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

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

(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

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

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

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

(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

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

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

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

range,

must

stay

within

the

octave

(twelve-step

chro

matic

scale)

starting

from

the

original

note.

The

voice

does

not

respond

to

any

notes

outside

the

prescribed

note

number

range.

The

control

parameters,

tuning,

decay,

output,

and

dynamic

response

values,

charge

according

to

pitch

or

keynote.:n*urnber

played

within

the

selected

range.

..■■:--:-•>-

_-

*

If

the

original

and

stop

notes

are

at

an

identical pitch,

the

DRM-1

cannot

produce

any

note

number

but

the

one

defined

by

that

pitch.

Setting

up

the

control

parameters

for

this

single

MIDI

note

number

there

fore

will

not

produce

any

noticeable

effect.

TUNE

The

TUNE

key

is

used

to

control

the

tuning

{pitch)

of

the

timbre

assigned

to

each

voice.

The

timbre

fortoms

ranges

between

000

and

127

with

a

middle

level

at

064.

It is

variable

in

increments

of

063

and

in

decrements

of 064,

starting

from

the

middle

level

(approximately

9.45-cent

changed

per

step).

Cymbal

sounds

starts

from

an

original

tuning

at

000,

which

is

the

lowermost

pitch.

The

upper

limit

of

the

variable

range

is

127.

The

control

parameters

can

vary

the

original

tunes

in

up

to

twelve

steps,

using

velocity

or

keynote

numbers.

(D

Setting

the

TUNE

Parameter

(D

Press

the

TUNE

key

to

select

the

TUNE

SETTING

screen.

TUNE

SETTINGOO

00=

SNARE

1:T064

(TUNE

SETTING

screen)

T

Tune

'-Voice

name

Voice

number

(D

Select

the

voice

number,

using

the

SELECT

key.

(D

Specify

the

value

for

the

TUNE

parameter,

using

the

VALUE

keys.

I

0

=

SNARE

1

:TOOOl

Press

the

VALUE

key

to

select

♦

a

value

between

000

and

127.

\

1

27

(2)

Setting

the

TUNE

Control

Paramter

(D

Press

the

TUNE

key

a

second

time

to

access

the

control

parameter.

TUNE

SETTINGOO

00=

SNARE

1:T064

|

Press

the

TUNE

key

to

change

TUNE

SETTINGOO

00:+VeIoc

i

t

y

000

(Control

parameter

setup

screen)

*

t

-Controller

-Control

sign

Voice

number

f

Sensitivity

(2)

Move

the

cursor

to

the

control

sign

field,

then

specify

whether

the

control

parameter

will

increase

or

decrease

the

tuning, using

the

VALUE

key.

If

the

plus

sign

is

selected,

the

pitch

will

increase

beyond

that

defined

by

the

TUNE

parameter

as

the

key

note

number

or

velocity

value

increases.

Selecting

the

minus

sign

will

cause

the

pitch

to

decrease.

|

00:±VeIoc

i

ty

0

D0|

♦

Use

the

VALUE

keys

to

switch

^between

"

+

"

and

"

—"

+

:

TUNE

UP

-

:TUNE

DOWN

*

If

the

TUNE

parameter

is

set

to

127,

selecting

the

plus

sign

will

not

allow

the

control

parameter

to

increase

preset

tuning

any

further.

Likewise,

selecting

minus

sign

when

tuning

is

000

does

not

allow

any

lower

value.

(D

Move

the

cursor

to

the

controller

field,

then

set

it

to

velocity

or

keynote

number,

using

the

VALUE

keys.

Use

the

VALUE

keys

to

switch

between

"Velo

city"

and

"Note/PDL".

00

:

+Ve

I

oc

i

t

y.

000

Use

the

VALUE

keys

to

switch

J

between

"Velocity"

and

"Note/PDL".

Note/PDL

4T

Move

the

cursor

to

the

sensitivity

field,

then

specify

the

control

parameter

sensitivity

within

the

000

to

127

range,

using

the

VALUE

keys

(disabled

when

set

to

000).

|00

:

+VeIoc

i

ty

OOP!

Use

the

VALUE

keys

to

select

a

value

between

000

and

127.

27

For

the

optimum

effect,

set

the

TUNE

parameter

to

000.

Set

it

to

127

if

the

control

sign

is

set

to

"-".

DECAY

The

DECAY

parameter

determines

the

sound

attenuat-

tion

RATE

(or

length)

of

each

voice.

The

control

parameter

uses

velocity

or

keynote

number

to

vary

DECAY

intensity

(in

up

to

fifteen

steps).

3]

Setting

the

DECAY

Parameter

(I-

Press

the

DECAY

key

to

select

the

DECAY

SETT

ING

screen.

DECAY

SETTINGOO

00=

SNARE

I:D

15

(DECAY

SETTING

screen)

T

Decay

■Voice

name

Voice

iumber

Select

the

voice

number,

using

the

SELECT

key.

Set the

DECAY

value,

using

the

VALUE

keys.

00=

SNARE

1

:D 00|

Use

the

VALUE

keys

to

select

♦

.:

a

value

between

00

and

"]£■-—"~.\*~-

1

5

(2)

Setting

the

Decay

Control

Parameter

(D

Press

the

DECAY

key

a

second

time

to access

the

control

parameter.

