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Peavey DPM V3 User's Manual

1. high frequency cutoff low frequency high frequency cutoff cutoff moderate W vv 0 and high y frequency cuts Page 1 Parameters Freq 1 This sets the low frequency cutoff Options are 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz and 8 kHz 4 8 Gain Sets the amount of boosting or cutting affecting the frequency chosen above in 1 dB increments from 12 dB maximum cut to 00 no affect to 12 dB maximum boost Page 2 Parameters Freq 2 This sets the high frequency cutoff Options are 125 Hz 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz and 8 kHz Gain This operates identically to Gain on page 1 Page 3 Parameters Mix Controls the mix of dry and processed wet signals The variable mix parameter shows the ratio between dry and wet signals as well as DRY for all dry and WET for all wet signals n The mix value affects only the wet dry es within the effect it is independent of the mix levels for Effect 1 and Effect 2 the L parameter described in section 4 2 4 3e Gated Reverb Parameters Gated reverb produces an effect which is similar to reverb but has a sharper and more synthetic decay It is frequently used with percussive signals to give more punch but is by no means limited to percussive sounds Page 1 Parameters Type Chooses between three different gated reverb effects Gate 1 Gate 2 and Gate 3 Density 00 99 This determines the envelope shape of the reverb tail by altering the density of the
2. Each voice in use is shown on the display as an eighth note This makes it easy to see how many voices are available which is particularly useful with sequencer driven multitimbral setups since they tend to use up lots of voices 1 10 Chapter 2 Modifying Existing Sounds Here are some of the most common tweaks for customizing the DPM V3 This does not cover all the DPM V3 has to offer see Chapter 3 for detailed programming infor mation Important Any changes made to the factory patches shipped with the unit will if you saved those changes be remembered by the DPM V3 You will not be able to recall the factory patches unless you have saved them first either to a cartridge sec tion 2 1e or via MIDI section 2 24 If for some reason you cannot restore the factory patches consult your Peavey dealer 2 1 GLOBAL MENU TWEAKS The following options are accessible under the Global menu Any edits made in the Global or MIDI menu are remembered the next time you turn on the DPM V3 any changes made to these menus will be retained even if memory protect described later is on The general protocol for tweaking is 1 Press the GLOBL master button This is not necessary if you are already in the Global menu 2 Select the desired page 3 Use the Right Left buttons to choose the parameter to be modified 4 Select the parameter value 2 1a Master Tuning 99 to 99 This tunes the DPM V3 to other instruments o
3. 6 10 Other pressure tricks lisse 6 10 The advantages of dual LFOs nuanua cece sse 6 10 Volume balancing en 6 10 Creative use of the modulation wheel 0 00 0 esses 6 11 Chapter 7 MIDI Supplement TI MIDI BASICS sg ia 7 1 7 2 MIDI HARDWARE coco esses see 7 1 7 2 7 3 ABOUT SEQUENCING sese eese sese 7 2 7 3 7 4 MIDI MESSAGE BASICOS ooo 73 vil 7 5 CHANNEL MESSAGES 7 5a Voice messages Note Osso O ERA ic 7 3 NOE OT aa ES is 7 3 Noe ot 73 Prol a ae kde ta RA ai 7 3 7 4 Program Change co voveo ih e eC eve de leet s petes 7 4 Pitek Bend z rrite ce Pte tire vor eoe due done abet e e a Ros 7 4 Continuous Controller voi ide 7 4 7 5b Mode messages Omni On Poly Mode 1 0 00 naaa 7 5 Omni On Mono Mode 2 isses RI 7 5 Omni Off Poly Mode Sare aa paa e E AAA ri 7 5 Omni Off Mono Mode 4 S PI SON E esteso dim E cee E SE aaa 7 5 7 5c Other messages E Tr 7 5 7 6 SYSTEM COMMON MESSAGES Song Position Pointer isses RH 7 6 System ExXCIUSIVO oooooooooooo o SOC EE EE eS eR RIE ESTE 7 6 O A dee etl Se Cet GB al Se tet 7 6 oral ds O tardas Baad Pelee 7 6 SlOD Ls iaa A a eRe Mae ina wee ed 7 6 CONS bocas orina gh ee aria eave DOES T da 7 6 7 4 BOOKS ON MIDI eine dacs ed ue eds 7 6 7 7 7 8 MIDI RELATED MAGAZINES l una 7 7 viii Chapter 1 Introduction Congratulations on your purchase of the DPM V3 Peavey s engineers have taken the award win
4. Levels The five level parameters LO L4 are variable from 0 minimum level to 99 maximum level Page 2 LEVS Parameters Velmod 99 to 99 Keyboard Velocity Velmod ties the envelope generator levels to velocity The relation ship between envelope levels is preserved Velmod scales the levels rather than forces them to all jump to the same value With Velmod set to 0 the envelope levels will not be affected by velocity Positive values increase the envelope levels according to your dynamics up the maximum pre programmed levels The higher the value the lower the envelope levels go when you play softly 99 gives the maximum dynamic range Negative values decrease the envelope levels according to your dynamics the more negative the value the more the envelope levels will tend to go toward 0 when you 3 18 play harder 99 gives the maximum dynamic range Keymod 99 to 99 Keyboard Note Position modulation Keymod ties the envelope generator levels to keyboard note position This is useful if you want a note s overall amplitude to depend on where you play it on the keyboard The relationship between envelope levels is preserved these changes scale the levels rather than force them to all jump to the same value A Keymod setting of O means that the envelope level will not be affected by where you play on the keyboard With positive values the levels will increase as you play from left to right on the keyboard With nega
5. This pro cess does not alter the sample length which will be the same in the DPM V3 as in the source Also please note that sample rate conversion cannot improve the sound of a sample originally recorded with a low sample rate The DPM V3 will faithfully reproduce whatever you put into it put in a horrible sounding sample and the DPM V3 will play back a horrible sample 6 3b Loading Requesting Samples 1 Connect a MIDI cable from the DPM V3 s MIDI out to the MIDI in of the computer or sampler providing the sample to be loaded 2 Connect a MIDI cable from the DPM V3 s MIDI in to the MIDI out of the computer or sampler providing the sample to be loaded These MIDI connections must be made to provide two way communication handshaking between the DPM V3 and sampler computer 3 On the first page of the MIDI menu select the base channel over which you want to transfer the sample and select Omni or Poly mode 4 After making your selection press the Up Arrow button to select the Sample RAM page If nothing has been stored in memory yet the display will show 0 bytes us ed and the amount of free memory In a fully expanded DPM V3 this is 1048576 bytes 1 megabyte 5 Press the Up Arrow button to select the next page SDS Load 6 Press the Right or Left Arrow button so that the bottom line flashes Select Remote if you want to send a sample to the DPM V3 from a computer or sampler or Re quest if you want to grab a particular
6. 96 Data Increment 0 or 127 97 Data Decrement 0 or 127 98 Non Registered Parameter MSB 0 127 99 Non Registered Parameter LSB 0 127 100 Registered Parameter MSB 0 127 101 Registered Parameter LSB 0 127 121 Reset All Controllers 0 122 Local Control On Off 0 or 127 123 All Notes Off 0 124 Omni Off 0 125 Omni On 0 126 Mono On 0 16 05Omni Off 127 Poly On 0 7A 7 5b Mode messages There are two messages that determine the MIDI mode i e how devices will receive MIDI data The omni message determines how many channels will be recognized Omni on means that data from all channels will be received Omni off limits the number of channels usually to one The mono poly message deals with voice assignment within the synthesizer In Mono mode only one note at a time plays in response to voice messages in Poly mode as many voices can play notes as are available to play notes Using these two messages in various combinations produces the following mode messages Omni On Poly Mode 1 The synthesizer s voices respond to voice messages occur ing on any channel y Omni On Mono Mode 2 This m de is seldom implemented because playing one note out of the data occurring on all 16 channels is not very useful Omni Off Poly Mode 3 In this extremely common mode the DPM V3 is tuned to a single channel any incoming messages are assigned to synth voices up to the max imum number of 16 voices
7. Change Map sssseeeeeeen n 2 4 2 5 Initialize Program Change Map 0 cece IA 2 5 MIDI B lk Dump ig 2 4 achete E Ri OR aaah ae we DEIN 2 5 2 6 EDIT MENU TWEAKS aaae 2 6 2 7 Save a Modified Program 0 0 00 ccc cette eee eens 2 6 2 7 Change Program Name cece cnet m 2 7 Change Overall Timbre Brighter Duller ooo occ 2 8 Increase Decrease Timbre Dynamics cedes 2 8 Change Program Volume Level 0 0 00 eee e 2 8 Change Stereo Pan ccc eect eens 2 8 2 9 2 39 Set Pitch Bend Range 00 60 ccc ccc e 2 9 2 4 INITIALIZE ENTIRE UNIT 0 0 000 nne 2 9 Chapter 3 DPM V3 Programming 3 1 HISTORY AND BACKGROUND 00 00000 00s 3 1 3 1a How the DPM V3 Generates Sound 0 00 3 1 3 1b Software Emulation of an Analog Synthesizer o o 3 1 3 2 3 1c The DPM V3 Sound Generating Architecture o ooooooocoo o 3 2 3 1d About the DPM V3 Modulation Matrix o ooooooooooo o 3 3 3 4 3 16 o oc eek re Du ins Leto Y EE NS acs dee a ree e tea a 3 5 Irii DCAS maneat e Wes m ont A SAn aa ore Mays Bees he hci a suet 3 5 A A 3 5 3 7 3 1h About Levels and Distortion 0 0 eee eee 3 7 3 2 DPM V3 PROGRAMMING TECHNIQUES 3 8 3 2a About the Compare Function 2 00 00 ccc ccc ees 3 8 3 3 PROGRAM NAME corro 3 8 3 4 OSC 1 Page 1 Parameters WM adan e ad dd So 3 8 3 9 A E
8. DPM V3 in the chain runs out of voices it assigns any overflow notes to the next DPM V3 in the chain rather than steal existing voices in the first DPM V3 The following figure shows how to hook up two DPM V3s to double the number of voices Remember that Ovi must be on in the appropriate MIDI menu page for this feature to work PORRO ROO ICI ICRA Y CT OS O O O tt E 1 T E Master keyboard MIDI out sub2 subi main eo eo o9 DPM V3 1 MIDI out thru QOO sub2 subi main eo VS VO MIDI out OO Bn DPM V3 2 Qu MID cables 6 2 6 3 LOADING NEW SAMPLES INTO THE DPM V3 The DPM V3 oscillators play back sampled sounds that were recorded digitized and stored in ROM permanent memory chips by Peavey for use in the DPM V3 However it also can include up to 1 Megabyte of battery backed up RAM which allows you to load in your own samples via MIDI This takes advantage of a part of the MIDI specification the Sample Dump Standard SDS which specifies a universal way to exchange samples between those instruments whose specifications conform to the SDS Unfortunately not all samplers are SDS compatible and many use their own methods of data transfer Furthermore for CD quality fidelity the DPM V3 is a 16 bit machine it therefore requires that samples be sent as 16 bit data Check your sampler s manual to see if it can transfer samples according to the SDS 16 bit stan da
9. For details on modulation sousrces see sections 3 1d and 3 8 Amount 99 to 99 Sets the modulation degree and polarity positive or negative from the previously selected source This modulates the baseline level set by the oscillator s level parameter see figure below positive modulation 99 increases base level setting E N DCA oscillator level parameter Level e 2 c vene e ran uoo negative modulation lowers base level setting How modulation affects the DCA level Page 2 Parameters LMod2 Amount These parameters perform the same function as LMod1 and its associated Amount control Thus DCA1 s level can be modified by two different modulation sources Applications using positive modulation amounts Use Velocity as a modulation source to have levels track the dynamics of your playing Keyboard to have notes become progressively louder as you play progressively higher up on the keyboard Pressure to increase the oscillator level with increased keyboard pressure Envelopes to create specific changes in dynamics over time LFO to add tremolo effects Mod Wheel to use the mod wheel as a volume control for the oscillator Footpedal to provide foot controlled volume and External MIDI control to alter parameters via a particular MIDI continuous controller your keyboard or other MIDI data generator might send 3 11 3 6 OSC 2 and DCA2 These modules have the same controls as OSC1 and DCA1 and are adjusted in the same
10. Link Parameters DICH M A d LUI 3 26 A E v ce reU 3 26 Page 6 COMBI Link Parameters Delay eae ier dd dde bote cat odit 3 27 Chapter 4 Programming the On Board Signal Processors 4 1 ABOUT SIGNAL PROCESSING ss seen n 4 1 4 18 Effects STUE iex ooo cte Dee Ve ser 4 1 4 2 4 1b The Differences Between Effect 1 and Effect 2 4 2 4 3 4 1c Signal Processors Multi Configurations and MIDI 4 4 4 5 4 1d Signal Processors and Output Mode OptioNS oooooooom o 4 5 4 2 PROGRAMMING THE MAIN SIGNAL PROCESSING PARAMETERS Effect 1 Configuralioniz 2 s sre rhet eret dee eo pet a 4 5 ON 45 IP nl a td tem e tle tie 45 EK cL nn 4 5 op CP PPS 4 5 4 3 INDIVIDUAL EFFECTS PARAMETERS 43a Reverb Parameters n 4 5 Page 1 Parameters TIPO ze M Ie i E Ud EA 4 5 ILO iid eo hed et O HR e 4 5 4 6 Page 2 Parameters P Dai coeurs A a de 4 6 AAA rete rect dps bna lero gigs iN Ede IS 4 6 Page 3 Parameters MB a Sud etario 4 6 4 3b Delay Parameters rrien RR Race ee C ds 4 6 Page 1 Parameters A oc ERE EDEN ue RT qe b edens 4 6 Time Ros aste re da ete iet 4 6 Page 2 Parameters PO BAK se et m emen delta eta d b Wt 4 6 MI o bae NU aa a ca E bate aida 4 6 4 7 4 36 Chorus Parameters io iw hen Se eo ee Bs Ra RUE eer ib 47 Page 1 Parameters A TENOR 4 7 lt sa at a e o Ue d 4 7 Page 2 Parameters Dr ces oa tp eoe e a en abd wl re REO bred 4 7 ROD AK eee UE bu eR CUR Q
11. call up a different program will not only select that program but also select the signal processing parameters associated with that program If this seems complicated well it can be if you want to use the signal processing op tions to their maximum potential To get started try working at first with single effects 4 4 to hear how they affect the sound Then try different combinations to become familiar with the various possibilities 4 1d Signal Processors and Output Mode Options Effect 1 and 2 are not necessarily available all the time this depends on the output mode In 20UTPUT mode section 3 13 the Sub 1 and 2 outputs are inactive and the two stereo effects processors will apply to the Main out signals In GOUTPUT mode Subs 1 and 2 are dry and the main outputs 1 and 2 are processed by Effect 1 Effect 2 is inactive Remember that each patch can have its own output mode set ting Multi configurations automatically switch the mode to individual outputs 4 2 PROGRAMMING THE MAIN SIGNAL PROCESSING PARAMETERS Here are the parameters you ll encounter as you scroll using the Up Down Arrows or Data knob through the various signal processing module pages Effect 1 Config This selects the Effect 1 configuration series dual or parallel FX1 Type This chooses an effect for Effect 1 from the different single and dual ef fects listed earlier L Stands for level There will be one level parameter when Effect 1 is in a se
12. connects to stereo plug tip connects to stereo plug tip mono plugs external signal processor ubu ul pena 1 61 no para L uei mo poa E 1 ual ul 19843 6 1 E An optional MIDI thru jack provides a duplicate of the signal at the MIDI in jack This E is handy if you want to route MIDI data appearing at one device to another device as well Example Suppose the MIDI out from a MIDI keyboard such as the DPM 3 feeds the DPM V3 s MIDI in Patching the DPM V3 s MIDI thru to a second DPM V3 sends the DPM 3 s MIDI signal thru to the second DPM V3 Thus playing on the DPM 3 will trigger both DPM V3s 7 3 ABOUT SEQUENCING d The DPM V3 was designed for several applications including being driven by a se quencer as a multi timbral sound expander module To understand this application it s necessary to look a bit into how sequencing works Sequencing the computerized equivalent of tape recording is a very common and popular MIDI application There ar two main types of sequencers dedicated hard ware units and software based sequencer programs that run on a computer At pre sent only the Atari ST series and Yamaha C1 computers have built in MIDI connections but other computers can hook up to a black box called a MIDI inter face which converts MIDI data into a format the computer can understand This allows the computer to control a group of MIDI instrume
13. early reflection patterns Higher density settings give a longer tail Page 2 Parameters Mix Controls the mix of dry and processed wet signals The variable mix parameter shows the ratio between dry and wet signals as well as DRY for all dry and WET for all wet signals The mix value affects only the wet dry balance within the effect it is in dependent of the mix levels for Effect 1 and Effect 2 the L parameter described in section 4 2 4 3f Distortion Parameters Distortion is useful for creating fuzz guitar sounds or for adding a bit of crunch to otherwise clean sounds such as organ Note The Distortion EQ combination effect is very useful as you can use EQ to remove some high frequencies to make a warmer fuzz sound 4 9 Page 1 Parameters Amount 01 08 Chooses the distortion intensity higher values create more distortion Mix Controls the mix of dry and processed wet signals The variable mix parameter shows the ratio between dry and wet signals as well as DRY for all dry and WET for all wet signals The mix value affects only the wet dry balance within the effect it is in dependent of the mix levels for Effect 1 and Effect 2 the L parameter described in section 4 2 4 3g Exciter Parameters The exciter effect is a mild form of distortion that gives a sound more impact General ly this effect is best when used subtly try setting the Mix option for just a small amount of wet signal when you first experiment wi
14. in a built in enclosure that will impede the flow of cooling air This product should not be placed near a source of heat such as a stove radiator or another heat producing amplifier Connect only to a power supply of the type marked on the unit adjacent to the power supply cord Never break off the ground pin on the power supply cord For more information on grounding write for our free booklet Shock Hazard and Grounding Power supply cords should always be handled carefully Never walk or place equipment on power supply cords Periodically check cords for cuts or signs of stress especially at the plug and the point where the cord exits the unit The power supply cord should be unplugged when the unit is to be unused for long periods of time If this product is to be mounted in an equipment rack rear support should be provided Metal parts can be cleaned with a damp rag The vinyl covering used on some units can be cleaned with a damp rag or an ammonia based household cleaner if necessary Care should be taken so that objects do not fall and liquids are not spilled into the unit through the ventilation holes or any other openings This unit should be checked by a qualified service technician if A The power supply cord or plug has been damaged B Anything has fallen or been spilled into the unit C The unit does not operate correctly D The unit has been dropped or the enclosure damaged The user should not to attemp
15. keyboard responds to the dynamics of your playing the note data will include dynamics information too Moving the modulation wheels and pedals attached to many synthesizers will also generate data associated with the wheel or pedal being used The MIDI in jack receives data from another MIDI device In addition to the type of performance data described above rhythmically oriented MIDI devices e g drum machines can often transmit and or receive additional MIDI timing messages that keep other rhythmically oriented units in a system synchronized with each other 7 7 6 SYSTEM COMMON MESSAGES Intended for all units in a system some of these messages are Song Position Pointer This indicates how many MIDI beats normally a 16th note have elapsed since a piece started up to 16 384 total beats It is primarily used to allow different sequencers and drum machines to auto locate to each other so that if you start one sequencer the other device will automatically jump to the same place in the song whereupon both continue on together System Exclusive This message called sys ex for short is considered exclusive because different manufacturers send and receive data over MIDI which is intended only for that manufacturer s equipment Example Sending a Peavey DPM V3 message to an Ensoniq EPS won t do anything but will be understood by other DPM V3s This data often contains information about individual instrument patches some sequ
