Peavey DPM V3 User manual

y»
written
by
CRAIG
ANDERTON

DPM® V3 Owner’s Manual
CONTENTS
Chapter 1 — Introduction... 1.1
1.1 ABOUT THIS MANUAL ............... sese nnne 1.1—1.2
1.2 TUTORIAL AND SETUP: ON THE AIR IN 15 MINUTES WITH THE DPM V3
mc AAA O UO ERE rent e op p es 1.2
1.2b | Just Wanna’ Hear the Demo!. 6.0... cece e 1.2
1.2c Live Use with a MIDI Keyboard or Other Controller................. 1.2—1.4
1.2d Studio Use with a Sequencer... 0.2.0.0... 0c esses 14—1.6
1:28 Powering -Up. cns nx o be Foe eee eee e eset 1.6
1.3 GETTING AROUND THE DPM V3: THE FRONT PANEL.......... 1.6—1.7
1.4 QUICK PARAMETER SETUP ^ :
14a Live Use with MIDI Keyboard... 7)... sss 1.8
1.4b Studio Use with a Sequencer... n... eee ees 1.8—1.9
PAG The: Payoltl ies eoo ett tm eren aa HART EU Eus 1.9—1.10
1.5 ABOUT DYNAMIC ALLOCATION |... eese 1.10
Chapter 2 — Modifying Existing Sounds
2.1
2.1a
2.1b
2.10
2.1d
2.1e
2.2
2.2a
2.2b
2.20
2.2d
2.2e
2.2f
2.3
2.3a
2.3b
2.30
2.3d
2.3e
2.3f
GLOBAL MENU TWEAKS... 2.1
ES exi edP Pa he Eb De pe Ve al D 2.1
Velocity CUES. once see emen eene aom ec qe Ce Leg 2.1
Display Viewing Angle.............. 0.00. lE 2.1—2.2
Memory Protect... o med ve RU dence REN awe reed 2.2
Cartridge Memory Management... sss 2.2—2.3
MIDI MENU TWEAKS... 2.3
Set Middle: Ce conri ts gators pia a POETS 2.3
Choose External MIDI Controller... eene 2.3—24
Filter Out MID Dala: ii eate raie terr Renee erre ba. 24
MIDI Program Change Map........sssseeeeeeen n 2.4—2.5
Initialize Program Change Map........... 0... cece IA 2.5
MIDI Bülk Dump ig 2.4 achete E Ri OR aaah ae we DEIN 2.5—2.6
EDIT MENU TWEAKS... aaae 2.6—2.7
Save a Modified Program... .. 0.0.00. ccc cette eee eens 2.6—2.7
Change Program Name............. cece cnet m 2.7
Change Overall Timbre (“Brighter/Duller”). ooo occ. 2.8
Increase/Decrease Timbre "Dynamics"... cedes 2.8
Change Program Volume Level.........0. 0.00. eee e 2.8
Change Stereo Pan... ...... ccc eect eens 2.8—2.9

2.39 Set Pitch Bend Range.......... 00.60 ccc ccc e 2.9
2.4 INITIALIZE ENTIRE UNIT..............0.0.000 nne 2.9
Chapter 3 — DPM V3 Programming
3.1 HISTORY AND BACKGROUND.........................00.00000 00s 3.1
3.1a How the DPM V3 Generates Sound... 0... 00. 3.1
3.1b Software Emulation of an Analog Synthesizer................o.o.... 3.1—3.2
3.1c The DPM V3 Sound Generating Architecture..............o.ooooooocoo.o.. 3.2
3.1d About the DPM V3 Modulation Matrix.............o.ooooooooooo.o.. 3.3—3.4
3:16: o «oc eek re Du ins Leto Y EE NS acs dee a ree e tea a 3.5
Irii DCAS maneat e Wes m ont A SAn aa ore Mays Bees he ¢ hci a suet 3.5
A A 3.5—3.7
3.1h About Levels and Distortion... 0.0... eee eee 3.7
3.2 DPM V3 PROGRAMMING TECHNIQUES............................ 3.8
3.2a About the Compare Function... 2.00.00. ccc ccc ees 3.8
3.3 PROGRAM NAME... corro 3.8
3.4 OSC 1
Page 1 Parameters
WM adan e ad dd So 3.8—3.9
A E pipe VOU 3.10
Page 2 Parameters
COBISB; + sre T eel estote qc A sic te t o ed en 3.10
ac RC DAD URN E IET MES CERAM 3.10
Page 3 Parameters
A SEU ER Tease etes EY EE RU Sa A 3.10
A s S ee es Ded scc e Dus. Dai e t cs 3.10
Page 4 Parameters
PMOd2. ot eu X Rise evaded EE E OR RUE Ades 3.10
TP" 3.10
3.5 DCA1
Page 1 Parameters
I Mod1ozss Stee nter toca m tA o eT ne ed 3.10—3.11
AMOUNT «x testa e ek tetas eth d LEA rae leta desi ei fed 3.11
Page 2 Parameters
MOG 2 a rrr beter XE Det mte toe bre eei 3.11
A 3.11
3.6 OSC 1 and DCA2...... ooo 3.12

