Peavey DPM 4 User manual

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Macintosh®, Alchemy", Sound Designer”, Avalon™, Genwave™, Atar®, Sample Wrench”, Amiga®,
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A Intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure
that may be of sufficient magnitude to constitute a risk of electric shock to persons.
Ó Intended to alert the user to the presence of important operating and maintenance (servicing) instruc-
tions in the literature accompanying the product.
CAUTION Risk of electrical shock — DO NOT OPEN!
CAUTION To reduce the risk of electric shock, do not remove cover. No user serviceable parts inside. Refer
servicing to qualified service personnel.
WARNING To prevent electrical shock or fire hazard, do not expose this appliance to rain or moisture. Before
using this appliance, read the operating guide for further warnings.

Contents
Introduction
WOW! THE DPM® SERIES KEYBOARDS .......ccccccccccccsccsseeccessessceseseeesccsessccssessessesccstvsnsssesssucese
WHAT YOU GET WITH THE DPM 4 AND DPM 488 ...
ABOUT THIS MANUAL ............... esses bos
DPM 4 and DPM 488 Differences ..........ssssssssssseseeeeeene nennen nne nnne natnra ia nain
Chapter 1: The Audio Connection
LX AUDIO, HOOKUP. vist cig o itingiitue tutti iiir e rete e ERR eee ra 10
11a. «Cable: Setup. sime tote id litere erred ..10
11b IJust Wanna Hear the Demo! ........... sese etal
1.lc Using the DPM as a “Workstation” 20... cecessceneeseeereeeseseesenessecseseeeeneneeneeneesees 10
13d Live Use as a MIDI Keyboard/Master Controller .............. scene 12
11e Studio Use with an External Sequencer x
ATE HPO WeTin Up acs ana ae treten t a
12. FRONTPANEL DESCRIPTIONS cisne e ae n ae e ete rere e a a an
1.3 QUICK PARAMETER SETUP
1.3a Auditioning Programs ...
13b Setting Parameters for Use as a MIDI Keyboard Driving a Second MIDI Module ... 17
1.3c Multi Mode: Setting Parameters for Studio Use with a Sequencer... 18
1.4 ABOUT DYNAMIC ALLOCATION krr dtr nt agis eeeisbise e Fe ERE Rye PUR E eint 18
Chapter 2: The Most Common DPM Operations
2.1 TUNING, KEYBOARD RESPONSE, AND VIEWING ANGLE EDTIS .............. sss 19
21a. Global Tünilg «aset ore o re oo ERU eee ra LR DR ETE EtEses
21b Keyboard Velocity Response
21c Display Viewing Angle ..
2.2 MAIN MIDI EDITS .................... des
22a .Ghange MIDI Input: Channel... centenaire nete e ee i t er
2.26. :Change MIDI Output Channel... eter i haee obe e d ER
2.2c | Change MIDI Mode ...............
2.2d Enable Overflow Mode..
2.2e Turn Local Control On or Off .
22f. Filter Out MIDI Dáàta:.... erede rode ttd ene ped ee esee ii a AE ake
2:5; * STORAGE; BEUNGTIONS:. 4 eee E etu btt reete tete oe res
2.3a | Cartridge Memory Management 5
2:3b. Formata Disk Priorto: Saving Data yaio ha iai Te a i eene enne 24
2.3c Saving Data to Disk and Naming Data Files ............. essem 25
2.3d Loading Files from Disk... eu
2e .Deleting Files from Disk ............. sese vee 28
2.3f . Sending Data via MIDI System Exclusive Messages ........cccceccceceeeeeseseteteeeeseseseeseseeees 29
2:4.. JEDIT MENU, TWEABKS ^53 needed teet didhgastecseluedselitccatavagssayesvened seaebanvastiaids dassiaveceagnnvonte 30
Table of Contents

