Table of Contents
Table of Contents
1. INTRODUCTION --------------------------------------------------------------------------- 3 - 6
Unpacking
Warranty Card
Mounting
Cases
Optional Accessories and Other KAT Products
Product Overview
About This Manual
2. CONNECTIONS ----------------------------------------------------------------------------- 7
Power
Footswitch Inputs
FootControl Inputs
MIDI In
MIDI Out
Expander Inputs
Breath Control Input
3. MAKING A SOUND ----------------------------------------------------------------------- 8 - 10
Making Other Sounds
Play Mode Display
4. EDITING --------------------------------------------------------------------------------------- 11 - 27
General Editing Concepts
How to Edit
Editing Tips
Editing Pad Layout
Editing Pad Descriptions
Accessing Setup Auxiliary Settings
Accessing Global Auxiliary Settings
5. MIDI PRIMER -------------------------------------------------------------------------------- 28 - 31
Connections
Signals
Concepts & Commands
MIDI Channels, MIDI Notes, MIDI Velocity
MIDI Note On, MIDI Note Off,
Program Change, System Exclusive (Dumps)
So What’s the Big Deal?
All You Really Need to Know to Get Going With MIDI
MIDI For Percussion
MIDI Delay
6. BASIC SETUPS ------------------------------------------------------------------------------ 32 - 36
Making Sure You’re Set Up Right
Get the Pads to Play the Sounds You Want
Get the Pads to Play with the Velocity Response You Want
Get the Pads to Play with the Gate Time You Want
Polyphony
Setting Up Your Footswitches
Setting Up Your FootControl Pedals
Controlling Volume
Moving Around Through Your Setups
7. ADVANCED SETUPS --------------------------------------------------------------------- 37 - 40
Layer Modes
Hang
Split
Layer (Double)
Pressure Modes
Normal
Dampen
Aftertouch
Other Tricks
Program Change Banks
FootControl and Breath Control
8 APPENDIX ------------------------------------------------------------------------------------- 41 - 55
A:
B:
C:
D:
E:
F:
G:
H:
I:
J:
Trouble-Shooting Help - What if it isn’t working?
Glossary of Terms
Setup Templates
MIDI Implementation Chart
System Exclusive Documentation
Velocity Curve Documentation
Instructions for Inserting New Software
Warranty / Care and Maintenance
Alternate Mode Inc. / Alt. Mode Customer Service
Breath Controller Adjustments
9. INDEX -------------------------------------------------------------------------------------------
59
1. Introduction.
Welcome to the malletKAT PRO! Congratulations on your purchase!
You have purchased a product that has grown and expanded over
the 9 years since it was introduced. What started out in 1986 as the
innovative and advanced malletKAT is still the most powerful and
responsive keyboard controller in the world. As better sound sources
become available, we respond with ways for you to have even more
control over your music. The malletKAT PRO continually grows in
response to your changing needs.
With Alternate Mode’s continuing War On Obsolescence, all of our
customers enjoy continual growth in their purchases because of our
upgrade releases.
The malletKAT PRO has changed physically with improvements in
the FSR playing surface, additional jacks for foot control, breath
control, and is now expandable up to 5 octaves with increased
sensitivity and dynamic range.
The new malletKAT PRO features include a special “Hang Mode” and a
“Dampening Mode.” The editing has been changed to be very quick
and intuitive. All of the functions you use regularly have been
made quickly accessible without a lot of screen advancing.
All of these changes have been made available as upgrades to everyone
who ever bought a malletKAT PRO (even back in 1986). Right now
we are working on even more features and capabilities for your
malletKAT PRO. We tell you this so that you’ll know that as the
malletKAT PRO evolves even further in the years to come - our
future innovations will be made available to you too! We won’t
forget you!
UNPACKING:
When you unpack your malletKAT PRO, you should find the following:
1 3-octave malletKAT PRO
1 manual
1 AC Adaptor
2 KF1 footswitches
REGISTRATION CARD: You also should find a warranty card enclosed in your manual. Please
fill it out and send it in so we can keep track of you for product
updates and new product information.
MOUNTING:
There is a wide variety of stands that you can use to support your
malletKAT PRO. The “cross stand” type of stands work well. Just
try one out to verify that it’s adjustable to the height you like and
breaks down to a reasonable size so as to be transportable.
Alternate Mode sells a “550 Stand” that was selected for the
malletKAT PRO.
Using the optional DKB mounting bracket, the malletKAT PRO can be
mounted on a variety of Alternate Mode drum stands and stand
parts. The DKB mounts to the bottom of the malletKAT PRO with
4 (1/2” x 10/32”) screws. Consult our latest KATalog or your dealer.
Where and how you mount your malletKAT PRO is largely a matter of
personal taste.
CASES:
A special malletKAT PRO case is available from Alternate Mode. The
3
1. Introduction
life of your instrument will reflect the care that you give it.
OPTIONAL ACCESSORIES and OTHER Alternate Mode PRODUCTS:
MKC - malletKAT PRO Case
DKB - Controller Mounting Bracket
AC Adaptors - European & U.S.
Assorted stands and stand parts
KF1 - Single Footswitches
KF3 - Triple Footswitch
Breath Controller
MIDI Quick Notes - Quick reference guide for chords
Instructional Videos
KAT Players Videos
K A T T-shirt
Trigger Pads...
rimKAT - dual-zone FSR Pad
poleKAT - dual-zone FSR Pad
flatKAT - single zone Pad
Trigger Pedals...
fatKAT - self contained trigger pedal
hatKAT - Hi Hat / Controller pedal
miniKICK - compact BD trigger Pad
kicKAT - BD trigger Pad for real acoustic feel
Other Controllers...
drumKAT 3.5 - The most powerful and advanced drum
controller in the world
drumKAT EZ - 10 pad controller, w/trigger & Expander
inputs
DK10 - Simple to use 10 pad drum controller
trapKAT - 24 pad drum controller
CD ROMS
Software Products (drumTUTOR, trapTUTOR)
PRODUCT OVERVIEW: The malletKAT PRO is a velocity sensitive MIDI controller with a
layout that is comfortable for mallet players. The playing surface
responds to a wide dynamic range and is very comfortable to play
on. The playing pads are made of a sponge rubber that was selected
to resist wear and tear. These pads provide a comfortable rebound
with mallet sticks, and quiet the mallet impact sound.
There are three Footswitch inputs. One gets you in and out of EDIT.
When you hit any of the pads with the Edit Footswitch depressed,
you can make changes to the settings in your malletKAT PRO.
The other two footswitch inputs allow you to sustain sounds and control
the special “Hang Mode.”
The MIDI IN jack allows you to retrieve saved Setups that you
previously saved to a “DataDisk” or other storage device. The
MIDI IN jack also allows you to merge information from another
controller (or sequencer) through to the MIDI OUTs.
There are two MIDI OUT jacks that carry the same information. One is
mounted on the side to give you more options when routing your
4
1. Introduction
cables.
A Breath Control input works with the BC-2 Breath Controller.
Two FootControl inputs allow the use of expression or volume pedals to
add extra expression to your playing. The FootControl inputs can
also be used to Advance and Backup through Setups with your feet.
The malletKAT PRO has a backlit display with four lines of sixteen
characters per line. The four lines allow you to see a lot of
information in an easy-to-read format. Even the viewing angle of
the display is adjustable.
The software in the malletKAT PRO allows you unbelievable control
and potential. The malletKAT PRO has two independent
Controllers that you may use to Split the keyboard (one sound on
the left side of the keyboard and another sound on the right) or
Double the keyboard (all notes play two sounds simultaneously). A
special Hang Mode allows you to play a chord (while the Sustain 2
footswitch is depressed) and then solo with a different sound
(Sustain 2 footswitch released) while the chord sustains.
Since standard marimba mallet playing can’t “sustain tones,” the
malletKAT PRO provides the ability to automatically sustain
notes from 15 milliseconds (.015 seconds) to 6.4 seconds for you.
Otherwise string and horn sounds would be only very short little
whispers.
The malletKAT PRO has 8 velocity curves which are used to correlate
your playing dynamics (how hard or soft you play)to MIDI
Velocity information (how soft or loud a note to play) with 127
individual levels.
As you step through the various Setups in your malletKAT PRO, you
can instantly access the different features the malletKAT PRO is
capable of performing. With the malletKAT PRO, you can control
anything that has a MIDI input: synthesizers, drum machines,
samplers, sequencers, transcription software on personal computers,
and so on. You can connect the malletKAT PRO up to an array of
instruments and control them all simultaneously. By simply
stepping into the next Setup, you not only can change which devices
you are controlling, but you can also change the programs selected on
those instruments as well.
The malletKAT PRO was conceived to answer the mallet player's need
for a transportable, responsive, and powerful means to control the
vast MIDI potential available. It will enhance your possibilities
and unleash your imagination so that your playing and creativity
can reach a new level. Enjoy!
5
1. Introduction
ABOUT THIS MANUAL:
This manual will get you started playing immediately and then help
you dig in and learn how to get the most out of your new purchase.
Chapter 1 contains introductory information and a product overview.
Chapter 2 describes the external Connections on your malletKAT PRO.
Chapter 3 gets to the heart of the matter and gets you Making Sounds
and playing on your malletKAT PRO.
Chapter 4 explains how you Edit (change) the settings on the
malletKAT PRO.
Chapter 5 is a basic MIDI Primer which details what MIDI is, how to
use it, and special facets of MIDI as it relates to percussion.
Chapter 6 is about creating Basic Setups for yourself.
Chapter 7 is about creating Advanced Setups with interesting results.
The Appendix has additional help and details.
6
2. Connections.
ON/OFF
9 Volts
Sustain
Sustain
FTSW Edit
FTSW
FTSW
1
2
Foot Control
1 ---- 2
MIDI
IN
MIDI
OUT
Expander Inputs
1---------- 2
MIDI OUT
POWER:
The malletKAT PRO comes supplied with an external AC Adaptor.
Optional AC Adaptors are available for other countries, so if you
travel, contact us for information about these other adaptors.
After you have connected the power cable from the malletKAT PRO to
a clean power source, switch on the power switch on the back right
of the instrument. If your instrument does not turn on refer to the
troubleshooting section in the Appendix for help.
FOOTSWITCH INPUTS: Any momentary on-off type will work if you plug them in before turning
the malletKAT PRO on. (The "normally open" variety are slightly
more reliable than the "normally closed"). A single (KF1) and a
triple footswitch (KF3) are both available from KAT.
FOOTCONTROL INPUTS: Most expression and volume pedals will operate nicely if you train
the malletKAT PRO to recognize them (see p.24).
An expression/volume pedal which works perfectly with your
malletKAT PRO, the “CP1”, is available from KAT.
MIDI IN:
The malletKAT PRO has a MIDI IN jack to receive MIDI information
from another controller, a sequencer, or a computer. The malletKAT
PRO can merge and/or filter this information and send it to the
MIDI OUT jacks.
MIDI OUT:
The malletKAT PRO has two MIDI OUT jacks. Plug a MIDI cable into
one of these MIDI OUT jacks and connect the other end into the
MIDI IN jack on your sound source. These jacks are the lifeline that
carries all your performance information to your sound sources .
EXPANDER INPUTS:
The Expander Inputs allow you to expand your 3-octave malletKAT
PRO to 4 or 5 octaves.
Simply connect an Expander cable (a 7 pin din cable is supplied with
expanders) from the Expander OUT of an optional Expander Octave
to the Expander IN on your malletKAT PRO.
BREATH CONTROL INPUT: The Breath Control input (on the front of your malletKAT PRO)
accepts a signal from the Yamaha BC2 Breath Controller.
This allows you to do Pitchbend, Modulation, etc. with your mouth!
The actual training of the Breath Controller is shown on p.24-25.
7
3. MAKING A SOUND.
It’s a simple matter to start playing your new malletKAT PRO right
away because it has already been initialized at the factory. All
you have to do is the following:
• Connect the AC Adaptor to the back of the malletKAT PRO and an AC
outlet.
• Connect one footswitch to the Edit FTSW input on the back of the malletKAT
PRO. Connect the second footswitch into the Sustain FTSW input on the
back of the malletKAT PRO.
• Turn on the power to your malletKAT PRO and sound source.
• Connect a MIDI cable between the MIDI OUT on the back of the malletKAT
PRO and the MIDI IN of your sound source.
• Set the sound source to receive MIDI data on Channel 1.
• Plug headphones into your sound source or connect the audio out of your sound
source to an amplifier and speakers.
• Play!
If the malletKAT PRO does not play properly, see the helpful
suggestions in Appendix p.41-42 or call us at 413-594-7466, we’ll be
glad to help you get started.
MAKING OTHER SOUNDS:
To make other sounds, you will select other Setups on your malletKAT
PRO. This will automatically select other Programs in your sound
source - thereby giving you other sounds.
Right now, the malletKAT PRO is probably in Setup 01. To select
another Setup, hit the Forward Function pad twice (the Function
pads are the two smaller pads above your highest “C”, on the right
hand side of the malletKAT PRO). That increments the
malletKAT PRO through its Setups - which should select different
sounds (Programs) on your sound source.
Not very hard was it! (Hit the Backward Function pad twice and you
decrement through the Setups!)
So, use this method to wander through the Setups and play on the
malletKAT PRO and you’ll get an idea of the variety available to
you!
(Why two hits of the Function pads?? Two hits are required to
make sure it is intentional! One accidental hit might cause you to
change sounds when you didn’t really want to.)
