Yamaha Dtxtreme 3 Manual

							Basic Structure of the DTXTREME III
Reference
DTXTREME III Owner’s Manual71
Drum Kit mode
Reference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
■REVERB
Also called “reverberation,” this refers to the sound energy 
remaining in a room or closed space after the original 
sound stops. Similar to yet different from echo, reverb is 
the indirect, diffuse sound of reflections from the walls and 
ceiling that accompany the direct sound. The characteris-
tics of this indirect sound depends on the size of the room 
or space and the materials and furnishings in the room. 
Reverb Effect types use digital signal processing to simu-
late these characteristics.■CHORUS
Depending on the particular chorus type and parameters, 
this can make a voice sound “larger,” as if several identical 
instruments were playing in unison, or it can give a voice
greater warmth and depth.
■TREMOLO & ROTARY
The tremolo effect cyclically modulates the volume. The 
Rotary Speaker effect simulates the characteristic vibrato 
effect of a rotary speaker.
■DELAY
An effect (or device) that delays an audio signal for ambi-
ent or rhythmic effects.
Effect TypeVA RINSREVCHODescription
REV-X HALL––✔–Reverb emulating the 
acoustics of a concert 
hall using REV-X tech-
nology.
R3 HALL––✔–Reverb emulating the 
acoustics of a concert 
hall using an algorithm 
derived from the 
Yamaha ProR3.
SPX HALL✔✔✔–Reverb emulating the 
acoustics of a concert 
hall derived from the 
Yamaha SPX1000.
REV-X ROOM––✔–Reverb emulating the 
acoustics of a room 
using the REV-X tech-
nology.
R3 ROOM––✔–Reverb emulating the 
acoustics of a room 
using an algorithm 
derived from the 
Yamaha ProR3.
SPX ROOM✔✔✔–Reverb emulating the 
acoustics of a room 
derived from the 
Yamaha SPX1000.
R3 PLATE––✔–Reverb emulating a 
metal plate using an 
algorithm derived from 
the Yamaha  ProR3.
SPX STAGE✔✔✔–Reverb designed for 
enhancing solo instru-
ments, derived from the 
Yamaha SPX1000.
SPACE 
SIMULATOR––✔–Reverb which lets you 
set the space size by 
specifying the width, 
height, and depth.
EARLY 
REFLECTION✔✔–✔This effect isolates only 
the early reflection com-
ponents of the reverb.
Effect TypeVA RINSCHODescription
G CHORUS✔✔✔This chorus effect produces a 
richer and more complex mod-
ulation than conventional cho-
rus.
2 MODULA-
TOR✔✔✔This chorus effect consists of 
pitch modulation and ampli-
tude modulation.
SPX CHORUS✔✔✔This effect uses a 3-phase 
LFO to add modulation and 
spaciousness to the sound.
SYMPHONIC✔✔✔A multi-stage version of SPX 
CHORUS modulation.
ENSEMBLE 
DETUNE✔✔✔Chorus effect without modula-
tion, created by adding a 
slightly pitch-shifted sound.
Effect TypeVA RINSDescription
AUTO PAN✔✔Cyclically moves the sound left/right 
and front/back.
TREMOLO✔✔Cyclically modulates the volume.
ROTARY 
SPEAKER✔✔Simulation of a rotary speaker.
Effect TypeCHOVA RINSMEFDescription
CROSS DELAY✔✔✔–The feedback of the 
two delayed sounds is 
crossed.
TEMPO 
CROSS DELAY✔✔✔–Cross delay synchro-
nized with the tempo.
TEMPO DELAY 
MONO✔✔✔–Mono delay synchro-
nized with the tempo.
TEMPO DELAY 
STEREO✔✔✔–Mono delay synchro-
nized with the tempo.
CONTROL 
DELAY–✔✔–Delay with delay time 
controllable in real 
time.
DELAY LR✔✔✔–Produces two delayed 
sounds: L and R.
DELAY LCR✔✔✔–Produces three 
delayed sounds: L, R 
and C (center).
DELAY LR 
(Stereo)✔✔✔✔Produces two delayed 
sounds in stereo: L and 
R. 
						

