KAT MalletKAT Pro6.1 Bedienungsanleitung (en)

KAT MalletKAT Pro6.1 Bedienungsanleitung (en)
malletKAT Pro / Express v6
TABLE OF CONTENTS
Chapter One: malletKAT Pro Overview
MIDI Controllers
Reassignments
Controller Inputs
Setups
Pad Training
Dynamic Articulations
Acoustic Emulations
page 1-4
page 1
page 1
page 2
page 3
page 4
page 4
page 4
Chapter Two: Play Mode Screens
Kit Numbers
Factory Kits
User Kits
Chains
Layer Modes
Hang Mode
Split Mode
Double Mode
Melody Chord Mode
Velocity Switch Mode
Alternate Mode
Pressure Modes
Normal Mode
Dampen Mode
Aftertouch
Dead Stroke
Controller One Two Functions
Poly Mode
Mono Mode
Real Time Control Mode
RTC+Velocity
Pitch Wheel Mode PTW
Virtual Control Wheel CTLA
Instrument Names
Kit Names / None
Bank Change/Program Change
Volume Change
page 6-20
page 6
page 6
page 7
page 7
page 8
page 9
page 9
page 9
page 10
page 10
page 11
page 11
page 11
page 12
page 12
page 13
page 14
page 15
page 15
page 15
page 16
page 17
page 17
page 18
page 19
page 20
page 20
Chapter Three: Editing the malletKAT
General Editing Concepts
Editing Pad Layout
Function Listings
Changing Values
Default Settings
Setup Copy
Cancel
Function Pad 1&2
Setup Numbers
Gate Time Control
Auto Velocity to Gate
Roll Mode
Auto Gate Mode
Latch----Group_Latch
Foot Controlled Gate
Infinite Mode
Octaves
Velocity Settings
Volume Setting
Program Change Setting
Hang Mode
Melody Chord Mode
Split Mode
Double Mode
Velocity Shift Mode
Alternate Mode
Monophonic Mode
Real Time Control
Pitch Wheel Mode
Virtual Control Wheel
Polyphonic Mode
Transpose Mode
Numeric Input Values
All Notes Off
Global Auxiliary Functions
Kit Auxiliary Functions
Bank Select
Factory Kits
User Kits
Chains
Normal Pressure Mode
Dampen Stroke, DeadStroke
Aftertouch
Numeric Input Values
Page 21-53
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page 24
page 24
page 26
page 27
page 29
page 30
page 30
page 31
page 31
page 32
page 33
page`33
page`33
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page 52
page 52
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page 53
page 53
Chapter Four: Kit Auxillary Functions/Screens Page 55-69
Aftertouch Type
Autogate
Bank Change
Breath Control
Edit Controller Interface
Foot Controller Assignments
Kit Controller Assignments
Kit Names
Mono Overlap Mode
Multiple Hit Smoothing
Pitch Bend Assignments
Polyphony Count
Reassignment Mode Assignments
Slew Data Strip Rate
Warp Mode
Chapter Five: Global Auxillary Functions/ Screens
Adjust Thresholds
Aftertouch
Bank Select
Beeper
Breath Controller Train
Chain Mode
Chord Mode Window
Dampen Control Assignments
Data Dump Receive
Debounce Count
Fine Tuning
Foot Controller Performs
Groove/Tap Tempo Assignments
Incoming Channel Routings
Incoming Program Change Receive
Incoming System Message Routing
Universal ID#
MIDI IN Program Change Sound Map
MIDI IN to Merge OUT
Normal Mode Scan Count
Permanent Memory
Program String Names
Reassignment Mode Assignments
Page 70-107
Real Time Controller Mode
RTC Assignments
Special Function Black Keys
Slew Data Strip Rate
Screen Angle
Select Data Dump Type
Pad Thresholds / Training
Global Pad Training
Group Octave Pad Training
Individual Pad Training
Reinitializing
Thresholds
Training
Tune Instrument
Virtual Control Wheel
Chapter Six:
Index:
Appendix:
Good Things To Know
Page 108-109
Differences Between malletKAT Pro and Express
Reinitialize the malletKAT
Page 110-114
Screen Shortcuts
Kit Auxiliary and Global Auxiliary Screens
Chapter One
malletKAT Pro Overview
The malletKAT Pro is a powerful MIDI controller that is designed
to capture your playing gestures and performance. It transforms
your performance into musical notes (MIDI data), noticing the
details of dynamics, pressure, speed, dampening, etc., creating an
incredible musical representation of your playing. It is this
attention to nuance and detail that makes this instrument so
enjoyable to play on. It is by far the most powerful percussion
controller ever created.
The malletKAT is really several instruments in one. It is broken
down into two basic keyboards, called Controller One and
Controller Two. Each of these Controllers are independent from
each other. They can have their own sounds, dynamic response,
keyboard and octave range, etc. These sounds can be activated
by stepping on a footswitch. They can be layered so that both play
at the same or they can be split or overlapped so that both sounds
are active at the same.
The malletKAT also has a third layer called a Reassignment
Layer. Every note on this layer can be programmed by the User
to play any note on any octave on any of the 16 MIDI channels
simultaneously. MIDI notes do not have to be contiguous. This
means that you can set up special arrangements of non pitched
sounds on any pad, or you can set up your own scales etc. This
Reassignment Layer can be used in combination with the other
Controllers or it can replace them. There are 14 programmable
Reassignments stored in memory that can be assigned into any of
the 128 User Kits.
1
The malletKAT can also be used as an alternate MIDI controller
that is designed to control notes instead of playing them. The
“black” keys can be assigned to Continuous Controller Numbers
and the “white” keys can send discreet values to these controllers.
The malletKAT can use dynamics and note position to create X,Y
sensing so that multiple parameters can be controlled by how
hard you are playing and where you are playing on the keyboard
at the same time.
There are special latch functions that can toggle notes on and off
to loop at will. Pads can be assigned to send out program changes
instead of notes. Combining these features in a User Setup is a
powerful way to control things like MIDI Light Control or Loop
Sequencers such as Ableton’s LIVE or Spectrasonics STYLUS
RMX.
The malletKAT has 2 Foot Controller Inputs, three momentary
inputs, and a breath controller input. All of these inputs are user
programmable, offering tremendous power to the performer. In
any particular performance, one can add subtle vibrato, pitch
bend, sustain and gate time variances, blending of sounds, filter
control, etc. just by using these input controls while playing on
the pads. It is possible to suddenly shift octaves, change sounds,
sustain chords, etc. while the “main” sound is active on the
keyboard.
You will notice that there are no buttons on the malletKAT for
editing. We have created an interface that allows for total
programming without having to put down your mallets. Notice
the words underneath the “white” keys. When stepping on the
Edit , these pads turn into editing functions. This allows for
instantaneous adjustments in playing such as octave range, gate
time, velocity range, program change, volume change, etc. This
makes for an incredibly easy interface. Once you get the hang of
this approach, you will be able to quickly change parameters to
your hearts content, even while you are playing live.
2
The malletKAT has 128 Factory Setups, 128 User Setups and 16
Chain Setups. Each Setup is a complete assignment of the sounds
and functions. You can name your own User Kits, store bank and
program change information, create your own MIDI mixer with
stored volume change commands. Every User Kit has its own
velocity response settings, gate time settings, octave range etc.
Chains allow for non contiguous arrangements of your Setups.
This is an extremely useful feature for setting up quick sound
changes in a performance situation. These changes can be
accessed by stepping on a footswitch or by hitting the
backward/forward function pads.
The Factory Setups are pre-programmed for General MIDI. That
means that if you have a sound source that responds to General
MIDI (it should have a GM MIDI logo displayed on it), the
malletKAT is ready to go without any programming involved.
The instrument name that you see on the display is the sound that
you will hear on your synth.
There are currently two versions of software available regarding
pre-programming of the User Kits. One is for the Kurzweil Pc2R,
and the other is for the Yamaha Motif ES. When the malletKAT is
reinitialized with this software, 128 User Kits are installed for one
of these instruments. In other words, we pre-programed the
malletKAT especially for one of these sounds sources. You can
alter any of these settings of course, but this is a great way to get
started when using these instruments. You may never have to do
any programming because we have done it for you. Please note
that both the Yamaha and Kurzweil Sound Modules are also
tweaked at our factory before they leave. If you have purchased
one of these sound sources from somewhere else, you will have to
go online to our website and download the free SYSEX file for
these instruments in order to get a turn key environment on your
malletKAT.
3
We are sure by now that as you read this introduction, you realize
the incredible power that lies within the malletKAT. The real
power however is not the bells and whistles that are inside it, but
the expressiveness and musicality that is capable with this
instrument.
One needs a fluid vocabulary to help articulate ideas and emotion.
It is our passion to fill this instrument with a full set of features
and functions to help the performer find the right articulation for
self expression.
Here are just a few of these powerful features.
Individual Pad Training.
Everyone plays differently. To help the performer get the full
dynamic range of their playing, the malletKAT learns the players
style. It converts the users softest & hardest hits into 128 discreet
velocity dynamics tailored to the performers needs.
Dynamic Articulations
Every Kit stores a set of minimum and maximum velocity ranges
along with velocity curves to get the instrument dynamics tailored
to personal taste. Dynamics can be used to change a sound at a
particular velocity point. Besides setting any “gate” length of a
sound, dynamics can also control how long a sound speaks.
These “gate time settings” can also be controlled by a foot or
breath controller.
Acoustic Emulations
The malletKAT can recognize “dampen” strokes, a common
vibraphone technique and now “dead” strokes, a common
marimba style of articulation. Like Individual Pad Training,
dampening and dead stroke articulations can be tailored to
respond to your personal style of playing.
Special Mono Modes have been developed to allow the performer
to play solo instruments such as flutes or lead lines without the
4
“bleeding” of sounds heard when using a sustain pedal on a synth.
Instead the sustain pedal in this mode creates a legato single line
passage. It is now possible to create staccato / legato
articulations effortlessly.
Auto Gate functions also help control the “bleeding” of sounds
when playing fast passages. The length of a sound can vary
depending on how fast you are playing. This can be extremely
effective when playing an acoustic guitar sound for example.
5
Chapter Two
PLAY MODE SCREENS
We know that many of you do not want to read the entire manual.
That’s OK. If you purchased a Kurzweil PC2R or a Yamaha Motif
ES from us, you probably won’t need to do much programming
anyway because we did that work for you.
It is important that you understand what ”condition” your
malletKAT is in at any particular moment, so please take the time
to read THIS chapter. It will save you grief down the road!
If you want more detail on any of the topics that are being
mentioned, refer to the INDEX. It will list all of the pages that
refer to topic outlined in this chapter.
When you first turn on the malletKAT, the display tells you on the
second line what version number of the software that’s inside
your malletKAT. Each new version of software adds new features
that might change the way the display looks. This manual is
written for version 6.x.
There are four lines of text on the display. The display changes it’s
look as different features are called up. Let’s begin with the first
Line.
KIT NUMBERS
The very first character on Line one will either be:
F followed by a number. Example F 01 meaning Factory Kit 1
or
U followed by a number. Example U 89 meaning User Kit 89
or
C followed by a group of numbers. Example. C02-12 Meaning
Chain Two, Setup 12.
6
The F stands for FACTORY KITS. There are 128 Factory Kits that
are in the malletKAT. These KITs are stored in memory. This
means that any changes that you make to the FACTORY Kits are
gone as soon as you leave the KIT going to another KIT number.
If you want to make permanent changes to a FACTORY Kit, then
you will need to save them in a USER KIT.
The name of the KIT displayed on line three is a GENERAL MIDI
Name. These names will only line up with the names that are on
your sound source if your module or keyboard has the GM logo
on it. If you do not have a GM synth, the malletKAT has no way
of knowing what sound source it is connected to. You will need to
go to the User Kits to make your own KIT names.
If you see a U followed by a number on the first line, then you are
in the USER KITS.
There are also 128 USER KITS in the
malletKAT. Here you can name your own kits, change any
parameter and have them stored into permanent memory.
If you see a number looking like C01-01, then you are in CHAIN
MODE. CHAIN MODE allows you to arrange your KITS in a
non-contiguous fashion. You can store 16 Chains, each having
the ability to arrange 16 KITS in each Chain.
You can jump between these three modes by holding down the
EDIT FOOTSTWITCH and hitting pad F (third octave). It says
BANK SELECT under the pad. Use the DECrement, INCrement
pads (C#-D# ) on the highest octave to change modes.
If you are using a malletKAT EXPRESS, you will need to hold
down the EDIT and the SUSTAIN ONE at the same time to tell
the malletKAT that you are accessing third octave functions.
Release the SUSTAIN once you enter the mode. If you have an
EXPRESS with three octaves, you do not need to do this.
7
You can change KITS at any time by using the Backward
/Forward Pads. (The little pads on the far right of the
malletKAT). Strike the pad twice to get your direction going.
For more information regarding KITs and CHAINs, refer to the
Index for specific pages on these subjects.
LAYER MODEs
Immediately following the KIT NUMBER, you will see on the first
line of the display one of the following LAYER MODES on the
screen.
Hang = Hang Mode
Splt = Split Mode
Doub = Double Mode
Mel1 = Melody Chord Mode 1
Mel2 = Melody Chord Mode 2
Mel3= Melody Chord Mode 3
VEL S = Velocity Shift Mode
Alt = Alternate Mode
Layer Modes tell the malletKAT how to control its sound layers.
These layers are called CONTROLLER ONE AND CONTROLLER
TWO. These Layers can be total independent, split on the
keyboard, layered, velocity shifted or alternated as described
below.
8
Hang. In this mode, when you are playing on the malletKAT, you
will hear the sounds being controlled by CONTROLLER ONE.
When you step on the SUSTAIN TWO , the malletKAT switches to
the sound being controlled by CONTROLLER TWO. In its default
setting, CONTROLLER TWO sound plays INDEFINITELY ( it
HANGS) until you touch the SUSTAIN 2 again. This allows you
to play suspended sounds underneath while you are playing on
the sounds from CONTROLLER ONE.
You can access the HANG mode by stepping on the EDIT , and
while held down, tap the C natural, second octave down from the
top
Splt. The SPLIT Mode allows the malletKAT to play two sounds
without having to step on the SUSTAIN Two . Each of the sounds
from CONTROLLER ONE and TWO can have their own SPLIT
point on the keyboard. This means that the two sound layers can
overlap or split. It is even possible to have “dead” notes between
the two SPLIT Zones.
You can access the Splt mode by stepping on the EDIT , and
while held down, tap the D natural, second octave down from the
top. Both Controller One and Two need to have their own split
points assigned in order for this function to work properly. Read
about this in the EDIT Screens chapter.
Doub. When you see this on the first line on the display, it
means that the malletKAT is in DOUBLE or layer mode. That
means that both CONTROLLER ONE AND TWO are active across
the entire malletKAT.
Both sounds are layered on the
instrument. You can step up Sustain One Footswitch to control
the sustaining of both sounds at the same time in the KIT AUX
Screens.
9
You can access the Doub mode by stepping on the EDIT , and
while held down, tap the E natural, second octave down from the
top
Mel1, Mel2, Mel 3 When you see any of these on the first line,
you are in Melody Chord Mode. These modes tell the malletKAT
what sound to play (from Controller One or Controller Two)
depending on how many notes are being played simultaneously.
It gives one the ability to play one sound as a melody line and
another as an accompaniment sound simply by playing individual
notes or chords.
There are three variations (described in the Editing Chapter) of
the Melody Chord Mode. Each Mode varies slightly on where to
send the notes when it sees a chord. It is always best to
experiment and listen to the differences and see which Mode will
work best for you.
You can access the Mel1, Mel2 or Mel3 Melody Chord Modes by
stepping on the EDIT , and while held down, tap the C natural
pad (hang) TWICE, THREE times for FOUR Times respectively.
This C is on the second octave from the top.
If you let go of the footswitch and start the process again, hitting
C will start the Mode changes from the beginning showing you
the HANG, then Mel1, then Mel 2 etc.
VEL S. When you see this on the screen, you are in Velocity
Switch Mode.
In this mode, the sound switches between
CONTROLLER ONE and TWO by how hard you play. You can
set up the exact velocity point that the switch happens in the KIT
AUX SCREENs.
You can access the VELS mode by stepping on the EDIT , and
while held down, tap the E natural pad (layer) TWICE, second
octave down from the top.
10
Alt. The Alt stands for Alternate Mode. In this mode, every time
you hit the keyboard, the sound switches between CONTROLLER
ONE and CONTROLLER TWO.
You can access the ALT mode by stepping on the EDIT , and
while held down, tap the E natural pad (layer) THREE TIMES
second octave down from the top.
PRESSURE MODES
The malletKAT can detect continuous pressure on a pad. This
gesture of applying pad pressure can be interpreted by the
malletKAT to perform specific functions such as mallet
dampening, dead stroking or aftertouch.
On the first line of the display on the far right of the screen, there
are several choices of Pressure Modes. They are:
Norml, Dampn, Aftch and DeadS
Norml This represents the NsORMAL Pressure Mode, where
applying continued pressure causes notes to be sustained. (this
is like pressing down on a keyboard). The note will shut off after
the pressure from the mallet is released (and the gate time lapses)
You can access the Norml mode by stepping on the EDIT , and
while held down, tap the G natural pad. This is the third octave
down from the top.
11
If you are using a malletKAT EXPRESS, you will need to hold
down the EDIT and the SUSTAIN ONE at the same time to tell
the malletKAT that you are accessing third octave functions.
Release the SUSTAIN once you enter the mode. If you have an
EXPRESS with three octaves, you do not need to do this.
Dampn This represents the Dampen Pressure Mode, where
natural dampening techniques cause individual notes to be
quieted.
This is like the dampen technique used on a
vibraphone/vibraharp.
There are settings in the GLOBAL AUX Screens that change the
sensitivity and reactions to your dampening strokes.
You can access the Dampn mode by stepping on the EDIT , and
while held down, tap the A natural pad. This is the third octave
down from the top.
If you are using a malletKAT EXPRESS, you will need to hold
down the EDIT and the SUSTAIN ONE at the same time to tell
the malletKAT that you are accessing third octave functions.
Release the SUSTAIN once you enter the mode. If you have an
EXPRESS with three octaves, you do not need to do this.
Aftch This represents the Aftertouch Pressure Mode, where
applying continued pressure causes Aftertouch commands to be
sent to your sound source. Aftertouch is continuous controller
data that can be routed to do many different things within the
sound module.
You can access the Aftch mode by stepping on the EDIT , and
while held down, tap the B natural pad. This is the third octave
down from the top.
