Yamaha Dtxtreme 3 Manual

							 Basic Structure of the DTXTREME III 
Reference
 
DTXTREME III Owner’s Manual 61 
Drum Kit modeReference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
 
An entire pad, the particular section you hit and how you play the pad as a source of the trigger signal are collectively 
referred to as a “Trigger Input Source.” One Trigger Source generates one type of trigger signal. Depending on the mod\
el, up 
to six Trigger Input Sources are provided in one pad. You can assign a Drum Voice to each Trigger Input Source on the DTX-
TREME III by following the instructions on page 79. Refer to the following list when assigning a Drum Voice.  
■ 
Trigger Input Source List 
Trigger Input Sources 
Trigger Source
Trigger 
Input jackHow the Trigger Signal is generatedLCD indicationFull spell
 
snareHd Snare Head (1) SNARE Hitting the head section of the snare drum pad (e.g., TP120SD). 
snareOp Snare Open Rim (1) SNARE Hitting the open rim shot section of the snare drum pad (e.g., TP120SD). 
snareCl Snare Closed Rim (1) SNARE Hitting the closed rim shot section of the snare drum pad (e.g., TP120SD). 
snrHdOff Snare Head Off (1) SNARE Hitting the head section of the snare drum pad (e.g., TP120SD) when the 
snappy setting (SnaresOn/Off parameter) is turned off. 
snrOpOff Snare Open Rim Off (1) SNARE Hitting the open rim shot section of the snare drum pad (e.g., TP120SD) 
when the snappy setting (SnaresOn/Off parameter) is turned off. 
snrClOff Snare Closed Rim Off (1) SNARE Hitting the closed rim shot section of the snare drum pad (e.g., TP120SD) 
when the snappy setting (SnaresOn/Off parameter) is turned off. 
tom1Hd Tom 1 Head (2) TOM1 Hitting the head section of the tom pad (e.g., TP100).
tom1Rm1 Tom 1 Rim 1 (2) TOM1 Hitting the rim 1 section of the tom pad (e.g., TP100).
tom1Rm2 Tom 1 Rim 2 (2) TOM1 Hitting the rim 2 section of the tom pad (e.g., TP100). :: ::
tom4Hd Tom 4 Head (5) TOM4 Hitting the head section of the tom pad (e.g., TP100).
tom4Rm1 Tom 4 Rim 1 (5) TOM4 Hitting the rim 1 section of the tom pad (e.g., TP100).
tom4Rm2 Tom 4 Rim 2 (5) TOM4 Hitting the rim 2 section of the tom pad (e.g., TP100).
r ideBw Ride Cymbal Bow (6) RIDE Hitting the bow section of the cymbal pad. 
r ideEg Ride Cymbal Edge (6) RIDE Hitting the edge section of the cymbal pad. 
r ideCp Ride Cymbal Cup (6) RIDE Hitting the cup section of the cymbal pad. 
crash1Bw Crash Cymbal 1 Bow (7) CRASH1 Hitting the bow section of the cymbal pad. 
crash1Eg Crash Cymbal 1 Edge (7) CRASH1 Hitting the edge section of the cymbal pad. 
crash1Cp Crash Cymbal 1 Cup (7) CRASH1 Hitting the cup section of the cymbal pad. 
crash2Bw Crash Cymbal 2 Bow (8) CRASH2 Hitting the bow section of the cymbal pad. 
crash2Eg Crash Cymbal 2 Edge (8) CRASH2 Hitting the edge section of the cymbal pad. 
crash2Cp Crash Cymbal 2 Cup (8) CRASH2 Hitting the cup section of the cymbal pad. 
hhBwOp Hi-Hat Cymbal Open (9) HI-HAT Hitting the bow section of the cymbal pad when it is not closed by the hi-hat 
controller. 
hhEgOp Hi-Hat Cymbal Edge Open (9) HI-HAT Hitting the edge section of the cymbal pad when it is not closed by the hi-hat 
controller. 
hhBwCl Hi-Hat Cymbal Close (9) HI-HAT Hitting the bow section of the cymbal pad when it is closed by the hi-hat con-
troller. 
hhEgCl Hi-Hat Cymbal Edge Close (9) HI-HAT Hitting the edge section of the cymbal pad when it is closed by the hi-hat 
controller. 
hhFtCl Hi-Hat Cymbal Foot Close (9) HI-HAT Pressing and holding the hi-hat controller by your foot. 
hhSplsh Hi-Hat Cymbal Foot Splash (9) HI-HAT Pressing and immediately releasing the hi-hat controller. 
kick Kick (10) KICK Pressing the kick pad by your foot. 
pad11 Pad 11 (11) PAD11 Hitting the snare pad or tom pad.
pad12Hd Pad 12 Head (12) PAD12 Hitting the head section of the tom pad (e.g., TP100).
pad12Rm1 Pad 12 Rim 1 (12) PAD12 Hitting the rim 1 section of the tom pad (e.g., TP100).
pad12Rm2 Pad 12 Rim 2 (12) PAD12 Hitting the rim 2 section of the tom pad (e.g., TP100). :: ::
pad15Hd Pad 15 Head (12) PAD15 Hitting the head section of the tom pad (e.g., TP100).
pad15Rm1 Pad 15 Rim 1 (12) PAD15 Hitting the rim 1 section of the tom pad (e.g., TP100).
pad15Rm2 Pad 15 Rim 2 (12) PAD15 Hitting the rim 2 section of the tom pad (e.g., TP100). 
						