3.7 FILTER
Page 1 Parameters
Cutoff n ha A NN 3.12
RESONANCES
P
E
EEA
A
E
EEN
3.12
Page
2
Parameters
EMOGITU
et
eat
sirve
orte
on
A
EE
e
lar
tee
do
3.12
A
tpe
RA
Rb
Nec
teres
Seb
IA
tant
RUE
3.12—3.13
Page
3
Parameters
EMOU2
coe
teppier
b
RP
We
ERO
reg
ER
3.13
A
i
E
tee
cedet
ee
RS
oe
E
3.13
3.8
MODULATION
MODULES
3.8a
Keyboard
Modulation
Sources.
.......
iis
sss
see
3.13
38b
Pedal...
n.n.
da
E
Pee
ad
3.14
BBC
Wheel...
eese
cutis
ade
ra
ae
ida
ra
3.14
3.8d
External
MIDI
Control.
....
Tuis
3.14
3.9
ENVELOPE
GENERATORS...
3..14—3.18
Page
1 (LEVS)
Parameters
E mM ILC 3.18
Page 2 (LEVS) Parameters
E ee Ee Ne i be e e USER 3.18—3.19
Xo CLTC 3.19
Page 3 (TIMES) Parameters
Time: Parameters. i: oc zit TEE reper oe 3.19
Page 4 (TIMES) Parameters
Melmog ss haves tees elle heh o A le es bok e pd 3.19
Keymodc« ds ose ut be e CR RUN RUNS MN ui 3.19—3.20
3.10 LFOs (LOW FREQUENCY OSCILLATORS).......................... 3.20
Page 1 Parameters
Hat RM PER 3.20
Shape. iussa tener u Neal faa Poke UERUETP RU ee NES edo 3.20—3.21
A Fee a EPA D dete rte se RR 3.21—3.22
Page 2 (AMT) Parameters
AMOO sit RI von HORN BERE t teda este toto o des 3.22
AM E xr ceo o se t o ERSE SA E e eA LR UE 3.22
Page 3 (AMT) Parameters
AMO Prose enu e T a ev ENS qued bove 3.22
AM
Aa
3.22
Page
4
(RATE)
Parameters
MOGs rice be Todes as Mis MA Io AAN goa aprire 3.22
li

AMOUR a de eder ipn Rer eei MARE 3.22
Page 5 Parameters
Delay: oet EAR dad 3.23
RAM DS O durch a eher tede aee md oL Me E 3.23
3.11 OUTPUT Volume Pan Bend........ o... 3.23
3.12 PAN
Page 1 (AMT) Parameters
PMod Lk oso e Reed Rn hes e E e Edd 3.24
Amor de AAA wr UM, rá a iU ME PE Mt m tpe refe 3.24
Page 2 (AMT) Parameters
PMod2 ica A i oM testet 3.24
AMOUR s rident aen ida De 3.24
3.13 OUTPUT MODE........... AR oa ina 3.24
3.14 ABOUT COMBI PROGRAMS..:....................... 00000 3.24—3.25
Page 1 Parameters f
Programie arana E dade c Ee Eds 3.25
A tpm Oe bsec to Toon b Dass ret 3.25
Page 2 Parameters
EA A ed Hebe ae eke ee ROR ead eae Rebates 3.25
bink: PrOQFam a e 3.26
LINK) VOTING cia s nce Cr eher li e ttn C tee 3.26
Page 3 (COMBI Link £) Parameters
loe s res tr be ederet Gh olo da desta cquo 3.26
alc NP rx 3.26
Page 4 (COMBI Link £) Parameters
ON a breite EE deed ede a spes ter noL 3.26
A UR DENEN UR e eR E oes ris 3.26
Page 5 (COMBI Link £) Parameters
DICH M A d LUI 3.26
A E v ce reU 3.26
Page 6 (COMBI Link £) Parameters
Delay eae ier dd dde bote cat odit 3.27
Chapter 4 — Programming the On-Board Signal Processors
4.1 ABOUT SIGNAL PROCESSING............ ss seen n 4.1
4:18: Effects: STUE —. iex ooo cte Dee Ve ser 4.1—4.2
4.1b The Differences Between Effect 1 and Effect 2..................... 4.2—4.3