16. manner Application using positive and negative modulation values By using negative modulation with one oscillator and positive modulation with another it s possible to do cross fading between oscillators Example Set Osc 1 s level to 00 DCA1 s LMod 1 to Mod Wheel and DCA1 s Amount to 99 Set Osc 2 s level to 99 DCA2 s LMod 2 to Mod Wheel and DCA2 s Amount to 99 As you rotate the mod wheel away from you Osc 1 will fade in while Osc 2 fades out You can also use envelopes to crossfade between wavesamples to paste an attack transient from one oscillator to the sustain section of another oscillator thus creating a complex animated sound that evolves over time 3 7 FILTER The filter module contains three pages Page 1 Parameters Cutoff 00 99 Chooses the filter s initial cutoff frequency Progressively lower values remove pro gressively more harmonics giving a duller sound progressively higher values let more harmonics through giving a brighter sound Note Signals with complex harmonic structures are most affected by the filter Examples A sine wave has virtually no harmonics aside from those caused by the signal generation process and you will not hear dramatic changes once the filter cutoff is higher than the note pitch A harmonically rich sample like sax will be af fected greatly by the filter Resonance 00 99 This sets the amount of gain at the filter s cutoff frequency Higher settings
17. modulation of the delayed sound Placing chorus before delay pro duces a more diffused sound as the echoes repeat different parts of the chorused signal Distortion EQ and EQ Distortion With distortion before EQ the EQ shapes the distorted sound Placing EQ prior to distortion changes the character of the distortion by emphasizing or de emphasizing those frequencies to be distorted Reverb EQ and EQ Reverb This is an example of a combination effect where the dif ference between the two options is not particularly noticeable EQing reverb or reverberating EQ makes little practical difference Also remember that you can obtain combination effects by using individual effects for Effect 1 and Effect 2 One very useful combination is assigning both effects to reverb Due to the extensive computing power required to produce reverb effects there is a noticeable periodic variation on long reverb tails Using two reverbs set for different reverb times and equivalent levels can produce a much smoother sound 4 11 Chapter 5 Creating Drum Kits 5 1 DRUM KIT BASICS The DPM V3 contains 10 special multi sample presets called drum kits These presets consist of up to 32 percussive or melodic wavesamples chosen from the DPM V3 s set of waveforms and assigned to specific keys To prevent confusion with other wavesamples used in other programs the 32 wavesamples used in a drum kit are called instruments Each instrument can be assigned to a
18. page 2 Press the Right or Left Arrow until the Protect parameter flashes 3 Select OFF or ON It s worth mentioning again that MIDI and Global parameters are always remembered and are not affected by the Memory Protect status Memory protect affects the programs internal and cartridge only 2 1e Cartridge Memory Management The DPM V3 s internal memory is divided into two banks of 100 programs Bank data can be saved to the cartridge or cartridge data may be loaded into the banks This menu also lets you initialize a cartridge Initializing is required because Peavey anticipates that in the future lower memory prices will allow for cartridges that can hold a greater number of programs the DPM V3 is designed to handle 800 program cartridges should the technology become affordable Therefore dif ferent cartridges will require different initialization routines The current routine in itializes the Peavey 32K Cache Card think of initializing as drawing the parking lot lines into which you park your programs 1 Select the CART Task page 2 Press the Right or Left Arrow until the lower line flashes 3 Use the Up Down buttons to select from the following choices LOAD gt BANK 1 Loads the cartridge data into the first 100 programs 000 099 LOAD gt BANK 2 Loads the cartridge data into the second 100 programs 100 199 SAVE BANK 1 Saves programs 000 099 to a RAM cartridge Data cannot be saved to a ROM cartridge or to
19. paises PEAVEY ONE YEAR LIMITED WARRANTY REMEDY PEAVEY ELECTRONICS CORPORATION PEAVEY warrants this product EXCEPT for covers footswitches patchcords tubes and meters to be free from defects in material and workmanship for a period of one 1 year from date of purchase PROVIDED however that this limited warranty is extended only to the original retail purchaser and is subject to the conditions exclusions and limitations hereinafter set forth PEAVEY 90 DAY LIMITED WARRANTY ON TUBES AND METERS If this product contains tubes or meters Peavey warrants the tubes or meters contained in the product to be free from defects in material and workmanship for a period of ninety 90 days from date of purchase PROVIDED however that this limited warranty is extended only to the original retail purchaser and is also subject to the conditions exclusions and limitations hereinafter set forth CONDITIONS EXCLUSIONS AND LIMITATIONS OF LIMITED WARRANTIES These limited warranties shall be void and of no effect if a The first purchase of the product is for the purpose of resale or b The original retail purchase is not made from an AUTHORIZED PEAVEY DEALER or c The product has been damaged by accident or unreasonable use neglect improper service or maintenance or other causes not arising out of defects in material or workmanship or d The serial number affixed to the product is altered defaced or removed In the event of a defec
20. pipe VOU 3 10 Page 2 Parameters COBISB sre T eel estote qc A sic te t o ed en 3 10 ac RC DAD URN E IET MES CERAM 3 10 Page 3 Parameters A SEU ER Tease etes EY EE RU Sa A 3 10 A s S ee es Ded scc e Dus Dai e t cs 3 10 Page 4 Parameters PMOd2 ot eu X Rise evaded EE E OR RUE Ades 3 10 TP 3 10 3 5 DCA1 Page 1 Parameters I Mod1ozss Stee nter toca m tA o eT ne ed 3 10 3 11 AMOUNT x testa e ek tetas eth d LEA rae leta desi ei fed 3 11 Page 2 Parameters MOG 2 a rrr beter XE Det mte toe bre eei 3 11 A 3 11 3 6 OSC 1 and DCA2 ooo 3 12 3 7 FILTER Page 1 Parameters Cutoff n ha A NN 3 12 RESONANCES P E EEA A E EEN 3 12 Page 2 Parameters EMOGITU et eat sirve orte on A EE e lar tee do 3 12 A tpe RA Rb Nec teres Seb IA tant RUE 3 12 3 13 Page 3 Parameters EMOU2 coe teppier b RP We ERO reg ER 3 13 A i E tee cedet ee RS oe E 3 13 3 8 MODULATION MODULES 3 8a Keyboard Modulation Sources iis sss see 3 13 38b Pedal n n da E Pee ad 3 14 BBC Wheel eese cutis ade ra ae ida ra 3 14 3 8d External MIDI Control Tuis 3 14 3 9 ENVELOPE GENERATORS 3 14 3 18 Page 1 LEVS Parameters E mM ILC 3 18 Page 2 LEVS Parameters E ee Ee Ne i be e e USER 3 18 3 19 Xo CLTC 3 19 Page 3 TIMES Parameters Time Parameters i oc zit TEE reper oe 3 19 Page 4 TIMES Parameters Melmog ss haves tees elle heh o A le es bok e pd 3 19 Keymodc ds ose ut be e CR RUN RUNS MN ui 3 19 3 20 3 10 LFOs LOW FREQ
21. program number 4 Press the Right Arrow again until the right most program number parameter flashes This is the DPM V3 s target program to which the incoming program change will be assigned 5 Select the target program to which the incoming program number will be map ped 6 Repeat steps 2 5 until the program change map is complete 2 2e Initialize Program Change Map To cancel all Program Change Map assignments and start over from scratch i e the Program Change Map will show a one to one correspondance between pro gram changes generated by your master keyboard and the DPM V3 follow steps 1 3 in the previous section but scroll all the way past incoming program 127 The display says MIDI Prog Change Map EXEC to Init Press Exec and the Map will be initialized as confirmed by the display saying Function Complete 2 2f MIDI Bulk Dump Although the DPM V3 s memory is non volatile i e it is battery backed up to pre vent loss of data while the unit is turned off accidents can happen from a battery going bad to operator error Ooops Didn t mean to load the cartridge data into Bank 1 after all As a result it s a good idea to save your data periodically You may also become sufficiently seduced by the DPM V3 s programming options to make up sets of your own sounds These should also be saved Although cartridges are a convenient storage medium they are not cheap Many MIDI sequencers and keyboards can record Syst
22. return address Upon Peavey s receipt of these items If the defect is remedial under these limited warranties and the other terms and conditions expressed herein have been complied with Peavey will provide the necessary warranty service to repair or replace the product and will return it FREIGHT COLLECT to you the purchaser Peavey s liability to the purchaser for damages from any cause whatsoever and regardless of the form of action including negligence is limited to the actual damages up to the greater of 500 00 or an amount equal to the purchase price of the product that caused the damage or that is the subject of or is directly reiated to the cause of action Such purchase price will be that in effect for the specific product when the cause of action arose This limitation of liability will not apply to claims for personal injury or damage to real property or tangible personal property allegedly caused by Peavey s negligence Peavey does not assume liability for personal injury or property damage arising out of or caused by a non Peavey alteration or attachment nor does Peavey assume any responsbility for damage to interconnected non Peavey equipment that may result from the normal functioning and maintenance of the Peavey equipment UNDER NO CIRCUMSTANCES WILL PEAVEY BE LIABLE FOR ANY LOST PROFITS LOST SAVINGS ANY INCIDENTAL DAMAGES OR ANY CONSE QUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE PRODUCT EVEN IF PEAVEY HAS BEEN A
23. that not all instruments implement all aspects of the MIDI specification Example Not all instruments send or receive keyboard pressure data Each of MIDI s 16 available channels can carry a unique set of MIDI data Since all this data travels over one cable each piece of data includes its appropriate channel ID so that MIDI receivers can tune in to a particular channel and accept only that data The DPM V3 s Multi mode allows different sounds to be tuned to different chan nels for this purpose A keyboard transmitting over channel 2 will stamp all its data as belonging to channel 2 This is particularly helpful when sequencing since each recorded track can be assigned to a unique MIDI channel and the associated pieces of gear can tune in to a particular track Example If track 1 set to MIDI channel 1 carries bass and track 2 set to MIDI channel 2 contains drum data you would tune a bass sound generator to receive the data on track 1 and the dfum machine to receive the data on track 2 7 4 MIDI MESSAGE BASICS The are two main types of MIDI messages Channel messages which are channel specific consist of Voice and Mode messages System messages which do not have a channel number and are received by all units in a system include Common Real Time and Exclusive messages 7 5 CHANNEL MESSAGES 7 5a Voice messages A synthesizer s voice is the most basic unit of sound generation Usually each voice plays one note at a
24. the Arrow buttons and data knob to give a six character wave name This is the name that will appear along with the other DPM V3 waves Press Exec when you re done The display now shows the amount of memory that has been used Note With multi samples the name you give is in addition to a wave number assigned by the DPM V3 Multi samples will share the same wave number subse quent multi samples will share a wave number also but this will not necessarily be the next higher number because multi samples reserve consecutive numbers even if they share a common wave 6 5 Confused An example should help Suppose you load three waves into memory the e first has three multi samples the second has five multi samples and the third two gt multi samples With the group of three multi samples each sample is called WAVEO1 but the three samples reserve spaces WAVE01 WAVE03 With the next group of five multi samples each sample is called WAVEO4 since samples WAVE04 WAVE08 are reserved by the five multi samples the next group of wavesamples is called WAVE09 6 3c SDS Audition If you call up the Edit menu after loading a sample the buffer will contain a special program called SDS Audition This provides a default patch that has the just sampled wave loaded into Oscillators 1 and 2 so that you can listen to the patch and decide whether the sampling process was successful 6 3d Scanning the Sample Directory Once the DPM V3 contains sa
25. time although a DPM V3 voice can consist of two oscillators so the number of notes you can play at one time will be limited by the available number of voices MIDI messages that affect voices include Note On Corresponds to a key being pressed down values range from 000 lowest note to 127 highest note Middle C is 60 Note Off Corresponds to a key being released values are the same as note on Velocity Corresponds to dynamics values range from 001 minimum velocity to 127 maximum velocity A velocity of 000 is equivalent to a note off message Pressure Indicates the pressure applied to a keyboard after pressing a key typically used to introduce vibrato open a filter etc There are two kinds of pressure Mono or channel pressure represents the average pressure of all keys held down whereas 73 polyphonic pressure sends out data for each individual key being pressed down The DPM V3 responds to Mono pressure only Values range from 000 to 127 Program Change Sending a program change command from a sequencer or other MIDI keyboard can change synth patches automatically There are 128 program change command numbers Pitch Bend This bends a note from its standard pitch which is excellent for creating lead guitar effects The degree of response to pitch bend sensitivity is ad justable for each DPM V3 program but to prevent confusion you might want to set them all to the same value Continuous Controller Footpedals brea
26. up individually 1 Determine the MIDI channels to which you want to assign DPM V3 pro grams The DPM V3 will play back up to sixteen channels simultaneous ly If needed the same program can be assigned to more than one channel Caution The DPM V3 cannot play more than 16 notes at a time Therefore assigning multiple programs to multiple channels in creases the odds that newly played notes will steal older notes that are still sounding See section 1 5 for more information about how the DPM V3 reacts when asked to play more than 16 voices at a time 2 Press the MIDI master button The display shows the MIDI Channel and Mode 3 Press the Right Arrow button The parameter under MIDI Channel flashes Select 01 for now 4 Press the Right Arrow button again The parameter under Mode will flash Select Multi mode 5 The Multi parameters are on a separate page Press the Right or Left Ar row button until none of the parameters flashes then press the Up Arrow button three times to select the Multi page as confirmed in the display s 1 8 11 12 upper left corner Press the right Arrow until the C channel parameter flashes Select the desired MIDI channel for the first program of the Multi To adjust the program volume press the Right Arrow again so that the Vol parameter flashes Higher values give higher volumes To assign the program output press the Right Arrow again so that the P parameter flashes Se
27. 5 2 A guint shy E deri etel Ut e Ed UR shes Meek rca 5 2 bc RM 5 2 EA RIEN PEU MEER Mo Mono Na 5 3 vi Page 3 Parameters Instrument NUM 5 3 Pi lA Ad e Ta tae d Weaken 5 3 DU re 5 3 A O NN NNE 5 3 Chapter 6 Advanced Applications 6 1 MAKING THE MOST OF THE SIX OUTPUTS 6 1 6 2 6 2 MIDI OVERFLOW MODE aa 6 2 6 3 LOADING NEW SAMPLES INTO THE DPM V3 6 3 6 3a Sample Organization Within the DPM V3 0 0c ccc c eevee 6 3 6 4 6 3b Loading Requesting Samples ooooooocococcccccccco roo 6 4 6 6 6 3c SDS Audition a cl a 6 6 6 3d Scanning the Sample Directory S P M ad ree ary Siecle TET DNE 6 6 6 3e Deleting Samples but eroe di da Do LEA eripe e Da c 6 6 6 31 Transmitting Samples oooooooococoocononoroccco ee 6 6 6 4 ALTERNATE TUNING TABLES 0 0 0 8 6 6 6 7 6 4a Selecting a Preset Tuning Table sss see 6 8 6 4b Creating Your Own Tuning Tables User Scale Note Tuning Offset 6 8 6 4c Alternate Even Tempered Tunings 0 0 0 ce cece esses 6 8 6 9 6 5 SUPER STEREO EFFECTS ss sees 6 9 6 6 BLANK TEMPLATE PATCHES 0 6 9 6 10 6 7 PROGRAMMING EDITING IDEAS Pressure controlled pith ii 6 10 Envelope controlled pitch effects 0 0 cece cee cece ene o 6 10 Using velocity with amplitude and filtering ooo ooo o
28. 5 Stevenson St San Francisco CA 94103 Finally the October 1987 issue of Electronic Musician magazine was a special issue featuring numerous articles on alternate tuning theory and techniques 6 7 6 4a Selecting a Preset Tuning Table gt 1 Press the GLOBL master button 2 Select the GLOBAL Scale Type page 3 Select the desired scale type EQUAL even tempered JUSTMaj major scale just ma intonation JUSTMin minor scale just intonation MEANC mean tone tuning key l of C USER1 and USER2 the latter are user programmed scale see below To hear the difference between just and even tempered scales play an interval of a E third or sixth with the EQUAL scale type Now play the same interval using JUSTMaj FS It will probably sound out of tune at first but listen for a while then switch back to E EQUAL this scale will now sound out of tune because in actuality the third and sixth are slightly sharp compared to what they should be in theory 6 4b Creating Your Own Tuning Tables You can also create two custom tuning tables for particular ethnic scales such as In dian ragas 1 Press the GLOBL master button 2 Select the USER Tuning page There are three parameters on this page 1 or 2 Selects user scale 1 or 2 Note C to B This selects the note of the octave to be tuned The tuning specified in this octave is repeated in other octaves Tuning Offset 99 to 99 cents The selected note can be detu
29. D uA M ICM Ts 4 7 Page 3 Parameters MIX io e regna ves ire dt satt DIE S 4 7 4 8 43d EQ Parameters 0 o ee eb et edt Poe d ete 4 8 Page 1 Parameters PROG duoc ape alain Re dte Ma a es e a ets 4 8 GAIN cs doe toten dore TEE eel ea Batis uir rae le 4 9 Page 2 Parameters FICO err eet C ED SU Vica te ao s 4 9 CM oda he J 4 9 Page 3 Parameters Mita td e afe t MR es 4 9 4 3e Gated Reverb Parameters lesse 4 9 Page 1 Parameters A eta Caedm Mrd ai tp pete HD GEM oH s 4 9 DS S eet a iisdem cae rT oe ae Ep SERRE 4 9 Page 2 Parameters MIX acto erae Loa E eoe o de a dad Os 4 9 4 3f Distortion Parameters ee 4 9 Page 1 Parameters AMOUNT 2s rem RU T ep OAR C S tee hate 4 10 MINA Sor sea arrange x E AR EE PR ehe peut mo eniti ns 4 10 4 3g Exciter A i Se LO bg bn 4 10 Page 1 Parameters ow FOO dest isa daba p rette pd ENT E PUE endi e 4 10 A IN 4 10 Mi A a DEM 4 10 A educbunet ere D URS BEAT tie QUSE TRES 4 10 4 4 COMBINATION EFFECTS PARAMETERS 4 10 4 11 Distortion Reverb and Reverb Distortion Delay Chorus and Chorus Delay Distortion EQ and EQ Distortion Reverb EQ and EQ Reverb Chapter 5 Creating Drum Kits 5 1 DRUM KIT BASICS 0 00 5 1 5 2 ACCESSING AND MODIFYING THE DRUM KIT PARAMETERS 5 1 Page 1 Parameters KIT NUDO s stir Uu II 5 2 Inscrit bt act ch M acuta Pose 5 2 A Areas aan ud teste enact a tte ice ei be at gets 5 2 A d AT 5 2 Page 2 Parameters Instrument N Mber tecnic
30. DVISED OF THE POSSIBILITY OF SUCH DAMAGES THESE LIMITED WARRANTIES ARE IN LIEU OF ANY AND ALL WARRANTIES EXPRESSED OR IMPLIED INCLUDING BUT NOT LIMITED TO THE IM PLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR USE PROVIDED HOWEVER THAT IF THE OTHER TERMS AND CONDI TIONS NECESSARY TO THE EXISTENCE OF THE EXPRESSED LIMITED WARRANTIES AS HEREINABOVE STATED HAVE BEEN COMPLIED WITH IM PLIED WARRANTIES ARE NOT DISCLAIMED DURING THE APPLICABLE ONE YEAR OR NINETY DAY PERIOD FROM DATE OF PURCHASE OF THIS PRODUCT SOME STATES DO NOT ALLOW LIMITATION ON HOW LONG AN IMPLIED WARRANTY LASTS OR THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE LIMITATIONS OR EXCLUSIONS MAY NOT APPLY TO YOU THESE LIMITED WARRANTIES GIVE YOU SPECIFIC LEGAL RIGHTS AND YOU MAY ALSO HAVE OTHER RIGHTS WHICH MAY VARY FROM STATE TO STATE THESE LIMITED WARRANTIES ARE THE ONLY EXPRESSED WARRANTIES ON THIS PRODUCT AND NO OTHER STATEMENT REPRESENTATION WAR RANTY OR AGREEMENT BY ANY PERSON SHALL BE VALID OR BINDING UPON PEAVEY In the event of any modification or disclaimer of expressed or implied warranties or any limitation of remedies contained herein conflicts with applicable law then such modification disclaimer or limitation as the case may be shall be deemed to be modified to the extent necessary to comply with such law Your remedies for breach of these warranties are limited to those remedies provided herein and Peav