(D

Move

the

cursor to

the

control

sign

field,

then

specify

whether

the

control

parameter

will

increase

or

de

crease

decay,

using

the

VALUE

key.

If

you

select

the

plus

sign,

decay

will

enhance

the

effect

beyond

that

defined

by

the

DECAY

parameter

as

the

key

note

number

or

velocity

value

increases.

Selecting

the

minus

sign

sets

the

value

control

the

other

way

round.

•

If

the

DECAY

parameter

is

set

to

15,

selecting

the

plus

sign

will

not

allow

the

control

parameter

to

increase

preset

decay

any

further.

Similarly,

selecting

the

minus

sign

when

decay

is

00

does

not

allow

any

lower

value.

(3)

Move

the

cursor

to

the

controller

field,

then

set

it

to

velocity

or

keynote

number,

using

the

VALUE

keys.

Use

the

VALUE

keys

to

switch

between

"Velo

city"

and

"Note/PDL".

■4

Move

the

cursor to

the

sensitivity

field,

then

specify

the

control

parameter

sensitivity

within

the

000

to

015

range,

using

the

VALUE

keys

(disabled

when

set

to

000).

*

For

the

optimum

effect,

make

sure

that

the

DECAY

parameter

is

set

to

000.

Set

it

to

015

if

the

control

sign

is

set

to

"-".

LEVEL

The

LEVEL

parameter

controls

the

output

volume

per

voice.

0

Press

the

LEVEL

key

to

select

the

LEVEL

SETTING

screen.

LEVEL

SETTINGOO

00=

SNARE

1:L

15

(LEVEL

SETTING

screen)

Lvnif

T

Level

-Voice

name

Voice

number

(D

Select

the

voice

number,

using

the

SELECT

key.

(3)

Set the

LEVEL

value,

using

the

VALVE

keys.

|

0

=

SNARE

1

:L

1

5|

Use

the

VALUE

keys

to

select

|

a

value

between

00

and

15.

?

00

OUTPUT

The

OUTPUT

parameters

assign

the

independent

voice

output

to

separate

output

jacks,

which

come

in

two

types

—the

OUTPUT

jacks

for

stereophonic

output

and

the

MULTI

OUT

jacks.

The

pan-pot

parameters

allow

putting

the

individual

voice

output

in

up

to

seven

posi

tions

across the

stereo

range,

which

extends

from

C

at

the

center

towards

the

leftmost

L3

and

the

rightmost

R3.

The

MULTI

OUT

jacks

(M1

through

M8)

handle

output

which

you

do

not

want

to

channel

through

the

stereo

jacks.

Such

output

may

be

fed

into

an

external

effector

or

equalizer

to

handle

reverb

and

other

effects.

The

pan-pot

parameters

allow

stereo

range

control

in

much

the

same

way

as

othersound

parameters

are

edited.

It

is

therefore

possible

to

pan output

with

velocity

and

keynote

numbers.

After

output

setup,

pressing

the

OUTPUT

key

a

second

time

switches

the

lower

half

of

the

display

to

a

control

parameter

screen.

CD

Setting

the

OUTPUT

Parameter

<£•

Press

the

OUTPUT

key

to

select

the

OUTPUT

SET

TING

screen.

OUTPUT

SETTINGOO

00=

SNARE

1:0

LI

(OUTPUT

SETTING

screen)

t

Output

assign

"-Sound

name

Voice

number

1

Select

the

voice

number

with

the

SELECT

key.

X

Specify

the

pan-pot

and

MULTI

OUT

parameters,

using

the

VALUE

keys.

00=

SNARE

O

LI

|

Use

the

VALUE

keys

L3-R3.MI-M8

to

change.

Stereo

range

LEFT

■

L3

L2

—t—

LI

H

RIGHT

C

Rl

(CENTER)

R2

R3

MULTI

OUT

jack

Ml

M2

M3

M4

M5

M6

M7

M8

*

Setting

the

output

for

MULTI

OUT

automatically

switches

the

sound

mode

to

MONO.

Note,

however,

that

the

display

reading

retains

the

setting

for the

PLOY

mode,

which

is

cleared

once

MULTI

OUT

is

selected.

For

a

well-balanced

output,

assign

cymbal

and

other

POLY-mode

sounds

to

stereophonic

out

put

and

bass

drum,

torn,

and

other

non-polyphonic

sounds

to

MULTI

OUT.

12

(2]

Setting

the

Pan-pot

Control

Parameter

(D

Press

the

OUTPUT

key

a

second

time

to

access

the

control

parameters.

OUTPUT

SETTJNGQO.,

0

:

+Ve

loci

t

y

'

D"DQ

(dbritrol

parameter

setup

screen)

t

Sensitivity

■Controller

-Control

sign

Voice

number

(D

Move

the

cursor

to

the

control

sign

field,

then

specify

whether

the

control

parameter

will

pan

the

output

towards

the

left

or

right,

using

the

VALUE

key.

If

the

plus

sign

is

selected,

the

output

will

shift

from

L3

to

R3

as

the

key

note

number

or

velocity

value

in

creases.

Selecting

the

minus

sign

sets

the

pan

control

the

other

play

round.

*

If

the

pan-pot

parameter

is

set

to

L3,

setting

the

con

trol

sign

to

minus

will

not

shift

output

towards

the

left

any

further.

