Table of Contents

1. INTRODUCTION --------------------------------------------------------------------------- 3 - 6

About This Manual

Unpacking

Registration Card

Mounting

Cases

Optional Accessories and Other KAT Products

Product Overview

2. CONNECTIONS ----------------------------------------------------------------------------- 7 - 8

Power

Headphone Out

Volume Knob

Breath Control Input

Audio Outs

Audio Inputs

Footswitch Inputs

FootControl Inputs

MIDI In

MIDI Out

Expander Inputs

3. MAKING A SOUND ----------------------------------------------------------------------- 9 - 11

Controlling External Sound Sources

Making Other Sounds

Play Mode Display

4. EDITING --------------------------------------------------------------------------------------- 12 - 34

General Editing Concepts

How to Edit

Editing Tips

Editing Pad Layout

Editing Pad Descriptions

Accessing Setup Auxiliary Settings

Accessing Global Auxiliary Settings

Listing of Internal Sound Programs

5. BASIC USER SETUPS --------------------------------------------------------------------- 35 - 39

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

Getting Drum Sounds

6. ADVANCED USER SETUPS ----------------------------------------------------------- 40 - 44

Layer Modes

Hang

Layer (Double)

Split

Pressure Modes

Normal

Dampen

Aftertouch

Other Tricks

External Sound Sources

Program Change Banks

FootControl and Breath Control

7. MIDI PRIMER -------------------------------------------------------------------------------- 45 - 48

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

8. APPENDIX ------------------------------------------------------------------------------------ 49 - 64

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

KAT Inc. / KAT Customer Service

Breath Controller Adjustments

9. INDEX ------------------------------------------------------------------------------------------ 67

3

1. Introduction.

Welcome to the malletKAT PRO With Sounds. Plug in your AC

Adaptor, your headphones and play. Freedom at last! It’s quick, it’s simple, it’s convenient, and it sounds great!

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. However, now it also comes complete with over 300 studio quality percussion, orchestra, and keyboard sounds.

The malletKAT PRO continually grows in response to your changing needs.

With KAT’s continuing War On Obsolescence, all of our customers enjoy continual growth in their purchases because of our upgrade releases.

The With Sounds option, for example, is a modification, not a totally new purchase where you have to throw away your previous controller. We consciously try to plan our products for growth, as technology develops we try to add it in.

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.

Now, the internal sound card gives you the ability to be self contained.

With headphones for practicing and stereo line outs to the band’s board, getting around with your mallet instrument has a new level of convenience.

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!

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 can Edit (change) the settings on the malletKAT PRO.

Chapter 5 is about creating Basic User Setups for yourself.

Chapter 6 is about creating Advanced User Setups with interesting results.

Chapter 7 is a basic MIDI Primer which details what MIDI is, how to use it to control external devices, and special facets of MIDI as it relates to percussion.

The Appendix has additional help and details.

1. Introduction

UNPACKING:

When you unpack your malletKAT PRO With Sounds, you should find the following:

1 3-octave malletKAT PRO With Sounds

1 locking 1.2A AC Adaptor

1 manual

2 KF1 footswitches

REGISTRATION CARD:

You should find a registration card enclosed in your manual. Please fill it out and send it in so we can keep track of you for product updates, new product information, and the KATtales Newsletter.

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. KAT 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 KAT 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 KAT. The life of your instrument will reflect the care that you give it.

OPTIONAL ACCESSORIES and OTHER KAT PRODUCTS:

MKC - malletKAT PRO Case

DKB - KAT 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

KAT T-shirt & Jackets

Trigger Pads...

proPAD - multi-zone FSR Pad rimKAT - dual-zone FSR Pad poleKAT - dual-zone FSR Pad flatKAT - single zone Pads

Trigger Pedals...

hatKAT - Hi Hat / Controller pedal miniKICK - compact BD trigger Pad kicKAT - BD trigger Pad for real acoustic feel

Acoustic Drum Triggers...

4

1. Introduction

KST1 - Shell mount triggers for Toms

KDT1 - Head mount triggers for all drums

KDT210 - Heavy duty trigger for Snares & Toms, modular design and easily removable

KDT250 - Bass Drum version of above

Other Controllers...

drumKAT 3.5 - The most powerful and advanced drum controller in the world drumKAT EZ - 10 pad controller, w/ Expander inputs

DK10 - Simple to use 10 pad drum controller trapKAT - Big, 24 pad, drum controller

CD ROMS - Vintage, Ditto Disks, KATkits

Software Products (drumTUTOR, trapTUTOR)

PRODUCT OVERVIEW:

The malletKAT PRO With Sounds 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. Also the MIDI

IN jack allows you to access the internal sounds from an external controller or sequencer (see p.31).

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 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 Foot Control Inputs can also be used to Advance and Backup through your 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

5

1. Introduction

Double the keyboard (all pads 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 With

Sounds, you can instantly access the different features the malletKAT PRO is capable of performing. The 128 Factory Setups have been carefully programmed to give you a wide variety of settings as you get a great cross-section of the internal sounds available to you. The 128 User Setups allow you to customize settings to your personal taste as well as copy in some of the 128

Factory Setups.

From the factory, the User Setups are set in a General MIDI format where the sounds are arranged to conform to the General MIDI specification.

The Factory Setups do not conform to the General MIDI standard - we decided to make the best Setups we could using the best of the internal sounds. So, instead of getting only 1 Vibraphone and getting a helicopter and gun shots (required by the General MIDI spec) you will find several different Vibraphone Setups.

With the malletKAT PRO, you can control external devices such as 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 built-in sound card gives you a new convenience you will appreciate. Pack up your mallet case and you are complete!

The malletKAT PRO With Sounds was conceived to answer the mallet player's need for a transportable, responsive, and powerful means to enter the exciting world of electronic percussion. It will enhance your possibilities and unleash your imagination so that your playing and creativity can reach a new level. Enjoy!

6

2. Connections.

POWER

( back ): The malletKAT PRO With Sounds comes supplied with an external AC

Adaptor with a locking plug on one end and a separate AC cord on the other end (takes up only one outlet of a power strip).

Specifications are 1 to 1.2 Amp, 9V, positive tip, 2.1mm diameter.

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

With Sounds to a clean power source and locked the plug into the back of your malletKAT, 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.

HEADPHONE OUTPUT

( front ): Plug in your headphones and try them out. If you have high efficiency headphones, you may need to keep the volume turned down to avoid overdriving. If you connect an audio source into the

Audio Inputs (back) you will hear a mix of the internal sounds and your external sound source on your headphones.

The headphone input jack expects a 1/4” plug. If your headphone has a mini plug, a conversion plug is available from Radio Shack and stereo departments of most Department stores.

VOLUME BUTTONS

( front ): Adjusts the volume of both the headphones and the Audio Outs (in the back). The overall volume is also affected by the Volume setting in the Setup for each Controller and by the position of the expression pedals (see p.38).

Once you have the power connected, headphones plugged in and the volume adjusted, you can start playing!

BREATH CONTROL INPUT

( front ): The Breath Control input 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.28.

