TrapKAT Manual
TrapKAT Manual
TrapKAT Manual
Manual
2. CONNECTIONS ----------------------------------------------------------------------------- 7 - 8
Power
Footswitches
MIDI In
MIDI Out
Bass Input
HiHat Input
Breath Control Input
6. HiHat ----------------------------------------------------------------------------------------- 21 - 24
Selecting Pads to be HiHat Pads
Defining Settings For Open, Closed, and Chick Sounds
Changing Open Settings
Changing Closed Settings
Changing Chick Settings
Foot Control Assign
Training Your HiHat Pedal
Defining Settings For Splash
7. EDITING GLOBAL SETTINGS ------------------------------------------------------- 25 - 30
Adjusting Response of Playing Pads
Pad Train, Pad Threshold, Pad Lo and Hi Dynamics
BASS Input Gain
Preferences
FactoryKits/UserKits,
UserKit Groove Enable, Groove Volume
Memory Protect, Merge ON/OFF,
Cymbal Choke Enable
General MIDI Note Names ON/OFF
Display Viewing Angle, Beeper ON/OFF
Data Dumps
All Memory, 1 Kit, Global
Reinit trapKAT
Receive Program Channel
9. APPENDIX ---------------------------------------------------------------------------------- 34 - 48
A: Trouble-Shooting Help - What if it isn’t working?
B: KIT/PAD EDIT layout, GLOBAL EDIT layout
C: Glossary of Terms
D: Kit Templates
E: MIDI For Percussion
F: MIDI Implementation Chart
G: System Exclusive Documentation
H: Instructions for Inserting New Software
I: Train Breath Controller
J: Warranty / Care and Maintenance
K: Alternate Mode Inc. / Customer Service
UNPACKING: When you unpack your trapKAT, you should find the following:
1 trapKAT 24 Surface controller 1 locking AC Adaptor
1 KF1 footswitch 1 MIDI Cable
A 5/64” Allen wrench 1 manual
REGISTRATION CARD: You also will find a registration card enclosed in your manual. Please
fill it out and send it in so we can keep track of you for product
updates and new product information.
MOUNTING: The simplest and most elegant mounting solution for the trapKAT is the
stylish and attractive “trapKAT Stand”. Designed specifically for
the trapKAT, this stand sets up quickly and provides a stable
mount for the trapKAT.
Another choice is the 550 stand. This practical stand folds up
compactly for easy transport.
Using two of the optional DKB mounting brackets, the trapKAT can be
mounted on a variety of KAT drum stands and stand parts. The
DKBs mount to the bottom of the trapKAT with 4 (1/2” x 10/32”)
screws. Consult our latest KATalog or your dealer. Where and how
you mount your trapKAT is largely a matter of personal taste.
3
1. Introduction
CASES: A special trapKAT case, which will hold your sticks, a footswitch, a
hatKAT, and a fatKAT, is also available . (Remember the life of
your instrument will reflect the care that you give it. If you choose
not to use a case in transit, the trapKAT may get damaged.)
4
1. Introduction
PRODUCT OVERVIEW: The trapKAT is a velocity sensitive MIDI Controller with a spacious
layout that is comfortable for drummers and percussionists. The
playing surface responds to a wide dynamic range and has a great
feel and rebound. The 24 playing surfaces consist of 10 large playing
pads and 14 “poleKAT-style” zones that are played with the
shoulder of your stick (like the rim of an acoustic drum). This
allows you to physically spread out your playing area. With a
variety of stand mounting options and accessories, the set up and
transport of your full trapKAT Kit is as easy as it is convenient.
You will find that the infectuous Melodic and Percussive Grooves are a
great practice tool. These built-in Grooves are fun patterns of bass,
chords, and percussion that pull you in to play along. Since you can
now play with headphones, you are now able to practice when
literally everyone else has gone to sleep.
The Bass input expects a bass drum trigger input from a kicKAT,
fatKAT, or miniKICK. The HiHat input expects positional
information from a hatKAT control output or a footswitch. A
Breath Control input works with the BC-2 Breath Controller. The
trapKAT comes with a locking AC Adaptor.
There is one MIDI IN jack and a pair of MIDI OUT jacks. The MIDI
OUT jacks are the means by which your trapKAT can control one or
more sound sources. Also, the MIDI OUT jacks allow you to “dump”
your internal trapKAT settings, or data, to an external MIDI disk or
a computer. The MIDI IN jack allows the trapKAT to receive
“DataDumps” of internal settings, that you may have saved to an
external MIDI disk drive, back into your trapKAT. The MIDI IN
jack also allows you to “merge” information from another controller
(such as a malletKAT, drumKAT, or dK10) into the data stream
that comes out of your trapKAT to your sound source.
5
1. Introduction
Keep in touch with us, because your trapKAT will have several
upgrade options that you will find as exciting as the original
purchase of the trapKAT itself! (The editing names on your
playing pads - although not used now - will be used when we
upgrade to trapKAT PRO). In the meantime, have a great time
playing and creating with your new trapKAT!
6
2. Connections.
ON / OFF
9 Volts
+ BASS DRUM HATKAT /
KF1 INPUT
INPUT
FOOTSWITCHES: There are four footswitch inputs. One KF1 is supplied with your
trapKAT - plug it into the Kit Select input. If you plan on doing
much editing (changing settings in your Kits), you should consider a
KF3 triple footswitch in addition. If you do have a KF3 triple
footswitch as well, plug it into the remaining 3 footswitch inputs on
the trapKAT. KAT KF1 and KF3 footswitches can be plugged and
unplugged and moved to other inputs with the power on.
If you are not using KAT footswitches, plug in the footswitch before
turning on the trapKAT. The trapKAT will read the type of
footswitch on power-up and automatically adjust for the type you
have.
7
2. Connections
MIDI IN: The trapKAT has one MIDI IN jack to receive MIDI information from
another controller, a sequencer, or a computer. The trapKAT can
block or merge this information into the trapKAT’s MIDI OUT
jacks.
Saved DataDumps of your Kits can be received back into the MIDI IN
of your trapKAT from external MIDI Data Disks or Computers.
If you are a newcomer to electronic drums, you very likely will not use
this input much.
