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malletKAT PRO Manual V. 7KS Rev. 0612 www.alternatemode.com Chapter One: Pressure Modes 7 malletKAT Pro Overview 1-3 Normal Mode 7 MIDI Controllers 1 Dampen Mode 7 Reassignments 1 Aftertouch 7 Controller Inputs 1 Dead Stroke 13 Setups 2 Controller One Two Functions 8 - 9 Pad Training 3 Poly Mode 9 Dynamic Articulations 3 Mono Mode 9 Acoustic Emulations 3 Real Time Control Mode 9 RTC+Velocity 9 Chapter Two: Pitch Wheel Mode PTW 10 Play Mode Screens 4-12 Virtual Control Wheel CTLA 10 Kit Numbers 4 Instrument Names 11 Factory Kits 4 Kit Names / None 11 User Kits 4 Bank Change/Program Change 11-12 Chains 4-5 Volume Change 12 Layer Modes 5 Hang Mode 5 Chapter Three: Split Mode 5 Editing the malletKAT 13-30 Double Mode 6 General Editing Concepts 13-14 Melody Chord Mode 6 Editing Pad Layout 14 Velocity Switch Mode 6 Function Listings 14 -15 Alternate Mode 6 Editing Pad Descriptions 15 Changing Values 15 Split Mode 22 Default Settings 16 Double Mode 23 Setup Copy 17 Velocity Shift Mode 23 Cancel 17 Alternate Mode 23 Tap Tempo 18 Monophonic Mode 23 Function Pad 1&2 (backwards/forwards) 18 Mono Note Overlap 24 Setup Numbers 18 Real Time Control 24 Gate Time Control 18 Pitch Wheel Mode 24-25 Auto Velocity to Gate 19 Virtual Control Wheel 26-27 Roll Mode 19 Polyphonic Mode 27 Auto Gate Mode 19 Transpose Mode 27 Latch - Group_Latch 19 Numeric Input Values 27 Foot Controlled Gate 20 All Notes Off 28 Infinite Mode 20 Global Auxiliary Functions 28 Octaves 20 Kit Auxiliary Functions 28 Velocity Settings 20 Bank Select 29 Minimum Velocity 20 Factory Kits 29 Maximum Velocity 20 User Kits 29 Velocity Curve 21 Chains 29 Volume Setting 21 Normal Pressure Mode 30 Program Change Setting 21 Dampen Stroke, DeadStroke 30 Hang Mode 21 Aftertouch 30 Melody Chord Mode 21-22 Numeric Input Values 30 Bank Select 40 Chapter Four: Beeper 40 Kit Auxillary Functions/Screens 31-38 Breath Controller Train 41 Aftertouch Type 31 Chain Mode 41 Autogate 31 Chord Mode Window 41 Bank MSB LSB Change 31 Dampen Control Assignments 41 Breath Control 32 Data Dump Receive 43 Edit Controller Interface 32 Debounce Count 43 Foot Controller Assignments 32-34 Fine Tuning 43 Kit Controller Assignments 34 Setup Advance/Backwards 43 Kit Names 34 Footswitch MIDI Notes 43 Mono Overlap Mode 35 Foot Controller Performs 42 Multiple Hit Smoothing 35 Groove/Tap Tempo Assignments 44-45 Pitch Bend Assignments 36 Incoming Channel Routings 45 Polyphony Count 36 Incoming Program Change Receive 45 Reassignment Mode Assignments 37-38 Incoming System Message Routing 45 Slew Data Strip Rate 38 Universal ID# 46 Warp Mode 38 MIDI IN Program Change Sound Map 46 MIDI IN to Merge OUT 46 Chapter Five: Normal Mode Scan Count 46 Global Auxillary Functions/ Screens 39-60 Permanent Memory 47 Adjust Thresholds 40 Program String Names 47 Aftertouch 40 Reassignment Mode Assignments 47-50 Real Time Controller Mode 51 Appendix: RTC Assignments 51-53 Screen Shortcuts 66 Special Function Black Keys 53 Pad Functions 76 Slew Data Strip Rate 55 KS Sound Bank List 77 Screen Angle 55 Inserting Software Update Chip 85 Select Data Dump Type 54 Pad Thresholds / Training 55 Global Pad Training 55 Group Octave Pad Training 56 Individual Pad Training 57 Thresholds 58-59 Training 59 Tune Instrument 59 Virtual Control Wheel 59-61 Chapter Six: Good Things To Know 61-65 Differences Between malletKAT Pro and Express 61 Reinitialize the malletKAT 62 Expanders 62 Index: 62 63 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), capturing 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 or they can be split or overlapped so that both sounds are active at the same time. 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. 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. 1 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. 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. 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. 2 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 “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. 3 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 its 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. 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. 4 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. 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. 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 footswitch, and while held down, tap the C natural, second octave down from the top. SPLIT MODE 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 5 even possible to have “dead” notes between the two SPLIT Zones. You can access the Split 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. Read about this in the EDIT Screens chapter. DOUBLE MODE 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. 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. 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. VELOCITY SHIFT MODE When you see this on the screen, you are in Velocity Shift 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. 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 6 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 NORMAL 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. 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. 7 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). 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. 8 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. These are the Controller Functions: 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. 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. 9 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... 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. 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. 10 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. 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. 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. 11 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. 12 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. • 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) 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. 13 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 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 D# = Increment F# = Default G# = S.Copy A# = Cancel Function Pad 1 = Backwards Function Pad 2 = Forwards 14 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 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. 15 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: 1. Depress the Edit and keep it depressed during the following. 2. Hit the “Channel” Pad, (D on the highest Octave). 