4.1c Signal Processors, Multi Configurations, and MIDI.................. 4.4—4.5
4.1d Signal Processors and Output Mode OptioNS...............oooooooom.o... 4.5
4.2 PROGRAMMING THE MAIN SIGNAL PROCESSING PARAMETERS
Effect: #1 Configuralioniz 2's «sre rhet eret dee «eo pet a 4.5
ON 45
IP nl a td tem e tle tie 45
EK cL nn" 4.5
op CP PPS 4.5
4.3 INDIVIDUAL EFFECTS PARAMETERS
43a Reverb Parameters... n 4.5
Page 1 Parameters
TIPO ze M Ie i E Ud EA 4.5
ILO «iid eo hed et O HR e 4,.5—4.6
Page 2 Parameters P
Dai coeurs A a de 4.6
AAA rete rect dps bna lero gigs iN Ede IS 4.6
Page 3 Parameters
MB a Sud etario 4.6
4.3b Delay. Parameters: rrien RR Race ee C ds 4.6
Page 1 Parameters
A oc ERE EDEN ue RT qe b edens 4.6
Time «Ros. aste re da ete iet 4.6
Page 2 Parameters
PO BAK se: et m emen delta eta d b Wt 4.6
MI o bae NU aa a ca E bate aida 4.6—4.7
4.36: Chorus Parameters; io iw hen Se eo ee Bs Ra RUE eer ib 47
Page 1 Parameters
A TENOR 4.7
lt sa at a e o Ue d 4.7
Page 2 Parameters
Dr ces oa tp eoe e a en abd wl re REO bred 4.7
ROD AK eee UE bu eR CUR QD uA M ICM Ts 4.7
Page 3 Parameters
MIX io e regna ves ire dt satt DIE S 4.7—4.8
43d EQ: Parameters; 0! o ee eb et edt Poe d ete 4..8
Page 1 Parameters
PROG) duoc ape alain Re dte Ma a es e a ets 4.8
GAIN cs doe toten dore, TEE eel ea Batis uir rae le 4.9
Page 2 Parameters
FICO) err eet C ED SU Vica te ao s 4.9

CM oda he J 4.9
Page 3 Parameters
Mita td e afe t MR es 4.9
4.3e Gated Reverb Parameters. ....... lesse 4.9
Page 1 Parameters
A eta Caedm Mrd ai tp pete HD GEM oH s 4.9
DS S eet a iisdem cae rT oe ae Ep SERRE 4.9
Page 2 Parameters
MIX acto erae Loa E eoe o de a dad Os 4.9
4.3f Distortion Parameters... ee 4.9
Page 1 Parameters
AMOUNT 2s rem RU T ep (OAR C S tee hate 4.10
MINA Sor sea arrange x E AR EE PR ehe peut mo eniti ns 4.10
4.3g Exciter A i Se LO bg bn 4.10
Page 1 Parameters ow
FOO dest isa daba p rette pd ENT E PUE endi e 4.10
A IN 4.10
Mi A a DEM 4.10
A educbunet ere D URS BEAT tie QUSE TRES 4.10
4.4 COMBINATION EFFECTS PARAMETERS....................... 4.10—4.11
Distortion/Reverb and Reverb/Distortion
Delay/Chorus and Chorus/Delay
Distortion/EQ and EQ/Distortion
Reverb/EQ and EQ/Reverb
Chapter 5 — Creating Drum Kits
5.1 DRUM KIT BASICS... 0.00... 5.1
5.2 ACCESSING AND MODIFYING THE DRUM KIT PARAMETERS........... 5.1
Page 1 Parameters
KIT. NUDO s stir Uu II, 5.2
Inscrit bt act ch M acuta Pose 5.2
A Areas aan ud teste enact a tte ice ei be at gets 5.2
A d AT 5.2
Page 2 Parameters
Instrument -NúMber: tecnic 5.2
A guint shy E deri etel Ut e Ed UR shes Meek rca 5.2
bc. RM" 5.2
EA RIEN PEU MEER Mo Mono Na 5.3
vi