12
If you are using a malletKAT EXPRESS, you will need to hold
down the EDIT and the SUSTAIN ONE at the same time to tell
the malletKAT that you are accessing third octave functions.
Release the SUSTAIN once you enter the mode. If you have an
EXPRESS with three octaves, you do not need to do this.
DeadS This represents the Dead Stroke Mode. This is a new
feature in 6.0 which simulates the common dead stoke technique
that is used with marimba and vibraphone players.
When a dead stroke gesture is detected, these notes are sent out
on a different MIDI channel so that dead stroke samples can be
accessed.
If you have a SAMPLER that has samples of marimba dead
strokes, this mode will become invaluable. Unfortunately, this
may be hard to come by. When an electronic instrument is made
entirely on the dead stroke sound, this new feature in the
malletKAT will be ready to represent this new articulation.
You can access the DeadS mode by stepping on the EDIT , and
while held down, tap the A natural pad (dampen) TWICE. This is
the third octave down from the top.
The Dead Stroke gesture can also be creatively used to access
different sounds on multiple channels that are transposed. The
Dead Stroke sends the note data to the actively kit assigned
Reassignment Number (a Reassignment is a special keyboard
layout arrangement where each note can be assigned to any note
number along with it’s own MIDI channel.
You can control the delay time before the Dead Stroke sounds in the
Global Screens (Dead Stroke Count).
13
If you are using a malletKAT EXPRESS, you will need to hold
down the EDIT and the SUSTAIN ONE at the same time to tell
the malletKAT that you are accessing third octave functions.
Release the SUSTAIN once you enter the mode. If you have an
EXPRESS with three octaves, you do not need to do this.
CONTROLLER ONE and TWO
CONTROLLER FUNCTIONS
On the second line of the Display, you will see the word
“Controller” followed by 1 or 2. Whenever you edit the malletKAT,
you will need to know what layer you are working on.
You can change what Controller you are using by stepping on the
EDIT , and while held down, tap the INC or DEC pads (C# or D#
on the highest octave). The display will show the current
Controller Number.
You will also notice that to the right of the word Controller is yet
another group of functions that tell the Controller how it is to
function.
Every Setup has two Controller Layers, and each Layer can have
its own assigned Function. Remember also that they can be
layered in DOUBLE Mode or accessed independently in HANG
Mode.
14
These are the Controller Functions.
They are as follows:
Poly
Mono
RTC
RT+V
PTW
CTLA
CTLB
CTLC
Poly. This is the “standard default” Controller Function. This is
for normal polyphonic playing. In this mode, you can play
chords, melody, etc.
You can access the Poly mode by stepping on the EDIT , and
while held down, tap the G natural pad. This G is on the second
octave down from the top.
Mono. This setting is for Monophonic Playing. This mode is
great for lead lines, or for simulating solo line instruments like
flute or trumpet. Only one note will sound at a time in this mode.
There is also an Mono Overlap Setting for setting legato control
(this overlaps notes together, programmed in milliseconds).
You can access the Mono mode by stepping on the EDIT , and
while held down, tap the F natural pad. This F is on the second
octave down from the top.
RTC. This stands for "Real Time Controller”. This Mode turns
the malletKAT into a massive knob turning machine. The “black”
keys on the lower two octaves (one octave for the Express) are
assigned a Continuous Controller Number. The “white” keys send
out discreet values.
15
If you assign say C# as a volume control for your mixer, striking
the white keys from left to right will raise the volume of that
fader. This is a very powerful feature, and as of date, we are the
only manufacturer implementing it on a keyboard controller.
You can access RTC by stepping on the EDIT , and while held
down, tap the F natural (mono) pad TWICE. This is the second
octave down from the top.
RTC + Velocity This stands for "Real Time Controller" plus
Velocity. This is a special mode that allows for two controller
numbers to be manipulated simultaneously. RTC is a horizontal
control, meaning that values of a controller are affected by using
the white keys, left to right. Adding Velocity to this mode means
that your playing dynamics, or vertical approach changes values
to a controller. Playing soft or loud is interpreted as small or
large controller values.
Details on this mode are in the “Editing the Screens” Chapter.
You can access RTC + V by stepping on the EDIT , and while
held down, tap the F natural (mono) pad THREE times. This is
the second octave down from the top.
You can get back to the other Modes on F natural by releasing the
Edit , and then starting the process again.
The following Modes only function on CONTROLLER TWO.
PTW / CTLA / CTLB / CTLC
16
PTW. This mode is the PITCH WHEEL MODE. This turns
CONTROLLER 2 into a massive pitch wheel. Unlike the RTC, the
value of the white key returns to zero when the note is released.
This simulates using a pitch wheel on a synthesizer. This mode is
intended to be used in conjunction with CONTROLLER ONE, the
actual sound, while CONTROLLER TWO imposes the pitch wheel
effect on CONTROLLER ONE.
Details on this mode are in the “Editing the Screens” section.
You can access PTW by stepping on the EDIT , and while held
down, tap the F natural (mono) pad FOUR times. This is the
second octave down from the top. Remember that this setting
only works on CONTROLLER TWO.
You can get back to the other Modes on F natural by releasing the
Edit , and then starting the process again.
CTLA / CTLB and CTLC.
There are three VIRTUAL CONTROL WHEELS on the
malletKAT. They are Control Wheels A, B and C.
These wheels can only be assigned to CONTROLLER TWO. Only
one wheel can be activated per KIT. It is activated when the
Sustain Two Footswitch is depressed. Like the PTW mode, the
white keys on the malletKAT send out discreet wheel values.
Details on this mode are in the “Editing the Screens” Chapter.
17
You can access CTL by stepping on the EDIT , and while held
down, tap the F natural (mono) pad FOUR, FIVE, SIX or SEVEN
times respectively. This is the second octave down from the top.
You can get back to the other Modes on F natural by releasing the
Edit , and then starting the process again.
INSTRUMENT NAMES / KIT NAMES / NONE
On the third line of the display, you can choose one of three
options for what will be displayed on that line. This option is
decided in the GLOBAL SETTINGS (screen #64, Program String
Names). Choices are:
INSTRUMENT NAMES. These are the General MIDI Program
Names. In the Factory Kits, you cannot change these names. The
Instrument Names correspond to the Program Numbers that
have been assigned to them.
If you have a General MIDI sound module, the INSTRUMENT
NAMES on the malletKAT display will automatically correspond
to the screen names and sounds of your synth.
If you are using a non standard sound source, or a different sound
bank on a GM compatible synth, the names will NOT correspond.
You should then go to the USER KITS and use the KIT NAME
option, or just ignore the name of the KIT in the FACTORY KIT
setting.
18
KIT NAMES
In the USER KITS on the malletKAT, you can choose to name
your own kits. This is helpful when creating a KIT that has
combinations of sounds in them. This mode should be used if you
are using a sound source that is not GM compatible.
This option is decided in the GLOBAL SETTINGS (screen #64,
Program String Names).
The KIT NAME is the same for BOTH CONTROLLERS. The
length of the name can be a total of 12 characters. It is
programmed in the KIT AUX screens (#00) See “Editing the
Screens” for details.
NONE
It is also possible not to have any KIT name strings in a SETUP.
This can be useful because screen lines 3 and 4 then display
channel, volume and program number information for Both
CONTROLLER ONE on line three and CONTROLLER TWO on
line four.
If KIT NAMES or INSTRUMENT NAMES are chosen, line four
displays information only for one CONTROLLER. You can decide
which controller is being displayed by stepping on the EDIT and
while held down hit the C# Decrement or D# Increment Pad on
the highest octave. While in EDIT, you will see the words “Edit
Controller One” or “Edit Controller Two” on the display. When
you release the footswitch and are back in Play Mode, whatever
CONTROLLER you chose will display its number on the second
line. The data on the fourth line (explained below) will be
information about that Controller.
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THE FOURTH LINE
BANK, PROGRAM and VOLUME INFO
There is much information packed on the fourth line of the
display.
First, is the MSB, LSB Bank Change information. You will see a
number like this: B 01-02. The B stands for BANK, the first
number 01 is the MSB number. The dash separates the LSB
number from the MSB.
Please read in the AUX Screens Chapter more information about
Bank Change Commands.
Following the Bank Number Display is the letter P followed by a
number. This is the PROGRAM CHANGE number. There are
127 Program Change numbers available, each number
representing a sound on your synth.
Finally there is the letter V. This represents the Volume Number.
As you can see, each kit in the malletKAT stores a Bank, Program
and Volume Number. It acts like a mixer, completely setting up
your synth with the right sound and the right volume. You’ll
almost never need to touch the sound module.
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Chapter Three
EDITING THE MALLETKAT
GENERAL EDITING CONCEPTS:
The malletKAT PRO has no buttons or knobs for changing
settings. All changes in the malletKAT PRO’s settings are done
with the Playing Pads. That is why the Pads have names like
Setup, Octave, and Channel, etc. below them. You can make all
of your changes without having to put your mallets down!
The malletKAT PRO has two main operating modes: PLAY
MODE and EDIT MODE.
You are in PLAY MODE when you are not depressing the EDIT
Footswitch. In PLAY MODE, your Pads play sounds. The
screen says Play Mode on the display along with other
important information.
You are in EDIT MODE whenever you are depressing the EDIT
Footswitch. In EDIT MODE, your Pads all perform the Editing
functions that are written below the Pads themselves.
HOW TO EDIT:
The process of Editing goes like this:
• Depress the EDIT and Keep it Down then..
• Select Controller 1 or 2 by hitting the INC/DEC Pads (C# D# on top octave). This sets up what Layer you are Editing.
• Select the Function you want to edit by hitting a “white” key.
The name of the function is underneath the white note.
21
• Use the INC/DEC Pads to change the Value or use the Black
Keys as a numeric pad.
(The numbers are under the black
keys (not shown on Express).
• Release EDIT .
That’s it! Get into EDIT MODE with the EDIT , select a setting
to change, change it, and release the EDIT . Now, for some
examples.
EXAMPLE 1: Change the “Octave” setting for Controller 1.
1. Depress the EDIT . The Screen will look like:
Setup 01 (01-127)
Edit Controller1(or 2)
2. Use the C# or D# pads (INC/DEC) on the highest octave to
change Controller number if it is not set to 1.
3. Hit “Octave” (the “E” of the highest octave of your 3-octave
malletKAT PRO).
Screen looks like this
Setup 01
Edit Controller 1
Octave
08 (00-14)
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4. Hit the INC/DEC pads to set the octave range of the Kit. It
can be set to any octave range from 00 to 14, depending on the
sound selected. Each time you strike these value keys, the
keyboard changes one octave up or down.
5. Release the EDIT . The Screen will return to the PLAY
MODE screen. The sound of instrument will now sound an
octave higher or lower.
EXAMPLE 2: Changing the MIDI CHANNEL from 01 to 02
1. Depress the EDIT . The Screen will look like:
Setup 01 (01-127)
Edit Controller1(or 2)
2. Hit B natural on the second octave from top (it says Channel
on the bottom)
Setup 01
Edit Controller1
Channel 01
3. Hit the INC Pad (D#) once. The bottom line changes to
Setup 01
Edit Controller1
Channel 02
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4. Release the EDIT . The Screen will return to the PLAY
MODE screen – Controller One is now sending on MIDI
CHANNEL 2.
EDITING PAD LAYOUT
Underneath the “white” keys of the malletKAT are the BASIC
listings of FUNCTIONS. When you step on the Edit and hit
one of these pads, the name of that FUNCTION appears. When
it does, you simply use the INC/DEC pads to change the values.
On the EXPRESS, you will need two footswitches to get at the
EDIT FUNCTIONS normally found on the third octave. See
“Edit Mode on the malletKAT EXPRESS” in the “Good Things
to Know” chapter.
On some “white” keys, repeated hits call up different functions.
On the malletKAT PRO, you can also use the “black keys” as a
numeric input instead of the INC/DEC pads. The EXPRESS
has limited access to this feature.
FUNCTION LISTINGS
HIGHEST OCTAVE
C = Setup Number
D = Gate Time Settings forward = (Roll Mode, Velocity Gate)
E = Octaves
F = Minimum Velocity Setting
G = Maximum Velocity Setting
A= Velocity Curve
B = Volume Setting
C (highest) = Program Change
C# = Decrement
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D# = Increment
F# = Default
G# = S.Copy
A# = Cancel
Function Pad 1 = Backwards
Function Pad 2 = Forwards
MIDDLE OCTAVE
C = Hang Mode, Melody Chord 1, Melody Chord 2, Melody
Chord 3 Modes
D = Split Mode
E = Double, VEL Shift, ALT Mode
F = Monophonic Mode , RTC, RTC+Velocity (Layer two PTW,
CTLA,CTLB, CTLC
G = Polyphonic Mode
A= Transpose Mode
B = MIDI Channel
C# = 6 number
D# = 7 number
F# = 8 number
G# = 9 number
A# = 0 number
LOWER OCTAVE
C = All Notes Off, Individual All Notes Off
D = Global Auxiliary Functions
E = Kit Auxiliary Functions
F = Bank Select (Factory, User, Chain)
G = Normal Pressure Mode
A= Dampen Stroke, Dead Stroke
B = Aftertouch Mode
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C# = 1 number
D# = 2 number
F# = 3 number
G# = 4 number
A# = 5 number
EDITING PAD DESCRIPTIONS
HIGHEST OCTAVE
CHANGING VALUES
Use the C# pad (highest octave) for Decrement (lowering the
value)
Use the D# pad (highest octave) for Increment (raising the
value)
Use these two pads for changing the value of the function that is
called up in Editing. Each strike of the pad increases or
decreases the value of “blinking” value by one.
These pads also toggle between Controller One and Controller
Two when you first enter EDIT Mode by stepping on the Edit
footswitch .
You can also change the value of a function by using the
numeric pads (black keys of middle and lower octaves). Just
use these pads to enter the number. It automatically loads in.
26
DEFAULT = F# pad (highest octave)
The malletKAT PRO can automatically place in a default value for
every function when you are editing. This means that when you
call up a function, rather than having to guess what number to
input, striking the F# pad while the function value is blinking will
load in a basic “default” or normal value.
Using the Defaults will make using the malletKAT PRO even
easier for you. Whenever you want to make a new Setup, you
can dump in the Defaults so that you can start out with the
Setup already close to your liking. This is especially true since
you can even change the Defaults to whatever your preferences
are.
The Default values (for Setup settings) themselves may be
changed at any time. To do this, the “Default” pad must be the
first pad hit after the Edit is depressed. From this point on, as
long as the Edit 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 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 .
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:
27
6) Depress the Edit and keep it depressed during the
following.
7) Hit the “Channel” Pad, (D on the highest Octave).
8) Hit the “Default” Pad, (F# on the highest octave). Note that
the Channel has been changed to “4”.
9) Release the Edit .
Now you have changed the current Setup Channel setting (for
one of your Controllers).
To put your Channel back to the Channel you want (and put
Default setting to the Channel you want) do steps 1 to 9 above
again, except at step 4 put in the Channel number you want to
use.
Now you should put in the Defaults for all the values you use.
This will make all of your future Setup editing easier because
you can set up most the of values quickly by using the Defaults.
If you put in a Default Setup when you start editing a Setup, all
of your Personal Defaults will be inserted for you.
To load in a Default Setup, simply:
1) Depress the Edit 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 .
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.
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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)
2)
3)
4)
5)
Depress the Edit and keep it depressed during the following.
Hit the “Default” Pad, (F# on the highest octave).
Hit the “Minimum Velocity” Pad (F on the highest octave).
Hit the “Default” Pad again, (F# on the highest octave).
Release the Edit .
Now the Default for Minimum Velocity has been returned to
the original Factory setting.
SETUP COPY = G# (highest octave)
This function allows you to copy the current FACTORY or
USER Setup to any other USER SETUP number.
To do this, perform the following steps:
1. Hit the SETUP COPY pad (G# on the highest octave) while
the Edit is pressed.
2. Enter the digits of the Setup Number to which you would like
to copy the current setup by using the INC/DEC Keys.
3. Hit the SETUPCOPY pad again to see the confirmation
screen.
4. Hit the SETUP COPY pad a third time to perform the copy.
After the copy is performed, the SETUP that you copied to is the
CURRENT Setup
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Cancel = A# (highest octave)
To recover from unwanted changes, simply hit the CANCEL
pad (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.
Function Pad 1 = Backwards
Function Pad 2 = Forwards
These are the little pads on the far right of the malletKAT. In
PLAY MODE, hitting the pads allow you to ADVANCE or go
BACKWARDS to the next Setup. You need to hit them twice to
start the Setup changing, but once you do, one hit moves the
Setup one kit back or forwards.
When the TAP TEMPO / GROOVE is ENABLED, hitting the
BACWARDS pad twice with the EDIT Footswitch down will
determine the new Tempo. The screen will display the new
tempo after the pad is struck twice.
When the TAP TEMPO/ GROOVE is Enabled, hitting the
FORWARD pad toggles the GROOVE ON or OFF.
SEE the GROOVE Section in the Global Screen Chapter.
In EDIT MODE these pads allow you to advance backwards or
forwards to the next cursor position on the screen and also to
advance backwards or forwards to the next screen (examples;
Global Aux Screens, Kit Aux Screens, Gate Time Screens, etc)
30
SETUP NUMBER = C (second highest C)
A SETUP is an entire collection of settings that defines one “kit”
of the malletKAT Pro. There are 128 USER SETUPS and 128
FACTORY SETUPS in the malletKAT. A Setup consists of
MIDI Channels, Gate Time Setting, Velocity Settings, Program
Number, Etc.
GATE TIME CONTROL
GATE Time
VELOCITY Gate
ROLL Mode
AUTO Gate
FC Gate
INFINITE Gate
LATCH Performance Mode
The many different ways to control GATE on a malletKAT
makes this instrument incredibly expressive. Understanding
these different settings will help you to create nuance in your
performance.
GATE TIME Settings = D (highest octave)
10mS – 6.100 seconds. Gate Time is the amount of time the
malletKAT holds down or sustain notes for you.
Generally, Gate Time is a measure of how long the sound
should sustain. After the malletKAT Pro sends a “note on”
command, the malletKAT will wait this length of time before
sending a “note off” command. For synths, tone generators and
samplers, this is an important setting. For many drum
machines, this setting has no effect. When a Gate Time has no
effect, it should be set to a fast value (0.015 milliseconds).
