Korg DRM-1 User manual

KORG
DRM-1
Users Manual

MAJOR FEATURES OF THE DRM-1
The DRM-1 digital rhythm module incorporates advanced sound generation
capabilities in a compact body which fits into a 1U rack. It comes with a wireless
controller that allows, the remote player to control most of the functions a
feature which is verf handy for a drummer playing a series of digital drum pads.
Along with a PCM-quality 23-timbre sound source, the DRM-1 is fully compatible
with the timbre library for the DDD-1/5. For extended sound module capabilities,
it holds up to four memory cards in its slots:one for a ROM or RAM card and
three for ROM cards only.
Internal data for the bass drum, toms, and other sounds use 12-bit format, which
improves the sound quality and signal-to-noise ratio.
This enhanced interface is fully compatible with MIDI sound sources. Not only
does it serve as an add-on sound module for other rhythm machines, but the
DRM-1 also accepts program change commands for switching voice settings,
responds to real-time message inputs, and handles system exclusive messages
for data exchange with external equipment. It also has a MIDI driver which
converts audio signals into MIDI data.
The multiple output port lets you fine-tune the output by feeding different
timbres to separate effectors. The pan-pot function can set the independent
sounds in up to seven positions across the stereo range.
A full-featured dynamics function allows output volume control to match the
j velocity in use. To make rhythm expression control highly versatile, velocity
JIJ and key numbers are used to change the tuning, decay, dynamics response
and pan settings for the individual sound sources.
The DRM-1 has a dedicated rhythm module sequencer for real-time input and
real-time editing. This feature not only provides responsive control for twin
drums, one-touch fill-ins, drums plus percussion and other live performance
techniques, but also allows quick recording and playback in rehearsals.
The DRM-1 is highly flexible in handling input from digital drum pads, audio
equipment, and any other MIDI-compatible sound sources, while generating
sound quality that is characteristic of the source.

PARTS AND FUNCTIONS
1. Remote Control Unit
Load the two batteries,in. place before starting. (The batteries are located in
the shipping pacUt^ >_,
The remote control range gets shorter when the batteries run low on power.
If this haapens, replace both batteries together.
DATA TRANSFER group
Contains keys used 10 set up data
transfer control between the DRM-1
and a sound source from the MIDI
ports and card slots.
MIDI group
Contains keys used to set up MIDI
control.
SYSTEM group
Contains keys used to configure the
system for the drum pads, pedal, and
foot switch that are connected to the
DRM-1.
SETTING group
Contains keys used to set up timbres
and other detailed control parameters.
PATTERN group
Contains keys used to set up sequenc
er control.
CURSOR control keys
Moves the cursor across the display.
VALUE keys
Allows you to change the value
accessible from the group keypad in
use.
DATA
TRANSFER
MIDI
SYSTEM
SETTING
SELECT
SELECT SAVE LOAD
TRANSMIT RECEIVE
DELETE
PAD SET PEDAL FOOT SW
VOICE DECAY TUNE
PAD LEVEL OUTPUT
MIDI RESPONSE COPY
PATTERN I ERASE OELETE METRONOME
SELECT
COPY TEMPO RESOLUTION
CURSOR
VALUE
T NO AYES
I I

2. Front Panel
CARD * slot .-.- •*
(Accept* ft ROM or JRAM card.)
O
O
(MJt»Ul UVll CANOI
PHONES Jack
CARD 2-4 slots
(Accept ROM cards only.)
Display (backiit LCD)
REMOTE CONTROL
switch POWER switch
OUTPUT LEVEL knob
3. Rear Panel
FOOT SW jacks
Used to connect a foot-switch to
the ORM-1. These jacks allow
you to set up foot switch func
tions in a veriety of ways. Use a
foot switch which has a grounding
terminal marked with ~\ .
PS-1,etc.
CONTRAST knob
Adjusts the front panel display readabili
ty.
POT REDALjack
Used to connect a foot controller,
such as the EXP-2. to the DRM-1.
This jack allows you to set up
foot controller functions in a
variety of ways.
EXP-2, etc.
INPUT jacks
Accept signals from drum pads
and other audio equipment.
o
o
o
o
ACV receptacle
Accepts the AC pow
er cord.
MIDI ports
Used to connect a sequencer,
synthesizer, and other MIDI-com-
patible equipment.
DS-8, etc.
OUTPUT jacks
Sends DRM-1 output to an amplifier, mixing console, effector,
and other external equipment. Use the R/MONO jack alone for
monaural output; use the R/MONO and L jacks for stereophonic
output. The MULTI OUT jacks from 1 to 8 each allow independ
ent output of a sound source for separate eq or effect mixer.
DRV-3000, etc.

