of KIT Setting Area

The KIT setting area is subdivided into eight different sections (KIT1 to KIT8). Use the [B]/[C] buttons to navigate between these sec-

tions. If a section contains parameter-setting pages, the [ENTER] button will light up. Press the [ENTER] button to access these pages. In certain cases, a number of additional pages may be accessed from a parameter setting page, also using the lit [ENTER] button. Furthermore, you can press the [EXIT] button to move back towards the top of the setting area.

Sections

KIT1 P001:PercsMaster

KIT2≥≥≥≥≥≥≥≥≥≥≥≥ ≥≥≥≥≥COMMON≥≥≥≥≥

KIT3 ≥≥EFFECT≥SEND

KIT4 ≥≥≥VARIATION

KIT5 ≥≥≥≥≥CHORUS

Parameter-setting pages

Select Kit ......................................................................................................... Page 47

KIT2-1 Kit Volume page .................................................................................. Page 47

KIT2-2 Kit Selection Tempo page.................................................................... Page 47

KIT2-3 Kit Name page..................................................................................... Page 47

KIT3-1 Chorus Send page ..............................................................................Page 48

KIT3-2 Reverb Send page...............................................................................Page 48

KIT4-1 Variation Type page .............................................................................Page 48

KIT4-2 Variation Return page.......................................................................... Page 49

KIT4-3 Variation Pan page ..............................................................................Page 49

KIT4-4 Variation to Reverb page ..................................................................... Page 49

KIT4-5 Variation to Chorus page ..................................................................... Page 49

KIT5-1 Chorus Type page ...............................................................................Page 49

KIT5-2 Chorus Return page ............................................................................ Page 49

KIT5-3 Chorus Pan page ................................................................................Page 50

KIT5-4 Chorus to Reverb page .......................................................................Page 50

46 Owner’s Manual

KIT6 ≥≥≥≥≥REVERB

KIT7 ≥≥≥≥≥OTHER

KIT8≥≥≥≥≥≥≥≥≥≥≥≥ ≥≥≥≥≥≥JOB≥

KIT6-1 Reverb Type page................................................................................Page 50

KIT6-2 Reverb Return page ............................................................................ Page 50

KIT6-3 Reverb Pan page................................................................................. Page 50

KIT7-1 Layer Switch page............................................................................... Page 51

KIT7-2 Mute Switch page................................................................................ Page 51

KIT7-3 Hi-hat Function page ........................................................................... Page 52

KIT7-4 Hi-hat MIDI Channel page................................................................... Page 52

KIT7-5 Hi-hat MIDI Type page......................................................................... Page 52

KIT7-6 Trigger Setup Link page ...................................................................... Page 52

KIT8-1 Copy Pad page.................................................................................... Page 53

KIT8-2 Exchange Pads page .......................................................................... Page 53

KIT8-3 Exchange Kits page ............................................................................Page 54

KIT8-4 Initialize Pad page ............................................................................... Page 54

KIT8-5 Initialize Kit page ................................................................................. Page 54

Page 47

KIT Setting Area (KIT)

KIT2-2≥≥<COMMON> ≥≥≥Tempo=off

KIT2-3≥≥<COMMON> ≥≥≥≥≥≥Name

KIT2-3-1 ≥≥[User≥Kit≥≥≥]

Kit name

!"#$%&'()*+,-./0123456789:;<=>?@ ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}ßå

KIT1

Select Kit

On the Select Kit page (KIT1) you can select the Preset kit or User kit you want to play. To access this page, press the [KIT]

button, and if necessary, the [B]/[C] buttons. Before you can

edit pads or voices in the VOICE or MIDI setting areas, the drum kit in question must be selected on this page.

KIT1 P001:PercsMaster

A Kit category

Use this parameter to specify either the Preset (P) or User (U) drum-kit category.

Settings P or U

B Kit number: Kit name

Settings

NOTE

• If you select a new drum kit while a pattern assigned to one if its pads is being played, the pattern will stop automatically.

• If you select a new drum kit while a preset voice or wave assigned to one if its pads is being played, the corresponding sound will be automatically silenced.

• If identical voices are assigned to the same Channel-10 MIDI note numbers in both the newly selected kit and the previous kit, it is normal for voices for the corresponding pads to continue to play when the new drum kit is selected.

• If any of the currently selected drum kit’s pads are set to “Hand” on the Pad Type page (TRG2-1), the Hand icon ( ) will be displayed onscreen (see page 101).

With “P” (Preset kit) selected: 001 to 050 With “U” (User kit) selected: 001 to 200

ˇÁ

NOTE

• If you change the volume setting for MIDI channel 10 on the MIDI area’s Volume page (MIDI3-2), the Volume parameter on this page (KIT2-1) will be automatically set to the same value. The reverse does not apply, however – in other words, the volume setting on the MIDI area’s Volume page (MIDI3-2) is not affected by changes made on this page (KIT2-1).

KIT2-2 Kit Selection Tempo page

1 Tempo

Use this parameter to specify the tempo to be set automatically upon selection of the current drum kit. If patterns are assigned to any of the kit’s pads, they will be played at this tempo. An “off” setting means that the tempo will not change automatically when the current kit is selected – in other words, the tempo of the previously selected kit will be maintained.

Settings off, or 30 to 300

NOTE

• If waves are assigned to any of the kit’s pads, the tempo (or speed) at which they are played will not be affected by the kit’s tempo setting.

KIT2-3 Kit Name page

From the Kit Name page, you can assign a name to the currently selected drum kit. With this page displayed, press the [ENTER] button to open the Kit Name Setting page.

KIT2 COMMON

Kit Volume, Tempo & Name

KIT2 ≥≥≥≥≥COMMON

In the COMMON section, you can set the volume, tempo, and name of the currently selected drum kit. With the COMMON page (KIT2) displayed, press the [ENTER] button to access its three parameter-setting pages (KIT2-1 to KIT2-3). You can use

the [B]/[C] buttons to navigate between these pages.

KIT2-1 Kit Volume page

KIT2-1≥≥<COMMON> ≥≥≥Volume=118

1 Volume

Use this parameter to set the volume of the entire kit.

Settings 0 to 127

KIT2-3-1 Kit Name Setting page

On the Kit Name Setting page, a name of up to 11 characters in length can be assigned to the currently selected drum kit. Use the

[B]/[C] buttons to move the ﬂashing cursor to the character

you want to change, and then select a character using the [-/DEC] and [+/INC] buttons. The following characters can be used in drum-kit names.

[space]

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Page 48

KIT Setting Area (KIT)

KIT3 EFFECT SEND

Effect Send Levels

KIT3 ≥≥EFFECT≥SEND

In the EFFECT SEND section, you can adjust the degree to which chorus and reverb effects are applied to the entire drum kit. With the EFFECT SEND page (KIT3) displayed, press the [ENTER] button to access its two parameter-setting pages (KIT3-1 and

KIT3-2). You can use the [B]/[C] buttons to switch between

these pages.

KIT3-1 Chorus Send page

Using the Chorus Send page, you can adjust the degree to which the chorus effect is applied to all drum voices in the currently selected kit. If any of the kit’s individual voices also have a chorus-send level set on the VOICE area’s Chorus Send page (VCE4-

2), chorus will be assigned to them in line with the sum of both send levels.

KIT3-1≥≥<FXSEND> ≥ChorusSend=≥≥0

1 Chorus send level (ChorusSend)

Use this parameter to set the chorus-send level for the currently selected drum kit.

Settings 0 to 127

NOTE

• If you change the chorus-send level for MIDI channel 10 on the MIDI area’s Chorus Send page (MIDI3-6), the ChorusSend parameter on this page (KIT3-1) will be automatically set to the same value. The reverse does not apply, however – in other words, the chorus send setting on the MIDI area’s Chorus Send page (MIDI3-6) is not affected by changes made on this page (KIT3-1).

KIT3-2 Reverb Send page

Using the Reverb Send page, you can adjust the degree to which the reverb effect is applied to all drum voices in the currently selected kit. If any of the kit’s individual voices also have a reverb-send level set on the VOICE area’s Reverb Send page (VCE4-3), reverb will be assigned to them in line with the sum of both send levels.

KIT4 VARIATION

Variation Effect Setup

KIT4 ≥≥≥VARIATION

In the VARIATION section, you can select a variation effect, adjust the degree to which it is applied, and conﬁgure it in a number of other ways. Variation effects are applied to all voices (on all MIDI channels). With the VARIATION page (KIT4) displayed, press the [ENTER] button to access its ﬁve parameter-setting

pages (KIT4-1 to KIT4-5). You can use the [B]/[C] buttons to

navigate between these pages.

KIT4-1 Variation Type page

KIT4-1≥≥VarType= C&E/Compressor

1 Variation category

Use this parameter to select a variation-effect category.

Settings Refer to the separate Data List booklet.

B Variation type

Use this parameter to select a variation-effect type.

Settings Refer to the separate Data List booklet.

With an effect category and type selected, you can press the [ENTER] button on the Variation Type page (KIT4-1) to access a range of setting pages allowing each of the selected effect’s parameters to be set. (The number of parameter-setting pages

depends on the effect selected.) Use the [B]/[C] buttons to nav-

igate between these pages.

KIT4-1-1 Parameter setting page (example)

KIT4-1-1≥≥≥<VAR> LFOSpeed=0.000Hz

KIT3-2≥≥<FXSEND> ≥ReverbSend=≥35

1 Reverb send level (ReverbSend)

Use this parameter to set the reverb-send level for the currently selected drum kit.

Settings 0 to 127

NOTE

• If you change the reverb-send level for MIDI channel 10 on the MIDI area’s Reverb Send page (MIDI3-7), the ReverbSend parameter on this page (KIT3-1) will be automatically set to the same value. The reverse does not apply, however – in other words, the reverb send setting on the MIDI area’s Reverb Send page (MIDI3-7) is not affected by changes made on this page (KIT3-2).

48 Owner’s Manual

1 Effect parameter

Each parameter setting page contains a different parameter for the selected variation effect.

Settings Refer to the separate Data List booklet.

Page 49

KIT Setting Area (KIT)

KIT5 ≥≥≥≥≥CHORUS

KIT5-1≥≥ChoType= G≥Chorus

KIT5-1-1≥≥≥<CHO> LFOSpeed=0.000Hz

KIT5-2≥≥≥≥≥<CHO> ≥ChoReturn=≥64

KIT4-2 Variation Return page

KIT4-2≥≥≥≥≥<VAR> ≥VarReturn=≥64

1 Variation return (VarReturn)

Use this parameter to set the level of the return signal from the variation effect.

Settings 0 to 127

KIT4-3 Variation Pan page

KIT4-3≥≥≥≥≥<VAR> ≥≥≥VarPan=≥C

1 Variation pan (VarPan)

Use this parameter to set the stereo panning of the variation effect’s return signal.

Settings L63 to C to R63

KIT5 CHORUS

Chorus Effect Setup

In the CHORUS section, you can select a chorus effect and conﬁgure it in a range of different ways. Chorus effects are applied to all voices (on all MIDI channels). With the CHORUS page (KIT5) displayed, press the [ENTER] button to access its four parameter-setting pages (KIT5-1 to KIT5-4). You can use the

[B]/[C] buttons to navigate between these pages.

KIT5-1 Chorus Type page

1 Chorus type

Use this parameter to select a chorus-effect type.

Settings Refer to the separate Data List booklet.

KIT4-4 Variation to Reverb page

KIT4-4≥≥≥≥≥<VAR> ≥≥VarToRev=≥≥0

1 Variation to reverb (VarToRev)

Use this parameter to set the degree to which the output from the variation effect is sent to the reverb effect.

Settings 0 to 127

KIT4-5 Variation to Chorus page

KIT4-5≥≥≥≥≥<VAR> ≥≥VarToCho=≥≥0

1 Variation to chorus (VarToCho)

Use this parameter to set the degree to which the output from the variation effect is sent to the chorus effect.

Settings 0 to 127

With a chorus type selected, you can press the [ENTER] button on the Chorus Type page (KIT5-1) to access a range of setting pages allowing each of its parameters to be set. (The number of parameter-setting pages depends on the type selected.) Use the

[B]/[C] buttons to navigate between these pages.

KIT5-1-1 Parameter setting page (example)

1 Effect parameter

Each parameter setting page contains a different parameter for the selected chorus type.

Settings Refer to the separate Data List booklet.

KIT5-2 Chorus Return page

1 Chorus return (ChoReturn)

Use this parameter to set the level of the return signal from the chorus effect.

Settings 0 to 127

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Page 50

KIT Setting Area (KIT)

KIT5-3 Chorus Pan page

KIT5-3≥≥≥≥≥<CHO> ≥≥≥ChoPan=≥C

1 Chorus pan (ChoPan)

Use this parameter to set the stereo panning of the chorus effect’s return signal.

Settings L63 to C to R63

KIT5-4 Chorus to Reverb page

KIT5-4≥≥≥≥≥<CHO> ≥≥ChoToRev=≥≥0

1 Chorus to reverb (ChoToRev)

Use this parameter to set the degree to which the output from the chorus effect is sent to the reverb effect.

Settings 0 to 127

KIT6-1 Reverb Type page

KIT6-1≥≥RevType= R3≥Hall

1 Reverb type

Use this parameter to select a reverb-effect type.

Settings Refer to the separate Data List booklet.

With a reverb type selected, you can press the [ENTER] button on the Reverb Type page (KIT6-1) to access a range of setting pages allowing each of its parameters to be set. (The number of parame-

ter-setting pages depends on the type selected.) Use the [B]/[C]

buttons to navigate between these pages.

KIT6-1-1 Parameter setting page (example)

KIT6-1-1≥≥≥<REV> RevTime=≥0.0s

1 Effect parameter

Each parameter setting page contains a different parameter for the selected reverb type.

Settings Refer to the separate Data List booklet.

KIT6 REVERB

Reverb Effect Setup

KIT6 ≥≥≥≥≥REVERB

In the REVERB section, you can select a reverb effect and conﬁgure it in a range of different ways. Reverb effects are applied to all voices (on all MIDI channels). With the REVERB page (KIT6) displayed, press the [ENTER] button to access its three parame-

ter-setting pages (KIT6-1 to KIT6-3). You can use the [B]/[C]

buttons to navigate between these pages.

KIT6-2 Reverb Return page

KIT6-2≥≥≥≥≥<REV> ≥RevReturn=≥64

1 Reverb return (RevReturn)

Use this parameter to set the level of the return signal from the reverb effect.

Settings 0 to 127

KIT6-3 Reverb Pan page

KIT6-3≥≥≥≥≥<REV> ≥≥≥RevPan=≥C

1 Reverb pan (RevPan)

Use this parameter to set the stereo panning of the reverb effect’s return signal.

Settings L63 to C to R63

50 Owner’s Manual

Page 51

KIT Setting Area (KIT)

KIT7-2≥-º¡≥≥≥MuteSw=off

KIT7 OTHER

Other Drum Kit Settings

KIT7 ≥≥≥≥≥OTHER

In the OTHER section, you can set parameters related to muting* and hi-hats, and you can also specify the trigger setup to be used when the current drum kit is selected. With the OTHER page (KIT7) displayed, press the [ENTER] button to access its six parameter-setting pages (KIT7-1 to KIT7-6). You can use the

[B]/[C] buttons to navigate between these pages.

*: Muting The action of pressing a hand down on a pad in order to change the sound it produces or to silence it is referred to as “muting”. This technique can be used to delicately change the sound of a performance, and with the DTX-MULTI 12, you can setup muting in advance in order to change or silence sounds when you press a hand down on a pad.

KIT7-1 Layer Switch page

Using the Layer Switch function, you can apply the muting technique during performances to switch between the four layers that can be assigned to built-in and external pads.

KIT7-1≥-º¡LayerSwitch=off

1 Pad number

Use this parameter to select the pad to be set.

Settings 01 to 12, 13, 13R1, 13R2, 14 to 17

B Layer switch

Use this parameter to specify whether or not triggered layers from the pad indicated by 1 are to be switched in response to muting or operation of a hi-hat controller. For more details regarding layers, see page 32.

•off ............. Layers will not be switched.

• mute ......... Layers A and B are played when muting is off.

Layers C and D are played when muting is on.

•hh............. Layers A and B are played when the hi-hat is

open. Layers C and D are played when the hi-hat is closed.

Settings off, mute, or hh

NOTE

• The “mute” setting is available only for the twelve built-in pads on your

DTX-MULTI 12.

KIT7-2 Mute Switch page

On the Mute Switch page, you can select a group of pads to be treated as one in terms of muting in order to silence or change their sounds during performances.

1 Pad number

Settings 01 to 12

NOTE

• This parameter can be set only for the twelve built-in pads on your DTX-MULTI 12.

B Mute switch (MuteSw)

Set this parameter to “on” if muting for the pad indicated by 1 is to operate in conjunction with muting for other pads with the same setting. When pad sensitivity is set for playing with sticks, we recommend that you set MuteSw to “on” for at least two pads so that you can use the muting technique without the fear of accidentally striking your hand. As you make your selections, the numbers in the Pad Indicator will light up to show which pads have been grouped together for muting.

Example: If MuteSw has been set to “on” for Pads 4, 5, and 6:

• When you strike Pad 4, 5, or 6 while pressing down on

either of the other two pads by hand, the struck pad will produce a shorter sound.