31. EXPOSED TO SUFFICIENTLY INTENSE NOISE FOR A SUFFICIENT TIME THE U S GOVERNMENT S OCCUPATIONAL SAFETY AND HEALTH ADMINISTRATION OSHA HAS SPECIFIED THE FOLLOWING PERMISSIBLE NOISE LEVEL EXPOSURES SOUND LEVEL dBA SLOW RESPONSE DURATION PER DAY IN HOURS or less ACCORDING TO OSHA ANY EXPOSURE IN EXCESS OF THE ABOVE PERMISSIBLE LIMITS COULD RESULT IN SOME HEARING LOSS EAR PLUGS OR PROTECTORS IN THE EAR CANALS OR OVER THE EARS MUST BE WORN WHEN OPERATING THIS AMPLIFICATION SYSTEM IN ORDER TO PREVENT A PERMANENT HEARING LOSS IF EXPOSURE IS IN EXCESS OF THE LIMITS AS SET FORTH ABOVE TO INSURE AGAINST POTENTIALLY DANGEROUS EXPOSURE TO HIGH SOUND PRESSURE LEVELS IT IS RECOMMENDED THAT ALL PERSONS E this product 2 All satety and operating instructions should be retained for future reference 3 Obey all cautionsin the operating instructions and on the back of the unit 4 All operating instructions should be followed S This product should not be used near water ie a bathtub sink swimming pool wet basement etc 6 This product should be located so that its position does not interfere with its proper veni It should not be placed fiat against a wall or placed in a built in enclosure that will impede the flow of cooling alr 7 This product should not be placed near a source of heat such as a Stove radiator or another heat producing amplifier ylo a power supply OFF Unit adjacent to the power Supply Never break o
32. HEEL Modulation wheel Controller 1 After selecting the desired parameter press the Right Arrow button until the Stat Status parameter flashes Select IGNOR corresponding data will be ignored or RECEV corresponding data will be received worm A al Note Each parameter must be individually set to IGNOR or RECEV Also some master keyboards assign the footpedal to controller 7 reasoning that it will be used as a volume pedal If you have problems ignoring pedal information this might be the cause 2 2d MIDI Program Change Map You may not want a one to one correspondance between program changes generated by your master keyboard or sequencer and the DPM V3 Exam ple You might want program change 1 on your keyboard to select program 37 on the DPM V3 Furthermore the MIDI specification provides for 127 programs yet the DPM V3 contains 200 programs The program change map lets you map incoming MIDI program changes to any of DPM V3 programs 000 199 but not cartridge pro grams To create a MIDI program change map 1 Select the MIDI Prog Change Map page 24 2 When OFF there is a one to one correspondance between program changes and the DPM V3 programs To create a program change map press the Right or Left Arrow until the OFF parameter flashes 3 Select the incoming MIDI program number with the Data knob or Up Arrow but ton The left most program number parameter will flash this is the incoming MIDI
33. Omni Off Mono Mode 4 Voice messages are received over several channels but each channel plays monophonically In other words you could play one voice on channel 1 one voice on channel 2 etc The DPM V3 implements an improved version of Mono mode called dynamic allocation which lets the synth receive polyphonic data over each channel 7 5c Other messages Local Control On Off This is used with keyboards that also include built in sound generators With Local Control on playing the keyboard triggers the internal voices and sends data out the MIDI out jack With Local Control off the controller data does not trigger the internal voices but does send data out MIDI out The Instruments win dow allows you to send Local Control offfon messages directly from Beyond The main use for Local Off is to play an expander module from a master keyboard but not trig ger the internal sounds All Notes Off This command if recognized by the receiver will turn off any stuck notes These usually occur when a device receives a note on message but for whatever reason e g someone tripping over a patch cord doesn t receive the cor responding note off command 7 5
34. Rather than re adjust each modulation input setting simply reduce this amount Page 2 AMT Parameters AMod1 Off Velocity Keyboard Pressure Envelopes 1 4 LFO 1 LFO 2 Mod Wheel Foot Pedal External MID Control Chooses the LFO amount modulation source For details on modulation sources see sections 3 1d and 3 8 TE Amount 99 to 99 i e Seis the modulation degree and polarity positive or negative from the previously selected source This modulates the baseline amount set by the LFO s amount parameter on the first page Page 3 AMT Parameters AMod2 Amount These parameters perform the same functions as AMod1 and its associated Amount control Thus the LFO amount can be modified by two different modulation sources Applications Use pressure to increase the amount of LFO modulation as you press harder on a key once it is down This is very useful for adding expressive vibrato ef fects Use the footpedal to provide foot controlled LFO modulation Page 4 RATE Parameters RMod Off Pressure Mod Wheel Envelopes 1 4 Foot Pedal External MIDI Control Chooses the LFO rate modulation source For details on modulation sources see sec tions 3 1d and 3 8 Amount 99 to 99 Sets the modulation degree and polarity positive or negative from the previously selected source This modulates the baseline rate set by the LFO s rate parameter on the first page Applications Use an envelope to change the rate ov
35. TPUTS The six outputs are very flexible Some of the options are e Three individual stereo outputs In a Multi setup assign each of three sounds to its own set of outputs Six individual mono outputs In a Multi setup with six sounds pan sound 1 full right and sound 2 full left then assign these to output pair 1 2 Pan sound 3 full right and sound 4 full left then assign these to output pair 3 4 Pan sound 5 full right and sound 6 full left then assign these to output pair 5 6 Each sound will now appear over its own output jack Combinations of stereo and mono outputs Combine the two approaches above to create both stereo and some mono outputs The Sub output jack pairs are wired so that you can hook up external signal pro cessors to signals assigned to output pair 3 4 sub 1 and 54 6 Sub 2 Each output pair goes through its own signal processor before being routed back to the DPM V3 their outputs then show up over the Main outputs 1 2 The secret to all this is that the sub outputs are wired in a tip ring sleeve configuration The tip provides the signal output the ring provides a signal return that feeds the main mixer which terminates in outputs 1 2 The following diagram shows how signals would be routed so that Sub 2 is processed through an external stereo signal pro cessor MID out thru in sub subi main stereo plugs connects connects to stereo 1o stereo plug ring plug ring
36. UENCY OSCILLATORS 3 20 Page 1 Parameters Hat RM PER 3 20 Shape iussa tener u Neal faa Poke UERUETP RU ee NES edo 3 20 3 21 A Fee a EPA D dete rte se RR 3 21 3 22 Page 2 AMT Parameters AMOO sit RI von HORN BERE t teda este toto o des 3 22 AM E xr ceo o se t o ERSE SA E e eA LR UE 3 22 Page 3 AMT Parameters AMO Prose enu e T a ev ENS qued bove 3 22 AM Aa 3 22 Page 4 RATE Parameters MOGs rice be Todes as Mis MA Io AAN goa aprire 3 22 li AMOUR a de eder ipn Rer eei MARE 3 22 Page 5 Parameters Delay oet EAR dad 3 23 RAM DS O durch a eher tede aee md oL Me E 3 23 3 11 OUTPUT Volume Pan Bend o 3 23 3 12 PAN Page 1 AMT Parameters PMod Lk oso e Reed Rn hes e E e Edd 3 24 Amor de AAA wr UM r a iU ME PE Mt m tpe refe 3 24 Page 2 AMT Parameters PMod2 ica A i oM testet 3 24 AMOUR s rident aen ida De 3 24 3 13 OUTPUT MODE AR oa ina 3 24 3 14 ABOUT COMBI PROGRAMS 00000 3 24 3 25 Page 1 Parameters f Programie arana E dade c Ee Eds 3 25 A tpm Oe bsec to Toon b Dass ret 3 25 Page 2 Parameters EA A ed Hebe ae eke ee ROR ead eae Rebates 3 25 bink PrOQFam a e 3 26 LINK VOTING cia s nce Cr eher li e ttn C tee 3 26 Page 3 COMBI Link Parameters loe s res tr be ederet Gh olo da desta cquo 3 26 alc NP rx 3 26 Page 4 COMBI Link Parameters ON a breite EE deed ede a spes ter noL 3 26 A UR DENEN UR e eR E oes ris 3 26 Page 5 COMBI
37. a DCA because this allows for among other effects crossfades between the two oscillators Example One DCA could fade out a flute sound while the other DCA fades in a synth waveform for a synth flute sound Since each wavesample has a level control you ll more likely use the DCAs for dynamic effects than simply setting them to a static volume level One common modulation option is to increase the level via keyboard pressure Modulating with an LFO varies the amplitude cyclically creating tremolo effects Modulating with an envelope can produce attack and decay effects The Amp Env DCA that follows the filter has no controls other than those for Envelope 4 It is always controlled by this envelope 3 1g The Filter A lowpass filter varies a signal s harmonic content by providing progressively greater degrees of attenuation above a specified cutoff frequency Higher cutoff frequencies give a brighter sound lower cutoff frequencies give a bassier sound since fewer har monics are present Another filter parameter is resonance This increases the amount of gain at the cutoff frequency which produces a sharper more resonant sound at high resonance set tings The following figure correlates the cutoff frequency and resonance parameters 3 5 higher resonance values increase 7 fiter gain at the a respon curvo cutoff frequency E Filter Amplitude H lower e higher E the cutoff parameter changes the od frequency at wh
38. a RAM cartridge if Memory Protect is on 2 2 SAVE BANK 2 Saves programs 100 199 to a RAM cartridge Data cannot be saved to a ROM cartridge or to a RAM cartridge if Memory Protect is on INIT CART Initializes a cartridge to accept program data ROM cartridges cannot be formatted 4 After selecting the desired option press the Exec master button The EXEC in the display s upper right corner is there to remind you that you must press Exec to finalize the selection process Note Cartridges for the DPM 3 are compatible with the DPM V3 and DPM 3 pro grams can be loaded into the DPM V3 The other Global options involve microtunings and drum kit setup and selection These are described in detail in section 6 4 and Chapter 5 respectively 2 2 MIDI MENU TWEAKS All of the following are accessible under the MIDI menu Any edits made in the Global or MIDI menu are remembered the next time you turn on the DPM V3 any changes made to these menus will be retained even if Memory Protect described earlier is on The general protocol is 1 Press the MIDI master button This is not necessary if you are already in the MIDI menu 2 Select the desired page 3 Use the Right Left buttons to choose the parameter to be modified 4 Select the parameter value 2 2a Set Middle C 36 to 84 You can offset Middle C to any note within the MIDI note range of 36 to 84 60 is the default for middle C Think of this as a global transposit
39. a dif ferent page E Notes Once you have Sdeied a particular menu Edit Globl MIDI you can change pages within the menu without having to re press the menu s master button To bail out of the programming process at any time press the Right or Left Arrow until none of the parameters flash then select a new page Or hit one of the six Master buttons at any time to choose a different menu Two line Liquid Crystal Display LCD This shows what s going on inside the DPM V3 When playing the display shows the current program and the number of voices in use at any given moment e Continuously variable Data knob This duplicates the function of the Up Down buttons but sometimes changing values is easier or faster to do by turning a knob If you hold down a cursor button while turning the knob the knob will control the cursor position Definition When we talk about selecting a parameter during the editing pro cess it means that you can use either the Up Down Arrow or Data knob to select a particular value Other front panel controls and features are e Volume control This sets the master volume for the entire unit Individual pro grams can also have their own individually programmed volumes controlled proportionately by this master control Memory cartridge slot Peavey and other manufacturers offer alternate pro grams for the DPM V3 in cartridge form Blank cartridges such as the Peavey Cache Card part 40071023 are avai
40. and have perfect intonation To modulate copy the program to another pro gram and transpose it to the key to which you want to modulate When you want to modulate select the copied program but continue playing as if you were playing in the key of C This will allow for alternate tunings and modulation You could use a se quencer to send out program changes that select different programs and accomplish automatic modulation as you continue to play in the fingerings used in the key of C Alternate tuning is considered one of the final frontiers of contemporary music making Some people feel that purer forms of tuning such as just intonation are more beneficial to the mind and body than even tempered intervals which are inherently out of tune and therefore grate albeit subconsciously on the ear brain combination Is this just hype Or did we really lose an important element of music by adopting the even tempered scale Experiment and draw your own conclusions The DPM V3 includes three standard alternate tunings as well as two user settable scales For more information on alternate tunings check out the following books Lou Harrison s Music Primer Harrison Lou C F Peters Corp 1971 On the Sensations of Tone Helmholtz Herman Dover 1954 Genesis of a Music Partch Harry Da Capo Press 1974 There is also a newsletter 1 1 published by the Just Intonation Network For more in formation or a free sample issue write to JIN 53
41. and layer programs The first link is the original program chosen for the Combi program the other three links can be any other programs within the DPM V3 which are specified as you program the Combi In a split program certain sounds will cover only a certain range of the keyboard A Combi allows up to four splits Example Acoustic bass in the lower two octaves and trumpet in the upper octaves lets you play trumpet melodies with your right hand against left hand bass parts In a layered program pressing down on a key will play two or more sounds simultaneously A common example is layering strings and piano on one key A Com bi allows up to four programs to be layered The DPM V3 also allows combinations of splits and layers The following figure shows a typical Combi map Bass from C1 G2 Piano from A2 B4 Brass from A2 C6 3 24 and Strings from C5 to C6 Strings are layered with the upper octave of brass if you play in the range of C5 C6 you ll play both strings and brass If you play from A2 B4 you ll play both piano and brass PEPA E UO R AAA AAA GA RT REY COD AO E f Ci Bass Brass lowvel 64 hivel 127 A2 B4 Piano C5 C6 A Strings Furthermore each link that makes up the split or layer can respond to a specific velocity range One application would be to layer standard bass and slap bass sounds together and have low velocity notes trigger the standard bass and high velocity notes trigger the slap
42. and rotating the pitch bend wheel all the way toward you will decrease the pitch by a whole tone Bend options are OFF HALF step WHOLE step M3RD minor third THIRD major third 4TH DM5TH diminished or flatted fifth and FIFTH 3 12 PAN In addition to the static pan setting available on the output page the following two pages allow for pan position modulation 3 23 Page 1 AMT Parameters PMod1 Off Velocity Keyboard Pressure Envelopes 1 4 LFO 1 LFO 2 Mod Wheel Foot Pedal External MIDI Control Chooses the pan modulation source For details on modulation sources see sections 3 1d and 3 8 Amount 99 to 99 Sets the modulation degree and polarity positive or negative from the previously selected source This modulates the baseline pan setting in the Output page Page 2 AMT Parameters PMod2 Amount These parameters perform the same functions as PMod1 and its associated Amount control Thus the pan position can be modified by two different modulation sources 3 13 OUTPUT MODE The default setting is 20UTPUT which indicates that the program will feed the two Main outputs If GOUTPUT is selected an additional parameter appears toward the right of the page that determines the output pair to which the program audio will be routed Select either outputs 1 2 Main 3 4 Sub 1 or 5 6 Sub 2 3 14 ABOUT COMBI PROGRAMS A Combi program lets you link up to four different programs to create split
43. around the menus About Up Down buttons The Up Down buttons serve two major functions When no parameters are flashing the Up Down buttons select different pages within a menu for example the Global menu has eight separate pages each of which affects a particular aspect of the DPM V3 s overall operation When a parameter is flashing on a given page the Up Down buttons set the parameter s value Holding down an Up Down button will scroll through values or pages at a par ticular rate To increase the rate after pressing the button for the direction you 1 6 want to scroll up or down while holding down this button press and hold the other button This fast scrolling option is very handy when a parameter is set at say 99 and you want to move up to 99 About Left Right buttons The Left Right buttons select the parameter to be ad justed for a given page Once you go past the left most or right most parameter no parameters will flash meaning you can select a different page However pressing the Right or Left button again will start going through the parameters again from left to right or right to left respectively Short cut To instantly set a page to the non flashing status so you can select another page press the appropriate Master button e g if you ve modified a parameter in the Global menu and want to select another page press the GLOBL button The modified parameter will stop flashing and you can then select
44. assignable to different MIDI controllers and some syn thesizers use either a lever or joystick to provide modulation wheel signals 3 8d External MIDI Control mE Although many continuous controllers follow a specification that matches particular controllers with particular controller numbers see Chapter 7 the MIDI supplement there are often wildcard controllers or controllers other than standard ones such as pedal or mod wheel Example If you use a breath controller number 2 and want it to control particular parameters you could set the external control to 2 in the MIDI menu then assign the desired parameters to controller 2 3 9 ENVELOPE GENERATORS Envelope generators are such an important part of shaping a particular sound that we will first describe how envelope generators work and different types of envelope structures An envelope generator provides a modulation signal that varies over time Applying it to different modulation destinations produces different results Example Sending the envelope to a DCA creates changes in level If the amplitude decays over time per cussive effects plucked strings drums etc will result brass woodwind and some bowed instruments have amplitudes that increase over time A note on message trig gers each envelope The DPM V3 s envelope generators ENV1 ENV2 ENV3 and ENV4 have four pages of parameters and are virtually identical so we only need to cover how one envelope gener
45. ating programs from scratch you can always use an initialized preset However you can save time by reserving some programs as template patches with 6 9 send 300 available programs you have the space These can be generic wind plucked percussion and string patches which can serve as a point of departure for related EX programs Example The generic wind patch can provide a good foundation for creating sax clarinet trumpet oboe and similar sounds la 6 7 PROGRAMMING EDITING IDEAS E Here are some techniques you might want to try to spice up your patches Pressure controlled pitch This is just the thing for guitar patches when you want to press on the keys and get pitch bending Also use this with acoustic bass patches to give more of a fretless feel Envelope controlled pitch effects Adding a slight amount of upward pitch bend to wind instrument and vocal patches can increase the realism of the sound Using velocity with amplitude and filtering It is often not sufficient to use just velocity to vary the dynamics of a signal Although this varies the level with real world instruments timbre usually changes in response to dynamics as well Having higher velocity values raise the filter cutoff slightly can create a much more realistic effect Other pressure tricks Pressure is excellent for crossfading between two different sounds such as a straight guitar sound and a feedback guitar sound an octa
