Alesis D4 User manual

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Set-Up
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EXIERNAL 7RIOOER.
QUIGK 5EI-UP OUIDE
The D4 has twelve trigger inputs designed to accommodate the
most widely used drum pads and other triggering sources. It's
triggering mechanism is an advanced signal to midi converter
which incorporates five user controllable parameters. Trigger
parameters are independent for eachof the twelve inputs, and
the setup is global for all drumsets.
The five types of user controlled parameters are:
1. VCURVE. There are eight separatecurve tables,0 through 7
which represent the velocity curve, or sensitivity of the trigger
input. Curves 1-3have the least amount of sensitivity; curve 4
has the median, or "averagetype of play" sensitivity; and
curves 5-7 are the most sensitive. Curve 0 is "Unassigned".
This is a special situation parameter which is fully explained
in section 5.2 of the D4 ReferenceManual.
2. XTALK. The crosstalk parameter is the trigger suppression
level adjustment. It is used to control interaction problems
between pads or drums. Crosstalk problems canoccur when
two or more pads are mounted on a single stand or rack.
3. DCAY. This representsthe signal decay time and threshold
of the D4's trigger inputs. In other words, DCAY controls the
amount of time between once a pad has been struck and
triggers, to when it will trigger again from another hit.
When properly adjusted, this parameter defeats "double
triggering " by allowing the D4 to determine which signals
areactual hits, and which are secondary decay signals.
4. NOISE. The NOISE parameter allows you to control the
noisefloor, or the signal level threshold that an exterior
vibration or sound must exceedbefore it will trigger a drum
sound.This is usedmostly in situationswhere the stage
volume and vibrations are strong enough to "rattle" the
drum hardware to sucha point that the D4 "thinks" these
vibrations are actualhits.
5. GAIN. This is the signalstrengththat the transducer
is
sending to the triggers in the D4, It's adjustment is very
similar to that of a tape recorder's
VU meter.With the gain
threshold set too low, soft hits may never be recognized.

With the gain set too high, you may experiencefalse,or
double triggering. A properly adjusted gain setting will allow
the highest dynamic range for the pad being used.
Nofe: For more detailed information and examples, regarding
the functions of these individual parameters, please refer to
Chapter 5 of the D4 Reference
Manual.
When triggering from pads
alwaysfollow these5basicsteps:
1. Plug
ioa!!ofthetriggersyouwill beusing.
. Plug all of the triggers you will be using into the rear panel
jacks. Sincethe triggers are interactive, the D4 needs to "see"
all of the signals simultaneously.
. Use the following guide for your trigger inputs. The trigger
default note numbers correspond to these drum sounds.
1. Hat
2. Bass
drum
3. Snare
4.Toml
5.Tom2
5.Tom3
7. RideCymbal
8. CrashCymbal 1
9. CrashCymbal2
10.Conga
11. Hi Timbale
12.Hi Agogo
Nofe: Drum sets17 &18 use a different set of default note
numbers. The trigger default note numbers for all pre set drum
setscan be found in the D4 Factory Drumset Reference
Chart.
Turn the note chasefeature off.
o Do this by pressing the note chase
button on the front panel
so that the LED is off. Note chaseis a feature that
automatically displays the data of the most recently struck
pad, enabling you to easily "move" around the kit for editing
purposes. Flowever, the active trigger should always be
selected
manually sinceother unadjusted inputs could "fire"
simultaneously during editing resulting in confusion on the
display.
Note; The note chaseLED alsofunctions asa signalindicator and
will flash when a trigger is generated.
l
t