							Basic Structure of the DTXTREME III
Reference
62DTXTREME III Owner’s Manual
Tone Generator Block (Drum Kits and Drum Voices)
The tone generator block is the section of the DTXTREME III which plays the Drum Voice assigned to the Trigger Input 
Source which transmits the trigger signal. Assigning each of Drum Voices to each of the Trigger Input Sources makes up a 
Drum Kit. A total of 50 Preset Drum Kits are provided in the DTXTREME III. Drum Kits can be edited or created as desired 
and then stored to up to 50 User Drum Kit locations in internal memory, or stored to a maximum 1584 External Drum Kits 
(16 Banks x 99 kits = 1584 kits) in an external USB storage device connected to the USB TO DEVICE connector. 
The DTXTREME III is a comprehensive sound source in it own right just with the built-in Preset Drum Kits; however, you 
get even more out of the instrument by understanding the internal structure and creating your own original Drum Kits. 
■Drum Voices assigned to each of the Trigger Input Sources
You can create your own original Drum Kit by assigning the desired Drum Voice to each of the Trigger 
Input Sources coming from the pad. For instructions, see page 61. 
■Convenient Voice Set assignment for each Trigger Input jack
Assign Drum Voices to each of the Trigger Input Sources may be time-consuming and even tedious, 
difficult work. This is why the DTXTREME III provides the Voice Set parameter. Simply by selecting 
a value of the Voice Set parameter, you can assign the Drum Voices to all the Trigger Input Sources cor-
responding to the respective Trigger Input jacks. For instructions, see page 79. 
Assigning a Drum Voice to each of the Trigger Input Sources
A: Assigning a Drum Voice to Trigger Input Source A. 
B: Assigning a Drum Voice to Trigger Input Source B. 
C: Assigning a Drum Voice to Trigger Input Source C. 
Assigning a Voice Set to each of the Trigger Input jacks
Assigning a Drum Voice to each of three Trigger Input 
Sources by assigning the Voice Set to the Trigger Input jack. 
ReferenceDrum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode 
						

