trapKAT 1.0 manual
with Version E.O Guide
> ns
Alternate Mode Inc.
Rev. 5/98
Table of Contents
Registration Card
Optional Accessories
Product Overview
Bass Input
HiHat Input
Breath Control Input
3. MAKING A SOUND - FactoryKits
Groove Start/Stop
Melodic Groove Select
Percussive Groove Select
Groove TapTempo
Groove Volume
5. EDITING KITs - UserKits
Editing Overview
Editing the FactoryKits
Changing NOTENumbers
Copying Kits to a UserKit
Editing the UserKits
Changing the Sound
Note, Channel, Programs
Changing the Response
Min &Max Velocity, Velocity Curves
Changing the Gate Time
Decrementing Values
6. HiHat
21 - 24
Selecting Pads to be HiHat Pads
Defining Settings For Open, Closed, and Chick Sounds
Changing OpenSettings
Changing Closed Settings
Changing Chick Settings
Foot Control Assign
Training Your HiHat Pedal
Defining Settings For Splash
Adjusting Response of Playing Pads
Pad Train, Pad Threshold, Pad Lo and Hi Dynamics
BASS Input Gain
UserKit Groove Enable, Groove Volume
Memory Protect, Merge ON/OFF,
Cymbal Choke Enable
General MIDI Note Names ON/OFF
Display Viewing Angle, Beeper ON/OFF
Data Dumps
All Memory, 1 Kit, Global
Reinit trapKAT
Receive Program Channel
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
Trouble-Shooting Help - What if it isn't working?
Glossary of Terms
Kit Templates
MIDI For Percussion
MIDI Implementation Chart
System Exclusive Documentation
Instructions for Inserting New Software
Train Breath Controller
Warranty / Care and Maintenance
Alternate Mode Inc. / Customer Service
12.2.0 GUIDE
1. Introduction.
Welcome to the trapKAT! Congratulations on yourpurchase! You have
purchased a product that isan outgrowth ofourlegendary
drumKAT family of controllers. The drumKAT family has grown in
power and features over the last 5years. The trapKAT is a step up
in size, layout,and number of playing surfaces.
With a playing area that is 3.5 times bigger than that of the
drumKAT, the trapKAT is truly a BIG MIDI Controller, giving you
theability to "spread out" your playing. However, being onepiece, with 10large FSR pads and 14 convenient FSR rim sensors,
transportand system set up is a snap, with very few cables to
connect. Simply plug in a hatKAT, a fatKAT, and a MIDI cable to
your sound sourceand start playing!
The trapKAT youhave purchased will growover the years. As better
sound sources become available, we will respond with ways for you
to have even more control over yourmusic. ThetrapKAT will
continually grow in response toyourchanging needs.
With Alternate Mode's continuing War On Obsolescence, all of our
customersenjoy continual growth in their purchases because of our
upgrade releases.
Right now weare working onfuture features andcapabilities foryour
trapKAT. (You've probably noticed the various editing names that
are already molded into the pads - SCREEN TYPE, SCREEN
ADVANCE, ETC. - these are there for when you upgrade to
trapKAT PRO !) We tell you this so you'll know that as the
trapKAT evolves even further in the years to come - our future
innovations willbeavailable toyoutoo! We won't forget you!
When you unpack your trapKAT, you should find the following:
1 trapKAT 24 Surface controller
1 locking ACAdaptor
1 KF1 footswitch
1 MIDI Cable
A 5/64" Allen wrench
1 manual
REGISTRATION CARD: You also will find a registration card enclosed in your manual. Please
fill it outandsendit in sowecankeep track ofyou forproduct
updates and new product information.
The simplest and most elegant mounting solution for the trapKAT is the
stylish and attractive "trapKAT Stand". Designed specifically for
the trapKAT, thisstand sets up quickly and provides a stable
mount for the trapKAT.
Another choice is the 550 stand. This practical stand folds up
compactly for easy transport.
Using two oftheoptional DKB mounting brackets, the trapKAT can be
mounted ona variety ofKAT drumstandsand stand parts. The
DKBs mount to the bottomof the trapKAT with 4 (1/2" x 10/32")
screws. Consult our latest KATalog or your dealer. Where and how
you mount your trapKATis largely a matter of personal taste.
1. Introduction
A special trapKAT case, which will hold your sticks, a footswitch, a
hatKAT, and a fatKAT, is also available . (Remember the life of
your instrument will reflect the care that you give it. If you choose
not to use a case in transit, the trapKAT may get damaged.)
TKC - trapKAT Case
TS - trapKAT Stand
DKB - KAT Controller Mounting Bracket
AC Adaptors - European & U.S.
Assorted stands and stand parts
KF1 - Single Footswitches
KF3 - Triple Footswitch
Breath Controller
CD RomLibrary of exceptional drum and percussion samples
MIDI Quick Notes - Quick reference guide for chords
Instructional Videos
KAT Players Videos
KAT T-shirts
KAT Tour Jackets
Trigger Pads...
poleKAT - dual-zone FSR Pad
rimKAT - dual-zone FSR Pad
flatKAT - single and dual-zone Pads
proPAD - multi-zone FSR Pad
Trigger Pedals...
fatKAT - self contained bass drum trigger pedal
hatKAI - HiHat / Controller padal
miniKICK - compact bass drum trigger Pad
kicKAT - bass drum trigger Pad for real acoustic feel
Other Controllers...
malletKAT PRO - MIDI Mallet Controller (3 to 5 Octaves)
malletKAT PRO With Sounds - Includes internal sound card of
over 350 incredible percussion and orchestral samples
drumKAT- Advanced 10 pad controller, w/trigger inputs,
32 Channel MIDI, powerful pad control modes
dK10 - Simple to use, responsive 10 FSRpad controller
1. Introduction
PRODUCT OVERVIEW: The trapKAT is a velocity sensitive MIDI Controller with a spacious
layout that iscomfortable fordrummersand percussionists. The
playing surface responds toa wide dynamic range andhasa great
feel and rebound. The 24 playing surfaces consist of10 large playing
pads and 14 "poleKAT-style" zones that are played with the
shoulderof yourstick (like the rim of an acoustic drum). This
allows you to physically spread out your playing area. With a
variety ofstand mounting options and accessories, theset up and
transport of your full trapKAT Kit is as easy as it is convenient.
The trapKAT has FactoryKits and UserKits. In the FactoryKits, there
are 24 Kits with a variety of layouts and that will give you instant
access tothesounds ofanyGeneral MIDI soundsource. It maybe
weeks before you have a reason to leave the FactoryKits!
Once you try the UserKits, you will find that making personalized
KITs to access the sounds you want, in the layouts most comfortable
for you, to be a total breeze!
You will find that the infectuous Melodic and Percussive Grooves are a
great practice tool. Thesebuilt-in Grooves are fun patterns of bass,
chords, and percussion thatpullyouin to playalong. Since youcan
now play with headphones, you are now able to practice when
literally everyone else has gone to sleep.
There are four footswitch inputs. Onefootswitch is used to quickly
select any of the 24 KITs. Thesecond is used to change (edit) the
NOTE (or sound) assigned to each of the 24 pads. The third
footswitch is used to change (edit) other KIT settings like the
Channel, Velocity response, Gate Time, Program Changes, and
HiHat selections. The fourth footswitch accesses a variety of
GLOBAL settings; suchas MIDI Merge, training the trapKAT to
your personal playingstyle,and Data Dumps to save your KITs.
The Bass input expects a bass drum trigger input from a kicKAT,
fatKAT, or miniKICK. The HiHat input expects positional
information from a hatKAT control output or a footswitch. A
Breath Control input works with the BC-2 Breath Controller. The
trapKAT comes with a locking AC Adaptor.
There is one MIDI IN jackand a pair of MIDI OUTjacks. The MIDI
OUTjacksare the means by which your trapKATcan control one or
more sound sources. Also, theMIDI OUT jacks allow you to "dump"
your internal trapKAT settings, or data, to an external MIDI disk or
a computer. The MIDI IN jack allows the trapKAT to receive
"DataDumps" of internal settings, that you may have saved to an
external MIDI disk drive, back into your trapKAT. The MIDI IN
jack also allows you to "merge" information from another controller
(such as a malletKAT, drumKAT, or dK10) into the data stream
that comes out of your trapKAT to your sound source.
The trapKAT has a backlit display with two lines of sixteen
characters per line. The viewing angle of the display is adjustable.
The display makes the simple editing procedures even easier by
giving clear information about the changes as you make them.
1. Introduction
The trapKAT was conceived to answer the drummer/percussionist's
need for a compact, yet BIG, MIDI Controller, that is easyto set up
and responsive to play. It will open up entirely new ways of
thinking about your playing.
Keep in touch with us, because your trapKAT will have several
upgrade options that you will find as exciting as the original
purchase of the trapKAT itself! (Theediting names on your
playing pads - although not used now - will be used when we
upgrade to trapKAT PRO). In the meantime, have a great time
playing and creating with your new trapKAT!
2. Connections.
(at front right corner of unit)
ThetrapKAT comes supplied witha removable, lockingAC Adaptorto
connect the trapKAT into a 110V outlet. (AC Adapter
specifications - 9 to 12V, positive tip (2.1 mm), 400 mA or greater.)
An optional European AC Adaptor (for220V/240V operation)is
also available.
After you haveconnected the AC Adaptorfrom the trapKAT to a clean
power source, switchon 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.
Thereare fourfootswitch inputs. One KF1 is supplied with your
trapKAT - plug it into the Kit Select input. If you plan on doing
much editing (changingsettings in your Kits), you should consider a
KF3 triple footswitch in addition. If you do have a KF3 triple
footswitch as well, plug it into the remaining3 footswitch inputs on
the trapKAT. KAT KF1 and KF3 footswitches can 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 trapKAT. The trapKAT will read the type of
footswitch on power-up and automatically adjust for the type you
2. Connections
The trapKAT has one MIDI DM jack to receive MIDI information from
another controller, a sequencer, or a computer. The trapKAT can
block or merge this information into the trapKAT's MIDI OUT
Saved DataDumps of your Kits can be received back into the MIDI IN
of your trapKATfrom external MIDI Data Disks or Computers.