MIDI OUT: The trapKAT has two MIDI OUT jacks. These jacks carry identical
information, giving you cabling options. The MIDI OUT sends Note
& Control information from the trapKAT, merged with information
from MIDI IN (if merging is ENABLED (see p.28)).
Connect a MIDI cable from one of the MIDI Outs of the trapKAT into
the MIDI In of your sound source.
BASS INPUT: You may connect a variety of triggering sources including the kicKAT,
fatKAT, & miniKICK foot triggers from KAT. You "TRAIN" the
trapKAT for whatever type of trigger you have plugged into the
BASS Trigger Input. The BASS Trigger is “Trained” in the same
way as the pads (see p.25-27). The BASS INPUT has a separate
“GAIN” that is selectable in GLOBAL EDIT - see p.27. The BASS
INPUT can be assigned to any MIDI NOTE or CHANNEL in the
same way that the pads are assigned (see p.15-16).
HIHAT INPUT:
The HiHat will accept either a footswitch (KF1 or KF3) or a hatKAT
foot controller (connected from the hatKAT Control output with a
standard 1/4” shielded cable). The main use of this input is for
HiHat control. The Chick or Foot sound of the HiHat is generated
from this input. In addition, the selection of Open or Closed sounds
on any HiHat Pads is controlled by the position of what is plugged
in here. If a hatKAT is plugged in here, you can have continuous
control from Closed to Open in many of the current sound sources.
The actual training of the hatKAT pedal is explained on p.24.
8
3. MAKING A SOUND - FactoryKits.
The simplest way to get your trapKAT up and running is to get into the
FactoryKits. If you are not already connected and powered-up, do
the following:
• Connect a KF1 footswitch into KIT SELECT footswitch input. This
footswitch moves you around in the FactoryKits.
• Connect a MIDI cable from either of the two MIDI OUTs in the back
of the trapKAT and connect the other end of the cable into the
MIDI IN on your sound source.
• Connect the AC adaptor plug into the power input on your trapKAT.
Screw the AC adaptor retention ring firmly onto the receptacle on
the back of the trapKAT. Plug the AC adaptor into a wall socket
and turn the power on the trapKAT on.
Your display will tell you whether you are in Factory Kits or User Kits:
FactoryKit: 01
MG: Marimba 120
OR
UserKit: 01
PG: Clave 112
If the screen says you are in UserKits, then do the following to get the
trapKAT into the FactoryKits:
1. Move the KAT KF1 footswitch into the “GLOBAL EDIT”
footswitch input.
2. Depress the GLOBAL EDIT footswitch and while it is
depressed, hit pad number 1 (middle-left of trapKAT). The
display will say:
Hit Pad Again To
SelectFactoryKit
3. Keep the GLOBAL EDIT footswitch down and hit pad 1 again.
4. Release the GLOBAL EDIT footswitch. You are now in
FactoryKits.
FactoryKits:
• The last remaining thing you may need to do to get yourself set up is
to get your sound source responding. Plug headphones into your
sound source and play on your trapKAT. If your sound source is any
of the following MIDI sound sources, it should now easily work
with the trapKAT.
9
3. Making A Sound - FactoryKits
MIDI sound sources that the trapKAT should instantly work with:
Alesis D4 Korg 05R/W
Boss DS330, DR550, DR660 Roland TD5, TD7, R8Mk2, Sound Canvass
E-mu Procussion (FactoryKit 23) Yamaha TMX, RY30 (FactoryKit24 -Channel 1)
Kawai GMega
(If your sound source is not responding when you play on the
trapKAT, refer to p.34. Appendix 1 “What If It Doesn’t Work?”)
Your trapKAT display will say:
FactoryKit: 01
MG: Marimba 120
To select different KITs, hit any of the 24 pads, while the KIT SELECT
footswitch is depressed. Now, spend some time trying the 24
FactoryKITs. Notice that some KITs (like KIT03) have entirely
different sounds selected than other Kits. Other KITs, like KIT01
and KIT02 have the same sounds in different layouts. Have fun!
(As an added convenience, for the occasional times when your sound
source may have a “stuck note” (sustaining forever), simply depress
the KIT SELECT footswitch and hold any pad for 1 second. A series
of ALL NOTES OFF commands will be sent to quiet the stuck note.)
If you hold down a pad without any footswitch depressed, you sustain
the note of that pad.
10
4. Playing a GROOVE.
If your best friend is a Bass player and likes to practice any time you
want, then these Grooves won’t be of much interest to you. If
instead, you have a hard time finding someone to practice with,
when you want, Grooves are the next best thing. These patterns
were recorded simply to be fun to play along with.
In FactoryKits and optionally in UserKits (see p.28) the rimPads 15, 16,
23, and 24, are used to control the GROOVES.
General MIDI devices that the trapKAT MELODIC GROOVEs will instantly work with:
Boss DS330
Kawai GMega
Korg 05R/W
Roland R70, Sound Canvas
GROOVE START/STOP:
To start a selected GROOVE, hit START/STOP (rimPad 24). To stop
the GROOVE, hit rimPad 24 again.
11
4. Playing In a GROOVE
GROOVE TAPTEMPO:
To change the tempo of any Groove, simply hit TAP TEMPO
(rimPAD23) twice at a quarter note of the tempo you want. The
display will tell you what tempo those quarter notes were and the
GROOVE will immediately start playing at that tempo (as long as
it is between 40 and 240 beats per minute.)
UserKit: 01
PG: Clave 96
Even this little TapTempo Pad can be a fun practice aid - helping you
work on your perception of real-time tempos. You can practice
difficult licks and fills with the tempo slowed down and as your
skill increases you can speed the tempo up to keep challenging
yourself.
The Note that is played when you hit theTapTempo rimPad can be
adjusted in the same way as the other pads (see p.15-20). The
difference here is that the settings for the Tap Tempo pad are
Global - meaning whatever sound you select for the Tap Tempo pad
is used by all Kits.
GROOVE VOLUME:
You may adjust the Volume of your Melodic and Percussive Grooves
relative to the Volume of your playing on your Kits. To access the
Volume of your Grooves, simply depress the GLOBAL EDIT
footswitch and hit Pad9. Successive hits of Pad9 will raise the
Groove Volume. The range of values is 0 to 10.
“Quick-click” the GLOBAL EDIT footswitch to decrease the Global
Groove Volume. To “quick-click”, while editing, means to release
the footswitch and quickly redepress it. The beeping will change to
indicate that you are now decrementing. (A second “quick-click”
will return you to incrementing.)