Page 3 Parameters
Instrument
NUM...
5.3
Pi
lA
Ad
e
Ta
tae
d
Weaken
5.3
DU
re
5.3
A
O
NN
NNE
5.3
Chapter 6 — Advanced Applications
6.1
MAKING
THE
MOST
OF
THE
SIX
OUTPUTS......................
6.1—6.2
6.2
MIDI
OVERFLOW
MODE........................
aa
6.2
6.3
LOADING
NEW
SAMPLES
INTO
THE
DPM
V3........................
6.3
6.3a
Sample
Organization
Within
the
DPM
V3...........0...0c
ccc
c
eevee
6.3—6.4
6.3b
Loading/Requesting
Samples.
...........ooooooocococcccccccco
roo
6.4—6.6
6.3c
SDS
Audition...............
a
cl
a
6.6
6.3d
Scanning
the
Sample
Directory.
*
S
P
M
ad
ree
ary Siecle
TET
DNE
6.6
6.3e
Deleting
Samples........
but
eroe
di da
Do
LEA
eripe
e
Da
c
6.6
6.31
Transmitting
Samples.
........oooooooococoocononoroccco
ee
6.6
6.4
ALTERNATE
TUNING
TABLES..........................0..0.0.8,
6..6—6.7
6.4a
Selecting
a
Preset
Tuning
Table...
sss
see
6.8
6.4b
Creating
Your
Own
Tuning
Tables
User
Scale
#
Note
Tuning
Offset........
6.8
6.4c
Alternate
Even-Tempered
Tunings..............0.
0.0
ce
cece
esses
6.8—6.9
6.5
SUPER
STEREO
EFFECTS...
ss
sees
6.9
6.6
BLANK
"TEMPLATE"
PATCHES..........................0...,
6.9—6.10
6.7
PROGRAMMING/EDITING
IDEAS
Pressure-controlled:
pith
ii
6.10
Envelope-controlled
pitch effects........
0.0...
cece
cee cece
ene
o
6.10
Using
velocity
with
amplitude
and
filtering..................ooo.ooo.o........
6.10
Other
pressure
tricks...
lisse
6.10
The
advantages
of
dual
LFOs.........
nuanua
cece
sse
6.10
Volume
balancing...
en
6.10
Creative
use
of
the
modulation
wheel..........
0.00.0.
esses
6.11
Chapter 7 — MIDI Supplement
TI
MIDI
BASICS:
sg
ia
7.1
7.2
MIDI
HARDWARE...
coco
esses
see
7.1—7.2
7.3
ABOUT
SEQUENCING...
sese
eese sese
7.2-7.3
7.4 MIDI
MESSAGE
BASICOS...
ooo
73
vil

7.5 CHANNEL MESSAGES
7.5a Voice messages
Note Osso O ERA ic 7.3
NOE OT aa ES is 7.3
Noe ot 73
Prol a ae kde ta RA ai 7.3—7.4
Program Change. co voveo ih e eC eve de leet s petes 7.4
Pitek Bend. z. rrite ce Pte tire vor eoe due done abet e e a Ros 7.4
Continuous Controller. voi ide 7.4
7.5b Mode messages
Omni On/Poly (Mode 1)......... 0.00. naaa 7.5
Omni On/Mono (Mode 2)....... isses RI 7.5
Omni Off/Poly (Mode Sare aa paa e E AAA ri 7.5
Omni Off/Mono (Mode 4)..... S PI SON E esteso dim E cee E SE aaa 7.5
7.5c Other messages............ E Tr 7.5
7.6 SYSTEM COMMON MESSAGES
Song Position Pointer. .... isses RH 7.6
System ExXCIUSIVO........oooooooooooo.o.. SOC EE EE eS eR RIE ESTE 7.6
O A dee etl Se Cet GB al Se tet, 7.6
oral ds O tardas Baad Pelee 7.6
SlOD Ls iaa A a eRe Mae ina wee ed 7.6
CONS +. bocas orina gh ee) aria eave DOES T da 7.6
7:4 BOOKS ON MIDI... eine dacs ed ue eds 7.6—7.7
7.8 MIDI-RELATED MAGAZINES l.una 7.7
viii

Chapter 1 — Introduction
Congratulations on your purchase of the DPM® V3. Peavey's engineers have taken the
award-winning technology of their DPM® 3 synthesizer, shrunk it into a single rack
space, and added some new features, too.
The DPM V3 will give you many years of enjoyment, not just because of the features it
offers today, but because it uses general purpose Digital Signal Processing (DSP)
chips to perform all sound generation and modification. Because the DPM V3 doesn't
take the traditional approach of using custom chips dedicated to a particular type of
sound generation, it can be reprogrammed via software updates to provide alternate
types of sound generation. Furthermore, new sound programs and wavesamples can
be loaded in to increase the DPM V3’s existing capabilities.
Highlights of the current configuration include:
e 300 programs available at all times: two on-board banks of 100 fully editable pro-
grams, and 100 programs from an optional RAM (user-editable) or ROM (preset,
non-editable) cartridge.
e Multi-timbral MIDI operation so that a single DPM V3 can provide up to 16 different
sounds simultaneously.
e 16 voice, dual oscillator operation — play up to 32 notes simultaneously on 16 keys.
e Three individual stereo outputs.
e Optional non-volatile memory for storing new wavesamples (expandable up to 1
Megabyte).
* Four Megabytes of 16-bit PCM wavesamples, including both acoustic and electronic
instrument sounds (same as the DPM 3).
e Two on-board programmable digital signal processors (reverb, EQ, chorus, delay,
etc.) means you may not need to bring outboard signal processors with you to the
gig.
* Alternate tuning tables.
. . . and much more, which you'll find out about as you read this manual.
Before doing anything else, send in your warranty registration. This will allow Peavey
to advise you of any future updates that enhance the unit's operation.
1.1 ABOUT THIS MANUAL
This manual is divided into seven main chapters:
* Introduction. This section shows you how to make some great sounds right out of
the box.
* Modifying existing setups and sounds. After you become familiar with the
DPM V3, you may want to change some of the most-used parameters such as pitch
wheel bend range or various MIDI parameters. This section covers the most
1.1