If

the

parameter

is

set

to

R3,

the

control

sign

set

to

plus

is

incapable

of

shifting

output

towards

the

right

any

further.

(D

Move

the

cursor

to

the

controller

filed,

then

set

it

to

velocity

or

keynote

number,

using

the

VALUE

keys.

Use

the

VALUE

keys

to

switch

between

"Velocity"

and

"Note/PDL".

(J)

Move

the cursor

to

the

sensitivity

field,

then

specify

the

control

parameter

sensitivity

within

the

000

to

006

range,

using

the

VALUE

keys.

[2]

Setting

the

RESPONSE

Control

Parameter

0

Press

the

RESPONSE

key

a

second

time

to

access

the

control

parameter.

(D

Move

the

cursor

to

the

control

sign

field,

then

specify

whether

the

control

parameter

will

increase

or

de

crease

the

dynamics

response,

using

the

VALUE

keys.

Selecting

the

plus

sign

increases

the

dynamics

response

output

beyond

that

defined

by

the

LEVEL

parameter

as

the

key

not

number

or

velocity

value

increases.

Selecting

the

minus

sign

decreases the

dynamic

response

as

velocity

increases.

*

When

the

control

sign

field

is

set

to

"•",

increasing

velocity

reduces

the

output

level.

If

the

dynamics

response

is

set

to

127,

using

the

"+"

control

sign

causes

the

output

to

start

from

the

highest

level

before

the

control

parameter

can

cause

changes.

(3)

Move

the

cursor to

the

controller

field,

then

set

it

to

velocity

or

keynote

number,

using

the

VALUE

keys.

Coarse

level

changes

will

result

by

selecting

"Note/

PD

L",

which

uses

only

12

steps

as

opposed

to

"Velo

city",

using

128

steps.

(4)

Move

the

cursor

to

the

sensitivity

field,

then

specify

the

control

parameter

sensitivity

within

the

000

to

015

range,

using

the

VALUE

keys.

If

the

sensitivity

setting

is

000,

the

control

parameter

will

completely

suppress

velocity-dependent

changes.

If

the

dynamic

response

is

set

to

000,

no

sound

will

be

generated.

Otherwise,

increasing

the

sensitivity

expands

the

range

of

velocity-controlled

changes.

COPY

RESPONSE

In

addition

to

velocity

data

from

drum

pads

or

key

board,

the

DRM-1

recognizes

foot

controller

action

and

MIDI

keynote

numbers

to

change

the

output

volume.

Unlike

the

OUTPUT

level

parameters

which

make

the

individual

voice

output

well-balanced,

the

RESPONSE

parameter

sets

up

the

dynamic

response

which

varies

the

output

in

accordance

with

foot

controller

action

and

MIDI

keynote

numbers.

OD

Setting

the

RESPONSE

Parameter

The

RESPONSE

parameter

specifies

the

level

on

which

changes

will

be

based.

(D

Press

the

RESPONSE

key

to

select

the

RESP

SET

TING

screen.

D.

RESP

SETT

I

NGOO

00=

SNARE

1:R000

(RESP

SETTING

screenj

T

Dynamics

Response

name

Voice

number

(2)

Select

the

voice

number,

using

the

SELECT

key.

(§)

Specify

a

value

for

the

dynamic

response,

using

the

VALUE

keys.

00=

SNARE

1:R000

Use

the

VALUE

keys

to

select

a

value

between

000

and

127

27

The

COPY

function

allows

a

complete

backup

copy

to

be

made

of

the

sound

parameters

in

a

setting.

It

does

this

by

copying

the

entire

setting

to

an

area

allocated

to

an

unused

setting

number.

This

function

is

useful

in

situations

where

the

original

setting

is

to

be

saved,

but

another

version

is

to

be

made

based

on

this

original

setting.

Edited

parameters

may

also

be

returned

to the

default

values

(standard

settings

used

by

KORG).

Q]

Copying

a

Parameter

Setting

0

Press

the

COPY

key

to

select

the

COPY

SETTING

screen.

Setting

number

of

source

setting.

■

COPY

TO

SETT

INGOO

00

Sur

e?

(COPY

SETTING

screen)

*

Setting

number

of

the

destination

(|)

Select

the

setting

number

of

the

destination.

Do

not

select

the

setting

number

for

data

which

is

to

be

retained.

New

data

will

overwrite

any

data

at

the

destination.

TO

00

Sure?

1

5

Use

the

SELECT

key

to

specify

a

value

between

00

and

15.

13

(D

Press

the

AYES

key

(VALUE

keypad)

to

start

copy

ing.

Pressing

the

T

NO

key

(VALUE

keypad)

instead

cancels

copying

and

sends

control

back

to

Step

(2)

where

the

SELECT

key

was

pressed.

TO

00

.

Su,-i-€gM

I

Press

the

A

YES

key

*

,

(VALUE

keypad)

TO

00

Execute

I

TOO

0

Fi

n

i

s

n

Press

the

▲

YES

key

(VALUE

keypad)

to

restore

the

default

values.

Pressing

the

T

NO

key

(VALUE

key

pad)

instead

cancels

the

command.

Pressing

the

▲YES

key

will

replace

the

selected

setting

with

the

default

values.