AUDIO OUTs

( back ): The Audio Outs carry stereo, line-level outputs from a mix of the

Internal Sounds & the Audio Inputs. The volume of these outputs are controlled by both the external volume knob and internal Setup settings for Volume (see p.38). If you connect audio into the Left Out only you will get a mono mix of the Left and Right sides.

AUDIO INPUTs

( back ): These are stereo, line-level inputs from an external sound source (like a

CD player or audio from another instrument) that gets mixed with the audio out of the internal sound card and sent to the Headphones and Audio Outs. If you connect into the Left In only you will mix that audio signal into both the Left and Right Audio Outs.

FOOTSWITCH INPUTS

( back ): There are three footswitch inputs on the malletKAT PRO With

Sounds: One is used to do editing (make changes to your settings) and the other two are used for sustain. The two sustain inputs are assignable to different control functions (see p.22)

Two KAT KF1 footswitches are supplied with your malletKAT PRO

7

2. Connections

With Sounds. Additional KF1 footswitches, a triple footswitch

(KF3) and a special VFP footswitch are available from KAT. KAT footswitches may be plugged and unplugged and moved to other inputs with the power on.

If you are not using KAT footswitches, plug in the footswitch before turning on the malletKAT PRO With Sounds. The malletKAT will read the type of footswitch you are using on power-up and automatically adjust for the type you have.

FOOTCONTROL INPUTS

( back ): Most expression and volume pedals will operate nicely if you train the malletKAT PRO to recognize them (see p.27).

An expression/volume pedal which works perfectly with your malletKAT PRO, the “CP1”, is available from KAT.

These inputs can be selected to do Setup increment and decrement functions (see p.30).

MIDI IN

( back ): 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. See p.31 for selecting how Program Changes received at your MIDI IN jack affect the sounds on your internal sound source.

MIDI OUT

( back ): The malletKAT PRO has two MIDI OUT jacks. To control external sound sources, 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 external sound sources .

EXPANDER INPUTS

( back ): The Expander Inputs allow you to expand your 3-octave malletKAT

PRO With Sounds 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 With Sounds.

8

9

3. MAKING A SOUND.

It’s a simple matter to start playing your new malletKAT PRO With

Sounds right away because it has 128 Factory Setups, specifically programmed to knock your socks off. All you have to do is the following:

• Connect the AC Adaptor to the back of the malletKAT PRO

With Sounds, screw down the locking collar on the plug, and plug the AC cord into an AC outlet.

• Turn on the power to your malletKAT PRO With Sounds.

• Plug in headphones.

• Play!

If your malletKAT PRO With Sounds does not play properly, see the helpful suggestions in the Appendix p.49-50 or call us at 413-594-

7466, we’ll be glad to help you get started.

For additional control:

• Connect one footswitch to the Edit FTSW input on the back of the malletKAT PRO With Sounds. Connect the second footswitch into the Sustain FTSW 1 input on the back of the malletKAT

PRO With Sounds.

CONTROLLING EXTERNAL SOUND SOURCES:

• Connect a MIDI cable between the MIDI OUT on the back of the malletKAT PRO With Sounds 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 (or to the Audio

In on your malletKAT PRO With Sounds).

• Play!

MAKING OTHER SOUNDS:

To make other sounds, you will select other Setups on your malletKAT

PRO With Sounds. This will automatically select other Programs in your sound source - thereby giving you other sounds.

Right now, the malletKAT PRO is probably in Factory Setup 1 (F001).

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 With Sounds). 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 With Sounds 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.)

3. Making A Sound

PLAY MODE DISPLAY:

(Factory/User)

If you are in PLAY MODE (you’re in PLAY MODE whenever you’re not depressing the EDIT footswitch) the display will look like:

(001-128)

(Hang,

Split or

Double)

(Normal,

Dampen or

Aftertouch)

(Both,

Internal,

External)

(Sound

Name)

F001 Hang Norml

Controller1 Poly

Bth Vibraphone

Bk01 Pg012 Vo080

(Poly or

Mono)

(1 or 2)

(Bank #) (Program #)

(000-127)

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 on whichever

Controller you last selected.

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 With Sounds. There are 128 Factory Setups &

128 User Setups in the malletKAT PRO With Sounds. The “F” or

“U” at the beginning of the top line tells you whether Factory or

User Setups are selected. The three digit # following the F or U tells which Setup your malletKAT PRO With Sounds is currently using. (see p.13)

The next entry 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, the keyboard is split into a right and left side. 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 Controller 1 and Controller 2 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”.) (see p.40-p.41)

10

3. Making A Sound

The last entry on the first line is the Pressure Mode being used on the keyboard in this Setup by both Controllers. This setting 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 after playing a note.

NORMAL continued pressure will hold or sustain notes individually. (see p.42)

On the 2nd line the Controller that is being viewed is indicated.

At the end of the 2nd line is the Mono/Poly setting, This setting tells you whether the Controller is playing monophonically or polyphonically. Select monophonic for lead lines and horn parts, polyphonic for keyboard and strings (see p.20 or p.37).

On the 3rd line, first is indicated which Interface Mode is selected for this Controller - INT for Internal Sounds Only, EXT for External

MIDI Only, and BTH for Both Internal and External (see p.25).

Line 3 closes out with the Program Name currently selected for that

Controller. (If EXT was selected, the Channel that this Controller is sending to is listed instead of the Program Name).

The 4th line shows which Program number and Volume setting this

Controller is at. The appearance of this line varies slightly with the type of Interface Mode this Controller has selected on the 3rd line.

For INT, simply the Program and Volume #s are shown.

For EXT, the Bank, then Program (max 128) then Volume is shown.

For BTH, the Bank, then Program (max 384), then Volume is shown.

11

4. EDITING.

Now that you have toured through some of the Setups that were preprogrammed into your Factory Setups, you are ready to learn how to adjust (edit) the settings in these Setups to your personal taste and style (and save them as your own User Setups). We will tell you how to edit in this chapter. Chapters 5 and 6 tell what and why you’ll want to edit.

But, before we proceed, we should explain the two Controllers in your malletKAT PRO. You thought you bought one instrument; actually you bought two! You actually have two separate instruments

(Controller 1 and Controller 2) in one box. That is one of the benefits of an electronic keyboard.

An acoustic mallet instrument always makes the same type of sound

(unless you change your type of mallets). To be able to play with more than one voice you place a marimba next to your vibes and switch between the two instruments. Your malletKAT PRO With

Sounds has two completely independent Controllers that allow you to play two different voices at once - on the same keyboard! These two Controllers can be assigned to any sounds you want - to vibraphone and bass guitar for example. Then by choosing between

Split, Double, and Hang modes you can choose how to place them on your keyboard.

Actually, a lot of the time you will have your malletKAT keyboard all play in one voice (select HANG MODE and then Controller 1 will be over the entire keyboard). So, Controller 1 will generally be the settings you will want to change when you are editing.

GENERAL EDITING CONCEPTS:

The malletKAT PRO With Sounds has no buttons or knobs for changing settings (other than the Volume buttons). 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! Any changes you make in the Factory Setups are temporary. If you leave an edited Factory Setup and come back to it, it will have returned to its original settings.

The malletKAT PRO With Sounds 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. Editing is simply making changes to your settings.

HOW TO EDIT:

The process of Editing goes like this:

• Depress the 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

12

4. Editing setting to change, change it, and release the EDIT footswitch.

Now, for some examples.