• When you press down on Pad 4, 5, or 6 by hand while one

or more of these pads are producing a sound as a result of being struck, the struck pad(s) will be silenced.

Settings off or on

NOTE

• Be sure to press ﬁrmly on a pad when you want to activate the muting function.

• If you are using the muting technique with the MuteSw parameter (2 above) set to “on” and with “mute” selected on the Layer Switch page (KIT7-1), the Layer Switch function will be activated.

•A polyphonic aftertouch message with a value of 127 is output whenever you press down on a pad with MuteSw set to “on”. Similarly, a polyphonic aftertouch message with a value of 0 is output whenever you release the pad. These messages are output for note numbers assigned to all DTX-MULTI 12 pads, except those for which the mute switch is not enabled (i.e., MuteSw is set to “off”).

• In cases where pads 4 to 9 are setup for playing by hand on the TRIGGER area’s Pad Type page (TRG2-1), muting will be automatically activated without the need for multiple pads to have MuteSw turned on. In such a case, the pad with MuteSw turned on can be pressed and held in order to mute another struck pad. Note, however, that this type of single-pad muting cannot be activated for the other pads (1 to 3, 10 to 12).

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KIT Setting Area (KIT)

KIT7-3 Hi-hat Function page

KIT7-3≥≥≥<OTHER> ≥HH≥Func=hi-hat

1 Hi-hat function (HH Func)

Use this parameter to specify how a hi-hat controller connected to the HI-HAT CONTROL jack is to function.

• hi-hat ........ The hi-hat controller will function in the stan-

dard way for playing the hi-hat cymbal.

• MIDI......... When you step on the hi-hat controller, a MIDI

message is output in line with the settings made on the Hi-hat MIDI Channel page (KIT7-4) and the Hi-hat MIDI Type page (KIT7-5).

Settings hi-hat or MIDI

NOTE

• When this parameter is set to “hi-hat” and “on” has been selected on

the Send Hi-hat Controller page (UTIL5-3), Control Change 4 messages corresponding to the degree to which the hi-hat controller is depressed will be sent to external MIDI devices on MIDI channel 10.

• When this parameter is set to “MIDI”, MIDI messages are sent regard-

less of the selection made on the Send Hi-hat Controller page (UTIL5-

3).

KIT7-4 Hi-hat MIDI Channel page

KIT7-6 Trigger Setup Link page

KIT7-6≥≥≥<OTHER> TrgSetupLink=P01

1 Trigger setup link (TrgSetupLink)

Use this parameter to specify the trigger setup to be used when the current kit is selected. A trigger setup can be assigned to each different drum kit. These setups are identiﬁed using a category (P for Preset, U for User) and a number,

and you can move the cursor using the [B]/[C] buttons to

set these individually. Select “off” if the currently selected drum kit does not need a special trigger setup.

Settings off, P01 to P05, or U01 to U10

NOTE

• If TrgSetupLink is set to “off”, the trigger setup selected on the Startup Tr igger page (UTIL1-5) will be loaded by default whenever the DTXMULTI 12 is turned on. (See page 83.) Following this, the trigger setup can be freely changed on the Select Trigger Setup page (TRG1). (See page 100.)

KIT7-4≥≥≥<OTHER> ≥HH≥MIDI≥ch=10

1 Hi-hat MIDI channel (HH MIDI ch)

If “MIDI” has been selected on the Hi-hat Function page (KIT7-3), use this parameter to set the MIDI channel for output of MIDI messages generated by the hi-hat controller.

Settings 1 to 16

NOTE

• If “hi-hat” has been selected on the Hi-hat Function page (KIT7-3), this setting will be displayed as “--” and modiﬁcation will not be possible.

KIT7-5 Hi-hat MIDI Type page

KIT7-5≥≥≥<OTHER> HHMIDIType=CC01

1 Hi-hat MIDI type (HHMIDIType)

If “MIDI” has been selected on the Hi-hat Function page (KIT7-3), use this parameter to set the type of MIDI message generated by the hi-hat controller.

CC01 to CC95 (Control Change), AT (After-

Settings

NOTE

• If “hi-hat” has been selected on the Hi-hat Function page (KIT7-3), this setting will be displayed as “---” and modiﬁcation will not be possible.

touch), PBup (Pitch bend up), or PBdwn (Pitch bend down)

52 Owner’s Manual

Page 53

KIT Setting Area (KIT)

KIT8-1-1≥≥<Copy> ≥≥º¡≥≥≥-ß≥≥º™

KIT8-2≥≥≥≥≥<JOB> ≥≥Exchange≥Pad

KIT8-2-1≥<Exchg> ≥≥º¡≥≥≥åß≥≥º™

KIT8 JOB

Kit Management

KIT8 ≥≥≥≥≥≥JOB

In the JOB section, you can perform a range of management tasks such as copying, swapping, and initializing of kits and pads. With the JOB page (KIT8) displayed, press the [ENTER] button to access its ﬁve parameter-setting pages (KIT8-1 to KIT8-5). You

can use the [B]/[C] buttons to navigate between these pages.

Operations on the JOB section’s parameter-setting pages are performed as follows.

Make the required setting(s) and press the [ENTER]

button.

You will be asked to conﬁrm that you wish to pro-

ceed.

To do so, press the [ENTER] button. Alternatively,

you can press the [EXIT] button to cancel the process.

NOTE

• Use the [STORE] button to open the Store Kit page and save the drum kit in the DTX-MULTI 12’s internal memory (see page 45). (This is not necessary when swapping kits on the Exchange Kit page (KIT8-3).)

KIT8-1-1 Copy Pad Settings page

1 Pad to be copied

Use this parameter to select the pad whose settings are to be copied.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW

Settings

(foot switch), HHCL (hi-hat close), or HHSP (hi-hat splash)

B Pad to be replaced

Use this parameter to select the pad whose settings are to be replaced. Set to “01-12” to copy settings to all of the DTXMULTI 12’s built-in pads (i.e., Pad 1 to Pad 12). You can also set “all” to copy settings to all external pads (13, 13R1, 13R2, 14 to 17, FTSW, HHCL, and HHSP) in addition to all of the DTX-MULTI 12’s built-in pads.

Settings

NOTE

• All information set for the pad in question and the corresponding layers (i.e., note numbers) will be copied.

• Certain factors may require that output MIDI note numbers other than those of the pad being copied are automatically assigned to the layers of the pad(s) being replaced. You can conﬁrm which output MIDI note numbers have been set on the MIDI Note page (MIDI1-2).

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, 01 to 12, or all

KIT8-1 Copy Pad page

From the Copy Pad page, you can copy settings from one pad to another in the currently selected drum kit. With this page displayed, press the [ENTER] button to open the Copy Pad Settings page.

KIT8-1≥≥≥≥≥<JOB> ≥≥≥≥Copy≥Pad

KIT8-2 Exchange Pads page

From the Exchange Pads page, you can swap settings for a pair of pads within the currently selected kit. With this page displayed, press the [ENTER] button to open the Exchange Pads Settings page.

KIT8-2-1 Exchange Pads Settings page

1 Exchange pad 1 B Exchange pad 2

Use these parameters to select the two pads whose settings are to be swapped.

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

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Page 54

KIT Setting Area (KIT)

KIT8-3 Exchange Kits page

From the Exchange Kits page, you can swap settings for a pair of User kits. With this page displayed, press the [ENTER] button to open the Exchange Kits Settings page.

KIT8-3≥≥≥≥≥<JOB> ≥≥Exchange≥Kit

KIT8-3-1 Exchange Kits Settings page

KIT8-3-1≥<Exchg> ≥≥U001≥åß≥U002

1 Exchange kit 1 B Exchange kit 2

Use these parameters to select the two drum kits whose settings are to be swapped.

Settings U001 to U200

NOTE

• Only those settings already stored will be swapped. In addition, if drum kits are swapped without ﬁrst storing any modiﬁed settings, the swapped settings will be overwritten with the modiﬁed settings when the drum kit is subsequently stored.

KIT8-5 Initialize Kit page

From the Initialize Kit page, you can initialize the drum kit currently being edited. With the Initialize Kit page displayed, press the [ENTER] button, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

KIT8-5≥≥≥≥≥<JOB> ≥Initialize≥Kit

CAUTION

• When a kit is initialized, all of its parameters will be returned to their default settings. If you would like to save a copy of the kit before initialization, perform a Store operation as described on store the currently selected drum kit as a different User kit.

page 45 to

KIT8-4 Initialize Pad page

From the Initialize Pad page, you can initialize individual pads from the currently selected drum kit. With this page displayed, press the [ENTER] button to open the Initialize Pad Setting page.

KIT8-4≥≥≥≥≥<JOB> ≥Initialize≥Pad

KIT8-4-1 Initialize Pad Setting page

KIT8-4-1≥ ≥≥InitPad=¡£Ω¡

1 Pad number

Use this parameter to select the pad to be initialized.

Settings

Once you have selected a pad, press the [ENTER] button, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

54 Owner’s Manual

Page 55

VOICE Setting Area (VCE)

This section describes the VOICE setting area, which can be accessed using the [VOICE] button. In this area, you can select and edit the voices (i.e., preset voices, waves, and patterns) assigned to individual pads. For more information on voices and how they work, see page 31.

CAUTION

• Be sure to store any settings that you have edited before turning off the instrument or selecting a new kit. (See page 45.)

Makeup of VOICE Setting Area

The VOICE setting area is subdivided into ﬁve different sections (VCE1 to VCE5). Use the [B]/[C] buttons to navigate between these

sections. If a section contains parameter-setting pages, the [ENTER] button will light up. Press the [ENTER] button to access these pages. You can press the [EXIT] button to move back towards the top of the setting area. Changes made in the VOICE setting area affect the voices assigned to pads from the currently selected kit. You should, therefore, always select the drum kit you want to conﬁgure within the KIT setting area before entering the VOICE setting area. The top-most page within the VOICE setting area is the Select Voice page (VCE1), and here you can assign voices (i.e., preset voices, waves, and patterns) to individual pads and layers. On each of the parameter-setting pages within this area, furthermore, you can select the pad and/or layer to be modiﬁed. Please note that when you store changes made to parameters within the VOICE setting area, the entire drum kit is stored.

Sections

VCE1≥-¡£Ω¡-≥≥≥≥ç Sn001:OakCustom

VCE2≥≥≥≥≥≥≥≥≥≥≥≥ ≥≥≥TUNE/OUTPUT≥

VCE3 ≥≥≥≥≥≥TONE

VCE4 ≥≥EFFECT≥SEND

VCE5 ≥≥≥≥≥OTHER

Parameter-setting pages

Select Voice..................................................................................................... Page 56

VCE2-1 Voice Tuning page.............................................................................. Page 57

VCE2-2 Voice Volume page ............................................................................Page 57

VCE2-3 Voice Pan page.................................................................................. Page 57

VCE3-1 Attack Time page............................................................................... Page 58

VCE3-2 Decay Time page...............................................................................Page 58

VCE3-3 Release Time page............................................................................Page 58

VCE3-4 Filter page.......................................................................................... Page 58

VCE4-1 Variation Send page .......................................................................... Page 59

VCE4-2 Chorus Send page ............................................................................ Page 59

VCE4-3 Reverb Send page............................................................................. Page 59

VCE5-1 Mono/Poly page................................................................................. Page 60

VCE5-2 Alternate Group page ........................................................................Page 60

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VOICE Setting Area (VCE)

VCE1

Select Voice

VCE1≥-¡£Ω¡-≥≥≥≥ç Sn001:OakCustom

On the Select Voice page (VCE1), you can select the preset voice, wave, or pattern that will be played when the speciﬁed pad is struck. Alternatively, you can select a MIDI note to be played when a pad is struck, and then assign a voice to that MIDI note (see page 34). The applicable parameter-setting pages, parameters, and settings in the VOICE area will depend on whether a pad number or MIDI note number is speciﬁed.

NOTE

• Certain parameters have no effect when a pattern or a MIDI note number has been assigned to the pad in question. Their settings will be displayed as “---” and modiﬁcation will not be possible.

Assigning a voice to a pad

If the voice is not a pattern (i.e., eP or eU)

VCE1≥-¡£Ω¡-≥≥≥≥ç Sn001:OakCustom

3 4

1 Pad number

Use this parameter to select the number of the pad or MIDI note to be set. You can also strike a pad to select it.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW

Settings

NOTE

•Pad 13 supports three different zones, and therefore, is assigned three different pad numbers – namely, 13 for the head, 13R1 for rim 1, and 13R2 for rim 2.

•Pads 10 to 12 cannot be selected if “disable” has been set on the Pad 10-12 Switch page (UTIL4-3).

(foot switch), HHCL (hi-hat close), HHSP (hihat splash), C#-1, or D-1 to A#5

B Layer number

Use this parameter to select the layer to be set. Each pad can contain up to four layers, each of which can be used to play a preset voice or wave. For details, see page 32.

Settings A, B, C, or D

NOTE

• The maximum number of layers that can be set for any pad is 4. To add a layer, change its setting on the MIDI Note page (MIDI1-2) from “off” to a MIDI note number.

C Voice category

Use this parameter to specify the category of voice to be assigned as a preset voice, preset pattern (eP), user pattern (eU), or wave.

Settings

NOTE

•Patterns cannot be assigned to MIDI note numbers.

Kk, Sn, Tm, Cv, HH, EP, Cu, Br, In, Jp, Af, Or, E1, E2, E3, Ml, GM, WV, eP, or eU

If the voice is a pattern (i.e., eP or eU)

VCE1≥-¡£Ω¡-≥≥≥>~ ©U001:EmptyPtn

3 4

Assigning a voice to a MIDI note number

VCE1≥≥C#-1/≥13 Sn001:OakCustom

3 4

D Voice number: Voice name

Use these parameters to select a preset voice, pattern, or wave from the category indicated by 3.

Settings Refer to the separate Data List booklet.

E Pattern playback mode

If a pattern has been assigned to the pad, use this parameter to specify how it will be played.

• .............. Start/stop mode: The pattern will start to play

from the beginning when you strike the pad, and it will stop the next time you strike it.

• ............ Chase mode: One successive measure will be

played each time you strike the pad.

• ............ Cut-off mode: Only one pattern set to this mode

can play at any time. Whenever a cut-off mode pattern is triggered, any pattern already playing in this mode will be automatically stopped.

Settings , ,

NOTE

• The maximum number of patterns that can play simultaneously is four.

• Demo patterns cannot be assigned to pads.

>>~~>

56 Owner’s Manual

Page 57

VOICE Setting Area (VCE)

VCE2-2≥-º¡-≥≥≥≥ç ≥≥≥Volume=100

1 2

VCE2-3≥-º¡-≥≥≥≥ç ≥≥≥≥Pan=≥C

1 2

VCE2 TUNE/OUTPUT

Voice Tuning, Volume & Pan

VCE2 ≥≥≥TUNE/OUTPUT

In the TUNE/OUTPUT section, you can set the tuning, volume, and stereo panning of individual voices. With the TUNE/OUTPUT page (VCE2) displayed, press the [ENTER] button to access its three parameter-setting pages (VCE2-1 to VCE2-3). You can

use the [B]/[C] buttons to navigate between these pages.

VCE2-1 Voice Tuning page

The parameters presented on the Voice Tuning page will depend on the type of voice assigned to the pad in question.

Drum sounds and waves (i.e., imported audio ﬁles):

1 2

VCE2-1≥-º¡-≥≥≥≥ç ≥≥≥Tune=+≥0.00

D Note

Use this parameter to set the pitch of the assigned voice as a MIDI note number.

Settings C-2 to G8

E Transpose

Use this parameter to adjust the pitch of the assigned pattern in one-semitone steps.

Settings -24 to +0 to +24

NOTE

•Patterns triggered using MIDI channels 7 to 11 cannot be transposed.

VCE2-2 Voice Volume page

On the Voice Volume page, you can set the volume of the selected voice.

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

Instrument sounds (i.e., piano, guitar, etc.):

1 2

VCE2-1≥-º¡-≥≥≥≥ç ≥≥≥Note=C#-1

Patterns:

VCE2-1≥-º¡≥Transpose=+≥0

1 Pad number

Use this parameter to select the number of the pad or MIDI note to be set.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW

Settings

B Layer number

Use this parameter to select the layer to be set.

Settings A, B, C, or D

(foot switch), HHCL (hi-hat close), HHSP (hi-hat splash), C#-1, or D-1 to A#5

B Layer number

Settings A, B, C, or D

C Volume

Use this parameter to set the volume of the selected voice.

Settings 0 to 127

VCE2-3 Voice Pan page

On the Voice Pan page, you can set the stereo panning of the selected voice.

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

B Layer number

Settings A, B, C, or D

C Tuning (Tune)

Use this parameter to adjust the tuning of the assigned voice in one-cent steps.

Settings -24.00 to +0.0 to +24.00

NOTE

• The term “cent” refers to one hundredth of a semitone (i.e., 100 cents = 1 semitone).

C Pan

Use this parameter to set the stereo panning of the selected voice.

Settings L63 to C to R63

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VOICE Setting Area (VCE)

VCE3 TONE

Voice Timbre

VCE3 ≥≥≥≥≥≥TONE

In the TONE section, you can adjust the tone (or timbre) of the preset voice, pattern, or wave assigned to the pad in question. With the TONE page (VCE3) displayed, press the [ENTER] button to access its four parameter-setting pages (VCE3-1 to VCE3-

4). You can use the [B]/[C] buttons to navigate between these

pages.