GETTING STARTED
Playing Back the Sample Rhythm Patterns
The DRM-1 comes with sample rhythm patterns stored
in its memory to demonstrate its capabilities. Before
playing back the data, go through. the.fpUowing setup
procedure: . . .-^_ --,>' ._.
(D Load the batteries (contained in the shipping pad)
into the remote control unit. When you press a key,
the LED on top of the remote control unit should
light, indicating that the wireless signals are on.
(D Connect the DRM-1 to a power output with the
power cord.
(D Turn on the REMOTE CONTROL switch on the
DRM-1.
(4) Connect your amplifier or mixing console to the
R/MONO and L jacks. For monaural output, use the
R/MONO jack. When using a headphone set such as
the KH-1000, plug it into the PHONES jack.
<D Turn on the POWER switch. If an amplifier is con
nected to the DRM-1, turn it on.
<D Turn the OUTPUT LEVEL knob to set the output
volume. (The appropriate level ranges between 5
and 10.)
Example 1
Effector
Effector
Mixing console
Example 2
Amplifier
Amplifier, mixing
console, etc.
* Always set the amplifier volume to zero- when con
necting cables or turning on the power. Otherwise,
the amplifier may unexpectedly generate a large
output, causing damage to the speakers.
(D Check that the LCD display shows the following
message. If the readout is too faint, adjust it with
the CONTRAST knob on the rear panel.
SELECT PATTERNOO
DRM1DEM0 0000
(2) Press the START key on the remote control unit.
The DRM-1 will start playing back the sample rhythm
patterns.
Playing on the DRM-1 Manually
Connect digital drum pads or a MIDI-compatible key
board to play on the DRM-1 in manual mode.
Connection to drum pads
Connection to a MIDI Keyboard
MIDI keyboard
Effector
When all connections are complete, use the following
procedure to play back the sample rhythm patterns.

The DRM-1 allows you to specify the pads and
keynote numbers you will use when playing the in
dividual sound sources. Such user-defined settings
may be returned to the power-up defaults (factory-
calibrated settings) by initiating'ajiysferh reset.
The sections that follow assume that the default
voice settings are in effect throughout the manual-
mode operation. Initialing a system reset deletes all
data for the samples. If you wish to retain the data,
save it on a RAM card sold separately. (See page 26
for details.)
System Reset
(D Press the SELECT key on the DATA TRANSFER
keypad. The reading on the display will change from
the demonstration message to the following:
DATA TRANSFER
CARD : *SETTING*
(Data transfer
setup screen)
T Data source t Data transfer mode
<D Press the SELECT key a second time. The source
reading on the display will change to MIDI".
ICARD : *SETTI NG*|
J Use the SELECT key to change.
IMIDI : *SETTING*|
* The setting for data transfer may be set up for the
voice settings or rhythm patterns prior to a system
reset.
(3) Press the DELETE key to bring up the system reset
screen. Initiating a system reset erases all data
currently held in memory. The DRM-1 will ask for
user verification twice. Press the ▲ YES (VALUE
keypad) key at each prompt. ,
SYSTEM RESET
Are you sure ?
(System reset
screen)
I Press the ▲ YES key.
SYSTEM RESET
Rea My?
Press the ▲ YES key.
SELECT SETT
*SET-OO*
NGOO
Press the AYES key.
to start a system reset.
Default Settings
After a system reset, the DRM-1 sets the voice settings
to the power-up defaults, which vary depending on
whether you selected a MIDI keyboard or drum pads.
Pad No. 1 or D2 on a MIDI keyboard, for example,
is assigned the SNARE1 sound.
Drum Pad Defaults
Pressing the ▼ NO key at either prompt sends con
trol back to Step (2) where you pressed the SELECT
key while in the data transfer screen.