31
Different Gate Times will give you different lengths of time for
the sustain of the notes. For very short Gates times, the value
choices are in 5 mS increments. For medium times the
resolution is 25 mS, while at long times (>2seconds), the
resolution is in 100 mS increments. The varying resolution
allows you to have accurate resolution where it counts 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/DeadStroke Mode). If you are going to do this, you
should raise the minimum velocity of the pads up because
dynamics on the pads are measured in the first 2 milliseconds
of your contact with the pad. On a Staccto hit, this is fine.
However, if you are trying to press down on a pad in a
“sustaining way”, your “push” has not amounted to much in the
first 2mS.
You also control varying the sustain of the notes you play by
using the Sustain footswitch. It is the most natural mechanism
to use as it operates like a vibe pedal. The Gate Time sets the
minimum sustain- which you can extend longer with the
sustain pedal or by manually holding individual notes down.
AUTO VELOCITY TO GATE = D (highest octave)
You can control the Gate Time of a sound by how hard you hit
the pad.
Hit the Gate Pad (d natural) and use the INC/DEC pads to find
the VELOCITY Gate time setting (past 6.100 seconds)
After setting the Gate Time to VELOCITY, hit the RIGHT
FUNCTION PAD (P2) Twice to get to the Min/Max Velocity
Settings.
32
If the gate is set to VELOCITY, the length of each note is
determined by the velocity of each hit. The range of the gate is
determined by this AUXiliary Screen which sets the Minimum
and Maximum Range of the Gate Times. Reverse settings are
legitimate (the harder the hit, the smaller the gate time).
The range of the Velocity Gate time is .10 to 6.100 seconds.
ROLL MODE = D (highest octave)
Enter the Gate Time Mode (edit footswitch and d natural), then
hit the RIGHT FUNCTION PAD Once. You can then Toggle
ON/OFF the ROLL MODE Feature.
When ROLL MODE is turned on, individual notes can be
polyphonic if the same note is played rapidly (thus eliminating
the “machine gun effect” of certain sounds. Six Seconds after
the rapid playing stops, a note off message is sent and will shut
off all of the individual note “on”s.
Please note that some sound sources will not “like” this
function. If notes get stuck on in this mode, you must keep the
Toggle set to OFF.
Loop Latch/ Group Performance Mode.
Set the gate time to Latch. The keys of the malletKAT do NOT play
normally. The black keys turn on notes, while the white keys below
the black ones turn OFF the black notes. In other words F# plays the note
with no gate time. The F natural below the F# turns that note off. Same for
G#, A# with G and A shutting the sharp notes off.
GROUP LATCH.
Hitting the Hi C will shut off ALL loops. Hit the Hi C again, and the loops
toggle back on. If a sharp key is struck again, the Hi C resets and remembers
only the sharp keys struck after hitting the Hi C.
AUTO GATE MODE
This is found in the KIT AUX Screens # 60.
When AUTOGATE is enabled, the gate time is affected by how
fast you play by the amount programmed on this screen. The
Overlap setting on the display is the amount of time the
shortened note will play before being turned off, measured from
when the last note was hit.
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FOOT CONTROLLED GATE
The Gate Time of a sound can now be controlled by the position
of the controller pedal.
When the Gate Time is set to GATE FC1 or GATE FC2, the
position of the pedal determines the length of the sound. The
range of the gate time (minimum and maximum) is set by
first calling up the gate time screen in edit mode, setting the
time GATE FC, then while holding down the edit , tap the right
function pad twice (past the roll mode screen). It is here that
the minimum and maximum ranges are set.
INFINITE MODE = D (highest octave)
Enter the Gate Time Mode (edit footswitch and d natural), then
use the INC/DEC pads to find the INFINITE setting (past 6.100
seconds).
This setting is specifically for Controller 2 when using HANG
mode. When the gate time is set to INFinite, the Sustain 2 acts
like a GATE TOGGLE. When the Sustain 2 is held down, the
notes from CONTROLLER 2 are played. They will continue to
play…to HANG, until the footswitch is held down again.
See also HANG MODE for more information on the use of
INFINITE Gate.
OCTAVES = E (highest octave)
Range 00-14
This function sets the pitch range of the Controller. Each time
you raise or lower the number, the entire note range of the
sound goes up or down one octave.
34
MINIMUM VELOCITY SETTING = F (highest octave)
Range 00-127
This setting determines how loud your softest hits will sound.
Lowering this number will make your soft hits sound softer.
Raising this number will turn even soft hits into loud sounds (if
the maximum velocity is set to max, 127)
MAXIMUM VELOCITY SETTING = G (highest octave)
Range 00-127
This setting determines how loud your loudest hits will sound.
Lowering this number will make your loud hits sound softer.
VELOCITY CURVE = A (highest octave)
Range 01-11
This setting determines how the loudness of a sound varies as
your hits go from soft to hard. It determines how fast a sound
goes from the minimum velocity setting to the maximum
velocity setting as you play from soft to hard.
Some curves work in reverse. The harder you play, the softer
the sound gets.
See the Appendix for Velocity Curve Documentation.
VOLUME SETTING =B (highest octave)
Range 00-127
This setting determines the overall volume of a patch on your
sound source. When you enter a KIT SETUP, the volume
command is sent to your synth. This acts like a MIDI Mixer, so
you can control the volume of sound from patch to patch.
The volume will be overridden by the Foot Controllers if you are
using them to control volume.
35
PROGRAM CHANGE SETTING =C (highest octave)
Range 00-127
This setting selects a sound or set of sounds on your sound
source in conjunction with the BANK SELECT # command
found in the KIT AUX SCREENS #3 and 4. There are usually
128 sounds in a BANK. This screen sends a program change
within the Bank selected.
MIDDLE OCTAVE
HANG MODE =C (on MIDDLE OCTAVE)
Hang Mode is one of the LAYER MODEs on the malletKAT.
Layer Modes tell the malletKAT how to control its sound layers.
These sound layers are called CONTROLLER ONE AND
CONTROLLER TWO. Hang Mode is a default setting, because
the main sound is generated by CONTROLLER ONE
In this mode, when you are normally playing on the malletKAT,
you will hear the sound being controlled by CONTROLLER ONE.
When you step on the SUSTAIN TWO , the malletKAT switches to
the sound being controlled by CONTROLLER TWO. In its default
setting, CONTROLLER TWO sound plays indefinitely, (it
HANGS) until you step on the SUSTAIN 2 again. This allows you
to play suspended sounds underneath while you are playing on
the sounds from CONTROLLER TWO.
You can access the HANG mode by stepping on the EDIT
Footswitch, and while held down, tap the C natural, second octave
down from the top.
36
MELODY CHORD MODE =C twice…four times (on
MIDDLE OCTAVE)
Mode One, Mode Two, Mode Three.
MELODY CHORD MODE is one of the LAYER MODEs on the
malletKAT. Layer Modes tell the malletKAT how to control its
sound layers. These sound layers are called CONTROLLER ONE
AND CONTROLLER TWO. There are three MELODY CHORD
MODE variations.
When you see any of these on the first line (Mel1, Mel2, Mel 3),
you are in Melody Chord Mode. These modes tell the malletKAT
what sound to play (from Controller One or Controller Two)
depending on how many notes are being played simultaneously.
It gives one the ability to play one sound as a melody line and
another as an accompaniment sound simply by playing individual
notes or chords.
There are three variations of the Melody Chord Mode. Each
Mode varies slightly on where to send the notes when it sees a
chord. It is always best to experiment and listen to the differences
and see which Mode will work best for you.
MODE ONE: MEL1
If a chord is detected (two notes played within the time set in
Global Screen #77), the first note of the chord is played on both
layers
Example: You have a marimba on Layer one and a vibe sound on
Layer Two. As you start to play a single line, you hear the marimba
sound. When you play a C chord, (the high C is the first note struck
on the chord). The malletKAT will play the High C on both the vibes
37
and marimba sound, and the rest of the chord is played on the
marimba sound only.
MODE TWO: MEL2
If a chord is detected, all notes are played on both layers. The
malletKAT temporarily jumps to DOUBLE or LAYERED MODE.
As soon as a single note is played, only the first Layer will play.
MODE THREE: MEL3
When a chord is detected, the first note of the chord will be played
on Layer One. All subsequent notes of the chord will play on
Layer Two.
You can access the Mel1, Mel2 or Mel3 Melody Chord
Modes by stepping on the EDIT Footswitch , and while
held down, tap the C natural pad (hang) TWICE, THREE
times for FOUR Times respectively. This C is on the
Middle octave of a three octave malletKAT.
If you let go of the footswitch and start the process again, hitting C
will start the Mode changes from the beginning showing you the
HANG, then Mel1, then Mel 2 etc. This Mode is turned off when
in Double, Split or RTC Modes are selected.
38
A Sensitivity Control is provided in Global Screen #77. This
parameter determines how close a pair of notes must be to be
considered part of a chord. The lower the number, the lower the
latency. This is because the malletKAT has to wait until the
programmed time has elapsed to determine if you are playing a
single note or chord.
This concept was first conceived on the Marimba Lumina,
developed by programmer Mark Goldstein. Mark being the
gentleman that he is, a true friend and lover for the advancement
of electronic percussion, has allowed me to take his concept and
use it on the malletKAT. Thank you again, Mark!
SPLIT MODE =D (on MIDDLE OCTAVE)
Splt. The SPLIT Mode allows the malletKAT to play two sounds
without having to step on the SUSTAIN Two . Each of the sounds
from CONTROLLER ONE and TWO can have their own SPLIT
point on the keyboard. This means that the two sound layers can
overlap or split. It is even possible to have “dead” notes between
the two SPLIT Zones.
You can access the Splt mode by stepping on the EDIT
Footswitch, and while held down, tap the D natural, second
octave down from the top. Both Controller One and Two need to
have their own split points assigned in order for this function to
work properly.
39
Please note that each Controller must be on a different MIDI
channel in order for the SPLIT function to have two different
sounds. Each Controller should assign its own program change
and octave range in order to get the full potential of this mode.
DOUBLE MODE =E (on MIDDLE OCTAVE)
Doub. Double is one of the LAYER MODEs on the malletKAT.
Layer Modes tell the malletKAT how to control its sound layers.
These sound layers are called CONTROLLER ONE AND
CONTROLLER TWO.
Double Mode means that both CONTROLLER ONE AND TWO
are active across the entire malletKAT. Both sounds are layered
on the instrument at the same time.
You can step on the Sustain One to control the sustaining of both
sounds at the same time in the KIT AUX Screens.
You can access the Doub mode by stepping on the EDIT
Footswitch, and while held down, tap the E natural, second octave
down from the top.
VELOCITY SHIFT MODE=E twice (MIDDLE OCTAVE)
VEL S. This screen informs you that you are in Velocity Switch
Mode. In this mode, the sound switches between CONTROLLER
ONE and TWO by how hard you play. You can set up the exact
velocity point that the switch happens in the KIT AUX SCREENs,
Velocity Switch Point Screen 63.
40
You can access the VEL S mode by stepping on the EDIT
Footswitch, and while held down, tap the E natural pad
(layer) TWICE, second octave down from the top.
ALTERNATE MODE =E three times (on MIDDLE
OCTAVE)
Alt. The Alt stands for Alternate Mode. In this mode, every time
you hit the keyboard, the sound switches between CONTROLLER
ONE and CONTROLLER TWO.
You can access the ALT mode by stepping on the EDIT
Footswitch , and while held down, tap the E natural pad (layer)
THREE TIMES, second octave down from the top.
MONOPHONIC MODE =F (on MIDDLE OCTAVE)
Mono. This setting is for Monophonic Playing. This mode is
great for lead lines, or for simulating solo line instruments like flute
or trumpet. Only one note will sound at a time in this mode.
You can access the Mono mode by stepping on the EDIT
Footswitch, and while held down, tap the F natural pad. This F is
on the second octave down from the top.
MONO NOTE OVERLAP
Short Cut = # 6
Parameters = Disabled, .010 - .310 second
Mono Note Overlap is a setting in the KIT AUX Screens.
41
When using a monophonic sound, sometimes the monophonic
effect doesn't sound as smooth as you like. To get more of a
legato effect, this setting allows the old note to play for a short
time after the new note has been struck. The old note will finally
get shut off after the NOTE OVERLAP times elapses. This
enhances the authenticity of playing single line instruments, such
as the flute.
Some synths do not respond well to this setting. If notes get stuck
on, lower the overlap time. If notes still get stuck on, you will
need to disable this feature for your particular synth.
RTC REAL TIME CONTROL MODE
MIDDLE OCTAVE)
=F twice
(on
RTC. This stands for "Real Time Controller”. This Mode turns
the malletKAT into a massive knob turning machine. The “black”
keys on the lower two octaves (one octave for the Express) are
assigned a Continuous Controller Number. The “white” keys send
out discreet values.
If you assign say C# as a volume control for your mixer, striking
the white keys from left to right will raise the volume of that
fader. This is a very powerful feature, and as of date, we are the
only manufacturer implementing it on a keyboard controller.
You can access RTC by stepping on the EDIT , and while held
down, tap the F natural (mono) pad TWICE. This is the second
octave down from the top.
RTC + VELOCITY =F three times (on MIDDLE OCTAVE)
RTC + Velocity This stands for ‘Real Time Controller plus
Velocity. This is a special mode that allows for two controller
42
numbers to be manipulated simultaneously. RTC is a horizontal
control, meaning that values of a controller are affected by using
the white keys, left to right. Adding Velocity to this mode means
that your dynamics, or vertical approach changes values to a
controller. Playing soft or loud is interpreted as small or large
controller values.
You can access RTC + V by stepping on the EDIT
Footswitch, and while held down, tap the F natural
(mono) pad THREE times. This is the second octave
down from the top.
You can get back to the other Modes on F natural by releasing the
Edit , and then starting the process again.
The following Modes only function on CONTROLLER TWO.
PITCH WHEEL MODE = F four times (on MIDDLE
OCTAVE)
PTW. This mode is the PITCH WHEEL MODE. This turns
CONTROLLER 2 into a massive pitch wheel.
Unlike the RTC, the value of the white key returns to zero when
the note is released. This simulates using a pitch wheel on a
synthesizer. This mode is intended to b e used in conjunction
with CONTROLLER ONE, the actual sound, while CONTROLLER
TWO imposes the pitch wheel effect on CONTROLLER ONE.
You can access PTW by stepping on the EDIT Footswitch.
While held down, tap the F natural (mono) pad
FOUR times. This is the second octave down from the
top. Remember that this setting only works on CONTROLLER
TWO.
43
You can get back to the other Modes on F natural by releasing the
Edit , and then starting the process again.
Layer #2 (only) can be set to PTW mode by hitting the MONO
key four times with the EDIT depressed. The PTW functionality
is accessed by pressing FSW #2 (HANG pedal) and striking or
pressing the keys.
The Master Octave is reserved for Special Functions
F#3 (slew speed)
G#3 (portamento mode)
A#3 (reset)
C#3 decrement key
D#3 increment key
When the F#3 (slew speed) pad is struck (with Hang Pedal
Down), the slew value is displayed, and remains there until the
F#3 pad is struck again. This acts like a toggle. The idea here is
that after you strike the F#3 pad, you will then use the C#3 and
D#3 pads to program your slew rate. Once you have finished, hit
the F#3 pad again to begin playing.
The white keys are each assigned a Pitch Wheel controller value
from 0-127 in the following manner.
C0 = 0 (min. controller value)
F1 = 64 (neutral controller value)
G1 = 64 (neutral controller value)
C3 = 127 (max controller value)
Keys positioned between those described above are assigned
intermediate values.
44
If Portamento is OFF, striking a key will immediately send the
controller value assigned to that key. The neutral Pitch Wheel
value is sent when both the pad and the HANG pedal are released.
If Portamento mode is ON, striking or holding a key will slew up
or down to the value assigned to that key for as long as the key is
pressed OR until the Gate Time Value has expired. If the key
pressure is released or when the gate time ends, the controller
values will slew back to the neutral value.
When a white key is struck with the mallet, the malletKAT holds
that pad down as determined by the GATE TIME. After the
gate time has expired, the slew returns back to "0" at the
determined slew rate when the HANG pedal is released. If the
HANG pedal is still pressed when the max/min value is reached,
the return slew sequence will not occur until it is released.
Whenever the HANG pedal is released, the slew sequence returns
to the neutral value (determined by gate time)
PTW TIPS
In order to hear the sustain sound, you must have sustain one
pedal down. When you release the Hang pedal, the slew sequence
returns to the neutral value at a duration of the programmed gate
time of controller 2. Make the gate time settings small so that
when you release the Hang Pedal, you will have normal pitches
being played on controller one.
If you continue to press on a white key after releasing the HANG
PEDAL, the pitch bend continues until that key is released.
Holding the pad down has the same effect as holding the HANG
pedal down.
45
VIRTUAL CONTROL WHEEL
= F 5…7 times (on
MIDDLE OCTAVE)
Control Wheel A / Control Wheel B / Control Wheel C
There are three VIRTUAL CONTROL WHEELS on the
malletKAT. They are Control Wheels A, B and C. In the Global
Screens, you assign what controller number (1-127) you want to
assign onto the Virtual Wheel.
VIRTUAL CONTROL WHEEL A,B,C
NUMBER
Short Cut = # 63, 17, 18
Parameters = CC#00-127
CONTROLLER
The Virtual Control Wheel Function on the malletKAT turns
Controller Layer 2 into a Programmable Control Wheel. Unlike
RTC, the value of the white keys return to zero when the note is
released. This simulates using a Pitch Wheel on a Synthesizer.
This Mode is intended to be used in conjunction with Layer One,
the actual sound, while Layer 2 imposes the Controller effect on
Layer One.
Layer #2 can be set to CTLC mode by hitting the MONO key Five
times with the EDIT Footswitch depressed.
The CTLC
functionality is accessed by pressing Footswitch #2 (Hang pedal)
and striking or pressing the keys.
The Master Octave is reserved for Special Functions
F#3 (slew speed)
G#3 (portamento mode)
A#3 (reset)
C#3 decrement key
D#3 increment key
46
When the F#3 (slew speed) pad is struck (with Hang Pedal
Down), the slew value is displayed, and remains there until the
F#3 pad is struck again. This acts like a toggle. The idea here is
that after you strike the F#3 pad, you will then use the C#3 and
D#3 pads to program your slew rate. Once you have finished, hit
the F#3 pad again to begin playing.
The white keys are each assigned a Pitch Wheel controller value
from 0-127 in the following manner.
C0 = 0 (min. controller value)
F1 = 64 (neutral controller value)
G1 = 64 (neutral controller value)
C3 = 127 (max controller value)
Keys positioned between those described above are assigned
intermediate values.