VCE3-1 Attack Time page

VCE3-2 Decay Time page

VCE3-3 Release Time page

On the Attack Time, Decay Time, and Release Time pages (VCE3-1 to VCE3-3), you can adjust the envelope of the assigned voice as shown below.

Attack Time (VCE3-1)

C Attack time

Use this parameter to set the amount of time it takes after the pad is struck for the assigned voice to reach its peak level.

Settings -64 to +0 to +63

Decay Time (VCE3-2)

C Decay time

Use this parameter to set the amount of time it takes the voice to drop to a steady level after reaching its peak level.

Settings -64 to +0 to +63

Release Time (VCE3-3)

C Release time

Use this parameter to set the amount of time it takes for the voice to fade out after sending a MIDI Note Off message.

Settings -64 to +0 to +63

NOTE

• MIDI Note Off messages are not sent for pads and layers for which “off” is selected on the MIDI area’s Receive Key-Off page (MIDI1-5). Therefore, the release-time setting has no effect in such a case.

VCE3-4 Filter page

Level

Time

Attack time (VCE3-1)

Pad is struck (Note On)

Decay time (VCE3-2)

Note Off

Release time (VCE3-3)

Parameter 3 from each of the pages is used to adjust a different part of the envelope. Parameters 1 and 2 below are identical on all three pages.

Typical Display for Attack Time (VCE3-1)

1 2

VCE3-1≥-º¡-≥≥≥≥ç ≥≥≥Attack=+≥0

1 2

VCE3-4≥-º¡-≥≥≥≥ç ≥Fc=+≥0≥≥Q=+≥0

3 4

1 Pad number

Settings

B Layer number

Settings A, B, C, or D

C Filter cutoff frequency (Fc)

Use this parameter to set a cutoff frequency for the low-pass ﬁlter. Frequencies above this level will be removed from the selected voice.

Settings -64 to +0 to +63

Low-pass ﬁlter

Volume

01 to 12, 13, 13R1, 13R2, 14 – 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

Cutoff frequency (Fc)

1 Pad number

Settings

B Layer number

Settings A, B, C, or D

58 Owner’s Manual

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW (foot switch), HHCL (hi-hat close), HHSP (hi-hat splash), C#-1, or D-1 to A#5

Frequencies that pass through unaffected

Frequencies that are cut

Frequency (or pitch)

Page 59

VOICE Setting Area (VCE)

VCE4-2≥-º¡-≥≥≥≥ç ≥≥ChoSend=127

1 2

VCE4-3≥-º¡-≥≥≥≥ç ≥≥RevSend=≥50

1 2

D Resonance (Q)

Use this parameter to change the timbre of the voice by boosting frequencies around the cutoff frequency.

Settings -64 to +0 to +63

Level

Resonance (Q)

Cutoff frequency

Frequency

VCE4 EFFECT SEND

Effect Send Levels

VCE4-2 Chorus Send page

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

B Layer number

Settings A, B, C, or D

C Chorus send level (ChoSend)

Use this parameter to specify how much of the sound produced by the layer indicated by 2 will be sent to the Chorus effect.

Settings 0 to 127

NOTE

• The chorus send level for the entire kit can be adjusted on the KIT area’s Chorus Send page (KIT3-1).

VCE4 ≥≥EFFECT≥SEND

In the EFFECT SEND section, you can adjust the degree to which the DTX-MULTI 12’s built-in Variation, Chorus, and Reverb effects are applied to individual voices. With the EFFECT SEND page (VCE4) displayed, press the [ENTER] button to access its three parameter-setting pages (VCE4-1 to VCE4-3). You can use

the [B]/[C] buttons to navigate between these pages.

VCE4-1 Variation Send page

1 2

VCE4-1≥-º¡-≥≥≥≥ç Var=127(Dry=≥≥0)

1 Pad number

Settings

B Layer number

Settings A, B, C, or D

C Variation send level (Var)

Use this parameter to specify how much of the sound produced by the layer indicated by 2 will be sent to the Variation effect.

Settings 0 to 127

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

VCE4-3 Reverb Send page

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

B Layer number

Settings A, B, C, or D

C Reverb send level (RevSend)

Use this parameter to specify how much of the sound produced by the layer indicated by 2 will be sent to the Reverb effect.

Settings 0 to 127

NOTE

• The reverb send level for the entire kit can be adjusted on the KIT area’s Reverb Send page (KIT3-2).

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Owner’s Manual 59

Page 60

VOICE Setting Area (VCE)

VCE5 OTHER

Other Voice-Related Settings

VCE5 ≥≥≥≥≥OTHER

With the OTHER page (VCE5) displayed, press the [ENTER] button to access its two parameter-setting pages (VCE5-1 and

VCE5-2). You can use the [B]/[C] buttons to switch between

these pages.

VCE5-1 Mono/Poly page

1 2

VCE5-1≥-º¡-≥≥≥≥ç ≥Mono/Poly=poly

1 Pad number

Settings

B Layer number

Settings A, B, C, or D

C Mono/Poly

Use this parameter to specify how overlapping sounds from the same pad or layer will be treated.

• mono......... When two overlapping sounds are produced by

• poly........... No such restriction is applied and all overlap-

Settings mono or poly

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

striking the same pad, the latter sound is given priority and the earlier sound is silenced.

ping sounds are output.

VCE5-2 Alternate Group page

1 2

VCE5-2≥-º¡-≥≥≥≥ç AltGroup=≥≥≥≥off

1 Pad number

Settings

B Layer number

Settings A, B, C, or D

C Alternate group (AltGroup)

Using this parameter, you can assign voices to alternate groups (i.e., monophonic sets of pads, only one of which can be producing a sound at any time). If you do not want various individual voices to be played together, they should be assigned to the same alternate group. Whenever voices from the same alternate group are triggered by playing the instrument, the latter voice is given priority and the earlier sound is silenced. Set this parameter to “off” if you do not want to assign an alternate group.

Settings off, hhOpen, hhClose, or 1 to 124

NOTE

• The “hhOpen” and “hhClose” alternate groups operate in a special way: If a voice from the “hhClose” group is triggered after a voice from the “hhOpen” group, the hhOpen voice is silenced and only the hhClose voice is played. No silencing of the earlier sound is performed for any other triggering sequence (for example, hhOpen followed by hhOpen; hhClose followed by hhOpen; or hhClose followed by hhClose).

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, HHSP, C#-1, or D-1 to A#5

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Page 61

MIDI Setting Area (MIDI)

This section describes the MIDI setting area, which can be accessed using the [MIDI] button. In this area, you can set MIDI-related parameters on an individual-kit basis. In addition, layer settings for each pad (i.e., the number of layers and the way in which they play) are also conﬁgured within the MIDI setting area. For more information on the functions setup using this setting area, see page 34.

CAUTION

• Be sure to store any settings that you have edited before turning off the instrument or selecting a new kit. (See page 45.)

Structure of MIDI Setting Area

The MIDI setting area is subdivided into three different sections (MIDI1 to MIDI3). Use the [B]/[C] buttons to navigate between these

sections. If a section contains parameter-setting pages, the [ENTER] button will light up. Press the [ENTER] button to access these pages. You can press the [EXIT] button to move back towards the top of the setting area. MIDI parameters set within this area are stored on an individual-kit basis; therefore, you should always select the drum kit you want to conﬁgure within the KIT setting area before entering the MIDI setting area. Parameters within the MIDI MESSAGE section (MIDI1) affect individual pads, which can be selected on-screen or by striking them. Meanwhile, parameters within the TG/MIDI SWITCH section (MIDI2) and the OTHER section (MIDI3) affect individual MIDI channels, which can be selected on-screen.

Sections

MIDI1≥-º¡MessageType=note

MIDI2≥≥≥≥≥≥≥≥≥≥≥ ≥TG/MIDI≥SWITCH

Parameter-setting pages

The parameter-setting pages that make up the MIDI MESSAGE section will depend on the type of MIDI message selected on the Select Message Type page (MIDI1).

• Pages when MessageType is set to “note”:

MIDI1-1 Playing Mode page............................................................................ Page 62

MIDI1-2 MIDI Note page ................................................................................. Page 63

MIDI1-3 MIDI Channel page ...........................................................................Page 63

MIDI1-4 Gate Time page................................................................................. Page 64

MIDI1-5 Receive Key-Off page .......................................................................Page 64

MIDI1-6 Velocity Limits page........................................................................... Page 64

MIDI1-7 Trigger Velocity page .........................................................................Page 64

MIDI1-8 Trigger Polyphony page..................................................................... Page 65

MIDI1-9 Trigger Alternate Group page ............................................................ Page 65

• Pages when MessageType is set to “CC”:

MIDI1-1 Control Change Number & Value page .............................................Page 65

MIDI1-2 MIDI Channel page ...........................................................................Page 65

• Pages when MessageType is set to “PC”:

MIDI1-1 Program Change page ...................................................................... Page 66

MIDI1-2 MIDI Channel page ...........................................................................Page 66

• No pages are accessible when MessageType is set to “strt”, “cont”, or “stop”.

MIDI2-1 Tone Generator Switch page ............................................................. Page 66

MIDI2-2 External MIDI Switch page ................................................................ Page 66

MIDI3≥≥≥≥≥≥≥≥≥≥≥ ≥≥≥≥≥OTHER

MIDI3-1 Transmit page.................................................................................... Page 67

MIDI3-2 Volume page...................................................................................... Page 67

MIDI3-3 Pan page ........................................................................................... Page 67

MIDI3-4 Program Change page ...................................................................... Page 67

MIDI3-5 Variation Send Level page................................................................. Page 68

MIDI3-6 Chorus Send Level page................................................................... Page 68

MIDI3-7 Reverb Send Level page ...................................................................Page 68

MIDI3-8 CC Number & Value page .................................................................Page 68

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MIDI Setting Area (MIDI)

MIDI1

Select Message Type

MIDI1≥-º¡MessageType=note

When you press the [MIDI] button, a page for selecting a MIDI message type (MIDI1) will be displayed. On this page, you can select the type of MIDI message to be assigned to each pad.

1 Pad number

Use this parameter to select the pad to be set. You can also strike a pad to select it.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW

Settings

B Message type

Use this parameter to set the type of MIDI message that will be sent whenever the pad indicated by 1 is struck.

• note ........... A MIDI note will be sent. Use this setting if you

•CC............ A Control Change message will be sent.

•PC............. A Program Change message will be sent.

• strt............. A SysEx FA Start command will be sent.

• cont ........... A SysEx FB Continue command will be sent.

• stop ...........A SysEx FC Stop command will be sent.

Settings note, CC, PC, strt, cont, or stop

NOTE

• “note” type messages are sent simultaneously to the DTX-MULTI 12’s internal tone generator and to connected external MIDI devices.

• Message types other than “note” are sent only to connected external MIDI devices.

The parameter-setting pages that can be accessed within the MIDI1 section will depend on the type of MIDI message selected.

•Parameter-setting pages for “note” messages are explained on this page.

(foot switch), HHCL (hi-hat close), or HHSP (hi-hat splash)

want to produce a sound whenever you strike the pad.

Parameter-Setting Pages for “note” Messages

MIDI1-1 Playing Mode page

MIDI1-1≥-º¡≥Mode=alternate

1 Pad number

Settings

B Playing mode

Use this parameter to set Stack, Alternate, or Hold as the playing mode for the pad indicated by 1. Some typical applications of these modes are explained on the following page.

• stack ......... When Stack mode is selected, all notes assigned

• alternate.... When Alternate mode is selected, the notes

• hold .......... When Hold mode is selected, the notes assigned

Settings stack, alternate, or hold

NOTE

• If no note numbers have been assigned to any of the pad’s layers (A to D) on the MIDI Note page (MIDI1-2), this setting will be displayed as “-

--” and modiﬁcation will not be possible.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

to the pad are triggered simultaneously. For example, you can use this mode to produce chords or to trigger multiple preset voices or waves with a single strike. To produce just one sound, select this mode and assign only one voice to the pad.

assigned to the pad are played individually in turn each time it is struck. For example, you can use this mode to produce a different sound each time you strike the pad.

to the pad are alternately turned on and off each time it is struck. If, for example, a sustained sound has been assigned, the ﬁrst strike of the pad will turn it on, the next strike will turn it off, and so on.

MIDI1≥-º¡MessageType=note

•Parameter-setting pages for “CC” messages are explained on page 65.

MIDI1≥-º¡MessageType=CC

•Parameter-setting pages for “PC” messages are explained on page 66.

MIDI1≥-º¡MessageType=PC

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MIDI Setting Area (MIDI)

MIDI1-2≥-º¡-≥≥≥ç Note=*≥C#-1/≥13

1 2

MIDI1-3≥-º¡-≥≥≥ç ≥≥≥MIDI≥Ch=10

1 2

Typical Uses of Stack, Alternate, and Hold Modes

Using the Playing Mode page (MIDI1-1), you can select the way in which a pad’s four layers will be played. For example, pads can be setup to produce a chord by playing multiple layers at the same time or to play a different layer on each successive strike. The following are typical examples of how these modes can be used.

● Playing just one sound when a pad is struck

Select “stack” on the Playing Mode page (MIDI1-1), and assign a MIDI note to Layer A only on the MIDI Note page (MIDI1-2).

Layer Note number

AD1 B off C off D off

●

Playing two sounds simultaneously when a pad is struck

Select “stack” on the Playing Mode page (MIDI1-1), and assign a different MIDI note to both Layer A and Layer B on the MIDI Note page (MIDI1-2).

Layer Note number

AD1 BE2 C off D off

●

Playing two sounds alternately each time a pad is struck

Select “alternate” on the Playing Mode page (MIDI1-1), and assign a different MIDI note to Layers A and B on the MIDI Note page (MIDI1-2).

Layer Note number

AD1 BE2 C off D off

● Playing Layer A, then silencing it, playing Layer C, then silencing it, playing Layer A… and so on each time a pad is struck

Select “alternate” on the Playing Mode page (MIDI1-1), and assign a MIDI note or “skip” to Layers A through D on the MIDI Note page (MIDI1-2) as follows.

Layer Note number

AD1 B skip CE2 D skip

MIDI1-2 MIDI Note page

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

B Layer number

Use this parameter to select the layer you want to set.

Settings A, B, C, or D

C Note

Use this parameter to select a MIDI note to be sent by the layer indicated by 2. You can also choose either of the following two special settings.

•off ..............Regardless of the setting made on the Playing

Mode page (MIDI1-1), no MIDI note will be sent when the pad is struck.

• skip............If “alternate” has been selected on the Playing

Mode page (MIDI1-1), this layer will be skipped. In other words, no MIDI note will be sent when it is this layer’s turn to play. Alternatively, if “stack” or “hold” has been set on the Playing Mode page (MIDI1-1), this setting has the same effect as “off” above (i.e., no MIDI note will be sent for this layer).

Settings off, C#-2/1 to F#8/126, or skip

NOTE

• Notes outside the range covered by General MIDI are displayed in

parentheses – for example, “(C#-2/1)”.

• Notes on MIDI channel 10 having already been assigned to a layer will

be displayed with an asterisk in front of them – for example, “*C3”. If you change the note setting for a pad indicated in this way, the note setting for the other pad will also be changed in the same way .

MIDI1-3 MIDI Channel page

● Playing three held sounds simultaneously when a pad is struck, and silencing them the next time it is struck

Select “hold” on the Playing Mode page (MIDI1-1), and assign MIDI notes to Layers A through C on the MIDI Note page (MIDI1-2) as follows. In addition, select “on” for Layers A through C on the Receive Key-Off page (MIDI1-5).

Layer Note number

AC3 BE3 CG3 D off

NOTE

• If a note on MIDI channel 10 is assigned, be sure to select “on” for

Layers A through C on the Receive Key-Off page (MIDI1-5).

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

B Layer number

Settings A, B, C, or D

C MIDI channel (MIDI Ch)

Use this parameter to set the MIDI channel for MIDI notes sent for the layer indicated by 2.

Settings 1 to 16

NOTE

• If no note number has been assigned to any of the pad’s layers (A to D) on the MIDI Note page (MIDI1-2), this setting will be displayed as “-

--” and modiﬁcation will not be possible.

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MIDI Setting Area (MIDI)

MIDI1-4 Gate Time page

MIDI1-4≥-º¡-≥≥≥ç ≥GateTime=0.0s

1 2

NOTE

• If no note numbers have been assigned to any of the pad’s layers (A to D) on the MIDI Note page (MIDI1-2), this setting will be displayed as “-

--” and modiﬁcation will not be possible.

• Sending of MIDI Note Off messages is automatically turned on whenever a MIDI Channel other than 10 has been selected on the MIDI Channel page (MIDI1-3). In such a case, therefore, this setting will be displayed as “---” and modiﬁcation will not be possible.

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

B Layer number

Settings A, B, C, or D

C Gate time

Use this parameter to set a gate time for MIDI notes sent for the layer indicated by 2. A MIDI Note On message is sent when a pad is struck, and the corresponding Note Off message is sent a short time later. The duration between sending of these signals is referred to as the “gate time”, and by adjusting this setting, you can control the duration of MIDI notes.

Settings 0.0s to 9.9s

NOTE

• If no note numbers have been assigned to any of the pad’s layers (A to D) on the MIDI Note page (MIDI1-2), this setting will be displayed as “-

--” and modiﬁcation will not be possible.