important
programming
options.
The
first
two
chapters
will
be
the
only
information
some
musicians
will
need.
*
Programming
the
DPM
V3.
For
those
who
want
to
create
their
own
sounds,
this
presents
the
basics
of
sound
programming
as
well
as
a
reference
section
of
all
the
available
programming
parameters.
*
Programming
the
signal
processors.
This
includes
details
on
programming
the
on-board
signal
processors
so
that
you
can
optimize
your
sounds.
*
Programming
drum
kits.
The
DPM
V3
offers
a
full
complement
of
drum
sounds
and
can
serve
as
a
drum
expander
module
for
sequencers.
*
Advanced
applications.
This
offers
information
on
making
the
best
use
of
the
multi-
ple
outputs,
loading
samples
into
the
DPM
V3,
advanced
programming
techniques,
and
more.
e
MIDI
supplement.
it
is
important
to
know
the
basics
of
the
MIDI
specification
to
make
the
best
use
of
the
DPM
V3's
MIDI
features.
If
you
are
not
very
familiar
with
MIDI,
please
read
the
MIDI
supplement
before
proceeding.
1.2
TUTORIAL
AND
SETUP:
.
ON
THE
AIR
IN
15
MINUTES
WITH
THE
DPM
V3
1.2a
Cable
Setup
1.
Unpack
the
DPM
V3.
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
rear
of
the
DPM
V3.
3.
With
all
devices
in
your
system
turned
off
and
the
volume
controls
turned
down,
hook
up
the
outputs
according
to
your
particular
needs,
as
described
below.
1.2b
|
Just
Wanna’
Hear
the
Demo!
1.
Run
a
mono
cord
from
either
the
left
or
right
Main
output
to
your
amplifier,
or
connect
two
mono
cords
from
the
left
and
right
Main
outputs
to
a
stereo
amp
or
two
mixer
inputs.
.
2.
Turn
on
(in
this
order)
the
DPM
V3,
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.
.
Press
the
GLOBL
button
(toward
the
lower
left
corner)
once.
.
Press
and
hold
the
+/INC
button
until
the
display
stops
changing.
.
The
display
says
DEMO
Sequence
START.
Press
the
EXEC
button
to
start
the
sequence.
6.
Press
the
EXEC
button
again
to
stop
the
sequence.
C 4 w
1.2c
Live
Use
with
a
MIDI
Keyboard
or
Other
Controller
Most
live
applications
involve
stereo
or
mono
outputs
and
a
master
MIDI
keyboard
or
other
MIDI
controller
(MIDI
guitar,
drums,
etc.).
The
keyboard
will
usually
send
data
in
poly
mode
(all
data
is
sent
over
one
channel).
Refer
1.2

to the MIDI supplement if you are confused about the difference between in-
dividual MIDI modes.
Audio: Referring to the figure below, plug the Main left and right outputs in-
to a suitable amplification system or mixer. You have three main options,
one mono and two stereo.
e Option 1 Mono Run: a mono cord from either the left or right Main out-
put to your amplifier.
* Option 2 Stereo: Connect two mono cords from the left and right Main
outputs to a stereo amp or two mixer inputs. If you need a keyboard
mixer, Peavey makes the PLM™ 8128 (an automated mixer that
responds to MIDI program changes) and the Linemix™ 8, a standard,
lower-cost, eight-input line mixer.
e Option 3 Stereo: Connect a stereo cord (i.e., with tip, ring, and sleeve
connections) from the léft Main output (the one labelled STEREO — im-
portant!) to a matching Stereo connector in your amplifier or mixer.
MIDI out thru in sub2. subi main
OOO 900e9o0 OF
I
sub2 subi main
sub2 sub! main
two mono
cords
stereo (tip/
ring/sleeve)
input
inputs
amp or mixer amp or mixer amp or mixer
MIDI: Run a MIDI cable from the master keyboard's MIDI out to the
DPM V3’s MIDI in. To drive additional tone modules from the same
keyboard, patch the DPM V3 MIDI thru output to the next tone module's
MIDI in. Patch the second module's thru into an additional module's MIDI
in, and so on.
13