46. ator works All envelopes have five Level and four Time parameters The only dif ference between these modules is that one of ENV4 s levels is not variable as explain ed below The Time parameter determines the transition time from one Level to another Levels and Times range from 0 minimum level or time to 99 maximum level or time 3 14 Ti T2 T8 T4 Tsus lasts as long as the key is held down sustain level v A key key down up Basic envelope parameters In the example above LO is set to 0 T1 determines how long it takes for the level to change from LO s setting to L1 s setting T2 determines how long it takes for the level to change from L1 s setting to L2 s setting T3 determines how long it takes for the level to change from L2 s setting to L3 s setting L3 sets the sustain level This level remains as long as a key is held down Releasing the key kicks T4 into action This sets the time it takes for the sound to change from L3 s setting to L4 s setting Since Env 4 determines the overall dynamics by controlling AMPENV L4 is fixed at 0 so that a note will always decay eventually to 0 or no sound Otherwise it would be possible to have notes that never shut off Set ting different levels and times can produce a variety of envelope shapes as described below Ti T2 T3 T4 0 Percussive envelope 3 15 This percussive envelope decays for as long as you hold a key down The envelope s
47. citer adds a controlled form of distortion to enhance the presence of a signal plus a programmable equalizer Dual Effects these include two of the above single effects Reverb EQ Distortion Delay Reverb Distortion Delay Chorus Distortion Reverb Chorus Delay Reverb Chorus Chorus EQ Chorus Reverb Chorus Gate Delay EQ Gate Chorus Delay Distortion Chorus Distortion 4 1 Distortion Chorus Exciter Chorus Chorus Exciter Reverb Exciter 5 EQ Gate Exciter Reverb EQ Distortion Delay Exciter Distortion EQ Exciter Delay Reverb Delay Distortion Exciter Delay Reverb Exciter Distortion EQ Reverb Gate Exciter EQ Chorus Exciter Gate Note Chorus effects can also provide flanging a swooping jet airplane like sound with the proper parameter settings described later Also remember that the previously discussed modules offer many signal processing options delay for one or more links in a Combi patch tremolo by modulating a DCA with an LFO etc Important Some combinations of effects mostly those involving reverb are not available because of the huge amounts of computer processing they would require Example Both Effect 1 could be assigned to Reverb EQ and Effect 2 to Delay Chorus but Effect 2 could not be set to Reverb Chorus 4 1b The Differences Between Effect 1 and Effect 2 If Effect 1 includes a pair of effects such as Reverb Chorus these can be configured in three different ways Series parallel and dua
48. cuss only one LFO s set of parameters Page 1 Parameters Rate 00 99 Varies the LFO speed from slow 0 to fast 99 Shape There are five LFO waveforms 3 20 Triangle Ramp Square Random Tri triangle This produces rises and falls of equal time Triangle LFO waveforms are commonly used for vibrato and tremolo Saw sawtooth This produces a rising waveform that after reaching its maximum level snaps back to zero and starts over again Ramp This is the opposite of Saw in that a falling waveform after reaching its minimum level snaps back to maximum and starts over again Sar square This waveform alternates between minimum and maximum values It is useful for creating trills and European style police sirens if you re into sound effects Rndm random Each LFO cycle produces a randomly generated level This is good for sound effects and for adding slight randomized pitch variations to instruments such as trumpet which seldom maintain a totally consistent pitch during playing Amount 00 99 This sets the maximum signal level generated by the LFO from minimum 0 to max 3 21 imum 99 Since each modulation input can also vary the level received from a modulation source such as the LFO this parameter may seem redundant However it can act as a global control Example Assume you ve set up LFO routings to several modulation inputs and decide you d like to lower the overall LFO depth
49. dulation source The LFO has two independent inputs that control modulation Amplitude depth but also has a third input that controls modulation Rate There are also some normalled connections where a particular modulation input per manently connects to a particular modulation source The AMPENV module is normall ed to Envelope 4 only the Envelope Generator Time and Level parameters are normalled to the Velocity and Note Position modulation sources Each non normalled modulation input includes two parameters modulation source including off if no modulation is desired which lets you choose from the various modulation sources mentioned above and modulation amount The modulation amount can be positive or negative With positive amounts an increas ing control signal increases the value of the parameter being controlled With negative amounts an increasing control signal decreases the value of the parameter being con trolled A setting of 00 is equivalent to turning off the modulation source conversely turning off a modulation source is equivalent to setting the amount to 00 Note that having two modulation inputs available allows for interaction between two modulation signals Example If a parameter responds to keyboard velocity and an envelope generator the parameter will follow the general envelope shape but be in fluenced by the velocity as well If a baseline setting exists modulation amounts add or subtract value
50. e key brings in a slight release time Typical L values 0 4 10 80 99 49 00 Typical T values 1 4 03 03 35 03 T1 T2 T3 T4 0 lt gt lt 4 _ gt key z down up Backwards tape envelope This is a backwards tape effect envelope As long as you hold down a key the note will increase in level until it reaches L2 Since T3 0 and L3 0 immediately after reaching L2 the envelope will go down to 0 and stay there Setting T4 and L4 0 en sures that there won t be a release time if you release your fingers from the keys before the envelope reaches L2 Typical L values 0 4 00 33 99 00 00 Typical T values 1 4 15 20 00 00 Ti T2 T3 T4 This envelope is useful for bowed effects such as cello where you may want an at tack time yet also want to retain the initial scrape of the bow against the strings 3 17 Setting LO at a value other than 0 lets the envelope start at whatever level you want i the rest of the envelope decays slowly back to 0 for as long as you hold the keys down Typical L values 0 4 56 99 00 00 00 Typical T values 1 4 20 36 00 03 Echo envelope This final example shows an unusual echo envelope The envelope decays from full down to 0 but then does another decay from full down to 0 Increasing T2 would creating more of a tremolo effect Typical L values 0 4 99 00 99 00 00 Typical T values 1 4 02 00 15 00 Page 1 LEVS Parameters
51. e Bringing in subociaves This is the ticket for monster bass sounds Assign OSC1 to your primary bass sound and OSC2 to the octave lower bass sound you ll probably need to transpose OSC2 down an octave Set DCA2 to 0 level modulator to Mod Wheel and amount to 99 Rotating the mod wheel away from you will bring in the suboctave but not affect the primary bass sound e Tone control Use the mod wheel to modulate filter cutoff Ganged parameters Remember that you can modulate lots of different things at once increase filter cutoff vibrato rate tremolo amount or whatever turns you on by moving the mod wheel Note that any of the above applications will also work with footpedal modulation Programming a synthesizer can be lots of fun Go for it You ll learn a lot about sound in the process and your programs will reflect your own unique sonic signature 6 11 Chapter 7 MIDI Supplement This chapter is adapted with permission from Power Sequencing with Master Tracks Pro Pro 4 and The Complete Guide to the Alesis HR 16 and MMT 8 copyright 1990 and 1989 respectively by AMSCO Publications 7 1 MIDI BASICS Most current electronic instruments including the DPM V3 contain an internal com puter Computers and music have been working together for decades which is not surprising considering music s mathematical basis consider frequencies harmonics vibrato rates tunings etc In the mid 70s microcompute
52. e drum kit star ting from the top of the keyboard and work your way down so all keys are set to C 1 If you want to build a drum kit starting from the bottom of the keyboard and work your way up you might want to set all keys initially to G9 Page 2 Parameters 14 01 32 This lets you choose a particular instrument for parameter adjustment so you don t have to keep jumping back to Page 1 to select an instrument Tune 36 to 36 semitones Adjusts the instrument s frequency in semitone steps from 36 transposed down three octaves to 36 transposed up three octaves Decay 00 99 Sets the instrument s decay time by altering the ENV4 decay parameter T4 5 2 Level 00 99 Determines the instrument s level Higher values give higher levels Page 3 Parameters 144 01 32 This lets you choose a particular instrument for parameter adjustment so you don t have to keep jumping back to Page 1 to select an instrument Pan 99 to 99 An instrument can be placed anywhere in a stereo two channel field 99 pans full left moving toward 00 moves the program toward center Moving toward 99 pans the program toward full right Output 1 2 3 4 5 6 OS Sends the instrument to one of the three available output pairs if GOUTPUT mode is selected for this preset Application This is handy if you want to process for example the kick and snare using external signal processors Arrange all the other drums as desired in the
53. e saved to the current program or a dif ferent one Selecting a different program without saving the program you modified will cancel any edits you made 2 3a Save a Modified Program 1 After modifying the program make sure that no parameters are flashing 2 Press the Up Arrow key or do a couple turns of the data knob until you reach the very last Save to page of the Edit menu 3 If you want to save to the program you just modified press the Exec button Note the EXEC in the display s upper right corner indicating that you must press Exec to finalize the saving process 4 To save to a different program number press the Right Arrow key The program number will flash Select the program number where you want to store the modified sound Press the Exec button S Note If the display says MEMORY Protected memory protection must be turned off before you can save Refer to section 2 1d for more information on the memory protect function Oo 2 3b Change Program Name Renaming is handy to identify modified programs or ones you ve created from scratch Press the Prog master button and select the desired program Press the Edit master button Press the Right Arrow button The first character will flash Select the new character Press the Right Arrow button to select the next character to be changed Select the new character Repeat steps 5 and 6 until the name is complete Save the program if your othe
54. each page is followed by the page that occurs if you press the Up Ar row button In addition to describing parameters any necessary background information on a function will also be presented 3 2a About the Compare Function When you edit a DPM V3 program you are actually editing a copy of the program This has two important ramifications To retain the results of your edit you must save it to a particular program location If you switch program locations before saving your edits will be lost Because the original program remains undisturbed you can compare the edited version to the original program by pressing the COMP compare master switch The display will indicate an edited program by showing E in the lower left hand cor ner If you select the original program via the compare function you ll see C for compared version in the lower left hand corner 3 3 PROGRAM NAME This is the first page of the Edit menu To change the name use the Left Right Arrow buttons to choose the character to be changed then select the desired character For more information see section 2 3b 3 4 OSC 1 Oscillator 1 has four pages of parameters Page 1 Parameters Wave Selects one of the available waveforms listed below 3 8 Traditional analog synthesizer waveforms Sine no harmonics very pure tone Triangle weak even harmonics clarinet like Sawtooth odd and even harmonics brass like Square strong odd harmonics hollow s
55. eed to bring outboard signal processors with you to the gig Alternate tuning tables and much more which you ll find out about as you read this manual Before doing anything else send in your warranty registration This will allow Peavey to advise you of any future updates that enhance the unit s operation 1 1 ABOUT THIS MANUAL This manual is divided into seven main chapters Introduction This section shows you how to make some great sounds right out of the box Modifying existing setups and sounds After you become familiar with the DPM V3 you may want to change some of the most used parameters such as pitch wheel bend range or various MIDI parameters This section covers the most 1 1 important programming options The first two chapters will be the only information some musicians will need Programming the DPM V3 For those who want to create their own sounds this presents the basics of sound programming as well as a reference section of all the available programming parameters Programming the signal processors This includes details on programming the on board signal processors so that you can optimize your sounds Programming drum kits The DPM V3 offers a full complement of drum sounds and can serve as a drum expander module for sequencers Advanced applications This offers information on making the best use of the multi ple outputs loading samples into the DPM V3 advanced programming techniques a
56. em Exclusive data for storage playing this data back into the DPM V3 will restore the programs you saved To save data via MIDI 1 Connect a MIDI cable from the DPM V3 s MIDI out to the MIDI system exclusive storage device s MIDI in 2 Set up your MIDI system exclusive storage device to record system exclusive data Refer to the product s manual for how to do this Select the DPM V3 s MIDI Bulk Dump page 4 Press the Right or Left Arrow button until the bottom line flashes 5 Select the type of data to be saved wm 2 5 PGM 0 m99 Saves the first 100 programs File size 47 6K PGM 100 m 199 Saves the second 100 programs File size 47 6K ALL PROGS Saves all 200 programs File size 95 3K DRUM KITS Saves all drum kit data File size 5 1K GLOBAL DATA Saves all global and MIDI parameters File size 0 8K ALL DATA Saves everything programs drum kits and global MIDI parameters File size 101 2K 6 After selecting the data type to be saved press Exec Note the EXEC in the display s upper right corner indicating that you must press Exec to finalize the selection process 7 The receiving unit should somehow show that it is receiving MIDI data Dumping all data takes a little over 30 seconds so don t get impatient If you cannot save All Data via MIDI it s possible that the system exclusive receiver doesn t have sufficient memory to Save a 101 2K file Check the receiving unit s manual for further informatio
57. empered scales are still used in many parts of the world 6 6 The even tempered scale is particularly useful in harmonically complex music that modulates a lot This is because the even tempered scale breaks an octave down so that multiplying one frequency by the twelfth root of 2 gives the frequency of the next higher pitched semitone This means that the pitch difference ratio between each semitone is constant thus allowing for easy transposition However the twelfth root of 2 is an irrational number Without going into a lot of con voluted math this means that the even tempered scale contains small tuning errors compared to theoretically perfect scales such as just intonation Just intonation bases its tunings on ratios of whole numbers with an implied preference for small number ratios such as 32 56 etc this ensures that all notes within a given scale are perfectly in tune with each other However again for reasons beyond the scope of this manual transposition into keys other than the one for which a just tuning is optimized can create intervals that are audibly out of tune Prior to the days of computers gaires that used just intonation tended to stay within a particular key due to the difficulties of modulation However considering that it is possible to shift pitch electronically via transposition this is no longer as much of an issue Example Suppose you set up a program in just intonation You can play in the key of C
58. encers can record sys ex data in track then send it out to re configure an instrument s patch settings Timing Clock The master tempo source such as a sequencer emits 24 timing messages per quarter note Each device synchronized to the sequencer advances by Ye4 of a quarter note when it receives the clock message thus keeping units in sync after they ve both started at the same time Start Signals all rhythmically based units when to start playing Stop Signals all rhythmically based units when to stop playing Continue Unlike a Start command which re staris a sequencer or drum machine from the beginning of a song each time it occurs sending a continue message after stop will re start units from where they were stopped 7 7 BOOKS ON MIDI The preceding does not substitute for reading a good book on the subject of MIDI For further information refer to the following MIDI For Musicians and The Electronic Musician s Dictionary by Craig Anderton AMSCO Publications The former was written specifically for musicians with no background in MIDI and the latter defines terms related to musical electronics Music Through MIDI by Michael Boom Microsoft Press An excellent text for those just getting started with MIDI synthesis and related topics 7 6 me mee Le e Ir a B i Sims d Mania bois The Murphy s Law MIDI Book by Jeff Burger Alexander Publishing Emphasizes ap plications and problem solving Usi
59. equencer if present e Synthesizers sound generators and signal processors Mixer with master outputs turned all the way down Amplification system Turn up the mixer master output controls to a low level as you test out the System Turn up to normal volume once you re satisfied that the system is working properly GETTING AROUND THE DPM V3 THE FRONT PANEL Now that the connections are made it s time to match the DPM 3 to your par ticular setup This involves a bit of programming such as setting MIDI channels and the like First we ll explain basic DPM V3 programming protocols There are four main programming tools 6 master buttons Prog Edit Comp Globl MIDI Exec These select different programming menus except for Exec which generally is like the enter or return button on a computer In some cases the DPM V3 s display see below will ask you to press the Exec button after you ve finished making your parameter selections When in the Edit or Prog menus the Exec button provides a different function Pressing Exec plays the note on corresponding to middle C and releasing Exec produces a note off for middle C This allows you to trigger a note in the DPM V3 without having to reach over and play a keyboard or other controller 4 parameter control buttons Left Right Up and Down Arrow buttons the Up and Down Arrows are also called Inc Dec buttons respectively After selecting a menu these let you navigate
60. er time a slight attack time will increase the rate 3 22 Page 5 Parameters Delay 00 99 This delays the onset of modulation by an adjustable amount from no delay 0 to maximum delay 99 Ramp 00 99 This is similar to delay but sets a period of time over which the LFO modulation fades in with delay the modulation comes in at the programmed level after the delay period has elapsed Using Ramp provides a very natural modulation effect with instruments such as strings and horns as most musicians do not introduce vibrato immediately upon playing a note Note Setting Delay greater than 0 deactivates the Ramp function N Caution If the LFO amount doesn t seem to add LFO make sure LFO is selected as the modulation source for the parameter you want to vary 3 11 OUTPUT Volume 00 99 This parameter sets the overall volume for single programs or Link 1 of a Combi pro gram described later Higher numbers give higher levels Pan 99 to 99 A program can be placed anywhere in a stereo two channel field 99 pans full left moving toward 00 moves the program toward center Moving toward 99 pans the program toward full right Bend Off Half Whole M3rd Third 4th dm5th 5th This determines how much the pitch of the two oscillators varies in response to pitch bend wheel travel Example If set to a whole tone rotating the pitch bend wheel all the way away from you will increase the pitch by a whole tone