• If “hold” has been selected on the Playing Mode page (MIDI1-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

• MIDI Note Off signals are not sent for pads set to “off” on the Receive Key-Off page (MIDI1-5). If you want to set a gate time, therefore, be sure to set RcvKeyOff to “on”.

MIDI1-5 Receive Key-Off page

1 2

MIDI1-6 Velocity Limits page

1 2

MIDI1-6≥-º¡-≥≥≥ç VelLimit=≥≥0-127

3 4

1 Pad number

Settings

B Layer number

Settings A, B, C, or D

C Velocity lower limit D Velocity upper limit

Use these parameters to set the range of velocities that will cause the layer indicated by 2 to send a MIDI note message. The term “velocity” refers to the speed (or power) with which a pad is struck. By setting upper and lower limits using these parameters, you can prevent sounds from being produced when the pad is struck too hard or too soft.

Settings 0 to 127

NOTE

• If no note numbers have been assigned to any of the pad’s layers (A to D) on the MIDI Note page (MIDI1-2), these settings will be displayed as “---” and modiﬁcation will not be possible.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

MIDI1-5≥-º¡-≥≥≥ç ≥RcvKeyOff=off

1 Pad number

Settings

B Layer number

Settings A, B, C, or D

C Receive key-off (RcvKeyOff)

Use this parameter to set whether or not MIDI Note Off messages will be sent for the layer indicated by 2. Most drum voices are one-shot sounds that decay over time until they become silent; therefore, MIDI Note Off messages are not needed to stop them. As such, this parameter should normally be set to “off”. If, however, a non-decaying sound is assigned to a pad or layer, you can ensure that the required MIDI Note Off message is sent by setting this parameter to “on”. In addition, you can adjust the amount of time that passes between striking of the pad and sending MIDI Note Off messages using the Gate Time page (MIDI1-4).

Settings off or on

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

MIDI1-7 Trigger Velocity page

MIDI1-7≥-º¡-≥≥≥ TrgVel=variable

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

B Trigger velocity (TrgVel)

Use this parameter to control the velocity value of MIDI notes to be sent whenever the pad indicated by 1 is struck.

•variable..... MIDI velocity values will reﬂect the strength

with which the pad is struck.

•1 – 127...... MIDI notes are sent with this ﬁxed velocity

value, regardless of how hard or soft the pad is struck.

Settings variable or 1 to 127

NOTE

• If no note numbers have been assigned to any of the pad’s layers (A to D) on the MIDI Note page (MIDI1-2), this setting will be displayed as “-

--” and modiﬁcation will not be possible.

• No sound will be produced if TrgVel 2 is set to a value outside the limits set on the Velocity Limits page (MIDI1-6).

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MIDI Setting Area (MIDI)

MIDI1-1≥-º¡CCNo=≥7/Val=VARI

MIDI1-2≥-º¡≥≥≥MIDI≥Ch=10

MIDI1-8 Trigger Polyphony page

MIDI1-8≥-º¡TrgMonoPoly=poly

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

B Trigger mono/poly (TrgMonoPoly)

Use this parameter to control what happens when the pad indicated by 1 is struck repeatedly.

• mono ........ The previous sound will be stopped before a

new sound starts.

• poly .......... Previous sounds will continue to play when a

new sound starts.

Settings mono or poly

NOTE

• If no note numbers have been assigned to any of the pad’s layers (A to

D) on the MIDI Note page (MIDI1-2), this setting will be displayed as “-

--” and modiﬁcation will not be possible.

• MIDI Note Off messages are not sent when “off” has been selected on

the Receive Key-Off page (MIDI1-5). If you want to set trigger monophony, therefore, be sure to set this parameter to “on”. This will ensure that Note Off messages are sent to prevent overlapping voices.

MIDI1-9 Trigger Alternate Group page

MIDI1-9≥-º¡-≥≥ TrgAltGrp=off

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

Parameter-Setting Pages for “CC” Messages

MIDI1-1 Control Change Number &

Value page

1 Pad number

Settings

B Control change number (CCNo)

Use this parameter to set the type of MIDI Control Change message to be sent whenever the pad indicated by 1 is struck.

Settings 1 to 95

C Control change value (Val)

Use this parameter to set a value for the MIDI Control Change message to be sent whenever the pad indicated by 1 is struck.

•VARI .........The control change value will depend on how

•0 – 127 ......Control change messages are sent with this ﬁxed

Settings VARI or 0 to 127

NOTE

• Before setting Val 3 to “VARI”, it will be necessary to access the Trigger Velocity page (MIDI1-7) with Message Type=note (MIDI1) and to set the TrgVel parameter to “variable”.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

hard the pad is struck.

value, regardless of how hard or soft the pad is struck.

B Trigger alternate group (TrgAltGrp)

Use this parameter to assign the pad indicated by 1 to an alternate group if so required. Alternate groups are monophonic sets of pads, and therefore, only one pad from an alternate group can be producing a sound at any time. If a pad is struck while another pad from the same alternate group is already producing a sound, a MIDI Note Off message will be sent for the ﬁrst pad together with the MIDI Note On message for the second. In order to use trigger alternate groups with voices played on MIDI channel 10, the sending of MIDI Note Off messages must be enabled by selecting “on” for RcvKeyOff on the Receive Key-Off page (MIDI1-5). Up to 32 trigger alternate groups can be setup on your DTX-MULTI 12. If there is no need for a pad to be assigned to a trigger alternate group, you can set this parameter to “off”.

Settings off or 1 to 32

NOTE

• If no note numbers have been assigned to any of the pad’s layers (A to D) on the MIDI Note page (MIDI1-2), this setting will be displayed as “-

--” and modiﬁcation will not be possible.

• MIDI Note Off messages are not sent when “off” has been set on the Receive Key-Off page (MIDI1-5). If you want to use trigger alternate groups, therefore, be sure to set this parameter to “on”. This will ensure that Note Off messages are sent to prevent overlapping voices.

MIDI1-2 MIDI Channel page

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

B MIDI channel (MIDI Ch)

Use this parameter to set a MIDI channel for the Control Change messages to be sent whenever the pad indicated by 1 is struck.

Settings 1 to 16

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MIDI Setting Area (MIDI)

Parameter-Setting Pages for “PC” Messages

MIDI1-1 Program Change page

MIDI1-1≥-º¡-

M000/L000/PC001

32 4

1 Pad number

Settings

B Bank select MSB (M)

Use this parameter to set a bank-select MSB value to be sent whenever the pad indicated by 1 is struck.

Settings 000 to 127

C Bank select LSB (L)

Use this parameter to set a bank-select LSB value to be sent whenever the pad indicated by 1 is struck.

Settings 000 to 127

D Program change (PC)

Use this parameter to set a program-change number to be sent whenever the pad indicated by 1 is struck.

Settings 001 to 128

MIDI1-2 MIDI Channel page

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

MIDI2 TG/MIDI SWITCH

MIDI Destination Switches

MIDI2 ≥TG/MIDI≥SWITCH

With the TG/MIDI SWITCH page (MIDI2) displayed, press the [ENTER] button to access its two parameter-setting pages

(MIDI2-1, MIDI2-2). You can use the [B]/[C] buttons to switch

between these pages.

MIDI2-1 Tone Generator Switch page

MIDI2-1≥≥≥≥≥Ch≥1 ≥TG≥Switch=off

1 MIDI channel (Ch)

Use this parameter to select the MIDI channel (1 to 16) to be set.

Settings 1 to 16

B Tone generator switch (TGSwitch)

Use this parameter to indicate whether MIDI messages produced by playing pads and changing drum kits should be sent to the internal tone generator. (Choose “on” to send to the tone generator.)

Settings off or on

MIDI1-2≥-º¡≥≥≥MIDI≥Ch=10

1 Pad number

Settings

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, or HHSP

B MIDI channel (MIDI Ch)

Use this parameter to set the MIDI channel for the programchange messages to be sent whenever the pad indicated by 1 is struck.

Settings 1 to 16

MIDI2-2 External MIDI Switch page

MIDI2-2≥≥≥≥≥Ch≥1 MIDI≥Switch=off

1 MIDI channel (Ch)

Use this parameter to select the MIDI channel (1 to 16) to be set.

Settings 1 to 16

B External MIDI switch (MIDI Switch)

Use this parameter to indicate whether MIDI messages produced by playing pads and changing drum kits should be sent to an external tone generator via the MIDI OUT connector on the rear panel or the USB TO HOST port on the side panel. (Choose “on” to send the messages.)

Settings off or on

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MIDI Setting Area (MIDI)

MIDI3-3≥≥≥≥≥Ch≥1 ≥≥≥≥Pan=≥C

MIDI3-4≥≥≥≥≥Ch≥1 M000/L000/PC001

32 4

MIDI3 OTHER

Other MIDI Settings

MIDI3 ≥≥≥≥≥OTHER

In the OTHER section, you can set various MIDI messages to be sent whenever the current kit is selected. With the OTHER page (MIDI3) displayed, press the [ENTER] button to access its eight parameter-setting pages (MIDI3-1 through MIDI3-8). You can

use the [B]/[C] buttons to navigate between these pages.

MIDI3-1 Transmit page

MIDI3-1≥≥≥≥≥Ch≥1 ≥≥Transmit=all

1 MIDI channel (Ch)

Use this parameter to select the MIDI channel (1 to 16) to be set.

Settings 1 to 16

MIDI3-3 Pan page

1 MIDI channel (Ch)

Settings 1 to 16

B Transmit

Use this parameter to set the pan value to be sent whenever the current kit is selected.

Settings L63 to C to R63

NOTE

• If “off” or “PC” has been selected on the Transmit page (MIDI3-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

MIDI3-4 Program Change page

B Transmit

Use this parameter to indicate which MIDI messages are to be sent whenever the current kit is selected.

•off ............. No MIDI messages will be sent.

• all ............. All applicable MIDI messages will be sent. (See

the following parameter-setting page descriptions for more details.)

•PC............. Only program change messages and bank-select

MSB/LSB messages will be sent.

Settings off, all, or PC

MIDI3-2 Volume page

MIDI3-2≥≥≥≥≥Ch≥1 ≥≥≥Volume=100

1 MIDI channel (Ch)

Settings 1 to 16

B Transmit

Use this parameter to set a volume value to be sent whenever the current kit is selected.

Settings 0 to 127

NOTE

• If “off” or “PC” has been selected on the Transmit page (MIDI3-1), this

setting will be displayed as “---” and modiﬁcation will not be possible.

1 MIDI channel (Ch)

Settings 1 to 16

B Bank select MSB (M)

Use this parameter to set a bank-select MSB value to be sent whenever the current kit is selected.

Settings 000 to 127

C Bank select LSB (L)

Use this parameter to set a bank-select LSB value to be sent whenever the current kit is selected.

Settings 000 to 127

D Program change (PC)

Use this parameter to set a program-change number to be sent whenever the current kit is selected.

Settings 001 to 128

NOTE

• If “off” has been selected on the Transmit page (MIDI3-1), these settings will be displayed as “---” and modiﬁcation will not be possible.

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MIDI Setting Area (MIDI)

MIDI3-5 Variation Send Level page

MIDI3-6 Chorus Send Level page

MIDI3-7 Reverb Send Level page

On the Variation Send Level, Chorus Send Level, and Reverb Send Level pages, you can adjust the send level to be set for each of the corresponding effect units when the current kit is selected.

NOTE

• If “off” or “PC” has been selected on the Transmit page (MIDI3-1), theses settings will be displayed as “---” and modiﬁcation will not be possible.

Parameter 2 from each of the pages is used to adjust the corresponding send level. Parameter 1 is identical on all three pages.

[Setting example using the Variation Send Level page (MIDI3-5)]

MIDI3-5≥≥≥≥≥Ch≥1 Var=≥≥0(Dry=127)

1 MIDI channel (Ch)

Settings 1 to 16

[MIDI3-5 Variation Send Level page]

B Variation send level (Var)

Use this parameter to set the variation-effect send level to be sent whenever the current kit is selected.

Settings 0 to 127

NOTE

• If the MIDI channel 1 is set to 10, this setting will be displayed as “---” and modiﬁcation will not be possible.

MIDI3-8 CC Number & Value page

MIDI3-8≥≥≥≥≥Ch≥1

CCNo=off/Val=≥≥0

1 MIDI channel (Ch)

Settings 1 to 16

B Control change number (CCNo)

Use this parameter to set the type (or number) of MIDI Control Change message to be sent whenever the current kit is selected. No control-change messages are sent when “off” is set.

Settings off or 1 to 95

C Control change value (Val)

Use this parameter to set a value for the MIDI Control Change messages to be sent whenever the current kit is selected.

Settings 0 to 127

NOTE

• If “off” or “PC” has been selected on the Transmit page (MIDI3-1), these settings will be displayed as “---” and modiﬁcation will not be possible.

• If the type of MIDI Control Change message set on this page (MIDI3-8) matches one of the control-change message types set on the following pages, this page’s setting will have priority: Volume (MIDI3-2), Pan (MIDI3-3), Variation Send Level (MIDI3-5), Chorus Send Level (MIDI3-

6), or Reverb Send Level (MIDI3-7).

[MIDI3-6 Chorus Send Level page]

2 Chorus send level (ChoSend)

Use this parameter to set the chorus send level to be sent whenever the current kit is selected.

Settings 0 to 127

[MIDI3-7 Reverb Send Level page]

2 Reverb send level (RevSend)

Use this parameter to set the reverb send level to be sent whenever the current kit is selected.

Settings 0 to 127

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Page 69

WAVE Setting Area (WAVE)

This section describes the WAVE setting area, which can be accessed using the [WAVE] button. Your DTX-MULTI 12 can be used to import AIF and WAV audio ﬁles from a wide range of sources. These ﬁles (referred to as “waves”) can then be used in the same way as the instrument’s preset voices and patterns. The WAVE setting area is used to import and edit waves.

CAUTION

• Be sure to store any imported waves or settings that you have edited before turning off the instrument or selecting a new wave. (See page 45.)

Makeup of WAVE Setting Area

The following four sections (WAVE1 to WAVE4) make up the WAVE setting area. Use the [B]/[C] buttons to navigate between these

sections. If a section contains parameter-setting pages, the [ENTER] button will light up. Press the [ENTER] button to access these pages. In certain cases, a number of additional pages may be accessed from a parameter setting page, also using the lit [ENTER] button. Furthermore, you can press the [EXIT] button to move back towards the top of the setting area.

Sections

WAVE1 WV001:EmptyWave

WAVE2 ≥≥≥≥≥COMMON

WAVE3 ≥≥≥≥≥≥JOB

WAVE4 ≥≥MEMORY≥INFO

Parameter-setting pages

Wave Selection & Playback............................................................................. Page 70

WAVE2-1 Wave Playback Mode page.............................................................Page 70

WAVE2-2 Trimming page ................................................................................Page 71

WAVE2-3 Wave Name page ...........................................................................Page 71

WAVE3-1 Import All page ............................................................................... Page 72

WAVE3-2 Normalize page............................................................................... Page 73

WAVE3-3 Delete page ....................................................................................Page 73

WAVE3-4 Delete All page ...............................................................................Page 73

WAVE3-5 Optimize Memory page................................................................... Page 73

WAVE4-1 Memory Info page........................................................................... Page 73

Owner’s Manual 69

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WAVE Setting Area (WAVE)

WAVE1

Wave Selection & Playback

You can use the Select Wave page (WAVE1) to select and play waves. Only waves that have been saved in the DTX-MULTI 12’s internal memory by importing (see page 72) will be available for selection on this page. In other words, audio ﬁles stored on a USB memory device are not immediately made available for selection simply by plugging in the device. On the Select Wave page, you can preview the currently selected wave by pressing and holding the [WAVE] button. Release the button to stop playback.

WAVE1 WV001:My≥Wave

A Wave number: Wave name

Settings WV001 to WV500

WAVE2

WAVE2-1 Wave Playback Mode page

WAVE2-1≥<COMMON> PlayMode=oneshot

1 Playback mode (PlayMode)

Use this parameter to set the way in which the selected wave will be played when assigned to a pad. For details on editing start, end, and loop points, see the description of the Trimming page (WAVE2-2) below.

• oneshot ..... The wave will be played once only from the start

point to the end point. This mode is normally selected for drums, special effects, and other non-looped sounds.

• loop .......... The wave will be played continuously, ﬁrst from

the start point to the end point, and then repeatedly from the loop point to the end point.

Settings oneshot or loop

One-shot playback

Playback Mode, Trim Points & Name

WAVE2 ≥≥≥≥≥COMMON

In the COMMON section, you can choose a playback mode for the currently selected wave and perform other related operations such as trimming and naming. With the COMMON page (WAVE2) displayed, press the [ENTER] button to access its three parameter-setting pages (WAVE2-1 to WAVE2-3). You can use

the [B]/[C] buttons to navigate between these pages.

NOTE

• If the selected wave contains no data, the [ENTER] button will not open parameter-setting pages.

Start point End point

Looped playback

Start point End point

Loop point

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WAVE Setting Area (WAVE)

WAVE2-3≥<COMMON> ≥≥≥≥≥≥Name

WAVE2-3-1 ≥≥[MyWave≥1≥]

Wave name

!"#$%&'()*+,-./0123456789:;<=>?@ ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}ßå

WAVE3 ≥≥≥≥≥≥JOB

≥≥≥Normalize ≥Are≥you≥sure?