							Basic Structure of the DTXTREME III
Reference
DTXTREME III Owner’s Manual63
Drum Kit mode
Reference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
■Drum Kits consisting of Voice Sets (Drum Voices)
For many players and composers, the Preset Drum Kits have all the sound variations you need. How-
ever, if you’re looking for something different or want to customize the Kits, you change the sound by 
making Voice Set assignments for each of the Trigger Input jacks and create your original Drum Kit. If 
you want to go even further, you change the sound and create a Drum Kit by assigning Drum Voices to 
each of the Trigger Input Sources. 
Mono Pad
3-zone 
pad
3-zone 
pad
2-zone 
pad Trigger Input Source
Trigger signal
Drum Voice
Drum Voice
Drum Voice
Drum Voice
Drum Voice Drum Voice Drum Voice
Drum Voice
Voice Set Voice Set Voice Set
Voice Set Drum KitFor each Trigger Input Source
(For each SOURCE) For each Trigger Input jack 
(For each INPUT)[DRUM KIT] → [F2] VOICE → [SF1] SELECT
[DRUM KIT] → [F1] PLAY
Drum Voice 
						

							 Basic Structure of the DTXTREME III 
Reference
 
64 
DTXTREME III Owner’s Manual ■ 
Drum Voices and MIDI note numbers
 
One important thing to understand is that separate Drum Voices are assigned to MIDI note numbers 
when using the Stack/Alternate function (page 86). While you may not need to pay attention to MIDI 
note numbers when using other functions, using the Stack/Alternate funct\
ion requires that you set the 
MIDI note number instead of the Drum Voice. 
For the currently selected Drum Kit, you can confirm which Drum Voice is assigned to each MIDI note 
number in the display called up by pressing the [DRUM KIT] , [F2] VOICE, [SF1] SELECT buttons in 
order, setting the SOURCE to MIDI, then selecting a MIDI note number on the “\
NOTE NO” column. 
From this display, you can change the Drum Voice assigned to the MIDI note number, meaning that 
you can change the Drum Voice assigned to the Trigger Input Source (pad). 
In the examples above, the Trigger Input Sources and Drum Voices listed below are assigned to the MIDI note numbers C1, 
C3 and C5 respectively.  
MIDI note number
Trigger Input SourceDrum Voice
 
C1 Head section of the TP120SD Head shot sound of the snare drum
C3 Edge section of the RHH135 Edge shot sound of the hi-hat cymbal
C5 KP125 Kick sound of the bass drum
C0
24
0
C1
36
C2
48
C3
60
C4
72
C5C6C7
84 96 108 127
T rigger Input Source
TP120SD RHH135 KP125
Drum Voice
Head Shot sound Hi-hat Edge 
Shot soundBass Drum Kick 
sound
MIDI Note Number
 
Reference
Drum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode 
						

							Basic Structure of the DTXTREME III
Reference
DTXTREME III Owner’s Manual65
Drum Kit mode
Reference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
Sampling
The Sampling function lets you record audio signals such as vocals and CD playback sound to the DTXTREME III and play 
those sounds by hitting the drum pads. Recording audio signals to the DTXTREME III is referred to as “sampling.” In addition 
to being able to record audio signals directly to the DTXTREME III, you can also import existing audio data (in WAV or AIFF 
file format) in the File mode. This lets you use audio you’ve recorded and edited on computer with the DTXTREME III. Once 
you’ve recorded or loaded the audio, you’ll need to assign it to a User Voice which can be selected in the Drum Kit mode.
•The User Voices created in the Sampling mode reside temporarily in the optionally installed DIMMs (pages 76 and 
147). Because data contained in DIMM is lost when the power is turned off, you should always save the User 
Voices created by recording, editing, and using Jobs to a USB storage device before turning off the power. For 
information on how to save, see pages 54 and 114.
IMPORTANT
In order to use the Sampling features of the instrument, you’ll need to install DIMM 
memory modules (sold separately) to the instrument.
CAUTION
Sampling source
USB storage device
AIFF, WAV 
file, etc. Microphone, etc.CD, MD, etc.
User VoiceSpecified before the Sampling is started in the display called up via [SAMPLING] → [F1] SELECT.
or
Specified before the Load is executed in the display called up via [FILE] → [F2] LOAD.
DIMM (sold separately)
Max. 512MB
USB storage device
File type 
= AllData, AllVoice, 
Wav, Aiff
SamplingPerformed in the 
Sampling modeLoadPerformed in the File mode 
(File type = Wave )
Destination to which the recorded audio signal is assigned
Save/LoadPerformed in the File mode
Pad (Trigger Input Source)Specified after Sampling is completed (Sampling mode).
or
Specified in the display called up via [DRUM KIT] → [F2] VOICE → [SF1] SELECT. 
						