8
3. Making A Sound
PLAY MODE DISPLAY:
If you are in PLAY MODE (you’re in PLAY MODE whenever you’re not
depressing the EDIT footswitch) the display will look like:
(000-127)
(01-16)
(001-128)
Setup 001 HANG
Ch01 Vo075 Pg023
Ch02 Vo075 Pg023
NORMAL POLY POLY
(NORMAL,
DAMPEN,
SPLIT)
(001-127)
(MONO or POLY)
This PLAY MODE screen actually tells you a lot about how your
malletKAT PRO is set up. The most important settings are shown
here so as you try each Setup, this screen will give you an overview
of what is happening in each Setup.
The top line shows which Setup the malletKAT PRO is in. A Setup is a
collection of performance settings that describe a total “setup” of
the malletKAT PRO. There are 128 Setups in the malletKAT PRO.
The right hand entry on the top line shows which Layer Mode is
currently selected.
The Layer Mode defines how the two independent controllers are
currently being utilized. The possible Layer Modes are: HANG,
SPLIT, or DOUBLE.
In Split they are used to split up the keyboard into a right and left.
Controller 2 plays on the pads on the left side of the split and
Controller 1 is the right side of the split. You can access two sounds,
separately on one keyboard.
In Double both the Controllers are played by every pad on the
keyboard. You get two sounds (or pitches) on each pad.
Hang is a special mode where you play Controller 1 on the whole
keyboard unless you have the Sustain 2 footswitch depressed then you play Controller 2 on the whole keyboard. The added
twist is that you can have the Controller 2 notes sustain until you
re-depress the Sustain 2 footswitch again - so the notes “hang”
while you play other notes on Controller 1. (Re-depress the Sustain
2 footswitch and the hung notes stop hanging.)
On the 2nd line the Channel, Volume, and Program that are sent for
Controller 1 are listed.
The Channel is like the phone number for the sound source you want to
talk to with Controller 1. Your sound source needs to be set at the
same Channel as your Controller.
The Volume and Program are sent to your sound source when you enter a
Setup. Also, whenever you are editing and change the Volume or
Program setting within a Setup, the Volume or Program for both
Controllers is sent out MIDI. In addition the expression pedals can
be used to affect Volume. If you are using pedals to control Volume
you will see the changes reflected on the PLAY Mode display.
9
3. Making A Sound
On the 3rd line the Channel, Volume, and Program that are sent for
Controller 2 are listed. At a glance you can see whether your two
Controllers are controlling the same sound source or different ones
(Channels on line 2 and 3 the same or different) and the Volume
levels and Programs on your two Controllers.
On the 4th line the first entry can be either NORMAL, DAMPEN, or
AFTERTOUCH. When DAMPEN is selected, mallet dampening
gestures will deaden notes you wish to “dampen.” AFTERTOUCH
will send MIDI Aftertouch messages if you apply continued pressure
on your playing pads. NORMAL continued pressure will hold notes.
The last two entries on the 4th line are MONO/POLY for Controller 1
and MONO/POLY for Controller 2. Play monophonic for lead lines
and horn parts, polyphonic for keyboard and string parts.
(On power-up the display will tell you what Software Version you
have.)
10
4. EDITING.
GENERAL EDITING CONCEPTS:
The malletKAT PRO has no buttons or knobs for changing settings. All
changes in the malletKAT PRO’s settings are done with the
Playing Pads. That is why the Pads have names like Setup,
Octave, and Channel, etc. below them. You make all of your
changes without having to put your mallets down!
The malletKAT PRO has two main operating modes: PLAY MODE and
EDIT MODE.
You are in PLAY MODE when you are not depressing the EDIT
footswitch. In PLAY MODE, your Pads play sounds.
You are in EDIT MODE whenever you are depressing the EDIT
footswitch. In EDIT MODE, your Pads all perform the Editing
functions that are written below the Pads themselves.
HOW TO EDIT:
The process of Editing goes like this:
• Depress EDIT footswitch.
• Hit Controller # (1 or 2). (Skip if correct Controller already selected.)
• Hit a Setting Pad to select a setting. (C natural pads or “white keys”)
• Hit one or more of the Value Pads. (# and flat pads)
• Release EDIT footswitch.
That’s it! Get into EDIT MODE with the EDIT footswitch, select a
setting to change, change it, and release the EDIT footswitch.
Now, for some examples.
EXAMPLE 1: Lower the “Octave” setting for Controller 1.
1. Depress the EDIT footswitch. The Screen will look like:
(001-128)
Setup 001
Edit Controller1
2. Hit “1” to select Controller 1 (if not already selected):
Setup 001
Edit Controller1
11
(1 or 2)
4. Editing
3. Hit “Octave” (the “E” of the highest octave of your 3-octave
malletKAT PRO).
(001-128)
Setup 001
Edit Controller1
Octave
07
4.
(1 or 2)
(0-14)
Hit “Decrement” (the C# of the highest octave of your 3-octave
malletKAT PRO).
(001-128)
Setup 001
Edit Controller1
Octave
06
(1 or 2)
(0-14)
5. Release the EDIT footswitch. The Screen will return to the
PLAY MODE screen - note that the notes played by Controller 1
on your malletKAT PRO keyboard all play an octave lower
than they did.
EXAMPLE 2: Select Setup 47.
1. Depress the EDIT footswitch. The Screen will look like:
(001-128)
Setup 001
Edit Controller1
2. Hit Setup (the C on the highest octave) to select the setting we
want to change:
(001-128)
Setup 001
Edit Controller1
Setup Number
001
(1 or 2)
(001-128)
3. Hit “4” (the G# of the left hand octave of your 3-octave
12
4. Editing
malletKAT PRO).
(001-128)
Setup 001
Edit Controller1
Setup Number
004
(1 or 2)
(001-128)
Hit “7” (the D# of the middle octave of your 3-octave
malletKAT PRO).
4.
(001-128)
Setup 001
Edit Controller1
Setup Number
047
(1 or 2)
(001-128)
5. Release the EDIT footswitch. The Screen will return to the
PLAY MODE screen - note that Setup 47 is now selected.
Several settings can be changed during one time of depressing the EDIT
footswitch.
EXAMPLE 3: Select Controller 1, Setup 5, Increment the Octave, put in
the Default value for Minimum Velocity, and set the
Maximum Velocity at 127.
1
Depress EDIT footswitch.
Enter EDIT MODE
2
Hit #1 (for Controller 1)
Controller 1 selected
3
4
Hit Setup.
Hit 5
Setup 5 selected
5
6
Hit Octave
Hit Increment
7
8
Hit Minimum Velocity
Hit Default
9
10
11
12
Hit
Hit
Hit
Hit
Maximum Velocity
“1”
“2”
“7”
13 Release EDIT footswitch
13
The Octave of Controller 1 in Setup 5
is incremented
The Default (standard) setting for
Minimum Velocity
Maximum Velocity is 127
Leave EDIT MODE and return to
PLAY MODE
4. Editing
EXAMPLE 4: We have added the ability to HEAR the SOUND your pads
will make in PLAY MODE, while you are editing. Simply
strike the function pad you selected again, while editing.
1
Depress EDIT footswitch.
Enter EDIT MODE
2
3
Hit Program.
Hit Program again
4
Hit Increment
Program function selected
HEAR the SOUND that pad would
make in PLAY MODE and cause
changes to cause HEAR SOUND.
Increment to next Program
and HEAR SOUND of next Program
5
Hit Increment
Increment to next Program
and HEAR SOUND of next Program
etc.
6
Release EDIT footswitch
Leave EDIT MODE and return to
PLAY MODE.
NOTE: This process works for all the functions. As you change Octave,
Gate, Velocity settings, etc., you can check how that affects your
sound.
14
4. Editing
EDITING TIPS:
• All changes you make to your Setups are saved immediately when you
change them. You do not need to do any specific action to “save”
your changes - it happens automatically.
• To recover from unwanted changes, simply hit “Cancel” (A# on the
highest octave). Changes that you have made to a Setup may be
undone as long as you have not gone away from this Setup to
another one.
• You are able to copy the current Setup to any other Setup using the
Setup Copy” pad. To do this, perform the following steps:
1. Hit the “Setup Copy” pad (G# on the highest octave) while the
Edit footswitch is pressed.
2. Enter the digits of the Setup number to which you would like to
copy the current setup.
3. Hit the “Setup Copy” pad again to see the confirmation screen.
4. Hit the “Setup Copy” pad a third time to perform the copy.
After the copy is performed, the Setup that you copied to is the
current Setup.
• Using the Defaults will make using the malletKAT PRO even easier
for you. Whenever you want to make a new Setup, you can dump in
the Defaults so that you can start out with the Setup already close
to your liking. This is especially true since you can even change the
Defaults to whatever your preferences are.
The Default values (for Setup settings) themselves may be changed at
any time. To do this, the “Default” pad must be the first pad hit
after the Edit footswitch is depressed. From this point on, as long
as the Edit footswitch is held down, the values that are being
edited are the Default values instead of the Function settings
themselves.
For Example: Let’s change the Default value for Channel to 4.
1) Depress the Edit footswitch and keep it depressed during the
following.
2) Hit the “Default” Pad, (F# on the highest octave).
3) Hit the “Channel” Pad, (D on the highest Octave).
4) Hit the “4” Pad, (G# on the lowest octave of the malletKAT
PRO).
5) Release the Edit footswitch.
Note, you have not changed the value of Channel in any of your
Setups. You have only changed the Default for Channel. From
now on, when you hit Default while looking at a Channel
setting, the value “4” will be put in for the Channel in that
Setup. Let’s continue the example by showing that:
6) Depress the Edit footswitch and keep it depressed during the
following.
7) Hit the “Channel” Pad, (D on the highest Octave).
8) Hit the “Default” Pad, (F# on the highest octave). Note that
the Channel has been changed to “4”.
9) Release the Edit footswitch.
15
4. Editing
Now you have changed the current Setup Channel setting (for one of
your Controllers).
To put your Channel back to the Channel you want (and put Default
setting to the Channel you want) do steps 1 to 9 above again,
except at step 4 put in the Channel number you want to use.
Now you should put in the Defaults for all the values you use. This
will make all of your future Setup editing easier because you
can set up most the of values quickly by using the Defaults.
If you put in a Default Setup when you start editing a Setup, all of
your Personal Defaults will be inserted for you.
To load in a Default Setup, simply:
1) Depress the Edit footswitch and keep it depressed during the
following.
2) Hit the “Setup” Pad, (C on the highest octave).
3) Hit the “Default” Pad, (F# on the highest octave).
4) Release the Edit footswitch.
Now this Setup has all of your defaults loaded into it.
The Default for Program Change is always the # of the Setup you are
in. Therefore, you are unable to change the Default for Program
Change.
The Default for Gate Time for Controller 2 in Hang Mode is always
“Infinite.” The Default Gate Time for Controller 1 and for
Controller 2 in Split and Double (Layer) is user definable.
If you change one of your Defaults for a particular setting and want to
get it back to the original Factory setting, the method is as follows:
<Edit foot down> <Default> <setting> <Default> <Edit foot up>
For example, if you want to return the Default for Minimum Velocity to
the original Factory setting:
1) Depress the Edit footswitch and keep it depressed during the
following.
2) Hit the “Default” Pad, (F# on the highest octave).
3) Hit the “Minimum Velocity” Pad (F on the highest octave).
4) Hit the “Default” Pad again, (F# on the highest octave).
5) Release the Edit footswitch.
Now the Default for Minimum Velocity has been returned to the
original Factory setting.
EDITING PAD LAYOUT:
16
4. Editing
Dec
SETUP Gate
Inc
Default SETUP Cancel Back Frwd
Copy
Octave MinVel MaxVel VCurv Volume Prog
Highest Octave
6
7
8
Hang Split Layer
‘------Layer Mode------’
Mono
9
Poly Transpose Channel
Middle Octave
1
2
3
4
5
AllNotesOff Aux
Aux Bank Normal Dampening Aftertouch
Global Setup Select ‘-------Pressure Mode------’
Lowest Octave
EDITING PAD DESCRIPTIONS:
Settings:
17
0
4. Editing
Program (1-128) - Selects a sound or set of sounds on your sound source in
conjunction with the “BANK SELECT #”. The Bank Select # will be
sent out with every Program Change as well (see p.40 & 27). This
allows Program Change to access sounds beyond 128 in your sound
source.
Volume (0-127) - Overall volume of a patch on your sound source. Gets
sent to the sound source when you enter a Setup. This will be
overridden by the FootControllers if you are using them to control
Volume.
Velocity Curve (1-8) - How the loudness of a sound varies as your hits
vary from soft to hard hits.
Maximum Velocity (0-127) -How loud your hardest hits will play.
Minimum Velocity (0-127) - How loud your softest hits will play.
Octave (0 to 14) -The pitch range of the Controller.
Gate Time (15mS - 6.500 seconds) - The amount of time the malletKAT
PRO holds down or sustains notes for you.
SETUP (1-128) - An entire collection of settings that defines one state of
the malletKAT PRO.
Channel (1-16) - Setting for a Controller to select specific sound sources
or instruments in multi-timbral sound sources. Whever the Channel
selection is changed, the current Bank and Program number, for that
Controller, are sent out MIDI.
Transpose (-12 to +12) - Offset for a Controller to move its pitch range
up or down in half steps.
(Poly/Mono)
Poly - For polyphonic playing. The normal setting. Chords can be
played, Gate Times can overlap.
Mono - For monophonic playing. Great for lead lines, or for simulating
horns or other naturally monophonic instruments.
