User manual SOMMERKAMP FT-200

[. . . ] This section provides a brief tour of the FT-200, shows you how to audition the various sounds of the FT-200, and points out the various performance features. Details rear panel connections (like MIDI, footpedals and the serial interface), proper hook-up procedures, plus application examples. Covers the structure of sound sources within the FT-200, how to read and navigate through the LCD display pages, how to edit parameters, and how to store edited Drum Sets. MIDI basics, trouble-shooting, maintenance and service information, and the MIDI Implementation Chart. Conventions The buttons, knobs, and rear panel connectors and switches are referred to in this manual just as their names appear on the FT-200, using all capital letters and in brackets (Example: [DRUM SET] button, [ ] and [ ] buttons, [VALUE] knob, etc. ). [. . . ] Thus, the kick will appear in the left aux output, and the snare will appear in the right aux output. These outputs can feed different signal processors and then be sent to a mixing board. Make sure that the drums selected for individual outputs are panned to the extreme left or right in the FT-200. Otherwise, some of the sound from one drum will leak into the other output. Separate Percussion/Drum Outputs: Standard drum kit sounds can be spread in stereo and assigned to the main outputs, with percussion sounds spread in stereo and assigned to the Aux outputs. Run the outputs to a mixing console, and you can treat the drum kit and percussion sounds as two submixes. This technique might also be useful if you're recording the part on tape; feed the drums to two tape tracks, and the percussion to two other tracks. Adjust the balance between the two in the mix, or fade the percussion in and out independently of the trap drum sounds. Or, process the two groups individually. 30 FT-200 Reference Manual Overview: Chapter 4 DRUM SET Press [DRUM SET], and the display shows the selected Drum Set number on the left side and the Drum Set's name on the top line. To select a particular Drum Set, turn the [VALUE] knob. Drum Set selection and management is covered in more detail in Chapter 2. EXT TRIG Press [EXT TRIG], and the display shows the Trigger input at the bottom and Trigger Characteristics on the top line, and the note associated with the Trigger in the middle. External triggering is a complex topic and is described in detail in Chapter 6. GROUP Press [GROUP], and the display shows the selected MIDI note number in the middle and the assigned Drum's mode on the top line. There are four options: Multi: When triggering a note repeatedly, each trigger will cause the sound to go through its entire decay. Example: If the Root Note is lowered from 36 to 35, then all notes will be triggered by a note one value lower than the existing assignment--e. g. , what was triggered by note 96 will now be triggered by note 95, what was triggered by note 72 will now be triggered by note 71, etc. With the Root parameter selected (flashing), turn the [VALUE] knob to select the desired Drum Set root note. Unlike other MIDI parameters, this value (0-67) is stored as part of a Drum Set and can be different for each Drum Set. FT-200 Reference Manual 33 Chapter 5: MIDI Functions MIDI CHANNEL The FT-200 can receive and transmit MIDI data in Omni mode (receives data appearing on any of the 16 MIDI channels, transmits data over channel 1) or Poly mode (transmits and receives over any single one of the 16 MIDI channels). Use Omni mode when playing only the FT-200 from an external MIDI controller (MIDI drum pads, MIDI keyboard, etc. ) since it's not necessary to match channels. When several instruments are being driven by MIDI (e. g. , when a sequencer sends out data over several channels to different instruments), use Poly mode so that the FT-200 tunes in to only the channel containing drum data. With the Chan parameter selected (flashing), turn the [VALUE] knob to select 00 (Omni mode) or one of the 16 channels (01 ­ 16); selecting a single channel automatically puts the FT-200 in Poly mode. MIDI THRU/OUT This parameter has three settings: Off. , On and Overflow (FLo). When set to on, this function passes data appearing at the [MIDI IN] to the [MIDI OUT/THRU] jack, as well as to the FT-200's internal circuitry. This input data is merged with any data being generated by the FT-200. Example: If the FT-200 is being used for trigger-to-MIDI conversion and Thru is on, the notes generated by the triggers will be merged with the data appearing at the [MIDI IN] jack. When set to off, the [MIDI OUT/THRU] jack serves as a MIDI Out only from the FT-200. Input data present at the FT-200's [MIDI IN] is not passed through. [. . . ] An optional MIDI Thru jack provides a duplicate of the signal at the MIDI In jack. This is handy if you want to route MIDI data appearing at one device to another device as well. FT-200 Reference Manual 55 Appendix B: MIDI Supplement MIDI MESSAGE BASICS The are two main types of MIDI messages. Channel messages, which are channelspecific, 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. CHANNEL MESSAGES: MODE MESSAGES There are two messages that determine the MIDI mode (i. e. , how a device will receive MIDI data). [. . . ]