2.4a
Save/Rename
an
Edited
Program
.............
sse
eere
retenta
30
24b
Change
Overall
Timbre
("Brighter/Duller")
seems
31
2.ác
| Increase/Decrease
Timbre
“Dynamics”
2.d
Change
Program
Volume
Level..............
24e
.
Change
Stereo Panic
o4
eda e
nt
RE aee tornei
ddce
terat
24f-
.
SetPitch
Bend
Rangement
reete
recette
tresds
2.5
ASSIGN
FOOTPEDAL
AND
FOOTSWITCH
2.6
MASTER
EFFECTS
SELECTION
.....ccccccccscscscscsesssescscsssecesecscecevevecevevevecsvacseecsvsseaesstess
s
2.77
JINHIIALIZE:
ENTIRE:UNIT
eie
teen
ete
hec
eee
eem n
5.1. JDRUM RII-BASIOS eti a a da deeddente ves ceperit ler eeas 27
3.2 ACCESSING AND MODIFYING DRUM KIT PARAMETERS „isinir 37
Chapter 4: Programming the DPM
4.1 HISTORY AND BACKGROUND ooeeeccccccccccesssessecessesceevecsscscsscssussaccsvusvecsarsessetcarsavsevaesaaees 40
£1a | How the DPM Generates Sound: Analog Synthesizer Emulation and Sampling...... 40
4.1b DPM Synthesizer Architecture ........cccccccccccccsccecssscsesessescsescscecucsvsesscssevscautevasscecesvacecnens 41
4-1c. 'iOscillators: cette ted ee tPA ete tien aha? cams Batata ede A 42
AVG STOGAS cert uct ee t cA mU iU Ee e ie a Cit me o RM aA Nias ot itt adh
le Pan...
4.1f Filters...
41g Output Stage......
4J1h Signal Processors ............. i
42 THEART OF MODULATION. eerte p ue agiti dddlese eec ulert ari e rigo 44
4.2a About the DPM Modulation Matrix... cccceecssessessessssssseseseseeescecscecscsessecscecsesesnsnentaces 44
42b DPM Modulation Modules............... w 46
4.3, DPM PROGRAMMING TECHNIQUES .....cccccccsssscsssssesseescseseescsesessesesessseseeecsescassesstsseveaeees 46
43a About the Compare FUN ction vc ccececcsesssesesetessstsesesesesesescscasecanscscevecseecsuseensnsesreeeeacs
4.3b1
Waveform Reference List ......
4.3b2
4.3c1
4.3c2
4.3d1
4.3d2
4.3e1
4.3e2
4.3e3
4.3e4
4.3f1
4.3f2
4.3g
4.3h1
4.3h2
4.3h3
Table of Contents
Wave Page 1...
Wave Page 2 (Mods)...
Amplitude Page 1.....
Amplitude Page 2..
Filter Page 1...........
Filter Page 2 (Mods)........ es
Envelope Page 1 (Levels)... usce denies rii du t Tr tim etes 52
Envelope Page 2 Mevel Mods) oniani eiae dienten ge eec 53
Envelope Page 3 (Times).......... 2s 54
Envelope Page 4 (Time Mods) ........... sss tenente 54
LFO: Page oana An aan a aa e A ne Peabo ane neers 55
LFO Page 2 (Mods) .. 2 56
Volume Page... eed a nme te ben teiiie d ette etr 57
Links:Page Tostens etes tuque uo ere MB ated o HEREIN rs 57
Links
Page
2
...
5:229
Links. Page PPS 59
ii

43h4- “Links Page k aunn e a T I e ROB RN eade doet 60
Chapter 5: Programming the On-Board Signal Processors
5.1 ABOUT DPM SIGNAL PROCESSING ..0.....ccccsscseseeenesseceeeeesseeeeeseccsseesseessecnetenseensesseeeeneens
Sila; -EffectsStructure 4 ede iet t e C e t e M TA n nr
5.1b The Differences Between Effect 1 and Effect 2 .... a
5.2. SIGNAL PROCESSORS IN MULTI CONFIGURATIONS ..............sssssssssssssesseeetes 64
5.3 FX PARAMETER PROGRAMMING .............eseeeeeeeeee eene eere nme ener nentes n nnrr etae sinn enter nn 64
5.3a Programming Signal Processing Parameters 265
5.3b . Reverb Parameter .. ... 66
5.3c Delay Parameters ..... . 67
5.5d. ~. Chorus Parameters’ ensccceccatciavehecthedenba shieba devas lancaccucenes Asis cian sarvenseaceoteias cdteasicnennntetee 68
5 See © EQ: Parameters isset eom be nao nei cera pe vertere e rM o Pune 69
5.3f | Gated Reverb ............ DO
5.3g Distortion Parameters.. «70
5.3h Exciter Parameters escenes 71
5.4 | COMBINATION EFFECTS OPTIONS .....c.cccsceccssssssssessssceesseneesecesesecsaeseesseesesteeseneesseeseeee 71
Chapter 6: Sequencing
6:1* :BASIC-.OPERATION: «tapete itd OH P eina aa t d e edet 73
6.2 OVERVIEW OF SEQUENCER BUTTON FUNCTIONS .......ccccccccssescssessesssecseseesseresssesseseees 74
6.3. SEQUENCE/SONG SELECTION prenete siyete rE EEA EEA ENRETE RTS 74
6.4 GETTING READY TO RECORD A SEQUENCE........ 72
6.5 SEQUENCER SYSTEM SETUP (CONTROL SCREEN) .. 76
6.6 SEQUENCE EDIT FUNCTIONS ........... sese eS
6.63 Create a; Sequences s eee dp E Rte du arr ede TRE BR e 77
6.6b- . Delete a Sequerice ....... cero dedi eee b e ie d id pe c aE 78
6.6c Copy a Sequence ............ ad
6.6d Choose a Sequence Effect ............ssssssssss sss 2.79
6.66. Clear all Sequences |... sescenti S9
6.7 SEQUENCE TRACK ASSIGNMENTS .......cccccccccsseseesssesseseescseesesecscvacsceaevacsevsesteaesavsesecseereats 79
0:a- -Assign Program:to Tfack 4c cien ap eme RN Rae 80
6.7b Track Configuration z
6.7c Track MIDI Output Assignment ...........cccceseeesessstseeseseseseeeseeeenseseseeveseeeasseneesaeseaenees 81
67d: : FXX Send ASSI pi a ede ccrte e hec ede t e a Pec IER e hte fre 81
67e Set Track Volume/Automated Mixdown .. 81
6.8 RECORDING A SEQUENCE ........ssssssseseeseeenere ettet . 82
6.8a Transport Controls: Rewind, Play, Fast Forward, Stop, Pause . 485
6.8b Recording, Erasing, and Overdubbing Functions ......ccccccsecseseceseeeeseeesnseeeenssseeeseenene 84
6.9 TRACK EDIT FUNCTIONS .0.....ccccscesescscsessscesesesessescsesessevecsesescsesesseseseceesesesececseseseseeeeeeees
6.9a Erase Note and/or Controller Data . e
6.95- Copy Note Data cient tee pO D AE oet Ua Dre IER Ded eerte et
6:9c" -Iranspose:Note Data rene neot enr ui er e Er A T
69d -Scale Note Velocities tetro tte P EE ae ente ort aa
69e. ;Quantize:Note Dalai teiom ee Ho er e Rd vede ta et a WELLE
6:9£ * "Insert. Measure Data «5o Doe eet UTER IR RECEN M i END ELEC AA
Table of Contents

