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Modor OS007 User Manual

Digital drum synthesizer
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USER MANUAL - OS007
MODOR DIGITAL DRUM SYNTHESIZER

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Summary of Contents for Modor OS007

  • Page 1 USER MANUAL - OS007 MODOR DIGITAL DRUM SYNTHESIZER...

  • Page 3: Table Of Contents

    Contents 1 Getting Started . . . Overview ....... . Patterns, songs and drumsets .
  • Page 4 3.3.1 Drive BD ......3.3.2 Noise BD ......3.3.3 Square BD .
  • Page 5 5 Menu Reference Load ........Save ........Name .

  • Page 6: Getting Started

    1.2 Patterns, songs and drumsets The Modor DR-2 has an internal sequencer, that plays PATTERN or SONG structures, triggering the internal drum synthesizer. The synthesizer creates drum sounds using the sound parameters stored in DRUMSETS. These are the 3 different kinds of ’data structures’...

  • Page 7: Connections

    To learn how to load patterns, songs and drumsets, check §1.8. 1.3 Connections Before you can start playing the Modor DR-2 a few connections have to be made. This chapter is written to help you make the first connections so that you can immediately start playing your instrument.

  • Page 8: Installing Wooden Sides Or Rack-Ears

    1.4 Installing wooden sides or rack-ears The Modor DR-2 comes with a pair of wooden side blocks, and a pair of white metal rack ears to put the it in a 19” rack. The necessary screws to install these are also included.

  • Page 9: Modulations

    1.6. MODULATIONS CHAPTER 1. GETTING STARTED . . . classic drum machines. You can also record patterns live by pushing REC and PLAY, and then playing the A-F buttons. However, there is more about pattern programming on the DR-2: Accents can be programmed by keeping the ACC button pressed while programming drum hits with the 1-16 buttons.
  • Page 10 1.6. MODULATIONS CHAPTER 1. GETTING STARTED . . . Random: Press the RANDOM button and turn one of a drum’s parameter knobs. Now you’ll hear a random variation of this parameter with every drum hit. Random can be connected to one parameter per drum. Double click RANDOM to remove this modulation.

  • Page 11: Menu Navigation

    CHAPTER 1. GETTING STARTED . . . 1.7 Menu navigation The menu of the Modor DR-2 consists of 7 menu items. When the MENU/YES button is hit you enter the menu, and the first menu item is shown on the upper display line.

  • Page 12: From The Frontpanel

    If you are loading drumsets, the selected drumset can be heard when playing the DR-2. This way you can listen to the drumsets in the memory without loosing your current work, and compare your active drumset to any drumset in the Modor DR-2’s memory You can push EXIT/NO at any time to cancel the load operation and return to the situation where you left before.

  • Page 13: Quick Save

    When you play the DR-2 during the save operation for drumsets, you can hear the drumset in the Modor DR-2’s memory that’s about to be overwritten. This way you can check which memory position can be overwritten before actually doing it .

  • Page 14: Initialisation

    1.11. INITIALISATION CHAPTER 1. GETTING STARTED . . . you need to ’go get it’ at it’s current setting and turn it up or down to a new value. This way sudden drastic changes of the sound are prevented. 1.11 Initialisation 1.11.1 .

  • Page 15: Key Combinations

    1.13. KEY COMBINATIONS CHAPTER 1. GETTING STARTED . . . 1.13 Key combinations The DR-2 has a number of key and knob combinations to make things faster and easier. Try the combinations in the table below, to get accustomed to what all these different keys and knobs can do.
  • Page 16 1.13. KEY COMBINATIONS CHAPTER 1. GETTING STARTED . . . SHIFT + FLAM + T Set Tuplet Retrig Time Double Click VELOCITY Remove Velocity Parameter and Amount Double Click DEF Remove Definable Parameter and Amount Double Click RANDOM Remove Random Parameter and Amount Double Click SONG Shortcut to Song Edit NO + A...F...

  • Page 17: Overview

    Overview 2.1 Structure of the DR-2 The Modor DR-2 has 2 main components: a drum sequencer and a drum synthesizer, working more or less independently from each other. Sequencing... The drum sequencer is a classic step sequencer able of playing 64 16th notes, or 128 32nd notes per pattern for each of the 6 drum instruments (A..F) of the...
  • Page 18 2.1. STRUCTURE OF THE DR-2 CHAPTER 2. OVERVIEW • Gain setting: SHIFT + slider • Amp attack: SHIFT + DEF-knob or SHIFT + DECAY • Distortion: SHIFT + X • Tilt Filter: SHIFT + Y • Compressor treshold: DEF + slider or SHIFT + Z •...