61. ety of 1 4 output assignments A program can be assigned to two outputs for stereo opera tion but also more than one program can be assigned to the same output This is useful if you have for instance two different bass sounds on two different chan nels where one plays in the chorus and another in the verse Assigning both bass sounds to the same output frees up other outputs for other sounds The diagram below shows a typical sequencer based setup that provides in dividual stereo outputs for three different sounds Each of the sounds feeds its own pair of mixer input jacks For more information on using the output structure see the section on advanced applications Sequencer MIDI out sub 1 sub 2 main PA OF PA MIDI out thru to MIDI in of other modules eo VO audio inputs Mixer MIDI Run a MIDI cable from the sequencer s MIDI out to the DPM V3 s MIDI in To drive additional tone modules from the same sequencer patch the DPM V3 MIDI thru output to the next tone module s MIDI in Patch the second module s thru into an additional module s MIDI in and so on Caution Do not attempt to connect more than thre or four units together using thru connections as this may 15 1 o affect the integrity of the MIDI data 1 2e Powering Up Turn on your equipment in the following order this is good practice for any MiDl audio setup not just the DPM V3 Computer or s
62. ey Electronics Corporation gives this limited warranty only with respect to equipment purchased in the United States of America INSTRUCTIONS WARRANTY REGISTRATION CARD 1 Mail the completed WARRANTY REGISTRATION CARD to PEAVEY ELECTRONICS CORPORATION POST OFFICE BOX 2898 MERIDIAN MISSISSIPPI 39302 2898 a Keep the PROOF OF PURCHASE In the event warranty service is required during the warranty period you will need this document There will be no identification card issued by Peavey Electronics Corporation 2 IMPORTANCE OF WARRANTY REGISTRATION CARDS AND NOTIFICATION OF CHANGES OF ADDRESSES a Completion and mailing of WARRANTY REGISTRATION CARDS Should notification become necessary for any condition that may require correction the REGISTRATION CARD will help ensure that you are contacted and properly notified b Notice of address changes If you move from the address shown on the WARRANTY REGISTRATION CARD you should notify Peavey of the change of address so as to facilitate your receipt of any bulletins or other forms of notification which may become necessary in connection with any condition that may require dissemination of information or correction 3 You may contact Peavey directly by telephoning 601 483 5365 EXPOSURE TO EXTREMELY HIGH NOISE LEVELS MAY CAUSE A PERMANENT HEARING LOSS INDIVIDUALS VARY CONSIDERABLY IN SUSCEPTIBILITY TO NOISE INDUCED HEARING LOSS BUT NEARLY DANGER EVERYONE WILL LOSE SOME HEARING IF
63. ey to ge Ta Y HiKey C 1 to G9 This sets the high end of the link s SS Ranas To have a link play only in the range of C2 G3 set HiKey to G3 Page 4 COMBI Link Parameters LoVel 000 to 127 The selected link will not play if the note velocity is lower than this value Example To have a link play only if the velocity is between 064 and 127 set LoVel to 064 HiVel 000 to 127 The selected link will not play if the note velocity is higher than this value Example To have a link play only if the velocity is between 000 and 080 set HiVel to 080 Page 5 COMBI Link Parameters DTune 99 to 99 cents Adjusts the selected link s tuning in cents from 99 transposed down 99 100 of a semitone to 99 transposed up 99 100 of a semitone Slight amounts of detuning add chorusing and flanging effects these effects can also be created by the on board signal processing TrPose 24 to 24 semitones Transposes the selected link s frequency in semitone steps from 24 transposed down two octaves to 24 transposed up two octaves 7i 3 26 Page 6 COMBI Link Parameters Delay 000 to 990 ms in 10 ms increments The selected link will not start playing until the specified delay time has elapsed This is useful for adding echo effects or having sounds with multiple attacks Chapter 4 Programming the On Board Signal Processors 4 1 ABOUT SIGNAL PROCESSING The DPM V3 s secret weapon in its sonic arsenal i
64. ff the ground pin on the power supply cord For more information on srgunding ig write for our free booklet Shock Hazard and Grounding Power supply cords should always be handled caretully Never walk or place equipment on power supply cords Periodically check cords for cuts or signs of stress especially at the plug and the point where the cord exits the unit The power supply cord should be unplugged when the unit s to be unused for long periods of time I this productis to be mounted in an equipment rack rear support should be provided 105 110 ns p rag ny covering used on some units can be cleaned with a dam rag or an ammonia based household cleaner if necessary Care should be taken so that objects do not fall and liquids are not spilled into the unit through the ventilation holes or any other openings This unit should be checked by a qualified service technician if A The power supply cord or plug has been damaged B Anything has fallen or been spilled into the unit C The unit does not operate correctly D Theunithas been dropped or the enclosure damaged The user should not to attempt to service this equipment AII service work should be done by a qualified service technician Chapter 6 Advanced Applications Now that we ve covered the basics it s time to get into some advanced applications and techniques 6 1 MAKING THE MOST OF THE SIX OU
65. give sharper more whistling effects Page 2 Parameters FMod1 Off Velocity Keyboard Pressure Envelopes 1 4 LFO 1 LFO 2 Mod Wheel Foot Pedal External MIDI Control Chooses the Filter cutoff frequency modulation source For details on modulation sources see sections 3 1d and 3 8 Amount 99 to 99 Sets the modulation degree and polarity positive or negative from the previously 3 12 selected source This modulates the baseline level set by the filter s cutoff parameter see below 99 positive modulation raises frequency Fal f initial cutoff T 00 negative modulation lowers frequency Page 3 Parameters FMod2 Amount VU These parameters perform the same functions as FMod1 and its associated Amount control Thus the Filter cutoff can be modified by two different modulation sources Applications Use velocity as a modulation source with a fairly low cutoff value and positive modulation amount to give a brighter sound as you play higher velocity notes This helps simulate the way acoustic instruments sound Use a footpedal as a modulation source with a fairly low cutoff value and positive modulation amount to produce wa wa effects or use breath control from a wind to MIDI converter to have harder blowing produce brighter sounds 3 8 MODULATION MODULES We ll now describe the parameters for the various modulation sources However note that six modulation sources have no variable parameters We will d
66. gnments to that of the machine and triggering the two sound sources simultaneously can make a really huge drum sound 5 2 ACCESSING AND MODIFYING THE DRUM KIT PARAMETERS The general procedure is to 1 Press the GLOBL master button 2 Select the KIT Ins Wave Key page 3 There are three pages of drum kit parameters described below 5 1 Page 1 Parameters KIT 0 9 a Select a kit number into which you will program the various instruments Ins 01 32 This selects the instrument number to which parameters will be assigned Wave This chooses from any of the available DPM V3 samples whether in ROM or user RAM You are not limited to the traditional drum sound samples Key Each instrument is assigned to a spesific key range This parameter sets the upper note of the range the lower note of the range is one semi tone higher than the highest note of the previously selected instrument Example If Instrument 01 covers the range of A0 D1 and Instrument 02 s Key parameter is set to G1 then Instrument 02 s range is D 1 G1 If you assign a drum sound between existing drum sounds the existing sounds will be reordered to accommodate the new sample In the example given above if you assigned Instrument 03 so that the top key is F1 Instrument 01 would cover the range of AO D1 Instrument 03 would extend from D 1 to F1 and Instrument 02 would cover F 1 G1 Note An initialized drum kit assumes that you are going to build th
67. ich high frequency response starts to fall off The difference between filter resonance and cutoff Although static filter settings are usef l varying the filter setting dynamically over time often produces more interesting effects Modulating with velocity will produce brighter sounds with louder dynamics thus giving a sound more like an acoustic instrument Modulating with an envelope can create a particular change in harmonic structure such as the increase in harmonics that happens when blowing more wind into a wind or brass instrument Also remember that when using negative modulation the filter cutoff should be set to the upper limit of the intended range since increased modulation will drive the filter to a lower cutoff frequency Modulating the filter with the keyboard is also useful since it correlates the cutoff fre quency to the note being played on the keyboard With 0 modulation amount the filter cutoff tracks the keyboard pitch Thus if you have a certain harmonic structure when you play one key playing a different key will shift the filter frequency to maintain the same harmonic structure With negative tracking the cutoff will change at a less than normal rate as you play higher on the keyboard This is ideal for bass patches since the lower notes should have more highs and the high notes should be more muted With positive tracking the filter cutoff will increase at a faster rate than pitch as you play higher up
68. ing your mixer or amp the DPM V3 puts out a pretty hefty signal Lower the signal processing output level parameters the L parameter discussed in Chapter 4 on signal processing f distortion still occurs the final amp may be overloaded Try lowering the ENV 4 level parameters as these affect the final amp levels High filter resonance settings can cause distortion To solve this reduce the levels of the two oscillators to feed a weaker signal into the filter or reduce the amount of resonance Unintentional distortion will probably not occur often but when it does try some com bination of the above remedies As you become more familiar with the programming process you will learn how to balance levels to minimize distortion Generally step 1 above is all you need to do step 3 will solve virtually any remaining distortion problems 3 7 3 2 DPM V3 PROGRAMMING TECHNIQUES Now that we ve covered the basics let s look at the available synth parameters Important n order to save space there s a lot to discuss here we ll assume that you ve pressed the Edit master button and know how to select pages and parameters as described earlier in the manual Each heading typed in UPPER CASE will be for a particular module oscillator filter etc Several modules contain multiple pages of parameters with a page consisting of the parameters shown on a single display screen Pages are presented in ascen ding order i e
69. ion option 1 Select the MIDI Ovf MidC Xctrl page 2 Press the Right or Left Arrow until the MidC parameter flashes 3 Select the desired amount of transposition 2 2b Choose External MIDI Controller 02 31 Many program parameters can be controlled by external MIDI Continuous Con troller messages If you are not familiar with these read the MIDI supplement Chapter 7 This option lets you choose a specific number for the external MIDI controller 1 Select the MIDI Ovf MidC Xctrl page 23 2 Press the Right or Left Arrow until the Xctrl parameter flashes 3 Select the desired controller number 2 2c Filter Out MIDI Data In some cases the MIDI device driving the DPM V3 may generate data that you don t want the DPM V3 to receive Example You might want to ignore program changes if you re tweaking a particular patch a program change would force the DPM V3 to a different patch and you would lose the results of your edits This op tion lets you filter out a variety of MIDI commands Select the MIDI Filter Stat page Press the Right or Left Arrow until the Filter parameter flashes Select the MIDI data to be either ignored or received SYSTEMX System Exclusive data PEDAL Footpedal data Controller 4 VOLUME Volume data Controller 7 PROGRAMS Program changes SUSTAIN Sustain pedal Controller 64 and Hold 2 Controller 69 PRESSURE Pressure also called aftertouch PWHEEL Pitch wheel pitch bend MODW
70. iscuss these first 3 8a Keyboard Modulation Sources These modulation signals are generated when you play a keyboard or other controller Velocity produces data relating to how fast a key goes from the key up note off to the key down note on position This relates to the dynamics of your playing Note Position produces data relating to the note played on the keyboard You would use this modulation source if you wanted a different sound in the upper and lower registers Pressure produces data relating to how hard you press on the keyboard after the keys are down One way to use this would be to add vibrato or increase brightness as a note sustains 3 18 3 8b Pedal Many MIDI keyboards allow for adding a footpedal which most manufacturers assign to controller 4 however some pedals are assigned to controller 7 Signals generated from pedal motion are converted into MIDI data within the master keyboard and sent out the MIDI out jack along with note data Caution The keyboard may offer options to disable or enable the pedal signals Check your unit s manual to determine how to make the pedal output show up as part of the MIDI data stream 3 8c Wheel Most MIDI keyboards also include a modulation wheel usually the right most wheel of a pair of wheels located toward the left of the keyboard This is virtually always assign ed to controller 1 However some keyboards include more than one mod wheel in which case one or both will be
71. l The following figure shows the series connection The stereo audio outputs feed Effect T s first stage which then feeds the second stage The second stage provides the master stereo outputs and provides a master level parameter Left out The parallel connection routes the stereo audio outputs to both stages simultaneously their outputs are then mixed together to provide the master stereo outputs Each out put has an associated level parameter 4 2 Left out Parallel Configurati The dual connection feeds the left channel to one stage and the right channel to the other stage Each effect synthesizes a stereo output and these are mix d together into a master stereo output Each output has an associated level parameter Dual Configuration Effect 2 does not offer different configurations If Effect 2 includes a pair of effects these are always set up in series in a manner identical to Effect 1 when it s set up in series However Effect 2 does include a send control This allows you to send some or all of the pre panned program output to Effect 2 Example You might want to add a very subtle amount of the exciter effect set up Effect 2 as an exciter then send a small amount of the program sound to Effect 2 The following diagram shows how Effect 1 and 2 are configured The diagram assumes that both Effect 1 and Effect 2 are set up as dual effects yielding four effects in total However ei
72. lable for saving your own programs to cartridge 1 4 QUICK PARAMETER SETUP Now that all the connections are made and you know how the front panel controls work it s time to adjust the parameters necessary to match the DPM V3 to your particular setup 1 4a Live Use with MIDI Keyboard 1 Determine the MIDI channel over which your keyboard is transmitting If you do not know assume it s channel 1 2 Press the MIDI master button The display should show the MIDI Chan nel and Mode If not press the Down Arrow button until the MIDI Chan nel and Mode page appears in the display 3 Press the Right Arrow button The parameter under MIDI Channel flashes Select remember selecting a parameter during the editing process means you can use the Data knob or Up Down Arrow buttons the desired MIDI channel If you don t know which MIDI channel to select choose 01 for now and see the next step Press the Right Arrow button again The parameter under Mode will flash Select Poly mode if you have the keyboard and DPM V3 set to the same channel If you are not sure how to set MIDI channels on your keyboard set Mode to Omni so that the DPM V3 will respond to all MIDI data entering it regardless of channel assignment pA 1 4b Studio Use with a Sequencer In this situation you will probably want to set up for multi timbral operation There are four independent multi timbral setups each called a Multi Each instrument in a Multi must be set
73. lect the program s stereo output jack pair 1 2 344 or 546 To assign a particular program to Multi press the Right Arrow until the Prog parameter flashes Select the desired program Press the Right or Left Arrow until the C channel parameter flashes Select the desired MIDI channel for the second program of the Multi Assign the next program to the Multi in a manner similar to steps 7 9 Select additional Multi programs in a manner similar to h w the first and second programs were selected select the channel volume output and program Limit yourself to four programs or so for now As you become more familiar with the DPM V8 you ll probably want to pro gram setups for Multis 2 4 as well 1 4c The Payoff 1 You re almost ready to play either your keyboard or sequencer and hear the DPM V3 in action Press the Prog master button 2 3 The display will show the last program selected in a virgin DPM V3 program 000 If you selected Omni or Poly mode not Multi check out the various pro grams by selecting them and playing your keyboard or sequencer The display will show an eighth note for each voice in use as you play thus confirming that the DPM V3 is receiving and understanding MIDI data If no notes show up in the display Check your cabling Check the MIDI channel assignments on your sequencer master con troller and the DPM V3 If you don t hear any audio Make sure you re u
74. lly sounds best with maximum modulation a short delay time and a slow modulation rate FdBak 00 99 Determines how much of the chorused signal feeds back to the input more feedback creates a more intense sound Page 3 Parameters Mix Controls the mix of dry and processed wet signals The variable mix parameter shows the ratio between dry and wet signals as well as DRY for all dry and WET for all wet signals The most intense chorusing and flanging effects occur with a 50 50 mix of dry to wet Tilting the ratio toward dry e g gt 50 50 puts the chorus or flanging ef fect more in the background 47 The mix value affects only the wet dry balance within the effect it is independent of the mix levels for Effect 1 and Effect 2 the L parameter described in section 4 2 4 3d EQ Parameters EQ alters a sound s frequency response Example Boosting the lower frequencies gives a bassier sound boosting the higher frequencies gives a brighter sound The DPM V3 s EQ is a two channel shelving type so called because the frequency response creates a shelf starting at the chosen frequency The figure below shows some typical response curves available with the EQ A level 0 L slight high leve frequency A frequency boost y high frequency E cutoff 4 0 N moderate low frequency boost low frequency cutoff low frequency cutoff Y slight low frequency cut and substantial high frequency boost
75. lue for a wider range of timbre variations and decrease the value for a narrower range of timbre variations 5 Press the Right Arrow so that the parameter stops flashing or press the master Edit button to accomplish the same result Select the FILTER FMod2 Amount page If the FMod2 parameter is set to anything other than OFF then it is being modulated by some option If it is OFF then you ll need to get into some more advanced programming techniques to modify the timbre dynamics 8 Press the Left Arrow button to select the modulation amount 9 Increase the value for a wider range of timbre variations and decrease the value for a narrower range of timbre variations NO Note If only one of the FMod parameters is being modulated this is a fairly simple edit If both FMod1 and FMod2 are being modulated the edit becomes more com plex since these two settings may interact to some extent Experimentation will help you find the best results 2 3e Change Program Volume Level This changes a program s level relative to the other programs 1 Assuming you re in the Edit menu select the OUT Vol Pan Bend page 2 Press the Right Arrow button until the volume parameter flashes 3 Select the desired volume 2 3f Change Stereo Pan Since there are three individual stereo outputs it s often helpful to be able to pan different sounds to different parts of the stereo field so you don t have to constantly re adjust mixer panpot