6.9g Delete Measure Data ...es.csccscccecssessssssessssssesssssssosvesssssesessesbesesecucoeveseseescarassversendseesevanes
6.9) Merge Tracks ............
6.90. Slide Data... essence nentes
6.10 STEP EDITING vecii inneni iani s
6.10a Step Edit Operations ...
6.11 CONSTRUCTING A SONG
6.1la Name/Save a Song...... i
6,11b. "Cleat «a SODng a. cic sb emet tumet een i m ERU Oe
631c- Build a Song. detecte eere edite tee ero eco a ER
6.11d Song Building Options
6.11e, Building a Song ..............
GALE. Editing a Sobit inean nian a a be ee re eo re E PI ERE Nt e Uo
Chapter 7: Sample Editing
73
72
7.8
7.4
7.5
7.6 ABOUT SAMPLE LOOPING AND TRIMMING ..
7.7 | ACCESSING SAMPLING FUNCTIONS ............ *
7.8 LOAD (SAMPLE FROM DISK) .......ccccssssssssssssesecsecnesssssesscesescscseeseeececacecsnecasueasessssenseess
7.9 SHOW (SAMPLE MEMORY STATUS) ..0...c.ccsccscscssseesseeceseeseseseneseseseseseanesssesteasseeeseseees
7.10 RCV (RECEIVE A SAMPLE FROM AN SDS-COMPATIBLE DEVICE).
7.11 XMIT (TRANSMIT A SAMPLE TO AN SDS-COMPATIBLE DEVICE).
7.12. EDIT (EDIT SAMPLES IN MEMORY—LOOP AND TRIM).............. ..109
7.13 DELETE (DELETE SAMPLES AND WAVES FROM MEMORY) ........ esses 112
713a. Deleting Samples eenn eA a a E aE E bete die n T een 112
7.13b Deleting Waves »
7.14 USING AN SX / SX II WITH THE DPM KEYBOARD ...........sseeeeeeeeeee eterne 113
7.14a RCV (Receive a Sample from an SX) .......sssssssssssssssesene eene 114
7.14b RCV (Receive a Sample from an SX ID) 116
7.15 SAMPLE MEMORY MANAGEMENT TIPS ... 119
7.15a Sample Time Trade-offs ........................ . 119
7.15b The Sample/Patch Program Relationship ............... essent 119
7:15c.- The.DPM as:Sampler .; onte etg tree te e d WO n Re 119
PAD. Additional Tips... etenim e nee oe teet i edet ce 120
Chapter 8: Advanced Applications
&1.. MIDI OVERFLOW: MODE: i esiesesee ec fers fotesstsbdascgeteaets setgsecauecvadassacedetOaveea dens onediaivigdere 121
8:22. ALTERNATE: TUNING TABLES nanipun ite tete EH ee t iere ende 121
82a Selecting a Preset Tuning Table occ cceccesessssnseseseceenesseseseecescsesesecsssentessecscsteneees 122
8.2b Creating Your Own Tuning Tables. ..123
8.20 Alternate Even-Tempered Tuning oo... cceeeessctesesesesessceseecseseecsesvsvsvevsneceeneeseseetess 123
8.5 MIDI SYSTEM EXCLUSIVE STORAGE .............sseeseeeeeeeen eerte tenete 124
8.3a Saving SysEx Data to the DPM ...........ssses eese nennen nennen 124
Table of Contents

8.3b Reloading and Sending SysEx Data from the DPM ............... sse 125
Cbapter 9: Programming Tips and Background Material
9:1.” SEQUENCING: BASIGS scetur petente e Een eher re ee dere a e 126
9.2 ABOUT ENVELOPE GENERATORS ......cccccscccssessssseeseseeseeseseeessessssesseaseessesecsesecseeseseeas 127
9.3 CROSSFADE SYNTHESIS TECHNIQUES .. ...130
9.34 . Automatic Crossfading .......................
9.3b Manual Crossfading ........................
9.3c Pressure-Controlled Crossfading
9.4 | PROGRAMMING/EDITING TIPS .......... essent entretenir teet
9.5 BLANK “TEMPLATE” PATCHES .......
9.6 ABOUT LEVELS AND DISTORTION st
97. "CARE OF:ELOPPY"DISKS s... oett cast etm tei edu ro ede
Cbapter 10: MIDI Supplement
10.1
10.2
10.3
10:4 “CHANNEL MESSAGES ourora eerte eripi NO pete ie tees 136
10.4a Voice messages .... .. 136
10.4b Mode messages ..........sssssseeeree eene .. 137
10.4c- Othier messages ...:.:. neon ee eerte rre .. 138
10.5 SYSTEM COMMON MESSAGES \......cccscecessessscscscssecseessssssssssseseaenessacaeseseaseteresensneeeetetees 138
10:6. BOOKS: ON MIDI A iadizes vii ene ege ite en eer te a I ta t teles 139
Index
INDEX. E 140
Table of Contents

