Vermona DRM1 MK4 User manual

USER MANUAL
DRM1 MKIV

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Introduction
The analog drum synthesizer DRM1 MKIV is not just another instrument or piece of equipment. It
is also a part of history - our history.
With its rst version, we re-entered the market with a rst product under the VERMONA brand.
A return to a market from which we were forced to withdraw temporarily due to signicant
historical and political changes. This product was introduced many years ago but the DRM1 is still
in production. Why that is? Simply because there are still musicians around who do not own one!
That's why the DRM1 has continuously been rened and evolved into version MKIV today – the best
drum synthesizer we have ever created.
Now it is up to you, dear user, customer, and musician, to come up with the best beats you have ever
created!
Yours,
the VERMONA team
Elektroakustische Manufaktur Erlbach
User Manual DRM1 MKIV2

Table of Contents
Introduction ......................................................................................................................................2
Important Safety Information ...........................................................................................................4
Setup .................................................................................................................................................6
Content .......................................................................................................................................6
Connection and getting started ..................................................................................................6
Setting up audio connections ...............................................................................................6
Setting up MIDI connections (DIN and USB) ........................................................................7
Controls and Connectors...................................................................................................................8
Front Panel/User Interface .........................................................................................................8
Rear Panel ...................................................................................................................................9
Sound Generation............................................................................................................................10
The Instrument Channels of the DRM1 MKIV...........................................................................11
KICK.................................................................................................................................... 11
DRUM 1/DRUM 2 ................................................................................................................13
MULTI .................................................................................................................................14
SNARE ................................................................................................................................15
HI HAT 1/HI HAT 2..............................................................................................................16
CLAP................................................................................................................................... 17
MIDI Functions................................................................................................................................ 19
Assigning MIDI channel and note number to individual instruments ......................................19
Assigning MIDI channel and note numbers to all instruments at once ....................................19
Reset .........................................................................................................................................20
Factory Default settings......................................................................................................20
Individual Outputs/Inserts .............................................................................................................. 21
Using them as individual outputs..............................................................................................21
Using them as an insert.............................................................................................................22
Trigger Inputs (optional).................................................................................................................23
Trigger Modes ...........................................................................................................................23
Technical Specications .................................................................................................................. 25
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Important Safety Information
1. Please read these instructions!
2. Keep these instructions! Always include these instructions when passing the DRM1 MKIV on
to someone else!
3. Heed all warnings and follow all instructions!
4. Do not use the DRM1 MKIV near water!
5. Only clean the DRM1 MKIV when it is not connected to the mains power supply! Clean only
with a dry cloth!
6. Do not set up near any heat sources such as radiators, open re places, stoves, or other
devices (including ampliers) that produce heat!
7. Do not defeat the safety purpose of the polarized or grounding-type plug! A polarized plug
has three prongs, the third being the earth terminal. The wide prongs as well as the third
one are provided for your safety. If the provided plug does not t into your outlet, have an
electrician replace the obsolete outlet!
8. Protect the power cord from being stomped on, squeezed, or pinched, particularly near the
plugs, mains outlets, and the point where it protrudes from the device!
9. Use only accessories specied by VERMONA!
10. Use only with the trolley, stand, tripod, bracket, or table specied by the manufacturer, or sold
with the device! When a trolley is used, be cautious when moving the cart/device combination
around in order to avoid injury from tipping!
11. Unplug the DRM1 MKIV during thunderstorms or when unused for longer periods of time!
12. Refer all servicing to qualied service personnel! Servicing is required when the device has
been damaged in any way, e. g. when the power supply lead or plug is damaged, liquid has
been spilled, or objects have fallen into the device, when the device has been exposed to rain
or moisture, does not operate the way it should, or has been dropped.
13. To completely disconnect the device from mains, disconnect the power cord from the outlet
socket!
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14. WARNING: To reduce the risk of re or electric shock, do not expose the DRM1 MKIV to rain
or moisture!
15. Do not expose the DRM1 MKIV to dripping, splashing, or spraying liquids and make sure that
no objects lled with liquids – such as vases, coffee mugs, or beer glasses – are placed on the
equipment!