3. Hit the “Default” Pad, (F# on the highest octave). Note that the Channel has been changed to “4”. 4. 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: 16 1. 2. 3. 4. Depress the Edit and keep it depressed during the following. Hit the “Setup” Pad, (C on the highest octave). Hit the “Default” Pad, (F# on the highest octave). 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. If you change one of your Defaults for a particular setting and want to get it back to the original Factory setting, the method is as follows: <Edit foot down> <Default> <setting> <Default> <Edit foot up> For example, if you want to return the Default for Minimum Velocity to the original Factory setting: 1) Depress the Edit and keep it depressed during the following. 2) Hit the “Default” Pad, (F# on the highest octave). 3) Hit the “Minimum Velocity” Pad (F on the highest octave). 4) Hit the “Default” Pad again, (F# on the highest octave). 5) Release the Edit . 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 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. 17 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) 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). 18 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. 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. 19 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. 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. 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. 20 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. 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. 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 21 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 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 Double, Split or RTC Modes are selected. 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 22 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. 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. 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. 23 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. 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 =F twice (on MIDDLE OCTAVE) 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 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. 24 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 be 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. 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 assigindividual notes offned a Pitch Wheel controller value from 0127 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. 25 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. 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 CONTROLLER NUMBER Short Cut = # 63, 17, 18 Parameters = CC#00-127 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 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 26 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) 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. 27 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. 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 28 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. 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 with the Kurzweil PC2R, theYamaha Motif ES or the Ketron SD2. 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. 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. 29 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 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 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. 30 • 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. 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. 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 31 (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) 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. 32 FOOT CONROLLER ONE CHANNEL Short Cut = # 13 Parameters = Same as CNTRL1, Same as CNTRL2, Both Controllers, 01-16 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. 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 33 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. 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. 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. 34 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. 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. 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. 35 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. 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. 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 36 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. 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. REASSIGNMENT TRANSPOSE AMT Short Cut = # 33 Parameters = -12 - +12 You can transpose the notes of the Reassignment Group up or down one octave in 37 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. 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 rhythm8 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. 38 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. 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 1. Stepping on the Edit Footswitch , (held down) 2. Tap the Backward Pad twice (for Tempo) 3. 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. 39 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. 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 SELECT 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 40 Kits. Use the INCrement or DECrement pads to change this setting. 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. 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. 41 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. 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. 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 42 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. 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 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. 43 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 Single note 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 In the GLOBAL AUX Screens described below, there are two screens where you can assign the Groove parameters. On the first screen you can 1- Select the note pattern that you want to play. There are many single note patterns in different time signatures to choose from 2- Select the tempo of the Groove. Besides manually setting the tempo, you can use the tap tempo control to set the tempo on the fly. 3- Select the Volume of the Groove. 4 Select if the note pattern is routed internally or sent to an external synth or routed to both. On the very next screen, you select the NOTE NUMBER and MIDI CHANNEL for the note pattern. 