3. Next, manually selectatrigger to ediL
. Pressthe Ext Trig button once to enter the page showing the
editable parameters for the TRIG number, VCURVE
selection, and MIDI note assignment. The cursor will appear
under the trigger number field.
. Use the Data wheel to selectthe trigger you wish to edit.
4. Selectthe velocity cunte.
r Move the cursor under the VCURVE field.
o Choose the sensitivity value which bests suits the style of
play, or the pads being used.For averageplay, (hits ranging
from very soft to very hard) the default setting of 4 will give
you the full range of sensitivity which corresponds to MIDI
velocities 1 through 127.
Nofe: VCURVE 0, Unassigned, is fully explained in the D4
Owners Manual.
5. Choosethe MIDI note number.
Note: The default trigger note numbers in the D4 correspond to
General MIDI, so in many cases
it may not be necessary to change
the assignments.These default settings can be found in the
Factory Drumset Reference Guide included with your D4
literature.
If you chooseto make changes:
. Move the cursor under the NOTE field and selectthe desired
MIDI note number.
5. Adiust the GAIN for the selectedhigger.
. Pressthe Ext Trig button twice to get to the pageshowing the
trigger number and GAIN editing parameters.
. Move the cursor under the gain field and strike the pad.
Now the lower LCD line will urn into a bar-graph meter that
shows the peak strength of the trigger.
o Adjust the gain by gradually turning the Data wheel until a
powerfulsuikeresultsin themeterreachingtheright-most

',
i*
side of the display. Beaware that the gain values are
extremely sensitiveeven in small increments.
A period will
appear to the right of the gain number signaling that the
trigger level is reaching it's full dynamic range. If a trigger's
gain is adjusted properly, the period will appear only on the
stronsesthits.
Now repeat steps 3 through 6fot the remaining ttiggers you anill be using.
After completing thesesteps,you should be able to play on all of
the pads plugged in to the D4 and hear the sounds being
triggered.
Beforegoing on to steps7 -9,you should be aware that the
amount of adjustment needed for the remaining parameters
will depend on several variables. Sinceall drum pads do not
utilize the same design and materials, they vary somewhat in
sensitivity and how they respond to "outside" surroundings
The factors that most effect the performance of triggers will be
your hardware configuration, the different types of pads or
drums being used, and the environment in which you will be
using the D4. First we should define the parameters which
enable you to control these various "factors."
7.
CROSSTALK
Nofel In our crosstalk scenariowe will usetwo pads, a snarepad
and the tom 1 pad, both mounted on a single stand.
If you are using a set up which consistsof several pads mounted
on one rack or stand, you may be hearing some crosstalk asyou
play around the kit. Crosstalk is when you hit the snare pad and
the tom pad also triggers. This is usually the result of stand
vibrations causing the pad (the tom 1 in this case)to trigger. If so,
the XTALK for this pad needsto be re.calibrated.
The important thing to determine is which pad needs the
XTALK adjustment. Remember, the trigger that needs
adjustment is the pad that is false triggering, not the pad being
struck.
So,if you are hitting the snarepad and the tom 1pad triggers,
adjust the tom pad, not the snarepad. Now, to correct the
problem...

Set the XTALK value.
1. Pressthe Ext Trig button twice to enter the page showing the
parameters for XTALK DCAY, and NOISE.
2. After selecting the desired trigger (tom 1), place the cursor
under the XTALK parameter value.
3. Now, gradually increasethe XTALK level of the tom 1 trigger
until it stops triggering when you hit the snarepad (00 is
minimum, 99 maximum).
A properly adjusted crosstalk level will stop the pad's
interaction,and still allow you to play quick hits without loosing
any notes.
8.DECAY
Note: In this scenariowe will useonly the snarepad.
Depending on the type of pads being used and your mounting
configuration, you may be experiencing some "double
triggering". If shortly after the initial strike to the snarepad it re-
triggers or sounds a secondtime, the pad is "double triggering".
This can be controlled by altering the DCAY parameter value.
Set the DCAY value.
1. First selectthe snaretrigger.
2. Now place the cursor under the DCAY parameter value.
3. Gradually increasethe value until the snarestopsdouble
triggering on hard hits.
A properly adjusted DCAY parameter will end double triggering,
and still allow you to play fast, repetitive hits on the snarepad.
NOISE
Nofe: In this scenariowe will be using the tom 1 and the tom 2
pads in a live performance situation. The two tom pads are
mounted together on a single floor stand, and the crosstalk and