If you are a newcomer to electronic drums, you very likely will not use
this input much.
The trapKAT has two MIDIOUT jacks. These jacks carry identical
information, giving you cabling options. The MIDI OUT sends Note
& Control information from the trapKAT, merged with information
from MIDI IN (if merging is ENABLED (see p.28)).
Connect a MIDI cable from one of the MIDIOuts of the trapKAT into
the MIDI In of your sound source.
You may connect a variety of triggering sources including the kicKAT,
fatKAT, & miniKICK foot triggers from KAT. You 'TRAIN" the
trapKAT for whatever type of trigger you have plugged into the
BASS Trigger Input. The BASS Trigger is "Trained" in the same
way as the pads (see p.25-27). The BASS INPUT has a separate
"GAIN" that is selectable in GLOBAL EDIT - see p.27. The BASS
INPUT can be assigned to any MIDI NOTE or CHANNEL in the
same way that the pads are assigned (see p.15-16).
The HiHat will accept either a footswitch (KFl or KF3) or a hatKAT
foot controller (connected from the hatKAT Control output with a
standard 1/4" shielded cable). The main use of this input is for
HiHat control. The Chick or Foot sound of the HiHat is generated
from this input. In addition, the selection of Open or Closed sounds
on any HiHat Pads is controlled by the position of what is plugged
in here. If a hatKAT is plugged in here, you can have continuous
control from Closed to Open in many of the current sound sources.
The actual training of the hatKAT pedal is explained on p.24.
The Breath Control input accepts a signal from the Yamaha BC2
Breath Controller.
A Global setting allows Pitchbend, Expression, or Sustain to be selected
for the Breath Controller. This allows you to bend notes with your
mouth! See p.46.
3. MaKING a SOUND - FacforwKifs.
The simplest way toget your trapKAT up andrunning is togetinto the
FactoryKits. Ifyou are not already connected and powered-up, do
the following:
• Connect a KFl footswitch into KIT SELECT footswitch input. This
footswitch moves you around in the FactoryKits.
• Connect a MIDI cable from either of the two MIDI OUTs in the back
of the trapKAT and connect the other end of the cable into the
MIDIIN on your sound source.
• Connect the AC adaptor plug into thepower inputonyourtrapKAT.
Screw theAC adaptor retention ring firmly onto the receptacle on
the backof the trapKAT. Plug the AC adaptor into a wall socket
and turn the power on the trapKATon.
Your display will tell you whether you are in Factory Kits or User Kits:
FactoryKit: 01
MG: Marimba 120
UserKit: 01
PG: Clave 112
If thescreen says you arein UserKits, then do the following to get the
trapKAT into the FactoryKits:
1. Move the KAT KFl footswitch into the "GLOBAL EDIT"
footswitch input.
2. Depress the GLOBAL EDIT footswitch and while it is
depressed, hit pad number 1 (middle-left of trapKAT). The
display will say:
Hit Pad Again To
3. Keep the GLOBAL EDIT footswitch down and hit pad 1 again.
4. Release the GLOBAL EDIT footswitch. You are now in
Thelast remaining thingyou mayneed to do to get yourselfset up is
to get your sound sourceresponding. Plug headphones into your
sound source and playon your trapKAT. Ifyour sound sourceis any
of thefollowing MIDI soundsources, it should now easily work
with the trapKAT.
3. Making A Sound - FactoryKits
MIDI sound sources that the trapKAT should instantly work with:
Boss DS330, DR550, DR660
Roland TD5, TD7, R8Mk2, Sound Canvass
E-mu Procussion (FactoryKit 23)
Yamaha TMX, RY30 (FactoryKit24 -Channel 1)
Kawai GMega
(Ifyour sound source is not responding when you play on the
trapKAT, refer to p.34. Appendix 1 "What If It Doesn't Work?"!
Your trapKAT display will say:
FactoryKit: 01
MG: Marimba 120
Wheneveryou are not depressing any of the footswitches, playing on
your trapKAT will cause the correct MIDI commands to be sent out
to play your sound source.
When you hold down any of the footswitches and hit any of the pads,
you will be accessingand changing settings in your trapKAT.
Making changes to the settings in the trapKAT is called "editing"
your trapKAT settings. You'll learn about editing in Chapter 5
"Editing - UserKits". Until then, enjoy playing on your trapKAT
and selecting different FactoryKits.
KIT 01 is a basic drumset layout (right-handed - for left see KITH). A
KITis a collectionof MIDIsettings for all your Pads and triggers.
Hold down the KIT SELECT footswitch and hit Pad 2, while the KIT
SELECT footswitch is depressed. The trapKAT advances to KIT 2.
KIT 2 is an alternate drumset layout. Note the positions of the
HiHat and cymbals have been rearranged.
To select different KITs. hit any of the 24 pads, while the KIT SELECT
footswitch is depressed. Now, spend some time trying the 24
FactoryKITs. Notice that some KITs (like KIT03) have entirely
different sounds selected than other Kits. Other KITs, like KIT01
and KIT02 have the same sounds in different layouts. Have fun!
(As an added convenience, for the occasional times when your sound
source may have a "stuck note" (sustaining forever), simply depress
the KIT SELECT footswitch and hold any pad for 1 second. A series
of ALL NOTES OFF commands will be sent to quiet the stuck note.)
If you hold down a pad without any footswitch depressed, you sustain
the note of that pad.
(Kit 23 isdesigned specifically to get you runningon the E-mu
Procussion®, and Kit 24 is designed to get you running on the
Yamaha RY-30®.)
4. Playing a GROOVE.
If your best friend isa Bass player and likes topractice any time you
want, then these Grooves won'tbeof much interest to you. If
instead, you havea hard time finding someone to practice with,
when youwant, Grooves are thenext bestthing. These patterns
were recorded simply to be fun to play along with.
In FactoryKits and optionally in UserKits (see p.28) the rimPads 15,16,
23, and 24, are used to control the GROOVES.
• ThePERCUSSIVE GROOVES (selected by rimPad 16) use onlydrum
and percussion sounds. Therefore theywillwork with almostany
sound source.
•The MELODIC GROOVES (selected by rimPad 15) willplayon any
GENERAL MIDI sound module. The Melodic Grooves have more
happening in them (than the Percussive Grooves) because we had a
variety of sounds to use in making them.
• If your sound source is any of the followingGENERAL MIDIdevices,
your trapKAT's MELODIC GROOVES should play well.
General MIDI devices that the trapKAT MELODIC GROOVES will instantly work with:
Boss DS330
Kawai GMega
Roland R70, Sound Canvas
Your trapKAT playing display says something like:
FactoryKit: 01
MG: Marimba 106
The "MG"meansMelodic Groove. The bottom line tells you what
Groove is currently selected and what Tempo it is playing at.
To start a selected GROOVE, hit START/STOP (rimPad 24). To stop
the GROOVE, hit rimPad 24 again.
Youcan call up one of many choicesof MELODIC GROOVES (rimPad
15) or PERCUSSION GROOVES (rimPadl6).
Hit rimPad 15 and see:
FactoryKit: 01
MG: Funky Hute 120
Hit rimPad 15 again and see:
FactoryKit: 01
MG: Rocker 120
4. Playing In a GROOVE
Hit rimPad 16 and see:
UserKit: 01
PG: Clave 112
The "PG" means Percussive Groove. Each time you hit rimPad 15 or 16,
the currently selected Groove is changed. If a Groove is playing and
either of the left-corner rimPads (15 or 16) is hit, the newly
selected Groove will start playing at the top, with the Tempo it is
set to start out with.
To change the tempo of any Groove, simply hit TAP TEMPO
(rimPAD23) twice at a quarter note of the tempo you want. The
display will tell you what tempo those quarter notes were and the
GROOVE will immediately start playing at that tempo (as long as
it is between 40 and 240 beats per minute.)
UserKit: 01
PG: Clave 96
Even this little TapTempo Pad can be a fun practice aid - helping you
work on your perception of real-time tempos. You can practice
difficult licks and fills with the tempo slowed down and as your
skill increases you can speed the tempo up to keep challenging
The Note that is played when you hit theTapTempo rimPad can be
adjusted in the same way as the other pads (see p.15-20). The
difference here is that the settings for the Tap Tempo pad are
Global - meaning whateversound you selectfor the Tap Tempo pad
is used by all Kits.
You may adjust the Volume of your Melodic and Percussive Grooves
relative to the Volume of your playing on your Kits. To access the
Volume of your Grooves, simply depress the GLOBAL EDIT
footswitch and hit Pad9. Successive hits of Pad9 will raise the
Groove Volume. The range of values is 0 to 10.
"Quick-click" the GLOBAL EDIT footswitch to decrease the Global
Groove Volume. To "quick-click", while editing, means to release
the footswitch and quickly redepress it. The beeping will change to
indicate that you are now decrementing. (A second "quick-click"
will return you to incrementing.)
5. Editing KITs-UserKits.
Making changes to the settings (editing) in your trapKAT is easy. The
changes you can make range from changing the sounds (NOTEs) your
padsmake, changing the way yourpadsrespond to yourplaying
dynamics, to training how your HiHat pedal responds. In this
Chapter, you'll see how to change all the settings in your UserKITs.
EDITING OVERVIEW: All editing uses the same simple method:
1. Press a footswitch to let the trapKAT know that you want to
editor change something. When changing Notes you will
press the NOTE EDIT footswitch. Whenchanging other
Kit settings, you will press the KIT EDIT footswitch, etc.