(Layer/Split/Hang) LAYER MODE
Layer -Controller Mode where entire keyboard is both Controller 1 &
Controller 2. Acts as a Double Mode.
Split - Controller Mode where left of Split is Controller 2, right of
Split is Controller 1.
Hang - Controller mode where entire keyboard is Controller 1 when
Sustain 2 footswitch is not depressed. Entire keyboard is Controller
2 when Sustain 2 footswitch is depressed.
(Aftertouch/Dampening/Normal) PRESSURE MODE
Aftertouch -PRESSURE MODE where applying continued pressure
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4. Editing
causes Aftertouch commands to be sent to your sound source.
Dampening - PRESSURE MODE where natural dampening techniques
cause individual notes to be quieted.
Normal - PRESSURE MODE where applying continued pressure causes
notes to be sustained.
Bank Select - The Bank # for a Controller can be quickly selected using
this pad. Banks are an extension of Program Changes allowing
access to Programs beyond 128. (Can be disabled - see p.27)
Setup Auxiliary - To get at a variety of additional Setup related
settings. (See p.20-p.22)
Global Auxiliary - To get at a variety of additional Global (for entire
malletKAT PRO) settings. (See p.23-p.27)
All Notes Off - If you ever have a note stuck on in your sound source, hit
this. It’s like a panic button.
The first time you hit the All Notes Off pad, a quick series of All
Notes Off commands are sent to all 16 Channels. If this doesn’t stop
the note, hit the All Notes Off pad again and a huge burst of
individual Note Off commands to all notes on all 16 Channels are
sent to ensure that the note will stop playing.
Editing Functions:
1, 2, 3, ..., 9, 0 - Hit to enter in a specific numeric value. 1 and 2 also used
to select Controller 1 or 2 immediately after entering
EDIT MODE.
Decrement - Hit to decrease a value.
Increment - Hit to increase a value.
Default - Hit to put in a safe or standard value.
Setup Copy - Hit to request copying the current Setup.
Cancel - Hit to recall Setup prior to changes.
Backwards - Move backward through the screens.
In PLAY MODE, two consecutive hits starts backing up through the
Setups. Then single hits will continue backing up.
Forwards - Move forward through the screens.
In PLAY MODE, two consecutive hits starts advancing through the
Setups. Then single hits will continue advancing.
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4. Editing
ACCESSING THE SETUP AUXILIARY SETTINGS:
The Setup Auxiliary (actually “Kit Auxiliary” on your label!) settings
are settings that can be changed per Setup, like Channel, Gate,
Octave, etc. There were more settings than pads, so some of the
Setup settings had to be collected into a general group. The ones
chosen to be in the Setup Auxiliary screens are ones you are less
likely to need to get at than the ones specifically singled out on the
pads. On a future upgrade we will likely put some of them on the
pads of your fourth (or fifth) octave for quicker access. Any
opinions, call and tell us!
To select one of the Setup Auxiliary settings for editing, hold down the
EDIT footswitch and strike the AUX SETUP pad.
While still holding the EDIT footswitch down, use the BACKWARD
and FORWARD function pads to select the setting you wish to
change.
OR, after striking the SETUP AUXILIARY pad, you may enter the two
digit screen number (see below) using the numerical pads to
immediately select the proper screen.
Once the screen for the setting is displayed, the blinking setting
value can be changed using the INCREMENT or DECREMENT pad.
Also, since you will often edit the same setting several times in a row,
we included a shortcut to get back to the last setting. To get back to
the last Setup Auxiliary setting you selected, simply hit the
SETUP AUXILIARY pad again! Specifically, hold down the EDIT
footswitch, strike the SETUP AUXILIARY pad, then strike the
SETUP AUXILIARY pad again! This will automatically place you
at the last Setup Auxiliary screen you had previously viewed. Of
course, you can then use the small BACKWARD and FORWARD
pads to get at other Setup Auxiliary screens.
SUSTAIN 1 FOOTSWITCH FUNCTION (screen “01”)
The function of Sustain 1 footswitch may be selected to sustain
Controller 1, Controller 2, or both Controller 1 and 2.
SUSTAIN 2 FOOTSWITCH FUNCTION (screen “02”)
The function of Sustain 2 footswitch may be selected to sustain
Controller 1, Controller 2, both Controller 1 and 2, or neither
Controller.
MONO NOTE OVERLAP (screen “03”)
When using a Monophonic sound, sometimes the monophonic effect
doesn’t sound as smooth as you’d like. To get more of a legato effect
this setting allows the old note to play for some time after the new
note has been struck. Then the old note finally gets shut off.
Experiment with this setting for best results. 40mS is a good place
to start off at.
AFTERTOUCH TYPE (screen “04”)
There are two types of Aftertouch messages that may be selected. One
type is Channel Pressure and will affect all notes playing on the
current channel. The other type is Polyphonic Key Pressure and
affects only the note that is associated with the pad that is
currently being pressed. Channel Pressure is the one most often used.
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4. Editing
POLYPHONY COUNT (screen “05”)
The malletKAT PRO may be set to play 1-note Polyphony or 2-note
Polyphony. If 1-note Polyphony is selected, a note currently
sounding will be turned off by the malletKAT PRO before that same
note will be played again. If 2-note Polyphony is selected, two
notes of the same pitch will be allowed to sound at the same time
before a third note of the same pitch causes one of them to be turned
off by the malletKAT PRO. (1-note Polyphony is different than
Monophonic in which only one sound of any pitch plays at one time)
FOOT CONTROLLER 1 ASSIGNMENT (screen “06”)
FootController 1 may be assigned to any one of the following functions:
volume
modulation
modulation with sustain
portamento time
portamento time with sustain
tremolo depth
tremolo depth with sustain
chorus depth
chorus depth with sustain
external effects depth
external effects depth with sustain
expression
expression with sustain
foot controller
foot controller with sustain
pan
pan with sustain
pitchbend up
pitchbend up with sustain
pitchbend down
pitchbend down with sustain
FOOT CONTROLLER 1 MINIMUM EFFECT (screen “07”)
The Minimum MIDI value that will be sent for the Effect selected for
FootController 1 may be selected to be between 0 and 127. Typically
set to “0”.
FOOT CONTROLLER 1 MAXIMUM EFFECT (screen “08”)
The Maximum MIDI value that will be sent for the Effect selected for
FootController 1 may be selected to be between 0 and 127. Adjust
this so that full depression of the FootController 1 pedal produces
the full effect you want.
FOOT CONTROLLER 1 CURVE (screen “09”)
The response curve for FootController 1 may be selected from any of the
Curves available in the malletKAT PRO. Curve 8 was made
specially to be used as the Curve for FootControl. The reverse
curves (3 and 5) will provide surprising, but sometimes useful
results.
FOOT CONTROLLER 1 CHANNEL (screen “10”)
The Channel for the effect of FootController 1 to be sent on may be
selected to be the same as for Controller 1 or any MIDI Channel
between 1 and 16.
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4. Editing
FOOT CONTROLLER 2 ASSIGNMENT (screen “11”)
FootController 2 may be assigned to any of the functions that
FootController 1 may be assigned to.
FOOT CONTROLLER 2 MINIMUM EFFECT (screen “12”)
The Minimum MIDI value that will be sent for the Effect selected for
FootController 2 may be selected to be between 0 and 127. Typically
set to “0”.
FOOT CONTROLLER 2 MAXIMUM EFFECT (screen “13”)
The Maximum MIDI value that will be sent for the Effect selected for
FootController 2 may be selected to be between 0 and 127. Adjust
this so that full depression of the FootController 2 pedal produces
the full effect you want.
FOOT CONTROLLER 2 CURVE (screen “14”)
The response Curve for foot Controller 2 may be selected from any of the
curves available in the malletKAT PRO. Curve 8 was made
specially to be used as the Curve for FootControl. The reverse
curves (3 and 5) will provide surprising, but sometimes useful
results.
FOOT CONTROLLER 2 CHANNEL (screen “15”)
The Channel for the effect of FootController 2 to be sent on may be
selected to be the same as for Controller 2 or any MIDI channel
between 1 and 16.
BREATH CONTROLLER ASSIGNMENT (screen “16”)
The breath controller may be assigned to any of the functions that
FootController 1 may be assigned to.
BREATH CONTROLLER MINIMUM EFFECT (screen “17”)
The Minimum MIDI value that will be sent for the Effect selected for
the breath controller may be selected to be between 0 and 127.
BREATH CONTROLLER MAXIMUM EFFECT (screen “18”)
The Maximum MIDI value that will be sent for the Effect selected for
the breath controller may be selected to be between 0 and 127.
BREATH CONTROLLER CURVE (screen “19”)
The response Curve for the breath controller may be selected from any
of the curves available in the malletKAT PRO.
BREATH CONTROLLER CHANNEL (screen “20”)
The Channel for the effect to be sent on may be selected to be the same
as for Controller 1 or any MIDI channel between 1 and 16.
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4. Editing
ACCESSING THE GLOBAL AUXILIARY SETTINGS:
The Global Auxiliary settings are a collection of overall or “global”
settings that are used for the instrument as a whole. Some are
simply preferences, while others, like “Permanent Memory Protect
/ Unprotected” and Data Dumping you may access frequently.
To access the Global Auxiliary Functions for editing, hold down the
EDIT footswitch and strike the GLOBAL AUX pad.
While still holding the EDIT footswitch down, use the BACKWARD
and FORWARD pads to select the function you wish to access.
OR, after you strike the GLOBAL AUX pad, you may enter the two
digit screen number (see below) using the numerical pads to
immediately select the proper screen.
Once the screen for the function is displayed, if a function setting is
blinking , it may be changed using the INCREMENT or
DECREMENT pad. If there is no blinking setting on the screen,
simply follow the directions that are shown.
Also, since you will often edit the same setting several times in a row,
we included a shortcut to get back to the last setting. To get back to
the last Global Auxiliary setting you selected, simply hit the
GLOBAL AUXILIARY pad again! Specifically, hold down the
EDIT footswitch, strike the GLOBAL AUXILIARY pad, then strike
the GLOBAL AUXILIARY pad again! This will automatically
place you at the last Global Auxiliary screen you had previously
viewed. Of course, you can then use the small BACKWARD and
FORWARD pads to get at other Global Auxiliary screens.
PERMANENT MEMORY PROTECT MODE (screen “01”)
The permanent memory that stores your Setups, Training settings, and
other Global settings of the malletKAT PRO may be protected from
being changed. Use the INCREMENT/DECREMENT pads to select
PROTECTED or UNPROTECTED.
MIDI MERGE MODE (screen “02”)
MIDI data coming into the MIDI IN of the malletKAT PRO may be
passed through to the MIDI OUT if MIDI merge is set to ON.
DATA DUMP TYPE - SEND (screen “03”)
The type of Data Dump may be selected using the INCREMENT and
DECREMENT pads. You may select GLOBAL, ALL MEMORY, ALL
SETUPS, or any of the 128 individual setups.
When the desired Dump Type has been selected, hit the “Global
Auxiliary” pad to perform the dump. The screen will inform you
when the dump has been completed.
To receive a Data Dump, no special action is required, simply send it in!
DATA DUMP RECEIVE (screen “04”)
You may choose to “Enable” or “Disable” the receiving of Data Dumps
back into your malletKAT PRO. The normal setting is “Enable”.
PAD THRESHOLD ADJUSTMENT (screen “05”)
The Threshold of each individual pad may be adjusted at this screen by
hitting the pad you wish to alter. When the pad has been selected,
you may increase or decrease the threshold using the BACKWARD
/ FORWARD (F1 & F2) pads. The lower the Threshold, the more
sensitive the pad (& more likely to false trigger).
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4. Editing
(To REINITIALIZE your malletKAT PRO Pad sensitivity Thresholds
back to safe settings, simply hold the EDIT footswitch and the
Sustain 2 footswitch both down, and while they are depressed
hold down both the “Backward” and Forward” small Function Pads
(F1&F2). Your malletKAT PRO will read the present idle levels of
your Pads and put your Thresholds at safe settings for you.)
(To increment all of your Thresholds, press the “Forward” function pad
(F1)while both the Edit and Sustain 2 footswitches are depressed.
To decrement your Thresholds press the “Backward” function pad
(F2)while both the Edit and Sustain 2 footswitches are
depressed.)
PROGRAM CHANGE RECEIVE CHANNEL (screen “06”)
The malletKAT PRO may be set to accept or ignore Program Changes at
this screen using the INCREMENT/DECREMENT pads. You may
set the malletKAT PRO to accept all Program Changes, ignore all
Program Changes, or accept only Program Changes transmitted on a
particular Channel.
PAD TRAINING (screen “07”)
The dynamic response of the pads may be set at this screen by `Training’
the pads. If you would like to Train the pads, strike any pad one
more time. You may release the Edit footswitch. The malletKAT
PRO will sound a continuous beep. You should respond by hitting a
pad as lightly as you would in normal playing (not the lightest hit
possible). The malletKAT PRO will again sound a continuous beep.
You should now respond by hitting a pad as hard as you would in
normal playing (not a massive sledgehammer stroke). The pads are
now trained for your personal playing dynamics and the
malletKAT PRO will return to PLAY mode.
FOOT CONTROLLER 1 TRAINING (screen “08”)
The response of FootController 1 may be set at this screen by `Training’
the FootController. If you would like to Train the FootController,
strike any pad one more time and release the Edit footswitch. The
malletKAT PRO will sound a continuous beep. You should respond
by pressing the FootControl pedal to the floor and then hitting a
pad. The malletKAT PRO will again sound a continuous beep. You
should now release the FootControl pedal and hit a pad again. The
FootController is now trained and the malletKAT PRO will return
to PLAY mode.