76. mples Yoing past the SDS Load page calls up the Sam ple Dir Directory page The only variable parameter is the Sample This catalogs each sample in the DPM V3 and shows the associated Wave name and size in bytes 6 3e Deleting Samples Because samples are loaded into battery backed RAM it is necessary to delete a sam ple to create more room for new samples The next page past the sample directory lets you choose samples for deletion Press the Right Arrow button and select the desired sample The display will show the associated Wave name size in Kbytes and keyboard range Continuing to scroll past the last sample chooses All if you want to delete all samples After choosing the sam ple to be erased press Exec To delete all samples in a multi sample press the Right Arrow button again and the Wave name upper line will flash Choose the desired wave and press Exec to delete 6 3 f Transmitting Samples Samples can be transmitted from the DPM V3 to other SDS compatible devices This page comes after the Delete page The protocol is the same as deleting samples ex cept that when you press Exec the sample is sent over MIDI instead of deleted 6 4 ALTERNATE TUNING TABLES The subject of alternate tunings is a fascinating one that s steeped in history The even tempered scale that is almost universally used in western music is a comparative ly recent invention prior to that other types of tuning predominated and non even t
77. mples be patient Shortly after the display says dump complete select the base note root pitch and high note of the sample s range The DPM V3 assumes that you will load in samples from the low end of the keyboard to the upper end so the first sample will automatically default to a low note of AO and high note of G9 If you are not multi sampling press Exec and skip to step 14 If you are multi sampling press Exec and the SDS Load display will appear again Repeat steps 6 12 but note that in step 12 the range s low end will default to one semitone above the high end of the previous sample s range and the high note will be G9 Set the high note as desired Repeat this procedure for as many multi samples as you need to build up a complete sound then press Exec Note Once the high note is assigned to G9 there is no more room to add samples As a result the DPM V3 will assume that if the highest sample range ex tends to G9 and you press Exec you are finished transferring the multi samples for a particular wave Also note that when sending a sample to the DPM V3 the computer program or sampler may ask you to specify a sample number If this is the same as the one you just transferred it will wipe out the one you transferred Specify a new number for each sample you send Once sampling for a particular wave is complete as indicated by your pressing Exec the DPM V3 will automatically select the Wave Name page Use
78. n on maximum file size and try saving each bank of 100 programs individually most units should be able to cope with a dump of 47 6K To receive data via MIDI 1 Connect a MIDI cable from the MIDI system exclusive storage device s MIDI out to the DPM V3 s MIDI in 2 Set up your MIDI system exclusive storage device to transmit system exclusive data Refer to the product s manual for how to do this Make sure that the DPM V3 data you previously saved is loaded into the system exclusive storage device so it can be sent to the DPM V3 3 Initiate transmission at the system exclusive storage device You need not set anything at the DPM V3 it will automatically load the data being sent to it Note Because many sequencers can now record system exclusive information as part of a sequence you may want to record the data used for a particular song at the head of a sequence 2 3 EDIT MENU TWEAKS The edit menu contains a wealth of commands for modifying the DPM V3 s sounds or creating your own from scratch The next Chapter describes all the options and pro vides a tutorial on basic synthesis techniques but here are some of the most common tweaks The general protocol is 1 Press the Edit master button This is not necessary if you are already in the Edit menu 2 Select the desired page 3 Use the Right Left buttons to choose the parameter to be modified 2 6 4 Select the parameter value Important Any changes you make must b
79. nd effect number in the lower left The variable mix parameter shows the ratio between dry and wet signals as well as DRY for all dry and WET for all wet signals The mix value affects only the wet dry balance within the effect it is independent of the mix levels for Effect 1 and Effect 2 the L parameter described in section 4 2 4 3b Delay Parameters This is a stereo delay system with feedback It s useful for slapback echoes long echoes and polyrhythmic echo effects try setting one delay time to 6796 of the other s delay time Page 1 Parameters Time L Sets the left channel delay time from 2 5 milliseconds to 250 milliseconds in 2 5 millisecond increments Time R Sets the right channel delay time from 2 5 milliseconds to 250 milliseconds in 2 5 millisecond increments Page 2 Parameters FdBak 00 99 Determines how much of the echo signal feeds back to the input for re echoing Higher values give longer echo tails Mix Controls the mix of dry and processed wet signals The display shows the effect name in the upper left and effect number in the lower left The variable mix parameter shows the ratio between dry and wet signals as well as DRY for all dry and WET for all wet signals The mix value affects only the wet dry balance within the effect it is independent of the mix levels for Effect 1 and Effect 2 4 6 the L parameter described in section 4 2 4 3c Chorus Parameters Stereo chorusing thickens
80. nd more e MIDI supplement it is important to know the basics of the MIDI specification to make the best use of the DPM V3 s MIDI features If you are not very familiar with MIDI please read the MIDI supplement before proceeding 1 2 TUTORIAL AND SETUP ON THE AIR IN 15 MINUTES WITH THE DPM V3 1 2a Cable Setup 1 Unpack the DPM V3 Save all packing materials in case the unit needs to be sent for updating or servicing 2 Plug the female end of the line cord into the matching socket on the rear of the DPM V3 3 With all devices in your system turned off and the volume controls turned down hook up the outputs according to your particular needs as described below 1 2b Just Wanna Hear the Demo 1 Run a mono cord from either the left or right Main output to your amplifier or connect two mono cords from the left and right Main outputs to a stereo amp or two mixer inputs 2 Turn on in this order the DPM V3 mixer if present and amplification system Turn the volume controls up part way turn them up to normal volume once you re satisfied that the system is working properly Press the GLOBL button toward the lower left corner once Press and hold the INC button until the display stops changing The display says DEMO Sequence START Press the EXEC button to start the sequence 6 Press the EXEC button again to stop the sequence C 4 w 1 2c Live Use with a MIDI Keyboard or Other Controller Most live applica
81. ned over a range of 99 to 99 cents 6 4c Alternate Even Tempered Tunings In addition to the options mentioned above it is possible to set the DPM V3 for a variety of alternate even tempered tunings that include different numbers of notes per octave such as quarter tone and eighth tone scales These types of scales may not push your buttons from a melodic standpoint but they are very helpful when creating sound effects after all car crashes and door slams are rarely equal tempered On the other hand a 17 tone scale can be musically useful assuming you find some comfor table keyboard mapping for it The key to this technique is to use Keyboard as the oscillator PMod and scale it ap 6 8 propriately Make sure that the tuning table is set to EQUAL section 6 4a Here are some possibilities 14 Tone Tuning Set PMod to keyboard and Amount to 50 Set the Coarse tuning to 14 and Fine to 50 1 s Tone Tuning Set PMod to keyboard and Amount to 75 Set the Coarse tuning to 21 and Fine to 75 17 Tone Tuning C3 to F3 covers one octave Set PMod to keyboard and Amount to 29 Set the Coarse tuning to 08 and fine to 17 Other variations will give other tunings E 6 5 SUPER STEREO EFFECTS Combis preserve the stereo panning of the patches within the Combi which allows for some hot stereo effects To check this out create two different single patches that play the right and left versions of a sound e g Trumpet L and T
82. ng MIDI by Helen Casabona and David Frederick Alfred Publishing A general guide to MIDI with an emphasis on applications Understanding MIDI and Understanding MIDI 2 by various authors Amordian Press A collection of MIDI oriented articles from Musician magazine These are available from many music and book stores a mail order source is Mix Bookshelf 800 233 9604 7 8 MIDI RELATED MAGAZINES The following magazines often publish articles that relate to MIDI as well as related subjects such as synchronization synthesizers etc Keyboard 20085 Stevens Creek Cupertino CA 95014 IMA Bulletine 5316 W 57th St Los Angeles CA 90056 Electronic Musician 6400 Hollis 12 Emeryville CA 94608 7 7 IMPORTANT SAFETY INSTRUCTIONS WARNING When using electric products basic cautions should always be followed including the following tr ae PDN 10 11 12 13 14 15 16 17 18 Read all safety and operating instructions before using this product Al safety and operating instructions should be retained for future reference Obey all cautions in the operating instructions and on the back of the unit All operating instructions should be followed This product should not be used near water i e a bathtub sink swimming pool wet basement etc This product should be located so that its position does not interfere with its proper ventilation It should not be placed flat against a wall or placed
83. ning technology of their DPM 3 synthesizer shrunk it into a single rack space and added some new features too The DPM V3 will give you many years of enjoyment not just because of the features it offers today but because it uses general purpose Digital Signal Processing DSP chips to perform all sound generation and modification Because the DPM V3 doesn t take the traditional approach of using custom chips dedicated to a particular type of sound generation it can be reprogrammed via software updates to provide alternate types of sound generation Furthermore new sound programs and wavesamples can be loaded in to increase the DPM V3 s existing capabilities Highlights of the current configuration include e 300 programs available at all times two on board banks of 100 fully editable pro grams and 100 programs from an optional RAM user editable or ROM preset non editable cartridge e Multi timbral MIDI operation so that a single DPM V3 can provide up to 16 different sounds simultaneously e 16 voice dual oscillator operation play up to 32 notes simultaneously on 16 keys e Three individual stereo outputs e Optional non volatile memory for storing new wavesamples expandable up to 1 Megabyte Four Megabytes of 16 bit PCM wavesamples including both acoustic and electronic instrument sounds same as the DPM 3 e Two on board programmable digital signal processors reverb EQ chorus delay etc means you may not n
84. ntire keyboard range is often sonically unsatisfactory the timbre resembles Darth Vader at the low end and the Munchkins at the high end due to excessive transposition like varying the speed control on a tape recorder by a large amount Therefore the DPM V3 allows for multi sampling where several samples perhaps at octave or fifth intervals are used to cover the keyboard range Because each sample only needs to be transposed over a narrow range the timbre is more realistic 6 3 For maximum user convenience these multi samples are still saved as a single wave For example a multi sampled guitar will show up as a single Guitar wave Of course you can save each sample individually and assemble them in a Multi patch but there is seldom any advantage to doing things this way The sample function lets you load catalog delete and name samples The DPM V3 holds up 32 sampled waves and 48 individual samples some waves will probably be muiti sampled hence the ability to load in more samples than there are waves At tempting to load more than 48 samples or 32 waves will produce an error message in the display Important note Different samples are often taken at different sample rates with lower sampling rates trading off poorer fidelity for greater memory efficiency In many sample transfer applications it is important to match sample rates but the DPM V3 per forms an automatic sample rate conversion routine to ensure compatibility
85. nts Sequencing takes advantage of the fact that MIDI data can correlate exactly to a per formance on a MIDI instrument Suppose we feed this performance data to a com puter s MIDI in jack and load the computer with a program that instructs the computer to remember the order in which data appeared at the MIDI in jack The computer acts like a recorder but instead of recording audio it stores digital data that represents the notes you played and the exact order in which you played those notes If you play a chord each note in the chord results in a discrete piece of data These pieces of data like all MID data are sent serially i e one right after the other For tunately this happens at a very high rate so that notes played at the same time ap pear to occur simultaneously even if a few milliseconds elapse between the first and last notes of the chord Once stored in memory connecting the computer s MIDI out to the instrument s MIDI in recreates the performance The principle is the same as a player piano but instead of having keys triggered by holes in a roll of paper electronic sounds within the keyboard are triggered by data contained in the computer s memory This underscores the importance of a standardized specification since any MIDI compatible device can accept data from the computer If the sequencer says play middle C 7 2 the sound generator will play middle C regardless of the manufacturer However note
86. numbered sample from a computer or sample and have it loaded into the DPM V3 With the latter choice there will be a flashing number toward the right of the display Use the Up Down Arrow buttons or Data knob to choose the desired sample number 0 16 383 Note that it is often simplest to select Remote and send a sample to the DPM V3 6 4 After selecting the desired data transfer mode press Exec Note the EXEC in the display s upper right corner indicating that you must press Exec to finalize the selection process lf the DPM V3 was set to request a sample the dump process should begin automatically It may take a couple of seconds after sending the request for the sampler or computer to respond this is normal If there is no response make sure that the sample source and DPM V3 are set to the same MIDI channel and that the correct sample number was specified in the request process If the DPM V3 was set to Remote continue reading otherwise skip to step 11 After selecting Remote and pressing Exec the display says Waiting for SDS dump on MIDI channel 1 or whatever base channel you chose in step 1 Initiate a sample dump transmission at the computer or sampler which must be set to the same basic channel as the DPM V3 The display will say Sample Dump and show a countdown of how many bytes re main to be transferred into the DRM V3 Note that MIDI sample transfers can take quite a while with long sa
87. o 24 transposed up two octaves EN Fine 99 to 99 cents Adjusts oscillator 1 s frequency in cents from 99 transposed down 99 100 of a semitone to 99 transposed up 99 100 of a semitone Page 3 Parameters PMod1 Off Velocity Keyboard Pressure Envelopes 1 4 LFO 1 LFO 2 Mod Wheel Foot Pedal External MIDI Control Chooses the pitch modulation source For details on modulation sources see sections 3 1d and 3 8 Amount 99 to 99 Sets the modulation degree and polarity positive or negative from the previously selected source Note You can set the keyboard to non transpose mode i e the same note is played on any keyboard key This is handy for some sound effects applications To do this set PMod1 to Keyboard and Amount to 99 All other modulation should be off It is also possible to set alternate tuning scales see Chapter 6 on Advanced Applications for further information Page 4 Parameters PMod 2 Amount These parameters perform the same functions as PMod1 and its associated Amount control Thus oscillator 1 s pitch can be modified by two different modulation sources 3 5 DCA1 The DCA module has two pages Page 1 Parameters LMod1 Off Velocity Keyboard Pressure Envelopes 1 4 LFO 1 LFO 2 Mod Wheel Foot Pedal External MID Control 3 10 Chooses the DCA1 level modulation source The Off setting by passes DCA1 i e oscillator 1 s level is set solely by the level parameter
88. on the keyboard This works well when you want the lower notes to be muted and the higher notes to really cut Note Filter and DCA settings can interact For example the filter cutoff can be so low that no signal can get through Also if the DCA is set for a short decay then you won t hear a long filter decay because the volume will reach zero before the filter decay finishes see the following figure 3 6 If the DCA is set for a short and the filter is set for a you won t hear the effect of decay long decay the long filter decay because the signal level will have decayed to zero before the filter decay is complete How DCA and filter envelopes interact The combination of two oscillators two DCAs one filter a final DCA and various modulation sources is called a voice 3 1h About Levels and Distortion Level can be altered at numerous points within the DPM V3 Each oscillator has a level parameter the envelopes driving the DCA and final amp have variable levels which also influences the overall volume and the signal processing section offers several level setting options to choose the right blend between processed and straight signals As with any audio system carelessly turning up levels may produce overload condi tions that result in distortion If you encounter distortion try the following Lower the overall level of the DPM V3 or of individual programs Also make sure you re not overload
89. ounding 25 Pulse various harmonics missing reedy 20 Pulse various harmonics missing reedy 1596 Pulse various harmonics missing reedy 1096 Pulse various harmonics missing reedy 596 Pulse various harmonics missing buzzy Digitally generated waveforms Guitars Electric Piano 1 4 Harpsichord DGW1 5 Acoustic Guitar Non harmonic waveforms Electric Guitar 1 3 Spect 5 v Guitar Loop 3 Combination loops Orchestral B Loop E String C Loop Orkhit ABCHR Voices Koto Abbey Organs Male Pipes Accordians Full B3 Squeezebox Jazz B3 Noise Organ 1 Lightning Organ 2 Breath Percussive Organ Steam Bells Bottle E Wind Instruments e Flute Bass Flute 2 Fingerbass Clarinet Pick Bass Oboe Fretless Sax Slep Bass Trumpet Acoustic Bass Trombone Syn Bass Synth Brass Synth Bass 2 4 Tuned Percussion Pianos Woody marimba Piano Metal struck Electric Piano Loop Vibes 3 9 Drum Sounds Tom 1 Tom 2 Conga Timbale Taiko Gambng Gamelan variation Gamelan Kalimba Agogo Cowbell Clave Tambourine Cabasa Claps Triangle Pole Scratch turntable High hat closed High hat open Ride Crash Reverse Cymbal Electric Tom Kick 1 5 Snare 1 4 Sidestick Kit 0 9 Level 00 99 Selects the waveform level Lower values are softer higher values are louder i Page 2 Parameters Coarse 24 to 24 semitones Adjusts oscillator 1 s frequency in semitone steps from 24 transposed down two oc taves t
90. particular range of MIDI notes with individual tuning amplitude decay level pan and output assignment parameters After building a drum kit it remains in memory until altered and can be assigned to a program just like any other wavesample However there are some differences because the DPM V3 s program voice architecture is modified for drum kit construction N Drum Kits should only be assigned to oscillator 1 The following modules are removed from the signal path Oscillator 2 DCA1 and DCA2 ENV2 and ENV3 LFO1 and LFO2 ENV1 can be adjusted but has no effect on the sound Drum kits are not affected by pitch bend The main parameters to adjust in the program itself are the Filter and ENV4 Velmod and Keymod parameters The program output mode is GOUTPUT to accommodate the kit output assignment and panning positions The drum kit pan assignment overrides the program s output pan parameter The drum kit output level overrides the usual program output level parameter The AMPENV controlled by ENV4 is active but with release time set by the drum kit decay parameter Velocity sensitivity should be assigned using the VelMod parameter in the ENV4 menu e Although most people are interested in the DPM V3 because of its instrument sounds don t overlook the drum kit options The DPM V3 can serve as an excellent drum ex pander module even if you already own a drum machine creating a DPM V3 drum kit with similar sound and key assi