2. Strike a pad to let the trapKAT know what you want to
change. When changing Notenumbersor sounds you will
simply strike the pad you want to change.
3. Continue striking the pad until your selection is found.
4. Release the footswitch to getback to playing. Your changes
are automatically saved.
It's that easy! Press a footswitch, hit a pad several times, release the
footswitch! This is the method that you will use to edit or change
any setting in your trapKAT. Most of your editing will be with the
NOTE EDIT footswitch. To decrease a value, perform a "quickclick" - (explained on p.15).
Now for the specifics:
EDITING FactoryKits:
Editing canbedonein FactoryKits or in UserKits. Anychanges to
GLOBAL settings(Chapter 7) are permanent, regardless of
whether you are in FactoryKits or UserKits. Changes made to KITs
in FactoryKits are temporary (you can changesettings in your
FactoryKits, but only temporarily - the next time you enter the
FactoryKit you've changed, it will be back to the way it was before
you changed it). Changes made to UserKits are permanent.
Changing NOTE Numbers:
For our first adventure in editing, let's change the NOTE on Padl in
FactoryKIT 1. (To get into FactoryKits and selectFactoryKTT 1, see
Chapter 3.)
• Connecta footswitch into the NOTE EDIT footswitch input.
• Depress the NOTE EDIT footswitch, and while it is depressed hit
Padl. Padl will play and the Note # value (46) assigned to
DemoKIT 1, Padl is shown on the screen.
• While the NOTE EDIT footswitch is still depressed, hit Padl again.
Padl will play a different sound (or possibly be silent), and the
next Note # (45) will appear on the screen.
• Each successive hit, while the NOTE EDIT footswitch is depressed,
will advance to the next Note #, play it and display it on your
This process lets you quickly run through the available sounds. When
you hear one you like for that Pad, stop, and release the NOTE
EDIT footswitch. Now, playing on that Pad will produce the sound
you wanted. It's that simple!
5. Editing KITs - UserKits
Since this change was done to a FactoryKit, if you select some other KIT
and then comeback to this KIT the change you just made will
disappear. Remember, all changes to FactoryKITs are temporary.
Oftenyou maylike a KIT as it is,except you just want to changea
couple of things. This is why we have included a simple KIT COPY
feature in your trapKAT. You may copy either a FactoryKit or some
other UserKIT into any UserKIT.
KITCOPY will always copy the KIT you are currently in to some other
selected KIT. KITCOPY is done using rimPads 15 and 16, when the
KIT/PAD EDIT footswitch is depressed.
As an example lets copy the edited version of FactoryKit 1 that we
created above into UserKIT 24.
1. Depress the KIT/PAD EDIT footswitch and while it is
Repressed, hit rimPadl5. The trapKAT display will say:
Copy Current Kit
To User Kit 01
Keeping the KIT/PAD EDIT footswitch depressed, hit
rimPAD15 repeatedly and you will see the "to UserKIT" value
increment with each hit of rimPAD15. So, hit rimPadl5 (with
KIT/PAD EDIT footswitch depressed). The display will
alternate between:
Copy Current Kit
To User Kit 01
Padl5 Changes #
Padl6 to Copy
3. Now, with the KIT/PAD EDIT footswitch depressed, hit
Copy To User 01?
Hit Padl6 Again
With the KIT/PAD EDIT footswitch still depressed, hit
rimPad16 a second time to verify that you do want to do the
copy. The display now says:
Copy Completed
To UserKit: 01
You've done it! The KIT has been copied. The trapKAT also
switches to UserKits for you to be able to start using your new
UserKIT. So when the Copy Completed burst is through you
will see:
You Are Now In
Release the KIT/PAD EDIT footswitch to get out of editing and
back to playing. Then the display will say:
FactoryKit: 01
MG: Marimba 106
5. Editing KITs - UserKits
(Doing a KITCopy isn't the only way to get from DemoKits to UserKits.
The usual way is using the GLOBAL EDIT footswitch - see p.28.)
The main difference in editing when you are in UserKits is that every
change you make to a KIT is permanently saved in that UserKIT
(KIT changes are temporary in FactoryKits).
All changes made to GLOBALsettings (Chapter 7 p.25) are
permanently saved (as they are in FactoryKits, as well.)
Now that we are in UserKTTs, let's try some of the other KIT/PAD
EDIT functions to make changes to your UserKTTs. An illustration of
the layout of the KIT/PAD Functions is on p.36 in the Appendix. A
blank Template for documenting your kits is in the Appendix p.40.
There are three main settings that affect the sound each pad makes.
They are the Channel and Note the pad is assigned to and which
Program your KITselects on your sound source.
The Channel will affect what group of sounds the individual Note
numbers will select from. On a drum machine, the Channel selects
whether or not you get the drum sounds the drum machine has. On a
fancy "multi-timbral" sound module, Channel 10 is generally
assigned to drum and percussion sounds. The other channels are used
to select keyboard and orchestral sounds controlled by the
"Program" you select.
The Programs select which sub-group of sounds your individual Note #s
will select. On a drum machine, Programs select different groups of
drum sounds. For example, on most drum machines Note #38 selects
a snare drum and Note#36selects a bass drum - the Program changes
which snare and bass drum sample you hear for Notes 38 and 36.
On a multi-timbral sound module Programs will call up entirely
different sounds like strings or horns or percussion.
Changing the Note:
The Note is the one KITsetting that is not changed using the KIT/PAD
EDIT footswitch. Notes are changed so often that it is given its own
footswitch input.
There are two ways to edit your Note settings: 1. Manually selecting
the Note, 2. Autotraining through your MIDI In.
Manually selecting the Note or sound per pad was described at the
beginning of this Chapter. Simply hold down the NOTE EDIT
footswitch and repeatedly strike the pad you want to change until
you hear (or see) the sound you want for that pad.
One additional thing to show is how to decrement the Note # if you
increment too far and want to go back a couple. You can decrement
the value by doing a "quick click" on the footswitch. To do this
while editing, release the NOTE EDIT footswitch. then quickly
redepress the NOTE EDIT footswitch (with no pad hit in between)
and then hit Padl. This will reverse the process of Note selection.
This "quick click" method for reverse works for all of the other
editing functions as well. Notice that the beeper sound changes
when you go in reverse.
5. Editing KITs - UserKits
Ifyour drum machine or soundsource has buttonsto playallof itssounds
(and your sound source sends Out MIDI information), MIDIIn Auto
Load is a convenient way to select Note #s. To try this:
1. Connect anotherMIDI cablefrom the MIDI Out of your sound
source to the MIDI In of your trapKAT.
2. Then while the NOTE EDIT footswitch is depressed, hit the
pad you want to change.
3. Push the sound button on your sound source. The Note #
corresponding to the sound you just played on your sound source
should now appearon your display. If the trapKAT display
does notchange, check yourconnections and make sureyoukeep
your foot on the NOTE EDIT footswitch.
Canbe used to MIDI In AutoLoad intoa trapKAT ifset up properly:
(These devices send a MIDI Note out their MIDI Out jack.)
Aiesis HR16, HR16B, SR16
Boss DR660
Korg Ml, S3,01R/W
Roland R8,R8MKII,R70
Yamaha RY10, RY30
Can not be used to MIDI In AutoLoad into a trapKAT:
Aiesis D4
Boss DR550, DS330
E-mu Procussion
Kawai GMega, XD5
Roland R8M, TD7
Yamaha RM50
Changing the Channel:
For most applications, you will find that Channel 10 is the right place
to be for drums and percussion.
With the KIT/PAD Edit footswitch depressed, hit Padl. The display
will say:
UserKit: 01
Channel = 10
With the KIT/PAD EDIT footswitch still depressed, hit Padl again.
The Channel advances to 11. Hit Padl again and it advances to 12,
etc. Pretty simple!
Feel free to try selecting different Channels to see what effect it has on
thesoundsource you are using. Aswe said earlier, many drum
machines only work on Channel 10. Some GENERAL MIDI sound
modules will make a different sound on each Channel, with drums
and percussion on Channel 10. Onedifference to this is many of the
Yamaha drum machines (like the RY-30) need to receive on
Channel 1.
Ifyou wanttohave yourpads on different Channels you canchange the
Pad Channel by hitting rimPadll. The display will ask which
Pad you want to changethe value for. Then you proceed as normal
to change the Channel for that pad.
If you have pads on different Channels and call up the KIT Channel
function (Padl) the setting will say "VARIOUS". Now, simply hit
Pad 1 (while KIT/PAD EDIT footswitch depressed) again and all
pads will be back onto the same Channel.
Changing the Program:
Selectingdifferent Programs may give you access to different samples or
banks of drum or percussion sounds.
5. Editing KITs - UserKits
To select a different Program, first verify that you are sending Program
Changes onthe same Channel that your sound source isexpecting to
see them on. Typically, for drums or percussion that is Channel 10.
With the KIT/PAD EDIT footswitch depressed, hit Pad7. The screen
will say:
UserKit: 01
PrgChng Channel=ll
To change the ProgramChanneljust keep hitting Pad 7.
Now, to selectdifferent Programs on your sound source, hit Pad8 with
the KIT/PAD EDIT footswitch depressed.
UserKit: 01
Prog Change =001
To change this setting, simply continue hitting Pad7 (while the
KIT/PAD EDIT footswitch is still depressed.) Don't forget that
"quick-clicking" your footswitch and then hitting a pad, while
editing, allows you to decrement values!
There are four main settings that affect the response of each pad. They
are Minimum and Maximum Velocity. VelocityCurve, and Volume.
The Min and Max Velocity affect the range of how loud or soft an
indiviual sound can be. The Velocity Curve affects the feel or how
fast the sound gets louderas you smoothly play harder and harder.
The Volume affects the overall loudnessof every sound on that
particular channel.