12
5. Editing KITs - UserKits.
Making changes to the settings (editing) in your trapKAT is easy. The
changes you can make range from changing the sounds (NOTEs) your
pads make, changing the way your pads respond to your playing
dynamics, to training how your HiHat pedal responds. In this
Chapter, you’ll see how to change all the settings in your UserKITs.
13
5. Editing KITs - UserKits
and then comeback to this KIT the change you just made will
disappear. Remember, all changes to FactoryKITs are temporary.
Pad15 Changes #
Pad16 to Copy
3. Now, with the KIT/PAD EDIT footswitch depressed, hit
rimPad16...
Copy To User 01?
Hit Pad16 Again
4. With the KIT/PAD EDIT footswitch still depressed, hit
rimPad16 a second time to verify that you do want to do the
copy. The display now says:
Copy Completed
To UserKit: 01
You’ve done it! The KIT has been copied. The trapKAT also
switches to UserKits for you to be able to start using your new
UserKIT. So when the Copy Completed burst is through you
will see:
You Are Now In
UserKits!!
Release the KIT/PAD EDIT footswitch to get out of editing and
back to playing. Then the display will say:
FactoryKit: 01
MG: Marimba 106
(Doing a KIT Copy isn’t the only way to get from DemoKits to UserKits.
The usual way is using the GLOBAL EDIT footswitch - see p.28.)
14
5. Editing KITs - UserKits
EDITING IN UserKits:
The main difference in editing when you are in UserKits is that every
change you make to a KIT is permanently saved in that UserKIT
(KIT changes are temporary in FactoryKits).
All changes made to GLOBAL settings (Chapter 7 p.25) are
permanently saved (as they are in FactoryKits, as well.)
Now that we are in UserKITs, let’s try some of the other KIT/PAD
EDIT functions to make changes to your UserKITs. An illustration of
the layout of the KIT/PAD Functions is on p.36 in the Appendix. A
blank Template for documenting your kits is in the Appendix p.40.
CHANGING THE SOUND:
There are three main settings that affect the sound each pad makes.
They are the Channel and Note the pad is assigned to and which
Program your KIT selects on your sound source.
The Channel will affect what group of sounds the individual Note
numbers will select from. On a drum machine, the Channel selects
whether or not you get the drum sounds the drum machine has. On a
fancy “multi-timbral” sound module, Channel 10 is generally
assigned to drum and percussion sounds. The other channels are used
to select keyboard and orchestral sounds controlled by the
“Program” you select.
The Programs select which sub-group of sounds your individual Note #s
will select. On a drum machine, Programs select different groups of
drum sounds. For example, on most drum machines Note #38 selects
a snare drum and Note#36 selects a bass drum - the Program changes
which snare and bass drum sample you hear for Notes 38 and 36.
On a multi-timbral sound module Programs will call up entirely
different sounds like strings or horns or percussion.
Manually selecting the Note or sound per pad was described at the
beginning of this Chapter. Simply hold down the NOTE EDIT
footswitch and repeatedly strike the pad you want to change until
you hear (or see) the sound you want for that pad.
One additional thing to show is how to decrement the Note # if you
increment too far and want to go back a couple. You can decrement
the value by doing a “quick click” on the footswitch. To do this
while editing, release the NOTE EDIT footswitch. then quickly
redepress the NOTE EDIT footswitch (with no pad hit in between)
and then hit Pad1. This will reverse the process of Note selection.
This “quick click” method for reverse works for all of the other
editing functions as well. Notice that the beeper sound changes
when you go in reverse.
If your drum machine or sound source has buttons to play all of its sounds
(and your sound source sends Out MIDI information), MIDI In Auto
15
5. Editing KITs - UserKits
16
5. Editing KITs - UserKits
With the KIT/PAD EDIT footswitch depressed, hit Pad7. The screen
will say:
UserKit: 01
PrgChng Channel=11
To change the Program Channel just keep hitting Pad 7.
Now, to select different Programs on your sound source, hit Pad8 with
the KIT/PAD EDIT footswitch depressed.
UserKit: 01
Prog Change =001
To change this setting, simply continue hitting Pad7 (while the
KIT/PAD EDIT footswitch is still depressed.) Don’t forget that
“quick-clicking” your footswitch and then hitting a pad, while
editing, allows you to decrement values!
17
5. Editing KITs - UserKits
display says:
Hit Pad Again
for Pad Min Vel
So, hit rimPad12 again. Now the display says:
Change Min Vel
on Which Pad ?
18
5. Editing KITs - UserKits
Release the KIT/PAD EDIT footswitch and try it out. Velocity Curve 1
is a “linear” curve - the loudness increases in a smooth way from
soft to loud. Velocity Curve 2 is different. It stays soft longer as you
play harder - until finally it gets louder in a hurry at the top of
your dynamic range. Try all of the Velocity Curves. A brief
description of each is given below.
As with the other Velocity settings, you can change the settings for all
of the pads at the same time (Pad4=KIT Velocity Curve) or for
each pad individually (rimPad14=Pad Velocity Curve).
19
5. Editing KITs - UserKits
When you are using sounds that do respond to Gate Times, occasionally
some sound sources forget to shut off a note and a note gets “stuck on”.
Depress the KIT/PAD EDIT footswitch and hit rimPad22 twice and
a series of ALL NOTES OFF commands will be sent to quiet the note.
Also, since you may only have a KIT SELECT footswitch when you
are using your trapKAT, you may send ALL NOTES OFF commands
by depressing the KIT SELECT footswitch and holding down on any
pad for 1 full second.
DECREMENTING VALUES:
Remember, if you ever go too far incrementing a value and want to
decrement it, do a “quick-click”. That is, release the footswitch
and quickly redepress it. The beeping will change to indicate that
you are now decrementing. (A second “quick-click” will return you
to incrementing.)
20
6. HiHat.
Getting responsive HiHat control is a very important part of any
electronic percussion setup. In this Chapter, you will learn how to
train your HiHat response, select Note and other KIT settings for
Open, Close, Chick, and Splash sounds in your trapKAT. You will
also learn how to select different types of Continuous Control
information for advanced HiHat control with a hatKAT HiHat
pedal. The first topic to cover is how to select a pad to be a HiHat
pad.