							Basic Structure of the DTXTREME III
Reference
66DTXTREME III Owner’s Manual
■Trigger mode
[SAMPLING] → [F6] REC → Trigger Mode
The Trigger mode is a convenient feature in Sampling that lets you determine how recording is 
started—manually or automatically, based on the audio level. 
●Starting recording manually
[SAMPLING] → [F6] REC → Trigger Mode = manual
Regardless of the audio input signal level, sampling starts soon after you press the [F6] START button 
in the Sampling Standby display. 
●Starting recording when the input signal exceeds the Trigger Level
[SAMPLING] → [F6] REC → Trigger Mode = level
After pressing the [F6] START button in the Sampling Standby display, sampling starts as soon as a 
strong enough audio signal is received. The threshold for this audio-triggered start is called the Trigger 
Level (explained in the illustration below).
As you can see, the higher the Trigger Level setting, the louder the input audio needs to be in order to 
start sampling. On the other hand, if the Trigger Level is set too low, a soft noise may be enough to 
inadvertently start sampling.
ABC D E
ABC D E
ABC D E
Sample recording starts here.
Level
Sample recording starts here.Recording 
trigger level
Level
Recording 
trigger level
ReferenceDrum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode 
						

							Basic Structure of the DTXTREME III
Reference
DTXTREME III Owner’s Manual67
Drum Kit mode
Reference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
Song
A song consists of two sequence tracks (Tracks 1 and 2) and header data. 
Each of two sequence tracks contains MIDI sequence data of 16 MIDI channels (channel 1 – 16). The DRUM, BASS and 
OTHER parts correspond to MIDI channels 10, 3, and the other channels respectively. These parts can be muted, regardless 
of which tracks they are on, by pressing the [SF1], [SF2] and [SF3] buttons. 
The header data at the beginning of the song contains general song information such as Drum Kit number, tempo and time 
signature (BEAT), as well as program change and volume data for each MIDI channel. These types of data are automatically 
transmitted to the tone generator block when you select a song. 
When song playback is started, this data is transmitted to the tone generator block for the sounds to be played back. 
Playback of each Song can be started by hitting the specified pad as well as pressing the [>/■] (Start/Stop) button. The func-
tion that lets you start/stop playback of a Song by hitting the specified pad is referred to as “Pad Song” (Page 93). Each Drum 
Kit can feature up to four Trigger Input Sources to which a Pad Song is assigned. Some Preset Drum Kits provide special 
Pad Song settings. 
Since the DTXTREME III can play one main Song (normally started via the [>/■] button) and up to four Pad Songs at a 
time, you can play short phrases, such as a guitar riff or a chorded brass hit by hitting pads while playing the drum kit along 
with the main Song. 
The Pad Song settings for each Drum Kit can be performed in the display called up via [DRUM KIT] → [F5] PAD → [SF3] 
PADSONG.
NOTE
•All the Preset Songs are recorded to the track 1. 
NOTE
•Even if the [SF1] DRUM button is turned off, the drum part of only track 1 
can be muted. 
Song
Track 1 Track 2
DRUM — MIDI channel 10
BASS — MIDI channel 3
OTHER — MIDI channels 1, 2, 4-9, 11-16 
						