Changing the Minimum and Maximum Velocity:
A Velocity is sentwith each Note or sound that is sent by your trapKAT
to your sound source. The Velocity is a measure of how loud,
relatively, this sound will play. On your trapKAT the Minimum
Velocity sets the minimum loudness that the selected Note will
play. Maximum Velocity sets the maximum loudness that the
sound will play.
Typical settings are Minimum Velocity from 16 to 48 and Maximum
Velocity from 100 to 127. If your softest hits play too soft, then
raise your Minimum Velocity. If your hardest hits are too loud,
then reduce your Maximum Velocity.
You have thechoice ofchanging theMinimum or Maximum Velocity for
the entire KIT (using Pads 2 &3) or of changing Minimum and
Maximum Velocity independently per pad (using rimPADs 12 &13).
Some examples will make this clear.
First, let'ssuppose thatyou wantto bringup the bottom end of all your
pads - maybe yoursoft hits are just too soft to cut through. Raise
the KITMinimum Velocity by depressing the KIT/PAD EDIT
footswitch and hitting Pad2 until the value is 40:
UserKit: 01
Min Velocity = 040
Release the KIT/PAD EDIT footswitch and play on your pads to see
5. Editing KITs - UserKits
what effect a higher Mimimum Velocity has.
Now, suppose you like this higher Minimum Velocity on most of the
pads but not on Pad3. You canchange the Minimum Velocity for
Pad3 only by using rimPadl2.
Hit rimPadl2 while the KIT/PAD EDIT footswitch is depressed. The
disp ay says:
Hit Pad Again
for Pad Min Vel
So, hit rimPad12 again. Now the display says:
Change Min Vel
on Which Pad ?
So, hit Pad3so we can change its Minimum Velocity setting.
MinVelocity = 040
Pad3 has a Minimum Velocity of 40 like all the other Pads in this KIT.
Now, continue to hit Pad3 until its Minimum Velocity is 64.
MinVelocity = 064
Without releasing the KIT/PAD EDIT footswitch, hit Pad4. The
disp ay will say:
MinVelocity = 040
Now you may change the individual setting for Pad4. Hit Pad4 five
more times until:
MinVelocity = 045
Now release the KIT/PAD EDIT footswitch and play. Notice that all
your soft hits are fairly loud - especially Pad03.
Now letssee whatyour KIT Minimum Velocity looks like. Depress
KIT/PAD EDIT and hit Pad2. The display will say:
UserKit: 01
Min Vel= Various
The reason it says "VARIOUS" is because there are individual
differencesin the Minimum Velocity setting from one Pad to the
next. If you now hit Pad2 again, the display says:
UserKit: 01
MinVelocity= 040
If there are various values for Minimum Velocity from pad to pad, the
first change hit will cause all the values to be made to be the same
as the value for Padl. Succeeding hits will start to increment all of
the Kit's Minimum Velocity values as normal.
Now, if you go look at individual Pad Minimum Velocities again, you
will find they are all back at 40.
Now, depress the KIT/PAD EDIT footswitch and hit Pad3.
5. Editing KITs - UserKits
UserKit: 01
MaxVelocity= 127
Instead of changing the Maximum Velocity for the whole Kit, lets just
change the Maximum Velocity for Pad3. We are goingto decrease
the Maximum Velocity for Pad3; so you will "quick-click" the
KIT/ PAD EDIT footswitch. Here is the process again:
Depress KIT/PAD EDIT footswitch and hit rimPadl3.
Now the display says:
Hit Pad Again
for Pad Max Vel
So, hit rimPad!3 again. Now the display says:
Change Max Vel
on Which Pad ?
So, hit Pad3 so we can change its Maximum Velocity setting.
MaxVelocity = 127
Now, release the KIT/PAD EDIT footswitch and quickly redepress it
("quick-click"!). The beepingchanges to notify you that you are
now decrementing.
Hit Pad3 repeatedly until the value decreases to 90.
MaxVelocity = 090
Now, release the KIT/PAD EDIT footswitch and play on the pads.
Note that Pad3 doesn't get as loud as the rest.
Use the KIT/PAD EDIT footswitch and Pad3 to make aU the pads, in
this Kit, have a Maximum Velocity of 127 again.
Changing the Velocity Curve:
The Velocity Curve controls how quickly the Velocity gets louder as
you play from soft to hard. The easiest way to understand what
that means is to try some of the different Velocity Curves.
So, with KIT/PAD EDIT depressed, hit Pad4. The screen says:
UserKit: 01
VelocityCurve = 1
Hit Pad4 a second time to get:
UserKit: 01
VelocityCurve = 2
Release the KIT/PAD EDIT footswitch and try it out. Velocity Curve 1
is a "linear" curve - the loudnessincreases in a smooth way from
soft to loud. Velocity Curve 2 is different. It stays soft longer as you
play harder - until finally it gets louder in a hurry at the top of
your dynamic range. Try all of the Velocity Curves. A brief
description of each is given below.
As with the other Velocity settings, you can change the settings for all
of the pads at the same time (Pad4=KIT Velocity Curve) or for
5. Editing KITs - UserKits
each pad individually (rimPadl4=Pad Velocity Curve).
Velocity Curve 1 - Linear - Smooth from bottom to top.
Velocity Curve 2 - Stays low longer than Linear.
Velocity Curve 3 - Stays low even longer than 2.
Velocity Curve 4 - Slow linear with accent at the end.
Velocity Curve 5 - High minimum, stays low, then accent.
Velocity Curve 6 - Gets up sooner than Linear.
Changing the Volume:
The Volume setting affects the overall loudness of the entire Program of
sounds on your sound source. As in other Kitsettings, use KIT/PAD
EDIT and Pad9 to see:
UserKit: 01
Volume = 96
The range for this setting is 0-127 and "Don'tSend". The reason for
Don't Send is that you may not want your Kits to change the
Volume settings built into the patches on your sound source and
simply play them as they are.
Gate Time is the length of the sound. It is the time between a MIDI
Note On and the corresponding MIDI Note Off. On many drum
machines, Gate Time has no effect. Many drum machines ignore
MIDI Gate Time and simply play the sound to its completion.
However, for samplers you may need to change the Gate Time to
match the length of the sound you want played.
Hit PadlO while the KIT/PAD EDIT footswitch is depressed and see:
UserKit: 01
The range for Gate Time is 0.005s (5 milliseconds) to 6.4 seconds. As in
the previous settings you may also select separate Gate Times for
the pads individually. This is done with rimPad23 or rimPad24.
When you are using sounds that do respond to Gate Times, occasionally
some sound sources forget to shut off a note and a note gets "stuck on".
Depress the KIT/PAD EDIT footswitch and hit rimPad22 twice and
a series of ALL NOTES OFF commands will be sent to quiet the note.
Also, since you may only have a KIT SELECT footswitch when you
are using your trapKAT, you may send ALL NOTES OFF commands
by depressing the KIT SELECT footswitch and holding down on any
pad for 1 full second.
Remember, if you ever go too far incrementing a value and want to
decrement it, do a "quick-click". That is, release the footswitch
and quickly redepress it. The beeping will change to indicate that
you are now decrementing. (A second "quick-click" will return you
to incrementing.)
6. HiHat.
Getting responsive HiHatcontrol is a very important part of any
electronic percussionsetup. In this Chapter, you will learn how to
train your HiHat response, select Note and other KITsettings for
Open, Close, Chick, and Splashsounds in your trapKAT. You will
also leam how to select different types of Continuous Control
information for advanced HiHat control with a hatKAT HiHat
pedal. The first topic to cover is how to select a pad to be a HiHat
When a HiHat pad is played, the Note that is sent out depends on
whether the HiHat pedal is depressed or not. If the HiHat pedal
is depressed a "Closed" Note will be played. If the HiHat pedal is
not depressed, an "Open" Note will be played. The trapKATneeds
to know whichpads should be controlled by your HiHat pedal
To select a pad to be a HiHat pad, do the following:
1. Depress the KIT/PAD EDIT footswitch and hit Pad5. The
display will show which pads have been selected to be HiHat
2. If you strike Pad5 a second time the display will show:
Select HiHatPads
The second line is blank because your HiHat pads have been
de-selected. The pads you hit next will be your HiHat pads
3. If you want to change where your HiHat pads are, hit the pads
you want. Or, if you want to keep the HiHats where they
were, hit Pad4:
Select HiHatPads
4. Then hit Padl:
Select HiHatPads
5. Release the KIT/PAD EDIT footswitch.
You may select up to four pads to be HiHat pads independently in each
Whenever you change which pad is a HiHat pad, you will often need
to change the sounds assigned to that pad to make it really be a
We'll show that next!
6. HiHat
Changing the settings forOpen, Closed, and Chick sounds is pretty
straight ahead. Here's how:
Changing Open Settings:
Editing the Opensettings for a HiHat pad is simple. Everything is
exactly the same as for a normal pad. For editing Notes use the
NOTE EDITfootswitch as described previously. For Channel,
Velocities, and Gate Time use the KIT/PAD EDIT footswitch as
described previously.
Changing Closed Settings:
Editing the Closed settingsis the same as usual with one exception also have the HiHat pedal depressed when performing the editing
functions. An example will make this clear.
Tochange the Notefor the Closed sound do the following:
1. Depress the NOTE EDIT footswitch.
2. Depress the HiHat pedal also.
3. While they are both depressed, hit the pad you want to change
the Closed settingfor. Since the HiHat is depressed when you
struck the pad, you will access the Closed sound for that pad:
Pad6 HCLOS #042
4. If you now hit Pad6 again (with both the NOTE EDIT
footswitch and the HiHat pedal still depressed), the Note
value will increment.
5. To decrement, "quick-click" the NOTE EDIT footswitch as
described previously.