If Portamento is OFF, striking a key will immediately send the
controller value assigned to that key. The neutral Pitch Wheel
value is sent when both the pad and the HANG pedal are released.
If Portamento mode is ON, striking or holding a key will slew up
or down to the value assigned to that key for as long as the key is
pressed OR until the Gate Time Value has expired. If the key
pressure is released or when the gate time ends, the controller
values will slew back to the neutral value.
After the gate time has expired, the slew returns back to "0" at the
determined slew rate when the HANG pedal is released. If the
HANG pedal is still pressed when the max/min value is reached,
the return slew sequence will not occur until it is released.
Whenever the HANG pedal is released, the slew sequence returns
to the neutral value (determined by gate time)
47
These wheels can only be assigned to CONTROLLER TWO. Only
one wheel can be activated per KIT. It is activated when the
Sustain Two Footswitch is depressed. Like the PTW mode, the
white keys on the malletKAT send out discreet wheel values.
You can access CTL by stepping on the EDIT , and while held
down, tap the F natural (mono) pad, FIVE, SIX or SEVEN times
respectively. This is the second octave down from the top.
You can get back to the other Modes on F natural by releasing the
Edit , and then starting the process again.
POLYPHONIC MODE = G (on MIDDLE OCTAVE)
Poly. This is the “standard default” Controller Function. This is
for normal polyphonic playing. In this mode, you can play
chords, melody, etc.
You can access the Poly mode by stepping on the EDIT
Footswitch, and while held down, tap the G natural pad.
This G is on the second octave down from the top.
TRANSPOSE MODE = A (on MIDDLE OCTAVE)
You can change the pitch range of either controller -12 to +12
semitones. This changes the pitch in half steps.
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NUMERIC INPUT VALUES
Use these pads (the “black” keys) to quickly input
a number into a function.
C# = 6 number
D# = 7 number
F# = 8 number
G# = 9 number
A# = 0 number
Octave Lower
C# = 1 number
D# = 2 number
F# = 3 number
G# = 4 number
A# = 5 number
LOWER OCTAVE (3rd Octave)
ALL NOTES OFF, INDIVIDUAL ALL NOTES OFF =C
There are two kinds of ALL NOTES OFF in the malletKAT.
The first is an abbreviated version of all notes off. Press the
Edit Footswitch and the Low C ONCE, to initiate the all NOTES
off.
If any notes are still stuck on, hit the Low C TWICE. This will
send an individual ALL NOTES OFF to every note on every
channel. This will take several seconds to complete.
GLOBAL AUXILIARY FUNCTIONS =D
There are many Global Function Parameters that are in the
malletKAT. There is an entire chapter “GLOBAL AUXILLARY
SCREENS” that will describe each of these functions. These
functions effect the entire instrument, regardless of what
SETUP you are using.
49
There are three ways to get into the “tunnel” of screens
1- Press the Edit Footswitch , press the D natural pad, then use
the Backwards, Forwards pad to navigate to the function that
you are looking for.
2- Press the Edit Footswitch , press the D natural pad, then
enter the screen page number using the number pads (black
keys). There is a SCREEN SHORTCUT chapter that lists all of
the shortcut numbers.
3- Press the Edit Footswitch , press the D natural pad TWICE.
In most cases it will automatically go to the last Global Screen
that you were editing.
KIT AUXILIARY FUNCTIONS = E
There are many KIT Function Parameters that are in the
malletKAT. There is an entire chapter “KIT AUXILLARY
SCREENS” that will describe each of these functions. These
functions affect only the SETUP that you are editing. Every
SETUP has its own values for each KIT AUXILLIARY
Function.
There are three ways to get into the “tunnel” of screens
1- Press the Edit Footswitch, press the E natural pad, then use
the Backwards, Forwards pad to navigate to the function that
you are looking for.
2- Press the Edit Footswitch, press the E natural pad, then
enter the screen page number using the number pads (black
keys). There is a SCREEN SHORTCUT chapter that lists all of
the shortcut numbers.
3- Press the Edit Footswitch , press the E natural pad TWICE.
In most cases it will automatically go to the last Global Screen
that you were editing.
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BANK SELECT = F
The Bank Select Function allows you to alternate between the
FACTORY KITS, the USER KITS and the CHAIN FUNCTION.
When you first press on the F pad with the Edit Footswitch held
down, you will see the current KIT or Chain selection. To
change to KIT types or to go to CHAIN, use the INC/DEC keys.
When you see the KIT type that you want, release the footswitch.
On the Screen in Play Mode, you will see on the first line on the
far left an ‘F’ followed by a number. i.e. F01, a ‘U’ followed by a
number. i.e. U21 or a 'C' followed by a number. These letters
represent that you are in F for Factory Kits, U for User Kits and
C for Chains.
FACTORY KITS
There are 128 FACTORY KITS in the malletKAT. These are
factory presets that can not be permanently edited unless you
copy them to a User KIT. These kits adhere to the GENERAL
MIDI PROGRAM Mapping. This means that if your sound
module has a GM LOGO on it, then the instrument names on
the malletKAT will match the names on your synthesizer.
Use the FORWARDs / BACKWARDS pads to find the KIT you
want, or input the Kit Number you want by using the SETUP
pad and number.
USER KITS
There are 128 USER KITS in the malletKAT. You can name
these kits to whatever description you like. You can also change
any parameter and save them as your own.
At Alternate Mode, these Kits have been preset to work either
with the Kurzweil PC2R or the Yamaha Motif ES. When you
turn on the malletKAT, look at the version number. If you see a
K in there, its for Kurzweil. If you see a Y, it’s been preset for
the Yamaha.
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You can load in SYSEX presets into the USER KITS. We have
them on our website in the download section. You can also load
in your own USER KITS.
Use the FORWARDs / BACKWARDS pads to find the KIT you
want, or input the Kit Number you want by using the SETUP
pad and number.
CHAINS
There are 16 Chains in the malletKAT. Each Chain is a
collection of USER KIT Setups that you can arrange in any
order that you like. This is a great way to organize your sounds
in groups. There are 16 Setups per CHAIN. You can move from
CHAIN to CHAIN by Stepping on the Edit Footswitch, Press on
the Global D natural pad, then use the INC/DEC pad to find the
chain that you want.
Use the FORWARDs / BACKWARDS pads to find the KIT you
want within that CHAIN.
If you input the Kit Number by using the SETUP pad and
number pads, you can temporarily play on a USER KIT
OUTSIDE of the CHAIN. As soon as you use the INC/DEC
pads, the next USER KIT within the CHAIN will cue.
Read more about CHAINS in the GLOBAL AUX Chapter.
NORMAL PRESSURE MODE = G
This is the normal default setting in the malletKAT. When you
apply pressure to the pad, it plays and sustains the sound
normally until you release the pressure.
DAMPEN STROKE, DEAD STROKE =A
When you play a note, then apply pressure to that pad in
DAMPEN MODE, this will shut off the note. This mimics
52
dampening on a mallet instrument. There are settings in the
GLOBAL and KIT AUX screens that vary how quickly and how
sensitive the dampening occurs.
If you press on the Edit Footswitch and hit the A pad twice, the
Dampen Mode switches to DEAD STROKE.
DEAD STROKE is like Dampen, but instead of just shutting off
the note on, it also plays another note. This mimics a Dead
Stroke in that this motion initiates another sound. Read about
DEAD STROKE in the PLAY SCREEN Chapter.
AFTERTOUCH MODE =B
When this Pressure Mode is activated, Aftertouch Data is sent
when pressure is applied to the pad.
NUMERIC INPUT VALUES
C# = 1 number
D# = 2 number
F# = 3 number
G# = 4 number
A# = 5 number
FOURTH OCTAVE (not EXPRESS)
Three pads on the fourth octave have been set up to control an
external sequencer. Step on the Edit Footswitch and press:
G = Sequence Start
A= Sequence Continue
B= Sequence Stop
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OTHER EDITING TIPS:
Several settings can be changed during one time of depressing
the EDIT Footswitch.
• All changes you make to your Setups are saved immediately
when you change them. You do not need to do any specific
action to “save” your changes - it happens automatically.
• To recover from unwanted changes, simply hit “Cancel” (A#
on the highest octave). Changes that you have made to a Setup
may be undone as long as you have not gone away from this
Setup to another one.
• You are able to copy the current Setup to any other Setup
using the "Setup Copy” pad. To do this, perform the following
steps:
1. Hit the “Setup Copy” pad (G# on the highest octave) while
the Edit is pressed.
2. Enter the digits of the Setup number to which you would like
to copy the current setup.
3. Hit the “Setup Copy” pad again to see the confirmation
screen.
4. Hit the “Setup Copy” pad a third time to perform the copy.
After the copy is performed, the Setup that you copied to is the
current Setup.
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Chapter Four
KIT AUXILLARY FUNCTIONS/ SCREENS
AFTERTOUCH TYPE IS
Short Cut = # 5
Parameters = Channel Pressure, Key Pressure
There are two types of Aftertouch messages that may be selected.
One type is Channel Pressure and will affect notes playing on the
current channel. The other type is Polyphonic Key Pressure and
this affects only the note that is associated with the pad that is
currently being pressed. Channel Pressure is the one most often
used.
AUTOGATE Control
Short Cut = # 59
Parameters = Disabled, Enabled
When Enabled, the gate time is affected by how fast you play.
AUTOGATE CONTROL OVERLAP
Short Cut = # 60
Parameters = .010-6.200 sec
When AUTOGATE is enabled, the gate time is affected by how
fast you play by the amount programmed on this screen. The
Overlap setting on this screen is the amount of time the shortened
note will play before being turned off, measured from when the
last note was hit.
BANK MSB BANK LSB
Short Cut = # 3,4
Parameters = MSB 00-127, LSB 00-127
The MSB, LSB settings tell the sound module what BANK of
sounds to call up. Refer to your sound module's instrument
listings to find the right MSB, LSB combination for the Bank of
sounds that you are looking for.
55
If only one bank number is present, set the MSB to 00 then set
the LSB to Bank number listed. If your sound module does not
respond correctly, you many need to set the MSB to 01 instead.
Please note that the MIDI Spec calls for the Bank range from 1128. Some manufacturers prefer to use the numbers 0-127. For
this reason, it might be necessary to adjust your Bank (and
Program Change) settings by one number.
BREATH CONTROLLER ASSIGNMENT
Short Cut = # 19
Parameters = CC# 00-128 (including some individually named
CC Functions)
This function routes the incoming Breath Control data to the
specified Continuous Controller function.
BREATH CONTROLLER CHANNEL
Short Cut = # 23
Parameters = Same as CNTRL1, Same as CNTRL2, Both
Controllers, 01-16.
Assigns the incoming Breath Control data to MIDI channels 1-16,
the MIDI channel assigned to Controller 1 or 2 or Both.
BREATH CONTROLLER CURVE
Short Cut = # 22
Parameters = 00-11
This parameter controls the response of the breath controller by
assigning a curved response to the incoming breath input.
(linear, exponential, etc)
56
BREATH CONTROLLER MAXIMUN EFFECT
Short Cut = # 21
Parameters = 00-127
This parameter establishes the maximum controller effect from
the incoming breath control data.
BREATH MINIMUM EFFECT
Short Cut = # 20
Parameters = 00-127
Established the minimum controller effect from the incoming
breath control data.
EDIT CONTROLLER INTERFACE MODE
Short Cut = # 25
Parameters = Both, Internal and External, Neither, External
MIDI only, Internal Only.
This function turns on and off Controller 1 or 2. For malletKAT's
with built in sounds, data can be sent to the internal sound only
or external device or be sent to both.
FOOT CONTROLLER ONE ASSIGNMENT
Short Cut = # 9
Parameters = CC# 00-128 (including some individual
Continuous Controller Names)
Foot Controller One may be assigned to any CC#. Some
commonly used functions have been named such as volume,
modulation, pitch bend, chorus depth, pan, expression, etc. for
convenience. Special malletKAT Foot Controller functions are
also assigned here such as Warp Volume, Blend, etc.
FOOT CONROLLER ONE CHANNEL
Short Cut = # 13
Parameters = Same as CNTRL1, Same as CNTRL2, Both
Controllers, 01-16
57
The MIDI channel for the effect of Foot Controller 1 can be
assigned to the same channel as Controller one or two. It can also
be assigned to Both the MIDI channels of Both Controllers or it
can be assigned to any individual MIDI channel.
FOOT CONTROLLER ONE CURVE
Short Cut = # 12
Parameters = 00-11
The response curve for Foot Controller One 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 Foot Control.
FOOT CONTROLLER ONE MAXIMUM EFFECT
Short Cut = # 11
Parameters = 00-127
The Maximum MIDI value that will be sent for the effect selected
(CC#) for the Foot Controller. The value setting can be between 0
and 127. Adjust this so that the full depression of the Foot
Controller's pedal will be at the number set here.
FOOT CONTROLLER ONE MINIMUM EFFECT
Short Cut = # 10
Parameters = 00-127
The Minimum MIDI value that will be sent for the effect selected
(CC#) for the Foot Controller. The value setting can be between 0
and 127. Adjust this so that the backward release of the Foot
Controller's pedal will be at the number set here.
58
FOOT CONTROLLER TWO ASSIGNMENT
Short Cut = # 14
Parameters = CC# 00-128 (including some individual
Continuous Controller Names)
Foot Controller Two may be assigned to any CC#. Some
commonly used functions have been named such as volume,
modulation, pitch bend, chorus depth, pan, expression, etc. for
convenience. Special malletKAT Foot Controller functions are
also assigned here such as Warp Volume, Blend, etc.
FOOT CONROLLER TWO CHANNEL
Short Cut = # 18
Parameters = Same as CNTRL1, Same as CNTRL2, Both
Controllers, 01-16
The MIDI channel for the effect of Foot Controller Two can be
assigned to the same channel as Controller one or two. It can also
be assigned to Both the MIDI channels of Both Controllers or it
can be assigned to any individual MIDI channel.
FOOT CONTROLLER TWO CURVE
Short Cut = # 17
Parameters = 00-11
The response curve for Foot Controller Two 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 Foot Control.
FOOT CONTROLLER TWO MINIMUM EFFECT
Short Cut = # 15
Parameters = 00-127
The Minimum MIDI value that will be sent for the effect selected
(CC#) for the Foot Controller. The value setting can be between 0
and 127. Adjust this so that the backward release of the Foot
Controller's pedal will be at the number set here.
59
FOOT CONTROLLER TWO MAXIMUM EFFECT
Short Cut = # 16
Parameters = 00-127
The Maximum MIDI value that will be sent for the effect selected
(CC#) for the Foot Controller. The value setting can be between 0
and 127. Adjust this so that the full depression of the Foot
Controller's pedal will be at the number set here.
KIT CONTROLLER PRESET CC#
Short Cut = # 64
Parameters = 00-127
Every User Kit on the malletKAT Pro can send a preset value on
any Controller Number.
This is useful when a desired effect needs to be present upon
entering a kit such as a specific reverb setting or a modulation
value. This is where you set up the Controller number.
KIT CONTROLLER CHANNEL
Short Cut = # 65
Parameters = 01-16
Every User Kit on the malletKAT Pro can send a preset value on
any Controller Number.
This is useful when a desired effect needs to be present upon
entering a kit such as a spefic reverb setting or a modulation
value. This is where you set up the Controller numbers MIDI
channel.
KIT CONTROLLER PRESET CC# VALUE
Short Cut = # 66
Parameters = 00-127
Every User Kit on the malletKAT Pro can send a preset value on
any Controller Number.
60
This is useful when a desired effect needs to be present upon
entering a kit such as a specific reverb setting or a modulation
value. This is where you set up the exact value for the Controller
number assigned.
KIT NAMES
Short Cut = # 44 or 00
Parameters = 12 characters A-Z, numbers and symbols
User defined KIT names can be assigned for the USER KITS (not
Factory). There are a total of 12 character slots available for each
kit. The KIT NAME is the same for both Controllers.
The characters that make up the KIT NAME string can be
changed using the Increment or Decrement pads. The Forward
and Backward pads select which character location to change.
Hitting the number pads (black keys “1” through “0”) provide
quick access to ten different characters as follows.
“1” pad: “A”
“2” pad: “M”
“3” pad: “a”
“4” pad: “m”
“5” pad: “0”
“6” pad: “ “ (space)
“7” pad: “*”
“8” pad: “:”
“9” pad: “[“
“0” pad: “{“
There is a Global Setting (shortcut 64) that allows for three types
of displays on the screen. Select KIT NAMES to display the
names you program for each kit. Select INSTRUMENT NAMES if
you want the General MIDI sound map. These are the names that
are displayed on the FACTORY Kits as well.
61
If you don’t have sounds in the malletKAT, these names are still
useful if you are using a GENERAL MIDI Sound source because
the program changes adhere to the GM spec.
Select NONE for No string naming on the display. Selecting
NONE allows for more KIT information to be displayed such as
channel information, etc. If you are using an external sound
source, and look at the sound source's display for the instrument
name, selecting NONE allows information about both controllers
to be displayed.
Selecting None has no effect on Factory Kits. These non
Programmable factory kits automatically display the General
MIDI program names.
MONO NOTE OVERLAP
Short Cut = # 6
Parameters = Disabled, .010 - .310 second
When using a monophonic sound, sometimes the monophonic
effect doesn't sound as smooth as you like. To get more of a
legato effect, this setting allows the old note to play for a short
time after the new note has been struck. The old note will finally
get shut off after the NOTE OVERLAP times elapses. This
enhances the authenticity of playing single line instruments, such
as the flute.
Some synths do not respond well to this setting. If notes get stuck
on, lower the overlap time. If notes still get stuck on, you will
need to disable this feature for your particular synth.
62
MULTIPLE HIT SMOOTHING (DAMPEN MODE)
Short Cut = # 7
Parameters = Is Not Active, Mode 1 Active, Mode 11 Active
This parameter enhances the DAMPEN features of the
malletKAT. Manufacturers of Synth modules handle MIDI Note
Off Commands differently. Because of this, some sound modules
(such as Korg) would get “stuck notes” if two notes were played
on at the same time with the sustain pedal down and the
DAMPEN mode turned on.
The normal Dampen Mode is TYPE ONE. This will create the
most natural dampening effect. This is the same type that has
been implemented on all previous versions of the malletKAT.
If notes intermittently get stuck, change the Dampen Mode to
TYPE TWO. This will solve the problem. Please note that the
millisecond overlap screens do not have an effect on TYPE TWO.
This is because TYPE TWO prevents momentary polyphony on
the dampened note. This is the hidden feature in TYPE ONE that
makes it sound so natural.