BEFORE EDITING PARAMETERS
The DRM-1 operates in conjunction with the remote
control unit that allows access to all programmable
functions. Once the necessary parameters are set, the
remote player has full.control over ttje^DRM-1 func
tions except for the power switob a.n^yolume control.
On the front panel of the DRM-T is the REMOTE CON
TROL switch used to disable remote control to prevent
wireless signal interference when there is more than one
DRM-1 unit positioned side by side. Always check that
the switch is on before starting operation.
Outline of Remote Parameter Control
A number of DRM-1 functions are roughly broken down
into the following three categories, which represent the
corresponding remote control unit keypads: the SET
TING group to set up sound data for a drum set, the
PATTERN group to record and play back rhythm
patterns (sequencer), and other group of keypads used
to control the SETTING, PATTERN, and all other
DRM-1 parameters.
The third group consists of three keypads: the SYSTEM
group to determine the way the DRM-1 controls ex
ternally connected equipment, the MIDI group to con
trol input/output operations, and the DATA TRANS
FER group to allow data exchange across the DRM-1
interface.
These keypads allow instant access to values, parameters,
and other current settings, which can be changed with
the CURSOR control and VALUE keys.
Message Format and Basic Edit Commands
The liquid crystal display (LCD) is sixteen columns by
two lines wide. Use the rear panel CONTRAST knob to
adjust the character legibility.
1 Setting number
SELECT SETTINGOO
♦SET-00*
I Setting name t Cursor
When the POWER switch is turned on. the DRM-1 dis
plays information in this format after a sign-on message.
(The exact setting number and name may be different,
depending on the settings in effect the last time the
power was turned off.)
Every parameter is set to whatever value is stored in
memory. The parameters are, for example, set for
demonstration at time of shipment. The process of
changing or correcting parameters is referred to as
"editing".
Usually, the upper half of the display shows the para
meter selected; the lower half, the values currently
assigned to that parameter. (Some messages display the
value assigned to a parameter in the upper half of the
display.)
The underscore appearing immediately below a character
is called a "cursor", which indicates the data field which
may be changed. The CURSOR control keys move the
cursor across the display. Place the cursor under the
parameter you wish to edit, then press the VALUE keys
to enter a new value. The new value specified in this
manner may be set to default with the system reset
command. (See page 6 for details.)
EDITING THE PARAMETERS 1
<SETTING GROUP)
Voice is a parameter segment that defines sound gener
ation, for which the DRM-1 allows access to sixteen such
segments. (The voicing capacity for simultaneous out
put is twelve notes.) Along with the built-in timbre
data, each voice segment is fully compatible with any
of the ROM cards for the DDD-1/5.
The SETTING group specifies the instrument type,
pitch, volume, MIDI transmit/receive channels, and
other settings which each voice segment will control.
The DRM-1 alone can store up to sixteen such settings,
each consisting of sixteen voice segments with or with
out a user-defined name.
A
SETTING 15 (Setting name)
23-timbre built-in
sound source
Figure 1
SETTING
The SETTING key selects the setting number that
identifies one of the sixteen settings. It also allows the
change of a setting name. Subsequent edit commands
are valid only for data specified with the setting num
ber.
(Tj Selecting a Setting Number
(D Press the SETTING key to bring up the SELECT
SETTING screen.
1 Setting number
SELECT SETTINGOO
*SET-00*_
(SELECT
SETTING
screen)
t Setting name
'%) Press the SELECT key to specify the setting number.
SETT I NGOO | -Setting number
t SELECT key
♦ (Speedy a selling number
1 c between 00 anc 15 )