WAVE2-2 Trimming page

From the Trimming page, you can edit the currently selected wave’s start, end, and loop points. With the Trimming page (WAVE2-2) displayed, press the [ENTER] button to open the Trimming Settings page.

WAVE2-2≥<COMMON> ≥≥≥≥Trimming

WAVE2-2-1 Trimming Settings page

WAVE2-2-1≥≥start ≥≥Point=05000

1 Trim point

Use this parameter to select the trim point to be set. As shown in the diagram below, three different types of trim point can be selected – start, loop, and end.

• Start ........ This is the position at which playback will start.

In other words, no data in front of this point (i.e., with a smaller position value) will be played.

• Loop .......This is the position at which looping will start. If

“loop” has been selected on the Wave Playback Mode page (WAVE2-1), playback will loop continuously between this point and the end point.

• End .........This is the position at which playback will end. In

other words, no data behind this point (i.e., with a larger position value) will be played.

Settings start, loop, or end

WAVE2-3 Wave Name page

From the Wave Name page, you can assign a name to the currently selected wave. With this page displayed, press the [ENTER] button to open the Wave Name Setting page.

WAVE2-3-1 Wave Name Setting page

On the Wave Name Setting page, you can set a wave name of

up to 10 characters in length. Use the [B]/[C] buttons to

move the ﬂashing cursor to the character you want to change, and then select a new character using the [-/DEC] and [+/ INC] buttons. The following characters can be used in wave names.

[space]

WAVE3 JOB

Looped playback

Start point End point

Loop point

B Point

Use this parameter to specify a ﬁve-digit position value for

the selected trim point. The [B]/[C] buttons can be used to

move the cursor between digits, and the [-/DEC] and [+/INC] buttons can be used to change the corresponding value.

Settings From 00000

NOTE

•To audition your wave with the current settings, press the [WAVE] but-

ton with the Trimming Settings page displayed.

Other Wave-Related Tasks

In the JOB section, you can create waves by importing WAV or AIFF ﬁles from a USB memory device into the DTX-MULTI 12’s internal memory, and you can also perform a number of other related tasks. With the JOB page (WAVE3) displayed, press the [ENTER] button to access its ﬁve parameter-setting pages

(WAVE3-1 to WAVE3-5). You can use the [B]/[C] buttons to

navigate between these pages.

Whenever you press the [ENTER] button to perform an operation on a JOB section page, you will be asked to reconﬁrm that you want to do so. Press the [ENTER] button once again to proceed.

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Page 72

WAVE Setting Area (WAVE)

WAVE3-1 Import All page

Using the Import All page, you can import all WAV or AIFF ﬁles from a USB memory device into your DTX-MULTI 12’s internal memory.

NOTE

• Files can also be imported individually, and the procedure for doing so is described on the right.

• Only WAV and AIFF audio ﬁles can be imported.

Ensure that the WAV or AIFF ﬁles to be imported are

located in the USB memory device’s root directory, using a computer to move them if necessary.

Plug the USB memory device into the instrument’s

USB TO DEVICE port.

With the JOB page (WAVE3) displayed, press the

[ENTER] button, and if necessary, the [B]/[C] but-

tons to open the Import All page (WAVE3-1).

WAVE3-1≥≥≥≥<JOB> ≥≥≥Import≥All

Press the [ENTER] button once again.

You will be asked to conﬁrm that you want to import all ﬁles. You can press the [EXIT] button to return to the previous page without importing.

Importing Individual Audio Files

The following describes how to import individual WAV or AIFF ﬁles from a USB memory device into the DTX-MULTI 12’s internal memory.

NOTE

• Only WAV and AIFF audio ﬁles can be imported.

Ensure that the WAV or AIFF ﬁle to be imported is

located in the USB memory device’s root directory, using a computer to move it if necessary.

Plug the USB memory device into the instru-

ment’s USB TO DEVICE port.

Hold down the [SHIFT] button and press the

[WAVE] button to open the IMPORT page shown below.

IMPORT ≥≥≥Surdo.WAV

Use the [-/DEC] and [+/INC] buttons to select the

audio ﬁle you want to import.

IMPORT ≥≥≥FillX.AIF

Name of audio ﬁle to be imported

≥≥≥Import≥All ≥Are≥you≥sure?

Press the [ENTER] button to import.

Each imported wave will be automatically assigned a wave number.

Now≥Importing... [EXIT]≥to≥cancel

You can press the [EXIT] button at any time during the import process to terminate it. Files that have been fully imported at that time will be retained in the DTX-MULTI 12’s internal memory.

NOTE

• If there is insufﬁcient free space in the instrument’s internal memory, the message “Wave memory full.” will be displayed and the import process will be terminated. Before repeating the import process, make additional memory available by deleting unneeded waves on the Delete page (WAVE3-3) or the Delete All page (WAVE3-4).

Press the [ENTER] button to import.

When the selected ﬁle has been imported, the IMPORT page will allow you to assign it to a pad within the currently selected kit.

NOTE

Use the [-/DEC] and [+/INC] buttons to select the

pad to which the wave is to be assigned.

The available options are 01 to 13, 13R1, 13R2, 14 to 17, FTSW, HHCL, and HHSP. You can also select a pad by striking it. Alternatively, you can select “off” to store the imported wave in the instrument’s internal memory without assigning it to a pad at this time.

IMPORT ≥PadAssign=¡£Ω¡

Pad number

When you have assigned the wave as required,

press the [ENTER] button to complete the procedure.

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WAVE Setting Area (WAVE)

WAVE3-5≥≥≥≥<JOB> Optimize≥Memory

WAVE4 ≥≥MEMORY≥INFO

WAVE4-1≥≥≥≥≥0.0% ≥≥0.4MB≥/≥64.0MB

WAVE3-2 Normalize page

From the Normalize page, you can increase the volume of the currently selected wave. With this page displayed, press the [ENTER] button to open the Ratio page (WAVE3-2-1). Here you can specify how much the volume of the wave is to be increased.

WAVE3-2≥≥≥≥<JOB> ≥≥≥Normalize

WAVE3-2-1 Ratio page

WAVE3-2-1 ≥≥≥Ratio=100%

1 Ratio

Use this parameter to specify how much the wave’s volume is to be increased. Generally, a ratio of 100% or lower is used. With a setting of 100%, the volume will be increased to the maximum possible level without clipping. (Ratios greater than 100% can be speciﬁed; however, the wave may become distorted as a result.)

Settings 1 to 800

WAVE3-5

From the Optimize Memory page, you can maximize the amount of unused wave memory. In order to do this, the content of the DTX-MULTI 12’s internal wave memory is rearranged to make more memory available. Optimization can be an effective way to increase the amount of memory available for waves.

Optimize Memory page

WAVE4 MEMORY INFO

Wave Memory Status

The MEMORY INFO section allows you to display the current usage status of the DTX-MULTI 12’s wave memory. To view the memory-usage status, navigate to the MEMORY INFO section (WAVE4) and press the [ENTER] button.

WAVE3-3 Delete page

From the Delete page, you can delete the wave currently selected on the Select Wave page (WAVE1).

WAVE3-3≥≥≥≥<JOB> ≥≥≥≥≥Delete

Press the [ENTER] button with the Delete page displayed, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

WAVE3-4 Delete All page

From the Delete All page, you can delete all waves from the DTX-MULTI 12’s internal wave memory.

WAVE3-4≥≥≥≥<JOB> ≥≥≥Delete≥All

Press the [ENTER] button with the Delete All page displayed, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

WAVE4-1 Memory Info page

1 Memory usage ratio (%)

This indicates how much of the total wave memory is currently being used in percentage format.

B Used memory / Total memory

This indicates separately the amount of wave memory used and the total wave memory in megabyte (MB) units.

NOTE

• Certain types of audio ﬁle may require more of the instrument’s memory than indicated by the corresponding ﬁle size shown on your computer.

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Owner’s Manual 73

Page 74

PATTERN Setting Area (PTN)

This section describes the PATTERN setting area, which can be accessed using the [PTN] button. Built into the DTXMULTI 12 are a range of Preset patterns specially for playback (P001 to P128) in addition to User patterns that can be freely recorded and edited (U001 to U050). Use the PATTERN area to record and edit these patterns.

NOTE

•Parameter setting pages from the COMMON section (PTN2), the MIDI section (PTN3), and the JOB section (PTN4) will not be accessible when a Preset pattern has been selected. You can, however, edit a Preset pattern by ﬁrst selecting an empty User pattern and then copying the Preset pattern into it using the Copy Pattern page (PTN4-5).

CAUTION

• Be sure to store any recorded patterns or settings that you have edited before turning off the instrument or selecting a new pattern. (See page 45.)

Makeup of PATTERN Setting Area

The PATTERN setting area is subdivided into ﬁve different sections (PTN1 to PTN5). Use the [B]/[C] buttons to navigate between

these sections. If a section contains parameter-setting pages, the [ENTER] button will light up. Press the [ENTER] button to access these pages. In certain cases, a number of additional pages may be accessed from a parameter setting page, also using the lit [ENTER] button. Furthermore, you can press the [EXIT] button to move back towards the top of the setting area.

Sections

PTN2≥≥≥≥≥≥≥≥≥≥≥≥ ≥≥≥≥≥COMMON≥≥≥≥≥

PTN3 ≥≥≥≥≥≥MIDI

PTN4 ≥≥≥≥≥≥JOB

Parameter-setting pages

Select Pattern.................................................................................................. Page 75

PTN2-1 Pattern Loop page ............................................................................. Page 75

PTN2-2 Pattern Tempo page........................................................................... Page 75

PTN2-3 Pattern Name page............................................................................ Page 76

PTN3-1 MIDI Transmit page............................................................................ Page 76

PTN3-2 MIDI Volume page ............................................................................. Page 77

PTN3-3 MIDI Pan page................................................................................... Page 77

PTN3-4 Bank Select page............................................................................... Page 77

PTN3-5 Variation Send page .......................................................................... Page 77

PTN3-6 Chorus Send page............................................................................. Page 78

PTN3-7 Reverb Send page............................................................................. Page 78

PTN4-1 Quantize Pattern page....................................................................... Page 78

PTN4-2 Merge Pattern page ........................................................................... Page 79

PTN4-3 Clear Pattern page............................................................................. Page 79

PTN4-4 Clear All Patterns page...................................................................... Page 79

PTN4-5 Copy Pattern page............................................................................. Page 79

PTN4-6 Exchange Patterns page ...................................................................Page 80

PTN4-7 Import SMF page ............................................................................... Page 80

74 Owner’s Manual

PTN5 ≥≥MEMORY≥INFO

PTN5-1 Memory Info page.............................................................................. Page 81

Page 75

PATTERN Setting Area (PTN)

PTN2 ≥≥≥≥≥COMMON

PTN2-1≥≥<COMMON> ≥≥≥≥Loop=off

PTN2-2≥≥<COMMON> ≥≥≥Tempo=120

PTN1

Select Pattern

On the Select Pattern page (PTN1), you can select and play patterns and also set their tempo and time signature. To access this

page, press the [PTN] button, and if necessary, the [B]/[C] but-

tons. If you again press the [PTN] button with this page displayed, the selected pattern will start to play. To stop playback, press the [PTN] button once again with the Select Pattern page (PTN1) displayed. Whenever you want to edit or record a pattern, furthermore, be sure to select it ﬁrst on this page.

1 Tempo

Use this parameter to set the tempo at which the selected pattern will be played.

Settings 30 to 300

NOTE

• Whenever you select a new pattern, its tempo will be set automatically.

• The Tempo parameter’s setting will be displayed as “ext” and modiﬁcation will not be possible if “ext” has been selected on the UTILITY area’s MIDI Sync page (UTIL6-6) or if “auto” has been selected on that page and MIDI clock messages are being received from an external device.

PTN2 COMMON

Looping, Tempo & Pattern Names

In the COMMON section, you can specify whether the currently selected pattern is to be played repeatedly as a loop, and you can also set its tempo and name. With the COMMON page (PTN2) displayed, press the [ENTER] button to access its three parame-

ter-setting pages (PTN2-1 to PTN2-3). You can use the [B]/[C]

buttons to navigate between these pages.

NOTE

• This section can be used only with User patterns. If a Preset pattern has been selected, the [ENTER] button will not open a parameter-setting page.

PTN2-1 Pattern Loop page

Using the Pattern Loop page, you can specify whether or not the selected pattern is to be played repeatedly as a loop. The selection made on this page will apply regardless of whether the pattern is played using the [ has been assigned.

A] button or by striking a pad to which it

B Time signature

Use this parameter to set the time signature for playback of the selected pattern.

Settings 1/4 to 16/4, 1/8 to 16/8, or 1/16 to 16/16

NOTE

• Whenever you select a new pattern, its time signature will be set automatically.

C Pattern category

Use this parameter to select either the Preset (P) or User (

U) pattern category.

Settings P or U

D Pattern number: Pattern name

Use these parameters to select the pattern to be played, recorded, or processed.

With “P” (Preset pattern) selected: 001 to

Settings

128 With “U” (User pattern) selected: 001 to 050

Whenever a demo pattern (P001 to P003) is being played, a page similar to that shown below will be displayed and modiﬁcation of the tempo or time signature will not be possible.

≥<<Demo≥01>> P001:PercsMaster

1 Loop

If “on” is selected for this parameter, playback of the pattern will start again from the beginning whenever it ﬁnishes (i.e., looped playback). When set to “off”, the pattern will be played once to the end and will then stop (i.e., one-shot playback).

Settings off or on

PTN2-2 Pattern Tempo page

1 Tempo

Use this parameter to set a tempo for playback of the selected pattern.

Settings 30 to 300

NOTE

• If the pattern is assigned to a kit, the kit’s tempo setting (see page 47) will take priority over this setting.

TRIGGER ReferenceKITMIDI VOICEUTILITY WAVEPATTERN

NOTE

• Playback of the click track or of patterns assigned to pads will be stopped whenever playback of a demo pattern is star ted.

• Playback of demo patterns can be stopped by pressing any button other than [SHIFT].

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PATTERN Setting Area (PTN)

PTN2-3 Pattern Name page

With the Pattern Name page displayed, press the [ENTER] button to edit the name of the currently selected pattern.

PTN2-3≥≥<COMMON> ≥≥≥≥≥≥Name

PTN2-3-1 Pattern Name Setting page

PTN2-3-1 ≥≥[Pattern≥1≥]≥≥

Pattern name

In the Pattern Name Setting page (PTN2-3-1), you can freely specify a pattern name of up to ten characters in length. Use the [

]/[C] buttons to move the ﬂashing cursor to the char-

acter you want to change, and then select a character using the [-/DEC] and [+/INC] buttons. The following characters can be used in pattern names.

[space]

!"#$%&'()*+,-./0123456789:;<=>?@ ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_` abcdefghijklmnopqrstuvwxyz{|}ßå

PTN3 MIDI

MIDI Settings for Patterns

PTN3 ≥≥≥≥≥≥MIDI

In the MIDI section, you can conﬁgure the MIDI messages sent by the currently selected pattern on each individual MIDI channel. These settings affect MIDI messages sent to both the DTXMULTI 12’s internal tone generator and external MIDI devices. With the MIDI page (PTN3) displayed, press the [ENTER] button to access its seven parameter-setting pages (PTN3-1 to PTN3-7). You can use the [ pages.

NOTE

• This section can be used only with User patterns. If a Preset pattern has been selected, the [ENTER] button will not open a parameter-setting page.

PTN3-1 MIDI Transmit page

1 MIDI channel (Ch)

Use this parameter to select the MIDI channel (1 to 16) to be set.

Settings 1 to 16

]/[

] buttons to navigate between these

PTN3-1≥≥≥≥≥≥Ch≥1 ≥≥Transmit=all

B Transmit

Use this parameter to specify which MIDI messages will be sent to the internal tone generator and to external MIDI devices by the currently selected pattern on the MIDI channel indicated by 1.

•off ............. No MIDI messages will be sent.

• all.............. All applicable MIDI messages will be sent.

•PC............. Only MIDI Program Change messages (includ-

ing bank-select MSB/LSB) will be sent.

Settings off, all, or PC

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PATTERN Setting Area (PTN)

PTN3-4≥≥≥≥≥≥Ch≥1 M000/L000/PC001

PTN3-5≥≥≥≥≥≥Ch≥1 Var=≥≥0(Dry=127)

PTN3-2 MIDI Volume page

PTN3-2≥≥≥≥≥≥Ch≥1 ≥≥≥Volume=100

1 MIDI channel (Ch)

Settings 1 to 16

B Volume

Use this parameter to set the MIDI volume (Control Change

7) sent by the currently selected pattern on the MIDI channel indicated by 1. In terms of the internal tone generator, this value affects all voices played on that channel.

Settings 0 to 127

NOTE

• If “off” or “PC” has been selected on the MIDI Transmit page (PTN3-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

• If you change the volume setting for MIDI channel 10, the setting on the Kit Volume page (KIT2-1) will also change to this new setting.

PTN3-3 MIDI Pan page

PTN3-3≥≥≥≥≥≥Ch≥1 ≥≥≥≥Pan=≥C

1 MIDI channel (Ch)

Settings 1 to 16

B Pan

Use this parameter to set the stereo panning (Control Change

10) sent by the currently selected pattern on the MIDI channel

indicated by 1. In terms of the internal tone generator, this value affects all voices played on that channel.