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 44 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. 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 the assigned MIDI channel 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. 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 45 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 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. 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 46 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. 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. 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 47 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. 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 48 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. 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. 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. 49 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 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 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 50 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 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. 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 51 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 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 52 that you are going to. 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. 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. 53 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. 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 Global Screen #75 is where you set the MIDI Channel and Controller Number that will be affected by the velocity or the playing dynamic. 54 RTC RESET VALUE Short Cut = # 76 Parameters = 00-127 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). The malletKAT will immediately send out the data dump. 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. 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. 55 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. 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. 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. 56 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. 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 “----“. 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. 57 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. 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. 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. 58 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 YOUR PAD SENSITIVITY THRESHOLDS 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. 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 ONE / FOOT CONTROLLER TWO 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". VIRTUAL CONTROL WHEEL A,B,C CONTROLLER NUMBER 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. 59 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) 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. After striking the MONO Key 5 Times in the Edit Mode on Layer Two (Controller 2), the Layer 60 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. 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 made from aluminum. 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. 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 61 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. 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) Tools needed: 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. INDEX 62 Acoustic Emulations 3 Aftertouch 7,15,30,31,39,40 All Notes Off 15,27,28 Alternate Mode 6,23,29 Auto Gate 3,18,20 Auto Velocity to Gate 19 Aux Screens 6,7,11,12,18,20,21,23,24,30,44,47,54,61 Backwards 14,18,28,29,30,40,41,45,58 Bank 2,5,11,12,15,21,28,29,31,38,40 Beeper 40 Black Keys 13,14,15,19,28,29,35,50,51,53,61 Breath 1,3,32,41 Cancel 14,17,30 Chains 2,4,5,29,30,41,55 Chord 5,6,9,15,21,22,27,42 Control Wheel 10,26,59,60 Continuous Controller 1,7,9,24,32,33 Controller 1,3,5-9,11,14,22,25,32-35,41,50-54,59 CTLA/B/C 9,10,15 Dampen 1,3,7,8,15,19,30,35,36,42,43 Data Dump 43,46,55 Dead Stroke 3,8,15,30,43 Dead Stroke Count 8,43 Debounce 43 Decrement 5,11,14,15,25,26,35,41,45,46,51,60 Default 5,9,14,16,17,21,27,30,40,47,49,50,55,58,62 Double Mode 5,6,9,23,39,51 Dynamic Articulations 3 Expanders 56,61,62 Factory Kits 4,11,29,35,47,62 Fine Tuning 43 Foot Control 1,20,21,32,33,34 FootSwitch MIDI Notes 43,44 Forwards 2,5,14,18 Gate Time 7,14,17,18,26 General MIDI 2,4,11,29,35 Global Auxiliary Functions 15,28 Groove 18,39,44,45 Hang Mode 5,9,15,17,20 Increment 5,11,14,15,19,26,35,41,46,50,51,60 Individual All Notes Off 12,28 Individual Pad Training 3,55,57 Infinite Mode 20 Instrument Names 11,29 63 Kit Auxiliary Functions 15,28 Kit Names 4,11,34,35,47 Kit Numbers 4 Kurzweil PC2r 2,4,29 Latch 1,18,19,20,37,49 Group Latch 20 Layer Mode 5,6,21,23,49 Loop 1,19,30,41,49,50 MalletKAT EXPRESS 5,7,8,14,56,61,62 Melody Chord Mode (Mel 1,2,3) 5,6,21,22,42 Merge 46 MIDI Channel 1,8,14,15,18,23,32-34,36,37,38,44-48,54,59,61 Mono Mode 3,9,24,51 MSB 11,31,38 Multiple Hit Smoothing 35 None 11,35,47,52,53 Normal 7,9,14,15,16,19,21,26,27,30,36,37,42,43,49,47,49,51,61 Numeric Input Values 28,30 Octaves 1,5,7,8,9,14,15,20,24,50,56,61 Group Octave 56 Pad Training 3,55,56,57 Permanent Memory 4,47 Pitch Bend 1,26,32,33,36,60 Pitch Wheel Mode 10,25,54 Program Change 1,2,12,14,17,21,23,32,35,38,45,46,47 Program Names 11,35 PTW 9,10,15,25,26,27,51,54 Quick Copy 49 Real Time Control RTC 9,10,15,22,24,51 Reassign 1,37,38,48 Reinitialize 2,58,59,62 Roll Mode 14,18,19,20 Scan Count 42,46 Screen Angle 55 Setup Copy 17,31 Setup Number 14,17,31 System Message 46 Tap Tempo 18,44,45 Thresholds 55,58,59 Universal ID 46 User Kits 1,2,4,11,29,41 Velocity Curve 3,14,21,37,48 Velocity Shift 5,6,23 64 65 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 KIT AUXILLARY 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 Short Cut # Page 1 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 Channel pressure, Key Pressure Disabled, .010-.310 second Is Not Active, Mode I Active, Mode II Active 1 Note, 2 Note CC# 00-127 (including same CC Names) 00-127 00-127 00-11 Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 CC# 00-127 (including same CC Names) 00-127 00-127 00-11 Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 CC# 00-128 (including same CC Names) 00-127 00-127 00-11 Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 No Effect, Various Reverb Presets Both Int & Ext, Neither, External MIDI only, Internal Only OFF/On—Vol % OFF/On and Channel OFF, COMBINE, REPLACE