WATCH AND LEARN

Watch this series of short videos where Simon Edgoose explains some of the best features of the M12.

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A new firmware update has just been released for the DTX-MULTI12 to update the instrument's compatibility with new triggers along with some enhancements in versatility.

Joel Tetzlaff demonstrates the features of the DTXM12 Touch app.

Jordan shows us how to use the Yamaha DT-50S snare trigger with the DTX-Multi 12.

Jordan demonstrates how to change the MIDI output to USB.

There is a new firmware available for the DTX-MULTI 12. Version 1.03 adds three significant improvements to the unit:
Added ability to route the CLICK ONLY ("ph2"=solo click) to the phones. In response to requests from professional drummers who do not want the M12 sounds mixed in with the click headphone feed.
Added new PAD TYPES for our newest trigger pads including KU100 trigger pedal
Expanded the GAIN setting range from between 0 and 64 to between 0 and 127.

Recently I sat in with my friends’ band and brought my DTX-MULTI 12 to use with triggers on my Oak Custom kit and to play some percussion voices and hand claps on the side.  I built my own user kit from scratch and stored it; there would be no need for me to change kits, with the twelve pads and five trigger inputs my kit and miscellaneous percussion was covered for all three sets - or so I thought.

In a previous issue I discussed triggering loops using HOLD mode so that you can start/stop a loop voice with each alternating strike of a single pad.  But what if you want to use a different pad with a different loop voice to stop the first one?  The answer is to take the pad out of hold mode and assign each loop voice to the same ALTERNATE GROUP. 

When two or more voices are assigned to the same alternate group - only the most recently played voice will sound, and the earlier voice will be silenced.  This not only works with loop voices, any voice can be assigned to work this way.  As a matter of fact, any kit that features open and closed hi-hat voices uses the alternate group function.  It is perfectly acceptable to setup dedicated “kill-switch” pads that feature non-looping voices to stop currently sounding loop voices in the same alternate group.


                                DTX-MULTI 12:                                                       DTX900:
     

Recently I sat in with my friends’ band and brought my DTX-MULTI 12 to use with triggers on my Oak Custom kit and to play some percussion voices and hand claps on the side.  I built my own user kit from scratch and stored it; there would be no need for me to change kits, with the twelve pads and five trigger inputs my kit and miscellaneous percussion was covered for all three sets - or so I thought.

In the second set the band decided to play a song that wasn’t on the setlist that needed some timbales, which were not programmed on my user kit, so I switched to preset kit 28:Cuban Stick.  The band was into jamming and added another new one that needed synth toms, so I switched to preset 17:EleTomSet!.

During the break the bass player (who uses in-ear monitors) commented that for those tunes my kick and snare voices changed, in fact all the sounds changed.  The reason that happened is because those presets have their own kit voices pre-assigned to the external trigger inputs.  That could have been a disaster because the audience is hearing those kick and snare samples more than I am behind the kit.  But because I was familiar with the preset voice assignments for the external inputs I was somewhat prepared for this.  If you look at the data list for the preset kits of the DTX-MULTI 12 you will notice that most kits have a set of snare voices assigned to pad 13 (external), kick voices to 14/15, and cymbal or hi-hat voices assigned to 16/17.  So for those tunes I had appropriate voices on my kick and snare, and I just laid off my acoustic toms.

With the DTX-MULTI 12 you can reate your own setups or plan ahead and use input 13 for snare pads/triggers, 14 or 15 for your external kick, and 16 and 17 for hi-hat, cymbals or percussion. 

Story by Tom Griffin

We proudly call ourselves drummers, but today’s music often requires the drummer to provide hand claps, sound effects, sample loops, and percussion sounds, and in some cases reinforce the sound of their acoustic drums by triggering sampled drum sounds.  With the Yamaha DTX-MULTI12, you can add these electronic capabilities to your drum set easier than you ever thought.