91. r concert pitches other than A 440 1 Select the GLOBAL Tune VelCurve page 2 Press the Right or Left Arrow until the Tune parameter flashes 3 Select the desired tuning offset 2 1b Velocity Curve 1 2 or 3 Different players play their keyboards with different degrees of force This matches the DPM V3 to your playing style 1 Select the GLOBAL Tune VelCurve page 2 Press the Right or Left Arrow until the VelCurve parameter flashes 3 Select the desired feel 1 matches the DPM 3 keyboard exactly 2 ex ponential wide range velocity response and 3 linear somewhat more com pressed velocity response 2 1c Display Viewing Angle 03 to 04 The display is easier to read at some angles than at others This adjusts the display 2 1 for the best contrast for your particular viewing angle 1 Select the GLOBAL View Protect page 2 Press the Right or Left Arrow until the View parameter flashes 3 Select the desired viewing angle O works best for straight on viewing More negative numbers optimize the viewing angle if you re looking at the DPM V3 from below more positive numbers optimize the viewing angle if you re looking at the DPM V3 from above 2 1d Memory Protect Off or On With memory protect on program parameters may be edited but you cannot store the results of these edits When off you can edit and then save a program to retain the results of your edits 1 Select the GLOBAL View Protect
92. r program edits are done Note Characters available for naming are in order of appearance as you turn the Data knob clockwise ONO WD Upper amp lower case alphabet Space blank vertical line 0 9 single quote symbol z I right arrow comma amp period A 2 7 2 3c Change Overall Timbre Brighter Duller Although there are many ways to change timbre in the DPM V3 the following method is fast and takes care of many situations where you want to modify timbre 1 Assuming you re in the Edit menu select the FILTER Cutoff Res page 2 Press the Right Arrow button The Cutoff parameter will flash 3 Increase the value for a brighter sound decrease for a duller sound 2 3d Increase Decrease Timbre Dynamics Sometimes the timbre responds dynamically over time perhaps according to keyboard velocity or to the DPM V3 s internal envelope generators The DPM V3 of fers two different modulators options that change dynamics over time for the filter this process involves editing one the other or both to create the desired effect 1 Assuming you re in the Edit menu select the FILTER FMod1 Amount page 2 If the FMod1 parameter is set to anything other than OFF then it is being modulated by some option If the FMod1 parameter is off proceed to step 6 3 Press the Left Arrow button to select the modulation amount 4 Increase the va
93. raditional analog synthesizer but with digital sound generating capabilities Each synthesizer module is a page on the display and each knob or switch is a parameter on the page You can step through different parameters using a combination of buttons and a data entry knob All patching is done via software eliminating the need for patch cords you simply specify which inputs should receive which outputs in those cases where connections are not normalized 3 1 You can take a snapshot of all the DPM V3 s parameters and save this in memory as a program The DPM V3 stores 200 programs on board and another 100 300 total accessible on a RAM or ROM cartridge card that plugs into the front panel card slot 3 1 The DPM V3 Sound Generating Architecture The following figure shows the signal flow within the DPM V3 We ll give an overview of each module then describe how these modules work in more detail Output Signal P Stereo Alters y Alters Sets overall Adds special waveform w dynamics level effects timbre of composite and panning reverb delay Generates Alters signal chorus etc raw waveform waveforms dynamics The digital oscillators OSC1 and OSC2 provide the actual raw sounds these can come from the internal wavesamples or from samples loaded into memory by the user Two different wavesamples can be played by each key Each wavesample has its own digitally controlled amplifier
94. rd negative values decrease release time as you play higher up on the keyboard The effect of Keymod increases drastically at longer delay times so much so that notes at the extremes of the keyboard may appear to be stuck on whereas in reality they just have an extremely long decay time Set Keymod to lower values at first e g 10 or 10 depending on how you want release time to track the keyboard and try tweaking T4 the release time to arrive at the desired decay curve Go back and forth between T4 and the Keymod setting until you achieve the desired sound 3 10 LFOs LOW FREQUENCY OSCILLATORS The Low Frequency Oscillator LFO creates a cyclic periodic modulation of syn thesizer parameters such as pitch volume or filter cutoff Applying a periodic modulating signal to the oscillator produces vibrato this is such an important applica tion that the DPM V3 lets you control the LFO signal amplitude with the modulation wheel or a pedal so you can add vibrato in real time as you play The amount of vibrato or other LFO induced modulation can also be set to a constant amount or some combination of the two Applying LFO modulation to the VCA produces tremolo modulating the filter cutoff with an LFO signal produces a wa wa effect or if used subtly in the higher registers a shimmering type of sound The DPM V3 includes two independent LFOs with five pages of parameters as modulation sources Since they are identical we will dis
95. rd If not you will not be able to transfer samples directly between the sampler and DPM V3 we Fortunately there is a convenient workaround Sample editing software programs such as Sound Designer and Alchemy for the Macintosh Avalon and Genwave for the Atari Sample Wrench for the Amiga and Samplevision from Turtle Beach Systems ex ist for virtually all popular computers These programs can transfer samples between the computer and those samplers supported by the program regardless of whether or not they support SDS The program should also be able to translate samples that use incompatible formats Therefore a non SDS sample can be brought into the program translated and sent out over MIDI as an SDS sample to the DPM V3 thus opening up a potentially huge library of samples There are two main ways to transfer samples to and from the DPM V3 Sending samples to the DPM V3 such as from a sample editing program or sampler capable of sending samples as SDS data e Having the DPM V3 request a particular sample as identified by a number from a sample editing program or sampler capable of sending samples as SDS data Loop and sample length parameters in the source sample are retained in the DPM V3 6 3a Sample Organization Within the DPM V3 A single sample that covers the entire keyrange will show up in the Oscillator 1 and 2 menus like any other wave at the end of the factory waves However stretching a single sample over the e
96. ries con figuration and two level parameters for dual or parallel configurations The next several pages cover the parameters for the effeci s chosen under FX1 Type These parameters are discussed later Send This parameter is on the last page of each set of Effect 2 parameters and does not exist for Effect 1 It determines the amount of straight signal fed to Effect 2 4 3 INDIVIDUAL EFFECTS PARAMETERS 4 3a Reverb Parameters You ll find that different types of reverb sound best with particular types of signals Example Smooth reverb works well with percussive sounds whereas medium reverb seems well suited to piano sounds Page 1 Parameters Type Select between Plate Room and Hall Each provides a different reverb character Size Select between small medium large huge and smooth This alters the apparent 4 5 size of the reverberant space Page 2 Parameters Damp Determines the high frequency absorption of the room by using a low pass filter to simulate a more acoustically dead environment Select from cutoff frequen cies of 250 Hz 500 Hz 1 kHz 2 kHz 4 kHz 8 kHz and OFF full high frequency response Time Sets the length of the reverb tail Select from 0 0 to 8 0 seconds in 100 E millisecond increments and from 8 to 30 seconds in one second increments E Page 3 Parameters Mix Controls the mix of dry and processed wet signals The display shows the effect name in the upper left a
97. rs became inexpensive enough to be built into consumer priced musical instruments They were used for everything from sound generation to storing parameters in memory for later recall In 1983 the MIDI Musical Instrument Digital Interface specification was introduced to better exploit the computers inside these new musical instruments primarily to ensure compatibility with equipment from other manufacturers MID expresses musical events notes played vibrato dynamics tempo etc as a common language consisting of standardized digital data This data can be understood by MIDI compatible computers and computer based musical instruments Before electronics music was expressed exclusively as written symbols By translating musical parameters into digital data MIDI can express not only the types of musical events written into sheet music but other parameters as well such as amount of pitch bend or degree of vibrato 7 2 MIDI HARDWARE MIDI compatible devices usually include both MIDI in and MIDI out jacks which ter minate in 5 pin DIN connectors The MIDI out jack transmits MIDI data to another MIDI device As you play a MIDI controller such as a keyboard data corresponding to what you play exits the MIDI out jack Example If you play middle C the MIDI out transmits a piece of data that says middle C is down If you release that key the MIDI out transmits another piece of data that says middle C has been released If the
98. rumpet R with each panned appropriately Now call up Trumpet L and make it a Combi patch with Trumpet R being another patch in the Combi You now have a patch with separate signals in the left and right channels Try turning on the delay line for one of the sounds set for 20 to 40 ms This should spread out the sound even more If you don t want to use up two programs there is a workaround that can get a nice stereo spread from a single program Call up a program and set it to Combi Now call up the same program again for the second program of the Combi If you select the panning parameter this will affect the base program only and not the second pro gram allowing you to pan them to opposite sides of the stereo field You can make any other modifications you want to the base program set delays change LFO etc The only catch is that if you save the program the second program will immediately adopt whatever changes you made to the base program This does work well though if you simply want to tum a sound into a wider stereo image Create a Combi with the two patches then set panning and delay as needed when you call up the patch Speaking of the delay line try setting it to a time that falls in with the beat of the music e g a quarter note delay or eighth note triplet and play one of these stereo patches The sound will bounce back and forth in stereo in a rhythmically interesting way 6 6 BLANK TEMPLATE PATCHES When cre
99. s DCA1 and DCA2 that can change the level of the sounds either statically you set a particular volume level dynamically the level changes over time in a specific way or a combination of the two The process of varying a parameter dynamically is called modulation the DPM 3 offers a variety of modulation sources described later Next in line is a low pass filter which allows for static or dynamic timbre variations This is followed by another digital amplifier that determines the dynamics of the overall sound Finally an output stage provides panning options and interfaces with the on board signal processors Synthesizer programming is the art and science of altering the parameters of various modules to shape sounds in a particular way Please understand that this can be a complex process and is not mastered in a day a week or even a year Although this manual presents much information about synthesizer programming it is beyond the scope of any manual to offer a complete course in programming The best way to learn is to adjust different parameters as you play to discover how different parameter values affect the sound Also become familiar with the signal and modulation flow within the DPM V3 as shown in the various block diagrams so that you can unders tand what happens to a signal as it works its way from oscillator to output Now let s look at modulation and the various modules in more detail 3 2 3 1d About the DPM V3 Mod
100. s a sophisticated complement of signal processing options including time based effects reverb chorus flanging stereo delay equalization and distortion The results are comparable to what can be obtain ed from outboard rack mount devices Signal processing setups are not global each program has its own signal processing parameters so each program can be proces sed in a unique way Because of the depth of signal processing options a few considerations should be discussed prior to adjusting any parameters yor 4 1a Effects Structure There are two independent effects FX for short units Each one can include one or two effects called Single or Dual effects giving a possible total of up to four signal processing modules in all The signal processing options in addition to Bypass where the effect module has no effect are listed below along with a brief description of each function Single Effects Reverb produces the type of ambient effects found in rooms and concert halls Delay produces echo unit effects where a sound is repeated on a regular basis Chorus simulates the sound of instruments playing en ensemble giving a thicker richer sound EQ equalization a type of tone control used to alter frequency response Gate this gated reverb effect similar to standard reverb but with a more abrupt decay and more synthetic sound Distortion produces a fuzz effect that can create a dirtier grittier sound Ex
101. s from that set ting Example lf a filter cutoff is set to a certain frequency positive modulation amounts will increase that frequency and negative modulation amounts will decrease that frequency Note that modulation cannot force a value beyond its maximum range In other words if the filter cutoff is at the lowest possible frequency then maximum positive modulation will vary the filter cutoff from the lowest to the highest frequency Applying negative modulation will not affect the filter frequency because if it s at its lowest value it cannot go any more negative 3 4 99 positive modulation 99 positive modulation raises frequency raises frequency Filter us T Filter Cutoft na frequency Y Cutoff initial frequency negative modulation i 00 A lowers frequency negative modulation cannot lower the initial frequency which is already atthe minimum value 3 1e Oscillators s The DPM V3 has two oscillators which can draw from any of the 105 on board wavesamples or 10 drum kits Both oscillators allow for adjustable pitch level and two modulation sources Choosing the same wavesample for both oscillators and slightly detuning them creates a thicker sound However combining different wavesamples can produce novel effects Example Suppose you re looking for a really deep piano sound try adding a bass sample tuned up an octave and at a much lower volume behind the piano sound 3 1f DCAs Each oscillator has
102. settings 2 8 Note The pan position can also be modulated by two different modulation sources If the pan position is being modulated then that will also affect the stereo position as well as any changes you make in the Pan page 1 Assuming you re in the Edit menu select the OUT Vol Pan Bend page 2 Press the Right Arrow button until the Pan parameter flashes 3 Select the desired pan position more positive values pan more to the right more negative values pan more to the left 2 3g Set Pitch Bend Range This determines how much the pitch of a program will vary in response to either upward or downward travel of a pitch bend wheel Example If set to a whole tone rotating the pitch bend wheel all the way away from you will increase the pitch by a whole tone and rotating the pitch bend wheel all the way toward you will decrease the pitch by a whol tone 1 Assuming you re in the Edit m nu select the OUT Vol Pan Bend page 2 Press the Right Arrow button until the Bend parameter flashes 3 Select the desired bend amount OFF HALF WHOLE M3RD minor third THIRD major third 4TH DM5TH diminished or flatted fifth and FIFTH 2 4 INITIALIZE ENTIRE UNIT This operation will restore the original factory global and MIDI settings reset the MID program change map erase any samples stored in user RAM if present restore all programs to a default patch not the factory patches shipped with the unit and erase an
103. sing the right output connections Try different out puts if the problem persists Check that the amplifier is on and the mixer volume turned up e Make sure the DPM V3 s front panel volume control is turned up If you selected Multi mode audition various programs by selecting the desired Multi and changing programs see step 9 in section 1 4b 19 Now that things are up and running check out the programs that come with the DPM V3 They ve been developed by musicians specifically for the DPM V3 and they make some pretty nice noises 1 5 ABOUT DYNAMIC ALLOCATION The DPM V3 can play up to 16 voices at a time However each voice can consist of two oscillators making different sounds or tuned to different pitches allowing 16 keys to play up to 32 notes simultaneously lf 16 voices are playing or sustaining and you play a new key this will steal a voice from one of the 16 that was played The next new voice will steal a se cond voice and so on Combi programs see section 3 14 for more information which can layer two or more programs use up more voices since layering two programs halves the number of available voices A Combi with two layered programs allows up to eight voices and a Combi with four layered programs up to four voices A Com bi with three layered programs will play five voices but if you play a sixth note while the five are sustaining one of the Combi programs will play the one remain ing voice
104. sitioning patch cords and adjusting knobs and switches if you wanted to recreate a patch at some later time it was necessary to write down all the patch settings on paper Even then due to the vagaries of analog electronics trying to recreate a patch often didn t produce the same results Over the years certain combinations of modules seemed to work better than others and since patch cords were troublesome to deal with eventually these modules were wired together in a normalized configuration Synthesizers such as the Minimoog Prophet 5 and others eliminated the need for patch cords by containing a normalized collection of sound modules 3 1a How the DPM V3 Generates Sound The DPM V3 uses the same approach to sound generation as Peavey s DPM 3 the first popularly priced keyboard synthesizer to use general purpose Digital Signal Pro cessing DSP chips for sound generation These chips are essentially computers designed to generate and or process digital audio signals and can even do special ef fects like chorusing and reverb The DPM V3 s three DSP chips are in turn controlled by a central computer Because the function of these chips depends on the software controlling them it is possible to upgrade the DPM V3 with entirely new methods of sound generation by writing new software 3 1b Software Emulation of an Analog Synthesizer In the current generation of DPM V3 software the DSP chips have been programmed to emulate a t
105. sound In the example above Brass has been set for a low velocity of 64 and high velocity of 127 Thus velocity values must be 64 or more to trigger the brass layer Each link can also be delayed detuned transposed and have its own volume level If you re starting to think this can make some really great sounds well you re right Just remember that layered sounds use up more voices if they can be played simultaneously There are six Combi program pages The last five are accessible only if program type see Page 1 Parameters next is set to Combi Page 1 Parameters Program Type Single or Combi Select Single for standard programs or Combi if you want to link two or more pro grams together Page 2 Parameters Link equals 1 4 This parameter chooses the link whose parameters will be set on this and other Combi pages Link 1 is the original program found in the program s memory location To choose the desired link press the Right Arrow button and select the desired number Link Program Selects the desired program for the selected link as shown on the bottom line If no program is currently selected the display will say OFF The first link cannot be changed since it represents the original program Link Volume 00 99 Selects the link s volume level Page 3 COMBI Link Parameters LoKey C 1 to G9 This sets the low end of the link s keyrange Example To have a link play only in the range of C2 G3 set LoK