Monophonic, Polyphonic OO-14 OO-14 -12 to +12 OFF, Latch, 0.10-6.000 sec NO, 00-127 00-16 NO, 00-128 00-127 1 Note, 2 Note Both Int & Ext, Neither, External MIDI only, Internal Only O1-16 Both Int & Ext, Neither, External MIDI only, Internal Only KIT AUXILLARY Parameters malletKAT Shortcuts 1&2 1&2 00-00 Channel Disabled Mode II 1 Note Volume 0 127 8 Same as CNTRL 1 Volume 0 127 8 Same as CNTRL 2 PITCH UP/SUS 0 127 1 BOTH CONTROLLERS NO EFFECT BOTH INT & EXT OFF OFF OFF POLYPHONIC 1 00-00 0 OFF NO 3 NO 0 1 Note BOTH INT & EXT 1 BOTH INT & EXT DEFAULT 66 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 Short Cut # KIT AUXILLARY 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 43 44 or 00 55 56 57 58 59 60 61 62 63 64 65 66 Short Cut # Slew Data Strip Rate Kit Name 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 KIT AUXILLARY Page 2 Channel pressure, Key Pressure Disabled, Enabled 0.010-6.200 sec 00-127 CC# 00-128 (including same CC Names) Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 00-11 00-127 00-127 Both Int & Ext, Neither, External MIDI only, Internal Only CC# 00-127 (including same CC Names) Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 00-11 00-127 00-127 CC# 00-127 (including same CC Names) Same as CNTRL1,Same as CNTRL2, Both Controllers,01-16 00-11 00-127 00-127 00-127 00-128 O1-16 12 characters A-Z,numbers,symbols KIT AUXILLARY Parameters 00-127 12 characters A-Z,numbers,symbols -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 O1-16 00-127 KIT AUXILLARY Parameters malletKAT Shortcuts Channel DISABLE .10 SEC 00-00 PITCH UP/SUS BOTH CONTROLLERS 1 127 0 BOTH INT & EXT Volume Same as CNTRL 1 8 127 0 Volume Same as CNTRL 2 8 0 127 0 128 1 *********************** DEFAULT 5 *********************** 1 2 1 1 DISABLE .10 SEC O 0 60 128 1 0 DEFAULT 67 1 2 3 4 5 6 7 8 Short Cut # GLOBAL AUXILLARY 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 6 7 41 42 28 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 Short Cut # MonoNote Overlap Multiple Hit Smoothing Pitch Bend Channel Pitch Bend Routing Pitchbend Sensitivity 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 KIT AUXILLARY ON ALL CHANNELS On All Channels, Is Off, Channel 1-16 Page 3 NOT PROTECTED IS ON ALL MEMORY ENABLED DEFAULT Disabled Mode II 1 BOTH INT & EXT OFF 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 DEFAULT Not Protected, Protected Is On, Is Off Global, All Memory, All Kits,Chains&Reassignments, Kit01-128 Enabled, Disabled GLOBAL AUXILLARY Parameters Disabled, .010-.310 second Is Not Active, Mode I Active, Mode II Active O1-16 Both Int & Ext, Neither, External MIDI only, Internal Only OFF/On and Channel 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 KIT AUXILLARY Parameters malletKAT Shortcuts 68 To Train Foot Controller 2 To Train Breath Controller Beeper Is Screen Angle Individual ID Debounce Count 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 GLOBAL AUXILLARY 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 45 46 47 48 Short Cut # ON STRAIGHT VIEW UNIVERSAL ID 20 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 On/Off Straight View, Edge View Universal ID, 01-127 01-120 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 Page 4 DEFAULT GLOBAL AUXILLARY Parameters malletKAT Shortcuts 69 Chain Enable Reassign Number Reassign K number Reassign m number Reassign Channel Reassign Min Velocity Reassign Max Velocity Reassign Curve Reassign Gate Groove Enabled 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 GLOBAL AUXILLARY 49 50 51 52 53 54 55 56 57 58 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 Short Cut # 45 45 O1-48 O1-48 Page 5 DISABLE 1 1 c-2 1 20 127 1 0.255 Disabled 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 DEFAULT Disable/Enable O1-14 01-61 C-2 – G8 O1-16 00-127 00-127 O1-11 0.010-6.200 sec Disable/Enable 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 GLOBAL AUXILLARY Parameters malletKAT Shortcuts 70 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 Short Cut # 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 89 90 91 92 93 94 95 96 97 98 99 100 GLOBAL AUXILLARY 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 Short Cut # GLOBAL AUXILLARY Page 6 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 GLOBAL AUXILLARY Parameters GLOBAL AUXILLARY Parameters malletKAT Shortcuts 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 DEFAULT DEFAULT 71 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 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 GLOBAL AUXILLARY 34 35 36 37 38 39 25 26 27 28 29 30 31 32 6 40 13 41 2 44 1 64 33 53 56 57 51 52 55 54 50 68 78 75 69 67 71 70 74 73 Short Cut # Page 7 NO 50 C# 127 0 RESET RESET 00-127, NO 00-127 A#-1 -A#+1 00-127 00-127 Reset, None, Last Reset,None DEFAULT 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 UNIVERSAL ID SETUPS MAP IS ON 5 NOT PROTECTED KIT NAMES 0 1 1 0.255 1 c-2 127 20 1 1 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 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 O1-11 0.010-6.200 sec 01-61 C-2 – G8 00-127 00-127 O1-14 O1-16 GLOBAL AUXILLARY Parameters malletKAT Shortcuts 72 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 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# GLOBAL AUXILLARY 72 76 12 3 5 10 8 9 85 86 87 88 89 90 99 91 92 93 94 95 96 97 98 79 7 100 81 82 80 66 42 63 17 18 Short Cut # Page 8 01—16 -50+50 Cents 00-128 00-127 00-127 00-128 00-127 Straight View, Edge View Global, All Memory, All Kits,Chains&Reassignments, Kit01-128 GLOBAL AUXILLARY Parameters malletKAT Shortcuts 1 0 CENTS 10 10 10 0 0 STRAIGHT VIEW ALL MEMORY DEFAULT malletKAT Shortcuts malletKAT Shortcuts PAD FUNCTION LISTINGS PAD FUNCTION LISTINGS GHEST OCTAVE HIGHEST OCTAVE Setup Number C = Setup Number Gate Time Settings forward = (Roll Mode,Velocity Gate) D= Gate Time Settings forward = (Roll Mode,Velocity Gate) Octaves E = Octaves MinimumFVelocity Setting = Minimum Velocity Setting G Velocity = Maximum Velocity Setting Maximum Setting A= Velocity Curve Velocity Curve B = Volume Setting Volume Setting (highest)Change = Program Change ighest) = CProgram C# = Decrement = Decrement D# = Increment = Increment F# = Default = Default G# = S.Copy = S.Copy A# = Cancel = Cancel Function Pad 1 = Backwards ction PadFunction 1 = Backwards Pad 2 = Forwards ction Pad 2 = Forwards MIDDLE OCTAVE DDLE OCTAVE C = Hang Mode, Melody Chord 1, Melody Chord 2, Melody Chord 3 Modes Hang Mode, Chord 1, Melody Chord 2, Melody Chord 3 Modes D = Melody Split Mode Split Mode E = Double, VEL Shift, ALT Mode F = Monophonic Mode , RTC, RTC+Velocity (Layer two PTW, CTLA,CTLB, CTLC