Settings L64 to C to R63

NOTE

• If “off” or “PC” has been selected on the MIDI Transmit page (PTN3-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

PTN3-4 Bank Select page

1 MIDI channel (Ch)

Settings 1 to 16

B Bank select MSB (M)

Use this parameter to set a bank-select MSB value.

Settings 000 to 127

C Bank select LSB (L)

Use this parameter to set a bank-select LSB value.

Settings 000 to 127

D Program change (PC)

Use this parameter to set a program-change number sent by the currently selected pattern on the MIDI channel indicated by 1.

Settings 001 to 128

NOTE

• If “off” has been selected on the MIDI Transmit page (PTN3-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

To select a DTX-MULTI 12 drum kit, set parameters for MIDI channel 10 as follows.

• Preset kits: MSB = 125, LSB = 000, PC = Preset kit number

• User kits between U001 and U100: MSB = 125, LSB = 001, PC = 001 to 100

•User kits between U101 and U200: MSB = 125, LSB = 002, PC = 001 to 100

If a program-change setting is made for MIDI channel 10, the current drum kit will be changed immediately.

PTN3-5 Variation Send page

1 MIDI channel (Ch)

Settings 1 to 16

B Variation send level (Var)

Use this parameter to set the variation-send level to be sent by the currently selected pattern.

Settings 0 to 127

NOTE

• If “off” or “PC” has been selected on the MIDI Transmit page (PTN3-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

• If MIDI channel 10 is selected, this setting will be displayed as “---” and modiﬁcation will not be possible.

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PATTERN Setting Area (PTN)

PTN3-6 Chorus Send page

PTN3-6≥≥≥≥≥≥Ch≥1 ≥≥ChoSend=≥≥0

1 MIDI channel (Ch)

Settings 1 to 16

B Chorus send level (ChoSend)

Use this parameter to set the chorus-send level to be sent by the currently selected pattern.

Settings 0 to 127

NOTE

• If “off” or “PC” has been selected on the MIDI Transmit page (PTN3-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

• If you change the chorus send level for MIDI channel 10, the setting on the Chorus Send page (KIT3-1) for the currently selected kit will also change to this new setting.

PTN3-7 Reverb Send page

PTN3-7≥≥≥≥≥≥Ch≥1 ≥≥RevSend=≥40

1 MIDI channel (Ch)

Settings 1 to 16

PTN4 JOB

Pattern Quantization & Management

PTN4 ≥≥≥≥≥≥JOB

In the JOB section, you can quantize the currently selected User pattern, import SMF ﬁles, and perform other related tasks. With the JOB page (PTN4) displayed, press the [ENTER] button to access its seven parameter-setting pages (PTN4-1 to PTN4-7). You can use the [ pages.

NOTE

• This section can be used only with User patterns. If a Preset pattern has been selected, the [ENTER] button will not open a parameter-setting page.

PTN4-1 Quantize Pattern page

From the Quantize Pattern page, you can correct irregularities in the timing of notes making up the currently selected User pattern. This is referred to as quantizing. With the Quantize page displayed, press the [ENTER] button to open the Quantize Pattern Setting page.

]/[C] buttons to navigate between these

PTN4-1≥≥≥≥≥<JOB> ≥≥≥≥Quantize

B Reverb send level (RevSend)

Use this parameter to set the reverb-send level to be sent by the currently selected pattern.

Settings 0 to 127

NOTE

• If “off” or “PC” has been selected on the MIDI Transmit page (PTN3-1), this setting will be displayed as “---” and modiﬁcation will not be possible.

• If you change the reverb send level for MIDI channel 10, the setting on the Reverb Send page (KIT3-2) for the currently selected kit will also change to this new setting.

PTN4-1-1 Quantize Pattern Setting page

PTN4-1-1 ≥≥Quantize=ƒ

1 Quantize

Use this parameter to specify the quantizing resolution as a division of a whole note. The lower the resolution, the ﬁner the correction of timing.

When time signature from PTN1 or for

Settings

recording is 3/8, 6/8, 9/8, 12/8, or 15/8:

˙3 ˙ ©3 © ƒ ¨

When time signature from PTN1 is other than the above:

˙3 ˙ ©3 © ƒ3 ƒ

16 note triplets

16 notes

8 note triplets

8 notes

4 notes Dotted 4 notes

16 note triplets

16 notes

8 note triplets

8 notes

4 note triplets

4 notes

78 Owner’s Manual

CAUTION

• The natural groove of a recorded performance may be lost as a result of quantization. Note that once a pattern is quantized, it will not be possible to reverse the procedure.

Page 79

PATTERN Setting Area (PTN)

PTN4-3≥≥≥≥≥<JOB> ≥≥≥≥≥Clear

PTN4-4≥≥≥≥≥<JOB> ≥≥≥Clear≥All

PTN4-5≥≥≥≥≥<JOB> ≥≥≥≥≥≥Copy

Example of how quantizing works

These recorded notes were not played exactly in time.

Notes moved closer to the correct position through quantizing.

Exact position

PTN4-2 Merge Pattern page

From the Merge Pattern page, you can merge two patterns and store the result as a User pattern. To start, select a User pattern to hold the merged pattern on the Select Pattern page (PTN1). Then, navigate to the Merge Pattern page and press the [ENTER] button to open the Merge Pattern Settings page.

PTN4-2≥≥≥≥≥<JOB> ≥≥≥≥≥Merge

PTN4-2-1 Merge Pattern Settings page

PTN4-3 Clear Pattern page

From the Clear Pattern page, you can delete all data from the currently selected User pattern. To do so, press the [ENTER] button with the Clear Pattern page displayed, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

CAUTION

• When a User pattern is cleared as described above, its data is completely erased from the instrument’s pattern memory. Be sure, therefore, to always save important data on a USB memory device or the like before deleting.

PTN4-4 Clear All Patterns page

From the Clear All Patterns page, you can delete data from all User patterns. To do so, press the [ENTER] button with the Clear All Patterns page displayed, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

CAUTION

• When User patterns are cleared as described above, their data is completely erased from the instrument’s pattern memory. Be sure, therefore, to always save important data on a USB memory device or the like before deleting.

1 Merge pattern 1 B Merge pattern 2

Use the above two parameters to specify the patterns that are to be merged as one.

Settings P004 to P128 or U001 to U050

NOTE

• If the User pattern selected before opening the Merge Pattern page already contains data, it will be overwritten with the merged pattern.

• The tempo and time signature of Merge pattern 1 are set as the tempo and time signature of the merged pattern. If Merge pattern 1 is empty, however, the tempo and time signature of Merge pattern 2 are used.

• The channel-speciﬁc MIDI settings of Merge pattern 1 are set as those of the merged pattern. In the case, however, of MIDI channels for which Merge pattern 1 contains no settings, any applicable settings from Merge pattern 2 will be applied.

• Generally speaking, only patterns with similar tempos, time signatures, and MIDI voice settings should be merged.

• Demo patterns cannot be selected for merging.

PTN4-5 Copy Pattern page

From the Copy Pattern page, you can copy a pattern to the currently selected User pattern. With the Copy Pattern page displayed, press the [ENTER] button to open the Copy Pattern Setting page.

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PATTERN Setting Area (PTN)

PTN4-5-1 Copy Pattern Setting page

With the Copy Pattern Setting page displayed, press the [ENTER] button, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

1 Pattern to be copied

Use this parameter to select the pattern to be copied to the currently selected User pattern.

Settings P004 to P128 or U001 to U050

CAUTION

• The currently selected User pattern is overwritten as a result of this procedure. Be sure, therefore, to always save important data on a USB memory device or the like before copying patterns.

NOTE

• Demo patterns cannot be copied.

PTN4-6 Exchange Patterns page

From the Exchange Patterns page, you can swap a pair of User patterns. With the Exchange Patterns page displayed, press the [ENTER] button to open the Exchange Patterns Settings page.

PTN4-6≥≥≥≥≥<JOB> ≥≥≥≥Exchange

PTN4-7 Import SMF page

From the Import SMF page, you can import a standard MIDI ﬁle (SMF) into the DTX-MULTI 12 from a USB memory device for use as a User pattern. SMFs contain sequenced MIDI data and have a “.mid” ﬁle extension. It should be noted that the DTXMULTI 12 supports Format 0 SMFs only.

PTN4-7≥≥≥≥≥<JOB> ≥≥≥Import≥SMF

PTN4-7-1 Import SMF Setting page

PTN4-7-1<Import> ≥≥pattern1.mid

1 SMF ﬁle name

Use this parameter to select the SMF to be imported.

Any SMF ﬁle having extension .mid and

Settings

Plug a USB memory device containing the Format-0

SMF to be imported into the USB TO DEVICE port on the side panel of the DTX-MULTI 12.

Navigate to the Import SMF page (PTN4-7) and press

the [ENTER] button to open the Import SMF Setting page (PTN4-7-1) shown above. Select the SMF to be imported and then press the [ENTER] button once again.

You will be asked to conﬁrm that you wish to proceed.

stored in the USB memory device’s root directory.

PTN4-6-1 Exchange Patterns Settings page

With the Exchange Patterns Settings page displayed, press the [ENTER] button, and when asked to conﬁrm that you wish to proceed, press the [ENTER] button once again.

1 Exchange pattern 1 B Exchange pattern 2

Use these parameters to select the two User patterns to be swapped.

Settings U001 to U050

≥≥≥Import≥SMF≥≥ ≥Are≥you≥sure?

To import the selected SMF, press the [ENTER] but-

ton. Alternatively, press the [EXIT] button to return to the previous page without importing.

NOTE

• If the currently selected User pattern already contains pattern data, it will be overwritten with the imported data.

The message “Now importing...” will be displayed during the import process.

CAUTION

• Do not unplug the USB memory device from the USB TO DEVICE port or turn off either the USB memory device or the DTX-MULTI 12 while data is being imported. Failure to observe this precaution can lead to the USB memory device or the DTXMULTI 12 being permanently damaged.

NOTE

• Only standard MIDI ﬁles of Format 0 can be imported.

•In cer tain cases where a User pattern created from an impor ted SMF is looped, voices may not change as expected when playback jumps from the end back to the beginning, and instead, the voices settings from the end of the pattern will be maintained throughout. Speciﬁcally, this happens when program change data from the SMF’s header is not read upon return to the start of the pattern. To prevent this type of unintended situation, move any program change messages slightly back from the SMF header to ensure that they will be correctly read.

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PTN5 MEMORY INFO

Pattern Memory Status

PTN5 ≥≥MEMORY≥INFO

The MEMORY INFO section allows you to check the usage status of DTX-MULTI 12 memory for User patterns. To do so, navigate to this section (PTN5) and press the [ENTER] button.

PTN5-1 Memory Info page

PATTERN Setting Area (PTN)

PTN5-1≥≥≥≥≥≥0.0% ≥≥≥0.4KB/896.0KB

1 Memory usage ratio (%)

This indicates how much of the total User-pattern memory is currently being used in percentage format.

B Used memory / Total memory (KB)

This indicates separately the amount of memory used and the total memory in kilobyte (KB) units.

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UTILITY Setting Area (UTIL)

This section describes the UTILITY setting area, which can be accessed using the [UTILITY] button. In this area, you can set parameters affecting the entire instrument and perform a range of ﬁle management operations.

CAUTION

• Be sure to store any settings that you have edited before turning off the instrument. (See page 45.)

Makeup of UTILITY Setting Area

The UTILITY setting area is subdivided into three different sections (UTIL1 to UTIL3). Use the [B]/[C] buttons to navigate between these sections. If a section contains parameter-setting pages, the [ENTER] button will light up. Press the [ENTER] button to access these pages. In certain cases, a number of additional pages may be accessed from a parameter setting page, also using the lit [ENTER] button. Furthermore, you can press the [EXIT] button to move back towards the top of the setting area.

Sections

UTIL1 ≥≥≥≥GENERAL

UTIL2 ≥≥≥≥≥CLICK

UTIL3 ≥≥≥MASTER≥EQ

UTIL4 ≥≥≥≥≥≥PAD

UTIL5 ≥≥≥≥≥HI-HAT

UTIL6 ≥≥≥≥≥≥MIDI

Parameter-setting pages

UTIL1-1 Master Volume page ......................................................................... Page 83

UTIL1-2 Master Tune page.............................................................................. Page 83

UTIL1-3 Startup Kit page ................................................................................Page 83

UTIL1-4 Startup Pattern page ......................................................................... Page 83

UTIL1-5 Startup Trigger page.......................................................................... Page 83

UTIL1-6 Effect Bypass page ........................................................................... Page 83

UTIL1-7 Pan Depth page ................................................................................ Page 84

UTIL1-8 Auxiliary Output page........................................................................ Page 84

UTIL2-1 Click-track Voice page ....................................................................... Page 84

UTIL2-2 Click-track Master Volume page........................................................ Page 84

UTIL2-3 Click-track Beat Volume page ...........................................................Page 84

UTIL2-4 Click-track Output page..................................................................... Page 84

UTIL2-5 Click-track MIDI page........................................................................ Page 85

UTIL3-1 Gain, Frequency & Bandwidth page .................................................Page 87

UTIL3-2 EQ Shape page................................................................................. Page 87

UTIL3-3 Master EQ Bypass page ...................................................................Page 87

UTIL4-1 Pad Function page ............................................................................ Page 88

UTIL4-2 Foot Switch Input page .....................................................................Page 89

UTIL4-3 Pad 10-12 Switch page ..................................................................... Page 89

UTIL5-1 Close Position page ..........................................................................Page 89

UTIL5-2 Splash Sensitivity page ..................................................................... Page 89

UTIL5-3 Send Hi-hat Controller page.............................................................. Page 89

UTIL6-1 Channel-10 Receive page................................................................. Page 90

UTIL6-2 Program Change Receive page........................................................ Page 90

UTIL6-3 Channel-10 Program Change Receive page ....................................Page 90

UTIL6-4 Polyphonic Aftertouch Status page ................................................... Page 90

UTIL6-5 Local Control page ............................................................................ Page 90

UTIL6-6 MIDI Sync page................................................................................. Page 91

UTIL6-7 Clock Out page .................................................................................Page 91

UTIL6-8 Sequencer Control page ...................................................................Page 91

UTIL6-9 MIDI In/Out page............................................................................... Page 91

UTIL6-10 MIDI Thru Port page........................................................................ Page 91

UTIL6-11 MIDI Merge page ............................................................................Page 92

UTIL6-12 Device Number page ......................................................................Page 92

82 Owner’s Manual

UTIL7 ≥≥≥≥≥≥FILE

UTIL8 ≥≥FACTORY≥SET

UTIL7-1 Save File page .................................................................................. Page 93

UTIL7-2 Load File page ..................................................................................Page 94

UTIL7-3 Rename File page............................................................................. Page 96

UTIL7-4 Delete File page ................................................................................ Page 97

UTIL7-5 Format page...................................................................................... Page 97

UTIL7-6 Memory Info page ............................................................................. Page 98

Instrument Reset............................................................................................. Page 98

Page 83

UTILITY Setting Area (UTIL)

UTIL1-5<GENERAL> ≥StartupTrg=P01

UTIL1-6≥≥FXByps= ≥≥var/cho/rev

1 2 3

UTIL1 GENERAL

System Settings

UTIL1 ≥≥≥≥GENERAL

In the GENERAL section, you can set parameters affecting the entire system. With the GENERAL page (UTIL1) displayed, press the [ENTER] button to access its eight parameter-setting

pages (UTIL1-1 to UTIL1-8). You can use the [B]/[C] buttons

to navigate between these pages.

UTIL1-1 Master Volume page

UTIL1-1<GENERAL> MasterVolume=127

1 Master volume

Use this parameter to set the master volume of the instrument’s internal tone generator. If a small value is set here, the VOLUME dial on the front panel will have very little effect in increasing the output volume.

Settings 0 to 127

UTIL1-2 Master Tune page

UTIL1-4 Startup Pattern page

1 Startup pattern (StartupPtn)

Use this parameter to select the pattern that will be automatically set when the DTX-MULTI 12 is turned on. Patterns are identiﬁed using a category (

number, and you can move the cursor using the [B]/[C]

buttons to set these individually.

Settings eP001 to eP128 or eU001 to eU050

P for Preset, eU for User) and a

UTIL1-5 Startup Trigger page

1 Startup trigger (StartupTrg)

Use this parameter to select the trigger setup that will be automatically selected when the DTX-MULTI 12 is turned on. Trigger setups are identiﬁed using a category (P for Preset, U for User) and a number, and you can move the cursor using

the [B]/[C] buttons to set these individually.

Settings P01 to P05 or U01 to U10

UTIL1-2≥≥M.Tune= +≥≥0.0(440.0Hz)

1 Master tune (M.Tune)

Use this parameter to tune (i.e., adjust the basic pitch of) the internal tone generator. The value in parentheses shows the corresponding tuning (of A above middle C) in Hertz.

Settings -102.4 to +0.0 to +102.3

NOTE

• The term “cent” refers to one hundredth of a semitone (i.e., 100 cents = 1 semitone).

UTIL1-3 Startup Kit page

UTIL1-3<GENERAL> StartupKit=P001

1 StartupKit

Use this parameter to specify the kit to be automatically selected when the DTX-MULTI 12 is turned on. Kits are identiﬁed using a category (P for Preset, U for User) and a

number, and you can move the cursor using the [B]/[C]

buttons to set these individually.