Introduction
WOW! THE DPM® SERIES KEYBOARDS
Welcome to the DPM” Series Performance Keyboards. The DPM 4 and DPM® 488 are the next logical
steps in the evolution of Peavey Electronics’ award-winning keyboard technology. The DPM 4 and
DPM 488 combine some of the most desired features from their keyboard line to create a Performance
Keyboard that is more powerful than ever (and still easy to use!). The DPM 4 and DPM 488 have 32
voice polyphony (that’s double the DPM® 3!). The DPM 4 and DPM 488 also more than double the
sample ROM to 10 megabytes. Best of all, the DPM 4 and DPM 488 are fully compatible with the existing
DPM 3 sound and sample libraries!
The DPM 4 and DPM 488 feature a 10-megabyte set of on-board ROM samples. This new sample set
was selected from the renowned Prosonus", McGill", and Northstar" sample libraries. New waveforms
include a highly improved acoustic piano, steel and nylon guitars, orchestral sections and solo
instruments, orchestral percussion, brushed percussion, house drums, sound effects, and many more.
In addition, the DPM 4 and DPM 488 feature expanded 32-voice polyphony, offering double the power
to take advantage of these new sounds in sequencing and performance applications. Of course, the
DPM 4 and DPM 488 also offer 512K of sample RAM (expandable to 1 MB), so custom samples can
be added from disk, MIDI SDS, or from the DPM® SX™ Sampling Expander. Like the DPM 3, the
DPM 4 and DPM 488 also feature remote control of the SX, with sample capture, looping and trimming,
as well as dual effects processors, and an on-board 9-track, 20,000-note sequencer. And yes, any
DPM 3 can be upgraded to DPM 4 specifications with a conversion kit.
WHAT YOU GET WITH THE DPM 4 AND DPM 488:
32-voice polyphony; 16-voice multi-timbral
24-bit programmable dual multi-effects processors
100 different musical instrument programs
Ten 32-piece programmable drum kit locations
Ten megabytes of internal factory samples (sample ROM)
512K RAM sample memory (expandable to 1 MB)
Channel aftertouch
Sample editing: looping, trimming, and mapping
SX and SX" II control screens and sample capture
Full MIDI implementation CMIDI SDS compatibility)
Stereo outputs
9-track, 20,000-note on-board sequencer
e DPM 3 sound library compatible
e 3.5” MS-DOS/ST-TOS compatible disk drive
* 40x 2 backlit display
* Pitch wheel, mod wheel, programmable slider, data wheel
* Three assignable footswitch inputs (sustain, damper, etc.), with a separate CV pedal input
* Memory card slot for voice programs (DPM 4)
61-note keyboard with channel pressure (DPM 4)
* 88 velocity-sensitive ^piano-weighted" keys (DPM 488)
* Beautiful polished hardwood cabinet (DPM 488)
* "99999909 @
Intro! 7

..and much more, which you'll find out about as you read this manual.
Before we get started, it might be a good idea to fill out the warranty registration card and return it to
Peavey. This way, we can let you know about our next fantastic keyboard!
ABOUT THIS MANUAL
We're shocked—you're actually reading it! Pat yourself on the back for validating someone's hard work.
We will try to make it as quick and painless as possible to learn how to use your new DPM 4 or
DPM 488 keyboard.
This manual contains two main sections:
Section 1, The Works!, details the background of synthesizers, explains all the details for using the
DPM 4 and DPM 488 and even gives you some excellent sources for learning more about synthesis
and MIDI. Here’s a quick look at what this section contains:
Chapter 1, The Audio Connection, provides basic audio hookup instructions, and helps you get great
sounds right out of the box.
Chapter 2, The Most Common DPM Operations: Here are the most common operations you'll do
with the DPM—save and load files, change MIDI settings, edit often-used parameters such as pitch bend
range, and so on.
Chapter 3, Creating Drum Kits: The DPM 4 and DPM 488 offer a full complement of drum sounds.
Chapter 4, Programming the DPM, shows how to create your own sounds or edit existing sounds;
this presents the basics of sound programming as well as a reference section of programming
parameters.
Chapter 5, Programming the On-board Signal Processors, explains how to take your sounds to
the next level by learning how to program the DPM’s signal processors.
Chapter 6, Sequencing: The on-board sequencer lets you compose on the DPM, drive other MIDI
equipment, or both.
Chapter 7, Sample Editing: How to load, save, and edit samples.
Chapter 8, Advanced Applications: This chapter offers information on slaving multiple DPMs
together, alternate tunings, and system exclusive data librarian functions.
Chapter 9, Programming Tips and Background Material, contains information about synthesis, disk
care, envelope generator subtleties, programming tips, and other background material.
Chapter 10, MIDI Supplement: It is important to know the basics of the MIDI specification to make
the best use of the DPM’s MIDI features. If you are not very familiar with MIDI, please read the MIDI
supplement before proceeding.
Intro! 8