Double, VEL Shift, ALT Mode G = Polyphonic Mode Monophonic Mode , RTC, RTC+Velocity (Layer two PTW, CTLA,CTLB, CTLC A= Transpose Mode Polyphonic Mode = MIDI Channe1 TransposeBMode MIDI Channe1 C# = 6 number D# = 7 number = 6 number F# = 8 number = 7 number G# = 9 number = 8 number A# = 0 number = 9 number = 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 malletKAT Shortcuts PAD FUNCTION LISTINGS Page 9 Page 9 C# = 1 number D# = 2 number F# = 3 number G# = 4 number A# = 5 number 73 74 s s Gilpin'sSuitcase Duke's Dyno Rhds MotorBootyMutron Sweet Loretta EP Rhds/WahSW Hotrod Dyno Rhds WoodstockClunker Stage Mix Wurly 19 20 21 22 23 24 25 26 TakeMeToThePilot 12 Stevie's Rhds Lola Piano 11 18 Rock Piano 1974 10 Beaten in Rhds Blues Piano 1974 9 17 Grand "Evans" 8 Piano & String ColdPliano 7 16 Pop Power Piano 6 SMiLE/RkyRaccoon NYC Jazz Grand 5 15 Horowitz Grand 4 Ken Brns Uprigt RubensteinSWComp 3 14 Studio Grand 2 Deb's Ghost Pno Standard Grand 1 13 MSB 00 LSB 00 PC 75 53 52 51 50 49 48 47 46 45 44 43 42 41 40 38 38 37 36 35 34 32 31 30 29 28 27 PC Lord's B3 MW The Ninth Bar Clean Perc Real AllOut B Gregg's B BriteHarpsichord Harpsichord TrampledUnder D6 Hiya Ground sw Black Cow Clav Rufus/Marley WAH Joe's Clav RealSupasticious Retro Sparkle Modwheel DJ Stereo TouchKoto SimpleHipHopLead Blue PVC Tubes TimbaSynth AcidJazzVelFlute MistyMountain EP No Quarter Pnt DeepFuzz Wurly What'd I SayWrly FlydDarkside/Wah Supertramp Wurly MSB 00 LSB 00 ����������������� malletKAT KS Sound List 82 81 80 79 78 77 76 75 74 73 72 71 69 67 66 64 63 62 61 60 59 58 57 56 55 54 PC Fitty-Fitty Lead Classic Comp Cathedral Vox Airy Pad Crystal Voices NYC in LA Aaahlicious Manhattan Voices Haah Singers Choir Complete Tremolando Pizzicato Vienna Octaves Pop Tripper Str DarkNYCStudio 70s Stones Horns P*Funk Horns Bassie Orchestra R&B/Funk Section MeanSalsaSection BigBand/AMradio Sax/Trumpet Sctn Power Pop Horns BostonScreamer FooledAgnVox OleTime Gospel MSB 00 LSB 00 pg. 1 9Yards Bass BowhSaw Bass ARPesque Bass DaywalkerBassMW Harpolicious Slo QuadraPad Phase Shimmer Le Pesque Wispy One Fairlight Pad Tronesque So Lush Pad Boutique Six Str Boutique 12 Str Emo Verser Voxxed Elec 12 Real Nylon Dual Strat BurningTubes MW Rockin' Lead MW P-Bass E-Bass Beasties Bass Flea/Bootsy 84 85 86 87 88 89 90 91 92 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 Big Dummy Big Old Jupiter 83 109 MSB 00 LSB 00 PC 128 127 126 125 124 123 122 121 120 119 118 117 116 115 114 113 112 111 110 PC Drums 'n Bells Magic Celeste SteamPunkMallets Real Vibes 2-HandSteelDrums New Marimba Rhythm 4 Reel Natural Perc Produced Kit '08 Anazlog Machine EarthKikz n Snrz Kikz/Snarz MW Roots/Indie Kit Rock Kits LA Kits NYC Kits Levin/GabrlFrtls Upright Growler Jaco Fretless MSB 00 LSB 00 28 27 26 25 23 22 21 20 19 18 17 16 15 14 13 12 10 9 8 7 6 5 4 3 2 1 PC Bright 90's F Rich Classi '70sW Bright Austn RoyalS Fag Extre XfadB Piano Pian Piano Ivo Dance Pno Piano Drea Perfe WestCo Ole Pian Grand Dar Pia MSB ����������������� Melodic Sounds Bank 00 Melodic Sounds Banks 00-03, Melodic Sounds Banks 0-3, 06-07 6-7 RoyalScam Rhds AustnCtyLmtsWrly BrightDynamicWly '70sWahLeslieEP Classic DX Rhds Rich EP+Pad 90's FM Shimmer Bright HardstrEP 18 19 20 21 22 23 25 26 27 28 allets ste ells Fagen Phaser Extreme Hardstrk XfadBelltoneRhds Piano & Vox Pad Piano & Wash Piano Lushness 17 PnoAgtStrngs 10 s Piano w DvStrgs 9 16 Dreamy Piano 8 rums Perfect PnoPad 7 15 WestCoastPno&Pad 6 ba Ole Upright 1 5 14 Piano Recital 4 eel Grand Piano 440 3 Ivory Harp Dark Grand 2 13 Piano Stack 1 c MSB 00 LSB 01 PC DancePnoEchplex 76 12 t '08 hine nrz W Kit rtls ler ss 00 ����������������� 55 54 53 52 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 34 33 32 31 30 29 PC malletKAT KS Sound List Farfisa 1 Magic Wolf Animals Vox Indagardenoveden Doors Vox WhiterShadeB3 ParisCmboAccordn PhsyclGrafitiClv Harpsi Rotovibe StopMakingSense SailinShoes Clav ChoclateSaltyClv HeartbreakerWAH Stevie Fuzz Crisp Clav Nexx Prog Stack '90s Funk Stack '80s Arena Synth '70s Arena Synth BigSyn/HornStack PianoSynth Stack PolyTechnobreath Tight Bright FM TX Stack Soft Warm Ballad Crisp and Soft MSB 00 LSB 01 83 82 81 80 79 78 77 76 75 74 73 72 71 70 69 66 65 64 63 62 61 60 59 58 57 56 PC ARP2500 Brass ClassSquare Press Lead Vox & Strings Vox Orgel Bright Syn Vox AntiqueAhhChorus Jazzy Ballad Vox Aaah Vocals Concert Choir Mixed Choir Toxic Strings Tender Strings Studio C Strings Owen's Strings Studio B Octaves Studio A Strings Bari/TenorSect Goldfinger Brass Sgt.Pepper Brass Tenor Express BuenaVista Brass 80sPopOctaveSax Miami Pop Horns 1-Note PowerRiff VAST1-3,8&9 MSB 00 LSB 01 pg. 2 109 108 107 106 105 104 103 102 101 100 99 98 97 96 95 94 93 92 91 90 89 88 87 86 85 84 PC Squire'sHeavyPik Motown Bass AC Buzzer Bass KneeDeepMinimoog Finger Bass Nasty'70s Guitar Heavy Buckers Cascade Sitar TremBucker Comp'd Phaser DoubleCleanChrs MediumCrunchLead Bling 6 String Heaven & Earth HarmonicEnvelops Class Pad ARP Big Synth Spider's Web Airy Impact VA1Saw/Sqr/Pulse Buzzy Strings SickoSynco TranceRiff EvilOctaveWheel Perc>Morph>Bass SynBell Morph MSB 00 LSB 01 128 127 126 125 124 123 122 121 120 119 118 117 116 115 114 113 112 111 110 PC Magic Mbira Cage's Ensemble Dynamic Perc HybridTuned Perc Shiny Sparkles Percussionist Skullophonic Mellow Marimba Dance/Marilyn FranticHouseDrms Headhunters Kit '60s Rock&Soul DryPumpin'Drums BeastieRetroDrum BourneRemixDrum Maroon Drums Sly Bass Eberhardt Frtls Lowdown Bass MSB 00 LSB 01 ����������������� Melodic Sounds Bank 01 58 57 56 55 54 53 52 51 50 49 48 32 31 30 29 28 27 26 25 24 22 21 20 19 18 17 PC Melodic Sounds Banks 00-03, Melodic Sounds Banks 0-3, 06-07 6-7 V ' P V C V V V V V D 77 VA1 Sqr Lead MaroonSynBass VA1DistBassSolo! DownwardSpiralMW VA1DstPulseWheel VA1 DetunedPulse VA1 Detuned Saws VA1 Detuned Sqrs VA1 Emerson Lead 18 19 20 21 22 24 25 26 27 ChemBrosBassLead VA1SliderMorphSQ Preston SpaceWah Analog/DigHybrid Jump! Obx '80s End Credits VA1Distlead CC Divider Mono Trekkies Disco Divebomb MutronTweetyPerc Disgusting Bass VA1ShaperSweeper 30 31 32 48 49 50 51 52 53 54 55 56 57 58 ic ist les Perc rc ble a UFO Pad Innervate 29 MwhlClubsweeper VA1 Saw Lead 17 28 MSB 00 LSB 02 PC ba n rms Kit ul ums rum rum s rtls ss 01 128 127 124 123 122 120 119 118 117 116 115 114 113 110 105 104 64 63 62 61 60 59 PC PulseVowel MeanStereoSweep BPM BionicStrngs Falgor'sLament DigitalMoonscape Breakestra Kit Roc-A-Fella Kit ZooYorkRemixDrms EpicRemixDrums Snoop Kit Hello Brooklyn PopRock'08 Kit Outkast Drums Synbrass Pillow SquareChirpLead St.P PWM BASS 32 Layer Bass! Plasma Cannon HiPassMWhlBlips