  • Page 19: Pattern, Song And Drumset Modes

    Pt35. If you change and store pattern Pt35 (in pattern mode), then both songs Sn05 and Sn06 (in song mode) will have changed. 2.4 Frontpanel overview You can find 18 rotary knobs, 6 sliders and 46 pushbuttons on the frontpanel of the Modor DR-2.
  • Page 20 2.4. FRONTPANEL OVERVIEW CHAPTER 2. OVERVIEW Song 5 Song 5 Pattern35 Pattern35 Song 6 Song 6 Pattern35 In a short overview, following controls are found: • MENU/YES and EXIT/NO menu buttons. • PATTERN button to select pattern mode. • DRUMSET button to select drumset mode. •...
  • Page 21 2.4. FRONTPANEL OVERVIEW CHAPTER 2. OVERVIEW – 1-16, 17-32, 33-48, and 49-64 pattern bar selection buttons. – 16 step buttons – BPM encoder (doubling up as SELECT control in the menu) – SWING control (doubling up as VALUE control in the menu)

  • Page 22: Drum Synthesizer

    Drum synthesizer 3.1 Drum models or algorithms The DR-2 uses drum ’models’ or drum synthesis algorithms that create a drum sound when a trigger from the DR-2’s step sequencer or MIDI receiver comes in. At this moment, the available drum models are: •...

  • Page 23: Envelope Generator

    Envelopes used in drum synthesis aren’t very complex. In synthesizers you often see ADSR envelopes, or even more complex envelopes such as the Modor NF-1’s 4- stage envelopes. In drum synthesis you need decay-only envelopes, a control value starting at high level (1) and dropping to low level (0).
  • Page 24 3.2. ENVELOPE GENERATOR CHAPTER 3. DRUM SYNTHESIZER Squared reciprocal 2 ’o clock set- ting: In between the exponential and re- ciprocal curve is the squared recip- rocal, y = Reciprocal Full right, 4 ’o clock setting: The reciprocal curve also drops fast at the beginning, even faster then an exponential curve, but it slows down a lot earlier, result-...

  • Page 25: Bass Drums

    3.3. BASS DRUMS CHAPTER 3. DRUM SYNTHESIZER 3.3 Bass drums 3.3.1 Drive BD The first bass drum model is the Drive BD. This model uses a very basic sinewave bassdrum, that has a parallel drive&filter path that can be mixed with the dry sine bassdrum to get harmonic overtones in a certain frequency range.

  • Page 26: Noise Bd

    3.3. BASS DRUMS CHAPTER 3. DRUM SYNTHESIZER 3.3.2 Noise BD A second bassdrum model is the Noise BD. In this bassdrum model a triangle oscil- lator creates a basic bassdrum, using the pitch and pitch envelope. It is then clipped using a soft saturation curve that ’rounds the corners’, such that the result approaches a sinewave, but still contains a small amount of the lower harmonics.

  • Page 27: Square Bd

    3.3. BASS DRUMS CHAPTER 3. DRUM SYNTHESIZER 3.3.3 Square BD A third bassdrum model is the Square BD. This model is based on a square waveform oscillator, that produces a large number of harmonics. The result is filtered by two filters in series: a lowpass filter with an envelope controlling the cutoff frequency, and a notch filter.
  • Page 28 3.3. BASS DRUMS CHAPTER 3. DRUM SYNTHESIZER The oscillator section is not unlike that of the Noise BD, but with an important difference: the asymmetry factor. The oscillator creates triangle waves again, that are clipped using a soft saturation that rounds the corners and reduces the amount of higher harmonics.

  • Page 29: Snare Drums

    3.4. SNARE DRUMS CHAPTER 3. DRUM SYNTHESIZER 3.4 Snare drums 3.4.1 Basic SN This snare model uses FM synthesis and filtered noises to create a snare drum sound that sounds the most ’realistic’ (at certain settings) from the DR-2’s snare drums. This model uses a 2-operator FM path to create the ’fundamental’...

  • Page 30: Marching Sn

    3.4. SNARE DRUMS CHAPTER 3. DRUM SYNTHESIZER 3.4.2 Marching SN This snare drum is modelled after the tighter and more intense sound of snare drums as they are used in marching bands and bagpipe bands. It has a very short sounding ’tonal’...