FOOT CONTROLLER 2 TRAINING (screen “09”)
The response of FootController 2 may be set at this screen by `Training’
the FootController. If you would like to Train the FootController,
strike any pad one more time and release the Edit footswitch. The
malletKAT PRO will sound a continuous beep. You should respond
by pressing the FootControl pedal to the floor and then hitting a
pad. The malletKAT PRO will again sound a continuous beep. You
should now release the FootControl pedal and hit a pad again. The
FootController is now trained and the malletKAT PRO will return
to PLAY mode.
BREATH CONTROLLER TRAINING (screen “10”)
The response of the breath controller may be set at this screen by
`Training’ the breath controller. Your first step is to adjust the
trimpots on the BC2 itself - see p.55. To Train the breath controller,
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4. Editing
strike any pad one more time and release the Edit footswitch. The
malletKAT PRO will sound a continuous beep. You should respond
by blowing through the breath controller and then hitting a pad
(while still blowing). The malletKAT PRO will again sound a
continuous beep. You should now hit a pad again without blowing.
The breath controller is now trained.
BEEPER MODE (screen “11”)
The beeper may be “Enabled” or “Disabled” at this screen using the
INCREMENT/DECREMENT pads.
DISPLAY VIEW ANGLE (screen “12”)
The “Viewing Angle” of the display may be selected at this screen
using the INCREMENT/DECREMENT pads.
INDIVIDUAL INSTRUMENT ID (screen “13”)
The “Individual Instrument ID” for the malletKAT PRO can be
assigned at this screen. This setting is used to allow external
devices to selectively send data dump information to the
malletKAT PRO. This number is really useful if you have more
than one malletKAT PRO. If not, leave it set to Universal ID.
Data dump information that is meant for a malletKAT PRO with a
different ID than assigned at this screen will not be accepted by the
malletKAT PRO (except if set at Universal ID, which accepts all).
DEBOUNCE COUNT (screen “14”)
The time that the malletKAT PRO spends `debouncing’ the pads is
selected at this screen. The number is selected using the
INCREMENT/DECREMENT pads. A larger number will increase
the debounce time.
Debounce time is the time immediately after a hit has been recognized,
where the malletKAT PRO ignores the signal from the pad as that
signal settles down. Too short of a Debounce time may result in
notes double triggering on one hit. Too long of a Debounce time may
result in fast double strokes being missed. Standard setting is “4”.
DAMPEN MODE THRESHOLD (screen “15”)
This setting is used to adjust the dampening characteristics of the
malletKAT PRO when played in DAMPEN MODE. The Dampen
Threshold is a measure of how much pressure is required to get
dampening to occur. Raising this value decreases the likelihood of
dampening, lowering it makes dampening easier.
Some playing techniques result in idle mallets lightly resting on a pad.
If the Dampen Threshold is too low, the light pressure of the
resting mallet may dampen the last note played on the pad.
DAMPEN MODE COUNT (screen “16”)
This setting is used to adjust the time between striking a pad and when
the pad may be dampened when in DAMPEN MODE. Making this
setting greater makes dampening more difficult, lowering it makes
dampening easier. If the value is too low, slight bounces of your
mallet on the pads may dampen notes when you don’t want to.
MIDI SCOPE MODE (screen “17”)
The MIDI Scope was used by all of us at KAT for internal debugging, but
for those of you who are tweakers we decided to leave it in. It will
show you the raw data of any MIDI stream that is plugged into
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4. Editing
your malletKAT PRO MIDI IN. If you are going to use this to
analyze the malletKAT PRO itself, you must first shut off the
MIDI Merge setting (2nd Global Auxiliary setting).
The MIDI Scope may be turned on or off at this screen using the
INC/DEC pads. It may be turned on to acquire data continuously or
to stop acquiring data after the internal buffer if filled. Then, after
you have collected some MIDI information, you may examine it by
using the MIDI Scope Read screen (Global Auxiliary 18).
MIDI SCOPE READ (screen “18”)
The event number to be displayed is selected at this screen using the
INCREMENT/DECREMENT pads. The MIDI Scope is highly
technical and should be ignored by 99% of you.
Let’s go through an example of using the MIDI Scope:
1. Go to Global Auxiliary screen 2, and select MIDI Merge “OFF”.
Release the Edit footswitch.
2. Connect a MIDI cable from one of the malletKAT PRO MIDI OUTs to
the malletKAT PRO MIDI IN.
3. Go to Global Auxiliary screen 17 and select “Fill Continuously”.
Release the Edit footswitch.
4. Play two notes on the malletKAT PRO.
5. Go to Global Auxiliary screen 18. (You may release the Edit
footswitch at this screen. To get back out redepress the Edit
footswitch and release.)
What you see here will vary depending on the settings in your current
Setup (if you are in Double (Layer) then you will see twice as much
information). Below is an example of what you may see:
Event Number 001
90 4A 27 4636
90 4A 00 4668
90 54 60 46DC
The Event Number on the top line tells you which “event” is on the first
of the 3 data lines. On the above screen, the first event is on the
first data line. Without explaining a ton of new material (MIDI
Spec, Hexadecimal numbers, etc.) we will at least give you a
description of what all those numbers stand for.
< 90 4A 27 4636 > The 90 says “MIDI Note On Command (9X) on
Channel 1 (the 0)”.
The 4A is the Note Number in hex (74 decimal).
The 27 is the Velocity in hex (39 decimal) - so it was a soft hit.
The 4636 is a time relative time measurement. Each time step
represents .005 seconds.
< 90 4A 00 4668 > The 90 says “MIDI Note On Command (9X) on
Channel 1 (the 0)”.
The 4A is the Note Number in hex (74 decimal).
The 00 is the Velocity in hex (39 decimal). A Note On with
velocity off 00 is an OFF!
The 4668 is a time relative time measurement. This event was
4668-4636=33 (50 decimal) from last one. 50 x .005s = .250s.
< 90 54 60 46DC > The 90 is Note On on Channel 1.
The 54 (84 decimal) is the Note Number in hex.
The 60 (96 dec.) = velocity = medium hard hit.
The 46DC-4668 = 74 (116 dec.) x .005s = .580 sec since last event.
Simply increment the Event Number to bring in other events.
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4. Editing
If this is confusing, then “never mind”. It is very technical and
probably really only useful to us, so, ignore it and move on.
FOOT CONTROL 1 OPTIONAL GLOBAL SETUP SELECT (screen “19”)
If you don’t intend to use the FootControl inputs for Volume or other
expression settings, you may choose to Globally reassign your
FootControl input to ADVANCE or BACKUP through your Setups.
The choices are: CONTROLLER (use settings definable in each Setup see Setup Auxiliary settings p.21), SETUP ADVANCE, or SETUP
BACKUP. If Setup Advance or Backup has been selected, either a
footpedal or a footswitch will work in moving you through your
Setups.
FOOT CONTROL 2 OPTIONAL GLOBAL SETUP SELECT (screen “20”)
Same as for FootControl 1 as described above. Typically, if you are not
going to use these inputs for expression you will assign one of these
inputs to Setup Advance and the other to Setup Backup.
AFTERTOUCH MASK COUNT SELECT (screen “21”)
Doing Aftertouch with mallets is a bit tricky because of the flexibility
of the mallet shafts causing double triggers and somewhat “bouncy”
readings.
To give you the ability to tweak this, the Aftertouch Mask Count
allows you to specify a time window within which the malletKAT
PRO will look for an Aftertouch gesture. This count is the time
within which the malletKAT will regard a restrike or pressure on
a previously hit pad as Aftertouch instead of seeing it as a soft hit.
Basically, the bigger this count is the easier it is to get Aftertouch to be
recognized. The trade off is that the larger the Aftertouch Mask
Count the less you can trill on a pad in Aftertouch mode. The
smaller the Aftertouch Mask Count the “cleaner” you must be in
your Aftertouch gestures, but you will also be able to more easily
roll on a single note.
AFTERTOUCH DEPTH (screen “22”)
Since different mallets have different stiffness, you need to be able to
adjust how much pressure is needed to produce the effect you want.
The larger the Aftertouch Depth the easier it is to get a large
Aftertouch effect. Experiment to find the setting that is most
natural to you.
BANK SELECT ENABLE/DISABLE (screen “23”)
You may choose to disable Banks in your malletKAT PRO. This will
prevent any Bank messages from being sent to your sound source.
27
5. MIDI Primer:
What is MIDI anyway? First, MIDI is an acronym for Musical
Instrument Digital Interface.
It is a standard or an agreement among the various musical instrument
manufacturers that we will all use the same kind of connections and
electrical signals so that any two musical instruments can be
connected together and work.
CONNECTIONS:
MIDI connections are all made with “5 pin DIN cables” that plug into
“5 pin din jacks” on the musical instruments. Only two wires are
used in these cables to carry the information from one instrument to
another. A MIDI Out jack is used by an instrument to send
information to another. A MIDI In jack is used by an instrument to
receive information from another.
SIGNALS:
The electrical signals of MIDI are digital, not analog. This ensures
that the communications will be exact. The expression “close
enough for rock-and-roll” doesn’t apply here. If you want to hear a
snare drum, but some of the time hear a bass drum instead, because
they are close to each other in the note table, you’d get upset.
Digital gives you exactly what you asked for.
The signals are serial, not parallel. This means you don’t need a
complicated or expensive cable to make the connection. One pair of
wires in the cable will do.
The signals are opto-coupled. Current flowing through the MIDI cable
turns on a tiny light inside a chip inside the receiving instrument
which ends up producing the electrical signal that the receiving
instrument uses. Wow! Cool, huh!? That means that there is no
ground connection between the MIDI-connected instruments. This
eliminates 60 cycle hum from ground loops between these
instruments.
CONCEPTS & COMMANDS:
The main Concepts you need to understand are: MIDI Channels, MIDI
Notes and MIDI Velocity.
The main Commands you need to understand are: MIDI Note On, MIDI
Note Off, MIDI Program Change, and System Exclusive.
CONCEPTS:
If we use a telephone line analogy, MIDI Channels are like phone
numbers. Sound Sources are like homes. MIDI Notes are like the
individual people in the individual homes that have that phone
number. MIDI Velocity is like the information you tell the person
you are talking to.
A separate MIDI Channel is usually assigned to each Sound Source you
are using (like a phone number per home). There are 16 different
MIDI Channels available (there’s a lot more phone numbers - you
probably have more friends than sounds sources!) To make MIDI
work for you, you need the Channel your sound source is set to
receive on, match the Channel your malletKAT PRO is sending on.
It’s that simple!
On the malletKAT PRO, you will set the Channel of your Controller 1
28
5. MIDI Primer
•
•
•
to be the same Channel as your sound source is set to receive on.
Most commonly used Channel is Channel 1. If you have two sound
sources you would set Controller 2 to another MIDI Channel
(probably Channel 2).
So, to get your sound source to respond, you need to match the Channel
you are sending on to the Channel your sound is receiving on.
Each Sound or Pitch within each Sound Source is accessed by the MIDI
Note Number that is sent (just like asking for the person by name
when you reach the correct home).
So, to get the correct pitch to play (in the sound source you are
controlling) when you hit a Pad, you must adjust the Octave setting
in your malletKAT PRO so that the pitch range is where you want
it. Other than the Octave setting (and Transpose) the malletKAT
PRO takes care of assigning the pitch values consecutively so that
your keyboard plays as a chromatic keyboard.
The Velocity that is sent tells the Sound Source something about the
dynamics of the Sound - usually how loud to play the Sound. A
Note with a low velocity value will play softly. A Note with a
high velocity value will play loudly.
After you train your malletKAT PRO to respond to your playing
dynamic range (what soft and hard hits are to you), the
malletKAT PRO will send out the appropriate velocity based on
your playing style.
COMMANDS:
A MIDI Note On Command tells a specific Sound Source to play a
specific Sound at a specific volume. It turns a Sound on.
It contains which Channel (which sound source) to play, which
Note (pitch) to play, and which Velocity (loudness) to play.
A MIDI Note Off Command tells a specific Sound Source to stop playing
a specific Sound . It turns a Sound off.
It contains which Channel (which sound source) and which Note
(pitch) to shut off.
[The internal Gate Time setting in the malletKAT PRO (separately
for each controller) controls the length of time from when you strike
the pad until when the malletKAT PRO shuts that note off.]
A MIDI Program Change Command is used to tell another instrument to
use a specific Program or patch of sounds or settings.
A Program Change sent to a drum machine will generally call up a
different Kit of drumsounds. A Program Change to a synth would
call up different sounds (flute, piano, xylophone, etc.). A Program
Change Command to a Lighting Effects unit would call up a
different lighting setup.
A MIDI System Exclusive Command is something specific to a
particular instrument. It is typically used to do Data Dumps.
A Data Dump is when an instrument sends its settings out MIDI in a big
group so that they can be saved on some storage device (like a
computer or a MIDI disk drive). Then the Data Dump can be sent
back into the instrument later on to retrieve those settings again.
Data Dumps are used as a back-up against the accidental loss of
your settings or Setups.
SO WHAT’S THE BIG DEAL?:
29
5. MIDI Primer
The big deal is that MIDI is new. It’s not only new for you, but it is new
to the music business. It’s only been around for 10 years - drumming
has been around since we lived in caves. It takes time for people to
get used to change - especially change that is powerful and
technical.
You don’t really need to understand how MIDI works - you just need to
understand what it does and how to use it.
