Yamaha DTX700 Kullanım kılavuzu

Marka: Yamaha

Model: DTX700

Kategori: Müzik davulları

Tip: Kullanım kılavuzu

DRUM TRIGGER MODULE

DTX700

Reference Manual

The DTX700 Reference Manual created via the PDF format is equipped with special features that are exclusive to electronic files, such as

the Link function and the Search function which let you jump to the desired page by clicking the specific term.

This illustration shows the page displayed on the DTX700 when the front panel’s [MENU] button is pressed. When you click on any of the

menu items, you will be taken to the start of the corresponding section.

This function built in the viewer software is very useful if you want to know the meaning of unfamiliar terms.

When using Adobe Reader to read this manual, enter a specific word in the search box, then press the <Enter> key of your computer key-

board to call up the relevant section in this manual.

NOTE

• Make sure to check and download the latest version of the Adobe Reader from the following site.

http://www.adobe.com/products/reader/

When using Adobe Reader, click to return to the previous page view/go to the next page view via the buttons in the toolbar.

This function is very useful if you want to return to the previous page view when jumping to a link page.

NOTE

• If the previous page view/next page view buttons are not shown in the toolbar, hold the <Alt> key and press < >/< > keys to move to

the previous/next page view.

• For more information on these and other functions in the software, refer to the owner’s manual of the software.

How to Use This Manual

Search Function

Previous Page View/Next Page View

DTX700 Reference Manual 2

Internal Design of the DTX700

In this reference section, you will find a description of

what takes place within the DTX700 between striking

of a pad and the output of sound from speakers.

Understanding how signals flow and are processed

internally will allow you to utilize the powerful func-

tions of this versatile instrument to their maximum

potential.

Pads & Trigger Signals

Whenever you strike a pad, a trigger signal containing various

items of performance data will be produced. These signals typi-

cally reflect the strength with which the pad was struck, the actual

location of the strike, and the like; furthermore, they are delivered

via a cable and a trigger input jack to the DTX700’s internal tone

generator, which outputs the appropriate drum sounds in response.

If a pad is set up to generate just one sound, there will be a one-to-

one relationship between the trigger signal type and the drum voice

output. With certain types of pad, however, it is possible to produce

a range of different types of trigger signal that reflect the location

of the strike, the drumming technique being used, and other factors.

[Terminology]

Zone:

The term “zone” is used to refer to specific areas of the pad,

such as the rim, cup, and head. Pads with multiple zones (such

as two- and three-zone pads) can produce a different trigger sig-

nal for each. As their name suggests, one-zone pads produce

only one signal irrespective of where they are struck.

Trigger input source:

Trigger input sources are named in accordance with the way in

which the corresponding pad or pedal is struck or operated.

 One-zone pads (producing a single trigger sig-

nal)

A mono pad such as the TP65 Single Zone Drum Pad or

PCY65 Single Zone Cymbal Pad transmits only one type of

trigger signal to the DTX700, irrespective of where it is struck.

 Two- and three-zone pads (producing multiple

trigger signals)

In contrast to the PCY65 Single Zone Cymbal Pad and other

mono pads, multi-zone pads such as the PCY65S Double Zone

Cymbal Pad can produce two different types of trigger signal

depending on the zone that is struck, while the PCY135 Triple

Zone Cymbal Pad can produce three. In specific terms, multi-

zone pads come in either the two-zone or three-zone variety.

For instance, the PCY135 Triple Zone Cymbal Pad illustrated

below comprises three trigger input sources – the bow, the

edge, and the cup – each of which generates a trigger input sig-

nal when struck.

Example: PCY135 trigger input sources when connected

to the [yCRASH1] trigger input jack

Trigger input source:

“Crash1Bw”

The voice assigned

to the bow’s trigger

input source will be

played.

Trigger input source:

“Crash1Eg”

Trigger input source:

“Crash1Cp”

Bow

Edge

Cup

The voice assigned

to the edge’s trigger

input source will be

played.

The voice assigned

to the cup’s trigger

input source will be

played.

Internal Design of the DTX700

DTX700 Reference Manual

 Example of how a pad controller can be used

to increase the number of trigger input

sources

Consider, for example, a situation where an XP100SD Snare

Pad is connected to the [qSNARE] trigger input jack and the

PadCtrlType (Pad Control Type) parameter from the Menu

area’s Kit/Pad page is set to “snaresOn/Off”. As this pad com-

prises three zones – namely, the open rim (A), the closed rim

(B), and the head (C) – it will have three trigger input sources.

If the pad controller were then to be used to switch the

SnaresOn/Off (Snare Wire On/Off) parameter from “on” to

“off” or vice-versa, the pad could be made to have a total of six

trigger input sources.

 Combining three zones and a pad controller to

give six trigger input sources

Trigger Setups

Your DTX700 uses a set of parameters called trigger setups to

ensure that trigger signals from pads and controllers are processed

in an ideal manner. In addition to the actual sensitivity of the pad

when it is struck, a trigger setup can include settings intended to

prevent a pair of trigger signals being produced in response to a

single strike (i.e., double triggering) and unwanted trigger signals

being produced by pads other than the one that was struck (i.e.,

crosstalk). The DTX700 comes pre-loaded with a total of 9 Preset

trigger setups suitable for many different needs, and you can also

create up to 20 unique User trigger setups to suit your own individ-

ual requirements.

Pads and trigger input jacks

As described above, some pads feature multiple trigger input

sources, each of which can generate its own trigger signals. It is the

role of the DTX700 to collect and process these signals, but the

types of trigger signal handled will depend on which of the trigger

input jacks is used for connection. For the most up-to-date infor-

mation on the correspondence between pad types and DTX700

trigger input jacks, please refer to the following web page.

http://dtxdrums.yamaha.com/

Drum Kits & Voices

Upon the receipt of a trigger signal, the DTX700’s internal tone

generator plays the voice assigned to the corresponding trigger

input source. The term “kit” is used to refer to a full set of voice

assignments for all trigger input sources, and the DTX700 comes

preloaded with 50 preset drum kits. You are, however, free to mod-

ify these drum kits in whatever way you see fit. In many cases, it is

sufficient to simply select one of the preset drum kits for your per-

formances, but if you wish to create original kits, it is important

that you understand the inner workings of the DTX700, including

the makeup of drum kits.

 Voice assignments for trigger input sources

As voices may be freely assigned to each of the trigger input

sources sending trigger signals from the pads, original drum

kits may be easily configured. For details of the basic proce-

dure, see page16.

Example: XP100SD

 When pad controller is

turned clockwise, setting

SnaresOn/Off to “on”:

Total of six

trigger input

sources

Trigger input

source:

“SnareOp”

Trigger input

source:

“SnareCl”

Trigger input

source:

“SnareHd”

 When pad controller is turned

counter-clockwise, setting

SnaresOn/Off to “off”:

Trigger input

source:

“SnrOpOff”

Trigger input

source:

“SnrClOff”

Trigger input

source:

“SnrHdOff”

Individual voices for each trigger input source:

A: Drum voice assigned to

trigger input source A.