The second line is blank because your HiHat pads have been
de-selected. The pads you hit next will be your HiHat pads
now.
3. If you want to change where your HiHat pads are, hit the pads
you want. Or, if you want to keep the HiHats where they
were, hit Pad4:
Select HiHatPads
04
Whenever you change which pad is a HiHat pad, you will often need
to change the sounds assigned to that pad to make it really be a
HiHat. We’ll show that next!
21
6. HiHat
4. If you now hit Pad6 again (with both the NOTE EDIT
footswitch and the HiHat pedal still depressed), the Note
value will increment.
5. To decrement, “quick-click” the NOTE EDIT footswitch as
described previously.
To change the other settings, like Channel, Velocities, and Gate Time,
use the KIT/PAD EDIT footswitch with the HiHat pedal
depressed.
To change the Minimum Velocity for the Chick sound do the following:
1. Depress the KIT/PAD EDIT footswitch.
2. Close the HiHat pedal and release it to play a Chick. The
display will say:
CHICK Note #044
PedlHiHat
3. If you now Chick the HiHat pedal again (with the KIT/PAD
EDIT footswitch still depressed), the Note value will
increment.
4. To decrement, “quick-click” the KIT/PAD footswitch as
described previously.
22
6. HiHat
3. If you now hit rimPad18 again the setting will run through the
choices of 01, None, and back to 04.
Generally, if you are using Continuous Controller HiHat, you will use it
on Channel 10. However, if you have more than one device that
responds to Continuous HiHat control (both an E-mu Procussion®
and a TD7®, for example), you will need to change the Foot Control
Channel in each Kit if you want to access the two sound sources
separately per Kit. This is done by hitting rimPad17 while
depressing the KIT EDIT footswitch. The choices for Foot Control
Channel are Channels 1 through 16 and “Same As Chick”. “Same
As Chick” is the standard setting for most applications. With this
setting, the FootControl Channel will always match whatever you
select for the Chick sound.
23
6. HiHat
4. So, depress the HiHat pedal and while the HiHat pedal is
depressed, hit rimPad17. The beeper will change and the
display will say:
Release Pedal
then Hit Any Pad
5. So, let up on the HiHat pedal and while the HiHat pedal is
released, hit rimPad17. The display will say:
Hi Hat Pedal
Train Complete!
That’s it! You’ve trained your HiHat pedal!
24
7. Editing Global Settings.
Making changes to the GLOBAL settings in your trapKAT is just as easy
as the changes to your KIT/PAD settings that you have learned in
the previous Chapters. The GLOBAL changes you can make range
from adjustments to the response of your pads, to Preferences like
FactoryKits/UserKits and turning the beeper off. An illustration
of the layout of the GLOBAL Functions is on p.37 in the Appendix.
Pad Train:
“Training” your pads consists of telling the trapKAT what a soft hit
and a hard hit are in your playing style. If you are a finesse
player, your hard hit may only be a medium hit for a basher. One
set of settings aren’t appropriate for both of you because when you
play through your personal dynamic range from soft to hard, you
need to get a full range of volume out of the sounds you are playing -
not just soft to medium loudness.
To train the trapKAT for your playing dynamics, do the following:
1. Depress the GLOBAL EDIT footswitch.
2. Hit rimPad11. The display will say:
Hit Pad11 Again
to Train Pads
3. Hit rimPad11 again. The beeper turns on & the display says:
Hit a Pad
Softly
4. Hit a Pad (or Bass Trigger) softly. Don’t try to do the softest hit
imaginable - do what you typically use as a soft hit in normal
playing. The screen says (if you had hit Pad1, for example):
Hit Pad 01
Hard
5. So hit the same pad again, this time hard. Don’t smash it as
hard as you can - do what you would typically use in normal
playing. Then the screen will say:
Pad 01
is Trained!
25
7. Editing Global Settings
Pad Threshold:
The training does not affect your bottom end sensitivity - or how light
of a hit your trapKAT may pick up. The Threshold is the setting
that affects how sensitive your pads are. The lower the value the
more sensitive that particular pad will be. However, if you make
the Threshold too low that pad may trigger itself.
Before you actually start adjusting your Thresholds, make sure that
your Minimum Velocity is high enough for you to hear your soft hits
(see p17-18). In some noisy environments (and with some sound
sources) Minimum Velocities of 40 or higher may be necessary. If
your Minimum Velocity is 02, the trapKAT may be picking up your
soft hits, but playing them too softly for you to hear them.
To see and adjust the Threshold of any of your pads do the following;
4. Hit a Pad. The display will show you the threshold for that
pad.
Pad01
Threshold = 14
5. If you strike that pad again, you will increment the Threshold
(less sensitive and less likely to false trigger.)
To decrement while editing, do a “quick-click”. That is, release
the footswitch and quickly redepress it. The beeping when you
hit a pad will change to indicate that you are now
decrementing. (A second “quick-click” will return you to
incrementing.) Do a quick-click and you will be back in the
screen you were in, but now decrementing. Do another quick-
click and you are back incrementing again. Also, if you are
decrementing and then select another pad without releasing
the foot, you will be decrementing that pad now.
6. If you strike any other pad you will see the value of its
Threshold and be able to change its value. It is normal for your
pads to have different values, so only change those you want to
make more or less sensitive.
Pad Low and High Dynamics:
The training of your pads determines two values: your Low Dynamic
26
7. Editing Global Settings
and your High Dynamic. These settings tell where your soft and
hard hits lie in the trapKAT’s range. As well as training with a
soft and hard hit, you may also go in and manually change these
values yourself. Here’s how:
1. Depress the GLOBAL EDIT footswitch.
2. Hit rimPad13 for Low Dynamics (or rimPad14 for High
Dynamics). The display will say:
Hit Pad Again
for Low Dynamic
3. Hit rimPad13 (or rimPad14) again. The display says:
Change Low Dynam
on Which Pad ?
4. Hit a Pad. The display will show you the Low (or High)
Dynamic for that pad.
Pad 01
Low Dynamic = 14
5. If you strike that pad again, you will increment the Low
Dynamic (higher Low Dynamic gives more of a plateau of your
Minimum Velocity at the bottom of your playing dynamics.) (A
lower High Dynamic will make you reach your Maximum
Velocity sooner as you play harder.)