ElectronicaSplit MWhlMayhemBass ElectroPercSynth MSB 00 LSB 02 malletKAT KS Sound List 50 49 48 47 46 45 44 43 42 41 40 39 38 35 34 31 29 26 25 24 11 9 7 4 2 1 PC Lead English Horn Slow EngHorn prs Fast Orch EngHrn Solo Eng Hrn prs Lead Oboe Fast Orch Oboe Slow Oboe Solo Oboe Piccolo Fast Orch Flute Tremolo Flute Solo Flute Fifes & Drums String Continuo StBaroque Harpsi Horns,Winds&Str Orch w/ Bells On Perc Atk Strings Reeds & Bells Strings & Silver Fast Winds &Pizz Pizz w/PercUpTop Poltergeist Trem LH Timp Roll Orch Winds, Horn & Str Winds & Strings MSB 00 LSB 03 76 75 74 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 51 PC Ens Trombone Solo Trombone Sax,Horns,MuteTrp Solo Tenor Sax Lead MuteTrumpet Two Lead Trumpets Slow Soft Trp Soft Trumpet Lead Trumpet Hard Trumpet Solo BrtTrumpet HornSect Layer Dyn Orch Fr Horns Lead French Horn Ensemble Fr Horn Solo Fr Horn BassClar/Clar/Fl Ensemble WWinds Woodwind Section Solo Dbl Reeds Solo Bassoon vib Solo Bassoon Lead Clarinet Fast Orch Clar Slo OrchClarinet Solo Clarinet MSB 00 LSB 03 ����������������� pg. 3 102 101 100 99 98 97 96 95 94 93 92 91 90 89 88 87 86 85 84 83 82 81 80 79 78 77 PC Pipe Stops Slo Orch Chorus HarpArps & Gliss Delicate Harp Orch Harp 1 Solo Harp String Quartet Solo Basso 2 slo Solo Basso 1 Solo Cello slow Solo Cello fast Solo Viola slow Solo Viola fast Folk Violin slow Solo Violin fast Dyn Orch Trumpets Brass Fanfare Fast Orch Brass Low Brass Chorale Low Orch Brass Dyn Orch Tuba Solo Tuba Dyn Bari Horns Bari Horn Section Dyn Orch Bones Trombone Section MSB 00 LSB 03 MSB 00 LSB 03 Soft Stops All Stops Chapel Organ AllStops AllVox Pipes & Voices Orch Timpani Solo Timpani Tam/Cym/BD/Timp Basic Orch Perc Timp & Aux Perc Temple Blocks Modern Blockery Perc & Blocks Stereo Tam-tam Cymbal Roll Tr Xylophone Solo Marimba Orch Marimba Vibraphone Celeste Glockenspiel Chimes/Glock Bells Across CelesteGlockHarp Chime Bell Carillon PC 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 Melodic Sounds Banks 02-03 PC MSB 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 Clim MagicC LFO P Hi V Vo SloSy Deep Micro Delicat Treble Legato W To FM Sc Scat Poly PolyPi SynBra Poly OrganW Flui Fluid Hybrid FM E FM E Melodic Sounds Banks 00-03, Melodic Sounds Banks 0-3, 06-07 6-7 Kit 2 SquashRock Kit 3 Full Room Kit 4 East Space Kit 5 CopperRing Kit 6 Birch Wood Kit 7 DeadRocker Kit 8 Ring-tone Kit 9 Gadd'sLair Kit 10 Hinomaru Kit 11 KirkeeB 1 Kit 12 25thAnniv Kit 13 LA A Kit1 Kit 14 LA A Kit2 Kit 15 LA A Kit3 Kit 16 LA B Kit1 Kit 17 LA B Kit2 Kit 18 LA B Kit3 Kit 19 Pomele Kit 20 KirkeeB 2 Kit 21 J Geils Kit 22 Tightie Kit 23 Low Rock Kit 24 Drum&Bass Kit 25 Flabby 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 Kit 1 Open Rock 2 1 MSB 00 LSB 04 PC 78 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 PC malletKAT KS Sound List Kit 50 Proc Pop Kit 49 Fnessence Kit 48 Thigpen Kit 47 PillowFuz Kit 46 Brush 2 Kit 45 Brush 1 Kit 44 LiteBrite Kit 43 Static Kit 42 Orngcrush Kit 41 LouStools Kit 40 FabFringe Kit 39 80's PTS Kit 38 Mahogany Kit 37 Los Feliz Kit 36 Reso-King Kit 35 WoolyPckt Kit 34 80'sPower Kit 33 ModernRok Kit 32 Fat Boy Kit 31 Old Traps Kit 30 Bonzo'sRm Kit 29 Schnizzle Kit 28 Big Buzz Kit 27 West Boxy Kit 26 Boxy Tubs MSB 00 LSB 04 75 25 74 24 73 23 72 22 71 21 70 20 69 19 68 18 67 17 66 16 65 15 64 14 63 13 62 12 61 11 60 10 59 9 58 8 57 7 56 6 55 5 54 4 53 3 52 2 51 1 PC PC AudCheapo Kik/Snr Dist Mono Kit 5 KitsTin Templte 1 Man Kit Recrd Start/Stop Kit TrashPanTom VinylNoyzComboMW L'tric Nat Kit Strange Hits2 Marley Kit Strange RinglingHits Pop Kit Kit Rock 69 6 Mil$Man Trance Kit Kit 68 Voice BoxKit Ali's Punch Kit 67Move'n ChakraJam Air Kit KitTiny 66 Ice HeartKit Bopper Kit 65 ScratchMe Jinglehop Kit KitBeatBoxBrush 64 Sweeper Kit Kit 63 Cocktail TouchTone Kit Kit 62 RadioEchoKit HipgigJunior Kit 61 TrashFunk Brushes Kit Kit 60 Lay DownKit SoftCookie Kit 59H-Fact Superfly Kit Kit 58 RhythmconKit Charlemagne Kit 57 Beatbx101 Abe Junior Kit Kit 56 FatDJ-Dub Nat Kit Kit 55 BigSpooge Woosh Kit Kit SuperNatural 54 Cold Cash Kit Kit Low 53 CoralBox Rocker Kit KitSmoothRocker 52 HardKnock Kit KitBrt 51 Natural Jersey Kit MSB LSB MSB 00 00 LSB 04 05 ����������������� pg. 4 StereoSnareDrums Frida's Gate Kit MonoRicochet Kick Drums Kit Stereo KickDrums Vibra Lunch Kit Aud Kik/Sn StreoKit AngryBastard MSB LSB MSB 0000 LSB 0405 DrumSlapstick Percussion Kit Vocal DoorPercussion Knocker Kit E Perc/SoundFX Plywood Kit Rdes&Crshs&Rolls Tuna Slap Kit Hi-hatsFeel Kit Tunnel Tom-toms Cannibal Kit VRT Accessory Scream KitC VRTCat Accessory B Scratch Kit VRTAnvil Accessory A Head Kit VRTSweeper DjembeKit VRT BodhrnBendir Big Dog Kit VRTShrugie Bodhran Kit VRT Bendir Kit Rawhide VRTSponge Tabla Kit Wet VRTSuccotash TalkingDrum Kit 101 51 VRT Gourd Shrug's Bros'Kit VRTMud FrameHybrid Slinger Kit VRT FrameDrums Mudflap Kit 100 50 99 49 98 48 97 47 96 46 VRTGravel DumbekDjembe Dump Kit 95 45 94 44 93 43 92 42 91 41 VRT BongoConga Mangled Kit 90 40 89 39 88 38 87 37 WoodMetlShakPerc Scratchbox Kit 86 36 85 35 84 34 83 33 82 32 81 31 80 30 MonoMetallic Snare Cut Drums Kit 79 29 78 28 77 27 76 26 PC PC MSB 00 LSB 04 PERC KatManDude PERC PolyRitmico PERC Carnival HIT'n Rung 1 HIT'n Rung 2 HIT'n Rung 3 HIT'n Rung Keys KEY SoftBars KEY XyLoomBa KEY Asian Metal KEY TablaBars KEY SlitBars KEY GourdBars KEY MamboBars MIXnMatch Perc1 MIXnMatch Perc2 MIXnMatch Perc3 MIXnMatch Perc4 ATM HoldnSlide ATM Birdy Birdy ATM SacredShrine ATM Tera Nova ATM Oody Oody ATM FlexiCrotale ATM Bit'aGlitter ATM Drip'nGlittr PC 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 ����������������� Drum / Percussion Bank 04 77 76 75 74 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 55 54 53 52 PC Drum Drum&&Percussion PercussionBanks Banks04-05 4-5 28 29 30 31 32 33 34 3 4 5 6 7 8 9 37 39 40 12 13 14 15 16 17 18 19 20 21 22 23 24 25 r Kit Kit sh Kit Kit r Kit Kit Kit e Kit p Kit it Kit m Kit Kit t Kit Cheapo Wet Sponge Dist KitKit Succotash Kit 51 Shrug's Tin ManBros'Kit Kit TrashPanTom Mud SlingerKit Kit L'tric Mudflap Nat KitKit Gravel MarleyDump Kit Kit Ringling Sweeper Pop Kit RockBig Trance Dog Kit Ali's Shrugie Punch Kit Kit Move'n Rawhide Air KitKit TinyMangled Bopper Kit Kit Scream Jinglehop KitKit BeatBoxBrush Cat ScratchKit Kit Cocktail Anvil Head Kit Kit HipgigJunior ScratchboxKit Kit Brushes Slapstick Kit Kit SoftCookie Door Knocker Kit Kit H-Fact Plywood Kit Kit Charlemagne Tuna Slap Kit Kit Abe Tunnel JuniorFeel Kit Kit Fat Cannibal Nat KitKit BigMetallic WooshCut Kit Kit SuperNatural Frida's GateKitKit LowRicochet Rocker Kit Kit 50 49 48 47 46 45 44 43 42 41 38 36 35 27 2 10 