B: Drum voice assigned to

trigger input source B.

C: Drum voice assigned to

trigger input source C.

Internal Design of the DTX700

DTX700 Reference Manual

 Instrument assignments for trigger input jacks

Assigning voices individually to each trigger input source can

be quite time consuming. In order to speed up this process, the

DTX700 features instrument parameters that group together the

drum voices assigned to the multiple trigger input sources cor-

responding to each trigger input jack – or in other words, the

drum voices assigned to each pad.

 Voices grouped as kits

For most drummers, the preset drum kits built into the DTX700

are sufficient to provide a wide range of variation in perfor-

mances. If, however, you wish to customize these presets, you

can simply change the instrument set for each trigger input jack

to assign new voices to each of the corresponding pad’s trigger

input sources. If you wish to go even further, meanwhile, you

can also change voice assignments on an individual trigger

input source basis to create drum kits finely tuned to your indi-

vidual needs (see page16).

Sounds Produced Using the Pads

Whenever the DTX700’s internal tone generator receives a trigger

signal produced by striking a pad or by operating a controller, it will

play the voice or song assigned to that pad or controller. As

described below, three different types of assignment are supported –

namely, voices, songs, and waves.

• Voices

Drum sounds such as snares, bass drums, and cymbals; percus-

sion sounds; and pitched-instrument sounds such as piano,

xylophone, and guitar.

• Songs

Phrases containing performance data for a range of different

instruments.

•Waves

Audio files imported into the DTX700 from a variety of

sources.

The Menu area’s Kit/Voice page is used to assign voices, songs,

and waves to pads and controllers. On that page, available assign-

ments are categorized by musical instrument type (in the case of

voices), as songs, or as waves. While these three assignment types

can all be defined for pads in the same way, it is important to

remember that each type plays in a different way and is configured

using different parameters.

 Voices

The DTX700 comes preloaded with a vast library of drum

sounds, such as snares, bass drums, and cymbals, together with

a broad spectrum of percussion-instrument sounds. Also

included are many pitched instruments, such as piano, xylo-

phone, and guitar. The term “voice” is used to refer to these

built-in instrument sounds. Drum and percussion voices from

this collection are not rooted at one specific pitch; instead, you

can intuitively adjust their tuning in order to match the sounds

of other instruments. Meanwhile, pitched-instrument voices

such as piano and guitar can be assigned to pads with a specific

pitch setting, thus allowing you to play several different notes

together to produce chords; in addition, you can also have pads

trigger successive notes from a phrase each time they are

struck, making it possible to play melodic parts (see page21).

With the timing and strength of your playing reflected in the

sound produced by preset voices, you can perform with practi-

cally the same level of expressiveness as afforded by acoustic

instruments.

Choosing instruments for each trigger input jack

By selecting an instrument, all of the

voices assigned to a pad’s three trigger

input sources can be changed together.

Three-zone pads (like the PCY135):

Single-zone pads (like the KP65):

Trigger

input

source

Layer

MIDI

note

number

Layer

Instrument

Crash1Bw

Layer A Note No. Voice

Instrument

Layer B Note No. Voice

Layer C Note No. Voice

Layer D Note No. Voice

Crash1Eg

Layer A Note No. Voice

Layer B Note No. Voice

Layer C Note No. Voice

Layer D Note No. Voice

Crash1Cp

Layer A Note No. Voice

Layer B Note No. Voice

Layer C Note No. Voice

Layer D Note No. Voice

Trigger

input

source

Layer

MIDI

note

number

Layer

Instrument

Kick

Layer A Note No. Voice

Instrument

Layer B Note No. Voice

Layer C Note No. Voice

Layer D Note No. Voice

*1: See page 6 for details.

*2: Sounds set using the VoiceCategory

and VoiceNumber parameters from

the Menu area’s Kit/Voice page.

Internal Design of the DTX700

DTX700 Reference Manual

 Songs

The DTX700 allows you to play complete songs simply by

striking one pad. In the same way as snare sounds are produced

by striking a pad to which a snare voice has been assigned, you

can start and stop the playback of songs by striking the pads to

which they are assigned. In effect, pads with song assignments

operate as start/stop switches whenever struck (regardless of

how hard or soft they are actually struck). Your DTX700 comes

pre-loaded with 63 songs containing performance data from a

host of different instrument genres (i.e., 2 demo songs, 44 prac-

tice songs, and 17 pad songs), and by assigning these freely to

pads, you can easily create highly individualized kits. For even

more flexibility, you can also copy performances you have

recorded (using the [REC] button) and even import standard

MIDI files (Format 0) to create a total of 93 songs (see

page36).

 Waves

The DTX700 is fully equipped to play back audio files that can

be created, edited, and played on computers. Commonly called

“samples” or “sample data”, these files contain short portions

of sound. In the context of the DTX700, however, they are

referred to as “waves”. Either WAV or AIFF type audio files

can be imported into the instrument’s internal wave memory

and assigned to pads in much the same way as voices and songs

(see page55). You can also edit imported waves. As audio files

imported into the DTX700’s wave memory are assigned to pads

as a single sound much like voices and songs, the term “wave

data” is used within this manual in the same way as “voice

data” or “song data”. In contrast, the term “wave file” is used to

refer to data that has not yet been imported and is handled in the

form of a file on a computer, sampler, or USB memory device.

Kit Makeup

In terms of the DTX700, the term “kit” is used to refer to a collec-

tion of voices, songs, and waves assigned to the trigger input jacks

(q to !2) and the [HI-HAT CONTROL] jack (open and closed).

For added convenience, the drum trigger module comes pre-loaded

with 50 different Preset kits. You are, however, free to make your

own unique kits in whatever way you see fit, and up to 60 can also

be stored internally. And if, for whatever reason, you need to restart

your customizing from scratch, you can press the [KIT] button to

access the Kit area and then press the [F3] button (INIT KIT) to

restore the factory default settings.

 Kits & Voices

Within the DTX700, voice data is grouped and stored in kit

units. In other words, each kit contains the voice-related infor-

mation for all of its pad and controller assignments. Whenever

a kit is created by editing voices, the voices themselves are not

stored within the kit; instead, the settings for all associated

parameters – such as tuning, stereo pan, attack time, release

time, effects, etc. – are stored. As you would expect, each of the

pads can have different parameter settings (see page16). There-

fore, even when the display shows the same voice assigned to

two or more pads, the sounds produced by each will not neces-

sarily be the same.

Preset songs (63)

Demo

songs (2)

Practice songs

(44)

Pad songs

(17)

Total capacity for songs (93)

Preset kits (50)

Total capacity for kits (60)

Using INIT KIT, you can

restore the factory default

settings for Preset kits.