To decrement the Dynamics, do a “quick-click”. (Release the
GLOBAL EDIT footswitch and then quickly redepress the
GLOBAL EDIT footswitch, without hitting a pad in between.)
6. If you strike any other pad you will see the value of its Low (or
High) Dynamics and be able to change its value.
Hits that are softer than your Low Dynamic setting will play at your
Minimum Velocity setting. Hits that are harder than your High
Dynamic will play at your Maximum Velocity. Your Velocity
Curve effects how quickly your loudness goes from the Minimum
Velocity to your Maximum Velocity - as you play from your Low
Dynamic to your High Dynamic. Experiment with these settings if
you would like to tweak your response.
27
7. Editing Global Settings
PREFERENCES:
There are a miscellaneous group of settings that we will tell you about
here, because they don’t easily fit in any other category.
FactoryKits / UserKits:
The advantage of FactoryKits is that all of the Kits should always
work with any GENERAL MIDI sound module - since the
FactoryKits can’t be permanently changed. If these FactoryKits
keep you happy then that is wonderful.
However, eventually you will probably want to create your own Kits
with your own layouts, Program Changes, and Velocity settings. To
make your own Kits you need to get into the UserKits. To do that is
simple - just depress the GLOBAL EDIT footswitch and hit Pad1 to
switch back and forth between FactoryKits and UserKits. That’s it!
Groove Volume:
You may wish to change the Volume of your Melodic and Percussive
Grooves relative to the Volume of your playing on your Kits.
To access the Volume of your Grooves, simply depress the GLOBAL
EDIT footswitch and hit Pad9. Successive hits of Pad9 will raise
the Groove Volume. The range of values is 0 to 10. “Quick-click”
the GLOBAL EDIT footswitch to decrease the Global Groove
Volume.
Memory Protect:
Once you have created your own UserKits and start practicing using
them, you may want to have a little protection from accidentally
changing them. If Memory is Protected, the trapKAT will not
allow any permanent changes to be made to your UserKits.
To return to Memory Not Protected, so you can make real changes to your
UserKits, depress the GLOBAL EDIT footswitch & hit Pad3 twice.
Merge ON/OFF:
MIDI information coming into the MIDI IN of your trapKAT may be
passed (or merged) through to the MIDI OUTs if Merge is ON. If
you have another controller besides your trapKAT, you may want to
use both that and your trapKAT into the same sound source. The
Merge setting allows you to do that. If you have a keyboard sound
source routed back in for MIDI IN Note AutoLoad, you may hear a
MIDI “Loop” - flanged sounds or sometimes a literal cacophony of
sound if you are merging Notes back through to the sound source
again in a loop. To stop this effect, turn the Merge OFF.
To change your Merge setting, simply depress the GLOBAL EDIT
footswitch and hit Pad4 twice.
28
7. Editing Global Settings
Beeper ON/OFF:
Normally, the beeper gives you auditory feedback as you do editing on
your trapKAT. If you find that annoying, you can shut it OFF.
To change the Beeper On/Off setting, simply depress the GLOBAL
EDITING footswitch and hit rimPad19 twice.
29
7. Editing Global Settings
One Kit:
To dump out the current Kit, simply depress the GLOBAL EDIT
footswitch and hit rimpad24 twice.
Global Memory:
To dump out the Global Memory (Pad Thresholds, Dynamics,
Preferences, etc.), simply depress the GLOBAL EDIT footswitch
and hit rimpad23 twice.
RE-INIT trapKAT:
To Reinitialize your trapKAT back to all of the original Factory
settings, simply hold down the GLOBAL EDIT footswitch and hit
rimPad15. The screen will say:
Depress Pad1 and
Hit Pad15 Again
If you then hit rimPad15 again, while holding down Pad1, and while
still depressing the GLOBAL EDIT footswitch, the trapKAT will
return to the original settings for everything - UserKits, Pad
Thresholds, Preferences, etc.
30
8. MIDI Primer:
What is MIDI anyway? First, MIDI is an acronym for Musical
Instrument Digital Interface.
It is a standard or an agreement among the various musical instrument
manufacturers that we will all use the same kind of connections and
electrical signals so that any two musical instruments can be
connected together and work.
CONNECTIONS:
MIDI connections are all made with “5 pin DIN cables” that plug into
“5 pin din jacks” on the musical instruments. Only two wires are
used in these cables to carry the information from one instrument to
another. A MIDI Out jack is used by an instrument to send
information to another. A MIDI In jack is used by an instrument to
receive information from another.
SIGNALS:
The electrical signals of MIDI are digital, not analog. This ensures
that the communications will be exact. The expression “close
enough for rock-and-roll” doesn’t apply here. If you want to hear a
snare drum, but some of the time hear a bass drum instead, because
they are close to each other in the note table, you’d get upset.
Digital gives you exactly what you asked for.
The signals are serial, not parallel. This means you don’t need a
complicated or expensive cable to make the connection. One pair of
wires in the cable will do.
The signals are opto-coupled. Current flowing through the MIDI cable
turns on a tiny light inside a chip inside the receiving instrument
which ends up producing the electrical signal that the receiving
instrument uses. Wow! Cool, huh!? That means that there is no
ground connection between the MIDI-connected instruments. This
eliminates 60 cycle hum from ground loops between these
instruments.
CONCEPTS:
If we use a telephone line analogy, MIDI Channels are like phone
numbers. Sound Sources are like homes. MIDI Notes are like the
individual people in the individual homes that has that phone
number. MIDI Velocity is like the information you tell the person
you are talking to.
A separate MIDI Channel is usually assigned to each Sound Source you
are using (like a phone number per home). There are 16 different
MIDI Channels available (there’s a lot more phone numbers - you
probably have more friends than sounds sources!). To make MIDI
work for you, you need the Channel your sound source is set to
receive on match the Channel your trapKAT is sending on. It’s that
simple!
31
8. MIDI Primer
On the trapKAT you can have every Pad send on different Channels if
you want - that is an advanced use - if you have more than 1 sound
source. Generally, you will set all Pads of your trapKAT to send on
the same Channel as your sound source is set to receive on. Most
commonly used Channel for drum sounds is Channel 10.
• So, to get your sound source to respond at all, you first need to match up
the Channel you are sending on to the Channel your sound is
receiving on.