To change the other settings, like Channel, Velocities, and Gate Time,
use the KIT/PAD EDIT footswitch with the HiHat pedal
Changing Chick Settings:
To change the Chick (or HiHat foot) settings, do the same editing
procedures as normalexcept simply "Chick"your HiHat pedal
instead of hitting a pad. Here's an example:
To change the Minimum Velocity for the Chick sound do the following:
1. Depress the KIT/PAD EDIT footswitch.
2. Close the HiHat pedal and release it to play a Chick. The
display will say:
CHICK Note #044
If you now Chick the HiHat pedal again (with the KIT/PAD
EDIT footswitch still depressed), the Note value will
To decrement, "quick-click" the KIT/PAD footswitch as
described previously.
6. HiHat
The most advanced HiHat control is available from sound sources that
use "Continuous Controller" information to create variable amounts
ofClosed for a HiHat. This permits your HiHat pads tonotjust be
Open orClosed, but toplay sounds thatvary continuously from
Open toClosed. As you move your hatKAT pedal the trapKAT
sends a stream ofinformation tothe sound source about the changing
position ofthe HiHat pedal. Then, when an Open sound is played
from a pad, the sound sourcewill be able to play a sound that varies
with the actual amount that the pedal is closed.
Asof the writing of thismanual, thesound sources capable of
responding to this Continuous Controller information include the
Roland TD7®& TD5® (wants Control 04) and the E-mu
Procussion® (wants Control 01 "out ofthe box", butcan bechanged
to respond to Control04). Undoubtably more of the newer devices
will have this feature - feel free to call us and check out the state
of the industry at the current time.
Ifyour sound sourcedoesrespondto Continuous Controlfor HiHat, the
way to access this feature in your trapKAT is as follows:
1. Depress the KIT/PAD EDIT footswitch.
2. Hit rimPadl8. The display will say:
HiHat Continuous
Control = 04
3. If younowhit rimPadl8 again the setting willrun through the
choices of 01, None, and back to 04.
Generally, ifyou areusing Continuous Controller HiHat, you will use it
on Channel 10. However, if you have more than one device that
responds to Continuous HiHat control (both an E-mu Procussion®
and a TD7®, for example), you will need to change the Foot Control
Channel in each Kit if you want to access the two sound sources
separately per Kit. This is done by hitting rimPadl7 while
depressing the KIT EDIT footswitch. The choices for Foot Control
Channel are Channels 1 through 16 and "Same As Chick". "Same
As Chick" is the standard setting for most applications. With this
setting, the FootControl Channel will always match whatever you
select for the Chick sound.
If your device does not respond to Continuous Control information for
HiHat control, you may chooseto turn this setting OFF. This will
decrease theamount ofinformation sent out of your trapKAT to your
sound source. If you leave this setting on 01 or 04, no harm will come
to sound sources that don't respond to it. It'll be like junk mail that
you ignore and throw out when bring in the days mail - it doesn't
really affect the mail you do want to read.
6. HiHat
When you received your trapKAT it should come preset with the
appropriate settings for optimum use of either a hatKAT or a
footswitch into your HiHat input (Re-init should set up these
settings properly as well.) However, if your settings inadvertently
get changed, you are using a pedal other than a hatKAT, or you just
want to try retraining for your specific pedal, do the following:
1. Depress the GLOBAL EDIT footswitch.
2. Hit rimPad17. The display will say:
Hit Pad Again to
Do HiHat Train
3. Hit rimPadl7 again. Now beeper goes on and display says:
Depress Pedal
then Hit Any Pad
4. So, depress the HiHat pedal and while the HiHat pedal is
depressed, hit rimPadl7. The beeper will change and the
display will say:
Release Pedal
then Hit Any Pad
5. So, let up on the HiHat pedal and while the HiHat pedal is
released, hit rimPadl7. The display will say:
Hi Hat Pedal
Train Complete!
That's it! You've trained your HiHat pedal!
To edit the Splash settings involves a little more.
To edit the Splash Note #, simply hit Pad6 repeatedly with the
KIT/PAD EDIT footswitch depressed. The rest is then the same.
The Splash Channel, Minimum Velocity, Maximum Velocity, Velocity
Curve, and Gate Time, are all determined by the settings of the
Chick (see p.22).
The "Ease" of Splash occurring can be "Adjusted" by hitting Pad6 with
the GLOBAL EDIT footswitch depressed.
7. Editing Global Settings.
Making changes tothe GLOBAL settings in your trapKAT isjustas easy
as the changesto your KIT/PADsettings that you have learned in
the previous Chapters. The GLOBAL changes you can make range
from adjustments to the response of your pads, to Preferences like
FactoryKits/UserKitsand turning the beeper off. An illustration
of thelayout oftheGLOBAL Functions is on p.37 in theAppendix.
Everyone's playing style is different from everyone else's. Some
players play with a much lighter touch than others. Because of
this, the trapKAT allows you to "train" your own personal
dynamics. Dynamics are your range between hard and soft hits.
As wellas training foryour dynamics, you can also adjust the
sensitivity of your playing pads to suit your style.
Pad Train:
"Training" your pads consists of telling the trapKAT what a soft hit
and a hard hit are in your playing style. If you are a finesse
player, your hard hit may only be a medium hit for a basher. One
set ofsettings aren't appropriate forboth of you because when you
play throughyour personal dynamic rangefromsoft to hard, you
need to geta full range of volume out of the sounds you are playing
not just soft to medium loudness.
To train the trapKAT for your playingdynamics, do the following:
1. Depress the GLOBAL EDIT footswitch.
2. Hit rimPadll. The display will say:
Hit Padll Again
to Train Pads
3. Hit rimPadll again. The beeper turns on & the display says:
Hit a Pad
4. Hit a Pad (or Bass Trigger) softly. Don't try to do the softest hit
imaginable - do what you typically use as a soft hit in normal
playing. The screen says (if you had hit Padl, for example):
Hit Pad 01
So hit the same pad again, this time hard. Don't smash it as
hard as you can - do what you would typically use in normal
_playing. Then the screen will say:
Pad 01
is Trained!
6. Then the display will say:
Hit a Pad Softly
or Ftsw To Leave
So, either hit some other pad softly to Train it, or release the
GLOBAL EDIT footswitch to get back out of training.
7. Editing Global Settings
The pads are all trained individually because of their varied
locations, uses, and types (regular pads vs. rimpads). So train any
that don't respond the way you would like. Feel free to experiment
with different levels of soft and hard hits. This training, together
with the Velocity Curve you use has a significant effect on the
"naturalness" of the dynamic response of your trapKAT.
Pad Threshold:
The training does not affect your bottom end sensitivity - or how light
of a hit your trapKAT may pick up. The Threshold is the setting
that affects how sensitive your pads are. The lower the value the
more sensitive that particular pad will be. However, if you make
the Threshold too low that pad may trigger itself.
Before you actually start adjusting your Thresholds, make sure that
your Minimum Velocity is high enough for you to hear your soft hits
(see pl7-18). In some noisy environments (and with some sound
sources) Minimum Velocities of 40 or higher may be necessary. If
your Minimum Velocity is 02, the trapKATmay be picking up your
soft hits, but playing them too softly for you to hear them.
To see and adjust the Thresholdof any of your pads do the following;
1. Depress the GLOBAL EDIT footswitch.
2. Hit rimPadl2. The display will say:
Hit Pad Again
for PadThreshold
3. Hit rimPadl2 again. The display says:
Change Threshold
on Which Pad ?
Hit a Pad.
The display will show you the threshold for that
Threshold = 14
If you strike that pad again, you will increment the Threshold
(less sensitive and less likely to false trigger.)
To decrement while editing, do a "quick-click". That is, release
the footswitch and quickly redepress it. The beeping when you
hit a pad will change to indicate that you are now
decrementing. (A second "quick-click" will return you to
incrementing.) Do a quick-click and you will be back in the
screenyou were in, but now decrementing. Do another quickclick and you are back incrementing again. Also, if you are
decrementing and then select another pad without releasing
the foot, you will be decrementing that pad now.
If you strike any other pad you will see the value of its
Threshold and be able to change its value. It is normal for your
pads to have different values, so only change those you want to
make more or less sensitive.
7. Editing Global Settings
Pad Low and High Dynamics:
The training ofyour padsdetermines twovalues: yourLow Dynamic
and yourHigh Dynamic. These settings tell where yoursoftand
hard hits lie in the trapKAT's range. As well as training with a
soft and hardhit,you may also go in and manually change these
values yourself. Here's how:
1. Depress the GLOBAL EDIT footswitch.
2. Hit rimPadl3 for Low Dynamics (or rimPadl4 for High
_Dynamics). The display will say:
Hit Pad Again
for Low Dynamic
3. H
it rimPadl3 (or rimPadU) again. The display says:
Change Low Dynam
on Which Pad ?
Hit a Pad. The display will show you the Low (or High)
Dynamic for that pad.
Pad 01
Low Dynamic = 14
5. If you strike that pad again, you will increment the Low
Dynamic (higher Low Dynamic gives moreof a plateau of your
Minimum Velocity at the bottom of your playing dynamics.) (A
lower High Dynamic will make you reach your Maximum
Velocity sooner as you play harder.)
To decrement the Dynamics, do a "quick-click". (Release the
GLOBAL EDIT footswitch and then quickly redepress the
GLOBAL EDIT footswitch, without rutting a pad in between.)
6. If you strike any other pad you will see the value of its Low (or
High) Dynamics and be able to change its value.
Hits that are softer than your Low Dynamicsetting will play at your
Minimum Velocity setting. Hits that are harder than your High
Dynamic will play at your MaximumVelocity. Your Velocity
Curve effects how quicklyyour loudness goes from the Minimum
Velocity to your MaximumVelocity - as you play from your Low
Dynamic to your High Dynamic. Experiment with these settings if
you would like to tweak your response.
BASS Input Gain:
The BASS input can be trained and threshold and dynamics can be
changed in the same way as for pads. Simply play the bass pedal
instead of hitting a pad in the previous 2 pages of instructions.