Thinking back to our analogy to phones - you don’t need to understand
what actually happens between you talking into the receiver and
someone else hearing what you said miles away. You just use it. It
probably has never bothered you that you don’t understand it! You
are familiar with it and can get it to do what you want. Now it is
simply a part of your life that you use and take for granted.
MIDI is like your phone - just use it - don’t be scared if you don’t
understand it!
Continue to read the manual and experiment with your malletKAT
PRO. If you are trying to do something and get stuck, pick up that
mysterious phone and give us a call - we’ll be glad to help you.
ALL YOU REALLY NEED TO KNOW TO GET GOING WITH MIDI:
1. Match the Channel your malletKAT PRO is sending on with the
Channel your sound source is set to receive on.
2. Select the Program Change values on your malletKAT PRO to match
the sounds or patch you want your sound source to call up.
MIDI FOR PERCUSSION:
The world of Percussion has some special needs that affect how MIDI is
generally used for Percussion and Drum Sounds. These special
differences include how Note Offs (Gate Time) are handled and
sensitivity to time delay.
Keyboardists, guitarists, string, and horn players are all used to
dynamically controlling the length of the Sounds they produce.
This is not generally true for drummers and percussionists.
Generally, once a mallet instrument or drum is struck, it plays its
sound out on its own.
Therefore, a percussionist needs a way to control the length of time a
sound plays for. “Gate Time” is the setting that does this. After
you strike a pad, the malletKAT PRO will wait to turn the sound
off for a selectable time - the Gate Time!
30
5. MIDI Primer
MIDI DELAY:
Because drummers and percussionists have a highly developed sense of
time, they are more sensitive to time delays. A drummer is very
sensitive to where a Sound is played with respect to the beat. This
brings us to MIDI Delay. The MIDI time delay for a Note On
Command is 1 millisecond (one thousandth of a second). It is
imperceptible! (5 milliseconds (mS) is where you start to notice, 10
mS is noticeable and 20 mS is obnoxious.) (1 mS = .001 Second)
So why do we hear all this talk about MIDI Delay? Because they are
really talking about Sound Source Delay when they talk about
MIDI Delay. So what is Sound Source Delay? It is the time that it
takes a Sound Source to respond to a MIDI Note On Command it has
received and start to make a Sound. Sound Source delay typically
ranges from 1/2 mS to 15 mS. The Sound Sources with 1/2 mS to 3 mS
delay are the ones worth owning.
So if you want to avoid “MIDI Delay”, you must avoid Sound Source
Delay! Call us and we’ll tell you how the various Sound Sources
rate.
Interestingly enough, there is also Sound Travel Delay! It actually
takes sound a noticeable time to travel through the air. Hence
echoes. Hence you see lighting, then hear thunder seconds later.
Specifically, sound travels 1 foot in just a bit less than 1 mS. This
means that a monitor placed 10 feet from your ears will sense
around 10 mS of delay - Sound Travel Delay! (There is about a 2mS
delay from when you strike your acoustic marimba to when the
sound gets to your ear!) Earphones have a Sound Travel Delay of
only a teeny bit, since the little speakers inside are so close to your
ears.
Looking at the actual times involved in MIDI Delay (1mS), Sound
Source Delay (.5mS-15mS), and Sound Travel Delay (2-10mS), you
can see that actual MIDI Delay is the least of your worries.
By the way, a MIDI Merge (In-merged-to-Out) generally has 1 to 2 mS
Processing Delay.
31
6. Basic Setups:
What if all you want to do is make a couple of Setups of your own and
get playing? This section will point you to other sections to help
solve any problems you may be having, then advise you on making
basic changes to Setups to make them more useful to you.
MAKING SURE YOU’RE SET UP RIGHT:
For help with connections and cables, see Chapter 2,
“CONNECTIONS”.
For help getting your sound source to respond at all refer to Chapter 3,
“MAKING A SOUND”, or APPENDIX A, “Troubleshooting Help”.
For help Training your malletKAT PRO to your playing style, refer to
Chapter 4, “EDITING”, and look at the Global Auxiliary Settings
p.23-p.27.
For help learning about editing with the Pads, refer to Chapter 4,
“EDITING”.
For this chapter we will assume you have 1 sound source and you are
using Controller 1 to control that sound source.
GET THE PADS TO PLAY THE SOUNDS YOU WANT:
Once you’ve gotten your sound source responding (Channels match), you
will want to start tweaking your Setups to the way you want them.
For these Basic Setups, we are assuming you are using just one sound
source. In each of the Basic Setups, select “Hang Mode” as your
LAYER MODE - this will put Controller 1 across your entire
keyboard. (Hang Mode also does something else interesting that
we’ll discuss in the next chapter, “Advanced Setups”.)
The first thing you will want is to get the sounds you want. The
“Program” setting does that. Program is a value that gets sent to
your sound source to tell it to call up a different patch or Program.
By changing the Program value in the malletKAT PRO you should
select different sounds in your sound source. If your sound source is
not changing sounds when you change the Program setting in your
malletKAT PRO there are several things to check:
1. Make sure your sound source is set to receive Program Change,
values. Look for a screen or setting on your sound source that
says something like “Program Change Receive Enabled”
and verify that the setting will allow the sound source to
respond to Program Changes. Also see if there is a
“Program Receive Channel” - if so, make sure it matches
the Channel for Controller 1.
2. On the PLAY MODE screen, verify (on 2nd line) that
Controller 1 is sending out Program changes to the correct
Channel.
3. On the PLAY MODE screen, verify (on 3rd line) that
Controller 2 is not on the same Channel as Controller 1. If it
is on the same Channel and also sending a Program Change
your sound source will be told to do two different things - so
either move Controller 2 to a different Channel or turn it’s
Program Change values to “NO” (decrement past “1”).
32
6. Basic Setups
Once you get the sound source responding to Program Change you
can easily call up any patch on your sound source by
selecting a different Program value on your malletKAT
PRO.
GET THE PADS TO PLAY WITH THE VELOCITY RESPONSE YOU WANT:
After you can get the sounds you want with your malletKAT PRO, the
next changes you need to make are in the Velocity response of your
sounds.
The “Velocity response” is how smoothly and naturally the sound goes
from soft to loud as you play from soft to hard. If this Velocity
response is not the way you want it, there are several things to
consider adjusting: Minimum Velocity, Maximum Velocity,
Velocity Curve, and your Pad Training.
Typical Velocity settings are: Minimum Velocity =24, Maximum
Velocity=127, Velocity Curve=01.
If your softest hits play too soft, then raise your Minimum Velocity to
24 or even higher.
If your hard hits are too loud, then reduce your Maximum Velocity.
If you don’t like the change in loudness as you play from soft to loud,
then try other Velocity Curves. The most typically used Curve in
Basic Setups is Curve 01.
If you have not yet “trained” your Pads to your personal playing
dynamics, you should go to p.24 and do it now - it will ensure that
you get the most amount of dynamic expression out of your
malletKAT PRO.
GET THE PADS TO PLAY WITH THE GATE TIME YOU WANT:
The other basic changes are to your Gate Time. Generally, Gate Time is
a measure of how long the sound should sustain - from .015 seconds
(15 milliseconds) to 6.325 seconds. After the malletKAT PRO sends
a "Note On" command, the malletKAT PRO will wait this length
of time before sending a "Note Off" command. For synths, tone
generators and samplers, this is an important setting (especially for
string or horn sounds with a gradual buildup). For a lot of drum
machines, this setting has no effect. When a Gate Time has no
effect, it should be set to 0.015.
Different Gate Times will give you different lengths of time for the
sustain of the Notes. Note that for very short times the resolution
is in 5mS increments, and for medium times the resolution is 25 mS,
while at long times (>2 seconds) the resolution is in 100mS
increments. The varying resolution allows you to have your cake
and eat it too, by having accurate resolution where it counts the
most (short times) and also the ability to select very long times.
You can “manually” control individual Sound sustain by continuing to
hold down on a Pad (except in Dampen Mode). If you are going to do
this, you should raise the Minimum Velocity of the Pad up because
dynamics on the Pads are measured in the first 2 milliseconds of
your contact with the Pad. On a staccato hit, this is fine.
However, if you are trying to press down on the Pad in a “sustaining
way”, your “push” has not amounted to much (compared to a
staccato strike) in the first 2 mS.
33
6. Basic Setups
Your main method for varying the sustain of the notes you play is using
the sustain footswitches. It is the most natural mechanism for you
to use - it operates like a vibe pedal. The Gate Time sets the
minimum sustain time - which you can extend longer with the
sustain footswitches or by manually holding individual notes down.
POLYPHONY:
Each of the 2 Controllers can be Monophonic or Polyphonic. You
would select Monophonic if you want to play lead lines with
sounds that have long sustains. If these sounds are played
polyphonically, the sounds will “bleed” together when you
play a fast melodic run and not sound right. Also, when you are
using sounds of instruments that are intrinsically monophonic
like brass and woodwind sounds, they will sound the most
realistic when you play them monophonically.
There are 3 monophonic modes that you can choose between:
“ NOTE OFF/IMMED ”
“ NOTE OFF/DELAY ”
“NO NOTE OFF SENT”
The reason for three modes is that playing monophonically and
using a sustain pedal simultaneously is tricky business with
most sound sources (especially since most sound sources don’t
have a good monophonic mode themselves). To make a
monophonic mode from the malletKAT PRO into your sound
source, we need to shut off any note that is playing when a new
note is to be played. That is not so complex in and of itself,
however, when the sustain pedal is telling it to ignore Note
Offs it becomes tricky.
The one that seems to work best with most sound sources is the
“NOTE OFF/IMMED”. Feel free to try all three with your
sound source and see which works best for you.
Otherwise, you will select your sounds to be Polyphonic. Your
malletKAT PRO is fully polyphonic - meaning there is no limit
to the number of different notes that can be playing at one time.
The limit here is going to be the polyphony of your sound source.
The polyphony of sound sources typically range from 8 to 32
notes polyphony.
There is one more issue with polyphony - polyphony per note.
Here you have a choice in the Auxiliary Setup settings of
selecting 1 or 2 note polyphony per pad. When you roll on a
pad, the sound will be more pleasing if those repeated sounds
overlap. However, as of this writing, none of the present sound
sources seem to respond well to this. When sound sources
advance to the point of handling same note polyphony
properly, your malletKAT PRO will be ready. In the mean
time the best setting here is generally 1.
34
6. Basic Setups
SETTING UP YOUR FOOTSWITCHES:
As was mentioned earlier, your main method for varying the sustain of
the notes you play is using the sustain footswitches. The use of the
footswitches is independently assignable in each Setup.
For basic setups you will simply select one footswitch to do sustain for
the one Controller (probably Controller 1) you are using.
When you start doing more advanced Setups (see next Chapter) you
will assign the other footswitch to control sustain for the other
Controller (probably Controller 2).
Another advanced feature, the Hang Mode, is controlled by Sustain
Footswitch 2, see p.35-p.36 for more details.
The assignments for your footswitches are Setup Auxiliary settings. To
access them see p.19.
SETTING UP YOUR FOOTCONTROL PEDALS:
You have a lot of choices of what to use the two FootController inputs
for. Both of the two FootControllers are independently assignable
in every Setup. The assignments of your FootControllers are Setup
Auxiliary settings. To access them see p.21. The full list of your
choices are listed there as well.
To setup a FootController you should first train the Foot Pedal you are
using, see p.24. (If you are using a KAT CP1 Foot Pedal, then your
malletKAT PRO will have been initialized for you at the factory
and you may not need to bother with training the FootPedal.)
Next, you need to select your Minimum Effect (typically 0), your
Maximum Effect (how much effect do you want when you press the
pedal all the way down), and the Curve (how rapidly do you want
the effect to increase from Minimum to Maximum as you move the
pedal from off to fully depressed).
The Channel and Assignment you select depend on what you want to
have happen. In basic Setups, most typically one footpedal will be
a Volume pedal, to the Channel your sound source is on, and the
other (if you are using two) will provide some effect for spice like
pitch bend or modulation, to the same Channel.
You may set the FootController 1 to track the Channel of (Keyboard)
Controller 1 or to any specific Channel from 1-16. Likewise,
FootController 2 can be set to track Controller 2 or Channels 1-16.
In Advanced Setups, where you are using more than one sound source,
you may choose to have one FootController control the Volume for
the Channel Controller 1 is on and the other FootController control
the Volume for the Channel Controller 2 is on.
You may also choose to use the FootControl inputs to Advance and
Backup through your Setups with your feet.
CONTROLLING VOLUME:
If you are using one or more FootControl pedals to control Volume
and sending a Volume Change with each Setup, both will be
affecting your Volume. When you first enter a Setup, the
Volume setting associated with each of Controller 1 and
Controller 2 will be sent out to the Channels your 2 Controllers
are assigned to (unless the Volume setting is set to “NO!”).
Then, if you move a FootControl pedal that is assigned to
“VOLUME”, a new value will be sent out, based upon the
position of the pedal and the “Range” and “Curve” settings for
that FootController.
At all times the values on the PLAY MODE screen reflect the most
35
6. Basic Setups
recent value of Volume that has been sent out.
MOVING AROUND THROUGH YOUR SETUPS:
To move around through your Setups you have several choices:
1. Striking the Back and Frwd Function Pads (takes two hits to get
going) to increment or decrement through the Setups.
2. Depress the EDIT footswitch, hit Setup, and then Increment or
Decrement.
3. Depress the EDIT footswitch, hit Setup, and then hit the
numeric Pads to specifically select the individual Setup you
want to go to.