							Basic Structure of the DTXTREME III
Reference
68DTXTREME III Owner’s Manual
ReferenceDrum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
Effects
This block applies effects to the output of the tone generator block, processing and enhancing the sound using sophisticated 
DSP (digital signal processing) technology. Effects are applied in the final stages of editing, letting you change the sound as 
desired. 
■Effect Structure
The Effects of the DTXTREME III consist of the following blocks.
●Reverb
The Reverb effects add a warm ambience to the sound, simulating the complex reflections of actual 
performance spaces, such as a concert hall or a small club. The Effect type of the Reverb block can be 
selected for each Drum Kit in the display called up via [DRUM KIT] → [F4] EFFECT → [SF1] CON-
NECT or [SF3] REVERB. The Effect of this block is applied to the overall sound of the DTXTREME 
III.
●Chorus
The Chorus effects use various types of modulation processing, including flanger and phaser, to 
enhance the sound in a variety of ways. The Effect type of the Chorus block can be selected for each 
Drum Kit in the display called up via [DRUM KIT] → [F4] EFFECT → [SF1] CONNECT or [SF4] 
CHORUS. The Effect of this block is applied to the overall sound of the DTXTREME III. 
●Variation
The Effects of this block is applied only to the current Drum Kit sound. The Effect type of the Variation 
block can be selected for each Drum Kit in the display called up via [DRUM KIT] → [F4] EFFECT → 
[SF1] CONNECT or [SF2] VAR. 
●Insertion A and Insertion B
The Effects of these two blocks is applied only to the audio signal coming from the external audio 
device or microphone. The Effect type for each of Insertion A and B can be selected in the display 
called up via [UTILITY] → [F4] AUX IN → [SF3] INS A and [SF4] INS B respectively.
●Master Effect
This block applies effects to the final stereo output signal of the entire sound. The Master Effect type 
can be selected in the display called up via [UTILITY] → [F3] EFFECT → [SF2] MEF.
●Master EQ
Master EQ is applied to the final, overall (post-effect) sound of the instrument. The Master EQ can be 
set in the display called up via [UTILITY] → [F3] EFFECT → [SF1] MEQ.
NOTE
•For detailed information about the Effect Types and related parameters, 
refer to pages 70 and 72 respectively. For a complete list of the available 
Effect Types for each Effect block, refer to the Effect Type List in the sepa-
rate Data List booklet.  
						

							Basic Structure of the DTXTREME III
Reference
DTXTREME III Owner’s Manual69
Drum Kit mode
Reference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
■Effect Connection
Insertion Effect A
Insertion Effect B
Insertion Effect A
Insertion Effect Bor
[UTILITY] → [F4] AUX IN 
→ [SF2] INS TYPE
External Audio signalvia
 AUX IN/
 SAMPLING IN
Drum Voice
(MIDI 10 ch)
Other Voices
(Other than
MIDI 10 ch)
Master 
EffectMaster
EQ
Click Voice
Variation*1
Variation 
Return*1
Variation
Send*2Chorus*1
Reverb*1
Reverb Send*2
Chorus Send*2
Reverb 
Return*1
Chorus 
Return*1
Reverb 
Return*1
Chorus 
Return*1
Chorus to 
Reverb*1
Reverb Send*2
Chorus Send*2
*1 [DRUM KIT] → [F4] EFFECT → [SF1] CONNECT
*2 [DRUM KIT] → [F2] VOICE → [SF2] OUT-TUNE
[UTILITY] 
→ [F3] EFFECT 
→ [SF2] MEF
[UTILITY] 
→ [F3] EFFECT 
→ [SF1] MEQ Variation to Reverb*
1
Variation 
to Chorus*1 
						

							 Basic Structure of the DTXTREME III 
Reference
 
70 
DTXTREME III Owner’s Manual 
ReferenceDrum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
 
The DTXTREME III provides such a wide and extensive 
variety of Effect types that it may be difficult to find the 
desired Effect type out of the great number that are avail-
able. This is why all the Effect types are divided into con-
v enient Effect categories. 
This section explains the Effect categories and their types. 
The Effect Type list described below for each category con-
tains the columns: REV (Reverb), CHO (Chorus), VAR 
(Variation), INS (Insertion) and MEF (Master Effect). The 
checkmarks indicated in these columns means the Effect 
T ype is available for each block. These Effect types (with 
the checkmarks indicated in each list) can be selected from 
the panel controls. 
■ 
COMPRESSOR & EQ
 