Caution: Do not attempt to connect more than three or four units together using
thru connections, as this may affect the integrity of the MIDI data.
PORO ICIOAO IV RO AVR RNA
Master keyboard MIDI out
sub 2
eo VO 99
MIDI out, thru sub1 main
0080»
sub2 subi
09 VO 99
MIDI out thru main
OO On
sub2 subi
© 99 VO
MIDI out thru main
OO On
Qu) MIDI cables
1.2d Studio Use with a Sequencer
In many studio applications, the DPM V3 will serve as a multitimbral sound
expander module. The sequencer will probably generate data over several
channels; the DPM V3 can be programmed so that individual programs play
sequenced data from specific channels.
Example: If the sequencer is sending out a piano part over channel 1, a
bass part over channel 12, and a string pad over channel 14, the DPM V3
could be programmed so that a piano sound plays only the MID! 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 V3 holds four such Multis, named
Multi1-Multi4.
Audio: Multi-timbral operation is a bit more complicated because the six
outputs (Main L & R, Sub 1 L & R, and Sub 2 L & R) allow for a variety of
1.4

output assignments. A program can be assigned to two outputs for stereo opera-
tion, but, also, more than one program can be assigned to the same output. This
is useful if you have, for instance, two different bass sounds on two different chan-
nels where one plays in the chorus and another in the verse. Assigning both bass
sounds to the same output frees up other outputs for other sounds.
The diagram below shows a typical sequencer-based setup that provides in-
dividual stereo outputs for three different sounds. Each of the sounds feeds its
own pair of mixer input jacks. For more information on using the output structure,
see the section on advanced applications.
Sequencer
MIDI out
sub 1
sub 2 main
PA OF PA
MIDI out thru
to MIDI in
of other modules
© eo VO
audio inputs
Mixer
MIDI: Run a MIDI cable from the sequencer's MIDI out to the DPM V3's MIDI
in. To drive additional tone modules from the same sequencer, patch the DPM V3
MIDI thru output to the next tone module's MIDI in. Patch the second module's
thru into an additional module's MIDI in, and so on. Caution: Do not attempt to
connect more than threé or four units together using thru connections, as this may
15

1.
o
affect the integrity of the MIDI data.
1.2e Powering Up
Turn
on
your
equipment
in
the
following
order
(this
is
good
practice
for
any
MiDl/audio setup, not just the DPM V3):
* Computer or sequencer (if present)
e Synthesizers, sound generators, and signal processors
* 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 out the
System.
Turn
up
to
normal
volume
once
you're
satisfied
that
the
system
is
working
properly.
GETTING AROUND THE DPM V3: THE FRONT PANEL
Now
that
the
connections
are
made;
it's
time
to
match
the
DPM
3
to
your
par-
ticular
setup.
This
involves
a
bit
of
programming,
such
as
setting
MIDI
channels
and
the
like.
First,
we'll
explain
basic
DPM
V3
programming
protocols.
There are four main programming tools:
*
6
master
buttons
(Prog,
Edit,
Comp,
Globl,
MIDI,
Exec).
These
select
different
programming
menus
except
for
Exec,
which
generally
is
like
the
“enter”
or
"return"
button
on
a
computer.
In
some
cases,
the
DPM
V3's
display
(see
below)
will
ask
you
to
press
the
Exec
button
after
you've
finished
making
your
parameter
selections.
When
in
the
Edit
or
Prog
menus,
the
Exec
button
provides
a
different
function.
Pressing
Exec
plays
the
note-on
corresponding
to
middle
C
and
releasing
Exec
produces
a
note-off
for
middle
C.
This
allows
you
to
trigger
a
note
in
the
DPM
V3
without
having
to
reach
over
and
play
a
keyboard
or
other
controller.
*
4
parameter
control
buttons
(Left,
Right,
Up,
and
Down
Arrow
buttons;
the
Up
and
Down
Arrows
are
also
called
Inc/Dec
buttons
respectively).
After
selecting
a
menu,
these
let
you
navigate
around
the
menus.
About
Up/Down
buttons.
The
Up/Down
buttons
serve
two
major
functions.
When
no
parameters
are
flashing,
the
Up/Down
buttons
select
different
pages
within
a
menu
(for
example,
the
Global
menu
has
eight
separate
pages,
each
of
which
affects
a
particular
aspect
of
the
DPM
V3's
overall
operation).
When
a
parameter
is
flashing
on
a
given
page,
the
Up/Down
buttons
set
the
parameter's
value.
Holding
down
an
Up/Down
button
will
scroll
through
values
or
pages
at
a
par-
ticular
rate.
To
increase
the
rate,
after
pressing
the
button
for
the
direction
you
1.6