Each Sound or Pitch within each Sound Source is accessed by the MIDI
Note Number that is sent (just like asking for the person by name
when you reach the correct home).
• So, to get the correct sound to play (in the sound source you are
controlling) when you hit a Pad, you match the MIDI Note number
on your trapKAT Pad to the Note number that plays that sound in
your sound source.
The Velocity that is sent tells the Sound Source something about the
dynamics of the Sound - usually how loud to play the Sound. A
Note with a low velocity value will play softly. A Note with a
high velocity value will play loudly.
• After you train your trapKAT to respond to your playing dynamic
range (what soft and hard hits are to you), the trapKAT will send
out the appropriate velocity based on your playing dynamics.
COMMANDS:
A MIDI Note On Command tells a specific Sound Source to play a
specific Sound at a specific volume. It turns a Sound on.
It contains which Channel (which sound source) to play, which Note
(sound) to play, and which Velocity (loudness) to play.
A MIDI Note Off Command tells a specific Sound Source to stop playing
a specific Sound . It turns a Sound off.
It contains which Channel (which sound source) and which Note
(sound) to shut off.
(Most drum machines actually ignore Note Off commands.)
32
8. MIDI Primer
2. Match the Note numbers on your trapKAT Pads to the sounds you
want your sound source to play.
33
Appendix A:
Trouble-Shooting Help - What if it isn’t Working?
What To Do: Here is a list of things to try to help isolate your problem:
• Verify trapKAT and Sound Source are ON and are plugged into
working AC sockets! (Do their displays light up?)
• Try a compatible AC adaptor if the trapKAT does not beep or “light-
up” on power up. The AC adaptor must have a “positive tip” as
designated by this symbol:
( ) and its output should be between 9V and 12V, with
400mA or greater current rating.
• Verify trapKAT MIDI OUT is connected to Sound Source MIDI In.
• Try another MIDI cable.
• Verify Sound Source is OK. Can it make sounds on its own? (Push its
sound buttons and listen with headphones.) Try to control the Sound
Source with another controller.
• Verify trapKAT is alive by depressing the NOTE EDIT footswitch
and hitting a Pad. If you see that Pad come up on the display then
the trapKAT is seeing it’s Pads and is alive and running.
• Call up FactoryKit 1 on the trapKAT (see p.9). Verify that the
Sound Source is On MIDI Channel 10.
• Disconnect the MIDI cable. Turn the trapKAT and Sound Source Off.
Turn the trapKAT and the Sound Source back on. Reconnect the
MIDI cable.
• Try REINITIALIZING your trapKAT (See p.30).
34
9. Appendix
Symptom: A trapKAT pad or rim is false triggering (playing notes without you
striking it.).
Symptom: Interaction - when you strike one pad a different pad also plays.
What To Do: • Raise the threshold of the Pad that was not supposed to play (p.26.)
• Use the allen wrench (5/64”) supplied with your trapKAT to adjust
the tension on the rubber around the perimeter of the trapKAT
playing surface. (Don’t tighten so much that you bend the metal!)
• Try REINITIALIZING your trapKAT (See p.30).
• Call Alternate Mode Customer Service (413) 594-5190.
Appendix B:
35
KIT/PAD Edit Layout.
(*) (*)
Foot Control (*)
Type
Kit Kit All
Foot Control Program Program Notes
Channel Kit Channel Change Off
Splash Value Kit
Perform Note Volume
Kit (*)
Copy
Kit Kit Kit
Kit Kit Kit
Channel Minimum Maximum Velocity
Kit Copy Hi Hat Velocity Velocity Curve Gate Pad
"To" Kit Select Time Gate
Time
9. Appendix
36
37
Appendix C:
Glossary of Terms.
Channel: In MIDI there are 16 Channels. A MIDI Channel is like a phone number. For two
instruments to communicate, they must talk over the same Channel. This is very much
like communicating with a friend on the phone. You must dial the correct phone number
first.
Controller: A MIDI Controller is a device whose purpose is to control other MIDI devices (as
opposed to a Sound Source whose job is to be controlled). Generally, a Controller is the
Interface device which you play on, such as a Guitar Controller, Keyboard Controller,
Violin Controller, Wind Controller, or Drum Controller.
Data Dump: The internal data information that a musical instrument sends out so that you can save
its settings on a back up system.
Dynamics: A measure of how hard or softly you are playing with your sticks.
Factory Kits: Kits that are always present in your instrument. These are Kits that we at Alternate
Mode generated for you to use with the various Sound Sources available.
Gate Time: The length of time that a Note sounds as sent by the trapKAT. It is the length of time
the trapKAT waits after it sends a Note On, before it sends a Note Off. Many drum
machines ignore the Gate Time sent by the trapKAT and sound the Note until it’s fully
“played out”. Melodic sounds like horns, strings, & organs often do respond to Gate
Time.
GENERAL MIDI (GM) Sound Module: A sound module that comforms to the General MIDI specification
specifying Program layout by sound type for simple connection between MIDI devices.
Kit: A collection of MIDI Note and Channel settings for all of your Pads, HiHat, and Bass
drum. Basically, a Kit defines what Sounds your Pads make.
MIDI: MIDI stands for Musical Instrument Digital Interface. It is an agreed upon standard for
communications between electronic musical instruments. It is simply the means by
which your trapKAT communicates with the Sound Sources you connect it to.
MIDI Delay: A term which is mistakenly used, by many, to refer to all kinds of delay ranging from
Sound Source Delay, to Sound Travel Delay, to actual delay due to MIDI. The delay
caused by the transmission of MIDI information is only 1 millisecond! (.001 Second).
MIDI IN: A 5 pin DIN jack by which an instrument receives MIDI information from another
musical instrument. Through its MIDI In, the trapKAT can receive DATA DUMPs, Kit
changes, and Note # AutoTrain information.
MIDI OUT: A 5 pin DIN jack by which an instrument sends MIDI information to another instrument.
38
9. Appendix
The trapKAT sends out Channel, Note, and Velocity information, Continuous
Controller messages 01 and 04 if hatKAT is plugged in and SYS EX Data Dumps.
Groove: A Groove is a pattern or “riff” that you can select to play for you to practice against.
Note Number: A “MIDI Note” is the number sent in a “MIDI NOTE ON” or a “MIDI NOTE OFF”
command to tell the receiving instrument which Sound to make.