16. The mains plug of the power cord is to be readily and instantly accessible!
Installation
-Make sure that the room in which you use the DRM1 MKIV is wired in accordance with the local
electrical safety certicates and inspected by a qualied electrician.
-Do not install the DRM1 MKIV in hot, humid, or excessively dusty locations, exposed to direct
sunlight, or in locations where it is exposed to extraneous vibration!
-Do not place burning objects (e.g. candles) on top of or near the DRM1 MKIV!
-If condensation has formed on or inside the DRM1 MKIV, e.g. because it was moved from a
cold environment to a warm one, allow the device to acclimatize to room temperature before
using it!
-Do not overload wall outlets and extension cables as this may cause re and/or electric shock.
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Setup
Content
To warrant top-notch quality, we have carefully inspected the DRM1 MKIV before packaging. Still,
there is a tiny chance the unit might have got damaged in transit. Therefore, we ask you to have
a close look at the DRM1 MKIV when unpacking. Do not hesitate to contact us, should there be
anything unusual with the unit or its packaging.
You should nd the following items in the box:
-the DRM1 MKIV
-a power cord
-this manual
-a big deal of fun and passion
Connection and getting started
The DRM1 MKIV is solely a sound module. To coax the best out of it, it needs to be connected
to a sequencer, a computer, or a keyboard as well as to a mixing desk and/or an amplier. After
connecting the module to a mains outlet socket using the supplied lead, set up audio and MIDI
connections as follows:
Setting up audio connections
⚠CONNECT FIRST, AND THEN TURN ON! To protect your speakers, your audio-
interface, and – last but not least – your eardrums, we urgently recommend
you to set up all cable connections while the equipment is turned off. Do not
underestimate peak levels and possible damage that might occur when plugging
in or unplugging audio cables.
1. The jacks OUTPUT LEFT and RIGHT oon the rear panel of the module put out all audio
signals in stereo. Connect these jacks to two line inputs of a mixing desk, a computer audio
interface, or to an amplier using two cables with 6.3 mm jacks (TS). Alternatively (or at the
same time), you may connect headphones to the PHONES jack yon the front panel.
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☛All of the DRM1 MKIV instrument channels sport individual outputs (OUT/
INSERT) r, allowing you to patch them into the inputs of a mixing console or
of an audio interface. Find more details in chapter “Individual Outputs/Inserts”
on page 21. Use the stereo output jacks for the rst experiments with your new
DRM1 MKIV.
2. Before turning on the unit by pressing its POWER button f, complete all audio connections
to avoid loudness peaks, thumps, and crackling noises in your audio system. These peaks can
lead to distortion and might even damage converters when connected directly to an audio
interface. For safety reasons, turn down the MASTER control t of the DRM1 MKIV as well as
the input level controls of the units next in the signal chain while connecting and powering
up the device. After powering up the DRM1 MKIV, the corresponding red POWER LED u on
the front panel will light up.
Setting up MIDI Connections (DIN and USB)
1. Connect your trigger device that is to trigger the instrument sounds of your DRM1 MKIV to
the DRM1 MKIV’s MIDI IN socket s. Trigger devices can be a suitably equipped groove box, a
hardware sequencer, the MIDI output of a software sequencer (using computer audio or MIDI
interface), or a suitably endowed keyboard controller.
2. MIDI THRU s forwards the MIDI data from the MIDI input of the DRM1 MKIV and allows
daisy-chaining more MIDI devices in series.
3. The MIDI OUT s socket transmits MIDI data generated internally. These are MIDI note-on
commands and velocity data that are derived from external trigger signals, received via the
optional TRIGGER IN sockets. No other MIDI data are generated by the DRM1 MKIV itself.
4. Alternatively, you may also use the DRM1 MKIV’s USB PORT a. It receives and transmits
the same MIDI data as the IN/OUT sockets. MIDI sockets and USB port may be used in
parallel. Additionally, the USB port can be used for transferring rmware updates.
You may trigger the instruments of the DRM1 MKIV by external analog trigger signals. These are
received via the optional TRIGGER IN sockets y at the back of the unit. Please nd all related
information on page 23.