Beginners please note: Chapters 9 and 10 contain background material about synthesizers and
` programming. Grouping this material together allows those familiar with synthesis to use the body of
the manual as a reference manual, yet background material is available for those who want it.
If you hate reading manuals, then Section 2 is for you. This section provides only the most essential
information, in the form of tutorials, to make you an editing wizard (okay, maybe wizard is too much
to hope for, but at least you will have a handy pull-out section and you won't have to carry five pounds
of manual with your keyboard).
Section 2, Tutorials, are provided in the form of “Quick Start” cards called KeyStrokes. These provide
a basic tutorial for all the “common” DPM 4 and DPM 488 functions. This is provided for users who
don’t really care about learning all the background details of synthesis (or already know all they need
to) and just want to get to the good stuff. (Like how do I use this darn thing!)
This manual is designed to be a complete reference for DPM 4 and DPM 488 users. Section 2 assumes
that you are familiar with the way synthesizers work. If you are a beginner, you may want to refer to
the first section to help gain a better working knowledge of synthesizers and synthesis.
DPM 4 and DPM 488 Differences:
The DPM 4 and DPM 488 are identical except for the following:
The DPM 4 has a data wheel for parameter manipulation and data entry.
The DPM 4 has a memory cartridge slot.
e The DPM 488 has 88 keys.
* The DPM 488 has that really attractive polished hardwood cabinet (like you didn't already know
that!).
That’s it!
Throughout the rest of the manual, we will refer to the DPM 4 and DPM 488 as simply the DPM. If a
section pertains to only the DPM 4 or DPM 488, we will point it out.
Let's bave some fun!
Intro! 9

Chapter 1: The Audio Connection
This chapter will provide basic connection/setup information (how to get the demo started!), show how
to navigate the front panel, give you a quick look at parameter setup, and talk a little about dynamic
voice allocation.
1.1. AUDIO HOOKUP
1.1a Cable Setup
1. Unpack the DPM. You should save all packing materials in case the unit needs to be sent for
updating or servicing.
2. Plug the female end of the line cord into the matching socket on the DPM’s rear panel.
3. With all devices in your system turned off and the volume controls turned down, hook up the
connectors according to your particular needs, as described below.
1.1b 1 Just Wanna Hear the Demo!
1. Either run a mono cord from the Left/Mono Audio Output to your amplifier, or connect two
mono cords from the Left and Right Audio Outputs to a stereo amp or two mixer inputs.
2. Turn on (Cin this order) the DPM, mixer (if present), and amplification system. Turn the volume
controls up part way; turn them up to normal volume once you're satisfied that the system is working
properly.
3. Press the Select Sequencer button. The display should show some sequence names. Press the
button above one of the names in the display. If the display asks “Save last sequence edits?,” press
the button above the part of the display that says -NO-.
4. Press the Play Sequencer button (lower right area of the DPM front panel) to play the selected
sequence. The sequence should start playing. If not, then the default parameters have been
changed. Refer to Chapter 6 on sequencing for information on sequence playback.
5. After the demo has finished, press the Stop Sequencer button, even if the sequencer appears to
be stopped.
1.1¢ Using the DPM as a “Workstation”
The DPM, thanks to its onboard signal processing and sequencer, can serve as a complete composition
center that requires no equipment other than an amplifier or set of headphones. Hook it up as described
next.
Audio: Referring to the diagrams below, plug the Audio Outputs into a suitable amplification system
or mixer. You have three options:
Chapier 1: The Audio Connection 10

*
Mono
Connect
a
mono
cord
from
the
Left/Mono
Audio
Output
to
a
mono
amplification
system
-
or
individual
mixer
input.
DPM 4 (rear panel)
PEDAL MIDI
AUDIOQUTPUT
AUDIO
LEVEL
RIGHT
LEFT/MONO
CONTROL
VOLTAGE
3
THAU
Connect to an amplification
system or mixer input
*
Stereo
Connect
two
mono
cords
from
the
Left
and
Right
Audio
Outputs
to
a
stereo
amplification
system
or
two
mixer
inputs.
DPM 4 (rear panel)
— STEREO AUDIO PEDAL .. MIDI
HEADPHONE OUTPUT
"€
ev
9c
wwe
AUDIOQUTPUT AUDIO LEVEL RIGHT LEFT/ MONO CONTROL VOLTAGE 3
Connect to an amplification
system or two mixer inputs
*
Stereo
Headphones
Plug
a
set
of
high-quality
stereo
headphones
into
the
rear
panel
headphone
jack.
A
separate
volume
control
regulates
the
headphone
level.
DPM 4 (rear panel) SS
= PEDAL — MID}
eee wee
LEFT/MONO. CONTROLVOLTAGE 3
AUDIO OUTPUT
Use to adjust the headphone level
Plug headphones into
the audio output jack
Chapter 1: The Audio Connection 11