4. You can also choose to respond to Program Changes coming in from
another instrument to select a new Setup. (see p.24)
5. Assign one or both of your FootControl inputs to do a Setup
Advance or Backup. (see p.27)
36
7. Advanced Setups:
Even with the most Basic of Setups, you get to experience the feel and
responsiveness of the malletKAT PRO’s rubber / FSR playing
surface. However, you don’t experience the power of the
malletKAT PRO until you start using the advanced features of the
malletKAT PRO.
LAYER MODES:
The malletKAT PRO is divided into two Keyboard Controllers Controller 1 and Controller 2. Each controller may be assigned it’s
own set of operating settings, effectively giving you two instruments
to play on simultaneously. In each Setup, the 2 keyboard
Controllers of the malletKAT PRO may be placed in one of the
following three Layer Modes:
Hang Mode - Both of the malletKAT PRO controllers are assigned to each of the
pads. Striking a pad with the Sustain 2 footswitch pressed will
play using the settings assigned to Controller 2. Striking a pad
with the Sustain 2 footswitch released will play using the settings
assigned to Controller 1.
In Hang Mode, you may select “INFINITE” for the Gate Time for
Controller 2. Infinite is not a selection when in Split or Double
Modes, in Hang (for Controller 2 only) it replaces the “6.500s”
setting. Default for Gate Time of Controller 2 is always “Infinite”,
whereas the Gate Time in other modes is user definable (see p.15).
In Hang Mode, if you play a chord on your malletKAT PRO while the
Sustain 2 footswitch is depressed, the sound you play will be
controlled by Controller 2. Release the Sustain 2 footswitch. The
chord from Controller 2 keeps sustaining. Now, play some notes on
the malletKAT PRO keyboard, while the Sustain 2 footswitch is
not depressed. These notes will play the sounds determined by the
settings on Controller 1, while the chord you played on Controller
2 continues to “hang”. The chord from Controller 2 will continue to
hang until you depress the Sustain 2 footswitch again. Then you
may lay down another chord on Controller 2 which you can solo
with the marimba sound on Controller 1 after you release the
Sustain 2 footswitch.
Also, with normal Gate Time settings, Hang Mode can let you play
either of 2 different sounds, across the entire keyboard, selected by
the Sustain 2 footswitch.
Hang Mode EXAMPLE 1:
1. Select Hang Mode.
2. Have Controller 1 playing a marimba sound.
3. Have Controller 2 playing a string sound.
4. Set the Gate Time on Controller 1 to “0.300 S”.
5. Set the Gate Time on Controller 2 to be “Infinite”.
Playing with the Sustain 2 footswitch depressed will play string
sounds that will hang until you release and redepress the Sustain 2
footswitch.
Playing with Sustain 2 footswitch released will play marimba sounds.
So, lay down a chord with Sustain 2 footswitch depressed. Release
Sustain 2 footswitch and solo with the marimba sound against the
string chord. Redepress Sustain 2 footswitch and lay down another
chord. Release the footswitch and play over that chord. Etc.
37
7. Advanced Setups
Hang Mode EXAMPLE 2:
1. Select Hang Mode.
2. Have Controller 1 playing a xylophone sound.
3. Have Controller 2 playing a vibe sound.
4. Set the Gate Time on Controller 1 and Controller 2 to “0.300 S”.
5. Assign Sustain footswitch 2 to “Sustain Controller 2”.
Playing with the Sustain 2 footswitch depressed will play vibes that
will sustain until you release the Sustain 2 footswitch.
Playing with the Sustain 2 footswitch released will play xylophone
sounds.
Layer (Double) Mode - Both of the malletKAT PRO controllers are assigned to
each of the pads. Striking a pad will result in both of the
controllers being played simultaneously.
The most typical use of Double Mode is to have two complementary
sounds that are layered on top of each other to provide an
interesting new combination. Interesting combinations such as a
mallet instrument sound and a string sound, a tubular bell and a
piano sound, or an acoustic guitar and a horn stab, are great things
to experiment with. Often you will want one Controller to have a
longer Gate Time than the other or a different octave range. Try
pairing up sounds yourself and discover new combinations that work
for you.
Since the two sustain footswitches can be assigned to each of the two
Controllers separately, you can keep one of the two sounds short
while sustaining the other, for useful effects. Or, you can choose to
assign just one of the Sustain footswitches to assign Both Controller
1 and Controller 2.
Double Mode can be useful even if you only have one sound source. If you
put the same settings on Controller 2 except use the Transpose
setting to offset the doubled note, you can play in diads (2 note
chords) (or if you don’t transpose, but offset the Octave by one you
can double in octaves).
Split Mode - The keyboard is split into two parts with Controller 1 being assigned to
the higher pitched pads and Controller 2 being assigned to the
lower pitched pads.
Generally, Split Mode is used to have two different sounds available
simultaneously on the malletKAT PRO keyboard.
The point where the keyboard is divided is called the Split Point. The
Split Point is selected by hitting the pad you want to split at,
immediately after selecting the Split Mode. For example, if you
want to set the Split Point at the E in the middle octave, the
procedure is:
Depress Edit Footswitch
Hit “Split” (the D of the middle octave)
Hit the E on the middle octave (to set the Split Point)
Release the Edit Footswitch
Using the two footswitches independently, you can sustain the two
sides of the Split independently.
38
7. Advanced Setups
PRESSURE MODES:
The malletKAT PRO may be set to operate in one of the following
three Pressure Modes:
Normal Mode - The normal playing mode. In this mode, if you apply continued
pressure on one or more playing pads, those pads will sustain until
you release them. When you release the pads, the notes will stop
unless the sustain footswitch is down or the programmed Gate Time
for a note has not expired.
Since the flexing of the rattan handle in most mallets will cause a
“bounce” and not cleanly sustain the note, an effective method is to
hold the mallet vertical or use your fingers when trying to sustain
notes via pressure.
Dampen Mode - Putting slight pressure on a pad after it has been struck and released
will stop the note from playing. In this mode, standard dampening
gestures will “quiet” the individual notes that you wish to
dampen.
In the Auxiliary Global settings, there is a Dampen Mode Threshold
and a Dampen Mode Count. These settings may be adjusted to
“tweak” dampening to match your playing style. Increasing the
value of either of these settings will make it more difficult to
dampen, decreasing either will make it easier to dampen. The
difference is that if the Dampen Mode Threshold is too small, any
slight pressure of resting your mallets on a pad after you have
played a note on it may cause unwanted dampening effects. If the
Dampen Mode Count is too small, any slight bouncing of the mallets
as you play may cause unwanted dampening effects.
The best approach to tweaking these settings is to start with the
Default settings. If dampening works well for your style of playing,
have fun. If dampening doesn’t occur all the time when you want it
to, lower one of the two settings and try it. If there is an
improvement, lower it more until you get unwanted dampenings,
then back off the setting a bit. Then try the same with the other
setting.
Aftertouch Mode - Varying the pressure on a pad after it has been struck and before
it has been released, will result in the sending of MIDI aftertouch
messages. There are two types of Aftertouch - Channel Aftertouch
and Key Aftertouch, which can be selected in each Setup. As of the
writing of this manual, many sound sources do not respond to either
type - but you’ll be ready when they do!
39
7. Advanced Setups
OTHER TRICKS:
Program Change Banks - When MIDI was originally created, only 128 different
Programs could be selected through MIDI. Back then, that was
plenty for the sound sources of the day. Times have changed and in
response, so has MIDI. A Bank Select feature has been added to
MIDI to allow access to 128 Banks of 128 Programs each! If your
sound source has more than 128 sounds and responds to MIDI Bank
Select, this feature will allow you to get all of the sounds.
You can select a different Bank, in each Setup, along with the Program
Change. Each time you enter a Setup, the Bank and Program
Change will both be sent to call up the correct sound on your sound
source.
Bank Select EXAMPLE:
To have Bank 4 be selected for Controller 2 with this Setup, do the
following:
1. Depress Edit Footswitch
2. Hit “2” to select Controller 2.
3. Hit the F of the lowest of the 3 octaves.
Now you should see the Bank Select setting.
4. Hit “4” (the G# on the lowest of the 3 octaves)
5. Release the Edit Footswitch.
Now, any time you enter this Setup, Controller 2 will send out its
Program Change to Bank 4.
NOTE: For some sound sources, the sending of Bank information may
cause results you don’t like. For example, you may only want to
access sounds in the first 128 Programs. If you do not want any Bank
commands sent from your malletKAT PRO, you may disable them in
the Global Aux screens (see p.27).
FootControl Pedals and Breath Controller - The FootControl pedals and the
Breath Controller can all greatly increase your ability to be
expressive with the malletKAT PRO. Here are some tips:
• Select “Pitchbend with Sustain” for one of the FootControl Pedals.
When you start depressing the pedal, a “SUSTAIN ON” command
is sent out for you. As you continue to depress, Pitchbend
information starts being sent out (as the note is sustaining). When
you fully release the pedal “SUSTAIN OFF” is sent.
This frees you up so that you don’t have to ride both the
FootControl pedal and the Sustain footswitch at the same time to
get Pitchbend with Sustain.
• Try the Breath Control on “Modulation” or “Pitchbend”. Now, try it
on “Pitchbend with Sustain”. Like the example above this frees up
your feet and allows you to be very expressive in your playing.
• Try a “lead line” instrument sound, in Monophonic Mode, with the
Breath Control controlling “Pitchbend with Sustain” and the
FootController controlling “Modulation”. This is especially
effective on an electric guitar patch!
40
Appendix A:
Trouble-Shooting Help - What if it isn’t Working?
Symptom:
No Sounds out of Sound Source when you play on malletKAT PRO.
What To Do:
Here is a list of things to try to help isolate your problem:
• Verify malletKAT PRO and Sound Source are ON and are plugged
into working AC sockets! (Do their displays light up?)
• Try a compatible AC adaptor if the malletKAT PRO does not beep or
“light-up” on power up. The AC adaptor must have a “positive
tip” as designated by this symbol:
(
) and its output should be between 9V and 12V, with
400mA or greater current rating.
• Verify malletKAT PRO MIDI OUT is connected to Sound Source MIDI
IN.
• Try another MIDI cable.
• Verify Sound Source is OK. Can it make sounds on its own? (Push its
sound buttons and listen with headphones.) Try to control the Sound
Source with another controller.
• Verify malletKAT PRO is alive by depressing the Edit footswitch
and hitting a Pad. If you see the Setting that is associated with
that pad come up on the display, then the malletKAT PRO is
seeing it’s Pads and is alive and running.
• Look on the PLAY MODE screen and verify that the Channels that
the malletKAT PRO is sending on match the channels your sound
source is set on.
• On the PLAY MODE screen, verify that the Volume setting that was
last sent is not near zero. If it is, the Volume may be too soft to hear
yourself play. This could be caused either by the actual Setup
“VOLUME” setting being set to too low a value (see p.35), or to the
FootControl pedal settings being incorrect (see p.21-p.22), the
FootControl pedal not being properly trained, or the FootControl
pedal simply being pushed to off!
• Verify that the Bank you are using with your Program Changes is
correct (see p.40).
• Disconnect the MIDI cable. Turn the malletKAT PRO and Sound
Source Off. Turn the malletKAT PRO and the Sound Source back on.
Reconnect the MIDI cable.
• Try REINITIALIZING your malletKAT PRO (See p.42). Get your
Sound Source on Channel 1 to match your Reinitialized malletKAT
PRO.
• Call KAT Customer Service (413) 594-7466. Determine your Software
Version and Serial Number before calling.
41
8. Appendix
Symptom:
Your malletKAT PRO playing surface is not responding well.
What To Do:
• Adjust thresholds of your Pads - see p.23
• Train your Pads to your personal dynamic range.
• Disconnect the MIDI cable. Turn the malletKAT PRO and Sound
Source Off. Leave all footswitches plugged in. Turn the
malletKAT PRO and the Sound Source back on. Reconnect the MIDI
cable.
• Try REINITIALIZING your malletKAT PRO (See p.42).
• Call KAT Customer Service (413) 594-7466. Determine your Software
Version and Serial Number before calling.
If you experience a problem with your electronic system, try to isolate
specifically where the problem is. Is it in your Sound Source?
Amp? How about your footswitches or MIDI cables or power cables?
The more that you can rule out or discover before you call us, the
easier it will be for us to help you solve your problem.
REINITIALIZING YOUR PAD SENSITIVITY THRESHOLDS:
To REINITIALIZE your malletKAT PRO Pad sensitivity Thresholds
back to safe settings, simply hold the EDIT footswitch and the
Sustain 2 footswitch both down, and while they are depressed
hold down both the “Backward” and Forward” small Function
Pads. Your malletKAT PRO will read the present idle levels of
your Pads and put your Thresholds at safe settings for you.
You may also increment or decrement your Pad Thresholds globally. To
increment all of your Thresholds, press the “Forward” function pad
while both the Edit and Sustain 2 footswitches are depressed. To
decrement all of your Thresholds press, the “Backward” function
pad while both the Edit and Sustain 2 footswitches are depressed.
REINITIALIZING YOUR ENTIRE malletKAT PRO:
To REINITIALIZE your malletKAT PRO back to your factory settings,
simply hold the EDIT footswitch down, then press all three of: 1)
the A# pad, near the function pads, 2) the “Back” Pad and 3) the
“Frwd” Pad ( the two smaller Function Pads), holding them all
down for one full second until the malletKAT PRO responds with a
beep sequence. The display should now show that you are in Setup
1. All of the settings in your malletKAT PRO have been returned to
the factory settings.