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Controls and connectors
Front Panel/User Interface
Figure 1:
q w e r t y u
User Interface of the DRM1 MKIV
qTRIG button with LED – res off sound individually per instrument channel
wSound-shaping parameters (see “The Instrument Channels of the DRM1 MKIV”
on page 11)
ePAN and VOLUME - channel volume and panning (see “Sound Generation” on
page 10)
rOUT/INSERT - individual outputs/inserts (see “Individual Outputs/Inserts” on
page 21)
tMASTER - overall volume
yPHONES - headphones output
uPOWER LED - lights up when the DRM1 MKIV is powered up.
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Rear Panel
Figure 2:
i o a s d f
Rear Panel of the DRM1 MKIV
ioptional TRIGGER inputs for all eight instruments including open/closed hi-hat
(please refer to “Trigger Inputs (optional)” on page 23)
oMain outputs (OUTPUT LEFT and OUTPUT RIGHT). Please refer to page 6.
aUSB port (sends and receives MIDI data and receives rmware updates). Please
refer to page 7 and “MIDI Functions” on page 19.
s MIDI sockets (MIDI THRU, MIDI OUT, and MIDI IN). Please refer to page 7 and
“MIDI Functions” on page 19.
d Power connector
fPOWER switch. Please refer to page 6.
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Sound Generation
Now that you have carefully unpacked and set up the DRM1 MKIV, let’s have a closer look at it. Sorry
for bothering you with mainly theoretical and safety blurb. This is a necessity to get the most out of
this unit in a creative and musical way (and to avoid nasty accidents). Well then, let’s nd out what
the DRM1 MKIV really is all about!
The DRM1 MKIV is a sound module, specialized in the creation of synthetic drum sounds that are
produced by real analog circuitry. It allows the creation of eight independent drum and percussion
sounds. Even though these sounds carry the component terminology of a traditional drum kit, these
are nothing but approximations of the real thing. However, this is fully intentional. Synthetic or
analog drums have their own individual character and aesthetics. These sounds have signicantly
inuenced various musical genres, if not spawned them at all. Neither old-school Hip-Hop or
Electro, nor House or Techno would have been possible without the aid of those famous analog
drum machines, invented by our friends from Japan.
The DRM1 MKIV has a lot to offer. It covers many aspects of those classic units but still, there is a
lot more to it. One thing can certainly be claimed: The DRM1 MKIV is all original-sounding and not
a clone, trying to reproduce eight or nine classic sounds.
Let’s have a look at the individual drum sounds, referred to as instrument channels in the course of
this manual. While we are at it, we will also toy around with some possible applications.
All eight instrument channels of the DRM1 MKIV share the same three components:
TRIG This button manually triggers the sound of the respective instrument channel.
Here, volume level is constant and corresponds to the level of maximum MIDI velo-
city. Note: Instrument channels HI HAT 1 and HI HAT 2 offer an additional choice of
sounds (see “HI HAT 1/HI HAT 2” on page 16).
PAN This control adjusts the position of the individual instrument channels within the
stereo panorama when using the main oand headphone outputs u. Note that PAN
has no effect on the individual outputs tof the instrument channels.
VOLUME This control adjusts the volume of the individual instrument channels for the main
o, headphone u and individual outputs t.
☛For achieving the best signal-to-noise ratio possible, we highly recommend you to
set the VOLUME knob tof the instrument channels as high as necessary (around
approx. 1 – 2 o' clock) while setting the MASTER control yas low as possible.
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The instrument channels of the DRM1 MKIV
The eight instrument channels are tailored to generate specic drum sounds. However, thanks
to their exibility, you are explicitly asked to experiment and be creative. As you will see, each
instrument channel offers a plethora of different sounds.
☛Please note: Some parameters of a sound interact with each other. For example,
the TIME control of the kick drum described below only produces an audible effect
when the BEND knob is not turned fully counterclockwise. A similar response
can be found with almost all instruments and should be kept in mind and used
creatively when setting up sounds.
KICK
Figure 3: KICK instrument channel of the DRM1 MKIV
The rst channel is specically designed to produce bass drum sounds.