  • Page 31: Cymbals

    3.5. CYMBALS CHAPTER 3. DRUM SYNTHESIZER The overdriven triangle oscillator was a classic analog trick to make ’sinewave’ oscillators. The output of a triangle oscillator is sent into a soft overdrive stage that rounds the corners of the triangle wave. This doesn’t produce perfect sinewaves but waves that still contain some harmonic overtones, which were however found to be more pleasing to the ear than pure sinewaves.

  • Page 32: Hihats

    3.5. CYMBALS CHAPTER 3. DRUM SYNTHESIZER 3.5.1 Hihats The hihats are short to moderately long ’bursts’ of bandpass filtered cymbal noise. You can control the spectral content with the Z-parameter, and you can add, if you want, a slight amount of white noise. The pitch and pitch envelope control the bandpass filter frequency.
  • Page 33 3.5. CYMBALS CHAPTER 3. DRUM SYNTHESIZER The main filter is a bandpass filter with frequency and bandwidth setting, and it has some non-linearities in it’s design that thicken up the amount of different frequencies that are produced in the cymbal noise. A second parallel 24dB/oct highpass filter can produce a shorter bright ’ting’...

  • Page 34: Crash Cymbal

    3.5. CYMBALS CHAPTER 3. DRUM SYNTHESIZER This way the ride cymbal algorithms is capable of producing a wide range of cym- bal sounds, not limited to ride cymbals alone. The extra filters and the non-linearities in the main filter make it sound thicker and noisier than the hihat algorithm. The settings however allow you to produce much more non-realistic sounding cymbal-like sounds.

  • Page 35: Claps

    3.6. CLAPS CHAPTER 3. DRUM SYNTHESIZER Finally, there is a highpass filter working on white noise to create the upper ’zing’ of the cymbal sound. • X controls the mix of white vs cymbal noise for the 4 middle bandpass filters •...

  • Page 36: Toms

    3.7. TOMS CHAPTER 3. DRUM SYNTHESIZER 3.7 Toms 3.7.1 Analog Tom The toms are made using three oscillators with frequency ratios 1:1,5:2,7. The oscil- lators are the same kind of overdriven triangle waves such as in Analog SN and the Noise BD that contain a small amount of extra harmonics of each of the three oscillator frequencies.
  • Page 37 3.7. TOMS CHAPTER 3. DRUM SYNTHESIZER groups that have different amp envelopes, to create a certain spectral variation during the ’ringing’ of the drum hit. These groups of sine oscillators can be pitched and their frequency separation can be controlled with the Z parameter. There is also a notch filter that can be used to further control the spectral content, controlled with the Y parameter.

  • Page 38: Miscellaneous

    3.8. MISCELLANEOUS CHAPTER 3. DRUM SYNTHESIZER If you don’t know where to start with the pitch and Z parameters, put them both at the center (+64), and turn down the pitch envelope to get a more or less regular sounding tenordrum. •...

  • Page 39: Rattle

    3.8. MISCELLANEOUS CHAPTER 3. DRUM SYNTHESIZER 3.8.2 Rattle The rattle may be a bit of a weird instrument. . . It is made by short clicks that are sent into 2 parallel highly resonant filters, who are transforming the clicks into short sinewave pulses.

  • Page 40: Glass Bottle

    3.8. MISCELLANEOUS CHAPTER 3. DRUM SYNTHESIZER If you don’t know where to start with the pitch and Z parameters, put them both at the center (+64), and turn down the pitch envelope to get a more or less regular sounding cowbell. •...

  • Page 41: Tonal Drum Models

    3.9. TONAL DRUM MODELS CHAPTER 3. DRUM SYNTHESIZER PITCH ENV, ENV 2 NOISE GLASS BOTTLE envelope, controlled by the Y parameter. This division in 2 groups allows some spectral evolution in the glass bottle sound. Next to this, there is a short noise envelope, controlled by the T parameter. This envelope controls a short initial burst of hipass filtered noise.

  • Page 42: After Treatment

    3.10. AFTER TREATMENT CHAPTER 3. DRUM SYNTHESIZER To reach the pitches in between the semitone steps, the bassdrum models also have a finetune parameter, that can be accessed with SHIFT+PITCH [-64,+63]. The tuning scale of the bassdrums is an equal temperament scale: if finetune is at zero, A4 = 440Hz.

  • Page 43: Distortion

    3.10. AFTER TREATMENT CHAPTER 3. DRUM SYNTHESIZER sound. At zero setting, there is no attack, and depending on the drum model, quite loud initial clicks can be produced. The attack envelope is independant from any other envelope involved in the drum synthesis models.