Internal Design of the DTX700

DTX700 Reference Manual

 Voices & Layers

The DTX700 provides four layers (A to D) for each trigger

input source. For this reason, you can assign up to four different

voices to each one. What’s more, these layered voices can also

be triggered in three different ways – for example, they will all

play together in Stack mode, a different one will be played for

each strike in Alternate mode, and they can be sustained and

turned off on each successive strike in Hold mode. (Use the

Mode parameter from the Menu area’s Kit/MIDI/Assign page

to make these settings.)

To overlay multiple voices, first of all select the trigger input

source, and use the Note parameter from the Menu area’s Kit/

MIDI/Assign page to ensure that a MIDI note number is

assigned to each of its layers. Then, use the above-mentioned

Mode parameter to set the way in which the layered voices are

to be triggered, and finally, use the VoiceCategory and Number

parameters from the Menu area’s Kit/Voice page to assign suit-

able voices to each layer.

NOTE

• When assigning a pad song to a trigger input source, only

one layer can be configured for it.

 Voices and MIDI note numbers

It is important to realize that voices are actually assigned to

MIDI note numbers whenever Stack mode or Alternate mode is

used (see page21). With these modes, the sounds to be played

together are set using MIDI note numbers and not voices. To

change the correspondence between MIDI note numbers and

voices within the current kit, you can select voices assigned to

MIDI note numbers on the Menu area’s Kit/Voice page.

Effects

The effect processor built into your DTX700 applies special audio

effects to the output from the tone generator in order to modify and

enhance its sound in a wide variety of ways. Normally applied dur-

ing the final stages of editing, effects allow you optimize the sound

to better suit your own specific requirements.

 Effect Processor Design

The DTX700 can apply effects to the tone generator’s output

using the following four effect units.

 Variation Effect

Variation effects allow you to sculpt your sound in a variety

of different ways. A specific type of variation effect can be

selected for each kit, and you can also specify the degree to

which this effect is applied to each layer (using the

VarSend(Dry) (Variation Send Level) parameter from the

Menu area’s Kit/Voice page).

 Chorus

Chorus effects change the spatial characteristics of the

sounds to which they are applied. A specific type of chorus

effect can be selected for each kit, and you can also specify

the degree to which this effect is applied to each layer (using

the ChoSend (Chorus Send Level) parameter from the Menu

area’s Kit/Voice page).

 Reverb

Reverb effects add a warm ambience to sounds, simulating

the complex reflections of actual performance spaces, such

as a concert hall or a small club. A specific type of reverb

effect can be selected for each kit, and you can also specify

the degree to which this effect is applied to each layer (using

the RevSend (Reverb Send Level) parameter from the Menu

area’s Kit/Voice page).

NOTE

• The degree to which songs are processed by these effect

units can be specified using the VarSend(Dry) (Variation

Send Level) parameter, the ChoSend (Chorus Send

Level) parameter, and the RevSend (Reverb Send Level)

parameter from the Menu area’s Song/MIDI page; fur-

thermore, these settings can then be saved as part of the

corresponding song data.

 Kit EQ

Supporting four-band equalization, the Kit EQ effect unit

can be configured in a different way for each kit (using the

parameters from the Menu area’s Kit/EQ page).

 Master EQ

Processing the overall instrument sound just before output,

Master EQ supports three-band equalization. This effect unit

is configured using the Menu area’s Utility/Master EQ page,

and changing kits has no effect on its equalization settings.

 Stack

All four layers will sound simultaneously.

Layer A

Layer B

Layer C

Layer D

Four sounds

produced together.

 Alternate

Individual layers will sound sequentially.

Layer A

sounds.

Layer B

sounds.

Layer C

sounds.

Layer D

sounds.

Internal Design of the DTX700

DTX700 Reference Manual

 Effect Signal Flow

*1: Click-track voices cannot be sent to effects.

*2: Using the VarSend(Dry) (Variation Send Level) parameter, you can set the required balance between the amount of the

signal that will bypass the effect (i.e., the dry level) and the amount that will be sent to the effect (i.e., the wet level).

*3: Effects cannot be applied to external audio input via the [AUX IN] port.

 Effects & Effect Categories

The various individual effects provided by this instrument’s

effect units are sorted into a number of different categories.

What follows is a description of each category and the effects it

contains. We recommend that you refer to these descriptions

whenever setting effects. Each category’s effect table indicates

which of the effect units – i.e., Reverb (Rev), Chorus (Cho), or

Variation (Var) – can be used to apply the effect in question.

Any effect marked using a  symbol can be selected and modi-

fied on the corresponding effect unit’s parameter setting pages.

 Compressor & EQ

The compressor is an effect commonly used to limit and

compress the dynamics (i.e., softness or loudness) of an

audio signal. In the case of vocals, guitar parts, and other

signals that have widely varying dynamics, this effect essen-

tially squeezes the dynamic range, making soft sounds

louder and loud sounds softer. Furthermore, a compressor’s

attack and decay characteristics can be adjusted to modify

how punchy or sustained an audio signal sounds. Multi-band

compression, meanwhile, splits the input into three different

frequency bands for processing independent of each other;

accordingly, this type of effect can be thought of as combin-

ing compression with equalization.

AUX IN

Variation

Chorus

Reverb

Dry signal

Kit EQ Master EQ

RevReturn

ChoReturn

VarReturn

VarPan

ChoPan

RevPan

VarToRev

ChoToRev

VarToCho

RevSend

ChoSend

VarSend

VarSend(Wet)

VarSend(Dry)

Effect Type Var Description

Compressor 

Relatively fast-acting compressor well

suited to solo performances.

MltBndComp  Three-band compressor.

3 Band EQ 

Three-band compressor also featuring

equalization.

Vintage EQ  Vintage five-band parametric equalizer.

Enhancer 

Adds higher-order harmonics to enhance a

sound’s presence.

Internal Design of the DTX700

DTX700 Reference Manual

 Flanger & Phaser

A flanger creates a swirling, metallic sound, similar to that

of a jet plane. While this effect operates using the same

basic principles as chorus effects, it uses shorter delay times

and also incorporates feedback to produce a very distinctive

swelling sound. Rather than being used constantly through-

out a song, it is more suited to selective use in specific sec-

tions in order to add variety. A phaser, meanwhile,

introduces a phase shift into the sound being processed

before returning it to the effect input using a feedback circuit

in order to produce a characteristic animated yet mellow

tone. Gentler overall than a flanger, this effect can be put to

use in a wider range of situations, and for example, is often

used with electric pianos to sweeten their sound in a variety

of ways.