Triggering loops can be done in two different ways on the DTX-MULTI12.  One way is to assign a preset or user PATTERN to a pad and then start/stop the playback with alternating hits very easily. 

You could also do the same thing with an imported audio loop, but that takes two additional steps.  After assigning your wave loop to a pad, you must set that pad to “HOLD” mode (on the MIDI1-1 page).  The next step is to set the pad to receive midi key off messages (on the MIDI1-5 page). With these settings you can start/stop the loop with each alternating strike of the pad.

No longer relegated to the practice room, today’s electronic drums are quite capable on the live stage, but still require some know-how to get the best performance.  To reduce the risk of false triggering, keep your pads away from loud drums and monitors.  Aim the speakers at you, not at your triggers, or use in-ear monitors.  

If the changing the physical position of the pads, monitors, and acoustic drums doesn’t help, then you may need to edit the sensitivity (gain) of the pad.  On some models this can be done from the pad itself.  Other pads require you edit the trigger settings.

If you still have problems, try increasing the ALL Rejection Level (not Rejection Time) that’s usually expressed as a percentage, for any pad that is giving you trouble.  On the DTX-MULTI 12 this is called Global Crosstalk Level.  Use care when adjusting these values.   Although higher values are more effective in preventing crosstalk, they can also make it difficult to play multiple pads at the same time.

No longer relegated to the practice room, today’s electronic drums are quite capable on the live stage, but still require some know-how to get the best performance.  To reduce the risk of false triggering, keep your pads away from loud drums and monitors.  Aim the speakers at you, not at your triggers, or use in-ear monitors.  

If the changing the physical position of the pads, monitors, and acoustic drums doesn’t help, then you may need to edit the sensitivity (gain) of the pad.  On some models this can be done from the pad itself.  Other pads require you edit the trigger settings.

If you still have problems, try increasing the ALL Rejection Level (not Rejection Time) that’s usually expressed as a percentage, for any pad that is giving you trouble.  On the DTX-MULTI 12 this is called Global Crosstalk Level.  Use care when adjusting these values.   Although higher values are more effective in preventing crosstalk, they can also make it difficult to play multiple pads at the same time.

Recently I sat in with my friends’ band and brought my DTX-MULTI 12 to use with triggers on my Oak Custom kit and to play some percussion voices and hand claps on the side.  I built my own user kit from scratch and stored it; there would be no need for me to change kits, with the twelve pads and five trigger inputs my kit and miscellaneous percussion was covered for all three sets - or so I thought.

A World Of Professional Sounds
The DTX-MULTI 12 is an electronic percussion pad perfect for drummers and percussionists or anyone who needs a professional collection of percussion sounds in a convenient package, with the ability to import your own custom sounds. Layer sounds, trigger loops, and record your own patterns, then assign them to the versatile pads that can be played with sticks, hands, or fingers in a in a compact yet expandable and durable unit.

Get to know the DTX-MULTI 12 with a tour of the front panel and a look "inside" the hierarchal menu system with product specialist Tom Griffin.  Unlock all of the DTX-MULTI 12's power and see how the instrument offers multiple solutions for today's working drummer/percussionist.

Just what is the DTX-MULTI 12 Electronic Percussion Pad?  The DTX-MULTI 12 is a must-have electronic drum accessory for any working drummer - acoustic or electronic.  Check out the power and versatility of this amazing instrument with this easy-to-trydemonstration using just five of the DTX-MULTI 12's preset kits.

Trigger your imagination - The DTX-MULTI 12 lets you import your own custom sounds and samples and assign them to a pad or trigger for live performance.  The memory is FLASH, so samples stay in the unit through a power-cycle, so they will be ready when you power-up at the gig.

The musical expressitivity of DTX-MULTI 12 Electronic Drum pad can be expanded by adding foot pedals.  Whether it's a hi-hat controller for hi-hat open/close, a volume pedal to control your mix, or a footswitch for tapping-tempo off the dance floor - the DTX-MULTI 12 does all this and more.