De

fau

I

t

Su

r

e2l

I

Press

the

AYES

key

Def

au

I

t

Executel{VALUE

I

Default

F

i

n

i

sh|

Restoring

the

Default

Parameter

Setting

Press

the

COPY

key

a

second

time

to

select

the

"De

fault"

prompt.

When

copying

is

complete,

the

display

remains

inac

tive

with

the

"Finish"

message,

which

indicates

that

the

may

follow.

COPY

SETTING00

De

f

auIt

Sure?

(Restore-default

screen)

EDITING

THE

PARAMETERS

2

{PATTERN

GROUP)

Outline

of

Operation

In

addition

to

the

capabilities

for

a

drum

sound

source

module,

the

DRM-1

incorporates

the

functions

of

a

digital

sequencer.

While

the

SETTING

group

provides

editing

facilities

for

sound

parameters,

the

PATTERN

group

allows

access

to

all

sequencer

functions.

The

built-in

sequencer

accepts

data

from

drum

pads

or

a

MIDI

keybaord.

It

employs

a

real-time

input

system

which

allows

saving

rhythm

pattern

data

with the

ease

of

a

tape

recorder.

Any

changes

may

be

made

to

pattern

data

in

memory

by

means

of

punch-in,

punch-out,

or

overdubbing.

The

DRM-1

stores

pattern

data

for

up

to

sixteen

songs,

together

with

user-defined

titles.

RAM

cards

are

availa

ble

as

external

storage

options.

Location

Display

The

location

field

of

the

display

shows

the

progress

of

a

tune

being

recorded

or

played

back.

The

reading

ap

pears

in

a

four-digit

value

starting

from

0000,

which

corresponds

to

the beginning

of

a

tune.

Unlike

the

tape

counter

on

a

tape

recorder,

the

readout

pace

varies

with

the

tempo

of

a

tune

because

it

always

advances

in

increments

of

a

quarter

note.

In

a

quarter-measure

tune,

for

example,

the

reading

advances

in

increments of

four

(0004)

per

measure,

which

is

equivalent

in

value

to

four

quarter

notes.

Changing

the

Location

When

rhythm

pattern

data

is

inactive,

the

SELECT

PATTERN

screen allows

changing

from

one

location

to

the

other

as

long

as

the

readout

remains

on

the

display.

The

following

section

explains

how

to

change

the

location

with

the

PATTERN

key.

SELECT

PATTERNOO

♦PTN-OO*

OOOO

Pattern

number

(SELECT

PATTERN

screen)

Pattern

nameT

I

T

Location

OOOO

X3

X2

XI

XO

Close

up

of

Location

Field

When

the

cursor

is

in

the

location

field,

the

A

and

T

keys

on

the

VALUE

keypad

move

the

current

location

back

and

forth,

respectively.

The

rate

of

increment

or

decrement

in

reading

varies

with

the

cursor

position

(X0,

X1.X2,

orX3).

1.

Cursor

in

the

X0

position

Holding

down

the

▲

key

continues

changing

the

loca

tion

in

increments

of

one;

holding

down

theT

key,

in

decrements

of

one.

The

DRM-1

plays

back

the

tune

as

the

value

is

changed.

Decrementing

the

value

plays

the

data

backwards,

but

timbres

do

not

reverse.

A

location

lower

than

0000

is

used

for

recording

an

introduction.

2.

Cursor

in

the

X1

position

The

value

changes

in

the

manner

just

described,

ex

cept

that

reverse

playback

is

not

available.

3.

Cursor

in

the

X2

position

Holding

down

the

▲

key

continues

changing

the

loca

tion

in

increments

of

four;

holding

down

the

Y

key,

in

decrements

of

four.

For

a

quarter-measure

tune,

the

reading

changes

per

bar

line.

Playback

is

not

available.

14

4.

Cursor

in

the

X3

position

Holding

down

the

A

key

continues

changing

the

location

in

increments

of

three;

holding

down

the

T

key,

in

decrements

of

three.

For

a

three-quarter

measure,

the

reading

changes

per

bar

Hne.

Playback

is

not

available.

"

.'-"*'

*

The

location

cannot

be

"set

tieydrrff

0000

if

there

is

no

rhythm

pattern

data

in

memory.

Setting

Up

the

Tempo

The

PATTERN

group

allows

four

different

approaches

for

determining

the

tempo:

1.

Using

the

TEMPO

key

to

change

or

set

the

numerical

value

defining

the

initial

tempo

(See

page

17.)

2.

Varying

the

REC

TEMPO

value.

3.

Controlling

the

pedal

stroke

of

a

foot

controller

(EXP-2,

etc.)

connected

to

the

POT

PEDAL

jack

(See

page

21.)

4.

Controlling

the

foot

switch

connected

to

the

TAP

TEMPO

jack

for

use

as a

tap

tempo

switch

(See

page

16.)

(2)

Select

the

pattern

number,

using

the

SELECT

key.

START

The

START

key

is

used

to

start

playback

of

a

preset

rhythm

pattern.

Press

this

key

before

entering

or

editing a

rhythm

pattern

because

the

DRM-1

is

designed

for

a

real-time

write

operation.

The

START

key

always

starts

playback

from

trie

location

displayed.

STOP

The

function

of

the

STOP

key

is

two-fold:

inserting

a

pause

during

the

recording

or

playback

process

of

the

built-in

sequencer

or

initializing

the

location

count

to

0000.