Settings P001 to P050 or U001 to U200

UTIL1-6 Effect Bypass page

1 Variation effect (var) B Chorus effect (cho) C Reverb effect (rev)

Use these parameters to specify which effects will be bypassed when Effect Bypass is activated from the front panel (using the [SHIFT] and [KIT] buttons). When “---” is selected for an effect type, it will not be bypassed.

Settings ---/var, ---/cho, or ---/rev

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UTILITY Setting Area (UTIL)

UTIL1-7 Pan Depth page

UTIL1-7<GENERAL> ≥≥PanDepth=≥64

1 Pan depth

Use this parameter to adjust the width of the instrument’s overall stereo-panning ﬁeld while maintaining the individual pan settings for drum and musical instrument sounds.

Settings 1 to 127

UTIL1-8 Auxiliary Output page

UTIL1-8<GENERAL> AuxOutSel=L&R+ph

1 Auxiliary output selection (AuxOutSel)

Use this parameter to indicate where audio input via the AUX IN jack will be output.

• L&R+ph ............. Auxiliary-input audio will be output via

both the OUTPUT (L/MONO and R) and PHONES jacks.

• phones ................ Auxiliary-input audio will be output via

the PHONES jack only.

Settings L&R+ph or phones

UTIL2-2 Click-track Master Volume page

UTIL2-2≥≥<CLICK> ≥≥≥Volume=127

1 Click-track master volume

Use this parameter to set the master volume for click-track sounds.

Settings 0 to 127

UTIL2-3 Click-track Beat Volume page

UTIL2-3≥A…=9≥ƒ=9 ≥≥≥≥∫=0≥ææ=0≥ø=0

1 Click-track beat volumes

Use these parameters to set volumes for different beat timings within the click track. The meanings of the symbols used on this page are shown below.

Example: Beat timings for four beats per bar

Accents

4 notes

8 notes

UTIL2 CLICK

Click Track Settings

UTIL2 ≥≥≥≥≥CLICK

In the CLICK section, you can set parameters related to the click track. For example, you can set the type of sound to be used, the volume, and where the click track will be output. MIDI parameters related to the click track can also be set here. With the CLICK page (UTIL2) displayed, press the [ENTER] button to access its ﬁve parameter-setting pages (UTIL2-1 to UTIL2-5). You can use

the [B]/[C] buttons to navigate between these pages.

UTIL2-1 Click-track Voice page

UTIL2-1≥≥<CLICK> Voice=Metronome1

1 Click-track voice

Use this parameter to select from a range of different sounds for use with the click track.

Settings

Metronome1, Metronome2, Cowbell, Stick, Human

16 notes

8 note triplets

Settings 0 to 9

NOTE

• If the time signature from the PATTERN setting area or for pattern recording is 3/8, 6/8, 9/8, 12/8, or 15/8, this page will display ACC, dotted quarter notes, eighth notes, and sixteenth notes.

UTIL2-4 Click-track Output page

UTIL2-4≥≥<CLICK> ClkOutSel=phones

1 Click-track output selection (ClkOutSel)

Use this parameter to specify where the click track will be output when activated. In a live-performance setting, for example, you would normally want the click track to be output to headphones only, and in such a case, “phones” should be selected here.

• L&R+ph ............. The click-track will be output via both the

OUTPUT (L/MONO and R) and PHONES jacks.

• phones ................ The click-track will be output via the

PHONES jack only.

Settings L&R+ph, phones

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UTILITY Setting Area (UTIL)

UTIL2-5-3<CLICK> NoteA…=C#-1/≥13

UTIL2-5-4<CLICK> ≥Noteƒ=C#-1/≥13

UTIL2-5 Click-track MIDI page

UTIL2-5 ≥≥≥Click≥MIDI

From the Click-track MIDI page (UTIL2-5), you can set a range of MIDI parameters related to the click track. With this page displayed, press the [ENTER] button to access a further four parameter-setting pages (UTIL2-5-1 to UTIL2-5-4). You can use the

[B]/[C] buttons to navigate between these pages.

UTIL2-5-1 Click-track MIDI In page

UTIL2-5-1<CLICK> ≥≥MIDI≥IN=off

1 MIDI IN

Use this parameter to specify whether or not click-track sounds are to be produced based on MIDI Note On messages received via the MIDI IN connector. When set to “on”, the DTX-MULTI 12 operates as follows:

•A click-track accent sound will be produced upon the receipt of a MIDI note with the note number set on the Accent Note Number page (UTIL2-5-3).

•A click-track quarter note sound will be produced upon the receipt of a MIDI note with the note number set on the Quarter-Note Note Number page (UTIL2-5-4).

Settings off or on

UTIL2-5-3 Accent Note Number page

1 Accent note number (NoteAcc)

Use this parameter to assign a MIDI note number to clicktrack accent sounds.

Settings off or C#-2 to F#8

• If “on” is selected on the Click-track MIDI In page (UTIL2-5-1), a click-track accent sound will be produced each time a MIDI note with the note number set here is received.

NOTE

• If “off” is selected on this page (UTIL2-5-3), no click-track accent

sounds will be produced in response to received MIDI notes.

• If the same value is set on this page (UTIL2-5-3) and on the Quarter-

Note Note Number page (UTIL2-5-4), the same sound will be produced for all beat timings.

• If “on” is selected on the Click-Track MIDI Out page (UTIL2-5-2), a MIDI Note On message with the note number set here will be produced for each click-track accent sound.

NOTE

• If “off” is selected both on this page (UTIL2-5-3) and on the Quarter-

Note Note Number page (UTIL2-5-4), no MIDI Note On messages will be output for click-track sounds. If, however, “off” is selected on this page (UTIL2-5-3) but a setting other than “off” is selected on the Quarter-Note Note Number page (UTIL2-5-4), MIDI Note On messages with the corresponding note number will be output for all click-track sounds.

UTIL2-5-2 Click-Track MIDI Out page

UTIL2-5-2<CLICK> ≥≥MIDI≥OUT=off

1 MIDI OUT

Use this parameter to turn the output of click-track MIDI events (i.e., MIDI Note On messages) on and off. When set to “on”, the DTX-MULTI 12 operates as follows:

•A MIDI note with the note number set on the Accent Note Number page (UTIL2-5-3) will be produced for each clicktrack accent sound.

•A MIDI note with the note number set on the Quarter-Note Note Number page (UTIL2-5-4) will be produced for each click-track quarter note sound.

Settings off or on

NOTE

• Regardless of this parameter’s setting, no MIDI Note On messages

can be produced for click-track sounds other than accents and quarter notes.

UTIL2-5-4 Quarter-Note Note Number page

1 Quarter-note note number (Noteqq

)

Use this parameter to assign a MIDI note number to clicktrack quarter note sounds.

Settings off or C#-2 to F#8

• If “on” is selected on the Click-track MIDI In page (UTIL2-5-1), a click-track quarter-note sound will be produced each time a MIDI note with the note number set here is received.

NOTE

• If “off” is selected on this page (UTIL2-5-4), no click-track quarter-note

sounds will be produced in response to received MIDI notes.

• If “on” is selected on the Click-Track MIDI Out page (UTIL2-5-2), a MIDI Note On message with the note number set here will be produced for each click-track quarternote sound.

NOTE

• If “off” is selected on this page (UTIL2-5-4), no MIDI Note On mes-

sages will be produced for click-track quarter-note sounds.

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UTILITY Setting Area (UTIL)

Tap Tempo

Using the Tap Tempo function, you can set the tempo for patterns and the click track by simply striking pads. In this way, you can conveniently and intuitively set the tempo that you need.

Hold down the [SHIFT] button and press the

[EE

] (click) button.

The Tap Tempo page will open displaying the current tempo setting.

TAP≥TEMPO ≥≥≥≥≥ƒ=120

Strike one or more of the pads several times at

the required tempo.

The DTX-MULTI 12 will automatically determine the tempo based on the speed at which you strike the pads, and this tempo will be displayed on-screen.

TAP≥TEMPO ≥≥≥≥≥ƒ=158

Tempo: 30 to 300

To check the tempo, press the [EE

ton to start the click track.

The click track will be played at the tempo set using the Tap Tempo function. Whenever you change the tempo using this function, the new setting will be immediately applied to the click track and any patterns being played.

NOTE

• The [-/DEC] and [+/INC] buttons can also be used to adjust the tempo on the Tap Tempo page.

• If Func has been set to “tap tempo” for any of the pads on the UTILITY area’s Pad Function page (UTIL4-1), that pad can be used at any time to tap the tempo without having to open the Tap Tempo page (see page 88).

• If “ext” has been selected on the UTILITY area’s MIDI Sync page (UTIL 6-6) or if “auto” has been selected on that page and MIDI Clock messages are being received from an external source, the tempo value will be displayed as “ext” and playback on your DTXMULTI 12 will be synchronized with the connected MIDI devices or DAW application.

• If “int” has been selected on the UTILITY area’s MIDI Sync page (UTIL 6-6) or if “auto” has been selected on that page and MIDI Clock messages are not being received from an external source, playback will occur at the DTX-MULTI 12’s current tempo setting (see page 91).

] (click) but-

UTIL3 MASTER EQ

Master Equalization

UTIL3 ≥≥≥MASTER≥EQ

In the MASTER EQ section, you can adjust the master equalization parameters that control the tone of all preset voices, patterns, and waves. With the MASTER EQ page (UTIL3) displayed, press the [ENTER] button to access its three parameter-setting pages

(UTIL3-1 to UTIL3-3). You can use the [B]/[C] buttons to nav-

igate between these pages.

Gain (G)

–

The DTX-MULTI 12 features a ﬁve-band master equalizer that allows the signal level to be freely boosted or cut around a center frequency speciﬁed for each of the bands. In addition, the “low” and “high” frequency bands can be set to either shelving or peaking equalization.

NOTE

• Master equalization has no effect on signals from the AUX IN connector. (See page 36)

• Master equalization has no effect on signals output via the PHONES jack. (See page 36)

Q (Bandwidth)

F (Frequency)

low highhighMidmidlowMid

Five EQ bands

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UTILITY Setting Area (UTIL)

UTIL3-2≥≥≥≥≥≥low ≥Shape=shelving

–

EQ low EQ high

G (Gain)

F (Frequency)

G (Gain)

(Frequency)

Frequency Frequency

–

G (Gain)

F (Frequency)

Frequency

UTIL3-3 ≥MEQ≥Bypass=off

UTIL3-1 Gain, Frequency & Bandwidth

page

UTIL3-1≥≥≥≥≥≥mid

G+12/F2.0k/Q≥0.1

1 Frequency band

Use this parameter to select the master-EQ frequency band to be set.

Settings low, lowMid, mid, highMid, or high

B Gain (G)

Use this parameter to specify the amount by which the signal level in the frequency band indicated by 1 will be boosted or cut.

Settings -12 to +0 to +12

C Frequency (F)

Use this parameter to specify the frequency within the band indicated by 1 around which the signal level will be cut or boosted. If the “low” band has been selected, the range of available frequencies will depend on the EQ type set using the Shape parameter on the EQ Shape page (UTIL3-2).

Settings

32 to 2.0k for “shelving”

low: 63 to 2.0k for “peaking” lowMid, mid, and highMid: 100 to 10k high: 500 to 16k

UTIL3-2 EQ Shape page

On the EQ Shape page, you can set an EQ type for each of the “low” and “high” bands.

1 Frequency band

Use this parameter to select the master-EQ frequency band to be set.

Settings low or high

B Shape

Use this parameter to set an EQ type.

Settings shelving or peaking

● shelving:

Signals at all frequencies either above or below the speciﬁed frequency will be boosted or cut.

D Bandwidth (Q)

Use this parameter to specify a width for the band of frequencies to be boosted or cut. If you set a large value, a narrower band of frequencies will be affected and the tone will change markedly around the center frequency. If you set a smaller value, a wider band of frequencies will be affected and the tone will change gradually around the center frequency.

Settings 0.1 to 12.0

–

F (Frequency)

NOTE

• When “low” or “high” is indicated by 1 and “shelving” has been set using the Shape parameter on the EQ Shape page (UTIL3-2), the setting for Bandwidth (Q) will be displayed as “---” and modiﬁcation will not be possible.

Q = 0.1

Q = 12.0

Frequency

● peaking:

Signals within a band of frequencies around the speciﬁed frequency will be boosted or cut.

UTIL3-3 Master EQ Bypass page

1 Master EQ bypass (MEQBypass)

Use this parameter to specify whether the master EQ will be bypassed (“on”) or applied (“off”).

Settings off or on

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UTILITY Setting Area (UTIL)

UTIL4 PAD

Pad Utilities

UTIL4 ≥≥≥≥≥≥PAD

In the PAD section, you can assign functions to pads and external controllers, specify the type of controller connected via the FOOT SW jack, and enable or disable rim pads 10 to 12. With the PAD page (UTIL4) displayed, press the [ENTER] button to access its three parameter-setting pages (UTIL4-1 to UTIL4-3). You can use

the [B]/[C] buttons to navigate between these pages.

UTIL4-1 Pad Function page

On the Pad Function page, you can specify operations to be performed when individual pads or external controllers are struck or operated.

UTIL4-1≥-º¡Func=clickOn/Off

When a MIDI Control Change message (CC01 to CC95) is speciﬁed as the pad function, control-change values and the MIDI send channel are set as follows.

If setting a pad or external controller other than “FTSW”:

UTIL4-1≥-º¡-≥≥†”

Func=CC01/127

2 3

If setting “FTSW” and “ftSw” is selected on the Foot Switch Input page (UTIL4-2):

UTIL4-1≥-√¤‘’-†”

Func=CC01/≥0-127

3-b

If setting “FTSW” and “ftSw” is not selected on the Foot Switch Input page (UTIL4-2):

UTIL4-1≥-√¤‘’-†”

3-a

Func=CC01

1 Pad number

Use this parameter to select the pad or external controller to be set. You can also strike a pad to select it.

01 to 12, 13, 13R1, 13R2, 14 to 17, FTSW

Settings

(foot switch), HHCL (hi-hat close), or HHSP (hi-hat splash)

B Pad function (Func)

Use this parameter to set the operation to be performed when the pad or external controller indicated by 1 is struck or operated.

•off ....................... Voices will be played in the normal way.

• inc kitNo............. The kit number will be increased by 1.

• dec kitNo ............The kit number will be decreased by 1.

• inc ptnNo ............ The pattern number will be increased by

• dec ptnNo ........... The pattern number will be decreased by

• inc tempo ............ The tempo will be increased by 1 bpm.

• dec tempo ........... The tempo will be decreased by 1 bpm.

• tap tempo ............The pad or external controller can be used

to tap the tempo.

• clickOn/Off......... The click track will be turned on or off.

• CC01 to CC95 .... A MIDI Control Change message will be

sent to the internal tone generator and connected external MIDI devices.

off, inc kitNo, dec kitNo, inc ptnNo, dec

Settings

ptnNo, inc tempo, dec tempo, tap tempo, clickOn/Off, or CC01 to CC95

C Control change value

Use this parameter to set a value for the MIDI control-change message indicated by 2.

• If setting a pad or external controller other than “FTSW”: This value will be sent when the pad or external controller is struck or operated.

• If setting “FTSW” and “ftSw” is selected on the Foot Switch Input page (UTIL4-2): 3-a is the value that will be sent when the foot switch is released, and 3-b is the value that will be sent when the foot switch is depressed.

• If setting “FTSW” and “ftSw” is not selected on the Foot Switch Input page (UTIL4-2): A speciﬁc controlchange value cannot be speciﬁed in this case. Instead, a value within the range 0 to 127 will be sent based on the degree by which the hi-hat controller or foot controller is operated.

Settings 0 to 127

D Control-change send channel

Use this parameter to set a MIDI channel for sending the MIDI Control Change message indicated by 2.

Settings 1 to 16

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Page 89

UTILITY Setting Area (UTIL)

UTIL5-1≥<HI-HAT> ≥ClosePosi=+10

UTIL5-2≥<HI-HAT> ≥SplashSens=127

UTIL5-3≥<HI-HAT> ≥≥≥SendHH=on

UTIL4-2 Foot Switch Input page

UTIL4-2≥≥≥≥<PAD> FootSwInSel=ftSw

1 Foot switch input selection (FootSwInsel)

Use this parameter to specify whether a foot switch (“ftSw”), a hi-hat controller (“HH65”), or a foot controller (“FC7”) is connected via the FOOT SW jack.

Settings ftSw, HH65, or FC7

NOTE

• The velocities sent when a hi-hat controller or a foot controller is connected will depend on the setting made on the Trigger Velocity page (MIDI1-7).

• The velocities sent when a foot switch is connected also depend on the setting made on the Trigger Velocity page (MIDI1-7); however, if “variable” is selected on that page, velocities will be sent with a ﬁxed value of 100.

UTIL4-3 Pad 10-12 Switch page

UTIL4-3≥≥≥≥<PAD> Pad10-12=enable

1 Pad10-12

Use this parameter to turn rim pads 10 to 12 on (“enable”) or off (“disable”). This function can prove useful in preventing voices assigned to these rim pads from being played when they are accidentally struck instead of pads 7 to 9.

• enable ................. The rim pads will operate in the normal

way.

• disable ................ Functions assigned to these rim pads will

be disabled. When they are struck, the DTX-MULTI 12 behaves in the same way as if the corresponding main pads (7 to 9) had been struck.