The malletKAT PRO contains 128 different Setups. After the
malletKAT PRO has been initialized as above, all 128 Setups are
the same except for the Program Change values in each Setup. The
Program Change value in each Setup is the same as the Setup
number (e.g. the Program Change value for Setup 5 is 5) and is sent
to the sound source connected to the MIDI OUT of the malletKAT
PRO each time the Setup is changed.
42
8. Appendix
Appendix B:
Glossary of Terms.
Bank:
In MIDI communications, Banks allow Programs (sounds) greater than 128 to be selected
(e.g. Bank 2 Program 1 would be Sound 129).
Channel:
In MIDI there are 16 Channels. A MIDI Channel is like a phone number. For two
instruments to communicate, they must talk over the same Channel. This is very much
like communicating with a friend on the phone. You must dial the correct phone number
first.
Controller:
A MIDI Controller is a device whose purpose is to control other MIDI devices (as
opposed to a Sound Source whose job is to be controlled). Generally, a Controller is the
Interface device which you play on, such as a Guitar Controller, Keyboard Controller,
Violin Controller, Wind Controller, or Drum Controller.
Data Dump:
The internal data information that a musical instrument sends out so that you can save
its settings on a back up system.
Default:
The standard, customary, or “safe” value for a given setting.
Dynamics:
A measure of how hard or softly you are playing with your mallets.
Editing:
The act of changing the settings in a device.
Gate Time:
The length of time that a Note sounds as sent by the malletKAT PRO. It is the length
of time the malletKAT PRO waits after it sends a Note On, before it sends a Note Off.
Some samplers (in “One-shot Mode”) ignore the Gate Time sent by the malletKAT PRO
and sound the Note until it’s fully “played out”. Melodic sounds like horns, strings, &
organs often do respond to Gate Time.
Global:
Information (separate from your Setup information) which has one setting for the
entire instrument and is used by all Setups.
MIDI:
MIDI stands for Musical Instrument Digital Interface. It is an agreed upon standard for
communications between electronic musical instruments. It is simply the means by
which your malletKAT PRO communicates with the Sound Sources you connect it to.
MIDI Delay:
A term which is mistakenly used, by many, to refer to all kinds of delay ranging from
Sound Source Delay, to Sound Travel Delay, to actual delay due to MIDI. The delay
caused by the transmission of MIDI information is only 1 millisecond! (.001 Second).
MIDI IN:
A 5 pin DIN jack by which an instrument receives MIDI information from another
musical instrument. Through its MIDI IN, the malletKAT PRO can receive DATA
DUMPs and Setup changes, or merge the incoming data onto the MIDI OUT.
MIDI Merge:
MIDI Merge means to take the MIDI information appearing at the MIDI IN jack (from
a sequencer or another MIDI Controller like a drumKAT) and merge it into the
information the malletKAT PRO With Sounds is sending out the MIDI OUT jack so
that the internal sound source or an external one can see information from both the
malletKAT and from the external information source.
43
8. Appendix
MIDI OUT:
A 5 pin DIN jack by which an instrument sends MIDI information to another instrument.
The malletKAT PRO sends out Channel, Note, and Velocity information, Continuous
Controller messages like Volume and Modulation and SYS EX Data Dumps.
Program Change: A MIDI command which instructs the receiving instrument to change to a new group of
settings. For Sound Sources this generally means selecting a new sound.
Response:
What Velocity the malletKAT PRO sends out related to your playing Dynamics. A
natural response is that the Velocity (hence the loudness) gets bigger as your dynamics
increase.
Screen:
A display “window” on the malletKAT PRO, usually with information about current
settings.
Setup:
A Setup is a collection of all of the settings for both Controller 1 and Controller 2 that
define what sound will play and how that sound will respond.
Sound Source:
A device that accepts MIDI input and then plays a sound based on the information it
received. Drum machines, samplers and synthesizers are all examples of Sound
Sources.
Sound Source Delay: The time it takes for a Sound Source to play a sound after it has received all the
MIDI information it needs. Usually this is about .5 to 15mS.
Sound Travel Delay: The time it takes for a sound to travel through the air from the source (speakers,
drum head, etc.) to our ears. Usually this is about 1 to 20mS.
Velocity:
A measure of how loud or soft a Note the malletKAT PRO will play on your Sound
Source.
44
8. Appendix
malletKAT SETUP TEMPLATE
Setup #:_________
LAYER MODE
PRESSURE MODE
Hang / Split / Double
Normal / Dampen / Aftertouch
Split Point:________
Controller 1
Controller 2
Octave:
Gate:
Channel:
Min. Velocity:
Octave:
Gate:
Channel:
Min. Velocity:
Max. Velocity:
Curve Number:
Volume:
Program Change Send:
Mono ModeType:
Aftertouch Type:
Max. Velocity:
Curve Number:
Volume:
Program Change Send:
Mono ModeType:
Aftertouch Type:
Polyphonic Count:
Bank Number:
Transpose Amount:
Polyphonic Count:
Bank Number:
Transpose Amount:
POLYPHONY- Mono / Poly
POLYPHONY- Mono / Poly
Foot control 1 used for:____________________ Channel_____
Min Effect_____ Max Effect_____ Curve_____
Foot control 2 used for:____________________ Channel_____
Min Effect_____ Max Effect_____ Curve
Breath Controller used for:____________________ Channel_____
Min Effect_____ Max Effect_____ Curve
Footswitch 1 Function:
Sustain Controller 1 / Sustain Controller 2 / Sustain Both Controllers
Footswitch 1 Function:
Sustain Controller 1 / Sustain Controller 2 / Sustain Both Controllers
45
8. Appendix
Appendix D: MIDI Implementation Chart.
Function
Transmitted
Recognized
Basic Channel - Default
Changed
1 -16
1 -16
1-16
1-16
Mode: Default
Messages Altered
Mode 3
Poly/Mono
x
x
Note Number:
0 - 127
x
Velocity: Note On
1 - 127
x
AfterTouch:
Keys
Channel
Pitch Bender:
By Pad Pressure
By Pad Pressure
and breath control
Remarks
x
x
FootControl or Breath.
x
Control Change:
0
Continuous Controller commands by foot, or breath.
x
Sends all 128
Program Change:
0 - 127
0 -127
And to 128 Banks.
System Exclusive:
0
0
Dump All Setups,
Global, All Mem, 1Setup
System: Song Pos
Song Sel
x
x
x
x
Common: Tune
x
x
System: Clock
x
x
Real Time: Commands
x
x
Aux:
x
0
x
x
x
x
x
x
Local On/Off
All Notes Off
Messages: Active Sense
Reset
Notes: Note Offs timed by Internal Hold Time or continued physical holding on Pad.
0 : Yes
x : No
46
8. Appendix
Appendix E:
System Exclusive Documentation.
MIDI allows you to SAVE your settings from MIDI instruments to data
disks and computers so you can back up your work. This is called a
Data Dump.
The malletKAT PRO will send one of four different types of Data
Dumps of its settings out the MIDI OUT if you go to Global
Auxiliary Screen #8, see p.23. The four types are: GLOBAL, ALL
MEMORY, ALL SETUPS, or any One Setup.
The malletKAT PRO will automatically accept or receive a Data
Dump via MIDI IN whenever one is sent, as long as your Individual
ID # setting matches the ID # in your dump. If you select
“Universal ID #” for your Individual ID #, all dumps will be
received.
A malletKAT PRO SYSTEM EXCLUSIVE DATA DUMP consists of two
parts:
1) A 9 byte “header” that describes the dump and
2) The DATA! The amount of data depends on type of dump.
Followed by 0F7H (End of Sys Exc)
The 9 bytes of the header are defined below:
HEADER:
byte
byte
byte
byte
byte
byte
byte
byte
byte
1:
2:
3:
4:
5:
6:
7:
8:
9:
(0F0H)
(00H)
(00H)
(15H)
(64H)
(XX)
(XX)
(XX)
(XX)
Start of System Exclusive Status Byte
[00H, 00H, 15H is KAT’s Company ID #.
Instrument type ID # for the malletKAT PRO.
Dump Type
Individual Instrument ID #
Software Version #
Aux Type # (Kit # or Motif # if Type is Kit or
MOTIF)
DATA:
The DATA is split into nibbles and sent with a 0 for MSN. It takes two
bytes of System Exclusive transmission for every byte of internal
malletKAT PRO information.
The amount of data for each type of dump is: 1Setup: 256,
All Setups:32,768, Global:1022, All Memory:34,046
After all the DATA has been sent, the End of System Exclusive
Command (0F7H) is sent.
(If the malletKAT PRO receives the above header with a software
version of 7FH (127), this will be interpreted as a Dump Request.
The malletKAT PRO will respond to this by sending out a dump of
the specified type, if the Individual ID # matches (or the
malletKAT PRO is set at Universal ID)).
47
8. Appendix
Appendix F:
Velocity Curve Documentation.
For those of you who are truly gluttons for punishment, we will now get
mathematical about Velocity. This will include tables and
formulas explaining how the malletKAT PRO determines the MIDI
Velocity values that it sends out for the Pads you play on the
malletKAT PRO.
The Curves discussed here are discussed in the context of Velocity
because that is generally how you will use them. However, these
are the same curves that are used for FootControl and Breath
Control - so similar principles apply in those situations.
The malletKAT PRO can internally measure 256 distinct levels of
dynamics from the malletKAT PRO Pads. Since MIDI Velocity has
only 128 levels, the malletKAT PRO has more resolution than it
needs. The malletKAT PRO uses this extra resolution in
combination with the Pad Training software to give you a
personalized dynamic range. The malletKAT PRO uses the LO
DYNAMIC and HI DYNAMIC to make a correlation table to adjust
to your playing dynamics. This table reduces the individual steps
of resolution to 128.
The malletKAT PRO must then take these 128 levels and correlate
them to MIDI Velocity numbers that can range from 0 to 127. The
malletKAT PRO uses the Minimum Velocity, Maximum Velocity,
and Velocity Curve settings to do this correlation. The actual
formula used is:
MIDI Velocity = Minimum Velocity + ((VelCurve/127) x (Maximum Velocity - Minimum Velocity)
This result is then compared to the Maximum Velocity setting to insure
that even if you put in backwards values for Minimum and
Maximum Velocity, that the final result will always be less than
the Maximum setting.
The Velocity Curve has a “% multiplier” for each of the 128 dynamic
levels to dictate how to divide up the range between the Minimum
and Maximum Velocity settings. The Velocity Curves in the
malletKAT PRO are shown in table form below where 1 is your
softest hit and 128 is your hardest hit.
(The truth of the matter is that these values are really 0-255 inside the
malletKAT PRO, but we show them to you here and in the Global
Curve Definition Screen as 0-127 because MIDI has everyone
expecting to see numbers ranging from 0-127.)
Curve
Description
1
Linear Curve. The basic, natural curve.
2
Accent Curve. Stays low longer, then jumps to the top. Good for Rock drumming.
3
Cross-fade reverse curve.
4
Cross-fade curve to use in conjunction with curve 3.
5
Cross-switch reverse curve. Loud on soft hits, silent on hard hits.
6
Cross-switch curve to use in conjunction with curve 5.
7
Quasi-Linear curve that gets to the top fairly quickly.
8
Effective curve for FootControllers.