DECAY sets the duration of the sound until total decay. The rst half of the control’s travel
allows for creating punchy kick drums for dance music. When moving away from the
center setting of the control, single kicks will make decay times increase signicant-
ly. These sounds are often found in genres such as Hip-Hop or R’n’B. With DECAY
set to maximum, long-decaying bass drums can be created which will make your
trouser legs ap. Use these for Trap, D’n’B, and Dubstep – BOOOOOOOM.
PITCH sets the fundamental frequency of a sound. Of course, the lower range of this knob
is relevant when creating bass drums. Start at the 9 o’ clock position and go from
there. With PITCH set to a higher value, you may as well create tom and percussion
sounds using the KICK instrument channel. PITCH interacts with the parameters
BEND and TIME.
BEND adjusts the intensity of pitch modulation by the TIME envelope. Higher values will
increase the amount of modulation but also increase the perceived pitch of the
sound, especially with DECAY set to shorter values. View PITCH, BEND, and TIME
as being interactive.
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With pitch modulation being completely absent, bass drums may sound at and not
distinctive; therefore, we recommend at least a little dose of BEND. For creating
dance-type kick drums, use higher BEND settings and lower TIME settings. For long
booooming kick drums keep the control in the lower half.
TIME adjusts the release time of the pitch envelope. Generally speaking, short settings are
useful for bass drums while longer values will make the sound lose character traits
which are specic to a kick drum. A long decay setting might still be useful when it
comes to creating percussion and effect sounds.
WAVE is a control that continuously sweeps the oscillator waveform from sine-wave to
square-wave. Here, the tone shifts from soft to edgier. Within the rst half of the
control’s travel, additional rawness and depth is imparted to the sound. At higher
values, the sound will start to get overdriven and distorted, rendering an external
overdrive or distortion pedal redundant if you want to create more massive-soun-
ding bass drums.
NOISE adds a short noise impulse at a xed level to the initial part of a sound. This imitates
the noise of the beater hitting the acoustic bass drum skin. Always adjust NOISE in
correlation with the full mix. What might appear a bit too much over the top when
being played on its own might actually sound a fair bit too restrained within a full
mix.
ATTACK shapes the attack phase of the sound: A short peak impulse is mixed into the at-
tack phase of the sound. This will increase the bass drum’s presence. Turning the
ATTACK knob alters the shape of this peak impulse. Like NOISE, set ATTACK in
correlation with the complete mix. What might appear to be too obtrusive when
monitored in isolation might perhaps sound a tad too gentle within a full mix.
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DRUM 1/DRUM 2
Figure 4: DRUM 1 instrument channel - DRUM 1 and DRUM 2 are identical
The two DRUM instrument channels are functionally identical. They are meant to create tom-
toms, percussion, and metallic-sounding noises but they can also produce bass drums which have a
slightly different character than those created by KICK. Thanks to two available channels, you may
either create two completely different sounds or create tuned pairs of sound such as low and hi toms
or congas.
DECAY sets the release time or the time it takes for the sound to decay fully. Its range is a
little wider compared to KICK, allowing you to create very short clicks.
PITCH sets the pitch/frequency per instrument channel. Drum 1 and 2 sport different fre-
quency ranges, with Drum 2 covering a higher pitch range
BEND adjusts the amount of possible pitch modulation by the DECAY envelope. In its
central position, no modulation occurs. Move away clockwise from the center posi-
tion to modulate the pitch downwards. Turning the control counterclockwise from
the center position will invert modulation, resulting in ascending pitch. This modu-
lation interacts with the DECAY setting.
ATTACK adds a short xed-level transient spike to the attack of a sound to make it extra pun-
chy. Always adjust ATTACK in correlation with the complete mix.
FM INT denes the intensity of the frequency modulation (FM). With FM being active, the
frequency of the DRUM instrument channel, set using PITCH control, is modulated
by a sine-wave oscillator. Set the FM INT control fully counterclockwise to turn off
FM.
FM FREQ sets the frequency of the modulation oscillator. At higher values, frequency modula-
tion will enter audio range, producing a wide frequency spectrum. This allows crea-
ting atonal and metallic-sounding timbres. At lower values, FM will result in modu-
lation comparable with a more typical LFO. The modulation is synced to the trigger
signal, making the modulation curve start at its maximum all the time, generating
a positive pitch-bending effect. Because of their different pitch ranges, modulating
Drum 1 and Drum 2 can yield different tones.