106. stereo field and assign them to outputs 1 2 Pan the kick full left and assign to 3 4 pan the snare full right and assign to 3 4 The kick will appear at output 3 and the snare at output 4 These outputs can then be routed to signal processors whose outputs go to a stereo mixer where they can then be panned as desired in the stereo field Fx2 00 99 Sends the instrument signal to Effect 2 see Chapter 4 on signal processing if 20UTPUT mode is selected for this preset Application This is useful if you want an overall drum effect but also a different ef fect on an individual drum Effect 1 would provide the overall drum processing Effect 2 the effect for the particular drum 5 3 If you run out of inputs to your main mixer the ring connections for Subs 1 and 2 can provide sub mix inputs for other pieces of gear Up to four inputs are available These signals are mixed within the DPM 3 and show up at the Main outputs Of course this disables Subs 1 and 2 for normal operation MIDI out thru in sub2 sub1 main stereo plugs outs connects to stereo plug ring connections ib x m x in line female ____ lante 6 2 MIDI OVERFLOW MODE The second page of MIDI parameters includes one called Ovf overflow which can be either off or on Overflow lets you chain two DPM V3s together to double the number of voices from 16 to 32 or chain three DPM V3s together if you want 48 voices If the first
107. t in material and or workmanship covered by this limited warranty Peavey will a In the case of tubes or meters replace the defective component without charge b In other covered cases i e cases involving anything other than covers footswitches patchcords tubes or meters repair the defect in material or workmanship or replace the product at Peavey s option y 5 and provided however that in any case all costs of shipping if necessary are paid by you the purchaser THE WARRANTY REGISTRATION CARD SHOULD BE ACCURATELY COMPLETED AND MAILED TO AND RECEIVED BY PEAVEY WITHIN FOURTEEN 14 DAYS FROM THE DATE OF YOUR PURCHASE In order to obtain service under these warranties you must a Bring the defective item to any PEAVEY AUTHORIZED DEALER or AUTHORIZED PEAVEY SERVICE CENTER and present therewith the ORIGINAL PROOF OF PURCHASE supplied to you by the AUTHORIZED PEAVEY DEALER in connection with your purchase from him of this product if the DEALER or SERVICE CENTER is unable to provide the necessary warranty service you will be directed to the nearest other PEAVEY AUTHORIZED DEALER or AUTHORIZED PEAVEY SERVICE CENTER which can provide such service OR b Ship the defective item prepaid to PEAVEY ELECTRONICS CORPORATION International Service Center Highway 80 East MERIDIAN MS 39301 including therewith a complete detailed description of the problem together with a legible copy of the original PROOF OF PURCHASE and a complete
108. t to service this equipment All service work should be done by a qualified service technician This product should be used only with a cart or stand that is recommended by the manufacturer This product either alone or in combination with an amplifier and headphones or speakers may be capable of producing sound levels that could cause permanent hearing loss Do not operate for a long period of time at a high volume level or at a level that is uncomfortable If you experience any hearing loss or ringing in the ears you should consult an audiologist SAVE THESE INSTRUCTIONS THIS LIMITED WARRANTY VALID ONLY WHEN PURCHASED AND REGISTERED IN THE UNITED STATES OR CANADA ALL EXPORTED PRODUCTS ARE SUBJECT TO WARRANTY AND SERVICES TO BE SPECIFIED AND PROVIDED BY THE AUTHORIZED DISTRIBUTOR FOR EACH COUNTRY Ces clauses de garantie ne sont vaiables qu aux Etats Unis et au Canada Dans tour les autres pays les clauses de garantie et de maintenance sont fixees par le distributeur national et assuree par lul seion la legislation envigueur Diese Garantie ist nur in den USA and Kanada gultig Alle Export Produkte sind der Garantie und dem Service des Importeurs des jewelligen Landes unterworfen Esta garantia es valida solamente cuando el producto es comprado en E U continentales o en Canada Todos los productos que sean comprados en el extranjero estan sujetos a las garantias y servicio que cada distribuidor autorizado determine y ofrezca en los diferentes
109. tarts at the maximum decays for time T1 to L1 decays for time T2 to L2 then decays for time T3 to L3 Because L3 0 there is no sustain time Because T4 0 there is no release time if you lift your finger off the key before the decay has occured For most percussive sounds you ll want to add some release time Typical L values 0 4 99 40 20 00 00 Typical T values 1 4 09 09 24 00 T1 T3 0 LO L3 Ta VA key key down up This is a different type of percussive envelope in that all you need to do is tap a key the note will decay regardless of whether or not you keep your finger on the key This is useful when synthesizing struck sounds since with something like a marimba you hit the note once and it decays all by itself The key to this envelope is setting LO L3 to 99 and T1 T3 to 0 When you tap a key the envelope generator instantly jumps to L3 and since the key is also being released instantly the release phase immediately starts and lasts for the time determined by T4 Ti T2 T3 Tsus T4 down up Wind instrument envelope 3 16 The figure at the bottom of the preceding page is a typical wind instrument envelope It starts at a low level then rises over times T1 and T2 to a maximum level set by L2 Then there s a slight decay to L3 which sets the sustain level sustain is needed here because a wind instrument will sustain for as long as you blow into it Releasing th
110. th controllers and modulation wheels can vary sounds as you play thus adding expressiveness MIDI allows for 64 continuous controllers these act like potentiometers in that you can choose one of many different values and 58 switch controllers these choose between two possible states such as on off Each type of controller is stamped with its own controller identification number Not all controller numbers have been standardized for specific functions but the following indicates the current list of assigned controllers Numbers in parenthesis in dicate the controller range 1 Modulation Wheel 0 127 2 Breath Controller 0 127 3 Early DX7 Aftertouch 0 127 4 Foot Controller 0 127 5 Portamento Time 0 127 6 Data Slider 0 127 7 Main Volume 0 127 8 Balance 0 127 10 Pan 0 127 11 Expression 0 127 16 General Purpose 1 0 127 17 General Purpose 2 0 127 18 General Purpose 3 0 127 19 General Purpose 4 0 127 32 63 Least Significant Bits Controllers 0 31 0 127 not offen used and therefore not accessible from the DPM V3 64 Sustain Pedal 0 or 127 65 Portamento On Off 0 or 127 66 Sustenuto Pedal 0 or 127 67 Soft Pedal 0 or 127 69 Hold 2 0 or 127 80 General Purpose 5 0 or 127 81 General Purpose 6 0 or 127 82 General Purpose 7 0 or 127 83 General Purpose 8 0 or 127 92 Tremolo Depth 0 127 93 Chorus Depth 0 127 94 Celeste Depth 0 127 95 Phase Depth 0 127
111. th this effect Page 1 Parameters Ys Freq 1 9 2 1 2 4 2 8 3 2 3 8 4 8 6 4 9 6 19 2 00 09 Higher values increase the brightness and complexity of the excited sound Contour 00 99 Higher values increase the depth of the Exciter Mix Controls the mix of dry and processed wet signals The variable mix parameter shows the ratio between dry and wet signals as well as DRY for all dry and WET for all wet signals The mix value affects only the wet dry balance within the effect it is in dependent of the mix levels for Effect 1 and Effect 2 the L parameter described in section 4 2 EQ The DPM V3 Exciter also contains a fully programmable 2 band equalizer see EQ Parameters 4 3d for details 4 4 COMBINATION EFFECTS PARAMETERS The combination effects use the same parameters as described above Exam ple Reverb Chorus presents the same parameters as the individual Reverb and Chorus effects The order of effects can make a big difference in the overall sound As always ex perimentation is the key to learning these differences but following are some specific examples to get you started Distortion Reverb and Reverb Distortion Placing distortion before reverb gives a clean reverb effect superimposed on a distorted sound Placing distortion after reverb distorts the reverb signal giving a dirty reverb effect 4 10 Delay Chorus and Chorus Delay Placing delay before chorus means that chorus will produce an overall
112. the DPM V3 MIDI thru output to the next tone module s MIDI in Patch the second module s thru into an additional module s MIDI in and so on 13 Caution Do not attempt to connect more than three or four units together using thru connections as this may affect the integrity of the MIDI data PORO ICIOAO IV RO AVR RNA Master keyboard MIDI out sub 2 eo VO 99 MIDI out thru sub1 main 0080 sub2 subi 09 VO 99 MIDI out thru main OO On sub2 subi 99 VO MIDI out thru main OO On Qu MIDI cables 1 2d Studio Use with a Sequencer In many studio applications the DPM V3 will serve as a multitimbral sound expander module The sequencer will probably generate data over several channels the DPM V3 can be programmed so that individual programs play sequenced data from specific channels Example If the sequencer is sending out a piano part over channel 1 a bass part over channel 12 and a string pad over channel 14 the DPM V3 could be programmed so that a piano sound plays only the MID data assigned to channel 1 a bass sound plays only the MIDI data assigned to channel 12 and a string pad plays only the MIDI data assigned to channel 14 This is called a Multi setup the DPM V3 holds four such Multis named Multi1 Multi4 Audio Multi timbral operation is a bit more complicated because the six outputs Main L amp R Sub 1 L amp R and Sub 2 L amp R allow for a vari
113. ther or both could also be set up as single effects or be bypassed if you don t want any effects at all Note how the send parameter determines how much signal goes to Effect 2 4 3 Effect 1 from OSC DCA Filter Output PenModulefe pf Effect1A o stages eries parallel or dual H To left audio ou To right audio c R Effect 28 4 1c Signal Processors Multi Configurations and MIDI Calling up a program calls up a particular set of signal processing parameters but what happens in a Multi configuration where you have multiple programs The DPM V3 even when in a Multi configuration where different programs respond to different channels nonetheless uses MIDI base channel information the channel that would be selected if the unit was in MIDI Poly mode the base channel is the first parameter in the MIDI menu If a program in a Multi is set to the base channel then its signal processing effects parameters will affect all programs that are part of the Multi If no program in a Multi is set to the base channel then the DPM V3 will use whichever program parameters belong to the program that would be selected if the DPM V3 was not in a Multi configuration Example lf you select Program 027 then switch over to a Multi the effects parameters for Program 027 will still affect all pro grams that are part of the Multi The base channel is also important because sending a program change over the base channel to
114. tions involve stereo or mono outputs and a master MIDI keyboard or other MIDI controller MIDI guitar drums etc The keyboard will usually send data in poly mode all data is sent over one channel Refer 1 2 to the MIDI supplement if you are confused about the difference between in dividual MIDI modes Audio Referring to the figure below plug the Main left and right outputs in to a suitable amplification system or mixer You have three main options one mono and two stereo e Option 1 Mono Run a mono cord from either the left or right Main out put to your amplifier Option 2 Stereo Connect two mono cords from the left and right Main outputs to a stereo amp or two mixer inputs If you need a keyboard mixer Peavey makes the PLM 8128 an automated mixer that responds to MIDI program changes and the Linemix 8 a standard lower cost eight input line mixer e Option 3 Stereo Connect a stereo cord i e with tip ring and sleeve connections from the l ft Main output the one labelled STEREO im portant to a matching Stereo connector in your amplifier or mixer MIDI out thru in sub2 subi main OOO 900e9o0 OF I sub2 subi main sub2 sub main two mono cords stereo tip ring sleeve input inputs amp or mixer amp or mixer amp or mixer MIDI Run a MIDI cable from the master keyboard s MIDI out to the DPM V3 s MIDI in To drive additional tone modules from the same keyboard patch
115. tive values the levels will decrease as you play from left to right on the keyboard f Caution The very highest C reacts strangely to Keymod parameters for reasons too complex to go in to here For values 97 through 99 the highest C will produce minimum levels for values 97 through 99 the highest C will produce maximum envelope levels Page 3 TIMES Parameters Time Parameters The four time parameters T1 T4 are variable from 0 minimum time to 99 maximum time Page 4 TIMES Parameters Velmod 99 to 99 Keyboard Velocity Velmod ties the T1 envelope generator time to velocity A Velmod setting of O means that the envelope time will not be affected by velocity If T1 sets an attack time i e L1 has a lower value than L2 positive values increase the attack time as you play harder negative values decrease the attack time as you play harder The latter is more common particularly for wind voice and other sounds which when played forcefully have a sharper attack If T1 sets a decay time e L1 has a higher value than L2 positive values increase the decay time as you play harder negative values decrease the decay time as you play harder Keymod 99 to 99 Keyboard Note Position modulation Keymod ties T4 to keyboard note position Since 14 specifies the release time Keymod is most effective with percussive sounds 3 19 Positive values increase the release time as you play higher up on the keyboa
116. ulation Matrix Modulation modifies some aspect of a sound over a period of time Since synthesizers inherently make static sounds unlike acoustic instruments whose timbre and dynamics change often radically over the duration of a note proper use of modulation is the key to making more expressive sounds The DPM V3 has a variety of modulation sources depicted by blocks with heavy lines as shown in the figure below These are described in detail in the reference section The main categories are Modulation signals generated by the way you play the keyboard or other controller driving the DPM V3 Velocity Note Position and Pressure Envelope generators these produce a programmable modulation change over time FOs these produce periodic oc modulation changes over time such as vibrato or tremolo Performance controls modulation wheel and foot pedal which are designed to be manipulated in real time as you play e External MIDI control this allows external MIDI control signals e g from a se quencer to control some aspect of the DPM V3 s sound ENY1 a O Se eae EERO EN OMAN EAN xh LL Eee S AE ki 3 3 The DPM V3 arranges its modulation source outputs and modulation destination inputs into a matrix so that virtually any output can feed virtually any input The OSC DCA FILTER and PAN modules have two independent inputs that can be assigned to any mo
117. up a sound by delaying the sound by a small amount generally less than 25 milliseconds changing the delayed sound s pitch periodically with LFO modulation then mixing the delayed and straight signals together The various phase cancellations and additions that occur as the delayed and straight signals interact produce chorusing With many synthesizers the recommended way to chorus is layering two identical sounds together and slightly detuning them However this cuts the available polyphony in half since two notes are layered on one key The DPM V3 provides two chorusing methods that don t use up more voices in addition to the Effect 1 or 2 chorus effect you can also assign the same sound to OSC1 and 2 in a voice and slightly detune them On If you re really wild about detuning you can use the methods described above and create a Combi patch with two or more detuned layers Also note that the chorus effect can be used for flanging as described below Page 1 Parameters Delay Seis the initial chorus delay time in 0 5 millisecond increments from 00 5 ms to 25 0 ms Generally the range of 12 to 25 ms is ideal for chorusing 00 5 ms to 12 ms is a good range for flanging effects Rate Sets the periodic modulation rate from 0 0 Hz to 9 9 Hz in 0 1 Hz increments Use slower rates e g 0 3 Hz for flanging Page 2 Parameters Depth 00 99 Varies the modulation amount from 00 no modulation to 99 maximum modulation Flanging usua
118. ve higher Assign the same sound to both oscillators on DCA1 use pressure as a modulator with amount equal to 99 and level equal to 99 On DCA2 again use pressure as a modulator but this time set the amount equal to 99 and level equal to 0 Increasing pressure will fade out DCA1 and fade in DCA2 Another common application for pressure is to add vibrato or tremolo after a note is held down The advantages of dual LFOs When creating orchestral string patches remember that in a real orchestra each player s vibrato will be at a slightly different rate Therefore modulate one oscillator with LFO1 set to a particular frequency and modulate the other oscillator with LFO2 set to a slightly different frequency This helps create a more randomized effect Volume balancing As you develop a set of patches you ll probably want them to have similar overall volume levels Usually the easiest way to adjust this is with the signal processor L parameters However when switching output modes remember that with individual outputs Effect 2 is inactive this may affect the overall volume 6 10 Creative use of the modulation wheel Just because everyone seems to assign the modulation wheel to LFO amount for vibrato doesn t mean you have to be normal Here are some suggestions on creative mod wheel applications Crossfading Refer to Other Pressure Tricks above for the parameter settings but use Mod Wheel instead of Pressure as the modulator
119. y written by CRAIG ANDERTON DPM V3 Owner s Manual CONTENTS Chapter 1 Introduction 1 1 1 1 ABOUT THIS MANUAL sese nnne 1 1 1 2 1 2 TUTORIAL AND SETUP ON THE AIR IN 15 MINUTES WITH THE DPM V3 mc AAA O UO ERE rent e op p es 1 2 1 2b Just Wanna Hear the Demo 6 0 cece e 1 2 1 2c Live Use with a MIDI Keyboard or Other Controller 1 2 1 4 1 2d Studio Use with a Sequencer 0 2 0 0 0c esses 14 1 6 1 28 Powering Up cns nx o be Foe eee eee e eset 1 6 1 3 GETTING AROUND THE DPM V3 THE FRONT PANEL 1 6 1 7 1 4 QUICK PARAMETER SETUP 14a Live Use with MIDI Keyboard 7 sss 1 8 1 4b Studio Use with a Sequencer n eee ees 1 8 1 9 PAG The Payoltl ies eoo ett tm eren aa HART EU Eus 1 9 1 10 1 5 ABOUT DYNAMIC ALLOCATION eese 1 10 Chapter 2 Modifying Existing Sounds 2 1 2 1a 2 1b 2 10 2 1d 2 1e 2 2 2 2a 2 2b 2 20 2 2d 2 2e 2 2f 2 3 2 3a 2 3b 2 30 2 3d 2 3e 2 3f GLOBAL MENU TWEAKS 2 1 ES exi edP Pa he Eb De pe Ve al D 2 1 Velocity CUES once see emen eene aom ec qe Ce Leg 2 1 Display Viewing Angle 0 00 lE 2 1 2 2 Memory Protect o med ve RU dence REN awe reed 2 2 Cartridge Memory Management sss 2 2 2 3 MIDI MENU TWEAKS 2 3 Set Middle Ce conri ts gators pia a POETS 2 3 Choose External MIDI Controller eene 2 3 24 Filter Out MID Dala ii eate raie terr Renee erre ba 24 MIDI Program
120. y edits you have made Initialization is useful if for example you want to create a set of sounds from scratch Initialization is also a service procedure Sometimes microprocessor controlled devices will lock up due to spikes or surges on the AC line a static electricity jolt or other gremlins Initialization will reset the unit and in many cases prevent a trip to the repair shop Remember any patches will be lost during initialization Back up the factory pat ches when you first receive your DPM V3 and save your work often so that if you ever do need to initialize your edits will not be lost To initialize 1 Turn the power off if it s on and wait 15 seconds or more 2 Hold both the PROG and Right Arrow buttons down while turning on power 3 Continue holding down the buttons until the display shows P000 Initialized 2 9 Chapter 3 DPM V3 Programming 3 1 HISTORY AND BACKGROUND Synthesizers used to consist of various hardware modules some of which generated signals and some of which modified those signals Much of audio involves elements that make sounds and elements that modify sounds such as a guitar and amplifier Early synthesizers were highly experimental devices To be as general purpose as possible patch cords connected the inputs and outputs of the various signal generating and processing modules which is why particular synth sounds were called patches Changing a patch involved manually repo

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