 Distortion

As its name suggests, a distortion effect distorts the sound

fed into it. It produces a sound similar to that of an amplifier

turned up too high or fed with a signal that is already suffi-

ciently loud. This type of effect is widely used to add a

harsh, biting edge; furthermore, the resultant sound is char-

acterized by overall thickness and long sustain times. This

thickness comes from the large numbers of harmonics con-

tained within clipped signals. Meanwhile, the longer sustain

is not produced by the original sound being stretched; rather,

it is produced when the slowly-fading release portion that

cannot normally heard is amplified and distorted.

 Wah

A wah effect dynamically changes the frequency character-

istic of a filter in order to produce a highly unique filter-

sweep sound. Auto wah changes the frequency in a cyclic

manner using an LFO, while touch wah performs filter

sweeps in response to the volume of the input signal.

 Reverb

Reverb effects model the complex reverberation produced

by sounds within enclosed spaces. In this way, they add a

natural-sounding sustain, which produces a feeling of depth

and space. Furthermore, different types of reverb – such as

hall, room, plate, and stage – can be used to simulate the

sound of acoustic environments of varying sizes and con-

structions.

Effect Type Cho Var Description

SPX Flanger Produces a swirling, metallic sound.

TempoFlanger Tempo-synchronized flanger.

PhaserMono –  Vintage sounding mono phaser.

PhaserStereo –  Vintage sounding stereo phaser.

TempoPhaser –  Tempo-synchronized phaser.

Effect Type Var Description

AmpSim 1  Guitar amp simulation.

AmpSim 2  Guitar amp simulation.

CompDist  Combines compression and distortion.

CompDistDly 

Combines compression, distortion, and

delay.

Effect Type Var Description

AutoWah  Vintage automatic wah effect.

TouchWah  Classic volume-responsive wah effect.

TouchWahDist 

Touch wah with distortion applied at the

output.

Effect Type Rev Var Description

SPX Hall 

Emulation of hall acoustics using an

algorithm derived from the classic

Yamaha SPX1000 Digital Multi-Effects

Processor.

SPX Room 

Emulation of room acoustics using an

algorithm derived from the classic

Yamaha SPX1000 Digital Multi-Effects

Processor.

SPX Stage 

Emulation of stage acoustics using an

algorithm derived from the classic

Yamaha SPX1000 Digital Multi-Effects

Processor.

R3 Hall  –

Emulation of the acoustics of a con-

cert hall using an algorithm derived

from the Yamaha ProR3 – a digital

reverberator for professional-audio

applications.

R3 Room  –

Emulation of room acoustics using an

algorithm derived from the above-

mentioned Yamaha ProR3.

R3 Plate  –

Emulation of plate reverb using an

algorithm derived from the above-

mentioned Yamaha ProR3.

EarlyRef – 

Early reflections without any subse-

quent reverberation.

GateReverb –  Simulation of gated reverb.

ReverseGate – 

Simulation of gated reverb played in

reverse.

Internal Design of the DTX700

DTX700 Reference Manual

 Chorus

Chorus reproduces the sound of multiple instruments play-

ing in unison for a thicker, deeper tone. As all instruments

differ slightly from each other in terms of pitch and phase,

their playing together produces an overall sound that is

warmer and more spacious. In order to reproduce this type

of behavior, chorus effects make use of delay. Specifically, a

delayed, second version of the original signal is produced

and given a vibrato-type effect by varying its delay time over

a period of approximately one second using an LFO. When

this second version is mixed back into the original signal,

the resulting tone sounds as if multiple instruments are

being played in unison.

 Tremolo & Rotary

Tremolo effects are characterized by the way in which they

modulate volume in a cyclical fashion. An auto-pan effect,

meanwhile, moves the sound from left to right in a similar

cyclical manner, and a rotary speaker effect simulates the

distinctive vibrato of rotary-type speakers often used with

organs. In a rotary speaker, the horn and rotor are spun in

order to create highly unique sounds using the Doppler

Effect.

 Delay

Delay effects create a delayed version of the input signal,

and as such, they can be used for many different purposes,

such as creating a sense of spaciousness or thickening a

sound.

 Miscellaneous

This category contains effect types not included in the other

categories.

Effect Type Var Cho Description

G Chorus 

Rich, deep chorus with complex mod-

ulation.

2 Modulator 

Chorus effect allowing pitch and

amplitude modulation to be adjusted

for a more natural, spacious tone.

SPX Chorus 

Enhances modulation and spacious-

ness using a 3-phase LFO.

Symphonic 

Multi-stage modulation for a wider-

sounding chorus.

Ensemble – 

Modulation-free chorus achieved by

adding a slightly pitch-shifted sound.

Effect Type Var Description

AutoPan 

Cyclically moves the sound between left

and right channels.

Tremolo 

Cyclically modulates the volume of the pro-

cessed signal.

RotarySp  Rotary speaker simulator.

Effect Type Var Description

CrossDelay 

A pair of delays featuring cross-over feed-

back to produce a sound that swirls

between the left and right channels.

TempoCros-

Dly



A pair of delays with cross-over feedback

and a tempo-synchronized delay time.

TempoDly-

Mono



A single mono delay synchronized with the

instrument’s tempo.

TempoDlySt 

A stereo delay synchronized with the instru-

ment’s tempo.

Delay LR 

A delay with separate left and right chan-

nels.

Delay LCR 

A triple delay processing left, right, and cen-

ter channels independently.

Delay LR St 

A stereo delay with fully independent left

and right channels.

Effect Type Var Description

Isolator 

Controls the volume of individual frequency

bands using powerful filters.

Telephone 

Reproduces the sound of telephone speech

by cutting high and low frequencies.

TalkingMod 

Incorporates a vowel-type formant into the

input signal.

PitchChange  Changes the pitch of the input signal.

Internal Design of the DTX700

DTX700 Reference Manual

 Effect Parameters

Each of the above-mentioned effects includes a range of param-

eters allowing you to adjust the way in which it processes the

input signal. Using these parameters, the behavior of each

effect can be optimized in line with, for example, the type of

sound being processed or the type of music being played. While

the function of each of these parameters is described in the fol-

lowing table, it is good practice to also listen to how they actu-

ally change the sound of the respective effect in order to

achieve the best settings.

 Parameters with identical names

NOTE

• Certain effects contain parameters with identical names

yet performing different functions. In the following table,

the function of each such parameter is described sepa-

rately and the corresponding effects are identified.

Parameter

name

Descriptions

AMDepth

This parameter is used to set the depth of ampli-

tude modulation.

AmpType

This parameter is used to set the type of amplifier

to be simulated.

Attack

This parameter is used to set the amount of time

that elapses before compression is fully applied.

Bottom

This parameter is used to set the lowest point in

the filter’s sweep range.

Color

This parameter is used to set the fixed phase mod-

ulation.

CommonRel

This parameter is used to set the amount of time

that elapses before the compressor stops process-

ing the input signal (common for all three bands).

Compres

This parameter is used to set the input-signal level at

which the compressor starts to process the sound

(i.e., the threshold).