One additional difference for the BASS Input is that it has a globally
selectable (1 setting used for all kits) GAIN to help accommodate
the variety of Bass Triggers available. Simply hit rimPadl8, with
the GLOBAL EDIT footswitch depressed, and you cycle through the
three Gain settings - MIN (for fatKAT and miniKICK), MID (for
other bass triggers that need more boost), & MAX (for kicKAT). If
after training the BASS input, the response of your bass trigger is
not optimum, then try a new Gain, then Train and adjust your Bass
7. Editing Global Settings
There are a miscellaneous group of settings that we will tell you about
here, because they don't easily fit in any other category.
FactoryKits / UserKits:
The advantage of FactoryKits is that all of the Kits should always
work with any GENERAL MIDI sound module - since the
FactoryKits can't be permanently changed. If these FactoryKits
keep you happy then that is wonderful.
However, eventually you will probably want to create your own Kits
with your own layouts, Program Changes, and Velocitysettings. To
make your own Kits you need to get into the UserKits. To do that is
simple - just depress the GLOBAL EDIT footswitch and hit Padl to
switch back and forth between FactoryKits and UserKits. That's it!
UserKits Groove Enable:
Once you are in UserKits you can choose to have rimPads 15,16,23, and
24 all be playing pads or be control pads for the Grooves like they
are in FactoryKits.
To change the selection of how these 4 rimPad sections are used in
UserKits simply depress the GLOBAL EDIT footswitch and hit
Pad2 twice.
Groove Volume:
You may wish to change the Volume of your Melodic and Percussive
Grooves relative to the Volume of your playing on your Kits.
To access the Volume of your Grooves, simply depress the GLOBAL
EDIT footswitch and hit Pad9. Successive hits of Pad9 will raise
the Groove Volume. The range of values is 0 to 10. "Quick-click"
the GLOBAL EDIT footswitch to decrease the Global Groove
Memory Protect:
Once you have createdyour own UserKits and start practicingusing
them, you may want to have a little protection from accidentally
changing them. If Memory is Protected, the trapKAT will not
allow any permanent changes to be made to your UserKits.
To return to Memory Not Protected,so you can make real changes to your
UserKits, depress the GLOBAL EDIT footswitch & hit Pad3 twice.
Merge ON/OFF:
MIDI information coming into the MIDIIN of your trapKAT may be
passed (or merged) through to the MIDI OUTs if Merge is ON. If
you have another controller besides your trapKAT, you may want to
use both that and your trapKAT into the same sound source. The
Merge setting allows you to do that. If you have a keyboard sound
source routed back in for MIDI IN Note AutoLoad, you may hear a
MIDI "Loop" - flanged sounds or sometimes a literal cacophony of
sound if you are merging Notes back through to the sound source
again in a loop. To stop this effect, turn the Merge OFF.
To change your Merge setting, simply depress the GLOBAL EDIT
footswitch and hit Pad4 twice.
7. Editing Global Settings
Cymbal Choke Enable:
Cymbals may be"choked" bysimply grabbing thecymbal pad or rim in
the samemanner you wouldgraban acoustic cymbal to choke it.
This feature presently works with the Roland TD7®, and TD5®,
and our malletKAT PRO With Sounds,when used as a sound source.
To change theCymbal Choke Enable setting, simply depress the
GLOBAL EDITING footswitch and hit Pad8 twice.
As well as displaying the Note # for theNotes assigned to yourpads,
you can choose between additionally displaying the GENERAL
MIDI Name for that # or displaying an Octave and Note letter.
Generally you will want to display the GENERAL MIDI Note Names.
However, if your sound sourceis not set up with the GENERAL
MIDI conventions, you maywant to turn this settingOFF.
To change the GENERAL MIDI Note Names On/Offsetting, simply
depress the GLOBAL EDITING footswitch and hit rimPadl6 twice.
Display Viewing Angle:
The normal viewing angle for your display is "Edge View". If,
however, you play standing up leaning over the trapKAT you may
wish to change the viewing angle to "Above View".
To change the display viewing angle setting, simply depress the
GLOBAL EDITING footswitch and hit rimPad20 twice.
Beeper ON/OFF:
Normally, the beeper gives you auditoryfeedback as you do editing on
your trapKAT. If you find that annoying, you can shut it OFF.
To change the Beeper On/Off setting, simply depress the GLOBAL
EDITING footswitch and hit rimPadl9 twice.
Groove Auto Off:
Grooves in the trapKAT will play for 2 minutes if the trapKAT is not
re-hit and then shut off. By selecting DISABLE, this will allow
the grooves to continue to play until you strike the Groove
Start/Stop pad a second time. To change the Groove Auto Off
setting, simply depress the Global Editing footswitch and hit PAD
5 twice.
Data Dumps are used to send out your trapKATRAM settings to be
saved on an externalstorage device like a data disk or computer so
that you may retrieve them later. Data dumps are used as a back
up against the accidental loss of your Kits and Global settings.
Having a Data Dump of your Kits is like having a spare tire in your
car trunk It is not necessary until you need it, but when you need it you'll regret not having been prepared.
The trapKAT sends out 3 kinds of Data Dumps. How to dump out this
data is shown below. To receive data back in, just send it into the
trapKAT MIDI IN from the external storage device. The trapKAT
will automatically receive it and notify you of the receipt. For
technical details about the size and format of these dumps, refer to
Appendix (p.44.)
All Memory:
To dump out All Memory, simply depress the GLOBAL EDIT footswitch
7. Editing Global Settings
and hit padlO twice.
One Kit:
To dump out the current Kit, simply depress the GLOBAL EDIT
footswitch and hit rimpad24 twice.
Global Memory:
To dump out the Global Memory (Pad Thresholds, Dynamics,
Preferences, etc.), simply depress the GLOBAL EDIT footswitch
and hit rimpad23 twice.
To Reinitialize your trapKAT back to all of the original Factory
settings, simply hold down the GLOBAL EDIT footswitch and hit
rimPadl5. The screen will say:
Depress Padl and
Hit Padl5 Again
If you then hit rimPadl5 again, while holding down Padl, and while
still depressing the GLOBAL EDIT footswitch, the trapKAT will
return to the original settings for everything - UserKits, Pad
Thresholds, Preferences, etc.
You can have the trapKAT change Kits under the control of some
external devicelike another controlleror a sequencer. To do this
you select a Channelto Receive ProgramChangeson. This Channel
must match the Channel that the external device is sending
ProgramChangesto the trapKAT on. (Don't forget to connecta
MIDI cable from the MIDI OUT of the external device to the MIDI
IN of the trapKAT.
Toselect the Channel to Receive Program Changes on, simplydepress
the GLOBAL EDIT footswitch and hit Pad7. Your choices range
from OFF (don't respond to Program Changes on any Channel), ALL
(respond to any), to Channels 1 to 16.
8. MIDI Primer:
What is MIDI anyway? First, MIDI is an acronym for Musical
Instrument Digital Interface.
It is a standard or an agreementamong 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.
MIDI connections areallmade with "5 pin DIN cables" that pluginto
"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 MIDIOut jack is used by an instrument to send
information to another. A MIDI In jackis used by an instrument to
receive information from another.
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 60cycle hum from ground loops between these
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.
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 has that phone
number. MIDI Velocity is like the information you tell the person
you are talking to.
A separate MIDIChannel 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 trapKAT is sending on. It's that
8. MIDI Primer
On the trapKAT you can have every Pad send on different Channels if
you want - that is an advanced use - if you have more than 1 sound
source. Generally, you will set all Pads of your trapKAT to send on
the same Channel as your sound source is set to receive on. Most
commonly used Channel for drum sounds is Channel 10.
So, to get your sound source to respond at all, you first need to match up
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 sound to play (in the sound source you are
controlling) when you hit a Pad, you match the MIDI Note number
on your trapKAT Pad to the Note number that plays that sound in
your sound source.
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 trapKATto respond to your playing dynamic
range (what soft and hard hits are to you), the trapKAT will send
out the appropriate velocity based on your playing dynamics.
A MIDINote On Command tells a specificSound 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
(sound) to play, and which Velocity (loudness) to play.
A MIDI Note Off Command tells a specific SoundSource to stop playing
a specific Sound . It turns a Sound off.
It contains which Channel (which sound source) and which Note
(sound) to shut off.
(Most drum machines actually ignore Note Off commands.)
A MIDI Program Change Command is used to tell another instrument to
use a specific Kit or patch of sounds or settings.
A ProgramChange sent to a drum machine will generallycall up a
different Kitof 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 instrumentsends 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 Kits.
8. MIDI Primer
Thebigdealis that MIDI is new. It's not onlynew for you,but it is new
tothe music business. It's only been around for 10 years - diximming
hasbeen around since welived incaves. It takes time for people to
get used to change- especially change that is powerful and
You don't really need to understand howMIDI works - youjustneed 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 elsehearingwhat you said milesaway. Youjust 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.
MIDIis like your phone - just use it - don't be scared if you don't
understand it!
Continue to read the manual and experimentwith your trapKAT. If you
are trying to do somethingand get stuck, pick up that mysterious
phone and give us a call - we'll be glad to help you.
1. Match the Channel your trapKAT is sending on with the Channel
your sound source is set to receive on.
2. Match the Note numbers on your trapKAT Pads to the sounds you
want your sound source to play.
3. Use Program Changes to select other groups of drum sounds or other
pitched sounds.
Appendix fl:
Trouble-Shooting Help - What if it isn't Working?
No Sounds out of Sound Source when you play on trapKAT.
What To Do:
Here is a list of things to try to help isolate your problem:
• Verify trapKAT and Sound Source are ON and are plugged into
working AC sockets! (Do their displays light up?)
• Try a compatible AC adaptor if the trapKAT does not beep or "lightup" on power up. The AC adaptor must have a "positive tip" as
designated by this symbol:
@~~ +) and its output should be between 9V and 12V, with
400mA or greater current rating.