EXAMPLE 0: Select User Setups.

1 . Depress the EDIT footswitch. The Screen will look like:

(001-128)

Setup 001

Edit Controller1

2 . Hit “Factory/User Setups” (the “F” of the lowest octave of your

3-octave malletKAT PRO With Sounds) (in the malletKAT

PRO without sounds this pad was “Mono Type”):

FACTORY SETUPS

Have Been

Selected

3 . Hit “ Increment ” or “Decrement” (the C# or D# of the highest octave of your 3-octave malletKAT PRO).

USER SETUPS

Have Been

Selected

Hitting Increment or Decrement changes the Factory/User selection to User.

5 . Release the EDIT footswitch. The Screen will return to the

PLAY MODE screen - note that the display now has a “U” at the beginning of the first line. This indicates you are now in

User Setups.

Any changes you make to the User Setups will be instantly saved in

Permanent Memory (unless you have Permanent Memory

“Protected” - see p.26). Once you start making changes to settings to suit your own taste you will want to select User

Setups to make the changes in. In the meantime, while you are learning how to make changes (edit) you may as well get back into Factory Setups so that none of the following experimentation is permanent.

To get back to Factory Setups, simply repeat the above 5 steps and the setting will switch back to Factory Setups.

13

4. Editing

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

(1 or 2)

3 . Hit “Octave” (the “E” of the highest octave of your 3-octave malletKAT PRO).

(001-128)

Setup 001

Edit Controller1

Octave

07

(1 or 2)

(0-14)

4 .

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.

14

4. Editing

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 malletKAT PRO).

(001-128)

Setup 001

Edit Controller1

Setup Number

004

(1 or 2)

(001-128)

4 .

Hit “7” (the D# of the middle octave of your 3-octave malletKAT PRO).

(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.

NOTE: Several settings can be changed during one time of depressing the EDIT footswitch.

15

4. Editing

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 Hit Setup.

4 Hit 5

5 Hit Octave

6 Hit Increment

Setup 5 selected

7

8

Hit Minimum Velocity

Hit Default

9 Hit Maximum Velocity

10 Hit “1”

11 Hit “2”

12 Hit “7”

The Octave of Controller 1 in Setup 5 is incremented

The Default (standard) setting for

Minimum Velocity

Maximum Velocity is 127

13 Release EDIT footswitch Leave EDIT MODE and return to

PLAY MODE.

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

4

5

Hit Program.

Hit Program again

Hit Increment

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

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.

16

4. Editing

EDITING TIPS:

• All changes you make to your User 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 User 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 User 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 User Setup that you copied to is the current Setup. If you were in Factory Setups before the copy, after the copy you will be automatically switched into User Setups, at the User Setup # you copied to.

• 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 for each setting 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, (B on the middle 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.

Now you have changed the current Setup Channel setting (for one of your Controllers).

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4. Editing

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.

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4. Editing

EDITING PAD LAYOUT:

Dec Inc Default SETUP Cancel Back Frwd

Copy

SETUP Gate Octave MinVel MaxVel VCurv Volume Prog

Highest Octave

6 7 8 9 0

Hang Split Layer Mono Poly Transpose Channel

‘------Layer Mode------’

Middle Octave

1 2 3 4 5

AllNotesOff Global Setup Factory Normal Dampening Aftertouch

Aux Aux /User ‘-------Pressure Mode------’

Lowest Octave

EDITING PAD DESCRIPTIONS:

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4. Editing

Settings: (Separately selectable per Controller except for Layer & Pressure)

Program (1-384) - Selects a sound or set of sounds on either your internal sound source or your external sound source. Select a number up to 384 to select one of the internal sound programs. For more details see p.35-36, p.22 and p.43.

Your Factory and original User Setups all have both Controllers in

BOTH Internal and External MIDI mode. If however, you select

EXTernal MIDI mode Only, then you may select Program numbers only up to 128. External Programs over 128 are accessed through the

Bank Select #. (see p.22)

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 With Sounds holds down or sustains notes for you.

SETUP (1-128) - An entire collection of settings that defines one state of the malletKAT PRO With Sounds.

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.

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4. Editing

(Aftertouch / Dampening / Normal) PRESSURE MODE

Aftertouch - PRESSURE MODE where applying continued pressure 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.

Factory /User Setups - Selects whether the 128 Factory Setups (which can not be permanently changed) or the 128 User Setups (which can be changed to any settings of your choice) are being used in the malletKAT PRO With Sounds. Indicated by an “F” or a “U” on the beginning of the top line on the display when you are playing.

Setup Auxiliary - To get at a variety of additional Setup related settings. (See p.22-p.25)

Global Auxiliary - To get at a variety of additional Global (for entire malletKAT PRO) settings. (See p.26-p.31)

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 notes, 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 notes 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 through your

Setups.

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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 SETUP AUXILIARY 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 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 setting is displayed, the 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 previously had 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, both Controller 1 and 2, or neither.

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.

BANK SELECT (screen “03”)

When either Internal Sounds Only or Both Internal and External Mode is selected as the Interface Mode for a Controller, the Bank can’t be directly entered. Program #s up to 384 are selected directly. (When sent out External MIDI, the correct Bank is inserted for Programs above 128 so that playback from an external sequencer will play the correct sounds on your Internal Sound Source.)

When External MIDI Only is the Interface Mode for a Controller, the

Bank # is involved in every Program # selected. The Bank number that is sent out in the Bank Select message must be between 1 and

128. The Bank Select message is sent as an extension to the Program

Change message. Whenever the Bank Select number is changed, it

(and the Program Change settings for both Controller 1 and

Controller 2) are sent out MIDI. The normal setting for Bank is “1”.

Bank #s above 1 allow you to access external Programs beyond 128.

AFTERTOUCH TYPE (screen “04”)

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4. Editing

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.

MONO MODE OVERLAP (screen “05”)

Often, when you play in Mono Mode, you will get a better legato effect if you start the new note for a few milliseconds before stopping the previous note. Try tweaking this setting for optimum results.

POLYPHONY COUNT (screen “06”)

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 “07”)

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 “08”)

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 “09”)

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.

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4. Editing

FOOT CONTROLLER 1 CURVE (screen “10”)

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 often useful results.

FOOT CONTROLLER 1 CHANNEL (screen “11”)

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.

FOOT CONTROLLER 2 ASSIGNMENT (screen “12”)

FootController 2 may be assigned to any of the functions that

FootController 1 may be assigned to.

FOOT CONTROLLER 2 MINIMUM EFFECT (screen “13”)

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 “14”)

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 “15”)

The response Curve for FootController 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 “16”)

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 “17”)

The breath controller may be assigned to any of the functions that

FootController 1 may be assigned to.

BREATH CONTROLLER MINIMUM EFFECT (screen “18”)

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 “19”)

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 “20”)

The response Curve for the breath controller may be selected from any of the curves available in the malletKAT PRO.

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4. Editing

BREATH CONTROLLER CHANNEL (screen “21”)

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.