Cutoff

This parameter is used to set the offset value for

the filter’s control frequency.

Delay

This parameter is used to set the delay time in

terms of note lengths.

DelayC

This parameter is used to set the delay time for the

center channel.

DelayL

This parameter is used to set the delay time for the

left channel.

DelayL>R

This parameter is used to set the time that elapses

between input of sound via the left channel and

output via the right channel.

DelayR

This parameter is used to set the delay time for the

right channel.

DelayR>L

This parameter is used to set the time that elapses

between input of sound via the right channel and

output via the left channel.

Density

[Reverb effects other than EarlyRef]

This parameter is used to set the reverb density.

[Early Ref]

This parameter is used to set the density of early

reflections.

Depth

This parameter is used to set the amplitude of the

LFO wave that controls cyclic changes in phase

modulation.

Detune

This parameter is used to set the degree to which

pitches are detuned.

Device

This parameter is used to select one of a number

of devices that distort the sound in different ways.

Diffuse

[TempoPhaser and EarlyRef]

This parameter is used to adjust the spaciousness

of the sound produced.

[Reverb effects other than EarlyRef]

This parameter is used to set how wide the reverb

sounds.

Directn

This parameter is used to set the direction of enve-

lope-follower modulation.

Div.FreqH

This parameter is used to set the mid-high fre-

quency when splitting the sound into three bands.

Div.FreqL

This parameter is used to set the low-mid fre-

quency when splitting the sound into three bands.

DlyLvlC

This parameter is used to set the delay volume for

the center channel.

DlyMix

This parameter is used to set the mixing level for

the delayed sound.

DlyOfst

This parameter is used to set the modulation delay

time’s offset value.

Drive

This parameter is used to set the degree to which

the effect is applied.

DriveHorn

This parameter is used to set the depth of modula-

tion produced through rotation of the high-fre-

quency horn.

DriveRotor

This parameter is used to set the depth of modula-

tion produced through rotation of the low-frequency

rotor.

DstL.Gain

This parameter is used to set the degree by which

the low frequencies from the distorted sound are

boosted or cut.

DstM.Gain

This parameter is used to set the degree by which

the mid frequencies from the distorted sound are

boosted or cut.

Edge

This parameter is used to specify a curve that

determines how the sound is distorted.

EQ1Freq

This parameter is used to set the cutoff frequency

for the EQ1 band (i.e., low shelving).

EQ1Gain

This parameter is used to set the gain for the EQ1

band (i.e., low shelving).

EQ2Freq

This parameter is used to set the center frequency

for the EQ2 band.

EQ2Gain

This parameter is used to set the gain for the EQ2

band.

EQ2Q

This parameter is used to set the resonance of the

EQ2 band.

EQ3Freq

This parameter is used to set the center frequency

for the EQ3 band.

EQ3Gain

This parameter is used to set the gain for the EQ3

band.

Parameter

name

Descriptions

*1: The Bottom parameter’s setting is valid only when less than that

of the Top parameter.

*2: The Color parameter’s setting has no effect with certain combi-

nations of Mode and Stage settings.

Internal Design of the DTX700

DTX700 Reference Manual

EQ3Q

This parameter is used to set the resonance of the

EQ3 band.

EQ4Freq

This parameter is used to set the center frequency

for the EQ4 band.

EQ4Gain

This parameter is used to set the gain for the EQ4

band.

EQ4Q

This parameter is used to set the resonance of the

EQ4 band.

EQ5Freq

This parameter is used to set the cutoff frequency

for the EQ5 band (i.e., high shelving).

EQ5Gain

This parameter is used to set the gain for the EQ5

band (i.e., high shelving).

ER/Rev

This parameter is used to set the relative volumes

of early reflections and reverberation.

F/RDpth

This parameter is used to set the front-to-rear pan

depth (and is valid only when PanDirectn is set to

“Lturn” or “Rturn”).

FBHiDmp

This parameter is used to set how the feedback

sound decays in the high-frequency band (with

smaller values corresponding to faster decay).

FBLevel

[Chorus effects, Delay effects, and TempoFlanger]

This parameter is used to set how much of the

delay sound is fed back into the effect’s input (with

negative values indicating that its phase is to be

inverted).

[TempoPhaser]

This parameter is used to set how much of the

phaser’s output is fed back into its input (with nega-

tive values indicating that its phase is to be

inverted).

[Reverb effects]

This parameter is used to set the initial delay’s feed-

back level.

FBLvl1

This parameter is used to set the feedback level for

the first delay sound.

FBLvl2

This parameter is used to set the feedback level for

the second delay sound.

FBTime

This parameter is used to set the feedback delay

time.

FBTime1

This parameter is used to set the delay time for

feedback delay 1.

FBTime2

This parameter is used to set the delay time for

feedback delay 2.

FBTimeL

This parameter is used to set the delay time for the

left feedback delay.

FBTimeR

This parameter is used to set the delay time for the

right feedback delay.

Feedback

This parameter is used to set how much of the

effect’s output is fed back into its input.

Fine1

This parameter is used to adjust the first fine-pitch

setting.

Fine2

This parameter is used to adjust the second fine-

pitch setting.

H.Freq

This parameter is used to set the center frequency

of the high-frequency EQ band.

H.Gain

This parameter is used to set the amount by which

the high-frequency EQ band is boosted or cut.

Height

This parameter is used to set the height of the simu-

lated room.

Parameter

name

Descriptions

HiAtk

This parameter is used to set the amount of time

that elapses before compression is fully applied in

the high-frequency band.

HiGain

This parameter is used to set the output level of the

high-frequency band.

HiLvl

This parameter is used to set the high-frequency

level.

HiMute

This parameter is used to activate and deactivate

high-frequency muting.

HiRat

[MltBndComp]

This parameter is used to set the compression

ratio for the high-frequency band.

[Reverb effects]

This parameter is used to adjust the high-fre-

quency component.

HiTh

This parameter is used to set the input-signal level

at which the compressor starts to process the

sound in the high-frequency band.

HornF

This parameter is used to set the speed of rotation

of the high-frequency horn at the “fast” setting.

HornS

This parameter is used to set the speed of rotation

of the high-frequency horn at the “slow” setting.

HPF

This parameter is used to set the high-pass filter’s

cutoff frequency.

InitDly

This parameter is used to set the amount of time

that elapses before early reflections are produced.

InitDly1

This parameter is used to set the delay time for the

first delay.

InitDly2

This parameter is used to set the delay time for the

second delay.

InitDlyL

This parameter is used to set the delay time for the

left-channel delay.

InitDlyR

This parameter is used to set the delay time for the

right-channel delay.

InpMode

This parameter is used to switch between mono

and stereo input.

InpSelect This parameter is used to select an input.

L.Freq

This parameter is used to set the center frequency

of the low-frequency EQ band.