Settings enable or disable

UTIL5-1 Close Position page

1 Close position (ClosePosi)

Use this parameter to adjust the position at which the hi-hat switches from open to closed when a hi-hat controller is depressed. The lower the value, the smaller the virtual opening between the top and bottom hi-hats.

Settings -32 to +0 to +32

UTIL5-2 Splash Sensitivity page

1 Splash sensitivity (SplashSens)

Use this parameter to set the degree of sensitivity for detecting hi-hat foot splashes. The higher the value, the easier it will be to produce foot-splash sounds with the hi-hat controller. High values may, however, result in splash sounds being unintentionally produced when, for example, you depress the hihat controller lightly to keep time. It is a good idea to set this parameter to “off” if you do not want to play foot splashes.

Settings off or 1 to 127

UTIL5-3 Send Hi-hat Controller page

UTIL5 HI-HAT

Hi-hat Setup

UTIL5 ≥≥≥≥≥HI-HAT

In the HI-HAT section, you can set parameters related to hi-hats. With the HI-HAT page (UTIL5) displayed, press the [ENTER] button to access its three parameter-setting pages (UTIL5-1 to

UTIL5-3). You can use the [B]/[C] buttons to navigate between

these pages.

1 Send hi-hat controller (SendHH)

Use this parameter to enable (“on”) or disable (“off”) the sending of MIDI messages corresponding to continuous motion of the hi-hat controller between the open and closed positions.

Settings off or on

NOTE

• If “hi-hat” is selected on the Hi-Hat Function page (KIT7-3), MIDI messages will be sent only when this parameter is set to “on”.

• If “MIDI” is selected on the Hi-Hat Function page (KIT7-3), MIDI messages will always be sent, regardless of whether this parameter is set to “on” or “off”.

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UTILITY Setting Area (UTIL)

UTIL6 MIDI

Instrument MIDI Setup

UTIL6 ≥≥≥≥≥≥MIDI

In the MIDI section, you can set MIDI parameters affecting the entire DTX-MULTI 12 system. With the MIDI page (UTIL6) displayed, press the [ENTER] button to access its twelve parameter-

setting pages (UTIL6-1 to UTIL6-12). You can use the [B]/[C]

buttons to navigate between these pages.

UTIL6-1 Channel-10 Receive page

UTIL6-1≥≥≥<MIDI> ≥≥Rcv10ch=on

1 Channel-10 receive (Rcv10ch)

Use this parameter to enable (“on”) or disable (“off”) the receipt of MIDI messages sent by external devices on Channel 10. If set to “off”, the internal tone generator will play voices on Channel 10 in response only to input from the DTX-MULTI 12’s pads and from pads connected via the PAD jacks.

Settings off or on

UTIL6-2 Program Change Receive page

UTIL6-3

Channel-10 Program Change Receive page

UTIL6-3≥≥≥<MIDI> ≥RcvPC10ch=on

1 Channel-10 program change receive

(RcvPC10ch)

Use this parameter to enable (“on”) or disable (“off”) the receipt of MIDI Program Change messages sent on MIDI channel 10. Select “on” if you want kits to change in line with pattern settings or in response to signals from external MIDI devices. Note that this setting is effective only when “on” is also selected on the Program Change Receive page (UTIL6-

2).

Settings off or on

UTIL6-4 Polyphonic Aftertouch Status

page

UTIL6-4≥≥≥<MIDI> ≥PolyAfter=on

1 Polyphonic aftertouch status (PolyAfter)

Use this parameter to enable (“on”) or disable (“off”) the exchange of polyphonic aftertouch messages with external MIDI devices.

Settings off or on

UTIL6-2≥≥≥<MIDI> ≥≥≥RcvPC=on

1 Program change receive (RcvPC)

Use this parameter to enable (“on”) or disable (“off”) the receipt of MIDI Program Change messages. If set to “off” and a new drum kit is selected, voices will be changed only based on settings made for that kit’s preset voices. If you want voices on all MIDI channels to change in line with pattern settings or in response to signals from external MIDI devices, this parameter should be set to “on”.

Settings off or on

UTIL6-5 Local Control page

UTIL6-5≥≥≥<MIDI> ≥LocalCtrl=on

1 Local control (LocalCtrl)

Use this parameter to enable (“on”) or disable (“off”) playing of the internal tone generator using DTX-MULTI 12 pads and patterns. Normally, this is set to “on”, meaning that the tone generator is locally controlled. If set to “off,” the pads and external controllers are essentially disconnected from the internal tone generator – in other words, no sound is produced by the DTX-MULTI 12 when you strike them.

NOTE

•Even if local control is disabled (i.e., set to “off”) on this page, the DTXMULTI 12’s internal tone generator can produce sound in response to MIDI messages received via the MIDI IN connector and the USB TO HOST port; furthermore, MIDI messages produced by pads, patterns, and external controllers will be output via the MIDI OUT connector.

Settings off or on

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UTILITY Setting Area (UTIL)

UTIL6-8≥≥≥<MIDI> ≥SeqCtrl=in/out

UTIL6-9≥≥≥<MIDI> MIDI≥IN/OUT=MIDI

UTIL6-10≥≥<MIDI> ≥≥≥ThruPort=1

UTIL6-6 MIDI Sync page

UTIL6-6≥≥≥<MIDI> ≥MIDI≥Sync=int

1 MIDI synchronization (MIDISync)

Use this parameter to specify whether patterns and the click track are to play at the tempo set for the DTX-MULTI 12 or are to be synchronized with external MIDI devices based on MIDI Clock messages (i.e., F8 Timing Clock) received from them.

• int ........ Patterns and the click track will play at the current

DTX-MULTI 12 tempo setting. Use “int” when this instrument is to be used alone or as the master clock source for other equipment.

•ext........ The DTX-MULTI 12 will be synchronized with

MIDI Clock messages received via MIDI. Use “ext” when an external MIDI device is to be used as the master clock source for synchronized playback.

• auto...... MIDI Clock messages received via MIDI will be

prioritized over the DTX-MULTI 12’s current tempo. In other words, playback will be synchronized to MIDI Clock messages whenever they are received, and the internal tempo will be used in all other cases.

Settings int, ext, or auto

NOTE

• In order to successfully synchronize the DTX-MULTI 12 whenever this

parameter is set to “ext” or “auto”, the connected external MIDI device or computer must be setup to send MIDI Clock messages.

UTIL6-7 Clock Out page

UTIL6-8 Sequencer Control page

1 Sequencer control (SeqCtrl)

Use this parameter to specify whether or not System Realtime messages (i.e., FA Start, FB Continue, and FC Stop) will be sent and received via MIDI.

•off .........System Realtime messages are neither sent nor

received.

•in..........System Realtime messages are received but not

sent.

• out ........System Realtime messages are sent but not

received.

• in/out ....System Realtime messages are sent and received.

Settings off, in, out, or in/out

NOTE

• If “strt”, “cont”, or “stop” has been set on the MIDI Message page

(MIDI1), the SeqCtrl setting 1 will have no effect and the respective message (i.e., FA Start, FB Continue, or FC Stop) will be output.

UTIL6-9 MIDI In/Out page

1 MIDI IN/OUT

Use this parameter to specify whether the exchange of MIDI messages with external devices is to be performed via the MIDI connectors or the USB TO HOST port.

Settings MIDI or USB

UTIL6-7≥≥≥<MIDI> ≥≥ClockOut=on

1 Clock out

Use this parameter to enable (“on”) or disable (“off”) the sending of MIDI Clock messages (i.e., F8 Timing Clock) via the MIDI OUT connector.

Settings off or on

UTIL6-10 MIDI Thru Port page

1 MIDI Thru port (ThruPort)

When the DTX-MULTI 12 receives MIDI messages from a computer connected via USB, it can relay those messages received via a speciﬁc port to the MIDI OUT connector so that they can be output to other external MIDI devices. Use this parameter to specify that port.

Settings 1 or 2

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UTILITY Setting Area (UTIL)

UTIL6-11 MIDI Merge page

UTIL6-11≥≥<MIDI> ≥≥≥Merge=off

1 MIDI merge

The MIDI Merge function allows you to mix MIDI messages received via the MIDI IN connector with performance data produced by playing the DTX-MULTI 12, and to output this mixed MIDI data via the MIDI OUT connector. Set this parameter to “on” to enable this merging of MIDI messages.

Settings off or on

NOTE

• If “USB” has been selected on the MIDI In/Out page (UTIL6-9), this setting will be displayed as “---” and modiﬁcation will not be possible.

UTIL6-12 Device Number page

UTIL6-12≥≥<MIDI> ≥DeviceNo.=all

1 Device number

Use this parameter to set a MIDI device number for the DTXMULTI 12. In order to successfully exchange bulk data, parameter changes, and other system exclusive MIDI messages, this setting must match the Device Number of the external MIDI device.

• all......... System exclusive messages for all MIDI device

numbers will be received. In addition, the DTXMULTI 12 will transmit messages using Device Number 1.

•off ........ System exclusive messages such as bulk dump and

parameter changes will be neither transmitted nor received. An error message will be displayed if an attempt is made to perform such an operation.

Settings 1 to 16, all, or off

UTIL7 FILE

File Management

UTIL7 ≥≥≥≥≥≥FILE

In the FILE section, you can perform a range of ﬁle-management operations. With the FILE page (UTIL7) displayed, press the [ENTER] button to access its six parameter-setting pages

(UTIL7-1 to UTIL7-6). You can use the [B]/[C] buttons to nav-

igate between these pages.

File-related terms

A number of terms will be used in the following descriptions of ﬁle management functions and operations. Please take a moment to familiarize yourself with their meanings in order that these functions and operations can be more easily understood.

File

The term “ﬁle” is used to deﬁne a collection of data stored on a USB memory device or within the DTX-MULTI 12’s internal memory. The exchange of data with USB memory devices is carried out in the form of ﬁles.

File name

As with your computer, the DTX-MULTI 12 can assign names to individual ﬁles. These names are used to tell ﬁles apart, and for this reason, no two ﬁles within a speciﬁc directory can share the same ﬁle name. Although computers can handle very long ﬁle names that can even contain non-English characters, the DTXMULTI 12 requires that names be limited to eight alphanumeric characters.

File extension

The three letters following the period at the end of a ﬁle name – such as “.mid” and “.wav” – are referred to as a “ﬁle extension.” The type of data contained within the ﬁle is identiﬁed by the ﬁle extension. Please note that, although this instrument assigns ﬁle extensions to ﬁle names, they are not displayed on-screen in order to allow the available space to be used more efﬁciently.

92 Owner’s Manual

File size

The amount of memory needed to store a ﬁle is indicated by the ﬁle size. These sizes and also the capacities of memory devices are presented in standard computer format using B (bytes), KB (kilo bytes), MB (mega bytes), and GB (giga bytes). (1 KB is equivalent to 1,024 bytes, 1 MB is equivalent to 1,024 KB, and 1 GB is equivalent to 1,024 MB.)

USB memory device

The term “USB memory device” is used to refer to hard disks and other external USB memory units used for the storage and retrieval of ﬁles.

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UTILITY Setting Area (UTIL)

UTIL7-1≥≥≥<FILE> ≥≥≥Save≥File

UTIL7-1-1≥<FILE> Type=All

File type

UTIL7-1-2≥<FILE> Name=[ALL_DATA]

File name

Instrument Reset

UTIL8 ≥≥FACTORY≥SET

In the FACTORY SET section, you can restore all of the DTXMULTI 12’s user data (i.e., all User kits, waves, User patterns, User triggers, and utility parameters) to default settings.

CAUTION

• Whenever the instrument is reset in this way, any settings you have made will be overwritten with the corresponding defaults. All important user-deﬁned data should, therefore, be saved on a USB memory device (see page 93) in advance.

Navigate to the Factory Set page (UTIL8) and

press the [ENTER] button.

You will be asked to conﬁrm that a Factory Set operation is to be performed.

≥≥Factory≥Set ≥Are≥you≥sure?

UTIL7-6≥≥≥<FILE> ≥≥Memory≥Info

From the Memory Info page, you can check the memory-usage status of a USB memory device. To do so, navigate to the Memory Info page (UTIL7-6) and press the [ENTER] button.

UTIL7-6-1≥≥≥6.5% ≥≥≥8.4MB/128.0MB

1 Memory usage ratio (%)

This indicates how much of the USB memory device’s total memory is currently being used in percentage format.

B Used memory / Total memory

This indicates separately the amount of memory used and the total memory. The units used here will depend on the corresponding memory size (i.e., KB for kilobytes, MB for megabytes, and GB for gigabytes).

To proceed, press the [ENTER] button. Alterna-

tively, you can press the [EXIT] button to cancel the process.

The messages “Executing...” and “Please keep power on.” will be displayed during the Factory Set process.

Executing...

When the process has been completed, the message “Completed.” will be displayed. Following this, the display will return to the Factory Set page (UTIL8).

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Page 99

TRIGGER Setting Area (TRG)

This section describes the TRIGGER setting area, which can be accessed by pressing the [SHIFT] and [UTILITY] buttons simultaneously. The characteristics of the trigger signals output from pads when they are played depend on a range of different factors, such as whether sticks or hands are used, and in the case of external pads, the design of the pads themselves. The TRIGGER setting area allows you to optimize each pad’s trigger signals for processing by the DTX-MULTI 12 and to save these settings as trigger setup data.

CAUTION

• Be sure to store any settings that you have edited before turning off the instrument or selecting a new trigger setup. (See page 45.)

Makeup of TRIGGER Setting Area

The TRIGGER setting area is subdivided into four different sections (TRG1 to TRG4). Use the [B]/[C] buttons to navigate between these sections. If a section contains parameter-setting pages, the [ENTER] button will light up. Press the [ENTER] button to access these pages. In certain cases, a number of additional pages may be accessed from a parameter setting page, also using the lit [ENTER] button. Furthermore, you can press the [EXIT] button to move back towards the top of the setting area.

Sections

TRG1≥≥≥≥≥≥≥≥≥≥˛¸ P1:Stick≥Wide

TRG2≥≥≥≥≥≥≥≥≥≥˛¸ ≥≥≥≥≥≥PAD

TRG3 ≥≥≥≥≥≥NAME

TRG4 ≥≥≥≥COPY≥PAD

Parameter-setting pages

TRG1 Select Trigger Setup ...........................................................................Page 100

TRG2-1 Pad Type page................................................................................. Page 100

TRG2-2 Crosstalk Prevention page .............................................................. Page 102

TRG3-1 Trigger Setup Name page ............................................................... Page 104

TRG4-1 Trigger Setup Copy page................................................................. Page 104

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TRIGGER Setting Area (TRG)

TRG1

Select Trigger Setup

Use these parameters to select the trigger setup that you want to apply or edit.

TRG1≥≥≥≥≥≥≥≥≥≥˛¸ P01:Stick≥Wide

A Trigger setup category

Use this parameter to specify either the Preset (P) or User (U) trigger-setup category.

Settings P or U

B Trigger setup number: Trigger setup name

Use these parameters to select the trigger setup that you want to apply or edit.

Settings

P01: Stick Wide ......... Stick-playing trigger setup with a wide

P02: Stick Normal...... Stick-playing trigger setup with a stan-

P03: Stick Narrow...... Stick-playing trigger setup with a nar-

P04: Hand .................. Hand-playing trigger setup.

P05:Finger.................. Hand-playing trigger setup that also

U01 to U10 ................ User triggers.

C Input level indicator

Visual representation of the input level for the pad(s) being struck.

NOTE

• The Trigger Setup Link page (KIT7-6) can be used to set a complete trigger setup for the current kit. (See page 52)

With “P” (Preset trigger setup) selected: 01 to 05 With “U” (User trigger setup) selected: 01 to 10

dynamic range, allowing the softness or hardness of playing to be easily expressed.

dard, well-balanced response.

row dynamic range for highly-consistent hit detection. With this setup, the softness or hardness of playing has less effect, allowing differences in volume to be smoothed out.

supports ﬁnger-tip playing.

Freely-conﬁgurable trigger setups for your own unique triggering needs.

TRG2 PAD

Pad Setup

TRG2≥≥≥≥≥≥≥≥≥≥˛¸ ≥≥≥≥≥≥PAD

In the PAD section, you can set parameters affecting the sensitivity, output, and other characteristics of each of your DTX-MULTI 12’s built-in pads and of external pads connected via the PAD jacks. With the PAD page (TRG2) displayed, press the [ENTER] button to access the Pad Type (TRG2-1) and Crosstalk Prevention

(TRG2-2) parameter-setting pages. You can use the [B]/[C]

buttons to switch between these pages.

TRG2-1 Pad Type page

TRG2-1≥-MID-≥≥˛¸ Type=StickDyna

1 Pad

Use this parameter to select the pad(s) to be set. UPUpper row of built-in rim pads (i.e., 1 to 3) MIDMiddle rows of built-in pads (i.e., 4 to 9) LOWLower row of built-in rim pads (i.e., 10 to 12) 01Built-in pad 1 : : 12Built-in pad 12 13External pad connected to PAD M jack : : 17External pad connected to PAD Q jack

Layout of built-in pads

01 02 03 UP

04 05 06

07 08 09

10 11 12 LOW

Front panel

MID

100 Owner’s Manual

Settings UP, MID, LOW, or 01 to 17

NOTE

• Selection by striking is limited to pad groups (i.e., UP, MID, or LOW) and the external pads (i.e., 13 to 17).