want
to
scroll
(up
or
down),
while
holding
down
this
button,
press
and
hold
the
other
button.
This
“fast
scrolling”
option
is
very
handy
when
a
parameter
is
set
at,
say,
-99
and
you
want
to
move
up
to
+99.
About
Left/Right
buttons.
The
Left/Right
buttons
select
the
parameter
to
be
ad-
justed
for
a
given
page.
Once
you
go
past
the
left-most
or
right-most
parameter,
no
parameters
will
flash
(meaning
you
can
select
a
different
page).
However,
pressing
the Right
or
Left
button
again
will
start
going
through
the
parameters
again,
from
left
to
right
or
right to
left,
respectively.
Short
cut.
To
instantly
set
a
page
to
the
non-flashing
status
so
you
can
select
another
page,
press
the
appropriate
Master
button
(e.g.,
if
you've
modified
a
parameter
in
the
Global
menu
and
want
to
select
another
page,
press
the
GLOBL
button).
The
modified
parameter
will
stop
flashing
and
you
can
then
select
a
dif-
ferent
page.
E
Notes:
Once
you
have
Sdeied
a
particular
menu
(Edit,
Globl,
MIDI)
you
can
change
pages
within
the
menu
without
having
to
re-press
the
menu's
master
button.
To
bail
out
of
the
programming
process
at
any
time,
press
the
Right
or
Left
Arrow
until
none
of
the
parameters
flash,
then
select
a
new
page.
Or,
hit
one
of
the
six
Master
buttons
at
any
time
to
choose
a
different
menu.
*
Two-line
Liquid
Crystal
Display
(LCD).
This
shows
what's
going
on
inside
the
DPM
V3.
When
playing,
the
display
shows
the
current
program
and
the
number
of
voices
in
use
at
any
given
moment.
e
Continuously
variable
Data
knob.
This
duplicates
the
function
of
the
Up/Down
buttons,
but
sometimes
changing
values
is
easier or faster
to
do
by
turning
a
knob.
If
you
hold
down
a cursor button while turning
the knob,
the
knob
will
control the
cursor
position.
Definition:
When
we
talk
about
"selecting"
a
parameter
during
the
editing
pro-
cess,
it
means
that
you
can
use
either
the
Up/Down
Arrow
or
Data
knob
to
select
a
particular
value.
Other front panel controls and features are:
e
Volume
control.
This
sets
the
master
volume
for
the
entire
unit.
Individual
pro-
grams
can
also
have
their
own
individually
programmed
volumes,
controlled
proportionately
by
this
master control.
*
Memory
cartridge
slot.
Peavey
and
other
manufacturers
offer
alternate
pro-
grams
for
the
DPM
V3
in
cartridge
form.
Blank
cartridges,
such
as
the
Peavey
Cache
Card"
(part
40071023),
are
available
for
saving
your
own
programs
to
cartridge.

1.4 QUICK PARAMETER SETUP
Now that all the connections are made and you know how the front panel controls
work, it's time to adjust the parameters necessary to match the DPM V3 to your
particular setup.
1.4a Live Use with MIDI Keyboard
1.
Determine
the
MIDI
channel
over
which
your
keyboard
is
transmitting.
If
you
do
not
know,
assume
it’s
channel
1.
2. Press the MIDI master button. The display should show the MIDI Chan-
nel and Mode. If not, press the Down Arrow button until the MIDI Chan-
nel and Mode page appears in the display.
3. Press the Right Arrow button. The parameter under MIDI Channel
flashes. Select (remember, "selecting" a parameter during the editing
process means you can use the Data knob or Up/Down Arrow buttons)
the desired MIDI channel..If you don't know which MIDI channel to
select, choose 01 for now and see the next step.
. Press.the Right Arrow button again. The parameter under Mode will
flash. Select Poly mode if you have the keyboard and DPM V3 set to the
same channel. If you are not sure how to set MIDI channels on your
keyboard, set Mode to Omni so that the DPM V3 will respond to all MIDI
data entering it, regardless of channel assignment.
pA
1.4b Studio Use with a Sequencer
In this situation you will probably want to set up for multi-timbral operation.
There are four independent multi-timbral setups, each called a Multi. Each
"instrument" in a Multi must be set up individually.
1. Determine the MIDI channels to which you want to assign DPM V3 pro-
grams. The DPM V3 will play back up to sixteen channels simultaneous-
ly. If needed, the same program can be assigned to more than one
channel. Caution: The DPM V3 cannot play more than 16 notes at a
time. Therefore, assigning multiple programs to multiple channels in-
creases the odds that newly-played notes will "steal" older notes that are
still sounding. See section 1.5 for more information about how the
DPM V3 reacts when asked to play more than 16 voices at a time.
2. Press the MIDI master button. The display shows the MIDI Channel and
Mode.
3. Press the Right Arrow button. The parameter under MIDI Channel
flashes. Select 01 for now.
4, Press the Right Arrow button again. The parameter under Mode will
flash. Select Multi mode.
5.
The
Multi
parameters
are
on
a
separate
page.
Press
the
Right
or
Left
Ar-
row
button
until
none of
the parameters
flashes,
then
press
the
Up Arrow
button
three
times
to select the
Multi
page
(as confirmed
in
the
display's
1.8