Compressor is an effect commonly used to limit and com-
press the dynamics (softness/loudness) of an audio signal. 
For signals that vary widely in dynamics, such as
v ocals and guitar parts, it “squeezes” the dynamic range, 
effectively making soft sounds louder and loud sounds 
softer. When used with gain to boost the overall level, this
creates a more powerful, more consistently high-level 
sound. Compression can be used to increase sustain for 
electric guitar, smooth out the volume of a vocal, or bring a 
drum kit or rhythm pattern further up-front in the mix. 
■ 
LO-FI
 
This effect intentionally degrades the audio quality of the 
input signal via several methods, including lowering of the 
sampling frequency.  ■ 
FLANGER & PHASER
 
The flanger creates a swirling, metallic sound. The phaser 
modulates cyclically to add movement and animation to the 
sound. 
■ 
DISTORTION
 
This effect type is used mainly for guitar, adding distortion 
with an edge to the sound. 
■ 
WA H
 
This effect cyclically modulates the tone brightness (cutoff 
frequency of a filter). Auto Wah modulates the tone via 
LFO, Touch Wah modulates the tone via volume (note-on 
velocity) and Pedal Wah modulates the tone the pedal con-
trol. 
Effect Types and Effect Categories 
Effect Type 
VA R
  INS 
MEF
  Description
 
COMPRES-
SOR  
✔✔✔
 
Vintage sounding compres-
sion.
CLASSIC 
COMPRES-
SOR  
✔✔
 
–
 
Conventional type of com-
pressor.
MULTI BAND 
COMP  
✔✔✔
 
3-band type compressor.
EQ  
✔✔
 
–
 
Vintage 5-band parametric 
EQ.
HARMONIC 
ENHANCER  
✔✔
 
–
 
Adds new harmonics to the 
input signal to make the 
sound stand out. 
Effect Type 
VA R
  INS 
MEF
  Description
 
LO-FI  
✔✔✔  
Degrades the audio quality of 
the input signal for a lo-fi 
sound.
NOISY  
✔✔  
–
 
Adds noise to the current 
sound.
DIGITAL 
TURNTABLE  
✔✔  
–
 
Simulates the noise, 
scratches and pops of a vinyl 
record.  Effect Type 
VA R
  INS 
CHO
  Description
 
FLANGER
 
✔✔✔
 
Vintage sounding flanger.
CLASSIC 
FLANGER
 
✔✔✔
 
Conventional type of flanger.
TEMPO 
FLANGER
 
✔✔✔
 
Tempo-synchronized flanger.
D YNAMIC 
FLANGER
 
✔✔
 
–
 
Dynamically controlled 
flanger.
PHASER 
MONO
 
✔✔✔
 
Vintage sounding mono 
phaser.
PHASER 
STEREO
 
✔✔✔
 
Vintage sounding stereo 
phaser.
TEMPO 
PHASER
 
✔✔✔
 
Tempo-synchronized phaser.
D YNAMIC 
PHASER
 
✔✔
 
–
 
Dynamically controlled phase 
shifter. 
Effect Type 
VA R
  INS
Description
 
AMP 
SIMULATOR 1
 
✔✔
 
Simulation of a guitar amp.
AMP 
SIMULATOR 2
 
✔✔
 
Simulation of a guitar amp.
COMP 
DISTORTION
 
✔✔
 
Since compression is included in 
the first stage, steady distortion can 
be produced regardless of changes 
in input level.
COMP 
DISTORTION 
DELAY
 
✔✔
 
Compressor, Distortion and Delay 
effects are connected in series.
 
Effect Type 
VA R
  INS
Description
 
AUTO WAH
 
✔✔
 
Modulates the tone via LFO.
T OUCH WAH
 
✔✔
 
Modulates the tone via volume 
(note-on velocity).