  • Page 44: Compressor

    3.10. AFTER TREATMENT CHAPTER 3. DRUM SYNTHESIZER 0dB/oct 2dB/oct 2dB/oct 4dB/oct 4dB/oct 6dB/oct 6dB/oct 3.10.4 Compressor After the tilt filter, each channel or instrument has its own separate compressor, with sidechaining possibility and an adjustable attack time. The compressor uses a 1/8 com- pression ratio, a hard knee transition and has an automatical make-up gain.

  • Page 45: Gain Setting

    3.11. MODULATIONS CHAPTER 3. DRUM SYNTHESIZER • DEF + definable knob or SHIFT + T (knob above slider) defines a channel’s attack time, between 0 and 20ms. The functionality of DEF+def knob and SHIFT+T is identical. • DEF + button A..F defines the active channel’s sidechain source. 3.10.5 Gain setting Each instrument also has a so-called ’gain’...
  • Page 46 3.11. MODULATIONS CHAPTER 3. DRUM SYNTHESIZER • Velocity or accents: keep the VELOCITY button pressed and turn one of a drum’s parameter knobs. Now this parameter is modulated by velocity. When playing notes with different velocity or accent you’ll hear a difference in sound. Velocity modulation can be applied on the volume parameter (VELOCITY+slider) and a 2nd parameter (VELOCITY+knob) per drum.

  • Page 47: Drum Sequencer

    4.1 16 step, 64 step or 128 step sequencer? The Modor DR-2’s sequencer has the typical 16 step buttons as can be found on many classic drum machines, typically playing the 16th notes of a 4 beat bar. Select an instrument by pushing one of the buttons A-F, and then program rhythms on the buttons 1 to 16.

  • Page 48: Bpm And Swing

    4.3. BPM AND SWING CHAPTER 4. DRUM SEQUENCER • Hitting PLAY puts the sequencer in ’playing’ status, ie. in Play or Record. • Hitting REC puts the sequencer in ’recording’ status, ie. in Rec Pause or Record. If you hit PLAY while the sequencer was stopped, it starts playing. There are two playing ’modes’...

  • Page 49: Pattern Mode

    4.4. PATTERN MODE CHAPTER 4. DRUM SEQUENCER The DR2 also has a ’Swing32’ setting. This does the same as the Swing setting, but with 32nd note pairs. It can go both above and below 50%, This way you can change the timing of the 32nd notes ’in between’...

  • Page 50: Song Mode

    4.5. SONG MODE CHAPTER 4. DRUM SEQUENCER • Pattern BPM • Pattern length (number of steps) • Pattern Swing and Swing 32 • Pattern Reverse Time • Pattern Flam Time • Pattern Tuplet Number, Time and Balance Pattern switching If a new pattern is loaded while the sequencer is playing, the sequencer first finishes the active pattern and then switches to the new pattern.

  • Page 51: Pattern Programming

    4.6. PATTERN PROGRAMMING CHAPTER 4. DRUM SEQUENCER Song properties Just like a pattern, a song has a speed setting (BPM), swing and swing32 settings, a flam and a reverse timing. When playing in song mode, these pattern data are overridden by the song’s data. So, a pattern can sound somewhat different in different songs.

  • Page 52: Reverses

    4.6. PATTERN PROGRAMMING CHAPTER 4. DRUM SEQUENCER • Keep the ACC(ent) button down and select the steps you want to accentuate to use the per-instrument accent line, • or just shortly hit ACC(ent) to access the general accent line for all instruments together.

  • Page 53: Flams

    4.6. PATTERN PROGRAMMING CHAPTER 4. DRUM SEQUENCER BREAK 4.6.5 Flams A ’flam’ is a double hit of a drum, like a drummer that lets his drumstick bounce twice or plays a drum hit with both hands almost simultaneously. Keep FLAM button pressed and select the steps where you want to program a double hit.

  • Page 54: Meter Or Pattern Length

    4.6. PATTERN PROGRAMMING CHAPTER 4. DRUM SEQUENCER Tuplets have a balance setting. This is the velocity ’evolution’ of the consecutive drum hits. If it is set neutral, all tuplet drum hits are played equal in volume. If it’s set positive, the drum hits decrease in velocity, sounding a bit like an echo. If the balance is negative, the tuplet’s drum hits increase in velocity, like an upcoming drum roll.

