Modor OS007 User manual

MODOR DIGITAL DRUM SYNTHESIZER
USER MANUAL - OS007

Contents
1 Getting Started . . . 1
1.1 Overview ................................ 1
1.2 Patterns, songs and drumsets . . . . . . . . . . . . . . . . . . . . . . 1
1.3 Connections............................... 2
1.4 Installing wooden sides or rack-ears . . . . . . . . . . . . . . . . . . 3
1.5 Patternprogramming .......................... 3
1.6 Modulations............................... 4
1.7 Menunavigation ............................ 6
1.8 Loading patterns, songs and drumsets . . . . . . . . . . . . . . . . . 6
1.8.1 ...fromthemenu........................ 6
1.8.2 . . . from the frontpanel . . . . . . . . . . . . . . . . . . . . . 7
1.8.3 ...quickreload......................... 7
1.9 Saving patterns, songs and drumsets . . . . . . . . . . . . . . . . . . 7
1.9.1 ...inthemenu ......................... 7
1.9.2 ...quicksave.......................... 8
1.10SafetyMode............................... 8
1.11Initialisation............................... 9
1.11.1 ...fromthemenu........................ 9
1.11.2 . . . shortcut for patterns . . . . . . . . . . . . . . . . . . . . . 9
1.12Fingerdrumming... ........................... 9
1.13Keycombinations............................ 10
2 Overview 12
2.1 StructureoftheDR-2.......................... 12
2.2 Pattern, song and drumset modes . . . . . . . . . . . . . . . . . . . . 14
2.3 Flashmemory.............................. 14
2.4 Frontpaneloverview .......................... 14
3 Drum synthesizer 17
3.1 Drum models or algorithms . . . . . . . . . . . . . . . . . . . . . . . 17
3.2 Envelopegenerator ........................... 18
3.3 Bassdrums ............................... 20
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3.3.1 DriveBD ............................ 20
3.3.2 NoiseBD............................ 21
3.3.3 SquareBD ........................... 22
3.3.4 StringBD............................ 22
3.4 Snaredrums............................... 24
3.4.1 BasicSN ............................ 24
3.4.2 MarchingSN.......................... 25
3.4.3 AnalogSN ........................... 25
3.5 Cymbals................................. 26
3.5.1 Hihats.............................. 27
3.5.2 Ridecymbal .......................... 27
3.5.3 Crashcymbal.......................... 29
3.6 Claps .................................. 30
3.7 Toms................................... 31
3.7.1 AnalogTom .......................... 31
3.7.2 Tenordrum ........................... 31
3.8 Miscellaneous.............................. 33
3.8.1 Rimshot............................. 33
3.8.2 Rattle.............................. 34
3.8.3 Cowbell............................. 34
3.8.4 GlassBottle........................... 35
3.9 Tonaldrummodels ........................... 36
3.10Aftertreatment ............................. 37
3.10.1 Attackenvelope......................... 37
3.10.2 Distortion............................ 38
3.10.3 TiltFilter ............................ 38
3.10.4 Compressor........................... 39
3.10.5 Gainsetting........................... 40
3.11Modulations............................... 40
4 Drum sequencer 42
4.1 16 step, 64 step or 128 step sequencer? . . . . . . . . . . . . . . . . . 42
4.2 Rec, Play, Rec Pause and Stop . . . . . . . . . . . . . . . . . . . . . 42
4.3 BPMandSwing............................. 43
4.4 Patternmode .............................. 44
4.5 Songmode ............................... 45
4.6 Patternprogramming .......................... 46
4.6.1 32ndnotes ........................... 46
4.6.2 Accents............................. 46
4.6.3 Reverses ............................ 47
4.6.4 Breaks ............................. 47
4.6.5 Flams.............................. 48
4.6.6 Tuplets ............................. 48
4.6.7 Meter or pattern length . . . . . . . . . . . . . . . . . . . . . 49
4.6.8 Polymeters ........................... 50
4.6.9 Bars and pattern variations . . . . . . . . . . . . . . . . . . . 51
4.7 Synchronisation............................. 51
4.8 EuclideanGenerator .......................... 52
4.9 ParameterLocks ............................ 54
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5 Menu Reference 56
5.1 Load................................... 56
5.2 Save................................... 57
5.3 Name .................................. 57
5.4 Init.................................... 57
5.5 Copy................................... 58
5.6 SystemSettings............................. 59
5.7 SysexDump............................... 60
5.8 Menuoverview ............................. 62
6 Firmware upgrades 63
6.1 Firmwareupgrade............................ 63
6.1.1 Why upgrading the firmware? . . . . . . . . . . . . . . . . . 63
6.1.2 Upgrade procedure . . . . . . . . . . . . . . . . . . . . . . . 63
6.2 Bootloaderupgrade........................... 64
6.2.1 Why updating a bootloader? . . . . . . . . . . . . . . . . . . 64
6.2.2 Installation ........................... 65
7 MIDI Implementation 66
7.1 Midichannel .............................. 66
7.2 MIDInotemapping........................... 66
7.3 MIDIcontrolchanges.......................... 68
7.4 MIDI program changes . . . . . . . . . . . . . . . . . . . . . . . . . 68
7.5 MIDI implementation chart . . . . . . . . . . . . . . . . . . . . . . . 69
7.6 MIDIcontrollerlist........................... 71
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1
Getting Started . . .