Pressing

the

STOP

key

during

sequencer

operation

causes

a

pause

in

the

current

location.

Because

this

does

not

cause

a

reset,

pressing

the

START

key

starts

the

sequencer

operation

from

the

point

where

it

was

interrupted.

(Continue,

Start)

Pressing

the

STOP

key

when

the

sequencer

is

idling

resets

the

location

to

0000.

PATTERN

The

PATTERN

key

is

used

to

specify

the

pattern

num

ber,

create

a

pattern

name,

turn

repeat

control

on

and

off,

and

initiate

a

regular

playback

process.

Pressing

the

START

key

while

in

the

SELECT

PAT

TERN

screen

starts

playback

from

the

location

dis

played.

(Tj

Selecting

a

Pattern

Number

(D

Press

the

PATTERN

key

to

select

the

SELECT

PATTERN

screen.

If

the

repeat

control

is

on,

the

dis

play

will

show

a

repeat

(

!||

).

(SELECT

PATTERN

screen)

SELECT

PATTERNOO

♦

SET-00*

0000

Pattern

number

-Location

Pattern

name

In

this

position

appears

a

repeat

(currently

off).

PATTERNO0

«-pattern

number

1

5

Press

the

SELECT

key

to

specify

a

value

between

00

and

15.

(2)

Creating

a Pattern

Name

The

selected

rhythm

pattern

may

be

assigned

a

name

consisting

of

up

to

eight

alphanumeric

characters

in

cluding

symbols.

If

not

necessary,

this

entire

step

be

comes

optional.

©

Place

the

cursor

under

the character

to be

changed.

(|)

Select

the

new

character,

using

the

VALUE

keys.

I

*PTN-00*

0000

I

Use

the

CURSOR

control

and

I

VALUE

keys

to

change.

|

MY-S0NG5

0000

|

*

See

page

7

for

the

list

of

characters

valid

in

a

setting

name.

(2

Turning

On

and

Off

the

Repeat

Control

Turning

on

the

repeat

control

sets

up

an

endless

loop,

in

which

the

same

passage

is

continuously

repeated

from

location

0000

until

the

STOP

key

is

pressed,

(j)

Set

the

cursor

between

the pattern

name

and

location

fields.

PTN-NAME_0000

T

Repeat

(currently

off)

<D

Turn

the

repeat

on

an

off,

using

the

VALUE

keys.

I

PTN-NAME_0000|

Repeat

(currently

on)

(Turn

the

repeat

on

and

off.

using

the

VALUE

keys.

PTN-NAMEI10000

I

Repeat

(currently

on)

REC

The

REC

key

allows

access

to

parameters

for

recording

rhythm

patterns.

When

pressed,

the

REC

key

brings

up

a

screen

for

specifying

the

tempo,

introduction

count,

and

other

parameters

used

during

recording.

Pressing

the

START

key

terminates

the

parameter

setting

screen

and

starts

recording,

during

which

the

DRM-1

continues

recording

rhythm

patterns

exactly

as

they

are

played

on

drum

pads

or

a

MIDI

keyboard.

The

DRM-1

also

allows

use

of

a

foot

switch

for

sound

generation.

See

the

sections

for

the

SYSTEM

proup

(page

20)

and

MIDI

group

(page

24)

before

starting.

(T)

Recording

Rhythm

Patterns

0

Press

the

REC

key

to

select

the

RECORD

PATTERN

screen.

I

Pattern

*

number

RECORD

PATTERNOO

T=lP0

100%

0000

(RECORD

PATTERN

screen)

Tempo

t-Repeat

mark

lAvailable

memory

15

The

tempo

field

indicates

the

playback

tempo,

which

is

adjustable

within

the

040

to

250

range.

The

avail

able

memory

indicates

the

amount

of

free

space

left

in

memory.

A

readout

of

100%

indicates

very

samll

memory

consumption.

If

the

repeat

control

is

ena

bled,

the

display

will

also

show

a

repe*af(

ill

)•

Pressing

the

REC

key

automatically

sets

the

location

to

0000

independent

of

the

amount

of

data

in

memory.

Because

a location

reset

sets

the

value

to

0000,

make

sure that

you

do

not

inadvertently

over

write

important

data.

Move

the

cursor to

the

tempo

field,

then

specify

the

value

to

be

used

during

recording.

If

the

tempo

has

already

been

set

(with

the

TEMPO

key,

tap-tempo

switch,

etc.).

this

step

becomes

optional.

|T

=

040

10056

OOOOl

Use

the

VALUE

keys

to

specity

a

value

between

040

and

250.

250

If

the

location

is

set

below

0000

(-16

at

the

lower

limit),

recording

will

start

after

an

introduction.

Setting the

location

to

-4,

for

example,

starts

record

ing

after

a

count

of

four

beats.

(If

not

necessary,

this

step

becomes

optional.)

|T=040

100%

OOOOl

Use

the

VALUE

keys

to

specify

a

value

between

-16

and

0000.

t

-1

B

(3)

Press

the

START

key

to

start

recording.

If

the

loca

tion

is

set

to

below

0000,

recording

will

follow

an

introduction.

If

a

foot

switch

(tap

tempo

switch)

is

used,

depressing

it

as

many

times

as

the

number

of

beats

in

the

specified

introduction

count

auto

matically

sets

the

tempo

and

starts

recording.