(2) Creating a Setting Name
The DRM-1 allows creation of a setting name consisting
of up to eight alphanumeric characters including
symbols. If not necessary, this entire step becomes
optional. • ■ .'."**'
® Place the cursor under the^characterto be changed,
using the CURSOR control keys.
(D Use the VALUE keys to select the new character.
+SET-00*
| Use the CURSOR control and VALUE keys.
MY-DRUMS I
<Characters Valid in a Setting Name>
!" =$*S" ()* + .-. 012345B7B9: :< = >?a
ABCDEFGHIJKLMNOPQRSTUVWXYZ ¥. A_\
abcdefghijk Imnooarstuvvvxyz — sp
Space '
* The SELECT key, intended for selecting the voice
number, allows access to setting numbers only for the
SELECT SETTING screen. All edit commands dis
cussed hereafter are valid only for parameters selected
with the SELECT key.
VOICE
The VOICE SETTING screen timbres to be assigned to
any of the voice settings numbered from 00 to 15. It
also determines the settings for the PHASE effect.
When the VOICE key is pressed, the upper half of the
display reads VOICE SETTING ## (where ## is the
current setting number); the lower half shows the
current voice number, the name of the timbre assigned
to that voice, and the sound mode. Pressing the VOICE
key a second time switches the lower half of the dis
play to the PHASE setup screen.
Qj Selecting a Sound Name
(D Press the VOICE key to bring up the VOICE SET
TING screen.
VOICE SETTING00
00= SNARE 1:I00M
t Voice number t Sound name j *-
(VOICE
SETTING
screen)
Sound mode
L-Sound number
(2) Select the voice number of the data to be changed,
using the SELECT key.
00= SNARE 1
00M
I Press the SELECT keys.
(Select a voice number from 00 to 15.)
1 5
(D Select the sound number of a timbre to be assigned
to thecurrent voice, using the VALUE keys.
[00= SNARE 1 : 10 DM I
J Use the VALUE keys.
C48
£
Built-in sound source
00 to 22
ROM card sound source
(Timbres selected from up
to four cards)
(The sound source alternates each time a key is pressed.)
Figure 2
< Sound Number and Sound Mode >
The DRM-1 has built-in data for timbres which
are parameter compatible with the ROM cards for
the DDD-1/5. Each timbre is assigned a unique code
called the sound number, which appears on the
display when a voice parameter assignment is
changed.
Built-in sound source
ROM card sound source
Figure 3
Built-in sound source selected
Twelfth sound from the
built-in sound source
Memory card sound source
selected
Memory card in the CARD
2 slot selected
First sound from the memory
card
Note 1: This procedure overrides the previous setting
and sets the PHASE to 000.
Note 2: When using a ROM card, be sure to set it in
place before pressing the VOICE key, which
instructs the DRM-1 to check the slots for a
missing card before loading data.
(2) Selecting a Sound Mode
The POLY, MONO, and EXCLUSIVE sound modes each
provide independent control over the voice settings
defining the way the DRM-1 will generates sounds
consisting of up to twelve notes at a time.
1) Press the VOICE key to select VOICE SETTING
screen.
(2) Move the cursor to the sound mode field, using
the CURSOR control keys.
VOICE SETTING00
00= SNARE 1:I00M
(VOICE
SETTING
screen)
T Current sound mode

(D The display cycles through the POLY. MONO, and
EXCLUSIVE modes each time the VALUE key is
pressed. Select the sound mode to match the appli
cation.
100= SNARE 1 : I Q,Q.Ej'?aoLY mode)
J Press the VALUE key.
M (MONO mode)
♦ Press the VALUE key.
E (EXCLUSIVE mode)
POLY mode:
When continually repeating the same voice, the POLY
mode ensures that new tones do not disrupt the pre
vious ones part way through, causing one voice to over
lap with the next. To produce long, repeated decres-
cendos like the cymbals, the POLY mode allows trailing
notes to overlap so that there is no disruption resulting
in unnatural output.
Key (or pad) hit
Overlap
Figure 4
MONO Mode:
As opposed to the POLY mode, the MONO mode cuts
trailing notes off before the new notes when repeating
the same voice. Tom sounds, for example, may sound
unnatural unless they are set to the MONO mode.
Key (or pad) hit
No overlap
Figure 5
EXCLUSIVE Mode:
Repeatedly playing more than one voice in the EX
CLUSIVE mode cuts the trailing notes off when the
new ones start. Use the EXCLUSIVE mode when
closed hi-hat follows open hi-hat, mute conga follqws
open conga, and other sequences that will sound un
natural when overlapped.
Open hi-hat
Closed hi-hat
Open Open
(3) Selecting the PHASE Parameter
The DRM-1 is capable of assigning the same timbre to
multiple voices. This function allows a single drum pad
or a key (MIDI message) to simultaneously use two or
more timbres.
The DRM-1 also ..allows the start-up phase shift to be
varied in 128 steps per voice. Mixing timbres with dif
ferent phase shifts adds the effects of a phaser or f I anger
to the output. This technique is extremely useful
when defining the sounds of the cymbal, snare drum,
and similar instruments.
® Press the VOICE key a second time to display the
PHASE setup screen.
VOICE SETTINGOO
00= SNARE I:I00M
VOICE SETTINGOO
00:PHASE=000
(VOICE
SETTING
screen)
Press the VOICE key to switch
the cursor between the screen.
(PHASE
setup
screen)
Select the PHASE value, using the VALUE key.
5:PHASE=000
Use the VALUE keys to seiec:
a value between OOO and 127.
27
CRASH is one effect that makes the phaser sound
highly noticeable. Make sure that the pan, sound
mode, tune, and decay settings are identical among
the voices. As a special technique using the PHASE
parameter, setting the tune of either voice one to
three levels higher generates the effect of a flanger.
MIDI
The voice settings are an essential part that defines the
quality of sounds the DRM-1 generates. Setting up the
voice parameters for the desired sounds requires assign
ing drum pad or keyboard signals to the keynote num
bers. To this end, the MIDI SETTING screen allows
difinition of the keynote number range and MIDI
transmit/receive channels per voice.
IT] Setting the Keynote Number
(1) Press the MIDI key to select the MIDI SETTING
screen.
MIDI SETT INGOO
00:Qi1-C 2 CH=01
(MIDI SETTING
screen)
t t-Top "Ote
l-Origial note
Voice number
MIDI Channel
Figure 6
2 Set up the voice parameters for the keynote number
to be changed, using the SELECT key.