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WAVE is a mix control that continuously sweeps the oscillator waveform from sine-wave
to square-wave. Here, the sound changes from soft to edgier. At higher values, the
sound will start to get increasingly overdriven and distorted. The interaction bet-
ween WAVE and the FM parameters will produce a wide range of timbres for various
types of percussion sounds.
MULTI
Figure 5: MULTI instrument channel of the DRM1 MKIV
MULTI contains three oscillators, each sporting a wide tuning range. This makes for an amazing
variety and scope of tones, ranging from bass drums and toms, to cowbells and other metallic-
sounding percussion, to far-out sound effects.
DECAY determines the duration of the sound.
PITCH sets the fundamental pitch frequencies of all three oscillators.
BEND adjusts the modulation amount of the DECAY envelope, controlling pitch. When at
center position, no modulation will be audible. From the center position, turn clock-
wise to modulate pitch downwards. Turning the control counterclockwise from the
center position will invert modulation, resulting in ascending pitch.
ATTACK adds a short xed-level transient spike to the initial attack phase of a sound to make
it extra punchy. Always adjust ATTACK in correlation with the complete mix.
PITCH 2 sets the pitch/frequency of the second oscillator. Changing PITCH will always chan-
ge the frequency of PITCH 2, too. PITCH 2 can be independently adjusted to make
it sound lower than the rst oscillator. Turning PITCH 2 fully counterclockwise will
shut off the second oscillator completely.
PITCH 3 sets the pitch/frequency of the third oscillator. It works the same way as the
PITCH 2 control works with the second oscillator.
HIGHPASS adjusts the cutoff frequency of an additional high-pass lter. It allows attenuating
bass frequencies of the sound if so required. The effect the lter has depends on the
pitch of the sound. When PITCH 2/3 are set beyond the 9 o’ clock position, the effect
of the high-pass lter will hardly be noticeable.
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SNARE
Figure 6: SNARE instrument channel of the DRM1 MKIV
The purpose of the SNARE instrument channel should be obvious. However, due to its various
parameters, the snare drum of the DRM1 MKIV is a lot more exible than what you might have come
to expect from other analog drum machines. The sound is made up of various component parts:
noise, a transient spike, a resonant lter, and a pseudo reverb. This allows a wide scope of sounds
to be created, ranging from short “clacks”, resembling old beat boxes, to compact snare sounds with
noisy components and additional reverb.
DECAY REV determines the duration of the reverb effect. The effect of this parameter is only au-
dible when REVERB is active.
REVERB adjusts the intensity of the reverb effect. When this control is set fully counterclock-
wise, reverb will not be active.
DECAY NOISE sets the release time or duration of the noisy component of the sound. The effect of
this parameter will only be audible when NOISE is active.
NOISE adjusts the volume of the noise component of a sound. That way, the snare will gain
more girth and, consequently, sound more authentic. When this control is set fully
counterclockwise, NOISE will not be active.
ATTACK adds a short xed-level transient spike to the initial attack of a sound to make it
more punchy on the one hand, but it is also used to make the resonant part of the
lter section self-oscillate. The audibility of the transient spike also depends on the
intensity of the lter resonance (RESONANCE) setting. Always adjust ATTACK in
correlation with the complete mix. What might appear to be too obtrusive when
monitored in isolation might perhaps sound a tad too gentle within a full mix.
RESONANCE species the intensity of the lter resonance and, consequently, colors the tonal
component of the snare sound. Only at higher values, the lter will start self-oscil-
lation.
FILTER sets the cutoff frequency of the low-pass lter. Assuming the lter is self-oscilla-
ting, this control adjusts the pitch of the tonal sound component of the Snare chan-
nel.
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☛ Various types of percussion sounds are possible by just using the lter section
of the snare drum but leaving out the NOISE component. When FILTER and
RESONANCE controls are fully opened, the result will sound clave-like. By
attenuating RESONANCE, this sound will morph into a snare that resembles
a preset beat-box from 1978 or thereabouts. Decreasing FILTER frequency in
combination with various RESONANCE settings will yield convincing renditions
of tom-toms, congas, and bongos (see “SNARE” on page 15).