  • Page 55: Polymeters

    4.6. PATTERN PROGRAMMING CHAPTER 4. DRUM SEQUENCER 4.6.8 Polymeters The DR-2 can also use polymeters. These are different meters or pattern lengths for each of the 6 instruments of the DR-2. They are a very easy and interesting way to bring a live and variation in a drum pattern.

  • Page 56: Bars And Pattern Variations

    4.7. SYNCHRONISATION CHAPTER 4. DRUM SEQUENCER 4.6.9 Bars and pattern variations The bar buttons 1-16/17-32/33-48/49-64 are used to select the 4 bars of the sequencer. These buttons can serve 2 different purposes. • You can make long patterns of up to 4 bars, or 64 (16th note) steps (or 128 32nd notes) •...

  • Page 57: Euclidean Generator

    4.8. EUCLIDEAN GENERATOR CHAPTER 4. DRUM SEQUENCER The MIDI clock output can be disabled or enabled in the SYSTEM SETTINGS menu. If you don’t succeed synchronising external MIDI gear to the DR-2, check the Midi Clock Tx setting. The CLOCK OUT connector’s output is determined by the ClkOutput in the SYS- TEM SETTINGS.
  • Page 58 4.8. EUCLIDEAN GENERATOR CHAPTER 4. DRUM SEQUENCER Another important parameter of Euclidean rhythms is the so-called ’rotation’, the number of steps the pattern is shifted. Below are two examples of 3 8 Euclidean rhythms with a different rotation: Euclidean rhythms can serve as a quick way to initialize drum patterns, or as a starting point to create your own.

  • Page 59: Parameter Locks

    4.9. PARAMETER LOCKS CHAPTER 4. DRUM SEQUENCER • via the SHIFT+REV buttons . . . via the INIT menu The first way to access the Euclidean generator is through the INIT menu: • Press PATTERN to get into pattern mode •...
  • Page 60 4.9. PARAMETER LOCKS CHAPTER 4. DRUM SEQUENCER Note: a parameter lock does not necessarily have to be aligned with a drum hit in the sequencer. Parameter locks can also be programmed anywhere in between two drum hits. The current sounding drum will then get the parameter variation the moment the sequencer passes the parameter lock’s step position.

  • Page 61: Menu Reference

    Menu Reference The menu of the Modor DR-2 has 7 main menu items. When the menu button is hit you enter the menu, and the first menu item appears on the upper display line, while a black dot moves from right to left over the screen. By pressing again before it reaches the left side, the next menu item is selected.

  • Page 62: Save

    5.2. SAVE CHAPTER 5. MENU REFERENCE • Pressing the MENU/YES-button finishes the load operation and exits the menu. The active pattern, song or drumset gets replaced by the selected item from flash memory. • By keeping an instrument button A..F down while pressing MENU/YES at drum- set loading, only that single instrument is loaded from the drumset.

  • Page 63: Copy

    5.5. COPY CHAPTER 5. MENU REFERENCE • Pattern: restart with a simple 1-bar 4-on-the-floor pattern, a Euclidean pattern (per instrument) or an empty pattern (per instrument) • Song: restart with an empty song pattern list Quickly hit the MENU button four times to select the INIT-menu and wait one second to enter it (the black dot reaches the left side of the screen).

  • Page 64: System Settings

    • ProgChangeRx: choose if the Modor DR-2 responds to incoming MIDI Program Change messages or not [ON,OFF] • CtrlChangeRx: choose if the Modor DR-2 responds to incoming MIDI Control Change messages or not [ON,OFF] • SysexRx: choose if the Modor DR-2 receives or ignores incoming MIDI sysex messages [ON,OFF]...

  • Page 65: Sysex Dump

    • NoteOffTx: choose if the Modor DR-2 transmits note-off messages after the note-ons [ON,OFF] • LocalControl: choose if the Modor DR-2’s sequencer sends its note events to the synthesizer, or only to Midi OUT [ON,OFF] • ShowCtrlInpt: choose whether incoming MIDI controller messages are displayed on screen or not [ON,OFF] •...
  • Page 66 Dump, press MENU again, and hit MENU/YES to confirm (or cancel with EXIT/NO). Note that if the Modor DR-2 receives a Drumset, Pattern or Song dump, this is not yet stored permanently in it’s memory. If you want to store the data you received, you still have to store them.