48
8. Appendix
Velocity Curve 1:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
1
8
16
24
32
40
48
56
64
72
80
88
96
104
112
120
1
9
17
25
33
41
49
57
65
73
81
89
97
105
113
121
2
10
18
26
34
42
50
58
66
74
82
90
98
106
114
122
3
11
19
27
35
43
51
59
67
75
83
91
99
107
115
123
4
12
20
28
36
44
52
60
68
76
84
92
100
108
116
124
5
13
21
29
37
45
53
61
69
77
85
93
101
109
117
125
6
14
22
30
38
46
54
62
70
78
86
94
102
110
118
126
7
15
23
31
39
47
55
63
71
79
87
95
103
111
119
127
Velocity Curve 2:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
1
5
9
13
17
21
25
29
33
44
80
127
127
127
127
127
1
5
9
13
17
21
25
29
33
48
85
127
127
127
127
127
2
6
10
14
18
22
26
30
34
52
90
127
127
127
127
127
2
6
10
14
18
22
26
30
34
56
95
127
127
127
127
127
3
7
11
15
19
23
27
31
35
60
100
127
127
127
127
127
3
7
11
15
19
23
27
31
35
65
110
127
127
127
127
127
4
8
12
16
20
24
28
32
36
70
120
127
127
127
127
127
4
8
12
16
20
24
28
32
40
75
127
127
127
127
127
127
Velocity Curve 3:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
127
127
127
127
122
106
90
74
58
26
0
0
0
0
0
0
127
127
127
127
120
104
88
72
54
22
0
0
0
0
0
0
127
127
127
127
118
102
86
70
50
18
0
0
0
0
0
0
127
127
127
127
116
100
84
68
46
14
0
0
0
0
0
0
127
127
127
127
114
98
82
66
42
10
0
0
0
0
0
0
127
127
127
127
112
96
80
64
38
6
0
0
0
0
0
0
127
127
127
127
110
94
78
62
34
2
0
0
0
0
0
0
127
127
127
127
108
92
76
60
30
2
0
0
0
0
0
0
49
8. Appendix
Velocity Curve 4:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
0
0
0
0
2
30
60
76
92
108
127
127
127
127
127
127
0
0
0
0
2
34
62
78
94
110
127
127
127
127
127
127
0
0
0
0
6
38
64
80
06
112
127
127
127
127
127
127
0
0
0
0
10
42
66
82
98
114
127
127
127
127
127
127
0
0
0
0
14
46
68
84
100
116
127
127
127
127
127
127
0
0
0
0
18
50
70
86
102
118
127
127
127
127
127
127
0
0
0
0
22
54
72
88
104
120
127
127
127
127
127
127
0
0
0
0
26
58
74
90
106
122
127
127
127
127
127
127
Velocity Curve 5:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
127
127
127
127
127
127
0
0
0
0
0
0
0
0
0
0
Velocity Curve 6:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
0
0
0
0
0
0
127
127
127
127
127
127
127
127
127
127
50
8. Appendix
Velocity Curve 7:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
1
5
9
13
17
22
36
50
63
77
91
105
119
127
127
127
1
5
9
13
17
24
38
52
65
79
93
107
121
127
127
127
2
6
10
14
18
25
39
53
66
80
94
108
122
127
127
127
2
6
10
14
18
27
41
55
68
82
96
110
124
127
127
127
3
7
11
15
19
29
43
57
70
84
98
112
126
127
127
127
3
7
11
15
19
31
45
59
72
86
100
114
127
127
127
127
4
8
12
16
20
32
46
60
73
87
101
115
127
127
127
127
4
8
12
16
20
34
48
61
75
89
103
117
127
127
127
127
Velocity Curve 8:
Steps 1 - 8
Steps 9 - 16
Steps 17 - 24
Steps 25 - 32
Steps 33 - 40
Steps 41 - 48
Steps 49 - 56
Steps 57 - 64
Steps 65 - 72
Steps 73 - 80
Steps 81 - 88
Steps 89 - 96
Steps 97 -104
Steps 105-112
Steps 113-120
Steps 121-128
1
3
6
8
12
16
19
21
24
27
29
32
35
37
45
85
1
3
6
9
13
16
19
22
24
27
30
32
35
38
50
90
1
4
6
9
13
16
19
22
25
27
30
33
35
38
55
95
1
4
7
10
14
17
20
22
25
28
30
33
36
38
60
100
2
4
7
10
14
17
20
23
25
28
31
33
36
39
65
105
2
5
7
11
14
18
20
23
26
28
31
34
36
39
70
110
2
5
8
11
15
18
21
23
26
29
31
34
37
39
75
120
3
5
8
12
15
18
21
24
26
29
32
34
37
40
80
127
Appendix G:
51
8. Appendix
Inserting New Software Chips For Software Updates.
HOW TO PHYSICALLY CHANGE YOUR SOFTWARE CHIP:
Tools Needed: 1 small & 1 medium flat screwdriver.
1) First, remove the AC adaptor from the back of the malletKAT PRO!
2) Find a smooth, clean, flat surface and place your malletKAT PRO
upside down on it, the jacks facing away from you.
3) Remove back cover of the malletKAT PRO (20 screws).
4) When the malletKAT PRO is opened, you will see one large circuit
board. On the front right of the printed circuit board is a large chip
with a white paper label that says “malletKAT PRO Version 1.0”.
The chip with the white label is your Software Chip. It contains
the code that runs your malletKAT PRO’s Operating System.
Before you take the old software chip out, note how it is oriented in
the socket. Specifically notice that the “notch” on the end of the
chip is away from you.
5) To remove an old chip, you will use your small flat screwdriver. You
will want to pry the chip out of its socket. DO NOT pry out the
socket underneath the Software Chip. The socket remains
attached to the printed circuit board. Look at the Upgrade chip
you received and you will be able to tell what is the chip and what
is the socket. You want to insert the screwdriver between the chip
and the top of the socket so as to pry up the chip but not the socket.
You also should take turns prying a little bit at a time on each end
of the chip. If you pry a LOT on one end, you will excessively bend
the small legs on the other end as the chip pivots on them.
Don’t be scared - just pry a little more on each side alternately until the
chip is out. Take your time, don’t be in a hurry.
Make sure you insert the small screwdriver between the chip and the
socket before you start to pry each time. (Instead of between the
socket and the circuit board.)
6) After you have the chip out, place the new chip in its socket, being
careful to orient it in the same way that the old chip was
(remember the “notch”?). Take a little care to align the legs of the
chip into the holes in the pins of the socket. Then push down
evenly on the chip. It should push down snugly into the socket.
Visually check to see that none of the legs got squished and are
smashed under the chip.
7) Replace the back cover of your malletKAT PRO and reinsert a few of
the screws to hold the back cover on.
8) Turn your malletKAT PRO back over, and reinsert the power cord.
Now turn your malletKAT PRO back on. If the display is working,
you are OK. Reinsert the rest of the screws.
If the display is not working then:
a) Remove the AC Adaptor again.
b) Turn the malletKAT PRO over again and remove the screws.
c) Take the back cover off again.
d) Try reinserting the chip (pry it out again to make sure that
the legs didn’t get bent under the chip).
e) Put the back cover on, turn the malletKAT PRO back over,
reinsert the AC Adaptor, and turn the power back on.
f) If this still fails, put your OLD software back in and give us
a call @ 413-594-5190.
9) After you have had the new software in and used it for several days,
please send the old chip back to us. They are reusable.
52
8. Appendix
Appendix H:
Warranty Policies
The malletKAT PRO has a limited warranty. The malletKAT PRO is
warranted against defects due to materials or workmanship for 90
days on labor, 6 months on FSR and rubber, and 1 year on all other
parts.
Warranty Restrictions:
Damage or defects sustained through unauthorized repair or tampering,
or abusive treatment are not covered by this warranty. The
warranty does not cover damages to the malletKAT PRO as a result
of improper line voltage or incorrect polarity AC Adaptor. The
shipping expenses and arrangements for repair are the
responsibility of the purchaser.
Alternate Mode is not responsible for loss of Kit Memory when your
controller is sent in for repair or upgrade. Please, save your Kits on
a Data Disk, Sequencer, or Computer before sending in for repair.
Care and Maintenance.
The malletKAT PRO is an electronic musical instrument that was
designed to take a pounding - from a set of mallets - not from rolling
down the stairs. Simply use good judgment and your malletKAT
PRO will provide you with years of enjoyment.
Don’t pour or spill liquids on your malletKAT PRO.
Don’t leave in a very hot car for extended periods of time.
Don’t leave in overly damp areas for extended periods of time.
Do not clean the rubber or metal surfaces with alcohol or solvents
(alcohol and solvents will dry rubber out and the rubber may then
crack and alcohol may remove some of the paint).
The rubber can be cleaned with a mild cleanser such as dish washing
liquid. Do not pour cleanser on your playing surface. Apply a small
amount to a clean cloth and then clean your playing surface with
the cloth.
The metal can be cleaned with a mild cleanser such as dishwashing
liquid. Do not pour the cleanser on the malletKAT PRO. Apply a
small amount of cleanser to a clean cloth and then clean the metal
surfaces with the cloth.
53
8. Appendix
Appendix I:
Alternate Mode, Inc.
Alternate Mode is a company dedicated to making the most powerful
Controllers in the world. We have a commitment to quality and
responsiveness. Our designs are responsive and we as a company are
responsive. Feel free to call us with questions or suggestions.
Our products are designed to be upgradeable. Product improvements and
upgrades are designed to allow them to be implemented on original
versions of the product.
Our address, phone, and fax are:
Alternate Mode, Inc.
53 First Ave.
Chicopee, MA 01020
Phone - (413) 594-5190
Fax
- (413) 592-7987
Email - [email protected]
We look forward to hearing from you.
Alternate Mode Customer Service.
If you have any trouble with your malletKAT PRO, feel free to give our
Customer Service staff a call. Our staff is knowledgeable, patient,
and glad to help. Our phone number is (413) 594-5190 - simply ask
for “Customer Service”. Feel free to call and tell us what was
difficult to understand (so we can improve) or even tell us what you
like (so we can feel good)!
If you need your malletKAT PRO repaired or worked on for any reason,
call our Customer Service staff and ask for an “RA” number. This is
a “Return Authorization” number. You must then clearly mark this
“RA” number on the outside of the box you send back to Alternate
Mode.
When you call in your RA, our staff will ask you for information
like your name, address, phone number, serial number, purchase
date, and a description of the problem. All of this information is
put on an “RA form” that will be used when your instrument comes
in to determine what to do to your instrument and whom to send it
back to. If you do not mark a valid RA # on your box your shipment
will be refused, so please call and get a # before you send in a
surprise to us.
SHIPPING:
If you ever have to ship the malletKAT PRO back in for a repair or an
update, use care and good judgment. It is best to save the original
packing material to make shipping easy and safe. If you do not
have the original packing material, box the malletKAT PRO in
tight with packing noodles, paper, etc. so that it is not flopping
around in the box during shipping. Put a piece of cardboard or
something flat against your pads so they don’t get dented by the
packing materials during shipping.
Shipping expenses and proper packing of instruments shipped to
Alternate Mode are the responsibility of the consumer.
54
8. Appendix
Appendix J:
Breath Control Adjustments
To actually use a Breath Control you should first adjust the two
trimpots in the headset to match the following diagram, then train
it.
First, match these settings:
502
GAIN
502
+
OFFSET
Output Cable
+
+
+
Breath Tube
+
Now go to p.24-25 for details on training your BC-2 BreathController
for optimum response.
55
Notes
56
Notes
57
Notes
58
14. Index.
GlobalAuxiliaryScreens
17,19,
23-27
Pitchbend 7, 21, 40
Play Mode 9, 11, 19, 35
Polyphony 10, 18, 21, 34
Pressure Modes
Aftertouch 10, 17, 19-20, 27, 39
AC Adaptor 7, 8, 41
Hang - see Layer
Dampening 10, 17, 19, 25,
Accessories 4
Holding Down Pads 33-34, 39,
33, 39
Aftertouch - see Pressure
42, 46
Normal 10, 17, 19, 39
All Notes Off 17, 19
Program Change - see MIDI
Implementation Chart 46
Increment 13, 19-20, 36
Backward 8, 17, 19-20, 23, 36, 42 Infinite - see Gate Time
Receive Dump - see
Banks 18, 19, 27, 40, 43
Instrument ID # 25, 47
SystemExclusive
Beeper 25
Reinitialize 23, 42
Bracket 3
Repair Information 53-54
Breath Control 5, 22, 40, 55
Kit
Auxiliary
see
Input 7
Setup Auxiliary
Training 24, 55
Save 5, 15, 29, 47
Sensitivity - see Pad Threshold
Setup 8, 9, 12-18, 42, 45
Layer
Modes
Cancel 15, 17, 19
Advanced 37-40
Double
5,
9,
16-18,
37-38
Cases 3
Basic 32-36
Hang
4-5,
9,
16-18,
32,
35,
Channels - see MIDI Channels
Control with Foot 27
37-38
Copy 15, 17, 19
Templates 45
Split
5,
9,
16-18,
37-38
Curves 5, 18, 21, 22, 33,35,48-52
Setup Auxiliary 20-22
Software Installation 52
Software Version 10
MIDI
Stands 3
Dampening - see Pressure
Channel 8-10, 17-18, 21-23, Sustain 4-5, 8, 9, 19-21, 34-35,
DataDump-see SystemExclusive
28-30, 32, 35, 43
37-40
Decrement 12, 19-20, 36
Delay
31,
34,
43-44
System Exclusive
Defaults 13, 15-16, 17, 19, 37, 43
IN 23, 25, 28, 43, 48
Dump 23, 29, 43, 47
Delay - see MIDI
Merge
7, 23, 26, 31, 43
Protect 23
Display /Viewing Angle 25
Note 27-29, 31
Receive 23, 29, 47
Double - see Layer
OUT 23, 28, 42-43, 47
Dynamics - see Pad
Program Change 8-10, 16-18,
20, 28-30, 32-33, 36, 40,42-43
Templates - see Setup
Receive 24, 32, 36
Threshold - see Pads
Scope 25-27
Edit Mode 11-27
Monophonic 10, 17-19, 20, 34, 40 Transpose 17-18, 29, 38
Expanders 7
Trouble Shooting 41-42
Mounting 3
-----------------A---------------
-----------------H---------------
-----------------I----------------
-----------------B---------------
-----------------R---------------
-----------------K---------------
-----------------S----------------
-----------------C---------------
-----------------L----------------
-----------------D---------------
-----------------M---------------
-----------------T----------------
-----------------E----------------
-----------------F---------------- -----------------N--------------Foot Control 7, 18, 21-22, 24, 27,
-----------------V----------------
Velocity 28-29, 44, 48-52
Normal - see Pressure
35, 40-41, 48 Note - see MIDI Note
Minimum 13, 16-18, 33, 48
Footswitches3-4, 7-8,34-35,38,40
Maximum 13, 16-18, 33, 48
Sustain1 20
Curve - see Curves
Sustain2 5, 9, 20, 23, 34-35,
Volume 7, 9-10, 17-18, 21, 35, 41
37-38, 42 Octave 11-13, 17-18, 29, 38
Edit 9, 11, 13, 20, 23, 42
Forward 8, 17, 19-20, 23, 36, 42
Warranty 3, 53
Pads
Adjust/Training 23-24
Dynamics 5, 24, 29, 33, 43, 48
Gate Time 16-18, 29-30, 33-34,
Threshold 23-24, 42
37-39, 43
Infinite 16, 37
Permanent Memory
Protection 23
-----------------O---------------
-----------------P---------------
-----------------G---------------
56
-----------------W---------------
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