other parameters have already been correctly adjusted. When
you play the pads while no other instruments are being
sounded, all of the hits are triggering and tracking properly.
Now as the band begins and the stagevolume is very loud, the
stagestarts trembling which causesthe drum hardware to
vibrate. At times the tom 1 and the tom 2 pad are triggering
when not being played. This is because
the D4 is interpreting the
signals from the stand vibrations ashits. By adjusting the NOISE
parameter the D4 can determine which signals are vibrations
causedby the surrounding noise level, and which signals are
actual hits.
Setthe NOISE value.
1. First selectthe desired trigger to edit, tom 1 in this case.
2. Next place the cursor under the NOISE parameter value.
3. Increase the value to a level that will stop the pad from false
triggering when the strong vibrations occur. If the triggering
is frequentand strong,try startingwith an increase
of 20or
more. If the triggering is not asoften and is softer in volume,
first try adding 10to the value, then gradually add more if
necessary.
4. Repeat steps 1 through 3 to correct the problem with the tom
2pad.
5. Finally, return to the Drumset mode by pressing the Drum
Setbutton. This will protect from the possibility of
accidentally
editing your settings.
Nofe: Whenever possible, keep some distance between your
drum kit and the nearestspeakercabinets(especially bass
cabinets),and make sure they are not facing directly at your set
up. Remember that the closer and louder in volume the cabinets
are, the greater the chances are that they will cause false
triggering problems.

J'PS OIU EXTENilAT JnJGGEN'il@
FROTN
ACOUSJTC
DRUMS
When triggering from anacoustic
drum, that is using a contact
pick up (transducer)
mounted to the heador shell,the same
general
set-upproceduresand parameter
principlesof triggering
from padsapply. However, due to extreme
headvibrations and
resonance
of acoustic drums,keepingthe"factors"
under control
isconsiderably
moredifficult.Thesetipsshouldhelpyou in
eliminating potentialproblems.
Thereare severalthings to considerwhen purchasing
transducers
(triggers),
andwhenmountingthemto your drums.
Output Sensitivity
The differencein output levelsbetweentransducers
is
considerable.While a really"hot"triggermight work great
on
thesnare,
it maynot work aswell on abass
drum.Forexample,
a high sensitivitytrigger
will detectthesofter
"grace"
notes
on a
snaredrum andprovidethebesttrackingin a tightpressed
roll.
On abassdrum however,
becausethatsame
trigger
isso
sensitive,
it may beover-driven
dueto thesheervelocity
of each
impactfrom the
beateron thehead. Over-driving
thetrigger
can
allowit to detectevery
slightvibrationasyou hit thebass
drum.
Thisresultsin doubletriggeringandcontributestocross
talk
problems.It canalsoreduce
the
lifeof thetrigger itself.
Whenconsidering
triggeroutput sensitivitytowards
applications,
generally
thesetipswill apply.
1. Use"hotter"
triggersfor shellmounting.
Sensitive
triggers
candetect
signalsthroughtheshell moreaccurately
than
others.
2. Fordirectheadmountinguseless
sensitivetriggers.
When
possibleusea triggerthat
contains
abuilt-in sensitivity
adjustment
Thereare
severaltypesavailable.
Mounting
Oneof themostimportantaspectsof triggering
ismounting.For
anytriggerto work properly
it must
becorrectlymounted
to the
drum. Alwaysuse
sometype
of afoamtape,
andmakecertain
thetriggeris firmly mountedwith little or no movement.
In
additionto forming asolidfoundationfor thetrigger,thefoam
tape
alsoacts
asashock absorber
whichhelps
todeterdouble