L.Gain

This parameter is used to set the amount by which

the low-frequency EQ band is boosted or cut.

L/RDiffuse

This parameter is used to set the difference

between left and right delay times in order to pro-

duce a more spacious sound.

L/RDpth

This parameter is used to set the depth of the left-

right panning effect.

Lag

This parameter is used to set a time lag for delay

times specified in terms of note lengths.

LFODpth

[SPX Flanger, TempoFlanger, SPX Chorus, and

Symphonic]

This parameter is used to set the depth of modula-

tion.

[Tempo Phaser]

This parameter is used to set the depth of phase

modulation.

LFODiff

This parameter is used to set the left-right phase

difference between modulation waveforms.

Parameter

name

Descriptions

Internal Design of the DTX700

DTX700 Reference Manual

LFOSpeed

[TempoFlanger, G Chorus, 2 Modulator, SPX Cho-

rus, Symphonic, and Tremolo]

This parameter is used to set the modulation fre-

quency.

[TempoPhaser]

This parameter is used to set the modulation

speed in terms of note lengths.

[AutoPan]

This parameter is used to set the auto-pan fre-

quency.

LFOWave

[AutoWah]

This parameter is used to specify whether the filter-

sweep effect is produced using a sine or square

wave.

[AutoPan]

This parameter is used to set the panning curve.

Livenss

This parameter is used to set the way in which

early reflections decay.

LowAtk

This parameter is used to set the amount of time

that elapses before compression is fully applied in

the low-frequency band.

LowGain

This parameter is used to set the output level of the

low-frequency band.

LowLvl

This parameter is used to set the low-frequency

level.

LowMute

This parameter is used to activate and deactivate

low-frequency muting.

LowRat

[MltBndComp]

This parameter is used to set the compression

ratio for the low-frequency band.

[Reverb effects]

This parameter is used to adjust the low-frequency

component.

LowTh

This parameter is used to set the input-signal level

at which the compressor starts to process the

sound in the low-frequency band.

LPF

This parameter is used to set the low-pass filter’s

cutoff frequency.

M.Freq

This parameter is used to set the center frequency

of the mid-frequency EQ band.

M.Gain

This parameter is used to set the amount by which

the mid-frequency EQ band is boosted or cut.

M.Width

This parameter is used to set the width of the mid-

frequency EQ band.

Manual

This parameter is used to set the phase-modula-

tion offset value.

MicAngl

This parameter is used to set the left-right inclina-

tion of the microphone used to capture the

speaker’s output.

MidAtk

This parameter is used to set the amount of time that

elapses before compression is fully applied in the

mid-frequency band.

MidGain

This parameter is used to set the output level of the

mid-frequency band.

MidLvl

This parameter is used to set the mid-frequency

level.

MidMute

This parameter is used to activate and deactivate

mid-frequency muting.

MidRat

This parameter is used to set the compression

ratio for the mid-frequency band.

Parameter

name

Descriptions

MidTh

This parameter is used to set the input-signal level

at which the compressor starts to process the

sound in the mid-frequency band.

MixLvl

This parameter is used to set how much of the

effect sound is mixed back into the dry sound.

Mode

This parameter is used to adjust the mode of oper-

ation of the phaser.

MoveSpeed

This parameter is used to specify the amount of

time that elapses until the sound set using the

Vowel parameter is produced.

On/Off

This parameter is used to activate and deactivate

the isolator.

OutLvl This parameter is used to set the output level.

OutLvl1

This parameter is used to set the first-stage output

level.

OutLvl2

This parameter is used to set the second-stage

output level.

Output This parameter is used to set the output level.

OverDr

This parameter is used to adjust the way in which

the sound distorts.

Pan1

This parameter is used to set the first stereo-pan-

ning position.

Pan2

This parameter is used to set the second stereo-

panning position.

PanDirectn This parameter is used to set the auto-pan type.

PhShiftOfst

This parameter is used to set the phase-modula-

tion offset value.

Pitch1

This parameter is used to set the first pitch in semi-

tone units.

Pitch2

This parameter is used to set the second pitch in

semi-tone units.

PMDepth

This parameter is used to set the depth of pitch

modulation.

Presenc

Often seen on guitar amplifiers and the like, this

parameter is used to control the high-frequency

band.

Ratio

This parameter is used to set the compression

ratio.

Release

This parameter is used to set the amount of time

that elapses until the sound is no longer being

compressed.

Resonance

This parameter is used to set the resonance of the

filter.

ResoOfst

This parameter is used to set the resonance offset

value.

RevDly

This parameter is used to set the interval between

early reflections and subsequent reverberation.

RevTime This parameter is used to set the reverb time.

RoomSize This parameter is used to set the size of the room.

Rotor/Horn

This parameter is used to set the relative volumes

of the high-frequency horn and the low-frequency

rotor.

RotorF

This parameter is used to set the speed of rotation

of the low-frequency rotor at the “fast” setting.

RotorS

This parameter is used to set the speed of rotation

of the low-frequency rotor at the “slow” setting.

Sens

This parameter is used to set how sensitive the

wah filter is to changes in the input level.

Parameter

name

Descriptions

Internal Design of the DTX700

DTX700 Reference Manual

*3: The Top parameter’s setting is valid only when equal to or

greater than that of the Bottom parameter.

DTX700 Internal Memory

By storing kits, songs, and waves that you have created and edited

in the DTX700’s internal memory, you ensure that they will be

always available for use, even after the instrument has been turned

off. In addition, trigger setups and the settings from the Menu

area’s Utility pages can also be stored in memory for reuse.

 Data Retained by the DTX700

The following types of setting data can be stored in the

DTX700’s internal memory.

•Kits

• Songs

•Waves

• Trigger setups

• Other utility settings

NOTE

• Whenever data files are saved and loaded or waves and

MIDI files are imported, the corresponding data is automati-

cally stored in memory. Settings cannot be stored for a cer-

tain number of parameters.

 Saving & Loading Data Files

All of the above-mentioned items of data that can be stored in

the DTX700’s internal memory can also be saved as files on a

USB storage device. Whenever needed, furthermore, these

memory files can be loaded back into the drum trigger module

from the storage device. For details, see the description of the

File pages from the Menu area (see page57).

S-FTmHorn

This parameter is used to set how long it takes for

the high-frequency horn to switch between fast and

slow rotation speeds.

S-FTmRotor

This parameter is used to set how long it takes for

the low-frequency rotor to switch between fast and

slow rotation speeds.

Speaker

This parameter is used to select the type of

speaker to be simulated.

Speed

[PhaserMono and PhaserStereo]

This parameter is used to set the frequency of the

LFO that controls cyclic changes in phase modula-

tion.

[AutoWah]

This parameter is used to set the LFO speed.

SpeedCtrl

This parameter is used to set the rotation speed as

“fast” or “slow”.

Spread

This parameter is used to set how wide the effect’s

output sounds.