Program Change: A MIDI command which instructs the receiving instrument to change to a new group of
settings. For Sound Sources this generally means selecting a new group of sounds.
Response: What Velocity the trapKAT sends out related to your playing Dynamics. A natural
response is that the Velocity (hence the loudness) gets bigger as your dynamics
increase.
Screen: A display “window” on the trapKAT, usually with information about current settings.
Sound Source: A device that accepts MIDI input and then plays a sound based on the information it
received. Drum machines, samplers and synthesizers are all examples of Sound
Sources.
Sound Source Delay: The time it takes for a Sound Source to play a sound after it has received all the
MIDI information it needs. Usually this is about 1/2 to 15mS.
Sound Travel Delay: The time it takes for a sound to travel through the air from the source (speakers,
drum head, etc.) to our ears. Usually this is about 1 to 20mS.
Toggle: To switch back and forth from one selection to another. e.g. GLOBAL EDIT footswitch
and Pad1 toggles you between FactoryKits and UserKits.
Trigger: Any of various external impact sensors that can be plugged into the trapKAT bass input.
Normally these are foot triggers like the kicKAT, miniKICK, and fatKAT.
User Kit: Kits that are changeable in your trapKAT. These are Kits that you alter to meet your
needs.
Velocity: A measure of how loud or soft a Note the trapKAT will play on your Sound Source.
39
9. Appendix
40
9. Appendix
Appendix E:
MIDI For Percussion.
The world of Percussion has some special needs that affect how MIDI is
generally used for Percussion and Drum Sounds. These special
differences include how Note Offs (Gate Time) are handled, how
Notes and Program Changes are used, and sensitivity to time delay
and polyphony.
41
9. Appendix
So if you want to avoid “MIDI Delay”, avoid Sound Source Delay! Call
us and we’ll tell you how the current Sound Sources rate.
Because a drum sustains after you hit it for some time, quick hits or
rolls have essentially two or more separate acoustic sounds playing
at once. Drums need polyphony per drum to sound real. The
trapKAT has 4 Note polyphony per pad so that you can capitalize
on any sound sources that support polyphony per note.
42
9. Appendix
AfterTouch: Keys x x
Channel l x
Common: Tune x x
System: Clock x x
Notes: Note Offs timed by Internal Gate Time or continued physical holding on Pad.
0 : Yes
x : No
43
9. Appendix
Appendix G:
System Exclusive Documentation.
MIDI allows you to SAVE your settings from MIDI instruments to data
disks and computers so you can back up your work. This is called a
Data Dump.
The trapKAT will send a variety of Data Dumps of its internal
information, out the MIDI OUTs if you use the GLOBAL EDIT
footswitch and hit Pad10, rimPad23, or rimPad24.
The trapKAT will automatically accept or receive a Data Dump via
MIDI IN whenever one is sent in.
HEADER:
MOTIF)
DATA:
The DATA is split into nibbles and sent with a 0 for MSN. It takes two
bytes of System Exclusive transmission for every byte of internal
trapKAT information.
After all the DATA has been sent, the End of System Exclusive
Command (0F7H) is sent.
44
9. Appendix
Appendix H:
Inserting New Software Chips For Software Updates.
HOW TO PHYSICALLY CHANGE YOUR SOFTWARE CHIP:
Tools Needed: 1 medium flat screwdriver.
1) First, remove the AC adaptor plug from the back of the trapKAT!
2) Find a smooth, clean, flat surface and place your trapKAT upside
down on it, the jacks facing away from you.
3) Remove back cover of the trapKAT (16 screws).
4) When the trapKAT is opened, you will see one large circuit board
towards the back.
On the front right of the printed circuit board is a large chip with a
white paper label that says something like “trapKAT 1.0”. The
chip with the white label is your Software Chip, the code that
runs your trapKAT - its Operating System.
Before you take the old software chip out, note how it is oriented in
the socket. Specifically notice that the “notch” on the end of the
chip is away from you.
5) The chip is at the top end of the circuit board. To remove an old
chip, you will use your flat screwdriver. You will pry the chip out
of its socket. Look at the Upgrade chip you received and you will
be able to tell what is the chip and what is the socket. You want to
insert the screwdriver between the chip and the socket so as to pry
up the chip but not the socket. As you start to pry up the chip insert
the screwdriver further under the chip and pry up more, then insert
screwdriver even further and then pry up more until the chip comes
out of the socket.
Don’t be scared - just pry a little bit and then push the screwdriver
in further, until the chip is out. Take your time, don’t be in a hurry.
Make sure you insert the screwdriver between the chip and the
socket before you start to pry each time. (Instead of between the
socket and the circuit board.)
6) After you have the chip out, place the new chip in its socket, being
careful to orient it in the same way that the old chip was
(remember the “notch”?). Take a little care to align the legs of the
chip into the holes in the pins of the socket. Then push down
evenly on the chip. It should push down snugly into the socket.
Visually check to see that none of the legs got squished and are
smashed under the chip.
7) Replace the back cover of your trapKAT and reinsert the 16 screws.
8) Turn your trapKAT back over, and reinsert the AC adaptor plug into
the trapKAT. Now turn your trapKAT back on. If the display is
working, you are OK. If the display is not working then:
a) Remove the AC adaptor plug again.
b) Turn the trapKAT over again and remove the 16 screws.
c) Take the back cover off again.
d) Try reinserting the chip (pry it out again to make sure that
the legs didn’t get bent under the chip).
e) Put the back cover on, turn the trapKAT back over, reinsert
the AC adaptor plug, and turn the power back on.
f) If this still fails, put your OLD software back in and give us
a call @ 413-594-7466.
9) After you have had the new software in and used it for several days,
please send the old chip back to us. They are reusable.
45
9. Appendix
Appendix I:
Breath Control Adjustments
To actually use a Breath Controller (Yamaha BC-10) you should first
adjust the two trimpots in the headset to match the following
diagram, then train it.
First, match these settings:
+
502
502
GAIN OFFSET
Output Cable
+
+
+
Breath Tube
+
46
9. Appendix
Appendix J:
Warranty Policies.
The trapKAT has a limited warranty. The trapKAT is warrantied
against defects due to materials or workmanship for 90 days on
labor, 6 months on FSR and rubber, and 1 year on all other parts.