• Verify trapKAT MIDI OUT is connected to Sound Source MIDI In.
• Try another MIDI cable.
• VerifySound Source is OK. Can it make sounds on its own? (Push its
sound buttons and listen with headphones.) Try to control the Sound
Source with another controller.
• Verify trapKAT is alive by depressing the NOTE EDIT footswitch
and hitting a Pad. If you see that Pad come up on the display then
the trapKAT is seeing it's Pads and is alive and running.
• Call up FactoryKit 1 on the trapKAT (see p.9). Verify that the
Sound Source is On MIDI Channel 10.
• Disconnect the MIDIcable. Turn the trapKAT and Sound Source Off.
Turn the trapKAT and the Sound Source back on. Reconnect the
MIDI cable.
• Try REINITIALIZING your trapKAT (See p.30).
• Call Alternate Mode Customer Service (413) 594-5190.
HiHat does not work.
What To Do:
• See Chapter 6, "HiHat".
• Verify hatKAT or HiHat footswitch is plugged into the hatKAT
input on the trapKAT.
• Call up FactoryKit 4 on the trapKAT (See p.9-10). Verify that the
Sound Source is on MIDIChannel 10. See if pads 7 or 0 act like
• Disconnect the MIDI cable. Turn the trapKAT and Sound Source Off.
Leave all footswitches plugged in. Turn the trapKAT and the
Sound Source back on. Reconnect the MIDI cable.
• Try REINITIALIZING your trapKAT (See p.30).
9. Appendix
What To Do:
Your trapKAT playing surface isnot responding well.
• Adjust thresholds of your Pads - see p.26.
• Train your Pads toyour personal dynamic range - see p.25 .
• Call up FactoryKit 1 on the trapKAT (See p.9). Verify that the
Sound Source is on MIDI Channel 10.
• Disconnect the MIDI cable. Turn the trapKATand Sound Source Off.
Leave all footswitches plugged in. Turn the trapKAT and the
Sound Source back on. Reconnect the MIDI cable.
• Try REINITIALIZING your trapKAT (See p.30).
• Call Alternate Mode Customer Service (413) 594-5190.
A trapKAT pad or rim is false triggering (playing notes without you
striking it.).
What To Do:
• Raise the threshold of the Pad - see p.26.
• Use the alien wrench (5/64") supplied with your trapKAT to lighten
the tensionon the rubber around the perimeter of the trapKAT
playing surface.
• Try REINITIALIZING your trapKAT (See p.30).
• Call Alternate Mode Customer Service (413) 594-5190.
Interaction - when you strike one pad a different pad also plays.
What To Do:
• Raise the threshold of the Pad that was not supposed to play (p.26.)
• Use the alien wrench (5/64") supplied with your trapKAT to adjust
the tension on the rubber around the perimeter of the trapKAT
playing surface. (Don't tighten so much that you bend the metal!)
• Try REINITIALIZING your trapKAT (See p.30).
• Call Alternate Mode Customer Service (413) 594-5190.
If you experience a problem with your electronicsystem, try to isolate
specifically where the problem is. Could it be a problem with your
Sound Source? Amp? How about your footswitches or MIDI cables
orAC Adaptor? Is there some sequence of actions that will
repeatedly cause the problem? 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.
Foot Control
Foot Control
Kit Copy
"To" Kit
On / Off
9. Appendix
Appendix C:
Glossary of Terms.
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. Youmust dial the correct phone number
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.
The standard, customary, or "safe" value for a given setting.
A measure of how hard or softly you are playing with your sticks.
The act of changing the settings in a device.
Factory Kits:
Kits that are always present in your instrument. These are Kits that we at Alternate
Mode generated for you to use with the various Sound Sources available.
Gate Time:
The length of time that a Note sounds as sent by the trapKAT. It is the length of time
the trapKAT waits after it sends a Note On, before it sends a Note Off. Many drum
machines ignore the Gate Time sent by the trapKAT andsound theNote until it's fully
"played out". Melodic sounds like horns, strings, &organs often do. respond to Gate
GENERAL MIDI (GM) Sound Module: Asound module that comforms tothe General MIDI specification
specifying Program layout by sound type for simple connectionbetween MIDIdevices.
A collectionof MIDI Note and Channel settings for all of your Pads, HiHat, and Bass
drum. Basically, a Kit defines what Sounds your Pads make.
MIDI stands for Musical Instrument Digital Interface. It is an agreed upon standard for
communications between electronic musical instruments. It is simplythe meansby
which your trapKAT communicates with the Sound Sources you connect it to.
MIDI Delay:
A term which is mistakenly used, by many, to refer to all kinds of delay ranging from
Sound Source Delay, to Sound Travel Delay, to actual delay due to MIDI. The delay
caused by the transmission of MIDI information is only 1 millisecond! (.001 Second).
A 5 pin DIN jack by which an instrument receives MIDI information from another
musical instrument. Through its MIDI In, the trapKAT can receive DATA DUMPs, Kit
changes, and Note # AutoTrain information.
A 5 pin DIN jack by which an instrument sends MIDI information to another instrument.
9. Appendix
The trapKAT sends out Channel, Note, and Velocity information, Continuous
Controller messages 01 and 04 ifhatKAT is plugged inand SYS EX Data Dumps.
AGroove is a pattern or"riff" that you can select toplay for you topractice against.
Note Number: A "MIDI Note" is the number sent in a "MIDI NOTE ON" or a "MIDI NOTE OFF"
command to tell the receiving instrument which Sound to make.
Program Change: AMIDI command which instructs the receiving instrument tochange toa new group of
settings. ForSound Sources thisgenerally meansselecting a new group of sounds.
What Velocity the trapKAT sends out related to your playing Dynamics. A natural
response is that the Velocity (hence the loudness) gets bigger as your dynamics
A display "window"on the trapKAT, usually withinformation about currentsettings.
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
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 1/2 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.
To switch back and forth from one selection to another, e.g. GLOBAL EDIT footswitch
and Padl toggles you between FactoryKits and UserKits.
Any of various external impact sensors that can be plugged into the trapKAT bass input.
Normally these are foot triggers like the kicKAT, miniKICK, and fatKAT.
User Kit:
Kits that are changeable in your trapKAT. These are Kits that you alter to meet your
A measure of how loud or soft a Note the trapKAT will play on your Sound Source.
9. Appendix
appendix D: Kit Templates.
9. Appendix
appendix E:
MIDI Por 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, how
Notes and Program Changes are used, and sensitivity to timedelay
and polyphony.
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 drum is struck, it plays its sound out on its own.
(Ofcoursethereare exceptions likecymbalchokingand damping
mallet or drum sounds - but often the sounds do play out on their
Becauseof this, it is not unusual for a drum machine to not pay any
attention to Note Off Commands. This means that generally, even
if a drum machine is told to turn off a Sound after only a few
milliseconds, most will play the Sound out until it is done on its own
anyway. Because of this, you can choose on the trapKAT not to send
any Note Off Commands - because often, for drum Sounds, they are
not needed and simply fill up space in sequencers and waste the
time of the Receiving Sound Source.
Another difference for Percussion is that different Note Numbers are
more likely to stand for totally different Sounds - (not just different
pitches of the same Sound). There are exceptions to this, but a
keyboard player is more likely to think of MIDI Notes correlating
to Pitch and a drummer is more likely to think of MIDI Notes as
referring to totally different Sounds.
For a keyboard player, a Program Change Command is typically
thought of as selecting some specific Sound which the MIDI Notes
access different Pitches of. For a drummer, a Program Change is
generally thought of as selecting a specific collection of individual
sounds which specifies which different Sounds can be accessed
through MIDI Note On Commands.
Because drummers and percussionists have a highly developed sense of
time, they are more sensitive to time delays. A drummer is very
sensitive to where a Sound is played with respect to the beat. This
brings us to MIDI Delay. The MIDI time delay for a Note On
Command is 1 millisecond (one thousandth of a second). It is
imperceptible! (5 milliseconds (mS) is where you start to notice, 10
mS is noticeable and 20 mS is obnoxious.) (1 mS = .001 Second)
So why do we hear all this talk about MIDI Delay? Because they are
really talking about Sound Source Delay when they talk about
MIDI Delay. So what is Sound Source Delay? It is the time that it
takes a Sound Source to respond to a MIDI Note On Command it has
received and start to make a Sound. Sound Source delay typically
ranges from 1/2 mS to 15 mS. The Sound Sources with 1/2 mS to 3 mS
delay are the ones worth owning.
9. Appendix
So if you want to avoid "MIDI Delay", avoid Sound Source Delay! Call
us and we'll tell you how the current Sound Sources rate.
Interestingly enough, there is also Sound Travel Delay! It actually
takes sound a noticeable time to travel through the air. Hence
echoes. Hence you see lighting, then hear thunder seconds later.
Specifically, sound travels 1 foot in just a bit less than 1 mS. This
means that a monitor placed 10 feet from your ears will cause
around 10 mS of delay - Sound Travel Delay! (There is about a 2mS
delay from when you strike your acoustic snare drum 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
Looking at the actual times involved in MIDI Delay (lmS), 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.)
Because a drum sustainsafter you hit it for some time, quick hits or
rollshave essentially two or more separate acoustic sounds playing
at once. Drums need polyphony per drum to sound real. The
trapKAT has 4 Note polyphony per pad so that you can capitalize
on any sound sources that support polyphonyper note.
9. Appendix
appendix P: MIDI Implementation Chart.
Basic Channel - Default
Mode: Default
1 -16
Mode 3
Note Number:
Velocity: Note On
1 -127
Messages Altered
Pitch Bender:
By FootControl or Breath.
Control Change:
PitchBend by Breath Control
Program Change:
System Exclusive:
1 Kit
All Memory
System: Song Pos
Song Sel
Common: Tune
System: Clock
Real Time: Commands
Local On/Off
All Notes Off
Messages: Active Sense
Sequence Start, S
Notes: Note Offs timed by Internal Gate Time or continued physical holding on Pad.