PITCH BEND SENSITIVITY
Short Cut = # 28
Parameters = OFF, ON, Channel 00-16, semitones 01-12
You can set the pitch bend sensitivity (range) in semitones on
every kit. Each kit is assigned an ON/OFF condition and a MIDI
Channel.
63
PITCH BEND SENSITIVITY and CHANNEL
Short Cut = # 28,41
Parameters = OFF, ON, Channel 00-16, semitones 01-12
You can set the pitch bend sensitivity (range) in semitones on
every kit. Each kit is assigned an ON/OFF condition and a MIDI
Channel.
PITCH BEND ROUTING
Short Cut = # 42
Parameters = Both Internal and External, Neither, External
MIDI only and Internal Only.
For malletKAT's with sounds, Pitch Bend Sensitivity can be
routed to the Internal Sound Engine. If set to External, your
sound module may respond to these Pitch Bend Settings.
POLYPHONY COUNT
Short Cut = # 08
Parameters = 1 Note, 2 Note
The malletKAT Pro may be set to 1 note polyphony or 2 note
polyphony. If one note polyphony is selected, a note currently
sounding will be turned off by the malletKAT PRO before the
same note is played again. If two 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.
64
One note polyphony is different than monophonic in that only
one sound of any pitch plays at one time. If notes get stuck on in
two note polyphony Mode, then your sound module is not
compatible with this feature. You will then need to set this
parameter to one note polyphony.
PITCH BEND SENSITIVITY and CHANNEL
Short Cut = # 28,41,42
Parameters = OFF, ON, Channel 00-16, semitones 01-12
You can set the pitch bend sensitivity (range) in semitones on
every kit. Each kit is assigned an ON/OFF condition and a MIDI
Channel. These settings can be assigned to the Internal Sounds
(only with malletKAT WS) or to the EXTernal sound source, or
Neither.
REASSIGNMENT MODE
Short Cut = # 29
Parameters = OFF, COMBINE, REPLACE
Reassignments are assigned in the GLOBAL Screens. There are
14 Reassignment Groups available. Each Reassignment Group
allows the malletKAT to play any MIDI note number on any MIDI
channel. Each Group shares a minimum and maximum velocity
setting, a velocity curve setting, and a gate time. These 14 Group
Reassigments are stored in the Global Screens but are accessed in
the Kit Auxiliary Screens.
The Reassignment Mode can be turned OFF (malletKAT plays the
normal Controller One and Controller Two data). It can be set to
COMBINE, which then plays the notes assigned to the
Reassignment Group number along with the data from
Controllers One and Two.
65
When the Reassignment Mode is set to REPLACE, the KIT plays
the Reassignment Groups MIDI note numbers instead of
Controller One and Two.
REASSIGNMENT POLYPHONY SETTING
Short Cut = # 30
Parameters = Monophonic, Polyphonic
This determines whether the Reassignment Group plays in
Monophonic or Polyphonic mode.
REASSIGNMENT NUMBER
Short Cut = # 31
Parameters = 01-14
Here is where you select one of the 14 Reassignment Groups
stored in the Global Settings (screen 50) to be Used in the current
Kit number.
REASSIGNMENT OCTAVE OFFSET
Short Cut = # 32
Parameters = 00-14
You can transpose the octave of the entire Reassignment Group
Number assigned to this Kit. This Octave Offset applies only to
this User Kit.
REASSIGNMENT FORCED GATE
Short Cut = # 34
Parameters = OFF, Latch, 0.10 – 6.000 sec.
You can override the gate settings of the Reassignment Group to
the Parameter Choices assigned to this User Kit.
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REASSIGNMENT TRANSPOSE AMT
Short Cut = # 33
Parameters = -12 - +12
You can transpose the notes of the Reassignment Group up or
down one octave in semitones.
REASSIGNMENT EXTRA PROGRAM /VOLUME SENDS
Short Cut = # 35,36,37,38
Parameters = PC no, 00-127 Reassignment Channel 01-16
Bank MSB, LSB 00-127, 00-127 Vol no 00-127
On this screen you assign the Bank, Program Change, MIDI
Channel and Volume Settings.
REASSIGNMENT POLYPHONY and INTERFACE
Short Cut = # 39,40
Parameters = Polyphony 1,2
Interface INTernal, EXTernal,
Neither, BOTH
This screen sets the polyphony of the reassignment and the
routing. Internal assignment is for malletKAT's with sounds built
in.
SLEW DATA STRIP RATE
Short Cut = # 43
Parameters = 00-127
When using the RTC Mode, there is lots of control data being sent
to the sound module. This screen allows the data to be stripped
(thinned) out. Raising the value decreases the amount of data
being sent.
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WARP MODE
Short Cut = # 55,56, 57,58
Parameters = P1 & P2 -12 to +12 semitones, Repetitions 1-3,
Patterns 1-8, Volume 10-100%
Warp Mode gives the malletKAT the ability to repeat any pattern
in real time. The amount of repeats is controllable, along with
the tempo. Besides the echo being repeated, it is also possible to
change the pitch of each of the echo's by plus or minus 12
semitones.
This means that each note struck can create a short musical
sequence. To make this even more interesting, instead of just
playing back the notes evenly, we have added 8 rhythm patterns
that superimpose themselves over the real notes played.
On screen 55, you can turn ON and OFF the WARP function. On
this line of the display you also set the REPeats (1-3). On the
second line, the P stands for the echo's note pitch. A value of 0
plays the note without any pitch change. Inserting a value (-12
+12) changes the note played in semitones. P1,P2 and P3 allow
for three programmed pitch changes.
The fourth line is for applying a PATtern to the notes.
The pattern are as follows:
1: Straight eight notes in groupings of two
2: Quarter note followed by 2 eight notes.
3: Two eight notes followed by a quarter note.
4: Eight note, quarter note, eight note.
5: Eight note triplets
6-8: Various other patterns.
A repeat count of 1 plays two notes. A repeat count of 2 plays
4 notes, etc.
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If in Double Mode, only Controller One Warp will operate.
Reassignments also do not respond to Warp Mode.
You can change the tempo of the Echo by
Stepping on the Edit Footswitch , (held down)
Tap the Backward Pad twice (for Tempo)
The GROOVE ENABLED (Global Aux screen # 58) must be
turned on for this to function.
It is also possible to control the repeats of the echo with a Foot
Controller. Assign Foot Controller One (screen # 9) or Foot
Controller Two (screen # 14) to WARP VOLUME.
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Chapter Five
GLOBAL AUXILLARY FUNCTIONS/SCREENS
ADJUST THRESHOLD BACKWARDS / FORWARDS
Short Cut = # 83,84
Parameters = 01-48
The pads on the malletKAT have programmable sensitivity
settings. The BACKWARD and FORWARD pads have their own
sensitivity setting usually set higher because these are function
keys not note keys. These screens allow one to manually change
the sensitivity setting. The default is set at 45.
AFTERTOUCH DEPTH
Short Cut = # 22
Parameters = 00-64
Aftertouch is a MIDI controller effect created when pressure is
applied to the pad.
Since different mallets have various degrees of stiffness, you need
to be able to adjust how much pressure is needed to produce the
Aftertouch effect you want. The larger the Aftertouch Depth
setting is, the easier it is to get a large Aftertouch effect.
Experimentation might be needed for finding the proper setting
that is most natural to you.
AFTERTOUCH MASH COUNT
Short Cut = # 21
Parameters = 00-64
Performing Aftertouch with mallets can be a bit tricky because of
the flexibility of the mallet shafts causing double triggers and
somewhat “bouncy” readings.
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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 time is the
time within which the malletKAT will regard a re-strike 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.
BANK SLECT
Short Cut = # 23
Parameters = Enable, Disable
You can choose to disable BANK Change Commands in your
malletKAT Pro. This will prevent any Bank Messages from being
sent to your sound source.
BEEPER
Short Cut = # 11
Parameters = On/Off
You can turn on or off the internal beeper that is heard whenever
you are editing or changing Kits. Use the INCrement or
DECrement pads to change this setting.
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BREATH CONTROLLER TRAINING
Short Cut = # 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
trim pots on the BC2 itself. To Train the breath controller, strike
any pad one more time and release the Edit . 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 while blowing. The breath
controller is now trained.
You can jump right to the training screen by hitting Global
Shortcut # 10
CHAIN MODE
Short Cut = # 46-49
Parameters = #46 Chain Number 01-16, #47 Chain Step 0-16,
#48 Chain Step,
#49 Chain Enable Enable/Disable
A CHAIN allows you to arrange User Setups (Kits) in any order.
You can either step through the Chain's Steps by using a
Footswitch, or you change it by hitting the Forward or Backward
function pads. This function is very useful in live situations
because you can organize in advance what sounds you might need
in a song or performance.
There are 6 Chains in total. Each Chain can have up to 16 User
Setups. You can also link Chains together or set up a Chain as a
Loop.
In the Global Edit, you determine What Chain you are editing
(#46), which one of the 16 Steps you are editing (#47), and what
User Kit (#48) you want in the slot. After you choose one of the
128 User Kits, you can also tell the malletKAT to advance to the
NEXT CHAIN or to LOOP the Chain that you are editing.
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In Play Mode, if you have the CHAIN ENABLED in the Globals
(#49), striking the Backwards or Forward pad will automatically
take you to the next programmed User Kit assigned to that Chain.
You can also set one of the FOOT CONTROLLER inputs (Global
Screen #19,20) to Setup Advance or Setup Backwards your Steps
(User Kits) within that Chain.
When you Enable the Chain Mode, the first character on the
display in Play Mode tells you what Chain you are in and what
Step you are in. For example, C02-03 means that you are in
Chain number 2, and that you are in the Third Step. If you want
to know what User Kit you are in, step on the Edit Footswitch and
hit the Setup Pad (low C on the highest octave). The screen will
display the current Setup Number.
In Play Mode, if the Chain Mode is Enabled, it is possible to
quickly change Chain Numbers. If you want to go to a different
Chain, hold down the Edit , hit the Global Pad (d natural on third
octave) then hit the INCREMENT (D#) Pad to advance through
the Chains or hit the DECREMENT (C#) pad to go back through
the Chains. Release the Footswitch to play.
CHORD MODE WINDOW
Short Cut = # 77
Parameters = 01-20 milliseconds
This is a Sensitivity control function when using the MELODY
CHORD MODE.
The parameters in this screen control how close together a pair of
notes must be to be considered a chord. The lower the number,
the lower the latency because the malletKAT has to wait until the
programmed time has elapsed to determine if you are playing a
single note or chord.
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DAMPEN CONTROL SCREENS
Dampening Control Screens include Dampen Count, Dampen
Scan Count, Dampen Ratio and Dampen Threshold.
These parameters help the malletKAT to interpret acoustic
dampening gestures. Because mallet players use different sticks
and apply pressure to the mallet pad differently, adjustments
must be made in the software to help mimic and interpret these
strokes.
DAMPEN COUNT
Short Cut = # 16
Parameters = 0-255
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 them to.
DAMPEN MODE SCAN COUNT
Short Cut = # 43
Parameters = 0-16
This setting is the amount of time the processor takes to scan the
signal to decide if the gesture on the pad is a dampen stroke. The
higher the number, the more accurate the dampening stroke will
be. The higher the number also adds delay. Experiment with the
right setting for you.
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DAMPEN RATIO
Short Cut = # 45
Parameters = 0-255
This screen sets a ratio between the dampen signal and the
normal signal. When you apply pressure to the pad, a rise is
detected in the signal. Changing this parameter helps the
malletKAT to evaluate the difference between a stroke and a
pressured dampen stroke.
DAMPEN THRESHOLD
Short Cut = # 15
Parameters = 00-255
This setting is used to adjust the dampening characteristics of the
malletKAT when played in DAMPEN Mode. The Dampen
Threshold is a measure of how much pressure is required to get
damping to occur. Raising this value decreases the likelihood of
dampening, lowering it makes dampening easier.
DATA DUMP RECEIVE
Short Cut = # 4
Parameters = Enabled, Disabled
You make choose to Enable or Disable the receiving of Data
Dumps back into your malletKAT Pro. The normal setting is
Enable.
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DEBOUNCE COUNT
Short Cut = # 14
Parameters = 01-120
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.
DEAD STROKE COUNT
Increasing the value adds a delay time before the Dead Stroke Sounds.
FINE TUNING ROUTING
Short Cut = # 65
Parameters = Both Int & Ext, Neither, External MIDI only,
Internal Only.
This function routes a FINE TUNING command to the external
sound source, or for the sound source built into the malletKAT
PRO. Note that not all sound modules respond to this command.
Fine Tuning of the sound source is performed on screen # 42
“Tune Instruments to 440” page.
FOOT CONTROL ONE PERFORMS
Short Cut = # 19
Parameters = Controller, Setup Advance, Setup Backup, MIDI Note
If you don't intend to use the Foot Control Inputs for Volume or
other Expression Settings, you may choose to Globally reassign
your Foot Control input to ADVANCE or BACKUP through your
Setups.
The FTC Performs choices are:
CONTROLLER: (use settings definable in each Each Setup- see
Setup Auxiliary Settings)
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SETUP ADVANCE / SETUP BACKUP If Setup Advance or
Backup has been selected, either a foot pedal or a footswitch will
work in moving you through your Setups.
FOOTSWITCH MIDI NOTES. Up to Four Notes can be assigned to the
Footswitch. A Velocity value is also available. When the Footswitch is,
depressed, a note on is sent. When the switch is released, a note off is sent.
FOOT CONTROL TWO PERFORMS
Short Cut = # 20
Parameters = Controller, Setup Advance, Setup Backup, MIDI Note.
If you don't intend to use the Foot Control Inputs for Volume or
other Expression Settings, you may choose to Globally reassign
your Foot Control input to ADVANCE or BACKUP through your
Setups. The FC Perform choices are:
CONTROLLER: (use settings definable in each Each Setup- see
Setup Auxiliary Settings)
SETUP ADVANCE / SETUP BACKUP If Setup Advance or
Backup has been selected, either a foot pedal or a footswitch will
work in moving you through your Setups.
FOOTSWITCH MIDI NOTES: Up to Four Notes can be assigned to the
Footswitch. A velocity value is also assignable. When the Footswitch is
depressed, a note on is sent. When the switch is releassed, a note off is sent.
GROOVE WITH TAP TEMPO CONTROL
Several percussion patterns are available when the metronome is
activated. The right function pad acts as a Start/Stop for the
metronome and 2 hits on the left function pad established the
tempo. On the malletKAT Pro WS (with sounds) model, the
sounds for the built in grooves can either come from the internal
or an external sound source. Metronome sounds for the standard
malletKAT PRO are produced from an external sound source
(use channel 10 on a GM sound source).
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In the GLOBAL AUX Screens described below, you can select
whether or not you want the Grooves enabled. You can select the
GROOVE that you want to play as well as the tempo and volume
of the GROOVE. The GROOVE is then routed internally, sent to
an external synth or routed to both.
To start a Groove, hold down the EDIT Footswitch and hit the
RIGHT Function Pad (forward pad). To stop a groove from
playing, repeat the same procedure.
To access the TAP TEMPO feature, hold down the EDIT
Footswitch and hit the LEFT Function Pad (backward pad) twice.
The time in between the two hits is the new Tempo that the
Groove will play at.
GROOVE PATTERN
Short Cut = # 59
Parameters = Various Groove Patterns.
Use the Inc/Dec pads to scroll through the list of patterns
available.
GROOVE ENABLE
Short Cut = # 58
Parameters = Disable / Enable
This screen determines whether the Groove Metronome is active
or not.
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GROOVE ROUTING
Short Cut = # 62
Parameters = Both Int & Ext, Neither, External MIDI only,
Internal Only
Groove Routing sends the Groove pattern to the external sound
source on MIDI channel 10 (GM drum note assignments) or to
the internal sounds of a malletKAT PRO WS.
GROOVE TEMPO
Short Cut = # 60
Parameters = 40-240
You can manually set the tempo of the Groove here or you can
Use the Tap Tempo Function by holding down the EDIT
Footswitch and hitting the backwards pad twice. The Groove Enabled
must be active.
GROOVE VOLUME
Short Cut = # 61
Parameters = 00-10
You can set the volume of the GROOVE from softest 00 to loudest
10.
INCOMING CHANNEL ( 1 to 16 ) ROUTE TO
Short Cut = # 24-39 (channel 1=#24...channel 16=#39)
Parameters = Both Int and Ext, Neither, External MIDI only,
Internal Only
When the malletKAT “sees” MIDI Channel information on the
MIDI IN Port, that data can be routed to the Internal Sounds of
the malletKAT WS or to the MIDI OUT Port or can be filtered so
that MIDI data from that channel is blocked.
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INCOMING PROGRAM CHANGE RECEIVE
Short Cut = # 6
Parameters = All Channels, OFF, 1-16
The malletKAT PRO maybe 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.
INCOMING SYSTEM MESSAGE ROUTE TO
Short Cut = # 40
Parameters = Both Int and Ext, Neither, External MIDI only,
Internal Only
This screen lets you select how incoming MIDI SYSTEM
MESSAGES appearing at your MIDI IN are routed.
The malletKAT PRO maybe set to accept or ignore SYSTEM
MESSAGES at this screen using the INCREMENT /
DECREMENT pads. You may set the malletKAT PRO to route
these messages to the Internal Sound Card, the External Sound
Source, Both, or they can be filtered out using NEITHER.
Common SYSTEM MESSAGES are MIDI Clock, Sequence Start/
Stop / Continue, Active Sensing, MIDI Time Code, Song Position
Pointer/ Song Select).
UNIVERSAL ID
Short Cut = # 13
Parameters = Universal ID, 01-127
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
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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).
MIDI IN PROGRAM CHANGE SOUND MAP
Short Cut = # 41
Parameters = SETUPS MAP, GENERAL MIDI MAP
When the malletKAT receives a Program Change Command, this
data can be routed to change the Program within the Active Setup
(GENERAL MIDI MAP) or it can change the SETUP ITSELF
(SETUP MAP).
If you are using a malletKAT WS in a Multi Mode Configuration
(more than one sound at once) or if you are using the internal
sound source for another controller, using the setting GENERAL
MIDI MAP sends program changes to any of the 16 MIDI
channels when receiving Program Change Data from an External
Source from the MIDI IN.
MIDI IN to MIDI OUT MERGE
Short Cut = # 2
Parameters = ON / OFF
MIDI data coming into the MIDI IN of the malletKAT may be
passed through to the MIDI OUT if MIDI Merge is set to ON.