Stage

This parameter is used to set the number of phase-

filter steps.

Thresh

This parameter is used to set the input-signal level

at which the effect starts to process the sound.

To p

This parameter is used to set the highest point in

the filter’s sweep range.

Ty pe

[Wah effects]

This parameter is used to set the wah-effect type.

[EarlyRef, GateReverb, and ReverseGate]

This parameter is used to set the reflected-sound

type.

Vowel This parameter is used to select a vowel type.

Parameter

name

Descriptions

DTX700 Reference Manual 14

Cursor Operations on Menu Area Pages

The way in which the cursor is displayed and oper-

ated on Menu area pages differs from that of other

pages.

 Navigation pages

When you turn the dial on navigation-type pages, the cursor

(i.e., the inverted text) moves in the corresponding direction.

By pressing the dial, you can move one level further into the

Menu area.

To move back one step towards the top page, press the [EXIT]

button.

 Parameter pages

When you turn the dial on parameter-type pages, the cursor

(i.e., the inverted text) moves up and down within the displayed

list.

When you press the dial, the cursor will zoom in on the value

on the right.

In this condition, you can turn the dial to change the value

selected by the cursor.

When you press the dial again, the cursor will zoom out to

select the entire row.

DTX700 Reference Manual 15

KIT

: The current kit number is reduced by 1.

: The current kit number is increased by 1.

: The current kit number is locked.

NOTE

• If you hold down the [SHIFT] button and press the [F1] or [F2]

button, the current kit number will be reduced or increased in

units of 10.

• See page 14 for details regarding cursor operations on Menu

area pages.

KIT/COMMON

 List of Functions

Volume

Use this parameter to set the volume of the entire kit.

Settings: 0 to 127

NOTE

• If you change the Volume parameter setting for MIDI channel

10 on the Menu area’s Kit/MIDI/Other page, the Volume

parameter on this page will be automatically set to the same

value. The reverse does not apply, however – in other words,

the Volume parameter for MIDI channel 10 from the Menu

area’s Kit/MIDI/Other page is not affected by changes made on

this page.

Tempo

Use this parameter to specify the tempo to be set automatically

upon selection of the current drum kit. An “off” setting means

that the tempo will not change automatically when the current kit

is selected – in other words, the tempo of the previously selected

kit is maintained.

Settings: off, 30 to 300

NOTE

• If waves are assigned to any of the kit’s pads, the tempo (or

speed) at which they are played will not be affected by the kit’s

tempo setting.

Trigger Setup Link (TrgSetupLink)

Use this parameter to specify the trigger setup to be used when

the current kit is selected. A trigger setup can be assigned to each

different drum kit. Select “off” if the currently selected drum kit

does not need a special trigger setup.

Settings: off, 1 to 20

Name

Use this parameter to set a name for the currently-selected kit. A

name of up to 12 characters in length can be assigned to drum

kits.

 Setting a Kit Name

1. Press the dial to call up the kit naming page.

2. Move the cursor within the name field using the [F1] and

[F3] buttons and select a character for that position by

turning the dial or pressing the [-/DEC] and [+/INC] but-

tons. The following characters can be used.

NOTE

• If you hold down the [SHIFT] button and press the [F1]

or [F3] button, the cursor will move to the start or end of

the kit name field.

• If you hold down the [SHIFT] button and press the [-/

DEC] or [+/INC] button, or alternatively, hold down the

[SHIFT] button and turn the dial, the cursor will jump

between the “ ”, “0”, “A”, “a”, and “~” characters.

3. When you have entered the required name, press the dial

or the [EXIT] button to return to the previous page.

4. Press the [STORE] button and the dial to store your new

setting.

For settings affecting entire kits

KIT/COMMON

Common

Volume

Tempo

TrgSetupLink

Name

Icon

KIT

DTX700 Reference Manual

Icon

An artist’s impression of what the current kit might look like can

be displayed on the right of the Kit page (accessed using the

[KIT] button). Using the Icon parameter, you can change the

illustration used for the kit. In addition, you can also select “off”

to display no icon.

Settings: Acoustic, Rock, Electric, Percuss, RhythmBox, Effect,

R&B/H-HOP, PadSong, off

KIT/VOICE

 List of Functions

The makeup of the Kit/Voice page depends on the

currently selected voice among other settings.

• If a voice (i.e., not a song or MIDI note number) has

been selected for the current pad (see page17):

• If a song has been selected for the current pad (see

page17):

• If a MIDI note number has been selected directly (see

page18):

For voice-related settings

KIT/VOICE 1/6

Voice

VoiceCategory

VoiceNumber

Tune

Note

Volume

Pan

Attack

Decay

Release

Filter

VarSend(Dry)

ChoSend

RevSend

Mono/Poly

AltGroup

SliderSelect

KIT

DTX700 Reference Manual

[Page displayed when a voice has been selected

for the current pad]

q Current pad

This indicates the pad for which voice settings are being made.

You can change the current pad either by hitting a different one or

by pressing the [F1] button (PAD) to open the popup window and

turning the dial to make a selection.

PAD

This button is used to select the current pad. When pressed, a

popup window will appear, and you can then turn the dial to

change the pad. Press the [EXIT] button to return from the popup

window. You can also strike a pad to select it. Instead of selecting

a pad, meanwhile, you can specify a MIDI note number directly.

Settings: SnareHd, SnareOp, SnareCl, SnrHdOff, SnrOpOff,

Snr C l O ff, To m 1 H d , To m 1 R m 1 , To m 1 R m 2 , To m 2 H d ,

Tom2Rm1, Tom2Rm2, Tom3Hd, Tom3Rm1, Tom3Rm2,

RideBw, RideEg, RideCp, Crash1Bw, Crash1Eg,

Crash1Cp, Crash2Bw, Crash2Eg, Crash2Cp, HHBwOp,

HHEgOp, HHBwCl, HHEgCl, HHFtCl, HHSplsh, Kick,

Pad10, Pad11Hd, Pad11Rm1, Pad11Rm2, HHKick, C#-1

to A#5

+ PAD LOCK

This button combination is used to fix the pad indicated by q.

This means that you can play other pads without changing the

current selection.

LAYER

This button is used to select the layer you wish to set. Each pad

comprises up to four layers, each of which can be used to play a

different voice.

NOTE

• On this page, layers can be selected for a pad only when a

MIDI note number has been assigned to more than one of

them using the Note parameter from the Menu area’s Kit/MIDI/

Assign page.

AUDITION

This button can be pressed to hear the set voice without having to

play the pad.

VoiceCategory

Use this parameter to specify the category from which a voice

will be assigned. In addition, you can also indicate that a song or

wave is to be assigned.

Settings: Kick, Snare1, Snare2, Tom1, Tom2, Cymbal, Hi-Hat, Lat-

inPerc, AsiaPerc, AfrcArbcPerc, OrchPerc,

ElectricPerc, EFX, Melody, Wave, e Song

VoiceNumber

Use this parameter to specify the number of the voice to be

assigned.