1.1 Overview
Thanks for buying a Modor DR-2!
The DR-2 is a digital 6 instrument drum machine with a 128 32nd note step se-
quencer. Soundwise, the DR-2’s digital drum models offer a lot of sound sculpting
flexibility. It is not based on samples or analog circuits, the DR-2 is actually a real
digital DSP drum synthesizer. It has the sound editing knobs like on a synthesizer, but
with digital synthesis algorithms that are aimed towards drum synthesis.
The DR-2 also has extensive sequencing possibilities. It has a 32nd-note resolution
and there is the possibility to program accents, flams (double hits) and tuplets (multi-
ple hits), silences (breaks), reversing (backwards running) drum sounds and parameter
locks.
1.2 Patterns, songs and drumsets
The Modor DR-2 has an internal sequencer, that plays PATTERN or SONG structures,
triggering the internal drum synthesizer. The synthesizer creates drum sounds using
the sound parameters stored in DRUMSETS. These are the 3 different kinds of ’data
structures’ you’ll meet working with the DR-2.
• A PATTERN is the collection of up to 128 steps of sequencer data of the six
instruments, including accents, flams, breaks, reverse notes and parameter locks.
• A SONG is a string or loop of up to 60 patterns.
• A DRUMSET is a set of sound synthesis parameters for the six drum instruments
A-F.
So, the DR-2 consists of two main components: the drum synthesizer, and the
drum sequencer. The internal drum synthesizer and its drumsets, are not related to
the internal sequencer and its patterns and songs. So you can play any pattern or song
using any drumset. But also, this means after restarting your DR-2 you’ll have to load
both the pattern/song and the drumset separately to restart where you left before. If you
save a pattern or song after editing, the drumset is not saved along. You have to save it
separately if you want to store it!
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1.3. CONNECTIONS CHAPTER 1. GETTING STARTED . . .
By pressing the PATTERN, SONG or DRUMSET buttons, you go into pattern,
song or drumset mode. This is important in the menu for loading, saving, initialising
and renaming items.
To learn how to load patterns, songs and drumsets, check §1.8.
1.3 Connections
Before you can start playing the Modor DR-2 a few connections have to be made. This
chapter is written to help you make the first connections so that you can immediately
start playing your instrument. By following these instructions, you will have your
Modor drum machine up and running in a few minutes time.
Main Audio Connections The main stereo output of the Modor DR-2 is found on
the L/PHON and R/MONO connectors on the backside of the instrument. Connect
the DR-2 to an external amplifier or mixing device with two mono 6mm jack cables.
The external amplifier or mixing device should be switched off before making this
connection, and only be switched on after the connection has been made to prevent
damage to the equipment.
You can also connect headphones to the L/PHON audio connector with a 6mm
TRS-connector. The signal is strong enough to drive a pair of headphones, although it
may not be loud enough to be used in noisy environments.
Channel Audio Connections The Modor DR-2 has six drum channels that can be
sent to the main L/R mix, but can also be sent out using the A-F connectors on the
backside. If you insert a mono 6mm jack connector into one of these connectors, this
channel is taken out of the main stereo mix on the L/R connectors and can be treated
separately on an external mixing desk.
However, these connectors can also be used as so-called ’insert’ points. Using a
6mm TRS connector you can send a channel out for external treatment, some effect for
example, and have it returned back into the DR-2. It then passes the stereo panning and
is mixed into the main L/R output.
Clock Syncronisation The DR-2 has CLK IN and CLK OUT connectors for 24PPQN
clock signals. You can use the DR-2 as a clock master or clock slave to synchronise
with other systems.
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1.4. INSTALLING WOODEN SIDES OR RACK-EARSCHAPTER 1. GETTING STARTED . . .
MIDI Connections The DR-2 has an internal drum sequencer, but it can also be
controlled by an external keyboard or (computer) sequencer via a MIDI connection.