1.1d Live Use as a MIDI Keyboard/Master Controller
Most live applications use the DPM to generate sounds, with (possibly) the MIDI output driving other
expander modules, such as a Peavey DPM V3 rack module.
Audio: Plug the Audio Outputs into a suitable amplification system or mixer. You have two options:
* Mono Connect a mono cord from the Left/Mono Audio Output to a mono amplification system
or individual mixer input (see section 1.1c).
* Stereo Connect two mono cords from the Left and Right Audio Outputs to a stereo amplification
system or two mixer inputs (see section 1.1c).
MIDI: When driving other MIDI units (e.g., expander module, MIDI-responsive signal processor, etc.)
run a MIDI cable from the DPM MIDI Out to the 2nd unit’s MIDI In. To drive additional MIDI modules
from the same keyboard, patch the 2nd unit’s MIDI Thru output to the 3rd module’s MIDI In. Connect
the expander module audio outputs to your amplification system via a mixer.
Caution: Do not attempt to connect more than three or four units together using MIDI Thru
connections, as this may affect the integrity of the MIDI data.
DPM 4 #1 (rear panel)
= N E a en ee — PEDAL, — MIDI
HEADPHONE UTP UT
e". e e. ecc wwe
MOM — KIA. conmove a
DPM 4 #2 (rear panel)
AUDIO PEDAL MIDI
Ceo eee et he
AUDIO OUTPUT UDIO LEVEL RET LEFTE MONO. CONTROL VOLTAGE 3
DPM 4 #3 (rear panel)
TEREO. AUDIO PEDAL MIDI
HEADPHONE OUTPUT
sess
eee
wee
AUDIO OUTE UD LEVEL Al CONTROL VOLIAGE 3 our mU N
Audio outputs form MIDI tone
generators feed mixer inputs
Chapter 1: The Audio Connection 12

1.1e Studio Use with an External Sequencer
In
some
studio
applications,
the
DPM
will
generate
master
controller
signals
that
are
recorded
by
a
sequencer.
On
playback,
the
sequencer
will
send
this
data
back
into
the
DPM,
which
then
serves
as
a
multi-timbral
sound
module.
The
sequencer
will
probably
generate
data
over
several
channels;
the
DPM
can
be
programmed
so
that
individual
programs
play
sequenced
data
from
specific
channels.
Example:
If
the
sequencer
transmits
a
piano
part
over
channel
1,
a
bass
part
over
channel
12,
and
a
string
pad
over
channel
14,
the
DPM
could
be
programmed
so
that
a
piano
sound
plays
only
the
MIDI
data
assigned
to
channel
1,
a
bass
sound
plays
only
the
MIDI
data
assigned
to
channel
12,
and
a
string
pad
plays
only
the
MIDI
data
assigned
to
channel
14.
This
is
called
a
Multi
setup;
the
DPM
holds
ten
such
Multis,
named
Multi01-Multi10.
Audio:
The
DPM's
panning
and
signal
processing
options
allow
you
to
set
up
a
stereo
submix
within
the
DPM,
which
can
serve
as
the
stereo
master
output
or
be
recorded
on
tape.
The
diagram
below
shows
a
typical
sequencer-based
setup
that
interfaces
with
a
sequencer
and
provides mixed stereo outputs.
i
Hardware
sequencer
or
MIDI
interface
for
a
computer-based
sequencer
N our
| DPM 4 (rear panel)
STEREO AUDIO
HEADPHONE
PEDAL MIDI
eee LL
CONTROL VOLTAGE 3
Connect to an amplification
system or two mixer input
MIDI:
1f
you
are
driving
other
MIDI
gear
such
as
an
expander
module
or
MIDI-responsive
signal
processor,
the
usual
procedure
is
to
drive
these
from
the
sequencer
if
it
has
additional
MIDI
outputs.
However,
you
can
also
use
the
DPM
MIDI
Thru
connector
to
drive
other
modules,
as
described
in
section
1.1d.
Chapter 1: The Audio Connection 13

1.1f Powering Up
Turn
on
your
equipment
in
the
following
order
(this
is
good
practice
for
any
MIDI/audio
setup,
not
just
the
DPM):
* Computer or sequencer (if present)
e Synthesizers, sound generators, and signal processors
e Mixer (with master outputs turned all the way down!)
* Amplification system
Turn up the mixer master output controls to a low level as you test the system. Turn up to normal volume
once you're satisfied that the system is working properly.
We'll audition the onboard programs soon, but first let's look at how to communicate with the
DPM.
1.2 FRONT PANEL DESCRIPTIONS
There are five main front-panel programming tools.
Voice Edit Buttons
Data Entry Controls
td esl
System Buttons LCD (display) and parameter Sequencer Buttons
selection “soft buttons”
e System buttons These select sound programs and various “master” functions, such as mass storage
options, MIDI parameters, signal processor editing, sampling parameters, and so on.
* Voice Edit buttons When programming sounds, these choose the particular module to be
programmed, such as wave, filter, etc.
* Sequencer buttons These buttons control all sequencer functions—record, playback, overdub,
edit data, and the like.
* LCD and parameter selection “soft buttons” The Liquid Crystal Display (LCD, or simply
“display”) is surrounded by two rows of six “soft” buttons, so called because their functions change
depending on what the software wants them to do. Selecting a function with the System, Voice Edit,
or Sequencer buttons calls up a particular screen, which identifies the button functions. For example,
suppose you select a patch program bank, such as Internal Program Bank 00. The display identifies
Chapter
1:
The
Audio
Connection
14

