Yamaha DTXpress/DTXplorer/DTXtreme

OK, I found the DTXpress Group, so that's a start. I've got my 
studio up and running, but I need some help with the DTX.
I'm running Digi 001 on a MAC and I need to know if there is a 
way to "seperate" the kit to individual tracks so I can mix it down 
within pro-tools. Does any one know how I can do this?

--- "jml145" wrote:
> ...I need to know if there is a 
> way to "seperate" the kit to individual tracks
> so I can mix it down within pro-tools.

I'm guessing here, but I think the only way to do this is to use the 
voice settings to pan voices (you get a reasonable amount of fine 
control over the soundstage) and split them into L and R channels 
that way. I don't see how you can split them any more than that, and 
I don't even know off-hand if a hard pan takes it completely out of 
the other channel.

Hmm. I'm not being much help, am I. I'll shut up and go to work.

Stewart

--- In DTXpress@yahoogroups.com, "jml145" <jml145@y...> wrote:
> OK, I found the DTXpress Group, so that's a start. I've got my 
> studio up and running, but I need some help with the DTX.
> I'm running Digi 001 on a MAC and I need to know if there is a 
> way to "seperate" the kit to individual tracks so I can mix it 
down 
> within pro-tools. Does any one know how I can do this?

Hi,

I'm not claiming that what I'm about to say is feasible or sensible, 
but the only way that occurs to me of getting the requisite 
separation of kit elements is to assign each voice on a particular 
kit to its own MIDI channel and to send all of that data to the 
Protools via MIDI. Then each of those MIDI channels would have to be 
converted somehow to audio and relegated to tracks, presumably to 
join your other audio feeds, some of it perhaps to be bounced. I'm 
starting to get nauseous. Is this strategy even an option--good or 
bad?

Ed

JML:
Stewart's correct in that panning hard left and right is about the 
only way you can separate the voices into separate tracks. You could 
split the higher-end voices (snare, hi-hat and cymbals) to one 
channel, and the lower-end voices (bass and toms) to the other. Or, 
if you're laying down more of a groove recording, find an acceptable 
mating between the bass and snare (possibly even hi-hat, too) and run 
them through one channel, then run the toms and cymbals through the 
other channel.

I use two modules and have just the bass and snare running through 
module one (split to two channels), and then run toms and cymbals 
through the other module. When playing live, I run the two modules 
through a four channel mixer that I mix (sending one line to the 
main). When recording, I send four lines to the mixing board.

Oh, and panning hard left or right will not eliminate the voice 
completely from the other channel, but it's very slight.

Stephen