[Page displayed when a song has been selected

for the current pad]

PLAYMODE (Song Playback Mode)

This button is used to set a playback mode when a song has been

assigned to the current pad.

NOTE

• Up to three songs can be played simultaneously.

• If the VoiceCategory parameter is set to “eSong”, no other pan-

els will be displayed for this page.

Play: The song will start playing from the begin-

ning.

Chase: One successive measure of the song will

be played each time you strike the pad.

Cut-off: Only one song set to this mode can play

at any time. In other words, whenever a cut-off

mode song is triggered, any other song already

playing in this mode will be automatically

stopped.

KIT

DTX700 Reference Manual

[Page displayed when a MIDI note number has

been selected directly using the [F1] button (PAD)]

NOTE

• The VoiceCategory parameter cannot be set to “eSong” when

a MIDI note number is selected directly.

The parameter used for tuning will depend on the

type of voice assigned to the current pad.

[Drum sounds or waves (i.e., imported audio files)]

[When VoiceCategory is “Melody”]

Tuning (Tune)

Use this parameter to adjust the tuning of the assigned voice in

one-cent steps (0.01 = 1 cent)

Settings: -24.00 to +0.00 to +24.00

NOTE

• A cent is a unit of pitch defined as one hundredth of a semi-

tone. (100 cents = 1 semitone)

Note

Use this parameter to set the pitch of the assigned voice as a

MIDI note number.

Settings: C-2 to G8

Volume

Use this parameter to set the volume of the voice.

Settings: 0 to 127

Voice Panorama (Pan)

Use this parameter to set the stereo pan of the voice.

Settings: L63 to C to R63

The following parameters are used to adjust the tone

of the voice.

Attack Time (Attack)

Use this parameter to set the amount of time it takes from when

the pad is struck until the assigned voice reaches its peak volume.

Settings: -64 to +0 to +63

Decay Time (Decay)

Use this parameter to set the amount of time it takes the voice to

drop to a steady level after reaching its peak level.

Settings: -64 to +0 to +63

Release Time (Release)

Use this parameter to set the amount of time it takes for the voice

to fade out after sending a MIDI Note Off message.

Settings: -64 to +0 to +63

NOTE

• MIDI Note Off messages are not sent for pads and layers for

which the RcvKeyOff (Receive Key Off) parameter from the

Menu area’s Kit/MIDI/Assign page is set to “off”. Therefore, the

release-time setting has no effect in such a case.

• With certain types of voices, modifying the tone parameters

above will have very little effect.

KIT/VOICE 2/6

KIT/VOICE 3/6

KIT

DTX700 Reference Manual

Filter Cutoff Frequency (Filter)

Use this parameter to set a cutoff frequency for the low-pass fil-

ter. Frequencies above this level will be removed from the

selected voice.

Settings: -64 to +0 to +63

Filter Resonance (Q)

Use this parameter to change the timbre of the voice by boosting

frequencies around the cutoff frequency.

Settings: -64 to +0 to +63

Using the following parameters, you can adjust the

degree to which the DTX700’s built-in variation, cho-

rus, and reverb effects are applied to individual

voices.

Variation Send Level (VarSend(Dry))

Use this parameter to specify how much of the sound produced

by the voice will be sent to the variation effect. (The dry level is

shown in parentheses.)

Settings: 0 to 127

NOTE

• If layers have been set for the current voice, you can set a

send level for each one.

Chorus Send Level (ChoSend)

Use this parameter to specify how much of the sound produced

by the voice will be sent to the chorus effect.

Settings: 0 to 127

NOTE

• The chorus send level for the entire kit can be adjusted using

the ChoSend (Chorus Send Level) parameter from the Menu

area’s Kit/Effect/Mixer page.

• If layers have been set for the current voice, you can set a

send level for each one.

Reverb Send Level (RevSend)

Use this parameter to specify how much of the sound produced

by the voice will be sent to the reverb effect.

Settings: 0 to 127

NOTE

• The reverb send level for the entire kit can be adjusted using

the Reverb Send Level (RevSend) parameter from the Menu

area’s Kit/Effect/Mixer page.

• If layers have been set for the current voice, you can set a

send level for each one.

Polyphony (Mono/Poly)

Use this parameter to specify how overlapping sounds from the

same pad will be treated.

Settings: mono, poly

KIT/VOICE 4/6

KIT/VOICE 5/6

KIT/VOICE 6/6

mono

When two overlapping sounds are produced by

striking the same pad, the latter sound is given pri-

ority and the earlier sound is silenced.

poly

No such restriction applies and all overlapping

sounds are output.

KIT

DTX700 Reference Manual

Alternate Group (AltGroup)

Use this parameter to assign voices to alternate groups (i.e.,

monophonic sets of pads, only one of which can be producing a

sound at any time). If you do not want various individual voices

to be played together, they should be assigned to the same alter-

nate group. Whenever voices from the same alternate group are

triggered by playing the pads, the latter voice is given priority and

the earlier one is silenced. Set this parameter to “off” if you do

not want to assign to an alternate group.

Settings: off, hhOpen, hhClose, 1 to 124

NOTE

• The “hhOpen” and “hhClose” alternate groups operate in a

special way: If a voice from the “hhClose” group is triggered

after a voice from the “hhOpen” group, the hhOpen voice is

silenced and only the hhClose voice is played. No silencing of

the earlier sound is performed for any other triggering

sequence (for example, hhOpen followed by hhOpen; hhClose

followed by hhOpen; or hhClose followed by hhClose).

SliderSelect

Use this parameter to select the slider for controlling the volume

of the current pad’s voices.

Settings: kick, snare, tom, cymbal, hihat, no asg (selected when

no assignment is required)

KIT/MIDI

 List of Functions

MessageType

Use this parameter to set the type of MIDI message that will be

sent whenever the current pad is struck.

For MIDI-related settings

KIT/MIDI/ASSIGN 1/5

note

A MIDI note will be sent. Use this setting if you wish

to produce a sound by striking the pad.

CC A Control Change message will be sent.

PC A Program Change message will be sent.

start

A sysex Start command (hexadecimal FA) will be

sent.

continue

A sysex Continue command (hexadecimal FB) will

be sent.

stop

A sysex Stop command (hexadecimal FC) will be

sent.

MIDI

Assign

MessageType

Mode

Note

MIDI Ch

GateTime

RcvKeyOff

TrgLink

MaskTime

VelLimitLo

VelLimitHi

VelCrossFade

TrgVel

TrgMonoPoly

Trg Al t G rp

TG MIDI Sw

TG Switch

MIDI Switch

Other

Transmit

Volume

Pan

MSB

LSB

VarSend(Dry)

ChoSend

RevSend

CC No

CC Val

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