the program bank and shows the available programs (the programs in your unit may vary; these are
typical):
IHT8B*DrmBal DrmBa2 TalkDm Tomtun Disco
SPoox Zulaaf HfroUb BrasUb Fluna2a
-PAGE
Each button selects the corresponding program; when you select a program, an asterisk appears to its
left.
Examples: Pressing the upper left-hand button selects the program DrmBal. Pressing the third button
from the right on the lower row selects AfroVb. Pressing +Pagetakes you to Internal Bank 01 (the next
higher-numbered Bank), and -Page to Internal Bank 09 (the next lower-numbered Bank). There are
10 Banks of 10 programs each.
For convenience, sometimes more than one button can select a function. In the following display:
+PAGE
Cy) ¢ ) ( > < 376. 2) C)
COPY ----Select----
Disk Midi+rCartyInt
Co Co CoO @b-4>-Gb
-PAGE
...any of the three buttons under Midi/Cart/Int select that option.
Important notes: In this manual, if a button does not select anything on a particular display page, it will
be “white” (e.g., the top row of buttons above). If more than one button selects a function, each will
be “linked” with a gray strip, as shown under Midi/Cart/Int.
About buttons: Another new convention in the DPM is the ability to move from one page of parameters
to another by repeatedly pushing a button. Example: If you press the Filter Voice Edit button, the FILT1
page of parameters is displayed. Pressing the Filter Voice Edit button again displays the FILT2 page
of parameters.
Although in most cases the button under both the value to be changed and the parameter name are
“active,” thus letting you select a parameter for editing, sometimes this is not possible due to space
limitations. In this case, the button directly under the value to be changed is usually the active button.
More about buttons: The button above and below the parameter fields (you know, around the display),
act as increment (top row) and decrement (bottom row) buttons. Example: If you are attempting to
change the displays viewing angle, pressing the button above the View parameter will increase the
value and pressing the button below the View parameter will decrease the value.
Chapter 1: The Audio Connection 15

e Data entry controls Parameters to be changed are usually selected via soft buttons on the LCD,
' but once selected you will often need to enter a particular parameter value (“data”). The DPM offers
several methods of data entry which accomplish the same function, but in different ways.
Enter Use this button to confirm or accept changes to parameter values.
Exit Use this button to abort a function.
Data slider Use to scan through a wide range of values with a single motion.
Data wheel (DPM 4 This is often the fastest way to change values. Spin it to cover a wide range of
values, then rotate it more slowly to zero in on a particular value.
When we talk about “selecting” a parameter value while programming, it means that you can use any
of the data entry devices. A parameter is available for editing if it is flashing or if it is preceded by a
flashing = or * symbol.
Important: If you ever want to bail out of an editing operation, hit any button other than a “soft” button.
Other front-panel controls and features are:
* Volume control This controls the master volume level for the entire instrument. Individual
programs can also have their own individually programmed volumes, controlled proportionately by
this master control.
* Memory cartridge slot (DPM 4) This is located toward the rear of the front panel. Peavey and
other manufacturers offer alternate programs for the DPM, stored in cartridges. Blank cartridges, such
as the Peavey Cache Card (part #0071023), are available for saving your own programs to cartridge.
* Modulation wheels The left Pitch wheel is dedicated to controlling pitch bend. The right
Modulation wheel can be assigned to any of several parameters, such as volume, vibrato depth, timbre,
etc..
© Disk drive Located just above the wheels, this is the DPM’s main data storage and retrieval device.
It allows for storing and loading programs, sequences, samples, signal processor settings, MIDI system
exclusive data, etc.
1.3 QUICK PARAMETER SETUP
1.3a Auditioning Programs
Now that all the connections are made and you know how the front-panel controls work, let's hear
what the DPM can do.
1. Set up the DPM.
2. Press one of the Prog Select buttons G.e., PROG 0/5). A display appears showing the various patches
in that Bank (the following is a typical display; your unit might have different programs).
Chapter 1: The Audio Connection 16