HI HAT 1/HI HAT 2
Figure 7: HI HAT 1 instrument channel of the DRM1 MKIV - HI HAT 1 and HI HAT 2 are identical
These two instrument channels are meant to create hi-hats but also cymbal sounds. Come up with
a wide range of cymbals, percussion and sound effects, based on ltered noise and a metallic-
sounding blend of oscillators.
DECAY sets the release time or the duration of a sound.
FILTER sets the cutoff frequency of the low-pass lter, coloring the overall sound of the
channel.
BEND adjusts the amount of an optional modulation of the cutoff frequency by the DECAY
envelope. In its central position, no modulation is present. Turning the control
clockwise from its center position will modulate the cutoff frequency of the lter,
lowering it. Moving away counterclockwise from the center position will invert the
modulation, resulting in a rising cutoff frequency. This modulation interacts with
the DECAY setting.
ATTACK adds a short xed-level transient spike to the initial attack of a sound to enhance
presence of the hi-hat and cymbal sounds. Always adjust ATTACK in correlation
with the complete mix. The pitch of the transient spike can be adjusted in parallel
with the oscillator mixture, using the PITCH control.
RESONANCE species the intensity of the lter resonance which, consequently, shapes the timb-
re of the hi-hat and cymbal sounds.
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MIX controls the balance between the noisy component part and the detuned multiple
oscillator section. Turned fully counterclockwise, only the noise component will be
audible; turned fully clockwise, only the multiple oscillator section will be audible,
allowing more “authentic” cymbal sounds, thanks to its metallic-sounding charac-
ter.
PITCH denes the pitch/frequency of the oscillator mix as well as of the ATTACK transient
spike at the same time.
☛HI HAT 1 and HI HAT 2 can be triggered in two ways, using the TRIG button q-
either as cymbal/open hi-hat or as closed hi-hat. The closed hi-hat has a xed
short decay time, independent of the DECAY control setting. After turning on the
DRM1 MKIV, the default setting of the TRIG button qis triggering the cymbal/
open hi-hat, with the duration of the sound being governed by the DECAY
control. To toggle between the trigger-modes, keep TRIG qdepressed for approx.
one second. The corresponding LED will light up briey to conrm the mode of
operation.
When using MIDI, both sounds of these instrument channels – i. e. cymbal/open
hi-hat and closed hi-hat – can be played by two different MIDI notes which also
lets you alternate between open and closed hi-hat (see “MIDI Functions” on
page 19).
CLAP
Figure 8: CLAP instrument channel of the DRM1 MKIV
CLAP serves a clearly dened task – it simulates the clapping of several hands (but not necessarily
applause). Like SNARE, it also sports some sort of an electronic pseudo-reverb which, in this case,
is an integral part of the sound since it makes the claps sound a lot more authentic and natural. The
CLAP instrument channel also features a resonating lter component.
DECAY REV sets the duration of the reverb effect. The effect of this parameter will only be au-
dible with REVERB being active.
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REVERB adjusts the intensity of the reverb effect. When this control is set fully counterclock-
wise, reverb will be disabled.
CLAP sets the rate as well as the number of individual claps (transient spikes) in a row. At
fully counterclockwise position, just one single spike / clap will be audible.
NOISE controls the color of the noise signal (NOISE parameter) by continuously cross-
fading between pink and white noise. The effect is subtile and will only be audible if
the NOISE knob is turned up.
NOISE adjusts the amount of noise that is blended with the claps. Without adding a bit of
NOISE, the claps will sound quite artical.
RESONANCE determines the intensity of the lter resonance and, consequently, colors the tonal
component of the clap sound in interaction with the FILTER setting.
FILTER sets the cutoff frequency of the low-pass lter. In interaction with RESONANCE,
this control adjusts the timbre of the sound. At increased levels of the Resonance
setting, the effect of NOISE COLOR will grow less noticeable.