Chapter 7 indicates which notes (note numbers) to send. Connect the MIDI output of
this external midi source to the MIDI IN connector on the backside of the Modor DR-2.
The patterns generated by the internal sequencer, can also be sent out via the MIDI
OUT connector as MIDI note messages, along with the knob movements of the sound
parameters as MIDI control messages.
Power Connector Finally, the Modor DR-2 has to receive power via the power con-
nector. Connect the adaptor, and turn the volume knob (POW/VOL) on the upper left
corner of the front panel clockwise to get the instrument running. Theoretically, any
9V DC-adaptor with 9W power (1000mA) will be sufficient, but there are many DC-
adaptors around providing unstable or even plain wrong electrical tensions. Only use
the DC-adaptor delivered with the Modor DR-2 or refer to a specialised electronics
dealer. Damage to the instrument caused by using a wrong adaptor is excluded from
any warranty regulation.
1.4 Installing wooden sides or rack-ears
The Modor DR-2 comes with a pair of wooden side blocks, and a pair of white metal
rack ears to put the it in a 19” rack. The necessary screws to install these are also
included.
• M3x25 screws and 4.3/12mm washers for the wooden side blocks
• M3x6 screws for the metal rack ears
Pay attention not to put the wooden side blocks upside down. The short sides of
the blocks shouldn’t be vertical, but should follow the shape of the metal case.
1.5 Pattern programming
Programming basic patterns on the DR-2 is quite simple. Push the A-F buttons to select
an instrument and hit the 1-16 buttons to toggle drum hits. Then press play to hear the
pattern you programmed. That’s the basic step sequencing as can be found on many
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1.6. MODULATIONS CHAPTER 1. GETTING STARTED . . .
classic drum machines. You can also record patterns live by pushing REC and PLAY,
and then playing the A-F buttons.
However, there is more about pattern programming on the DR-2:
Accents can be programmed by keeping the ACC button pressed
while programming drum hits with the 1-16 buttons.
Accents can also be programmed in a separate accent track for
all instruments simultaneously. Just press the ACC button to
access the accent track.
Reverses can be programmed by keeping the REV but-
ton pressed and hitting 1-16. Set the reverse delay with
REV+VALUE
Breaks or instrument silences can be programmed by keeping
the BREAK button pressed and hitting 1-16.
Flams or double hits can be programmed by keeping the FLAM
button pressed and hitting 1-16. Set the flam speed with
FLAM+VALUE.
Tuplets or multiple hits can be programmed by keeping the
SHIFT+FLAM buttons pressed and hitting 1-16. Set the tuplet
balance, number and speed with SHIFT+FLAM+Y/Z/T.
β-variations Every instrument has two separate tracks to pro-
gram αand βdrum hits. The αand βdrum sounds are identical,
except for one sound parameter. Set the βparameter and value
by keeping βpushed and turning a knob.
1.6 Modulations
You can bring a lot more life in your drum riffs by using modulations that avoid every
drum hit to sound exactly identical. There are 5 different ways of modulation:
Velocity or accents: Velocity or accent can modulate the volume and one extra pa-
rameter. Keep the VELOCITY button pressed and move a slider to set the volume
sensitivity. Keep the VELOCITY button down and turn one of a drum’s parameter
knobs, to add another parameter to velocity modulation. When playing notes with dif-
ferent velocity or accent you’ll hear a difference in sound. Double click VELOCITY
to remove the extra modulation, keep VELOCITY pressed and move the slider down
to remove volume sensitivity.
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1.6. MODULATIONS CHAPTER 1. GETTING STARTED . . .
Random: Press the RANDOM button and turn one of a drum’s parameter knobs.
Now you’ll hear a random variation of this parameter with every drum hit. Random
can be connected to one parameter per drum. Double click RANDOM to remove this
modulation.
Definable: Press the DEF button and turn one of a drum’s parameter knobs. Now the
DEF-knob above the instrument’s slider can be used to vary this parameter. Definable
knobs can be connected to one parameter per drum. Double click DEF to remove this
modulation.
Alpha/Beta: Press the β-button and turn one of a drum’s parameter knobs. Now you
have a β-variation of this instrument. β-variations can be connected to one parameter
per drum. The sequencer has separate tracks for the αand βvariations, press αor βto
program α/βdrum hits.
Parameter Locks: If you keep a sequencer button (1..16) down while turning a knob,
you program a parameter lock. This synthesis parameter is then different for the drum
hit playing at that sequencer position. To remove the parameter lock, keep the se-
quencer button down again, and hit NO(/EXIT).
5