triggering. Most of the trigger manufacturers supply several
piecesof mounting tape with their trigger products. It is also
very important to be certain that no part of the trigger wire,
which connectsthe trigger to the audio jack, is touching or
resting on any part of the drum or rim. This wire is sensitive
enough to trigger signals from the drum vibrations which
would then causedouble triggering.
Trigger Placement
Placement is another very important part of triggering
performance, but unfortunately there is no right or wrong set of
rules. It simply takesa lot of experimentation to arrive at the
correct combination for the type and size of drum, and the drum
kit configuration you are using. Thesetips will help you get
started with a step in the right direction.
BASSDRUM
1. Mount the trigger directly on the impact head.
2. Placethe trigger approximately 2-4 inches in from the rim,
and level with the beater.
3. Slightly reduce the sensitivity of the trigger if it has an
adjustment.
SNARE DRUM
If you play with a fairly tight batter head,try this:
1.. Mount the trigger on the batter head.
2. Placethe trigger approximately one inch from the rim, on the
opposite side of the drum from the player.
3. Slightly reduce the sensitivity of the trigger if it has an
adjustment.
If you play with a looser head, try this:
1. Firmly mount the trigger to the shell approximately one-half
inch from the batter rim.
2. Placementof the trigger should be on the players side of the
drum, within a lug or two of where the stick would hit if you
plaved a rimshot.

3. Use a high sensitivity setting if the trigger has an adjustment.
SMALL TOMS 8'L13''
With smaller toms it is possible to get proper tracking using either head
or shell mounting. You will need to experiment with both to determine
which will work best in your situation.
For head mounting:
1. Mount the trigger so that it is within one and one-half inch
from the batter rim.
2. Placementof the trigger should be on the players side of the
drum, within a lug or two of where the stick would hit if you
played a rimshot. (In some casesthe opposite side of the
drum, directly acrossfrom the player may work well).
3. Slightly reduce the sensitivity of the trigger if it has an
adiustment.
For shell nounting:
1. Firmly mount the trigger to the shell so that it is
approximately one inch from the batter rim.
2. Placementof the trigger should be on the players side of the
drum, within a lug or two of where the stick would hit if you
played a rimshot
3. Use a mid to high sensitivity setting if the trigger has an
adjustment.
LARGE TOMS 14''-18''
In most casesshell mounting will work the best.However, you might
experiment with head mounting and find great results.
1. Firmly mount the trigger to the shell so that it is
approximately one inch from the batter rim.
2. Placementof the trigger should be near the side you sit,
within a lug or two of where your stick would hit if you
played a rimshot

3. Use a mid to high sensitivity setting if the trigger has an
adjustment.
Nofe; In most casegwhen shell mounting triggers, internal
permanent mounting will provide the best results. This
permanent form of mounting allows the trigger to be more
firmly attached to the shell, which tends to improve the
performance. However, when using this technique it is usually
necessary
to install an audio jack into the drum shell to connect
the audio cable to the trigger.
Muffling
Another important part of triggering from acoustic drums is the
degree of muffling you apply to your drums. The amount a head
vibrates when it is struck is what causes
most of the problems
related to triggering from an acoustic drum. I know most
drummers don't want to put a lot of tape or muffling on their
heads,but the degreeof improvement it makes may be well
worth at least a little sacrifice.A slight amount of muffling can
make a huge improvement in any triggering units ability to
properly track your playing.
Mounting Hardware and Configuration
The quality and sturdiness of your hardware will make a big
difference in eliminating potential problems. When you use
unsteady hardware, it is an open invitation to crosstalk
problems. Toms that are mounted on the bassdrum, and drums
which share a stand with other instruments such ascymbals, are
areaswhere you should be sure your hardware and mountings
are solid and sturdy. Always check to be certain that none of your
stands or drums are leaning up against,or touching any other
drums or piece of hardware. To sum it up, the more heavy-duty
your hardware is, the better.