COLOR
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MIDI Functions
The DRM1 MKIV receives MIDI notes, including the corresponding velocity data, via the MIDI-In
and USB ports. This way, its sounds can be played dynamically. Trigger impulses, received at the
optional trigger inputs, will be converted into MIDI note data plus velocity values and transmitted
via MIDI-Out and USB ports. Any other MIDI data, such as controller data, will not be processed by
the DRM1 MKIV.
Assigning MIDI channel and note number to individual
instruments
1. Press and hold the TRIG button qof the instrument channels CLAP and DRUM 1 simultaneously.
The DRM1 MKIV is now in Learn mode. To conrm your choice, Drum 1 will generate a single
trigger signal (Drum 1 sounds and its TRIG LED lights up).
2. Now, press any TRIG button q to select the desired instrument (no audible or visual response
this time).
3. Send a MIDI note to the DRM1 MKIV (e. g. from your attached MIDI keyboard). This note
number as well as the active MIDI channel will now be assigned and stored.
4. Repeat steps 2 and 3 to assign further instrument channels. By using this procedure, you can
assign different MIDI channels to the instruments of your DRM1 MKIV.
5. Press and hold the TRIG button qof the instrument channel CLAP. This will exit Learn mode
(again, no audible or visual response this time).
Assigning MIDI channel and note numbers to all
instruments at once (automatic assignment)
1. Press and hold the TRIG button qof the instrument channels CLAP and DRUM 1 simultaneously.
The DRM1 MKIV is now in Learn mode. To conrm your choice, Drum 1 will generate a single
trigger signal (Drum 1 sounds and its TRIG LED lights up)
2. Now, send a sequence of eight MIDI notes to the DRM 1 MKIV, e.g. by pressing keys on an
attached MIDI keyboard.
The rst MIDI note received will set the note number and MIDI channel of the KICK
instrument channel. Its TRIG LED will briey light up and the sound is triggered to conrm
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the assignment. The DRM1 MKIV now automatically advances to the next instrument channel
DRUM 1. After that, DRUM 2, MULTI, SNARE, HI HAT 1, HI HAT 2 and nally CLAP will be
assigned. When the assignment procedure has been completed, the DRM1 MKIV will
automatically return to normal play mode.
Alternatively, the assignment can be aborted at any time by pressing and holding down the
TRIG button qof the CLAP. Instruments already assigned will stay stored in memory.
Both methods allow assigning multiple instrument channels to the same MIDI note number.
The respective note will trigger both instruments simultaneously.
☛PLEASE NOTE: Since HI HAT 1 and 2 can be double-triggered to generate an open
as well as a closed hi-hat, they also require two different MIDI note numbers.
☛Since both HI HAT instrument channels can generate two sounds (open and closed
hi-hat), two different note numbers are assigned automatically to either HI HAT
instrument channels. The note number transmitted to the HI HAT instrument
assigns the open hi-hat/cymbal sound. The closed hi-hat is automatically assigned
to the note number two semitones (equals two MIDI notes) below the open hi-
hat. These note numbers should not be used for other instrument channels.
Reset
By pressing and holding down the TRIG buttons qKICK, DRUM 1 and CLAP simultaneously,
the DRM1 MKIV will restore its factory default settings. These settings contain the MIDI note
assignments listed below, according to the GM standard. Furthermore, the (optional) trigger inputs
will be enabled and the trigger mode set to “GATE” (please refer to page 23).
Factory Default Settings
Instrument Channel MIDI-Notenumber, Name (MIDI Channel 10) GM Drum
KICK 36 (C1) Bass Drum 1
DRUM 1 45 (A1) Low Tom
DRUM 2 50 (D2) High Tom
MULTI 56 (G#2) Cowbell
SNARE 38 (D1) Accoustic Snare
HIHAT 1 closed 44 (G#1) Open Hi Hat
HIHAT 1 open/CYMBAL 46 (A#1) – wird mit Cl-HH 1 zugewiesen (s.o.) Pedal Hi Hat
HIHAT 2 closed 49 (C#2) Ride Cymbal
HIHAT 2 open/CYMBAL 51 (D#2) – wird mit Cl-HH 2 zugewiesen (s.o.) Crash Cymbal
CLAP 39 (D#1) Hand Clap
User Manual DRM1 MKIV20