(D Once

recording

starts,

the

DRM-1

records

rhythm

patterns

exactly

as

they

are

played

on

the

MIDI

keyboard

or

drum

pads.

To

terminate

recording,

press

the

STOP

key.

Pressing

the

STOP

key

also

interrupts

recording

in

midstream.

When

restarting

from

the

beginning,

the

rhythm

patterns

just

recorded

remain

in

memory

until

you

erase

them.

Make

sure

that

you

do

not

dub

the

new

patterns

over

the

old

ones.

(See

the

COPY

section

on

page

22

for

details.)

To

run

playback,

press

the

STOP

key

a

second

time

to

reset

the

location,

then

press

the

PATTERN

and

START

keys.

Playback

is

possible

immediately

after

recording,

but

pressing

the

PATTERN

switch

disables

the

overdubbing

mode,

which

remains

in

effect

after

recording.

*

Once

rhythm

patterns

are

recorded,

they

may

be

overdubbed

so

the

playback

sequence

may

become

longer.

This

is

true

only

if

a

repeat

sign

was

not

selected

before

overdubbing.

<

Using

a

Tap

Tempo

Switch

>

A

foot

switch

connected

to

the

TAP

TEMPO

jack

functions

as

a

tap

tempo

switch.

Depressing

the

switch

as

many

times

as

the

number

of

beats

assign

ed

to

the

introduction

automatically

sets

the

tempo,

then

starts

the

rhythm

pattern.

The

DRM-1

checks

the

last

two

strokes

of

the

toot

switch

to

determine

the

length

of

a

quarter

tone

it

will

use

independent

of

the

specified

introduction

count.

Depressing

the foot

switch

will

not

change

the

tempo

outside

the

040

to

250

range.

(2)

Overdubbing

is~a

technique

that

allows

addition of

new

rhythm

patterns

in

time

to

the

being

played

back.

It

is

used

for

correcting

rhythm

pattern

errors,

adding

snare

and

cymbal

sounds

to

prerecorded

bass

drum

patterns,

and

other

such

possibilities.

The

operating

procedure

is

essentially

the

same

as

that

for

recording.

Set

the

location

to

the

part

where

overdubbing

will

start,

set

up,

if

necessary,

the

tempo,

resolution,

and

other

parameters,

then

press

the

START

key.

To

interrupt

overdubbing,

press

the

STOP

key.

If

the

repeat

control

is

on,

playback

will

be

repeated

until

the

STOP

key

is

pressed.

Setting

the

location

one

or

to

bars

before

makes

it

easier

to

start

overdubbing

in

time.

Recording

and

Overdubbing

1st

trial

(START)

Figure

7

(STOP)

1

r r

r

r r

(START)

I

2nd

trial

I

rrrrrrrrrrrr

L

Memody

in

J

(Recording)

(STOP)

'(Over

Repeat

Enabled

(START)

r r r

r

r r

ERASE

The

ERASE

function

erases

part

of

the

recorded

rhythm

patterns

in

units

of

quarter

notes.

Typically,

this

func

tion

fixes

errors

in

prerecorded

rhythm

patterns

in

overdubbing

mode.

Data

can

be

erased

from

a

particular

voice

or

every

voice,

whichever

is

in

the

location

specified

by

the

user.

The

ERASE

function

can

also

remove

preset

parameters

for

changing

the

tempo.

(See

page

17

for

more

informa

tion.)

(D

Press

the

ERASE

key

to

select

the

ERASE

PATTERN

screen.

ERASE

PATTERNOO

00=

SNARE

1

0000

i

Pattern

number

(ERASE

PATTERN

screen)

Sound

name

T

Location

(£)

Use

the

CURSOR

control

and

VALUE

keys

to

move

towards

the

targeted

location.

Select

a

location

one

to

two

bars

before

the

point

where

erasure

should

start

to

provide

a

sufficiently

long

interval

to

keep

time with

the

playback.

This

does

not

erase

any

data

in

the

specified

location.

(If

necessary,

it

is

possible

to

set

up

an

introduction

in

a

manner

similar

to that

used

for

recording.)

16

crease

or

decrease

relative

to

the

initial

playback

tempo.

It

corresponds

to

the

sum

of

the

initial

and

tempo

change

values

when

it

accelerates

playback

and

to

the

drop

in

the

initial

tempo

when

it

slows

playback.

CHANGE

=000

♦

Use

the

VALUE

keys

to

specify

*

a

value

between

000

and

210.

210

(D

Use

the

CURSOR

control

and

VALUE

keys

to

move

towards

the

targeted

location.

Select

a

location

one

to

two

bars

before

the

point

where

the

tempo

will

be

changed

to

provide

an

interval

long

enough

to

keep

time with

the

playback.

(If

necessary,

it

is

possible

to

set

up

an

introduction

in

a

manner

similar

to

that

used

for

recording.)

©

Press

the

START

key.

Playback

will

start

from

the

specified

location.

Keep

time

by

listening

to the

playback

before

you

reach

the

location

where

the

tempo

should

change.

<D

To

increase

the

tempo,

press

the

A

key

(on

the

VALUE

keypad);

to

slow

down

the

tempo,

press

the

▼

key.

These

keys

allow

tempo

changes

in

as

many

locations

as

possible

during

the

playback.

Pressing

the

TEMPO

key

returns

you

to

the

initial

tempo.