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NORMAL MODE SCAN COUNT
Short Cut = # 44
Parameters = 3..16
This setting tells the malletKAT how long to scan or examine the
pads before sending out a note. The higher the setting, the more
accurate the dynamics, but the more latency it adds. The default
value of 5 is the normal setting.
PERMANENT MEMORY IS
Short Cut = # 1
Parameters = ON/OFF
You can protect changes made to your USER KITS when you turn
ON the PERMANENT MEMORY setting.
If the PERMANENT MEMORY is set to OFF (the default setting)
changes made to your USER Kits are automatically saved. There
is no SAVE Procedure on the malletKAT.
TIPS:
The Factory KITS can not be Permanently Saved unless copied to
the USER KITs.
Global Settings can still be altered when MEMORY PROTECT is
turned ON.
The malletKAT PRO will also accept a SYSEX Dump regardless of
this setting.
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PROGRAM STRING NAMES
Short Cut = # 64
Parameters = KIT NAMES, NONE, INSTRUMENT NAME
You can customize the way the malletKAT screen displays data.
A setting of KIT NAMES, allows one to customize the names of
their USER KITS. Every User Kit can have its own unique name.
Once this setting is active, the malletKAT will display in PLAY
mode on the third line, the KIT Name that you programmed in
the KIT AUX Screens. If no name was programmed, the screen
will display
****************.
A setting of INSTRUMENT NAME automatically calls up the
General MIDI Instrument name nomenclature. This means that
the Instrument Name is connected to the program change
number, not the User Kit name. You can NOT modify these
names.
The Factory Kits automatically operate in the INSTRUMENT
NAME Setting. Only the USER KITS reflect this choice.
A setting of NONE eliminates all instrument names on the
display. Instead, the third line shows key parameter information
of Controller One, and the fourth line displays parameter
information of Controller Two.
REASSIGNMENT MODE
Reassignment Mode in the malletKAT allows User definable
notes to be played on the keyboard. You can play any MIDI Note
on ANY pad on the malletKAT. Each pad can have its own MIDI
Channel. An entire User Layout of these prearranged MIDI notes
are called an Reassignment Layer.
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There are 14 Layers that can be assigned. Each USER KIT can
have one Reassignment Layer assigned. In the Kit Auxiliary
Screens you decide if you want to COMBINE this Layer with the
Controller's Sound or if you want to REPLACE the Controller's
sound with this new MIDI note assignment. Each pad shares a
Minimum and Maximum Velocity setting, a Velocity Curve and a
Gate Time.
REASSIGNMENT NUMBER
Short Cut = # 50
Parameters = 01...14
On the first line of the display, select which one of the 14
Reassignments you wish to Edit.
REASSIGN K NUMBER
Short Cut = # 51
Parameters = 01-61
The next selection on the first line is “k” followed by a number up
to three digits. The “k” stands for which KAT pad on the
malletKAT you want to reassign to a different sound. The highest
note on the malletKAT is the high C, number k61. The lowest
note on a 5 octave malletKAT is the low C, the number is k01.
You can use the INC/DEC pads to get to the pad number that you
want to Edit OR you can quickly jump to the pad you want by
stepping on the Sustain One (when the Reassign Screen is
visible) then while both Footswitches are held down, hit the pad
on the malletKAT that you want to edit. You will see the “k”
number change as you tap on the different pads on the
malletKAT.
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REASSIGN M NUMBER
Short Cut = # 52
Parameters = C-2 – G8
On the second line of the display, you can select the MIDI NOTE
that you want to assign to the pad selected on the first line.
Notice that both the MIDI NOTE NUMBER and the
Actual Note name are displayed at the same time.
You can use the INC/DEC pads to change the note that you want
to reassign here or you can use the shortcut. When in this editing
screen, step on the Sustain Two (the Edit Footswitch should
already be depressed). While these pedals are down, when you
strike a pad, it reflects the note that will sound on the “k” pad.
You can change the octave in KIT EDIT to get at lower or higher
note numbers.
REASSIGN CHANNEL
Short Cut = # 53
Parameters = 01-16
On the second line of the display, you can change the MIDI
Channel for the “k” pad number that is visible. Every pad on the
malletKAT can be assigned to any of the 16 MIDI channels
separately.
REASSIGN MINIMUM VELOCITY
Short Cut = # 54
Parameters = 00-127
On this screen you establish the MINIMUM Velocity Setting.
This setting is for the entire Reassignment Layer, not for the one
MIDI note number. Each Reassignment Layer Receives one
MINIMUM, one MAXIMUM and one GATE TIME setting.
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REASSIGN MAXIMUM VELOCITY
Short Cut = # 55
Parameters = 00-127
On this screen you establish the MAXIMUM Velocity Setting.
This setting is for the entire Reassignment Layer, not for the one
MIDI note number. Each Reassignment Layer Receives one
MINIMUM, one MAXIMUM and one GATE TIME Setting.
REASSIGNMENT DEFAULTS
The following is a listing of default values of the REASIGNMENT
numbers set for a Five Octave malletKAT.
Reassignment # 1 C-2 to C 2
Reassignment # 2 C-1 to C 3
Reassignment # 3 C-0 to C 4
Reassignment # 4 C 1 to C 5
Reassignment # 5 C 2 to C 6
Reassignment # 6 C 3 to C 7
Reassignment # 7....14 all keys set of OFF
REASSIGNMENT LOOP MODE
You can assign the notes in the Reassignment Layer Mode to
function as a LATCH, where the first strike sends a note on, and a
second strike on the same pad shuts it off. If the Reassignment is
set to MONOPHONIC MODE in the Kit Edit Screen, only one
loop will play at a time. If the Reassignment is set to
POLYPHONIC MODE in the Kit Edit Screen, it is possible to
independently control multiple loops. The Hi C on the malletKAT
is reserved to shut off ALL active Loops in the Reassignment.
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Set the Forced GATE to LATCH in the Kit Auxiliary Reassignment
screen and the notes played by the assignment layer will toggle
(i.e. 1st time a pad is hit, a NOTE ON will be send and the 2nd time
a pad is hit, a NOTE OFF will be sent). The reassignment layer
will operate in polyphonic and monophonic modes. If a note is
assigned to reassignment pad #61 (hi C), striking this pad will
send a NOTE OFF for all pads for which no NOTE OFF has been
sent. It will not send a NOTE ON for this pad. If note number
128 (OFF) has been reassigned to reassignment pad #61 (hi C), to
this pad will not play a reassignment note (normal) BUT will also
NOT turn off notes for the other reassignment pads. This gives
the user the ability to decide if one pad is capable of controlling
all reassignment note offs and also allows the hi C pad to be a
playable note in COMBINE mode, without turning off all active
reassignment pads.
REASSIGNMENT QUICK COPY
A fast copy function has been added to the reassignment mode so
that the user can either auto increment or copy the value of one
reassignment pad to the next right adjacent pad.
Copying the data from one reassignment pad to the next adjacent
pad...
While in the Global Reassignment Edit Screen, Hold down the
edit AND the Sustain ONE together, use the RIGHT (forward)
function pad to copy the existing assignment to the next. The
malletKAT will copy the existing data to the adjacent pad.
Auto incrementing the data from one reassignment pad to the
next adjacent pad...
While in the Global Reassignment Edit Screen, Hold down the
edit and AND the Sustain ONE together. Use the LEFT function
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pads to AUTO INCREMENT the existing assignment to the next.
The malletKAT will copy the existing data to the adjacent pad
AND add that value by one.
MODIFIED REASSIGNMENT NOTE ASSIGNMENTS
Midi Note 128 is now an OFF pad. When this is assigned to a
pad, no sound will be produced. This allows the ability to assign
only the notes you want to sound. This is especially useful in
COMBINE mode when both the Reassignment and Controllers
One, Two or Both are also active. The default note is NO NOTE.
Using Midi Note 128 on the Hi C in the reassignment layer
prevents that pad to perform an ALL LOOP OFF function for that
layer. No sound will play on that pad.
Please refer to the Reassignment Section in the KIT AUXILLARY
SCREENS for more information regarding the Reassignment
Mode.
Real Time Controller Mode and RTC+Velocity Mode
Real Time Controller Mode
Real Time Controller Mode turns the malletKAT into a massive
knob turning machine. Each black key on the lower two octaves
of the malletKAT is assigned a channel, controller number,
minimum value, maximum value, and reset value.
Once a black key is struck, the white keys act as individual values
(like the position of a fader or knob on your synth). The lowest C
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is the minimum value, and the highest C is the maximum value.
As you play on the “white key” pads of the malletKAT, the
malletKAT instantly translates your last hit to the controller
“knob” of your synth. The knob turning can be instantaneous, or
can slide “slew” to the next value. This can create some incredible
interesting effects that are not possible with real time knob
tweaking. Complex rhythms can be imposed on any controller
number.
Entering and leaving a black key can also create an effect. When
you leave a black key (by striking another black key), one has the
option of resetting the last value and/or presetting the new value
of the black key just struck.
The last (highest) octave of the malletKAT’s black keys are
reserved for special functions. C# and D# are “slew” pads that
automatically send continuous data in one direction. (C# slews
down, and D# slews up).
The Real Time Control Mode also has a variation mode called
RTC+Velocity
The RTC mode is selected by striking the MONO pad TWICE
while the Edit Footswitch is pressed.
RTC Mode
The RTC mode is selected by striking the MONO pad (F1 on the
malletKAT, second octave) TWICE. Normally the first strike of
the MONO pad with the edit Footswitch down is MONO, meaning
that the active controller is in MONO mode. Hitting the pad
twice turns the malletKAT into RTC Mode. The display now
reads RTC. To return to MONO Mode, release the edit
Footswitch and start the process again.
Three modes are available for controller one (MONO, RTC, and
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RTC + velocity). Controller two has another mode named PTW.
This is activated by striking the MONO pad four times when
controller 2 is displayed.
With the exception of the PTW mode, both controllers can select
any of these modes simultaneously, so that a KIT can use these
modes in Normal, Split or Double Mode.
Assigning Controller Numbers
Controller Number assignments to the black keys in RTC Mode is
a Global Assignment, meaning that there is only ONE RTC
assignment in the malletKAT.
There are four screens for data entry. Global Edit Screens (67,68,
& 69) will all take you to the first screen.
RTC KEY NUMBER
Short Cut = # 67
Parameters = A#-1---A#+1
This represents which black key on the malletKAT you are
working on. On a three octave malletKAT, a screen display of C#
represents your lowest C# on the instrument. Change the value
by hitting the increment, decrement keys. Your options are
C#,D#, F#, G# and A#. If a second value is present, i.e C#+1, this
represents the second C# on the instrument. C#-1 is the lowest
note on a four octave malletKAT, and C#-2 is the lowest note on a
five octave malletKAT. Notice that the highest octave is not
available. That is because the “master” octave’s black keys are
reserved for special functions.
90
RTC CHANNEL
Short Cut = # 68
Parameters = 01—16
This is where you assign the channel for the “black” key.
RTC CONTROLLER#
Short Cut = # 69
Parameters = 00-128
This is where you assign the controller number. Choices are NO,
0-128. Number 128 is a Pitch wheel assignment. The last line on
the display will show the name of the controller number assigned.
RTC MIN VALUE
Short Cut = # 70
Parameters = 00-127
RTC MAX VALUE
Short Cut = # 71
Parameters = 00-127
RTC RESET VALUE
Short Cut = # 72
Parameters = 00-128
The Global Edit Screens (70,71, and 72) is where
you assign the MIN VALUE, MAXIMUM VALUE and RESET
values.
Setting the Min and Max values gives the range of the “white key”
pads on the malletKAT. Since there are 127 controller values
available, and only 21 “white pads” on a three octave instrument,
the malletKAT averages the total value of the assigned range over
91
these pads. The min and max settings affect the total range of
controller values that are averaged across the white pads.
The RESET value is the controller value sent when the RESET
PAD is struck or when Exiting and Entering a new controller pad
(see below).
Notice that the top line of the display is not editable. It is for your
reference to remind you of what black key you are working on.
RTC PREV CNTRL VALUE
Short Cut = # 73
Parameters = Reset, None
RTC NEXT CNTRL VALUE
Short Cut = # 74
Parameters = Reset, None, Last
Screens 73/74 are for editing the RESET Value. When you
enter (strike a black key) or leave (strike another black key), the
controller’s value can be reset to the value set in the RESET
parameter on the previous page. This parameter can also be set
to NONE, which means that the controller number will not be
changed when entering or leaving a “black” key setting. It is also
possible to set this parameter to LAST, meaning that the value
from this black key will be remembered when you enter it again.
“Prev Ctrl Value” means the Control Number value of the last
black key or the control function that you are leaving from.
“Next Ctrl Value” means the Control Number value of the black
key that you are going to.
92
Here are some examples of settings and the results.
Example One:
Prev Ctrl Value: RESET
Next Ctrl Value: NONE
This means that when a black key is hit, the reset value for the last
controller command will be sent. If you are striking a black key
for the first time, no controller value will be sent until you hit a
white key. If you have been “working” this controller, then decide
to move to another black key, the original black keys controller
value will be reset as you leave this controller. When you enter
the new controller number, no initial value will be sent until you
hit a white key.
Example Two:
Prev Ctrl Value: NONE
Next Ctrl Value: RESET
This means that when a black key is hit, the reset value for this
newly selected controller command will be sent. When you first
enter this controller number by striking a black key, the RESET
value is sent out. When you leave this controller number by
hitting another black key, the original black keys value is NOT
RESET, but if you strike another black key, the new controllers
value will automatically send out the RESET value.
Example Three:
Prev Ctrl Value: NONE
Next Ctrl Value: LAST
This means that when a black key is hit, the value that is sent is
the value that was sent the last time a value was sent for this black
key. If the last value was due to a reset operation, the reset value
is not sent. Only the last value sent as a result of striking a white
key. This means that the malletKAT remembers what was the last
value this particular black key sent out, and returns to this value
when this black key is struck again.
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SPECIAL FUNCTION BLACK KEYS
The five black keys on the Master (top) octave has been reserved
for special functions that effect all of the Controller Black keys. It
is possible to SLEW from one value to another in RTC mode.
This means that when you strike a white key, then another, you
have a choice of instantly going from one value to another or
allowing a “portamento” effect to take place between these values.
Portamento or slewing means that the value from one white key
gradually changes to the next value. The time that it takes to get
from one value to another can be set using these keys.
When in RTC mode, strike the F#3 pad. The screen displays the
Slew Speed in Milliseconds. This is the time it takes to get from
one value to the other. This pad is a toggle. Re-strike F#3 to
leave this mode.
To change the time of the slew effect, first strike F#3, then use the
C#3 and D#3 pads (INC+DEC pads) to increase or decrease the
values. Re-strike the F#-3 pad to return to Play Mode.
When Increasing the Slew Rate, (the numbers get higher) it
means that the effect is slower. The higher the value, the longer it
takes to get from value to value. A value of 255 is about 1/4 of a
second. By decreasing the value to 125, it means that it will get
from value to value faster, twice as fast as the 255 setting.
The G#3 pad is the PORTAMENTO ON AND OFF Key. Strike
this pad while in RTC mode and in PLAY mode. The screen will
“burst” a message of being on or off, then resume back to PLAY
mode. It is a toggle pad. Re-strike the pad to activate or deactivate this feature. Having PORTAMENTO OFF means that the
values will instantaneously switch to whatever white key value is
struck.
The A#3 pad is the RESET PAD. When this pad is struck in PLAY
mode, it will RESET the value of the active controller to whatever
value was set in the GLOBAL screen.
94
Extras
The Pitch Wheel has been added as a 128th “controller” and the
A# pad will reset it to the neutral value. There is also a special
mode, Pitch Wheel Mode, PTW MODE, described later.
RTC+ VELOCITY MODE
This is a special mode that allows for two controller numbers to
be manipulated simultaneously. RTC is a horizontal control,
meaning that values of a controller are affected by using the white
keys, left to right.
Adding VELOCITY to this mode means that your dynamics, or
vertical approach changes values to a controller. Playing soft or
loud is interpreted as small or large controller values.
This mode is analogous to turning TWO knobs of a synth module
at the same time. By thinking left to right and soft to loud at the
same time, incredible effects can happen in real time, with just
two sticks in your hands.
In order to properly activate this mode, the basic controller
settings must first be set in the GLOBAL AUX Screens. Global
Screen numbers 75 and 76.
RTC CONTROLLER #
Short Cut = # 75
Parameters = 00-127
RTC RESET VALUE
Short Cut = # 76
Parameters = 00-127
95
Global Screen #75 is where you set the MIDI Channel and
Controller Number that will be affected by the velocity or the
playing dynamic. Use Global Screen #76 to set the reset value.
There are not min/max settings for this mode because the
extremes are determined by the min/max velocity settings.
SLEW DATA STRIP RATE
When using the RTC Mode, there is lots of control data being sent
to the sound module. In the Kit Screen Aux (Screen #43), a
screen has been provided that strips or thins out some of the data.
Raising the value (between 1 and 127) decreases the amount of
data being sent.
SCREEN ANGLE
Short Cut = # 12
Parameters = Straight View, Edge View
You can change the viewing angle of the screen from Straight
View to Edge View.
SELECT DATA DUMP TYPE
Short Cut = # 03
Parameters = Global, All Memory, All Kits, Chains &
Reassignments, User KITS K01-128
Use the Inc/Dec pads to decide which Type of Memory Dump you
want to send.
Strike the Global Pad again (D natural).
immediately send out the data dump.
The malletKAT will
The malletKAT will automatically accept a data dump without
any setup from the user as long as the Data Dump Receive
Enable (screen #04) is set to Enable. This is the default setting.
96
PAD THRESHOLDS / PAD TRAINING
One of the most important design features of the malletKAT is its
ability to have the pads be trained by the user for personal
dynamic response. Every player has their own idea of what a soft
hit is and how hard they ultimately want to play. By teaching the
malletKAT your playing style, the instrument learns the way you
play and provides the widest dynamic response possible for you.
There are three ways that the malletKAT can be trained.
GLOBAL TRAIN, where you hit one pad soft, then hard to give
the overall dynamic response for the entire instrument.
GROUP TRAINING
Each octave on the malletKAT is trained separately.
INDIVIDUAL PAD TRAINING
Individual pads can be trained separately from the rest of
instrument.
These last two features can be invaluable if one note starts to
behave differently or if an expander octave was purchased at a
different time from the original and its sensitivity characteristics
are slightly different from the rest of the unit.