11.
12.
upper left corner).
. Press the right Arrow until the C (channel) parameter flashes. Select the
desired MIDI channel for the first program of the Multi.
. To adjust the program volume, press the Right Arrow again so that the
Vol parameter flashes. Higher values give higher volumes.
. To assign the program output, press the Right Arrow again so that the P
parameter flashes. Select the program's stereo output jack pair (1+2,
344, or 546).
. To assign a particular program to Multi, press the Right Arrow until the
Prog parameter flashes. Select the desired program.
. Press the Right or Left Arrow until the C (channel) parameter flashes.
Select the desired MIDI channel for the second program of the Multi.
Assign the next program to the Multi in a manner similar to steps 7-9.
Select additional Multi programs in a manner similar to hów the first and
second programs were selected: select the channel, volume, output,
and program. Limit yourself to four programs or so for now.
As you become more familiar with the DPM V8, you'll probably want to pro-
gram setups for Multis 2-4 as well.
1.4c The Payoff!
1.
You're almost ready to play either your keyboard or sequencer and hear
the DPM V3 in action.
Press the Prog master button.
2.
3.
The display will show the last program selected (in a “virgin” DPM V3,
program 000).
If you selected Omni or Poly mode (not Multi), check out the various pro-
grams by selecting them and playing your keyboard or sequencer. The
display will show an eighth note for each voice in use as you play, thus
confirming that the DPM V3 is receiving and understanding MIDI data. If
no notes show up in the display:
* Check your cabling.
* Check the MIDI channel assignments on your sequencer/master con-
troller and the DPM V3.
If you don't hear any audio:
* Make sure you're using the right output connections. Try different out-
puts if the problem persists.
* Check that the amplifier is on and the mixer volume turned up.
e Make sure the DPM V3's front panel volume control is turned up.
. If you selected Multi mode, audition various programs by selecting the
desired Multi and changing programs (see step 9 in section 1.4b).
19

Now that things are up and running, check out the programs that come with
the DPM V3. They've been developed by musicians specifically for the
DPM V3 and they make some pretty nice noises.
1.5 ABOUT DYNAMIC ALLOCATION
The DPM V3 can play up to 16 voices at a time. However, each voice can consist
of two oscillators making different sounds or tuned to different pitches, allowing 16
keys to play up to 32 notes simultaneously.
lf 16 voices are playing (or sustaining) and you play a new key, this will “steal” a
voice from one of the 16 that was played. The next new voice will "steal" a se-
cond voice, and so on.
Combi programs (see section 3.14°for more information), which can layer two or
more programs, use up more voices since layering two programs halves the
number of available voices. A Combi with two layered programs allows up to
eight voices, and a Combi with four layered programs, up to four voices. A Com-
bi with three layered programs will play five voices, but if you play a sixth note
while the five are sustaining, one of the Combi programs will play the one remain-
ing voice.
Each voice in use is shown on the display as an eighth-note. This makes it easy
to see how many voices are available, which is particularly useful with sequencer-
driven multitimbral setups since they tend to use up lots of voices.
1.10

Chapter 2 — Modifying Existing Sounds
Here are some of the most common “tweaks” for customizing the DPM V3. This does
not cover all the DPM V3 has to offer; see Chapter 3 for detailed programming infor-
mation.
Important: Any changes made to the factory patches shipped with the unit will, if
you saved those changes, be remembered by the DPM V3. You will not be able to
recall the factory patches unless you have saved them first, either to a cartridge (sec-
tion 2.1e) or via MIDI (section 2.24). If for some reason you cannot restore the factory
patches, consult your Peavey dealer,
2.1 GLOBAL MENU TWEAKS
The following options are accessible ‘under the Global menu. Any edits made in the
Global or MIDI menu are remembered; the next time you turn on the DPM V3, any
changes made to these menus will be retained, even if memory protect (described
later) is on.
The general protocol for tweaking is:
1. Press the GLOBL master button. This is not necessary if you are already in the
Global menu.
2. Select the desired page.
3. Use the Right/Left buttons to choose the parameter to be modified.
4. Select the parameter value.
2.1a Master Tuning (-99 to +99)
This tunes the DPM V3 to other instruments or concert pitches other than A=440.
1. Select the GLOBAL Tune/VelCurve page.
2. Press the Right or Left Arrow until the Tune parameter flashes.
3. Select the desired tuning offset.
2.1b Velocity Curve (1, 2, or 3)
Different players play their keyboards with different degrees of force. This matches
the DPM V3 to your playing style.
1. Select the GLOBAL Tune/VelCurve page.
2. Press the Right or Left Arrow until the VelCurve parameter flashes.
3. Select the desired “feel”: 1 (matches the DPM 3 keyboard exactly), 2 (ex-
ponential wide range velocity response), and 3 (linear, somewhat more ““com-
pressed” velocity response).
2.1c Display Viewing Angle (-03 to +04)
The display is easier to read at some angles than at others. This adjusts the display
2.1