Specify the keynote number range with pitch names
in octave scales, using the CURSOR control and
VALUE keys. Incrementing the octave value by one
shifts a note towards a higher pitch, starting from the
lowerst C-1 to the highest C9.. . ,., ,-
5 = PAD
MA I N
OO
-C?2 CH =
| t. Octave (Adjustable between -1 and 9}
Pitch name(C,C#.D.DS.E,F,F2,G.GJ:.A.Ai:,B)
* The original and top notes must stay within an
octave. (See page 11 for details.)
(2)Setting the MIDI Channels
The following procedure selects the MIDI channels the
DRM-1 will use when sending and receiving the note
numbers assigned to each voice.
(D Press the MIDI key to select the MIDI SETTING
screen.
© Move the cursor to the MIDI channel field, using
the CURSOR control keys.
M I D SETTINGOO
00:Gt1-C 2 CH=01
(MIDI SETTING
screen)
T MIDI Channel
(3) Select the MIDI channel to be used, using the
VALUE keys. Use the VALUE keys to select a value
between 01 to 16.
OO:C CH = 0I
Use the VALUE keys to select
a value between 01 to 16
PAD
The PAD SETTING screen assigns an individual voice to
the drum pads connected to the DRM-1. When a pad is
assigned multiple voices, the DRM-1 allows selective
assignment, using the MAIN and SUB pad settings.
Switching between the two settings allows doubling
the sound variations as the touch on the drum pad or
foot switch varies.
See pages 20 and 22 for additional information on
switching between the MAIN and SUB pad settings.
(D Press the PAD key to select the PAD SETTING
screen.
PAD
00=PAD
SETT INGOO
I : MA IN
(PAD SETTING
screen)
t
-Main or Sub
Pad number
Voice number
2 Select the voice number to be assigned to the drum
pad, using the SELECT key.
3 Select the pad number, using the VALUE keys.
Setting the pad number to "NO SELECT" assigns
no pad to the current voice number.
| Use the VALUE keys to select
-t a value between 1 and 7.
J Press the VALUE key.
NO SELECT
© Move the cursor to the next field, then use the
VALUE keys to switch between the MAIN and SUB
pad fields.
00=PAD 1
MA I N
} Press the VALUE key
S U B t0 change.
Editing the Timbre Data
Besides defining the sixteen voice settings, the SETTING
group also allows detailed control of the timbre assigned
to each voice. When two voices are assigned the same
timbre, for example, changing the tuning or decay para
meter of either will produce the effect of two different
instruments.
Setting Up the Control Parameters
The DRM-1 allows velocity or keynote numbers to vary
the settings for tune, decay, output, and dynamics
response parameters within the corresponding pre
defined ranges. Such parameters are called "control
parameters" when controlled by the velocity or keynote
numbers. When a setting screen is on the display after
pressing a SETTING group key, pressing the same key
a second time allows access to the control parameter.
Pressing the same key returns the display to the previous
screen.
A control parameter may be set to "Velocity" or "Note/
PDL". When playing the drum pads, setting the control
parameter to the "Velocity" produces the effects of an
acoustic instrument.
When using the drum pads with the DRM-1, you may
wish to add a foot controller (EXP-2) to vary the
control parameters because the drum pads themselves
do not send out keynote numbers. The POT jack on
the rear panel accepts the foot controller input.
Velocity
Velocity indicates the intensity of sound produced
when you hit the drum pad or a key. Changing the
touch on the drum pad or a key therefore varies the
values for tuning, decay, output, and dynamics response.
As an example for tuning, an increase in velocity pro
duces an effect which makes the pitch sound higher
(or lower).
Keynote Number
Keynote numbers indicate the positions on a keyboard.
In other words, the values for tuning, decay, output, and
dynamics response vary from one key to another.
On a MIDI keybaord, the control parameters function
within the predefined note number range. For the value
of tune, for example, the higher the keynote number,
the higher (or lower) the resulting pitch. A foot control
ler also produces a similar effect: The pitch becomes
higher (or lower) as the pedal approaches the end of
its stroke.
Original and Top Notes
Each voice handles MIDI notes within an octave starting
from an original note specified by the user. A top note,
which indicates the upper limit of the note number
10