Sensors can vary slightly from each other. Also over time, the
sensors response can vary as well. The pad training provided on
the malletKAT eliminates the problem. The reason for this is
because the malletKAT can “see” 255 levels of dynamics. MIDI
only has 127 levels. When you hit the pad soft and hard in the
training process, you set the minimum and maximum levels.
These values are then imposed over the MIDI dynamic response
curves. The slight variations possible from sensors are masked
because the malletKAT is twice as dynamic as MIDI.
97
GLOBAL PAD TRAINING (TO TRAIN PADS)
Short Cut = # 07
Parameters = 00-255
You can train the entire instrument for your personal dynamic
response. This training affects the entire instrument, and all pads
receive the same response values.
Once you enter Screen #7, the malletKAT will prompt you to hit
any pad to continue with the training process. When you do, the
malletKAT will ask you to hit any pad soft, then after a moment
will ask you to hit any pad hard. This completes the dynamic
training.
GROUP OCTAVE PAD TRAINING
Short Cut = # 79
Parameters = 00-255
Each octave of the malletKAT can be trained separately. When
you enter screen #79, the malletKAT will direct you to each octave
for individual training.
C0 is the lowest C on a three octave malletKAT. C2 is the lowest C
on the MASTER octave (second to highest C on the malletKAT).
On a four octave malletKAT, the lowest C is named C-1.
On a five octave malletKAT, the lowest C is named C-2.
The malletKAT EXPRESS does not have C0. The octave names
on a two octave Express are C+1 (lowest C) and C+2 (second
down from top). Expanders are C-1 for a three octave and C-2 for
a four octave.
98
Each octave is assigned a GROUP letter. After training, you can
look at the values from each Group on Screen #80. Groups are
assigned as follows:
GROUP A = C-2
GROUP B = C-1
GROUP C = C0
GROUP D = C+1
GROUP E = C+2
On Global Screen #79, the malletKAT asks you to hit any pad to
train octave groups. After striking any pad, a Group Letter
appears along with the appropriate “C” note to train. If you want
to train a different Group, tap on the Function Key (the little pads
on the right) until the Group letter that you want to train appears.
The malletKAT will ask you to play a soft hit and then a hard hit
on the “C” of the octave that you chose. After the malletKAT
finishes calculating the results, it automatically moves to the next
Group and asks you to hit the next C for training. This process
will continue repeatedly until you hit the Footswitch to stop the
training process.
The malletKAT will ask to train ALL five octaves even if you do
not have them attached. Skip that Group if you only have a three
or four octave malletKAT.
NOTE: It is possible to use the F# key instead of the C key in each
octave.
Trust your ears and your playing dynamics. The values may look
different from octave to octave, but the response can be the same.
This is because there is a different sensor on each octave (and a
different section of circuitry controlling it). By training each
octave separately, the 128 MIDI velocity response levels should be
about the same. This function dramatically increases the
evenness across the entire malletKAT.
99
INDIVIDUAL PAD TRAINING
It is also possible to train up to sixteen individual pads. These
pad training values are stored in “INDIV Pad Train A, B,
C………H”. Go to Global Screen #79, keep the Footswitch down and
use the right function pad to scroll through these 16 INV PAD
TRAIN Letters.
Pick a letter for storage, then tap the pad that you want to train.
The malletKAT will ask you to hit the pad soft, then hard. These
values will be stored in that INV PAD Letter for the mallet pad
that you just played. Go to Global Screen #80 and use the
function pad to find the training values in the PAD Letter. The
name of the pad (the key) that has been individually trained is
now displayed in that Pad slot.
If the same pad is trained in more than one slot, only the training
data from the last slot is used.
An individually trained pad will revert to the octave training
results if the user releases footswitch #2 before striking the pad
to elect it for individual training AND the pad that is struck is
the pad assigned to the slot currently displayed on the training screen.
If the pad that is struck is NOT the pad assigned to the slot
currently displayed on the training screen AND Footswitch #2 is
not pressed, training will be aborted. To select a pad for
individual training, the Footswitch MUST be held while striking
the pad. The user should release the Footswitch once the pad has
been selected for training so it is not pressed when the actual
training is performed.
If the individual slot has not been assigned a pad, the training
results will display “----“.
100
TO TRAIN INDIV PAD A…..N
Short Cut = # 85…98
This is the shortcut to get to the IND Pad Training Screen
described above.
TRAINING RESULTS
Screen # 80 Low Level
Screen # 81 High Level
Screen # 82 Individual Pad
This is the shortcut to see the results of a Training Session. You
can manually change the results by using the INC/DEC keys.
PAD THRESHOLD ADJUSTMENT
Short Cut = # 05
The Threshold of each individual pad may be adjusted at this
screen by hitting the pad you wish to alter. When the pad has
been selected, you may increase or decrease the threshold using
the BACKWARD / FORWARD (F1&F2) pads. The lower the
threshold, the more sensitive the pad ( & more likely to false
trigger).
ADJUST
THRESHOLD
MARGIN
BACKWARD
FUNCTION PAD
Short Cut = # 83
The Function Pads F1, F2 (Backwards/Forwards) are set to a
higher threshold level than the rest of the instrument. The
default setting is 45. You can adjust the threshold here by using
the INC/DEC pads.
101
ADJUST THRESHOLD MARGIN FORWARD FUNCTION
PAD
Short Cut = # 84
The Function Pads F1, F2 (Backwards/Forwards) are set to a
higher threshold level than the rest of the instrument. The
default setting is 45. You can adjust the threshold here by using
the INC/DEC pads.
GLOBAL THRESHOLD ADJUST
If you are playing your malletKAT in a high altitude area, you may
need to raise the thresholds levels of the entire instrument
because the sensors are sensitive to pressure above sea levels. If
your malletKAT begins to false trigger (playing itself, rapid fire
pitches), you simply need to raise the thresholds.
This feature is also used to increase or decrease the general
sensitivity of the entire instrument.
When the malletKAT is reinitialized, a sensitivity Margin of “10”
is automatically placed under every pad. You can raise or lower
this setting by performing the procedure below. You can see the
results of adjustments by going back to Global Screen #5 and
hitting any pad. Be careful not to go too low, or the instrument
may start playing itself. If you raise it up too high, it will take a
harder hit in order to get the instrument to respond.
To Change the THRESHOLDS
Step on the Edit and Sustain 2 at the same time.
The display changes and says Threshold Adjust
Use the BACKWARDS pad (left function pad F1) to lower the
threshold to make the instrument MORE sensitive.
Use the FORWARD pad (right function pad F2) to raise the
threshold to make the instrument LESS sensitive.
102
AUTOMATIC PAD THRESHOLD
By simply pressing and releasing the Edit , the malletKAT Pro
performs a Pad Threshold Recalibration. This temporarily
adjusts the pad thresholds (as if you just turned on the
malletKAT). This setting is not permanent. If you want to save a
new permanent threshold level, perform the Global Threshold
Adjust procedure described above.
Don't lean on the pads when you step on the edit footswitch as this will
raise the thresholds of the pads, making them very in-sensitive. If this
should happen, press and release the Edit again (without
touching any pads) and this will make the pads playable again.
REINITIALIZING
THRESHOLDS
YOUR
PAD
SENSITIVITY
To REINITIALIZE your malletKAT Pro pad sensitivity
Thresholds back to safe settings, simply hold the EDIT and the
Sustain 2 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.
TO TRAIN BREATH CONTROLLER
Short Cut = # 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 BC itself. This may require experimentation.
103
To train the breath controller, strike any pad one more time and
release the Edit . 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.
TO TRAIN FOOT
CONTROLLER TWO
CONTROLLER
ONE
/
FOOT
Short Cut = # 8, 9
The response of FootController (1,2) 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 FootController pedal to the
floor and then hit 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.
TUNE INSTRUMENT
Short Cut = # 42,66
Parameters = -50+50 cents, MIDI CHANNEL 1-16
If your external sound source responds to the TUNING Command
or if you have an older malletKAT with sounds, you can fine tune
Globally your sound module in "cents".
104
VIRTUAL CONTROL WHEEL A,B,C
NUMBER
CONTROLLER
Short Cut = # 63, 17, 18
Parameters = CC#00-127
The Virtual Control Wheel Function on the malletKAT turns
Controller Layer Two into a Programmable Control Wheel. Unlike
RTC, the value of the white keys return to zero when the note is
released. This simulates using a Pitch Wheel on a Synthesizer.
This Mode is intended to be used in conjuction with Layer One,
the actual sound, while Layer 2 imposes the Controller effect on
Layer One.
Layer Two can be set to CTLC mode by hitting the MONO key Five
times with the EDIT Footswitch depressed.
The CTLC
functionality is accessed by pressing FSW #2 (Hang pedal) and
striking or pressing the keys.
The Master Octave is reserved for Special Functions.
F#3 (Slew Speed)
G#3 (Portamento Mode)
A#3 (Reset)
C#3 (Decrement Key)
D#3 (Increment Key)
When the F#3 (Slew Speed) pad is struck (with Hang Pedal
Down), the Slew value is displayed, and remains there until the
F#3 pad is struck again. This acts like a toggle. The idea here is
that after you strike the F#3 pad, you will then use the C#3 and
D#3 pads to program your Slew Rate. Once you have finished, hit
the F#3 pad again to begin playing.
C0= 0 (Minimum Controller Value)
F1/G1=64 (Neutral Controller Value)
C3=64 (Maximum Controller Value)
105
Keys positioned between those described above are assigned
intermediate values.
If Portamento is OFF, striking a key will immediately send the
controller value assigned to that key. The neutral Pitch Wheel is
sent when both the pad and the Hang pedal are released.
If Portamento Mode is ON, striking or holding a key will slew up
or down to the value assigned to that key for as long as the key is
pressed OR until the Gate Time Value has expired. If the key
pressure is released or when the gate time ends, the controller
values will slew back to the neutral value.
When a white key is struck with the mallet, the malletKAT holds
that pad down as determined by the GATE Time. After the GATE
Time has expired, the Slew returns back to Zero at the determined
Slew Rate when the Hang pedal is released. If the Hang pedal is
still pressed when the Min/Max value is reached, the return Slew
Sequence will not occur until it is released. Whenever the HANG
pedal is released, the Slew sequence returns to the neutral value
(determined by Gate Time).
ASSIGNING THE VIRTUAL CONTROL WHEEL
Virtual Control Wheel
There are three Virtual Control Wheels (besides the Pitch Bend)
that can be assigned GLOBALLY. These are Control Wheels A,B
and C. In the Global Screens, you assign what controller number
(1-127) you want to assign onto the VIRTUAL WHEEL.
Every Kit in the malletKAT can use ONE of these three assigned
Wheels in Controller Two.
106
After striking the MONO Key 5 Times in the Edit Mode on Layer
Two (Controller 2), the Layer turns into the CTLC Mode. When
the Sustain Two is depressed, the Virtual Wheel is activated. The
Virtual Wheel assumes the MIDI Channel of Layer Two.
107
Chapter Six
GOOD THINGS TO KNOW
DIFFERENCES BETWEEN THE MALLETKAT PRO AND
EXPRESS
The malletKAT EXPRESS has the same software and hardware
features as the malletKAT PRO. It is however much lighter, as
the frame is made from aluminum instead of steel. The
malletKAT Express is a two octave instrument, and can
accommodate 2 additional octave expanders, allowing a total of
four octaves that can be played at once. The regular malletKAT
PRO can be expanded up to Five octaves.
EDIT MODE on the malletKAT EXPRESS.
On a normal malletKAT PRO, there are EDIT Functions available
on all three octaves. Since the EXPRESS only has two octaves, the
malletKAT software has been modified to address this issue.
Pressing FS 1 & 2 simultaneously allows the lower octave of the
malletKAT EXPRESS to operate like the lower octave of the three
octave malletKAT.
Once you are in the Edit Mode (i.e. Global Aux Screens),
RELEASE Footswitch One.
The EXPRESS now thinks that you are editing on the Third
octave. On the Express, located above the bars on the second
octave are the descriptions of the Edit Screen Functions normally
found on the third octave.
On the malletKAT PRO, the black keys function as numeric value
pads while in EDIT MODE. On the EXPRESS, there are missing
numbers 1-5 as these numbers that where on the third octave, so this
feature is not practical. You need to use the INC/DEC pads.
108
When you want to edit a function in the GLOBAL and KIT
AUXILLARY Screens,
you will need to use the
BACKWARD/FORWARD KEYS to scroll through the screen
numbers. Use these Function Pads (the little pads on the right) to
find the AUX Function, then use the INC/DEC to change the
value within that screen.
If you connect a third octave to the EXPRESS, all of these
differences disappear as the normal malletKAT PRO operations
come back into function.
If you GROUP TRAIN the malletKAT EXPRESS, use groups D &
E. This is C1 and C2.
If you are using expanders, training Group C (C0) does not exist
on the EXPRESS. TRAIN using C-1 Group B for the third octave,
and C-2 Group A for the fourth octave.
REINITIALZING THE MALLETKAT
Step on the Edit Footswitch and press (hold down) both FUNCTION
PADS all at the same time. Notice the display screen will prompt you to
also hold down the A# pad next to the two Function Pads. Continue holding
all three pads until you hear the reinitialize beep tones. The malletKAT
defaults back to the Factory Kits.
109
MalletKAT EXPANDER
Your Expander comes with:
1 piece of felt with adhesive
2 aluminum strapping bars
1 special 7 pin Expander Cable
malletKAT EXPANDERS (how to connect)
You will need a Phillips screwdriver.
To attach your Expander to the malletKAT PRO or malletKAT EXPRESS,
turn the unit off and unplug all cords. Turn the malletKAT upside down on
a flat surface. Position the Expander upside down next to the LOWEST
octave of the malletKAT.
Take the piece of felt and line it up to the side of the Expander that will be
attached to your Pro/Express. Remove the release paper on the felt and
adhere it to the side of the Expander. Set the Expander back down lining it
up with the malletKAT so that the felt is touching it.
Remove the last four screws on the malletKAT furthest from the display,
two screws from the top row and two from the bottom row.
Remove the adjacent four screws on the Expander Unit as well, two from the
top row and two from the bottom row. (These are 6-32 X 1/2” pan head
phillips sems).
Position the aluminum strapping bars with the oblong hole lining up on the
malletKAT and the last two holes lining up on the Expander. Replace the
screws you just removed, attaching the strapping bars to the malletKAT and
the Expander.
Turn the malletKAT back over. Plug the special Expander Cable from the
malletKAT to the Expander. Use Output number ONE on the malletKAT
for a single expander, and Output number TWO for the second expander
furthest from the display.
ALWAYS plug in the Expander cable BEFORE turning on the malletKAT.
Plug in the rest of your cords, turn the unit on and have fun playing.