  • Page 67: Menu Overview

    5.8. MENU OVERVIEW CHAPTER 5. MENU REFERENCE 5.8 Menu overview...

  • Page 68: Firmware Upgrades

    Firmware upgrades 6.1 Firmware upgrade 6.1.1 Why upgrading the firmware? Every now and then, the DR-2 gets a new firmware upgrade, containing bugrepairs and new features and drum models. It is absolutely worth installing these on your machine. Don’t worry that your DR-2 will become slower or less performant by upgrading the firmware, as you often see on computers, smartphones, etc...

  • Page 69: Bootloader Upgrade

    6.2 Bootloader upgrade 6.2.1 Why updating a bootloader? Together with firmware OS007, also a new bootloader was launched. It is necessary to install this bootloader to avoid losing your work on future firmware upgrades! A bootloader is a small piece of software, that checks if SHIFT+MODEL is held down.

  • Page 70: Installation

    6.2. BOOTLOADER UPGRADE CHAPTER 6. FIRMWARE UPGRADES 6.2.2 Installation The installation of the new bootloader is simple and straightforward: send the boot- loader sysex file to the DR-2. This time, you don’t need to launch the DR-2 with the SHIFT+MODEL button combo, the bootloader upgrade has to be done during normal operation.

  • Page 71: Midi Implementation

    MIDI Implementation 7.1 Midi channel To have your DR-2 working together with other MIDI gear, first set the right MIDI channel in the SYSTEM SETTINGS menu, it’s the first item in this menu. Press 6x MENU/YES to enter SYSTEM SETTINGS, use VALUE to set the MIDI channel (1- 16).
  • Page 72 7.2. MIDI NOTE MAPPING CHAPTER 7. MIDI IMPLEMENTATION Reverse notes To trigger a note reverse, use the same notes, but in the fourth octave, note numbers 60 to 71: • Reverse drum A using C-4 or C#-4 • Reverse drum B using D-4 or D#-4 •...

  • Page 73: Midi Control Changes

    7.3. MIDI CONTROL CHANGES CHAPTER 7. MIDI IMPLEMENTATION Note Off transmission When recording DR-2 MIDI data in a DAW, you can set the Note Off Tx parameter ON. With this setting OFF, the DR-2 does not send MIDI note-off messages, because by default, the DR-2 also doesn’t recognize them. This can however get very annoying in a DAW, as you’ll only see very extremely long notes because the DAW expects but doesn’t receive corresponding note-offs after a note-on.

  • Page 74: Midi Implementation Chart

    7.5. MIDI IMPLEMENTATION CHART CHAPTER 7. MIDI IMPLEMENTATION 7.5 MIDI implementation chart MIDI Implementation Chart v. 2.0 Manufacturer: Modor Music Model: DR-2 Version: 1 Date: August 2020 Transmit Recognize Remarks 1. Basic Information MIDI channels [1-16] [1-16] Note numbers [48-83]...
  • Page 75 7.5. MIDI IMPLEMENTATION CHART CHAPTER 7. MIDI IMPLEMENTATION RPN 04 (Tuning Bank Select) RPN 05 (Modulation Depth Range) 2. MIDI Timing and Synchronization MIDI Clock Song Position Pointer Song Select Start Continue Stop MIDI Time Code MIDI Machine Control MIDI Show Control 3.

  • Page 76: Midi Controller List

    7.6. MIDI CONTROLLER LIST CHAPTER 7. MIDI IMPLEMENTATION 7.6 MIDI controller list Control Function Transmitted Received Remarks Bank Select Drum A Pitch Drum A Pitch Env Decay Drum A Pitch Env Curve Drum A Pitch Env Amount Drum A Volume Drum A Amp Decay Drum A Amp Curve Drum A Pan...
  • Page 77 7.6. MIDI CONTROLLER LIST CHAPTER 7. MIDI IMPLEMENTATION Control Function Transmitted Received Remarks CC Start/Stop Drum B Amp Curve Drum B Pan Drum B X Drum B Y Drum B Z Drum B T Drum C Pitch Drum C Pitch Env Decay Drum C Pitch Env Curve Drum C Pitch Env Amount Drum C Volume...
  • Page 78 7.6. MIDI CONTROLLER LIST CHAPTER 7. MIDI IMPLEMENTATION Control Function Transmitted Received Remarks Drum E Amp Decay Drum E Amp Curve Drum E Pan Drum E X Drum E Y Drum E Z Drum E T Drum F Pitch Drum F Pitch Env Decay Drum F Pitch Env Curve Drum F Pitch Env Amount Drum F Volume...

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