+PAGE
INTG@3 RezrFad IcePic PnoSun Fuzu BnaPad
ElmSt. ElmSt. MY PAD Hatuka KVTURK
-PAGE
3. Toselecta particular program, press the associated button above or below the program name. Play
away! Check out the modulation wheels and apply pressure to the keyboard after keys are down
to see if these physical gestures alter the sound for a given program. If you don't hear any audio:
* Make sure the output connections are properly hooked up.
* Check that the amplifier is on and the mixer volume turned up.
* Make sure the DPM's front-panel volume control is turned up.
4. To select the next higher-numbered Bank of programs, press the Page button. To select the next
lower-numbered Bank, press the -Page button.
5. Analternate way to select Banks is to *reclick" on a Bank button. Note that the legend for each Bank
button shows two numbers, such as 1/6. This indicates that if one of the Bank numbers is selected,
clicking on that button will call up the alternate Bank. Example: If Bank 3 is selected, reclick on
the Prog 3/8 button and Bank 8 will appear. You can also “double-click” to go directly from one
Bank to another. Example: Suppose Bank 1 is selected and you want to select Bank 9. Press the
Prog 4/9 button twice; on the first press, Bank 4 appears, and on the second press, Bank 9 appears.
6. Selecting cartridge programs is similar. The Bank button “toggles” between Cartridge and Internal
banks; pressing Bank while in Internal memory selects Cartridge memory, and pressing Bank while
in Cartridge memory selects Internal memory. Cartridge Banks are selected the same way as Internal
Bank programs.
1.3b Setting Parameters for Use as a MIDI Keyboard Driving a Second MIDI Module
1. Determine the MIDI channel over which the second module (signal processor, synth, etc.) receives
data. If you do not know, assume it's not channel 1.
2. Press the DPM's MIDI system button. The following display appears:
+PAGE
qa »0 5o 5» OC 5)
MIDI Inth QutCh Mode Üvf Local
ai 982 POLY ON OH
-PAGE
3. Press the OutCh soft button to change the MIDI channel to something other than 01. The current
channel number will flash, indicating the parameter is selected for editing. Use any of the data
entry devices to select the desired MIDI channel. The DPM will transmit data over this channel
to the expander module. If playing on the DPM does not trigger the expander module, check your
Chapter 1: The Audio Connection 17

MIDI cables and try different channels; perhaps the expander module is set to a channel other than
the one you selected.
1.3c Multi Mode: Setting Parameters for Studio Use with a Sequencer
Inthis situation you will probably wantto set up for multi-timbral operation. There are ten independent
multi-timbral setups, Multi01-10. Each “instrument” in a Multi must be set up individually.
1. Press the MIDI System button; then press the +Page soft button until you see the following page:
+PAGE
ep Gp GD _ > GD GD
MULTI Multi Prog 900 Chan Vol
SETUP ài Piano ai 127
ue QD Gp GED GD
-PAGE
2. Select from Multi01 through Multi10 by either the soft button above or below the word Multi.
3. The display shows the Multi number, program assignment, MIDI channel, and volume of the
selected Multi.
4. Determine the MIDI channels to which you want to assign DPM programs. The DPM will play
back up to sixteen channels simultaneously. If needed, the same program can be assigned to more
than one channel. Caution: The DPM cannot play more than 32 voices at a time. Therefore,
assigning multiple programs to multiple channels increases the odds that newly played notes will
*steal" older notes that are still sounding. See section 1.4 for more information about how the
DPM reacts when asked to play more than 32 voices at a time.
5. Press the soft buttons over Prog and select the desired program with any data entry device. This
is the program that will be played by sequencer data appearing over the channel selected (in our
example channel 01 is selected).
6. Similarly choose program assignments for MIDI channels 02-16, if desired.
As you become more familiar with the DPM, you'll probably want to program setups for Multis 02-10,
as well. Multis are also useful for guitar synthesists, who often set up a separate sound for each
individual string.
Caution: Remember that no matter how many programs you assign, the DPM cannot play more than
22 voices at a time.
1.4 ABOUT DYNAMIC ALLOCATION
The DPM can play up to 32 voices at a time. However, each voice can consist of two oscillators making
different sounds or tuned to different pitches, allowing 32 keys to play up to 32 notes simultaneously.
If 32 voices are playing (or sustaining) and you play a new key, this will “steal” the least useful voice
that is still playing—for example, one that has almost reached the end of its decay. This intelligent voice
selection process is a considerable improvement over synthesizers that merely steal voices on a “first-
played, first-to-be-stolen” basis.
Chapter 1: The Audio Connection 18

Chapter 2: The Most Common DPM
Operations
The
DPM
is
a
very
“deep”
instrument
with
lots
of
options,
so
to
help
make
the
learning
curve
a
little
easier,
some
of
the
most
important
operations-saving
and
loading
data,
communicating
with
other
MIDI
gear,
and
editing
crucial
sound
parameters-have
been
collected
in
this
chapter.
Important:
As
you
experiment,
remember
that
any
changes
made
to
the
factory
patches
shipped
with
the
unit
will,
if
you
save
those
changes,
be
remembered
by
the
DPM.
You
can
recall
the
factory
patches
at
any
time
by
loading
in
the
Setup
disk
that
came
with
the
DPM
keyboard.
2.1
TUNING,
KEYBOARD
RESPONSE,
AND
VIEWING
ANGLE
EDITS
2.1a Global Tuning
This tunes the DPM to other instruments or concert pitches other than A-440.
1. Press the Global System button.
2. Press the -Tune- soft button. The display shows:
C E eu» eum GD GD
+PAGE
GLBL Coarse Fine Kbdery View Scale
+46 *üu MEDM -55 EQUAL
— E cm eue €B €
- PAGE
3.
To
adjust
the
master
tuning
in
semitones
press
the
Coarse
soft
button
(adjusts
the
master
tuning
in
+12
semitone
steps)
and
select
the
desired
value.
Think
of
coarse
tuning
as
a
“global
transposition”
option
that
can
offset
middle
C
up
to
+1
octave.
4.
To
adjust
the
master
tuning
in
cents
(1/100th
of
a
semitone)
press
the
Fine
soft
button
(adjusts
between
+99
cents)
and
select
the
desired
value.
The scale and user tuning functions are described in section 8.2.
Chapter 2: The Most Common DPM Operations 19