110
INDEX
Acoustic Emulations
Aftertouch
4
11,12,53,55,70,71
All Note Off 49
Alternate Mode 11,41
Auto Gate 5,31, 32
Auto Velocity to Gate 32
Aux Screens 50,55,70,87
Backwards 25,30,51,101
Bank 7,20,51,55,67,71
Beeper 71
Black Keys 2,15,24,61,89,90,93,94
Breath 56,57,72,103,104
Cancel 30
Chains 3,7,52,72
Chord 10,37,38,73
Control Wheel 17,46,105,106
Continuous Controller
2,11,12,15,42,29
Controller 1,2,5,8,9,10,1419,34,36,37,40,41,42,43,48,58,59,60,84,88,90,104,105
CTLA/B/C 17,18,107
Dampen 4,11,12,52,63,71,74,75
Data Dump 7 5,80,96
Dead Stroke 4,13,52,53
Dead Stroke Count 76
Debounce 76
Decrement 7,19,26,44,73,105
Default 27,28,86
Double Mode 8,9,14,25,40
Dynamic Articulations 4,97,98,99
Expanders 110
Factory Kits 3,6,7,18,51,61,83
Fine Tuning 76
Foot Control 2,34,35,57,58,59,60,69,73,76,77,104
FootSwitch MIDI Notes 77
Forwards 51,52,61,70,72,73,101,102,103
Gate Time 31,32,33,34,35
General MIDI 3,7,18,51,61,62,81,83
Global Auxiliary Functions 49,70-107
Groove 30,69,77,78,79
Hang Mode 9,34,36
Increment 7,19,26,105
Individual All Notes Off 49
Individual Pad Training 4,97,98,100
Infinite Mode 34
Instrument Names 18,19,51,61,83
Kit Auxiliary Functions 5 0,55-69
Kit Names 7,18,19,61,83
Kit Numbers 6
Kurzweil PC2r 6,51
Latch 66,86,87 Group Latch 33
Layer Mode 8,36,37,40,86
Loop 2,72,86
LSB 20,55,56,67
MalletKAT EXPRESS 112
Melody Chord Mode (Mel 1,2,3) 37,38,73
Merge 81
MIDI Channel 1,23,60,81 Incoming 79
Mono Mode 4,15,41,89
MSB 20,55,56,67
Multiple Hit Smoothing 63
None 18,19,62,83,92,93
Normal 52,82
Numeric Input Values 24,49,53
Octaves 34 Group Octave 98
Pad Training 4,97,98,100,101
Permanent Memory 82
Pitch Bend 63,64,65
Pitch Wheel Mode 17,43,44,45,46,47,91,95,105,106
Play Mode Screens 6,21,30
Poly Mode 15,48,55,64,66,67
Portamento Mode 44,45,47,94,105,106
Pressure Mode 11,12,52
Program Change 20,36,80,81
Program Names 18,83
PTW 15,16,42,88,89
Quick Copy 87
Real Time Control RTC 15,16,42,88,89
Reassign 1,13,65,66,67,83,84,85,86,87,88
Reinitialize 103 -109
Roll Mode 33
Scan Count 74,82
Screen Angle 96
Setup Copy 29
Setup Number 31
Slew Speed 94,105
Sound Map 61,81
Split 9,39,
Sysex 3,52,82
System Message 80
Tap Tempo 30,77,78,79
Thresholds 97,102,103
Unversal ID 80,81
User Kits 1,3,7,18,19,51,52,61,72,82,83
Velocity Curve 35
Velocity Shift Mode 8,40
Virtual Control Wheels 17,46,105,106
Volume 20,35,67,
Warp 68,69
Yamaha Motif ES 3,6,51
malletKAT Shortcuts
KIT AUXILLARY
Short Cut #
Sustain FTSW 1
Sustain FTSW 2
Bank msb Bank lsb
AfterTouch Type is
MonoNote Overlap
Multiple Hit Smoothing
Polyphony
Foot Controller 1 Assignment
Foot Controller 1 Minimum Effect
Foot Controller 1 Maximum Effect
Foot Controller 1 Curve
Foot Controller 1 Channel
Foot Controller 2 Assignment
Foot Controller 2 Minimum Effect
Foot Controller 3 Maximum Effect
Foot Controller 2 Curve
Foot Controller 2 Channel
Breath Controller Assignment
Breath Controller Minimum Effect
Breath Controller Maximum Effect
Breath Controller Curve
Breath Controller Channel
Reverb Select
Edit Controller Interface Mode
Warp Mode
Pitchbend Sensitivity
Reassign MODE
Reassign Polyphony
Reassign #
Reassign Octave Offset
Reassign Transpose AMT
Reassign Forced Gate
Reassignment Prog Change
Reassignment Channel
Reassignment Vol
Reassignement Bank LSB
Reassignment Polyphony
Reassignment Interface Mode
Pitch Bend Channel
Pitch Bend Routing
Slew Data Strip Rate
Kit Name
1
2
3,4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26,27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44 or 00
KIT AUXILLARY Parameters
DEFAULT
Sustains 1 &2, 1 and R, 2 and R, 1 and 2 and R, 1, 2
1&2
Sustains 1 &2, 1 and R, 2 and R, 1 and 2 and R, 1, 2
1&2
00-127
00-00
Channel pressure, Key Pressure
Channel
Disabled, .010-.310 second
Disabled
Is Not Active, Mode I Active, Mode II Active
Mode II
1 Note, 2 Note
1 Note
CC# 00-127 (including same CC Names)
Volume
00-127
0
00-127
127
00-11
8
Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16
Same as CNTRL 1
CC# 00-127 (including same CC Names)
Volume
00-127
0
00-127
127
00-11
8
Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16
Same as CNTRL 2
CC# 00-128 (including same CC Names)
PITCH UP/SUS
00-127
0
00-127
127
00-11
1
Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 BOTH CONTROLLERS
No Effect, Various Reverb Presets
NO EFFECT
Both Int & Ext, Neither, External MIDI only, Internal Only
BOTH INT & EXT
OFF/On—Vol %
OFF
OFF/On and Channel
OFF
OFF, COMBINE, REPLACE
OFF
Monophonic, Polyphonic
POLYPHONIC
OO-14
1
OO-14
00-00
-12 to +12
0
OFF, Latch, 0.10-6.000 sec
OFF
NO, 00-127
NO
00-16
3
NO, 00-128
NO
00-127
0
1 Note, 2 Note
1 Note
Both Int & Ext, Neither, External MIDI only, Internal Only
BOTH INT & EXT
O1-16
1
Both Int & Ext, Neither, External MIDI only, Internal Only
BOTH INT & EXT
00-127
5
12 characters A-Z,numbers,symbols
***********************
malletKAT Shortcuts
Warp Mode P1
Warp Mode P2
Warp Mode Rep
Warp Mode Patterns
AutoGate Control
AutoGate Control Overlap
Reassignment Bank MSB
Warp Mode P3
Velocity Shift Point
Kit Controller Preset CC#
Kit Controller Channel
Kit Controller CC# Value
55
56
57
58
59
60
61
62
63
64
65
66
-12 to +12
-12 to +12
1 –3
1---8
Disabled, Enabled
0.010-6.200 sec
00-127
-12 to +12
00-127
00-128
01/16/05
00-127
1
2
1
1
DISABLE
.10 SEC
O
0
60
128
1
0
KIT AUXILLARY
Short Cut #
KIT AUXILLARY Parameters
Default
AfterTouch Type is
AutoGate Control
AutoGate Control Overlap
Bank msb Bank lsb
Breath Controller Assignment
Breath Controller Channel
Breath Controller Curve
Breath Controller Maximum Effect
Breath Controller Minimum Effect
Edit Controller Interface Mode
Foot Controller 1 Assignment
Foot Controller 1 Channel
Foot Controller 1 Curve
Foot Controller 1 Maximum Effect
Foot Controller 1 Minimum Effect
Foot Controller 2 Assignment
Foot Controller 2 Channel
Foot Controller 2 Curve
Foot Controller 2 Minimum Effect
Foot Controller 3 Maximum Effect
Kit Controller CC# Value
Kit Controller Preset CC#
Kit Controller Channel
Kit Name
MonoNote Overlap
Multiple Hit Smoothing
Pitch Bend Channel
Pitch Bend Routing
Pitchbend Sensitivity
5
59
60
3,4
19
23
22
21
20
25
9
13
12
11
10
14
18
17
15
16
66
64
65
44 or 00
6
7
41
42
28
Channel pressure, Key Pressure
Channel
Disabled, Enabled
DISABLE
0.010-6.200 sec
.10 SEC
00-127
00-00
CC# 00-128 (including same CC Names)
PITCH UP/SUS
Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 BOTH CONTROLLERS
00-11
1
00-127
127
00-127
0
Both Int & Ext, Neither, External MIDI only, Internal Only
BOTH INT & EXT
CC# 00-127 (including same CC Names)
Volume
Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16
Same as CNTRL 1
00-11
8
00-127
127
00-127
0
CC# 00-127 (including same CC Names)
Volume
Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16
Same as CNTRL 2
00-11
8
00-127
0
00-127
127
00-127
0
00-128
128
01-16
1
12 characters A-Z,numbers,symbols
***********************
Disabled, .010-.310 second
Disabled
Is Not Active, Mode I Active, Mode II Active
Mode II
O1-16
1
Both Int & Ext, Neither, External MIDI only, Internal Only
BOTH INT & EXT
OFF/On and Channel
OFF
malletKAT shortcuts
Polyphony
Reassign Octave Offset
Reassign #
Reassign Forced Gate
Reassign MODE
Reassign Polyphony
Reassign Transpose AMT
Reassignement Bank LSB
Reassignment Bank MSB
Reassignment Channel
Reassignment Interface Mode
Reassignment Polyphony
Reassignment Prog Change
Reassignment Vol
Reverb Select
Slew Data Strip Rate
Sustain FTSW 1
Sustain FTSW 2
Velocity Shift Point
Warp Mode
Warp Mode P1
Warp Mode P2
Warp Mode P3
Warp Mode Patterns
Warp Mode Rep
8
32
31
34
29
30
33
38
61
36
40
39
35
37
24
43
1
2
63
26,27
55
56
62
58
57
1 Note, 2 Note
OO-14
OO-14
OFF, Latch, 0.10-6.000 sec
OFF, COMBINE, REPLACE
Monophonic, Polyphonic
-12 to +12
00-127
00-127
00-16
Both Int & Ext, Neither, External MIDI only, Internal Only
1 Note, 2 Note
NO, 00-127
NO, 00-128
No Effect, Various Reverb Presets
00-127
Sustains 1 &2, 1 and R, 2 and R, 1 and 2 and R, 1, 2
Sustains 1 &2, 1 and R, 2 and R, 1 and 2 and R, 1, 2
00-127
OFF/On—Vol %
-12 to +12
-12 to +12
-12 to +12
1---8
1 –3
1 Note
00-00
1
OFF
OFF
POLYPHONIC
0
0
O
3
BOTH INT & EXT
1 Note
NO
NO
NO EFFECT
5
1&2
1&2
60
OFF
1
2
0
1
1
GLOBAL AUXILLARY
Short Cut #
GLOBAL AUXILLARY Parameters
Default
Permanent Memory is
MIDI IN to MIDI OUT Merge
Select Data Dump Type
DataDump Receive
Threshold Adjust
Incoming Program Change Receive
To Train Pads
To Train Foot Controller 1
To Train Foot Controller 2
To Train Breath Controller
Beeper Is
Screen Angle
Individual ID
Debounce Count
1
2
3
4
5
6
7
8
9
10
11
12
13
14
Not Protected, Protected
Is On, Is Off
Global, All Memory, All Kits,Chains&Reassignments, Kit01-128
Enabled, Disabled
NOT PROTECTED
IS ON
ALL MEMORY
ENABLED
On All Channels, Is Off, Channel 1-16
ON ALL CHANNELS
On/Off
Straight View, Edge View
Universal ID, 01-127
01-120
ON
STRAIGHT VIEW
UNIVERSAL ID
20
malletKAT Shortcuts
Dampen Threshold
Dampen Count
Virtual Control Wheel B CC#
Virtual Control Wheel C CC#
Foot Contrl 1 Performs
Foot Control 2 Performs
Aftertouch Mask Count
Aftertouch Depth
Bank Select1
Incoming Channel 1 Route to
Incoming Channel 2 Route to
Incoming Channel 3 Route to
Incoming Channel 4 Route to
Incoming Channel 5 Route to
Incoming Channel 6 Route to
Incoming Channel 7 Route to
Incoming Channel 8 Route to
Incoming Channel 9 Route to
Reassign Transpose Amt
Incoming Channel 11 Route to
Incoming Channel 12 Route to
Incoming Channel 13 Route to
Incoming Channel 14 Route to
Incoming Channel 15 Route to
Incoming Channel 16 Route to
Incoming System Message Route to
MIDI IN Prog Change Sound Map
Tune Instrument to 440
Dampen Mode Scan Count
Normal Mode Scan Count
Dampen Ratio
Chain # Screen
Chain Step
Chain Setup
Chain Enable
Reassign Number
Reassign K number
Reassign m number
Reassign Channel
Reassign Min Velocity
Reassign Max Velocity
Reassign Curve
.010-6.200 sec
Groove Enabled
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
00-255
00-255
00-127
00-127
Controller,Setup Advance,SetupBackup,
Controller,Setup Advance,SetupBackup,
01-64
00-64
Enabled, Disabled
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
-12 to +12
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Setups Map,General MIDI Map,
-50+50 Cents
O-16
3---16
0-255
O1-16
O-16
01-128
Disable/Enable
O1-14
01-61
C-2 – G8
O1-16
00-127
00-127
O1-11
58
Disable/Enable
3
100
10
10
CONTROLLER
CONTROLLER
20
1
ENABLED
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
0
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
SETUPS MAP
0 CENTS
6
5
50
3
1
1
DISABLE
1
1
c-2
1
20
127
0.255
Disabled
malletKAT Shortcuts
Groove Pattern
Groove Tempo
Groove Volume
Groove Routing
Virtual Control Wheel A CC#
Program String Names
Fine Tuning Routing
Tune Instrument Ch
RTC Key Number
RTC Channel
RTC Controller #
RTC Min Value
RTC Max Value
RTC Reset Value
RTC Prev Cntrl Value
RTC Next Cntrl Value
RTC Controller #
RTC Reset Value
Chord Mode Window
RTC Channel
To Train Pad Groups
Training Results Low Level
Training Results High Level
Training Results Indiv Pad
Adjust Threshold Backwards
Adjust Threshold Forwards
To Train Indiv Pad A
To Train Indiv Pad B
To Train Indiv Pad C
To Train Indiv Pad D
To Train Indiv Pad E
To Train Indiv Pad F
To Train Indiv Pad G
To Train Indiv Pad H
To Train Indiv Pad I
To Train Indiv Pad J
To Train Indiv Pad K
To Train Indiv Pad L
To Train Indiv Pad M
To Train Indiv Pad N
To Train Indiv Pad FO
Training Breath Controller
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
100
Various Groove Patterns
40-240
00-10
Both Int & Ext, Neither, External MIDI only, Internal Only
00-128
Kit Names, None, Instrument Names
Both Int & Ext, Neither, External MIDI only, Internal Only
01—16
A#-1 -A#+1
O1-16
00-127
00-127
00-127
00-128
Reset,None
Reset, None, Last
00-127, NO
00-127
01-20 milliseconds
01/16/05
CLICK IN 4
120
10
BOTH INT & EXT
10
KIT NAMES
BOTH INT & EXT
1
C#
1
50
0
127
0
RESET
RESET
NO
0
5
O1-48
O1-48
45
45
malletKAT Shortcuts
GLOBAL AUXILLARY
Short Cut #
GLOBAL AUXILLARY Parameters
DEFAULT
Adjust Threshold Backwards
Adjust Threshold Forwards
Aftertouch Depth
Aftertouch Mask Count
Bank Select1
Beeper Is
Chain # Screen
Chain Enable
Chain Setup
Chain Step
Chord Mode Window
Dampen Count
Dampen Mode Scan Count
Dampen Ratio
Dampen Threshold
DataDump Receive
Debounce Count
Fine Tuning Routing
Foot Contrl 1 Performs
Foot Control 2 Performs
Groove Enabled
Groove Pattern
Groove Routing
Groove Tempo
Groove Volume
Incoming Channel 1 Route to
Incoming Channel 11 Route to
Incoming Channel 12 Route to
Incoming Channel 13 Route to
Incoming Channel 14 Route to
Incoming Channel 15 Route to
Incoming Channel 16 Route to
Incoming Channel 2 Route to
Incoming Channel 3 Route to
Incoming Channel 4 Route to
Incoming Channel 5 Route to
Incoming Channel 6 Route to
Incoming Channel 7 Route to
Incoming Channel 8 Route to
Incoming Channel 9 Route to
Incoming Program Change Receive
Incoming System Message Route to
83
84
22
21
23
11
46
49
48
47
77
16
43
45
15
4
14
65
19
20
58
59
62
60
61
24
34
35
36
37
38
39
25
26
27
28
29
30
31
32
6
40
O1-48
O1-48
00-64
01-64
Enabled, Disabled
On/Off
O1-16
Disable/Enable
01-128
O-16
01-20 milliseconds
00-255
O-16
0-255
00-255
Enabled, Disabled
01-120
Both Int & Ext, Neither, External MIDI only, Internal Only
Controller,Setup Advance,SetupBackup,
Controller,Setup Advance,SetupBackup,
Disable/Enable
Various Groove Patterns
Both Int & Ext, Neither, External MIDI only, Internal Only
40-240
00-10
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
Both Int & Ext, Neither, External MIDI only, Internal Only
On All Channels, Is Off, Channel 1-16
Both Int & Ext, Neither, External MIDI only, Internal Only
45
45
1
20
ENABLED
ON
3
DISABLE
1
1
5
100
6
50
3
ENABLED
20
BOTH INT & EXT
CONTROLLER
CONTROLLER
Disabled
CLICK IN 4
BOTH INT & EXT
120
10
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
BOTH INT & EXT
ON ALL CHANNELS
BOTH INT & EXT
malletKAT Shortcuts
Individual ID
MIDI IN Prog Change Sound Map
MIDI IN to MIDI OUT Merge
Normal Mode Scan Count
Permanent Memory is
Program String Names
Reassign Transpose Amt
Reassign Channel
Reassign Curve
Reassign Gate
Reassign K number
Reassign m number
Reassign Max Velocity
Reassign Min Velocity
Reassign Number
RTC Channel
RTC Channel
RTC Controller #
RTC Controller #
RTC Key Number
RTC Max Value
RTC Min Value
RTC Next Cntrl Value
RTC Prev Cntrl Value
RTC Reset Value
RTC Reset Value
Screen Angle
Select Data Dump Type
Threshold Adjust
To Train Breath Controller
To Train Foot Controller 1
To Train Foot Controller 2
To Train Indiv Pad A
To Train Indiv Pad B
To Train Indiv Pad C
To Train Indiv Pad D
To Train Indiv Pad E
To Train Indiv Pad F
To Train Indiv Pad FO
To Train Indiv Pad G
To Train Indiv Pad H
To Train Indiv Pad I
To Train Indiv Pad J
To Train Indiv Pad K
13
41
2
44
1
64
33
53
56
57
51
52
55
54
50
68
78
75
69
67
71
70
74
73
72
76
12
3
5
10
8
9
85
86
87
88
89
90
99
91
92
93
94
95
Universal ID, 01-127
Setups Map,General MIDI Map,
Is On, Is Off
3---16
Not Protected, Protected
Kit Names, None, Instrument Names
-12 to +12
O1-16
01/11/05
0.010-6.200 sec
01-61
C-2 – G8
00-127
00-127
O1-14
O1-16
01/16/05
00-127, NO
00-127
A#-1 -A#+1
00-127
00-127
Reset, None, Last
Reset,None
00-128
00-127
Straight View, Edge View
Global, All Memory, All Kits,Chains&Reassignments, Kit01-128
UNIVERSAL ID
SETUPS MAP
IS ON
5
NOT PROTECTED
KIT NAMES
0
1
1
0.255
1
c-2
127
20
1
1
NO
50
C#
127
0
RESET
RESET
0
0
STRAIGHT VIEW
ALL MEMORY
malletKAT Shortcuts
To Train Indiv Pad L
To Train Indiv Pad M
To Train Indiv Pad N
To Train Pad Groups
To Train Pads
Training Breath Controller
Training Results High Level
Training Results Indiv Pad
Training Results Low Level
Tune Instrument Ch
Tune Instrument to 440
Virtual Control Wheel A CC#
Virtual Control Wheel B CC#
Virtual Control Wheel C CC#
96
97
98
79
7
100
81
82
80
66
42
63
17
18
01—16
-50+50 Cents
00-128
00-127
00-127
PAD FUNCTION LISTINGS
HIGHEST OCTAVE
C = Setup Number
D = Gate Time Settings forward = (Roll Mode,V
E = Octaves
F = Minimum Velocity Setting
G = Maximum Velocity Setting
A= Velocity Curve
B = Volume Setting
C (highest) = Program Change
USER/ FACTORY 1-128
.010-6.100sec/Infinite/Latch/FC Gate/Velocity
00-14
00-127
00-127
O1-14
00-127/ NO
00-127
C# = Decrement
D# = Increment
F# = Default
G# = S.Copy
A# = Cancel
Function Pad 1 = Backwards
Function Pad 2 = Forwards
MIDDLE OCTAVE
C = Hang Mode, Melody Chord 1, Melody Chord 2, Melody Chord 3 Modes
D = Split Mode
E = Double, VEL Shift, ALT Mode
1
0 CENTS
10
10
10
malletKAT Shortcuts
F = Monophonic Mode , RTC, RTC+Velocity (Layer two PTW, CTLA,CTLB, CTLC
G = Polyphonic Mode
A= Transpose Mode
+12-12
B = MIDI Channe1
C# = 6 number
D# = 7 number
F# = 8 number
G# = 9 number
A# = 0 number
LOWER OCTAVE
C = All Notes Off, Individual All Notes Off
D = Global Auxiliary Functions
E = Kit Auxiliary Functions
F = Bank Select (Factory, User, Chain)
G = Normal Pressure Mode
A= Dampen Stroke, Dead Stroke
B = Aftertouch Mode
C# = 1 number
D# = 2 number
F# = 3 number
G# = 4 number
A# = 5 number
FOURTH OCTAVE
G= Sequence Start
A= Continue
B = Stop
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