REVERB SELECT (screen “22”)

The internal sound source has built in digital time-based effects. There are 48 separate effects algorithms. There are three separate reverb settings: EFFECT (Chorus, Delay, Symphony, None), SIZE (Room,

Stage, Hall, None), and TONE (Bright, Warm, None). To try out these effects, simply select this screen and then Increment through the 48 combinations of these settings.

In each Setup the Reverb settings may be specified once - this setting will apply to both Controller 1 and Controller 2 in this Setup.

INTERFACE MODE (screen “23”)

In each Setup, both Controller 1 and Controller 2 can be routed to

(1) EXTERNAL MIDI ONLY, (2) the INTERNAL sound source

ONLY, (3) BOTH EXTERNAL MIDI and the INTERNAL sound source, and (4) NEITHER. This enables you to chose to play both an external sound source and the internal sound source simultaneously with either Controller, or to play just external or just internal. The normal setting is BOTH EXTERNAL and INTERNAL.

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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 Settings 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 striking 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, the function setting that is blinking 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 previously had 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

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4. Editing

/ FORWARD (F1 & F2) pads. The lower the Threshold, the more sensitive the pad (& more likely to false trigger).

(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.

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4. Editing

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.64. To Train the breath controller, 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 and the malletKAT PRO will return to PLAY mode.

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 for debounce 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 low, the light pressure of the resting mallet may dampen the last note that was played on the pad.

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4. Editing

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 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

INCREMENT/DECREMENT 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).

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4. Editing

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.

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.23), 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.

CHANNEL 1 MERGE SELECT (screen “21”)

This screen (and the 15 screens after it - one for each incoming MIDI

Channel) lets you select how incoming MIDI information, per

Channel, appearing at your MIDI IN is routed.

The choices are: routing the information to EXTERNAL MIDI OUT only, to INTERNAL sound source only, to BOTH EXTERNAL MIDI and the INTERNAL sound source, and NEITHER. Being able to control the merging of each Channel allows you to solve MIDI loop problems when you create complex patching systems using computers and sequencers.

CHANNEL 2 MERGE SELECT (screen “22”)

Same as above, except for Channel 2 information that appears at the

MIDI IN jack.

ETC.

(screens “23” - “35”)

CHANNEL 16 MERGE SELECT (screen “36”)

Same as above, except for Channel 16.

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4. Editing

SYSTEM MESSAGE MERGE SELECT (screen “37”)

This screen lets you select how incoming MIDI SYSTEM MESSAGES appearing at your MIDI IN are routed. This includes System

Exclusive, and System Common messages (like MIDI Clock,

Sequence Start/Stop/Continue, Active Sensing, MIDI Time Code,

Song Position Pointer, and Song Select).

MIDI IN SOUND MAP SELECT (screen “38”)

You may choose to have Program Change commands received at your

MIDI IN be mapped to either the malletKAT PRO With Sounds

128 Setups or to a General MIDI Map of 128 of the Internal Sounds.

If you are using your malletKAT PRO With Sounds to produce sounds as a General MIDI sound source, controlled by an extermal controller such as a drumKAT (especially using Textural Drumming kits) or a computer or sequencer, use the General MIDI Map setting.

If you are sending in Program Changes to your malletKAT PRO With

Sounds with a sequencer to automate the selection of your Setups while you play on your malletKAT PRO With Sounds, select the malletKAT Setups Map setting.

AFTERTOUCH MASK COUNT SELECT (screen “39”)

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 “40”)

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 “41”)

You may choose to disable Banks in your malletKAT PRO WS. This will prevent any Bank messages from being sent to your sound source.

TUNE SOUND BOARD (screen “42”)

The tuning range is +/- 14 cents. This allows a tuning range of +/- 15 Hz around A440 for the internal sound board.

31

LISTING OF INTERNAL SOUND PROGRAMS:

1. Piano 1

2. Piano 2

3. Piano 3

4. Honky-Tonk Piano

5. Elec Piano 1

6. Elec Piano 2

7. Harpsichord

8. Clavinet

9. Celesta

10. Glockenspiel

11. Music Box

12. Vibraphone

13. Marimba

14. Xylophone

15. Tubular Bell

16. Santur

17. Organ 1

18. Organ 2

19. Organ 3

20. Church Organ 1

21. Reed Organ

22. Accordian

23. Harmonica

24. Bandneon

25. Nylon String Guitar

26. Steel String Guitar

27. Jazz Guitar

28. Clean Guitar

29. Muted Guitar

30. Overdrive Guitar

31. Distortion Guitar

32. Guitar Harmonics

33. Acoustic Bass

34. Fingered Bass

35. Picked Bass

36. Fretless Bass

37. Slap Bass 1

38. Slap Bass 2

39. Synth Bass 1

40. Synth Bass 2

41. Violin

42. Viola

43. Cello

44. Contra Bass

45. Tremolo String

46. Pizzicato String

47. Harp

48. Timpani

49. Strings

50. Slow String

51. Synth Strings 1

52. Synth Strings 2

53. Choir Aahs

54. Voice Oohs

55. Synvox

56. Orchestra Hit

57. Trumpet

58. Trombone

59. Tuba

60. Muted Trumpet

61. French Horn

62. Brass 1

63. Synth Brass 1

64. Synth Brass 2

65. Soprano Sax

66. Alto Sax

67. Tenor Sax

68. Baritone Sax

69. Oboe

70. English Horn

71. Bassoon

72. Clarinet

73. Piccolo

74. Flute

75. Recorder

76. Pan Flute

77. Bottle Blow

78. Shakuhachi

79. Whistle

80. Ocarina

81. Square Wave

82. Saw Wave

83. Synth Calliope

84. Chiff Lead

85. Charang

86. Solo Vox

87. 5th Saw Wave

88. Bass and Lead

89. Fantasia

90. Warm Pad

91. Polysynth

92. Space Voice

93. Bowed Glass

94. Metal Pad

95. Halo Pad

96. Sweep Pad

97. Ice Rain

98. Sound Track

99. Crystal

100. Atmosphere

101. Brightness

102. Goblin

103. Echo Drops

104. Star Theme

105. Sitar

106. Banjo

107. Shamisen

108. Koto

109. Kalimba

110. Bag Pipe

111. Fiddle

112. Shannai

113. Tinkle Bell

114. Agogo

115. Steel Drum

116. Wood Block

117. Taiko Drum

118. Melo Tom 1

119. Synth Drum

120. Reverse Cymbal

121. Guitar Fret Noise

122. Breath Noise

123. Seashore

124. Bird Chirps

125. Telephone

126. Helicopter

127. Applause

128. Gun Shot

4. Editing

32

4. Editing

129. Acoustic Piano 1

130. Acoustic Piano 2

131. Acoustic Piano 3

132. Elec. Piano 1

133. Elec. Piano 2

134. Elec. Piano 3

135. Elec. Piano 4

136. Honky-Tonk Piano

137. Elec. Organ 1

138. Elec. Organ 2

139. Elec. Organ 3

140. Elec. Organ 4

141. Pipe Organ 1

142. Pipe Organ 2

143. Pipe Organ 3

144. Accordian

145. Harpsichord 1

146. Harpsichord 2

147. Harpsichord 3

148. Clavichord 1

149. Clavichord 2

150. Clavichord 3

151. Celesta 1

152. Celesta 2

153. Synth Brass 1

154. Synth Brass 2

155. Synth Brass 3

156. Synth Brass 4

157. Synth Bass 1

158. Synth Bass 2

159. Synth Bass 3

160. Synth Bass 4

161. Fantasy

162. Harmo Pan

163. Chorale

164. Glasses

165. Soundtrack

166. Atmosphere

167. Warm Bell

168. Funny Vox

169. Echo Bell

170. Ice Rain

171. Oboe 2001

172. Echo Pan

173. Doctor Solo

174. School Daze

175. Bellsinger

176. Square Wave

177. String Section 1

178. String Section 2

179. String Section 3

180. Pizzicato Strings

181. Violin 1

182. Violin 2

183. Cello 1

184. Cello 2

185. Contrabass

186. Harp 1

187. Harp 2

188. Guitar 1

189. Guitar 2

190. Elec. Guitar 1

191. Elec. Guitar 2

192. Sitar

193. Acoustic Bass 1

194. Acoustic Bass 2

195. Elec. Bass 1

196. Elec. Bass 2

197. Slap Bass 1

198. Slap Bass 2

199. Fretless 1

200. Fretless 2

201. Flute 1

202. Flute 2

203. Piccolo 1

204. Piccolo 2

205. Recorder

206. Pan Pipes

207. Sax 1

208. Sax 2

209. Sax 3

210. Sax 4

211. Clarinet 1

212. Clarinet 2

213. Oboe

214. English Horn

215. Bassoon

216. Harmonica

217. Trumpet 1

218. Trumpet 2

219. Trombone 1

220. Trombone 2

221. French Horn 1

222. French Horn 2

223. Tuba

224. Brass Section 1

225. Brass Section 2

226. Vibraphone 1

227. Vibraphone 2

228. Synth Mallet

229. Windbell

230. Glock

231. Tube Bell

232. Xylophone

233. Marimba

234. Koto

235. Sho

236. Shakuhachi

237. Whistle 1

238. Whistle 2

239. Bottle Blow

240. Breath Pipe

241. Timpani

242. Melodic Tom

243. Deep Snare

244. Elec. Percussion 1

245. Elec. Percussion 2

246. Taiko

247. Taiko Drum

248. Cymbal

249. Castanets

250. Triangle

251. Orchestra Hits

252. Telephone

253. Bird Tweet

254. One Note Jam

255.Water Bells

256. Jungle Tune

33

4. Editing

257. no sound

258. Grand Piano

259. Bright Piano

260. Rock Piano 1

261. Rock Piano 2

262. Ragtime Piano

263. Tack Piano

264. Elec. Piano 1

265. Ster Trem. Elec. Piano

266. Elec. Piano 2

267. Soft Elec. Piano

268. Elec. Organ (Jazz)

269. Rock Organ

270. Pipe Organ 1 (Full)

271. Full Pipes With Reeds

272. Pipe Organ 2 (Fluty)

300. Brass Section 1

301. Brass Section 2

302. Synth Brass

303. Synth Brass Pad

304. Synth Ensemble

305. Pizzicato Strings

306. Bells

307. Bells & Strings

308. Acoustic Guitar

309. 12 String Guitar

310. Jazz Guitar

311. Chorused Jazz Guitar

312. Electric Guitar

313. Muted Electric Guitar

314. Synth Keys

315. Space Synth

273. Soft Hollow Pipes

274. Harpsichord

275. Forte Harpsichord

276. Choir

277. Cathedral Voices

278. Strings 1 (Fast)

279. Fast Strings 2

280. Strings 2 (Slow)

316. Vibraphone

317. Bright Vibraphone

318. Marimba

319. Xylophone

320. Mallets (Steel Drums)

321. Pitched Perscussion

322. Accordian

323. Harmonica

281. Panning Slow Strings

282. Orchestra

324. Synth Pad

325. Glass Chiff

283. Slow Attack Orchestra 326. Synth Leads 1

284. Flute 327. Square-Wave Lead

285. Mellow Flute

286. Clarinet

287. Vibrato Clarinet

288. Bassoon/Oboe 1

328. Synth Leads 2

329. Tingle Lead

330. Synth FX

331. Slow Setero FX

289. Bassoon/Oboe 2

290. Harmo Pan

291. Chorale

292. Saxophone 1 (Dual)

293. Baritone Sax

294. Saxophone 2 (Alto)

295. Sax Section

296. Trumpet

297. Trumpet Section

298. Trombone

299. Tuba/French Horn

343. Fast Strings 4

344. String Layer

345. Stereo Strings 2

346. Equal Tempered Piano

347. Eql Tmprd Bright Piano

348. Acoustic Bass

349. Electric Bass 1

350. Synth Bass 1

351. Acoustic Bass & Ride

352. Electric Bass 2

353. Synth Bass 2

354. Slow Strings 2

355. no sound

356. no sound

357. no sound

358. Small Drum Set

359. Timpani

360. Fast Strings 5

361. Pizzicato Strings

362. Timpani 2

363. Piano

364. no sound

365. no sound

366. no sound

367. no sound

368. no sound

369. no sound

370. no sound

371. no sound

372. no sound

373. no sound

374. no sound

332. Clean Drum Set

333. Ambient Drum Set

375. no sound

376. no sound

334. Ethnic Drum Set 377. no sound

335. General MIDI Drum Set 378. no sound

336. Ethnic Percussion

337. Orchestral Percussion

338.

339.

379. no sound

380. no sound

381. no sound

382. no sound

340. Choir Layer

341. Cathedral Choir 2

342. Fast Strings 3

283. no sound

384. MT32/Lapc-1 Drum Set

Channel 10 Drums:

Program

1 - 8

Drums

Standard G MIDI Drum Set

9 - 16

17 - 24

Room Drum Set

Power Drum Set

25

26 - 32

Electronic Drum Set

TR-808 Drum Set

Program

33 - 40

41 - 48

49 - 56

57 -127

128

Drums

Jazz Drum Set

Brush Drum Set

Orchestra Drum Set no sound

MT32/LAPC-1 Drum Set

34

5. Basic User 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.26-p.27.

For help learning about editing with the Pads, refer to Chapter 4,

“EDITING”.

For this chapter we will assume you are using only the internal sound source and you are using only Controller 1.

GET THE PADS TO PLAY THE SOUNDS YOU WANT:

Once you’ve played around with the Factory Setups, you will want to start tweaking your User Setups to the way you want them. 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 User 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 With

Sounds you will select different sounds in your internal sound source.

If your internal sound source is not changing sounds when you change the Program setting in your malletKAT PRO there are two things to check:

1. Make sure that you are in Hang Mode and that you are editing Controller 1.

2. Make sure you are not on Channel 10. Channel 10 is a special

Channel reserved for drum sounds (see p.39).

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.

35

5. Basic Setups

GET THE PADS TO PLAY WITH THE VELOCITY RESPONSE YOU WANT:

After you can get the sounds you want with your malletKAT PRO With

Sounds, 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

48 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.27 and do it now - it will ensure that you get the most amount of dynamic expression out of your malletKAT PRO With Sounds.

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. This is an important setting (especially for string or horn sounds with a gradual buildup).

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.

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.

36

5. Basic Setups

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.

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. Your internal sound source is 32 notes polyphonic.