Making

a series

of

small

tempo

changes

allow

delicate

expressions

such

as

retardando.

Pressing

the

STOP

key

in

midstream

terminates

the

tempo

change

function.

If

the

repeat

control

is

enabled,

always

use

the

STOP

key

to

exit

the

endless

loop

after

tempo

changes.

Faster

Initial

playback

tempo

VALUE

key

(▲)

VALUE

key

(T)

Slower

The

following

example

sets

the

initial

tempo

to

120

and

the

tempo

change

to

30.

<Tempo>

120

B

<Key

sequence>

90

(A) (T)

Figure

8

(▼)

(TEMPO

key)

To

remove

tempo

change

data

from

memory,

use

the

ERASE

function

in

a

manner

similar

to

that

for

erasing

voice

data.

Figure

8

shows

erasure

starting

from

location

A

up

to

location

B.

The

tempo

change

data

in

memory

after

erasure

appears

in

Figure

9.

<Tampo>

120——

120—►

90

—»-

60

——

120—-

B

<Kay

tequence>

DELETE

Figure

9

T)

(▼)

ITEMPOkey)

Playing

a

tune

backwards

and

restarting

it

only

within

locations

where

a

tempo

change

is

in

effect

will

not

produce

the

expected

result

because

playback

always

starts

with

the

initial

tempo.

Such

a

situation

will

also

arise

if

you

change

the

location

without

playback

sound.

After

fast

playback

forward,

however,

playback

always

uses

the

tempo

as

expected.

•

The

DRM-1

does

not

allow

tempo

settings

outsiv

the

040

to

250

range.

Setting

the

tempo

change

tc

120

at

an

initial

tempo

of

150

will

therefore

not

speed

up

playback

to

270,

but

set

it

to

250.

When

slowed

down

by

120,

playback

will

not

run

at

—30,

but

stay at

040.

METRONOME

The

METRONOME

key

sepecifies

the

time

signature,

output

level,

and

output

destination

of

metronome

beats.

fTj

Setting

the

Time

Signature

(D

Press

the

METRONOME

key

to

select

the

METRO

NOME

screen.

METRONOME

L=15:

0=H :B=l/4

(METRONOME

screen)

T

Level

t

Output

tBeat

(D

Move

the

cursor

to

the

beat

field,

then

specify

how

many

beats

will

occur

per

measure,

using the

VALUE

keys.

|L=15:

0=H

:B=1/4|

t

Use

the

VALUE

keys

to

select

]/2.Y3,yA.

=

ACCENT

I

2

< <

—»—-\

r-

i

3

<

-\

1 1

h

:

4

I

5

I

6

I

8

I

0

(NON

ACCENT)

—-—I—I—h-

[2j

Setting

the

Output

Destination

X

Press

the

METRONOME

key

to

select

the

METRO

NOME

screen.

Z

Move

the

cursor

to

the

output

field,

then

specify

the

metronome

output

level,

using

the

VALUE

keys.

|L=15:

0=H_:B=l/4|

Use

the

VALUE

keys

to

select

H.

or

<'<>m

the

Ml-

M8.

or

R3

C

-L3

range.

18

Where

H

specifies

output

only

to

the

PHONES

jack.

Ml

to

M8

select

output

to

MULTl

OUT

jacks

1

to

8,

and

R3

to

L3 pan

output

across

the

left-to-right

stereo

range.

(C

selects

the

center.)

(3)Setting

the

Output

Level

^J^"*.

®

Press

the

METRONOME

key

to

select

the

METRO

NOME

screen.

(D

Move

the

cursor

to

the

level

field,

then

specify

the

output

level,

using

the

VALUE

keys.

I

L

=15:

0

=

H

:B=1/4)

J

Use

the

VALUE

keys

to

select

00

a

value

between

15

and

00

RESOLUTION

On

the

DRM-1,

resolution

indicates

the

number

of

rhythm

segments

definable

per

increment

in

location

count,

which

is

equivalent

in

duration

to

a

quarter

note.

A

resolution

of

1/2,

for

example,

indicates

half

the

duration of

a

quarter

note

so

that

the

minimum

defina

ble

timing

is

equivalent

to

an

eighth

note.

When

resolution

is

changed,

the

DRM-1

automatically

adjusts

timing

control

for

all

prerecorded

rhythm

patterns.

This

feature,

for

example,

allows

separate

recording

control

for

each

part

using

low

resolution

(1/2

to

1/4)

for

simple

patterns

of

the

bass

drum,

and

high

resolution

(1/12

to

1/48)

for

intricate

patterns

of

the

snare

drum

and

cymbals.

At

a

low

resultion,

the

DRM-1

automatically

compensates

for

instability

intro

duced

during

recording.

Keeping

the

resolution

near

1/48

allows

the

most

accurate

playback

of

rhythm

patterns.

<Automatic

Adjustment

of

Resolution

>

Example:

Resolution

at

1/2

Figure

10

Snare

drum

Bass

drum

Share

drum

Bass

drum

Bar

U

f

(Data

actually

recorded)

(Data

adjusted)

Setting

resolution

to

match

the

recorded

data

causes

the

DRM-1

to

automatically

adjust

the

rhythm

pattern

resolution,

which

would

otherwise

be

extremely

dif

ficult

to

enter

in

time

at

the

precise

timing

of

a

metronome.