AngryBastard Brt Natural Kit Kit 26 1 SmoothRocker Vibra LunchKit Kit MSB MSB 0000 LSB LSB 0505 PC PC 11 79 it Kit it e Kit Kit it Kit al Kit r Kit er Kit l Kit B 05 PC 102 26 103 27 104 28 105 29 106 30 107 31 108 32 109 33 110 34 111 35 112 36 113 37 114 38 115 39 116 40 117 41 118 42 119 43 120 44 121 45 122 46 123 47 124 48 125 49 126 50 127 51 MSB MSB 00 00 LSB LSB 05 04 PERC KatManDude AngryBastard Kit PERC PolyRitmico Vibra Lunch Kit PERC Carnival Ricochet Kit HIT'n Rung 1 Frida's Gate Kit HIT'n Rung 2 Metallic Cut Kit HIT'n Rung 3 Cannibal Kit HIT'n Rung Keys Tunnel Feel Kit KEY SoftBars Tuna Slap Kit KEY XyLoomBa Plywood Kit KEY Asian Metal Door Knocker Kit KEY TablaBars Slapstick Kit KEY SlitBars Scratchbox Kit KEY GourdBars Anvil Head Kit KEY MamboBars Cat Scratch Kit MIXnMatch Perc1 Scream Kit MIXnMatch Perc2 Mangled Kit MIXnMatch Perc3 Rawhide Kit MIXnMatch Perc4 Shrugie Kit ATM HoldnSlide Big Dog Kit ATM Birdy Birdy Sweeper Kit ATM SacredShrine Gravel Dump Kit ATM Tera Nova Mudflap Kit ATM Oody Oody Mud Slinger Kit ATM FlexiCrotale Shrug's Bros'Kit ATM Bit'aGlitter Wet Sponge Kit ATM Drip'nGlittr Succotash Kit ����������������� malletKAT KS Sound List PC PC 102 52 103 53 104 54 105 55 106 56 107 57 108 58 109 59 110 60 111 61 112 62 113 63 114 64 115 65 116 66 117 67 118 68 119 69 120 70 121 71 122 72 123 73 124 74 125 75 126 76 127 77 MSB MSB 00 00 LSB LSB 04 05 PERC KatManDude Backsweep Kit PERC PolyRitmico Bug Zapper Kit PERC Carnival Elektro Sand Kit HIT'n Rung 1 Sandy Bott'm Kit HIT'n Rung 2 Box o' Sand Kit HIT'n Rung 3 Fine Grit Kit HIT'n Rung Keys Matchmaker Kit KEY SoftBars Zucchinni Kit KEY XyLoomBa Pump da Well Kit KEY Asian Metal L'trk Reflux Kit KEY TablaBars Squash Clap Kit KEY SlitBars Scoopit Up Kit KEY GourdBars Tone Keeper Kit KEY MamboBars Phase "E" Kit MIXnMatch Perc1 Straw Blow Kit MIXnMatch Perc2 Falling Star Kit MIXnMatch Perc3 Super Ball Kit MIXnMatch Perc4 Pixie Dust Kit ATM HoldnSlide Air Waves Kit ATM Birdy Birdy Tub Floater Kit ATM SacredShrine Why Not Kit ATM Tera Nova Turntablism Kit ATM Oody Oody Stud3and4C ATM FlexiCrotale RadKings3 ATM Bit'aGlitter ResonantTraps ATM Drip'nGlittr Ambient Rock1 ����������������� pg. 5 ElectroKit2MW Fine Grit Kit 5783 Drums w Bass L'trk Reflux Kit 1 GateClapDrmLE Squash Clap Kit Dub Scoopit UpKitKit RockKeeper Room Drums Tone Kit ResNoise Phase "E" KitKit 144ms Gated Straw Blow Kit Kit FatNoise Falling Star Kit HypdBall Natural Super Kit Kit Rango Pixie Dust Kit NoiseSlapToms Air Waves Kit 16LayerCake Tub Floater Kit Kit HopRoom Why Not Kit Kit Natural Ringer Turntablism Kit BeachGroover Stud3and4C Rock Snarer RadKings3 Drum Pad Kit 1 ResonantTraps FilterRock1 Kit Ambient 6188 6290 6391 6492 6593 6694 6795 6896 6997 7098 7199 72100 73101 74102 75103 76104 77105 PumpDryFattyKit da Well Kit SumpKit1 Box o' SandMWSus Kit 5682 6087 SandyBeatbox2 Bott'm Kit 5581 GlubFlangeKit Zucchinni Kit TripTrash Elektro Sand Kit 5480 5986 RipperKit1 Bug Zapper Kit 5379 Paper Tom Matchmaker Kit Coliseum Backsweep KitKit 5278 5884 MSB LSB MSB 0000 LSB 0505 PCPC 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 PC Stage Mix Wurly WoodstockClunker Hotrod Dyno Rhds Rhds/WahSW Sweet Loretta EP MotorBootyMutron Duke's Dyno Rhds Gilpin'sSuitcase Stevie's Rhds Beaten in Rhds Piano & String SMiLE/RkyRaccoon Ken Brns Uprigt Deb's Ghost Pno TakeMeToThePilot Lola Piano Rock Piano 1974 Blues Piano 1974 Grand "Evans" ColdPliano Pop Power Piano NYC Jazz Grand Horowitz Grand RubensteinSWComp Studio Grand Standard Grand MSB 00 LSB 00 Drum / Percussion Bank 05 53 52 51 50 49 48 47 46 45 44 43 42 41 40 38 38 37 36 35 34 32 31 30 29 28 27 PC T S ������������� Drum Drum&&Percussion PercussionBanks Banks04-05 4-5 p y p MSB 00 LSB 06 FM E Piano 1 FM E Piano 2 Hybrid DX & Pad FluidStradaGtr Fluid E Gtr OrganWaveComper Poly Brassy SynBrass Comper PolyPitch Brass Poly Sweep 2 Scat Vocals Scat Choir FM SqareBell Toot Lead WetToot LegatoBrassyLead Treble FM Lead Delicate FM Lead Micromoog Plus Deep Vox Bed SloSynOrch Wet Vox Bed 2 Hi Vox Cloud LFO Pitcher Pad MagicChinaFlower Climax Perc PC 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 80 26 52 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 PC 4' Ped Bourdon 4' Diapason 4' Stop Flute 4' Open Flute 51/3' Ped Bourd. 8' Viol 8' Ballpark Stop 8' DiaCeleste 8' Gamba 8' Reed 8' Ped Bourdon 8' Diapason 8' Stop Flute 8' Open Flute 16' Viol 16' Ballpark Sto 16' DiaCeleste 16' Gamba 16' Reed B 16' Reed A 16' Ped Reed 16' Ped Diapason 16' Ped Bourdon 16' Diapason 16' Stop Flute 16' Open Flute MSB 00 LSB 06 ����������������� malletKAT KS Sound List 78 77 76 75 74 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 55 54 53 PC Thick Flt Marimb Marimba Plate Lonely Marimba Tempered Marimba Rich Marimba 2' Viol 2' Ballpark Stop 2' DiaCeleste 2' Gamba 2' Reed 2' Diapason 2' Stop Flute 2' Open Flute 2 2/3' Viol 22/3' Ballpark S 2 2/3' DiaCelest 22/3' Gamba 2 2/3' Reed 2 2/3' Diapason 2 2/3' StopFl 12 2 2/3' OpenFlute 4' Viol 4' Ballpark Stop 4' DiaCeleste 4' Gamba 4' Reed MSB 00 LSB 06 pg. 6 98 97 96 95 94 93 92 91 90 89 88 87 86 85 84 83 82 81 80 79 PC BriteSwirl Vibes Cyrstal Vibes Surreal Vibes Vibe Trance Vibes in Phase Chorus Vibes Golden Vibes Creamy Vibes Thick Vibes Mello Vibraphone Vibe Dream Marimba Abyss Canyon Marimba Marimba Echos Double Marimba Cold Marimba Marimba Squash Rubber Marimba Subtle Marimba Soft Marimba MSB 00 LSB 06 27 26 25 24 23 22 21 20 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 PC Testify Errol G. Mr Smith FirebreatheC3 LateNighter Sly's Revenge Mellow Mitch Lord'sDirtBomb SlowPhaseOrgan ChrsEchoOrgan Warmer B3 Warm B3 Classic Traffic XtremTubeB3Prc MusselShoalsB3 Argent B3 Zepelin Solo BrgtTubeScream Prog B3 Perc4 Tube B3 Perc Prog B3 Perc3 Prog B3 Perc2 Blues&Gospel B3 Midrange HotTubeGospel Ezra's Burner MSB 00 LSB 07 Melodic Sounds Bank 06 53 52 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 PC �������������� Melodic Sounds Banks 00-03, Melodic Sounds Banks 0-3, 06-07 6-7 MSB 00 LSB 07 Ezra's Burner HotTubeGospel B3 Midrange Blues&Gospel Prog B3 Perc2 Prog B3 Perc3 Tube B3 Perc Prog B3 Perc4 BrgtTubeScream Zepelin Solo Argent B3 MusselShoalsB3 XtremTubeB3Prc Classic Traffic Warm B3 Warmer B3 ChrsEchoOrgan SlowPhaseOrgan Lord'sDirtBomb Mellow Mitch Sly's Revenge LateNighter FirebreatheC3 Mr Smith Errol G. Testify PC 1 2 3 4 5 6 7 8 9 10 11 12 81 13 14 15 16 17 18 20 21 22 23 24 25 26 27 53 52 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 PC Sacrificer Good Starter My Sunday J's All Out Two Out Dew Dropper Mean Bean The Grinder Gimme Some NightBaby In The Corner GospelSpecial The Real ABC