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.

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.40-p.41 for more details.

The assignments for your footswitches are Setup Auxiliary settings. To access them see p.22.

37

5. Basic Setups

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.23. 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.27. (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 Controller, you may choose to have one FootController control the Volume for

Controller 1 and the other FootController control the Volume for

Controller 2.

You may also choose to use the FootControl inputs to Advance and

Backup through your Setups with your feet (see p.30)

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 value on the PLAY MODE screen reflects the most recent value of Volume that has been sent out for the displayed

Controller.

38

5. Basic Setups

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.27)

5. Assign one or both of your FootControl inputs to do Setup Advance or Backup (see p.30)

GETTING DRUM SOUNDS:

Most sound modules treat drum sounds differently than keyboard and orchestral sounds. In fact, drums usually have their own

Channel - Channel 10. If you select Channel 10 (and one of the following Program #s) for one of the Controllers the entire keyboard will consist of drum sounds. If you move the octave around you will get at different collections of those sounds on different places on the keyboard.

Program Changes on Channel 10 work a little differently also. The following map explains which Programs give which drum sets.

Note that the same drum set is selected by several consecutive

Program #s.

CHANNEL 10

Program # Drum Program

1 - 8

9 - 16

Standard General MIDI Drum Set

Room Drum Set

17 - 24

25

26 - 32

33 - 40

41 - 48

49 - 56

57 -127

128

Power Drum Set

Electronic Drum Set

TR-808 Drum Set

Jazz Drum Set

Brush Drum Set

Orchestra Drum Set

No Sound

MT32/LAPC-1 Drum Set

In addition to these Drum Sets, the following internal Programs (on any Channel) will also give you Drum Sets, so try them out as well:

ANY CHANNEL

Program # Drum Program

332

333

Clean Drum Set

Ambient Drum Set

334

335

336

337

358

384

Ethnic Drum Set

General MIDI Drum Set

Ethnic Percussion

Orchestral Percussion

Small Drum Set

MT32/LAPC-1 Drum Set

39

6. Advanced User 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 With Sounds 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.17).

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 on the 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

40

6. Advanced Setups chord. Release the footswitch and play over that chord. Etc.

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 are using only one sound. 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.

41

6. 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, when pressing down, 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!

Your internal sound source does respond to Key Aftertouch. The result of the Aftertouch effect depends on the sound. Generally the result is modulation such as tremolo or vibrato.

To achieve Aftertouch, press the mallet down into the pad and vary the pressure. Two settings, Aftertouch Mask Count and Aftertouch

Depth, in the Global Auxiliary screens allow you to tweak

Aftertouch to your tastes (see p.31).

42

6. Advanced Setups

OTHER TRICKS:

External Sound Sources

- If your external 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 (or whichever Controller you are using).

2. Verify that the Controller is sending out Program changes to the correct Channel.

3. Verify 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”).

Once you get the sound source responding to Program Change you can easily call up any patch on your sound source by selecting Program values on your malletKAT PRO.

Program Change Banks -

When using your internal sound source, banks are not entered directly. We chose to make it easier by letting you enter a number between 1 and 384 and have the malletKAT PRO With

Sounds assemble the current actual Bank and Program # (less than

128) to send to the internal sound source. However, when using

External sound sources, you will need to understand and start using

Banks. First, a little background.

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 external 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 & 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 “Aux Setup” (the E of the lowest of the 3 octaves)

4. Hit “0” (the A# of the middle of the 3 octaves)

5. Hit “3” (the F# of the lowest of the 3 octaves)

Now you should see the Bank Select setting.

6. Hit “4” (the G# on the lowest of the 3 octaves)

7. Release the Edit Footswitch.

Now, any time you enter this Setup, Controller 2 will send out its

Program Change to Bank 4.

If you wish to always remain in Bank 1 (Programs 1 to 128), you may

43

6. Advanced Setups globally disable Bank Select in the Global Auxiliary screens - (see p.44)

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!

44

7. MIDI Primer:

If you connect to external sound sources, you will need to use MIDI.

What is MIDI anyway? First, MIDI is an acronym for Musical

I nstrument 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

45

7. 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.

46

7. MIDI Primer

SO WHAT’S THE BIG DEAL?:

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!

47

MIDI DELAY:

7. MIDI Primer

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 mS to 15 mS. The Sound Sources with 1 mS to 4 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. (Your internal sound source has a 3.5 mS delay.)

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.

48

8. Appendix

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 WS is ON and is plugged into a working AC outlet! (Does the display 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 1A

(1000mA) or greater current rating.

• Verify the malletKAT PRO WS is alive by hitting a Pad, while depressing the Edit footswitch. 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.

• 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.38), or to the

FootControl pedal settings being incorrect (see p.23), the

FootControl pedal not being properly trained, or the FootControl pedal simply being pushed to off!

• Try REINITIALIZING your malletKAT PRO (See p.50).

• Call KAT Customer Service (413) 594-7466. Determine your Software

Version and Serial Number before calling. The power-up display will tell you which software version you have.

(When using an external sound source.)

• Verify malletKAT PRO MIDI OUT is connected to Sound Source MIDI

IN.

• 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 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.

• 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.

• Verify that the Bank you are using with your Program Changes is correct (see p.43).

• Try REINITIALIZING your malletKAT PRO (See p.50). Get your

Sound Source on Channel 1 to match your Reinitialized malletKAT

PRO.

49

8. Appendix

Symptom:

Your malletKAT PRO WS playing surface is not responding well:

What To Do:

• Adjust thresholds of your Pads - see p.26-27

• Train your Pads to your personal dynamic range (p.27).

• Disconnect the MIDI cable. Turn the malletKAT PRO and Sound

Source Off. Leave all footswitches plugged in. Turn the malletKAT PRO WS and the Sound Source back on. Reconnect the

MIDI cable.

• Try REINITIALIZING your malletKAT PRO (See bottom of page).

• Call KAT Customer Service (413) 594-7466. Determine your Software

Version and Serial Number before calling. The power-up display will tell you which software version you have.

If you experience a problem with your electronic system, try to isolate specifically where the problem is. Is it in your internal Sound

Source? Keyboard? 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 WS:

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 “Backward” Pad and 3) the “Forward” 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

Factory Setup 1. All of the settings in your malletKAT PRO have been returned to the factory settings.

The malletKAT PRO WS 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.

50

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). When in INTERNAL MIDI Interface Mode or BOTH External and Internal Interface Mode, Banks are not entered by the user. You are allowed to enter Program #s from 1 all the way up to 384 without worrying about banks - the malletKAT PRO With Sounds creates the proper internal bank and program

#s for you.

Channel:

Controller:

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.

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:

Dynamics:

The standard, customary, or “safe” value for a given setting.

A measure of how hard or softly you are playing with your mallets.

Editing: The act of changing the settings in a device.

Factory Setups: In the malletKAT PRO With Sounds there are 128 Factory Setups that are always present in your instrument. These are Setups that we at KAT generated to showcase the best internal sounds and use a variety of the malletKAT’s features.

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:

Interface Mode: For each of the two Controllers in the malletKAT PRO With Sounds, you may choose to have its Note and Program information sent to the INTERNAL sound source ONLY,

EXTERNAL MIDI ONLY, or BOTH Internal and External MIDI. The standard setting is BOTH.