(D

Press

the

RESOLUTION

key

to

select

the

RESOLU

TION

screen.

PTN

NAME

1/16

t

Use

the

VALUE

keys

to

select

yu

lA,

Va.

V4,

Vs.

Vb,

%>

%,

%

or

J4

,,,,

J

/2

n

1/3

1/4

^i

rrn

fr*\

ffi

r^

I

.'6

j

j,

j

* i t i

J

J;

*

J

j

;

j

i

J J

j

1/48

COPY

The

COPY

function

allows

a

complete

backup

copy

of

the

rhythm

pattern

being

edited.

It

does

this

by copying

the

entire

pattern

to

an

area

allocated

to

an

unused

pattern

number.

This

function

is

useful

in

situations

where

the

original

pattern

is

to

be

saved,

but

another

version

is

to be

made

based

on

this

original

pattern.

It

is

also

used

to

clear

an

edited

rhythm

pattern

assigned

to

a

pattern

number.

Q3

Copying

a

Rhythm

Pattern

®

Press

the

COPY

key

to

select

the

COPY PATTERN

screen.

Source

pattern

number

i

COPY

TO

PATTERNOO

00

Su

re?

(COPY

PATTERN

screen)

t

Destination

pattern

number.

(D

Select

the

destination

pattern

number,

using

the

SELECT

key.

Do

not

select

the

number

for

data

which

is

to

be

retained.

New

data

will

overwrite

any

data

at

the

destination.

TO

00

Sur

e?[

15

Use

the

SELECT

key

to

specify

a

value

between

00

and

15.

RESOLUTION

PTN

NAME

1/16

(RESOLUTION

screen)

T

Resolution

2

Select the

resoultion,

using

the

VALUE

keys.

I

Press

the

AYES

key

(VALUE

keypad)

to

start

copy

ing.

Pressing

the

T

NO

key

instead

cancels

copying

and

sends

control

back

to

Step

(2)

where

the

SE

LECT

key

was

pressed.

TO

01

Su

r

Press

the

▲

key

(VALUE

keypad)

19

I

Clearing

a

Rhythm

Pattern

Press

the

COPY

key

twice

in

a

row

to

select

the

CLEAR

screen.

COPY

PATTERNOO

CLEAR

Sure?

(CLEAR

screen)

Press

the

AYES

key

(VALUE

keypad)

to

restore

the

default

values.

Pressing

the

T

NO

key

(VALUE

key

pad)

instead

cancels

the

command

and

returns

you

to

the

COPY

PATTERN

prompt.

A

push

on

the

▲

(YES)

key

clears

al'

data

recorded

in

the

pattern

group.

CLEAR

Su

r

e?

I

PRESSjhe

▲

key

(VALUE

keypad).

CLEAR

Execute

CLEAR

Fini

*

Subsequent

operation

is

not

allowed

until

the

display

reads

the

"Finish"

message,

which

indicates

that

the

may

follow.

EDITING

THE

PARAMETERS

3

<SYSTEM

GROUP)

Besides

a

MIDI

keyboard,

the

DRM-1

accepts

input

from

drum

pads,

a

foot

controller,

and

a

foot

switch,

which

are

controlled

by

the

system

parameters.

The

DRM-1

also

provides

internal

storage

facilities

for

such

parameters,

some

of

which

require

frequent

user

con

trol.

This

section

explains

how

to

control

the

system

parameters

to

help

exploit

the

full

capabilties

of

the

DRM-1.

PAD

SET

The

PAD

SET

key

allows

access

to

parameters

for

cor

responding

drum

pad.

The

display

cycles

through

the

following

three

settings

each

time

the

PAD

SET

key

is

pressed:

(PAD

sense

screen)

(PAD

parameter

screen)

(PAD

function

screen)

LllSetting

the

Pad

Sensitivity

©Press

the

PAD

SET

key

to

select

the

PAD

sense

screen.

(D

Select

the

pad

number,

using

the

VALUE

keys.

A

tap

on

a

drum

pad

automatically

selects

the

correspond

ing

pad

number,

regardless

of

the

cursor

position

on

the

display.

PADI

S=l2

V=000

|

Press

the

VALUE

key

or

hit

a

drum

pad.

7

(3)

Move

the

cursor

to

the

sensitivity

field,

then

specify

the

pad

sensitivity

within

the

01

to

16

range,

using

the

VALUE

keys.

Adjust

the

value

while

playing

on

the

selected

drum

pad.

A

tap

on

the

pad

changes

the

velocity

reading

beyond

000

and

brings

up

a

graphic

intensity

indicator

on

the

screen.

Adjust

the

sensitivi

ty

so

that

velocity

ranges

between

006

and

015

(one

indicator

scale)

at

pianissimo

and

between

120

and

127

(full

indicator

reading)

at

fortissimo.

PAD1

S=0i V=000

Use

the

VALUE

keys

to

select

a

value

between

01

and

16.

Display

reading

al

pianissimo

(mnimjm

input)

>

PADI

S=I

£

V

=

007

Display

reading

al

fortissimo

(maximum

input))

PADI

S=l£

V=l2

7

■■■■■■■■■■■■■■■I

PAD

number

i-Sensitivity

rVelocity

PADI S=1B

V=000

(PAD

sense

screen)

"

Input

Level

20

Korg DRM-1 User manual

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