9. Appendix
Appendix 6:
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 trapKAT will send a variety of Data Dumps of its internal
information, out the MIDI OUTs if you use the GLOBAL EDIT
footswitch and hit PadlO, rimPad23, or rimPad24.
The trapKAT will automatically accept or receive a Data Dump via
MIDI IN whenever one is sent in.
A trapKAT 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:
byte 1:
(OFOH) Start of System Exclusive Status Byte
byte 2:
byte 3:
byte 4:
byte 5:
(15H) [00H, OOH, 15His KAT's Company ID#.]
(63H) Instrument type ID # for the trapKAT.
byte 6:
byte 7:
(7FH) Individual Instrument ID # (=127 in trapKAT)
Dump Type
byte 8:
Software Version #
byte 9:
Aux Type# (Kit # or Motif# if Type is Kit or
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
trapKAT information.
The amount of data for each dump type is as follows:
Dump Type
Amount of Data
1 Kit
All Memory
After all the DATA has been sent, the End of System Exclusive
Command (0F7H) is sent.
9. Appendix
Appendix H:
Inserting New Software Chips For Software Updates.
Tools Needed: 1 medium flat screwdriver.
1) First, remove the AC adaptor plug from the back of the trapKATI
2) Find a smooth, clean, flat surface and place your trapKAT upside
down on it, the jacks facing away from you.
3) Remove back cover of the trapKAT (16 screws).
4) When the trapKAT is opened, you will see one large circuit board
towards the back.
On the front right of the printed circuit board is a large chip with a
white paper label that says something like "trapKAT 1.0". The
chip with the white label is your Software Chip, the code that
runs your trapKAT - its 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) The chip is at the top end of the circuit board. To remove an old
chip, you will use your flat screwdriver. You will pry the chip out
of its socket. 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 socket so as to pry
up the chip but not the socket. As you start to pry up the chip insert
the screwdriver further under the chip and pry up more, then insert
screwdriver even further and then pry up more until the chip comes
out of the socket.
Don't be scared - just pry a little bit and then push the screwdriver
in further, until the chip is out. Take your time, don't be in a hurry.
Make sure you insert the screwdriver behueen 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 trapKAT and reinsert the 16 screws.
8) Turn your trapKAT back over, and reinsert the AC adaptor plug into
the trapKAT. Now rum your trapKAT back on. If the display is
working, you are OK.
If the display is rioi working then:
a) Remove the AC adaptor plug again.
b) Turn the trapKAT over again and remove the 16 screws.
c) Take the back cover off again.
d) Try reinserting the chip (pry it out again to make sure that
the legs didn't get bent under the chip).
e) Put the back cover on, turn the trapKAT back over, reinsert
the AC adaptor plug, and turn the power back on.
f) 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.
9. Appendix
Appendix 1:
Breath Control adjustments
To actually use a Breath Controller (Yamaha BC-10) you should first
adjust the two trimpots in the headset to match the following
diagram, then train it.
First, match these settings:
Now train your BC-10 BreathController for optimum response.
To "Train" the response of the breath controller do the following:
1. Depress the GLOBAL EDIT footswitch and hit rimPad22 twice.
2. ThetrapKAT willsound a continuous beep. You should respond
by blowing through the breath controller and then hitting a
3. The trapKAT will again sound a continuous beep. You should
now hit a pad again without blowing.
4. The breath controller is now trained!
To assign what you want the BreathController to do simply depress
the GLOBAL EDIT footswitch and hit rimPad21 several times
scrolling through your options. Your options include:
PitchBend Up (On the Program Channel)
PitchBend Down (On the Program Channel)
Expression (On the Program Channel)
Sustain (On the Program Channel)
Off (Breath Controller not being used)
9. Appendix
Appendix d:
Warranty Policies.
The trapKAT has a limited warranty. The trapKAT is warrantied
against defects due to materials or workmanship for 90days on
labor, 6 months on FSR and rubber, and 1 yearon all otherparts.
Save vour sales receipt, it is required for proof of warrantyWarranty Restrictions:
Damage or defects sustained through unauthorized repairor tampering,
or abusive treatmentare not covered by this warranty. The
warranty does not cover damages to the trapKAT as a result of
incorrect polarity AC Adaptor. The shipping expenses and
arrangements for repair are the responsibility of the purchaser.
AlternateModeis not responsible for lossof Kit Memorywhen your
controller is sent in for repair or upgrade. Please, save your Kits on
a Data Disk,Sequencer, or Computer beforesending in for repair.
Care and Maintenance.
The trapKAT is an electronic musical instrument that was designed to
take a pounding - from a pair of drum sticks - not from rolling down
the stairs. Simply use good judgment and your trapKAT will
provide you with years of enjoyment.
Don't pour or spill liquids on your trapKAT.
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
(alcoholand solvents will dry rubber out and the rubber may then
crack and alcohol may remove some of the paint on the metal).
The rubber can be cleaned with a mild cleanser such as a dish washing
liquid or Simple Green, Soft Scrub, or Fantastic. 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. A Q-tip
works very well for cleaning the cracks in between the pads.
Like an acoustic drum head the tension of the rubber playing surface
may need adjustment from time to time. You received a small alien
wrench (5/64") with your trapKAT to adjust the tension on the edge
of the rubber playing surface with the alien screws in the top of the
metal chassis. Adjust this tension to help make the rims and pad
surfaces near the rims lay flat. (Do not overtighten to the point
where you actually bend the metal.)
The metal can be cleaned with a mild cleanser such as dishwashing
liquid. Do not pour the cleanser on the trapKAT. Apply a small
amount of cleanser to a clean cloth and then clean the metal
surfaces with the cloth.
9. Appendix
Appendix K:
alternate Mode, Inc.
Alternate Mode is a company dedicated to making the most
powerful Controllers in the world. We have a commitment to
quality and responsiveness. Our designs are responsive and we as a
company are responsive. Feel free to call us with questions or
Our products are designed to be upgradeable. Product improvements
and upgrades are designed to allow them to be implemented on
original versions of the product.
Our address, phone, and fax are:
Alternate Mode, Inc.
53 First Ave.
Chicopcc, MA 01020
Phone - (413) 594-5190
- (413) 592-7987
We look forward to hearing from you.
Alternate Mode Customer Service.
If you have any trouble with your trapKAT, feel free to give our
Customer Service staff a call. Our staff is knowledgeable, patient,
and glad to help. Our phone number is (413)594-5190 - simply ask
for "Customer Service". Feel free to call and tell us what was
difficult to understand (so we can improve) or even tell us what you
like (so we can feel good)!
If you need your trapKAT repaired or worked on for any reason, call our
Customer Service staff and ask for an "RA" number. This is a
"Return Authorization" number. You must then clearly mark this
"RA" number on the outside of the box you send back to Alternate
Mode. When you call in your RA, our staff will ask you for
information like your name, address, phone number, serial number,
purchase date, software version (power-up display), 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 an RA # before you send in a surprise to us.
If you ever have to ship the trapKAT 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 trapKAT in tight with packing
noodles, paper, etc. so that it is not flopping around in the box
during shipping.
Shipping expenses and proper packing of instruments shipped to
Alternate Mode are the responsibility of the consumer.
14. Index.
Training 25-26
Dynamics 25-27,29,32,38,39
4-5, 8,10, 21-24, 34, 38
AC Adapter 7,9, 34
- see Chick
Splash 21,24
Permanent Memory Protection 28
Holding Down Pads 10,20,30,42 Pitchbend 46
Polyphony 42
All Notes Off 10,20
Allen Wrench 35,47
Bass Gain
Power 7,9,34-35
Interaction 35
Problems- see Trouble Shooting
Program Change - see MIDI
Beeper 15,29
Breath Control
Kit 5, 7, 9,10-12,13-20,28, 29, 32,
5, 8, 46
36,38,39,42,43,47 Quick-Click 12,15> 17,19, 20,22,
Cases 4
KIT EDIT 13-24
KIT SELECT 9,10,20
Channels - see MIDI Channels
KIT Template 40
Receive Dump 5,7,29,38,43
Choke (Cymbals) 29
Re-Initialize 30, 34-35
Continuous Controller 21,23,37 Merge 5-7,28,41
Repair Information 47,48
Copy Kits 14
Reverse - see Decrement
Curves - see MIDI Velocity
Channel 9,10,15-17,22,24,
Data Dump
29-30, 32,38,43
Delay 30,39,40-41
Display Viewing Angle
Delay -see Delay
Software Installation 45
IN 5,7,9,16,28-30,32,38, Software Version 48
4*41-* Stands 3
LooPs ^
Sustain 46
Note 8,20,29,31-32,38-39,40 system Exclusive 31.32/43
- see Pad Dynamics
Note-Auto Load 16,28
OUT 5,7,9,16,28,30,31,34,
Program Change 10,15-16,28, TapTempo 12
31-33,39,40,46 Threshold - see Pads
Receive 30
Triggering Problems 35
Velocity 17-19,24,26-27,
Factory Kits
5, 9-11,13, 28, 38
Foot Control
30,31-33,34-35,38,46 Save 7f ^ Uf29t 32, 38,43,47
Troubleshooting 34-35
Curves 17-20,24,26-27
Minimum 17-19,24,26-27 UserKits 5,9,11,14-15, 28, 30,39,
4, 7,10,34-35
Maximum 17-19,24,26-27
Mounting 3
Gate Time
General MIDI 38
Note - see MIDI Note
Video 4
Volume 12,17,20
Kit 17,20
Groove 12,28
Grooves 11-12,28
AutoShutoff 29,37
Was this manual useful for you? yes no
Thank you for your participation!

* Your assessment is very important for improving the work of artificial intelligence, which forms the content of this project

Download PDF