MIDI:

Information (separate from your Setup information) which has one setting for the entire instrument and is used by all Setups.

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.

51

8. Appendix

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.

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:

Setup:

A display “window” on the malletKAT PRO, usually with information about current settings.

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.

User Setups: In the malletKAT PRO With Sounds there are 128 User Setups which can be changed to any settings you desire to suit your specific needs.

Velocity: A measure of how loud or soft a Note the malletKAT PRO will play on your Sound

Source.

52

8. Appendix

53

malletKAT PRO/WS SETUP TEMPLATE

Setup #:______

LAYER MODE

Hang / Split / Double

Split Point_________

CONTROLLER 1

Octave:__________________

Gate:___________________

Channel:_________________

Min. Velocity:______________

Max. Velocity:______________

Curve#:__________________

Volume:__________________

Program Change Send:________

Mono Mode Overlap:_________

Aftertouch Type:_____________

Polyphonic Count:____________

(Bank#):___________________

Transpose Amount:___________

POLYPHONY - Mono / Poly

PRESSURE MODE

________________

CONTROLLER 2

Octave:_________________

Gate:___________________

Channel:_________________

Min. Velocity:_____________

Max. Velocity:_____________

Curve#:__________________

Volume:__________________

Program Change Send:_______

Mono Mode Overlap:________

Aftertouch Type:____________

Polyphonic Count:___________

(Bank#):_________________

Transpose Amount:__________

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 Control

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

Reverb Select:_____________________

MIDI Select: EXTERNAL / INTERNAL / BOTH

8. Appendix

Appendix D: MIDI Implementation Chart.

Function Transmitted

Basic Channel - Default

Changed

1 -16

1 -16

Mode: Default Mode 3

Messages Altered Poly/Mono

Note Number:

Velocity: Note On

0 - 127

1 - 127

AfterTouch: Keys By Pad Pressure

Channel By Pad Pressure

and breath control

Pitch Bender: FootControl or Breath.

Control Change: O

Continuous Controller commands by foot, or breath.

Recognized

1-16

1-16 x

O

O

O x

O

O

O

Remarks

Sends all 128

Program Change:

System Exclusive:

0 - 127

O

0 -127

O

And to 128 Banks.

Dump All Setups,

Global, All Mem, 1Setup

System: Song Pos

Song Sel

Common: Tune

System: Clock

Real Time: Commands

Aux: Local On/Off

All Notes Off

Messages: Active Sense

Reset

x

x

O

x

x

x

x

x

x x x x x

O x x x x

Notes: Note Offs timed by Internal Hold Time or continued physical holding on Pad.

O : Yes

x : No

54

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 #3, see p.26. 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 1: byte 2: byte 3: byte 4: byte 5: byte 6: byte 7: byte 8: byte 9:

(0F0H) Start of System Exclusive Status Byte

(00H)

(00H)

(15H) [00H, 00H, 15H is KAT’s Company ID #.

(64H) Instrument type ID # for the malletKAT PRO.

(XX) Dump Type

(XX) Individual Instrument ID #

(XX) Software Version #

(XX) Aux Type # (Kit # if Type is Kit)

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)).

55

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.

6

7

4

5

8

2

3

Curve

1

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.)

Description

Linear Curve. The basic, natural curve.

Accent Curve. Stays low longer, then jumps to the top. Good for Rock drumming.

Cross-fade reverse curve.

Cross-fade curve to use in conjunction with curve 3.

Cross-switch reverse curve. Loud on soft hits, silent on hard hits.

Cross-switch curve to use in conjunction with curve 5.

Quasi-Linear curve that gets to the top fairly quickly.

Effective curve for FootControllers.

56

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

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

Velocity Curve 3:

Steps 1 - 8 127

Steps 9 - 16 127

Steps 17 - 24

Steps 25 - 32

127

127

Steps 33 - 40

Steps 41 - 48

Steps 49 - 56

Steps 57 - 64

122

106

90

74

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

58

26

33

44

80

127

127

127

127

127

17

21

25

29

1

5

9

13

64

72

80

88

96

104

112

120

32

40

48

56

1

8

16

24

57

66

74

82

90

98

106

114

122

34

42

50

58

2

10

18

26

65

73

81

89

97

105

113

121

33

41

49

57

1

9

17

25

68

76

84

92

100

108

116

124

36

44

52

60

4

12

20

28

67

75

83

91

99

107

115

123

35

43

51

59

3

11

19

27

70

78

86

94

102

110

118

126

38

46

54

62

6

14

22

30

69

77

85

93

101

109

117

125

37

45

53

61

5

13

21

29

71

79

87

95

103

111

119

127

39

47

55

63

7

15

23

31

34

52

90

127

127

127

127

127

18

22

26

30

2

6

10

14

33

48

85

127

127

127

127

127

17

21

25

29

1

5

9

13

35

60

100

127

127

127

127

127

19

23

27

31

3

7

11

15

34

56

95

127

127

127

127

127

18

22

26

30

2

6

10

14

36

70

120

127

127

127

127

127

20

24

28

32

4

8

12

16

35

65

110

127

127

127

127

127

19

23

27

31

3

7

11

15

40

75

127

127

127

127

127

127

20

24

28

32

4

8

12

16

0

0

0

0

0

0

50

18

127

127

127

127

118

102

86

70

0

0

0

0

0

0

54

22

127

127

127

127

120

104

88

72

0

0

0

0

0

0

42

10

127

127

127

127

114

98

82

66

0

0

0

0

0

0

46

14

127

127

127

127

116

100

84

68

0

0

0

0

0

0

34

2

127

127

127

127

110

94

78

62

0

0

0

0

0

0

38

6

127

127

127

127

112

96

80

64

0

0

0

0

0

0

30

2

127

127

127

127

108

92

76

60

Velocity Curve 4:

Steps 1 - 8

Steps 9 - 16

Steps 17 - 24

Steps 25 - 32

Steps 33 - 40

Steps 41 - 48

Steps 113-120

Steps 121-128

Steps 49 - 56

Steps 57 - 64

Steps 65 - 72

Steps 73 - 80

Steps 81 - 88

Steps 89 - 96

Steps 97 -104

Steps 105-112

Velocity Curve 5:

Steps 1 - 8 127

Steps 9 - 16 127

Steps 17 - 24

Steps 25 - 32

127

127

Steps 33 - 40

Steps 41 - 48

Steps 49 - 56

Steps 57 - 64

127

127

0

0

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

0

0

92

108

127

127

127

127

127

127

2

30

60

76

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

127

127

127

127

127

127

127

127

0

0

0

0

0

0

127

127

06

112

127

127

127

127

127

127

6

38

64

80

0

0

0

0

94

110

127

127

127

127

127

127

2

34

62

78

0

0

0

0

0

0

0

0

0

0

0

0

127

127

127

127

0

0

127

127

0

0

0

0

0

0

0

0

127

127

127

127

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

100

116

127

127

127

127

127

127

14

46

68

84

0

0

0

0

98

114

127

127

127

127

127

127

10

42

66

82

0

0

0

0

104

120

127

127

127

127

127

127

22

54

72

88

0

0

0

0

102

118

127

127

127

127

127

127

18

50

70

86

0

0

0

0

106

122

127

127

127

127

127

127

26

58

74

90

0

0

0

0

127

127

127

127

127

127

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

127

127

127

127

127

127

127

127

127

127

127

127

127

127

127

127

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

127

127

127

127

127

127

127

127

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

0

0

0

0

0

0

0

0

127

127

127

127

0

0

127

127

0

0

0

0

0

0

0

0

127

127

127

127

0

0

127

127

0

0

0

0

0

0

0

0

127

127

127

127

0

0

127

127

8. Appendix

58

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

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

35

38

50

90

24

27

30

32

13

16

19

22

6

9

1

3

35

37

45

85

24

27

29

32

12

16

19

21

6

8

1

3

65

79

93

107

121

127

127

127

17

24

38

52

1

5

9

13

63

77

91

105

119

127

127

127

17

22

36

50

1

5

9

13

68

82

96

110

124

127

127

127

18

27

41

55

2

6

10

14

66

80

94

108

122

127

127

127

18

25

39

53

2

6

10

14

72

86

100

114

127

127

127

127

19

31

45

59

3

7

11

15

70

84

98

112

126

127

127

127

19

29

43

57

3

7

11

15

75

89

103

117

127

127

127

127

20

34

48

61

4

8

12

16

73

87

101

115

127

127

127

127

20

32

46

60

4

8

12

16

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

26

29

32

34

37

40

80

127

15

18

21

24

3

5

8

12

26

29

31

34

37

39

75

120

15

18

21

23

2

5

8

11

26

28

31

34

36

39

70

110

14

18

20

23

2

5

7

11

59

8. Appendix

60

8. Appendix

Appendix G:

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, look for the largest circuit board. On the left side of this circuit board is a large chip with a white paper label with software version info. 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 and take the back cover off.

b) Try reinserting the chip (pry it out again to make sure that the legs didn’t get bent under the chip).

c) Put the back cover on, turn the malletKAT PRO back over, reinsert the AC Adaptor, and turn the power back on.

d) If this still fails, put your OLD software back in and give us a call @ 413-594-7466.

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.

61

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.

KAT 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 Armorall. 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.

62

8. Appendix

Appendix I:

KAT, Inc.

KAT 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:

KAT, Inc.

53 First Ave.

Chicopee, MA 01020

Phone - (413) 594-7466

Fax - (413) 592-7987

Email - [email protected]

We look forward to hearing from you.

KAT 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) 594-7466 - 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 KAT.

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 KAT are the responsibility of the consumer .

63

8. Appendix

Appendix J:

Breath Control Adjustments

Output Cable

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 OFFSET

+

+

+

Breath Tube

+

Now go to p.28 for details on training your BC-2 BreathController for optimum response.

64

Notes

65

Notes

66

14. Index.

GlobalAuxScreens 19,21, 26-31 Polyphony 11, 20, 23, 37

Pressure Modes

-----------------A----------------

AC Adaptor 7, 9, 49

Accessories 4

-----------------H---------------

Aftertouch 11, 19, 21, 23,31,42

Dampening 11, 19, 21, 28-29,

Hang - see Layer

36, 42

Holding Down Pads 36, 42, 50, 54 Normal 11, 19, 21, 42

Program Change - see MIDI

Aftertouch - see Pressure

All Notes Off 19, 21

-----------------I----------------

Implementation Chart 54

Increment 15, 21-22, 39

-----------------B----------------

Instrument ID # 28, 55

Backward 9, 19, 21-22, 26, 39, 50 Interface Mode 11, 22, 25, 51

-----------------R---------------

Receive Dump - see

SystemExclusive

Reinitialize 27, 50

Banks 20, 22, 31, 43-44

Beeper 28

Bracket 3

Breath Control 7, 24-25, 44, 64

Training 28, 64

-----------------K---------------

Reverb Select 25

Kit Auxiliary-see SetupAuxiliary

Repair Information 62-63

-----------------S---------------

-----------------L----------------

Save 5, 17, 46, 55

-----------------C----------------

Layer Modes

Double 5, 10, 18-20, 40-41

Cancel 17, 19, 21

Cases 4

Hang 4-5, 10, 18-20, 35, 37, Advanced 40-44

40-41

-----------------N----------------

Basic 35-39

Channels - see MIDI Channels

Copy 17, 19, 21

Split 5, 10, 18-20, 40-41 Factory 6,9,10,12-13,17, 19,

21,35,51

Curves 5, 20, 23, 24, 36,38,56-60

Edit Mode 12-34

Templates 53

-----------------M---------------

Dampening - see Pressure

DataDump-see SystemExclusive

Decrement 14, 21-22, 39

Defaults 16-19, 21, 40, 51

Delay - see MIDI

Display /Viewing Angle 28

Double - see Layer

Drum Sounds 39

Dynamics - see Pad

User 6,10,12-13,17,19,21,35,52

-----------------D----------------

MIDI

Channel 9-11, 19-20, 23-24,

Software Installation 61

29-30, 35, 38, 45-48, 51 Software Version 49-50

Delay 48, 52

IN 26, 29, 31, 45, 52, 56

Merge 8, 26, 29, 30-31, 48, 52

Note 45-48

Setup Auxiliary 22-25

Sounds - Internal List 32-34

Stands 3

Sustain 4-5, 9, 10, 21-23, 36-37,

OUT 26, 45, 50, 52, 55

System Exclusive

Program Change 9-11, 18-20, Dump 26, 46, 51, 55

22, 35-36, 39, 43,45-48, 40-41 Protect 26

Receive 27, 31, 35, 39

Receive 26, 46, 55

Scope 29-30

40-44

-----------------E----------------

Monophonic 11, 19-21, 23, 37, 44

-----------------T----------------

Mounting 3

Templates - see Setup

Expanders 8

Threshold - see Pads

Transpose 19-20, 41, 46

-----------------F----------------

Normal - see Pressure

Note - see MIDI Note

FootControl 8, 20, 23-24, 27, 30,

Sensitivity - see Pad Threshold

Setups 9, 10, 13, 15-20, 50, 53

Trouble Shooting 49-50

Tuning around A440 31

Sustain1 22

38, 44, 56

Footswitches 3-4,8-9,36, 37,41,44

-----------------O--------------------------------V----------------

Octave 14, 19-20, 41, 46

Velocity 29-30, 29-30, 52,56,60

Sustain2 5, 10, 22, 27, 37,

40-41, 50

Minimum 16, 18-20, 36, 56

-----------------P----------------

Maximum 16, 18-20, 36, 56

Edit 10, 12, 14, 22, 26, 50 Pads Curve - see Curves

Forward 9, 19, 21-22, 26, 39, 50 Adjust/Training 26-27

-----------------G----------------

Gate Time18-20,36,40-42,46-47,51

Volume 7, 10-11, 19-20, 23, 38, 49

Dynamics 5, 27, 36, 46, 51, 56

Threshold 26-27, 50

-----------------W---------------

Permanent Memory

Protection 26 Warranty 3, 62

Infinite 18, 40 Pitchbend 7, 23, 44

General MIDI 6, 31 Play Mode 10, 12, 21, 38

67