Thimmer Ready 2 Rock Growler B Thick Gospel Model One Brother Jack J's Comper All Out Melvin C. SputtringingB3 Soft Chords Sweet n Nice Wah B3+Echoplx MSB 00 LSB 07 ����������������� malletKAT KS Sound List 93 92 89 87 86 85 84 83 82 78 77 76 75 74 65 64 63 62 61 60 59 58 57 56 55 54 PC WheelSyncBlips Candy*O SyncLead PannerTemplate CarpenterSndtrck SyncSqr Template Bass Pedal MeanWahMono TalkWahPoly+Syn Classic MiniBass Electric Cello WheelBowFiddle WheelBowViola WheelBowCello Blues Harmonica Fisher's VAST B3 VAST1-3 Ch/Perc2 VAST1-3Ch/Perc GM Orch Kit GM Brush Kit GM Jazz Kit GM Synth Kit GM Elec Kit GM Power Kit GM Room Kit GM Standard Kit LeeMichaelsB3 MSB 00 LSB 07 pg. 7 119 118 117 116 115 114 113 112 111 110 109 108 107 106 105 104 103 102 101 100 99 98 97 96 95 94 PC GatedNoisweepBPM BPMEchplexPad GatedSqrSweepBPM BPM Lead Minipulse 4Pole Downes Lead SynOrcWhaleCall AlphaCentauri The Way It Is WheelGrowlMoogue Fat Syn Orch Anabrass Slo Syn Orch Tempo SyncPulse Propht V Sync Ld Diagnostic Sine Default Program Click Track Silent Program VASprSaw+Allpass VASprSaw ModwheelKotoSyn SyncWheelLead ScreaminWhlBass HotMalletMWheel 12SAWMWheelLead MSB 00 LSB 07 128 127 126 125 124 123 122 121 120 PC VA1NakedSawMono VA1NakedSqrMono VA1NakedSqrPoly VA1NakedSawPoly VA1NakedPWMMono VA1NakedPWMPoly Saw+Mogue 4Pole Data Shape Saw Cars Square Lead MSB 00 LSB 07 Melodic Sounds Bank 07 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 PC �������������� Melodic Sounds Banks 00-03, Melodic Sounds Banks 0-3, 06-07 6-7 ono ono oly oly ono Poly ole w ad 07 MSB 00 LSB 32 GM Piano 1 Bright Grand Electric Grand Honky-Tonk Pno Elec Piano 1 Elec Piano 2 Harpsichord Clavinet GM Celesta Glockenspiel Music Box Vibraphone Marimba Xylophone Tubular Bells Dulcimer Drawbar Organ Perc Organ Rock Organ Church Organ Reed Organ GM Accordion Harmonica Bandoneon Nylon Guitar Steel Str Gtr PC 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 ����������������� 82 52 51 50 49 48 47 46 45 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 PC malletKAT KS Sound List Synth Strings 2 Synth Strings 1 GM Slow Strs Ensemble Strings Timpani Harp Pizz Strings Tremolo Strings Contrabass Cello Viola Violin Synth Bass 2 Synth Bass 1 Slap Bass 2 Slap Bass 1 Fretless Bass Picked Bass Finger Bass Acoustic Bass Gtr Harmonics Distorted Gtr Overdrive Gtr Muted Guitar Clean E Gtr Jazz Guitar MSB 00 LSB 32 78 77 76 75 74 73 72 71 70 69 68 67 66 65 64 63 62 61 60 59 58 57 56 55 54 53 PC Shakuhachi Bottle Blow Pan Flute Recorder Flute Piccolo Clarinet Bassoon English Horn Oboe Baritone Sax Tenor Sax Alto Sax Soprano Sax Synth Brass 2 Synth Brass 1 Brass Section French Horn Muted Trumpet Tuba Trombone Trumpet Orchestra Hit Synth Vox Voice Oohs Choir Aahs MSB 00 LSB 32 pg. 8 104 103 102 101 100 99 98 97 96 95 94 93 92 91 90 89 88 87 86 85 84 83 82 81 80 79 PC Star Theme Echo Drops Goblins Brightness Atmosphere Crystal Soundtrack Ice Rain Sweep Pad Halo Pad Metal Pad Bowed Glass Space Voice Polysynth Warm Pad Fantasia Bass & Lead 5th Saw Wave Solo Vox Charang Chiffer Lead Synth Calliope Sawtooth Wave Square Wave Ocarina Whistle MSB 00 LSB 32 128 127 126 125 124 123 122 121 120 119 118 117 116 115 114 113 112 111 110 109 108 107 106 105 PC Gun Shot Applause Helicopter Telephone Bird Seashore Breath Noise Gtr Fret Noise Reverse Cymbal Synth Drum Melodic Tom Taiko Wood Block Steel Drums Agogo Tinkle Bell Shanai Fiddle Bagpipe Kalimba Koto Shamisen Banjo Sitar MSB 00 LSB 32 ����������������� General MIDI Bank 32 General General MIDI MIDI Bank Bank 32 32 Inserting New Software Chips for Software Updates HOW TO PHYSICALLY CHANGE YOUR SOFTWARE CHIP: Tools Needed: 1 small flat & 1 medium Phillips screwdrivers 1) First, remove the AC adaptor from the back of the malletKAT! 2) Find a smooth, clean, flat surface and place your malletKAT upside down on it, the jacks facing away from you. 3) Remove back cover of the malletKAT (20 screws). 4) When the malletKAT is opened, you will see one large circuit board. On the front right of the printed circuit board is a large chip with a white paper label that has the current version of your malletKAT. The chip with the white label is your Software Chip. It contains the code that runs your malletKAT’s Operating System. Before you take the old software chip out, note how it is oriented in the socket. Specifically notice that the “notch” on the end of the chip is away from you. 5) To remove an old chip, you will use your small flat screwdriver. You will want to pry the chip out of its socket. DO NOT pry out the socket underneath the Software Chip. The socket remains attached to the printed circuit board. Look at the Upgrade chip you received and you will be able to tell what the chip is and what the socket is. You want to insert the screwdriver between the chip and the top of the socket so as to pry up the chip but not the socket. You also should take turns prying a little bit at a time on each end of the chip. If you pry a LOT on one end, you will excessively bend the small legs on the other end as the chip pivots on them. Don’t be scared – just pry a little more on each side alternately until the chip is out. Take you time, don’t be in a hurry. Make sure you insert the small screwdriver between the chip and the socket before you start to pry each time. (Instead of between the socket and the circuit board.) 6) After you have the chip out, place the new chip in its socket, being careful to orient it in the same way that the old chip was (remember the “notch” to the top). Take a little care to align the legs of the chip into the holes in the pins of the socket. Visually check to see that none of the legs got squished and are smashed under the chip. 7) Replace the back cover of your malletKAT and reinsert a few of the screws to hold the back cover on. Remember to use short screw over the power jack and mallet board. The long screws with damage your power and board. Turn the unit over and plug in the power and turn it on. If the display is working, you are OK. Reinsert the rest of the screws. 8) If the display is not working then: a) Remove the AC power again b) Turn the malletKAT over again and remove the screws. c) Take the back cover off again d) Try reinserting the chip (pry it out again to make sure that the legs didn’t get bent under the chip) e) Put the back cover on, turn the malletKAT back over, plug in the power and turn it on. f) If this still fails, put your OLD software back in and give us a call @ 413594-5190 83 84 53 First Ave., Chicopee, MA 01020 • Tel. 413-594-5190 Fax. 413-592-7987
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