Save your sales receipt, it is required for proof of warranty.
Warranty Restrictions:
Damage or defects sustained through unauthorized repair or tampering,
or abusive treatment are not covered by this warranty. The
warranty does not cover damages to the trapKAT as a result of
incorrect polarity AC Adaptor. The shipping expenses and
arrangements for repair are the responsibility of the purchaser.
Alternate Mode is not responsible for loss of Kit Memory when your
controller is sent in for repair or upgrade. Please, save your Kits on
a Data Disk, Sequencer, or Computer before sending in for repair.
The rubber can be cleaned with a mild cleanser such as a dish washing
liquid or Simple Green, Soft Scrub, or Fantastic. Do not pour
cleanser on your playing surface. Apply a small amount to a clean
cloth and then clean your playing surface with the cloth. A Q-tip
works very well for cleaning the cracks in between the pads.
Like an acoustic drum head the tension of the rubber playing surface
may need adjustment from time to time. You received a small allen
wrench (5/64”) with your trapKAT to adjust the tension on the edge
of the rubber playing surface with the allen screws in the top of the
metal chassis. Adjust this tension to help make the rims and pad
surfaces near the rims lay flat. (Do not overtighten to the point
where you actually bend the metal.)
47
9. Appendix
Appendix K:
Alternate Mode, Inc.
Alternate Mode is a company dedicated to making the most
powerful Controllers in the world. We have a commitment to
quality and responsiveness. Our designs are responsive and we as a
company are responsive. Feel free to call us with questions or
suggestions.
If you need your trapKAT repaired or worked on for any reason, call our
Customer Service staff and ask for an “RA” number. This is a
“Return Authorization” number. You must then clearly mark this
“RA” number on the outside of the box you send back to Alternate
Mode. When you call in your RA, our staff will ask you for
information like your name, address, phone number, serial number,
purchase date, software version (power-up display), and a
description of the problem. All of this information is put on an “RA
form” that will be used when your instrument comes in to determine
what to do to your instrument and whom to send it back to. If you do
not mark a valid RA # on your box your shipment will be refused, so
please call and get an RA # before you send in a surprise to us.
SHIPPING: If you ever have to ship the trapKAT back in for a repair or an update,
use care and good judgment. It is best to save the original packing
material to make shipping easy and safe. If you do not have the
original packing material, box the trapKAT in tight with packing
noodles, paper, etc. so that it is not flopping around in the box
during shipping.
Shipping expenses and proper packing of instruments shipped to
Alternate Mode are the responsibility of the consumer.
48
NOTES:
49
NOTES:
50
14. Index. ----------------P---------------
PAD EDIT 13-24
Pads
-----------------A--------------- -----------------H--------------- Training 25-26
AC Adapter 7, 9, 34 HiHat 4-5, 8, 10, 21-24, 34, 38 Dynamics 25-27, 29, 32, 38, 39
All Notes Off 10, 20 Foot - see Chick Threshold 26, 29-30, 35
Allen Wrench 35, 47 Splash 21, 24 Permanent Memory Protection 28
Holding Down Pads 10, 20, 30, 42 Pitchbend 46
Polyphony 42
-----------------B--------------- Power 7, 9, 34-35
Bass Gain 8, 27 -----------------I----------------
Problems - see Trouble Shooting
Beeper 15, 29 Interaction 35 Program Change - see MIDI
Bracket 3
Breath Control 5, 8, 46
----------------K---------------
Kit 5, 7, 9, 10-12, 13-20,28, 29, 32, ----------------Q---------------
-----------------C--------------- 36, 38, 39, 42, 43, 47 Quick -Click
12, 15, 17, 19, 20, 22,
Cases 4 KIT EDIT 13-24 26, 27
Channels - see MIDI Channels KIT SELECT 9, 10, 20
Chick 8, 21-24
Choke (Cymbals) 29
KIT Template 40 ----------------R---------------
Receive Dump 5, 7, 29, 38, 43
Continuous Controller 21, 23, 37
Copy Kits 14 -----------------M---------------Re-Initialize 30, 34-35
Merge 5-7, 28, 41 Repair Information 47, 48
Curves - see MIDI Velocity
MIDI 7, 9-10, 15-16, 28, 29, 30, Reverse - see Decrement
31-33, 38-39
-----------------D--------------- Channel 9, 10, 15-17, 22, 24, -----------------S---------------
Data Dump 29-30, 32, 38, 43 30, 31-33, 34-35, 38, 46 Save 7, 13, 14, 29, 32, 38, 43, 47
Decrement 12, 15, 17, 19, 20, 22, Delay - see Delay Software Installation 45
26, 27 IN 5, 7, 9, 16, 28-30, 32, 38, Software Version 48
Delay 30, 39, 40-41 40-41, 43 Stands 3
Display Viewing Angle 29 Loops 28 Sustain 46
Dynamics - see Pad Dynamics Note 8, 20, 29, 31-32, 38-39, 40 System Exclusive 31-32, 43
Note - Auto Load 16, 28
OUT 5, 7, 9, 16, 28, 30, 31, 34,
-----------------E--------------- 38, 43 -----------------T---------------
Editing 10, 12, 13-30, 38 Program Change 10, 15-16, 28, Tap Tempo 12
31-33, 39, 40, 46 Threshold - see Pads
Receive 30 Triggering Problems 35
-----------------F--------------- Velocity 17-19, 24, 26-27, Trouble Shooting 34-35
Factory Kits 5, 9-11, 13, 28, 38 31-32, 38, 39
Foot Control 8, 23 Curves 17-20, 24, 26-27
Footswitches 4, 7, 10, 34-35 Minimum 17-19, 24, 26-27
-----------------U---------------
UserKits 5, 9, 11, 14-15, 28, 30, 39,
Maximum 17-19, 24, 26-27
43
Mounting 3
-----------------G---------------
Gate Time 20, 38
General MIDI 38 -----------------N--------------- -----------------V---------------
Video 4
GLOBAL EDIT 9, 12, 23-30, 37, Note - see MIDI Note Volume 12, 17, 20
43, 46 NOTE EDIT 13, 15, 22, 34 Kit 17, 20
Grooves 11-12, 28 Groove 12, 28
Auto Shutoff 29, 37
-----------------W---------------
Warranty 3, 47
51