							Basic Structure of the DTXTREME III
Reference
72DTXTREME III Owner’s Manual
ReferenceDrum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
■TECH
This effect radically changes the tonal characteristics by 
using a filter and modulation.
■MISC
This category includes effect types not included in the 
other categories.
REV-X is a reverb algorithm developed by Yamaha. It pro-
vides high-density, richly reverberant sound quality, with 
smooth attenuation, spread and depth that work together to 
enhance the original sound. The DTXTREME III features 
two types of REV-X effects: REV-X Hall and REV-X 
Room.Each of the Effect Types has parameters that determine 
how the Effect is applied to the sound. A variety of sounds 
can be obtained from a single effect type by setting these 
parameters. For information about the Effect parameters, 
see below. 
■Preset settings for Effect parameters
Preset settings for parameters of each effect type are pro-
vided as templates and can be selected in the Effect Type 
selection display. To get a desired effect sound, try first 
selecting one of the Presets close to your imagined sound, 
then change the parameters as necessary.
■Effect parameters
Effect TypeVA RINSMEFDescription
RING 
MODULATOR✔✔✔An effect that modifies the 
pitch by applying amplitude 
modulation to the frequency of 
the input.
DYNAMIC 
RING 
MODULATOR✔✔–Dynamically controlled ring 
modulation.
DYNAMIC 
FILTER✔✔✔Dynamically controlled filter.
AUTO SYNTH✔✔–Processes the input signal into 
a synthesizer-type sound.
ISOLATOR✔✔✔Controls the level of a speci-
fied frequency band of the 
input signal.
SLICE✔✔✔Cuts the Voice sound into sep-
arate segments for special 
rhythmic effects.
TECH MODU-
LATION✔✔–Adds a unique feeling of mod-
ulation similar to ring modula-
tion.
Effect TypeVA RINSDescription
TALKING 
MODULATOR✔✔Adds a vowel sound to the input sig-
nal.
PITCH 
CHANGE✔✔Changes the pitch of the input sig-
nal.
REV-X
Effect Parameters
NOTE
•Some parameters below may appear in different effect types with the 
same name, but actually have different functions depending on the partic-
ular effect type. For these parameters, two or three types of explanations 
are given.
Paramater 
nameDescriptions
AEGPhs Offsets the phase of the AEG.
AMDepth Determines the depth of the amplitude modulation.
AMInvRDetermines the phase of the amplitude modulation 
for the R channel.
AmpType Selects the amplifier type to be simulated.
AMSpeed Determines the amplitude modulation speed.
AMWave Determines the wave of the amplitude modulation.
AnalogAdds the characteristics of an analog flanger to the 
sound.
AtkOfstDetermines the amount of time that elapses between 
the hitting of a pad (or playing of a key) and the start 
of the wah effect.
AtkTime Determines the attack time of the envelope follower.
AttackDetermines the amount of time that elapses between 
the hitting of a pad (or playing of a key) and the start 
of the compressor effect.
BitAsgnDetermines the degree to which the Word Length is 
applied to the sound, and affects the resolution of the 
sound.
Bottom
*1Determines the minimum value of the wah filter.
ClickDensity Determines the frequency at which the click sounds.
ClickLvl Determines the click level.
Color
*2Determines the fixed phase modulation.
CommonRelThis is one of the Multi Band Comp parameters and 
determines the amount of time that elapses between 
the releasing of a note and the end of the effect.
CompresDetermines the minimum input level at which the 
compressor effect is applied.
CtrTypeThis one of the Control Delay parameters. When set 
to “Normal,” the delay effect is always applied to the 
sound. When set to “Scratch,” the delay effect is not 
applied if both the Delay Time and Delay Time Offset 
are set to “0.”
Decay Controls how the reverb sound decays.
Delay[For TEMPO DELAY MONO, TEMPO DELAY STE-
REO]
Determines the delay of the sound in note value. This 
helps in setting rhythmic delays that match the timing 
of the music.
[For TEC effects, CONTROL DELAY]
Determines the delay time.  
						

							 Basic Structure of the DTXTREME III 
Reference
 
DTXTREME III Owner’s Manual 73 
Drum Kit modeReference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
 
DelayC Determines the delay time for the center channel. 
DelayL Determines the delay time for the L channel.
DelayL>R Determines the amount of time between the moment 
the sound is input from the L channel and the 
moment the sound is output to the R channel.
DelayOfstR Determines the delay time for the R channel as off-
set.
DelayR Determines the delay time for the R channel.
DelayR>L Determines the amount of time between the moment 
the sound is input from the R channel and the 
moment the sound is output to the L channel.
Density [For REVERB effects, except EARLY REFLECTION]
Determines the density of the reverberations.
[For EARLY REFLECTION]
Determines the density of the reflections.
Depth [For FLANGER]
Determines the amplitude of the LFO wave which 
controls the cyclic change of the delay modulation.
[For PHASER MONO, PHASER STEREO]
Determines the amplitude of the LFO wave which 
controls the cyclic change of the phase modulation.
[For SPACE SIMULATOR]
Determines the depth of the simulated room.
Detune Determines the amount of detuning of the pitch.
Device Selects the device for changing how the sound is to 
be distorted.
Diffuse [For TEMPO PHASER, EARLY REFLECTION]
Determines the spread of the selected effect.
[For REVERB effects, except EARLY REFLECTION]
Determines the spread of the reverb.
Directn Determines the direction of the modulation controlled 
by
 the envelope follower.
Div.Lvl Determines the minimum level of the portions 
e
xtracted via the slice effect.
DivFreqH Determines the high frequency for dividing the entire 
sound into three bands.
DivFreqL Determines the low frequency for dividing the entire 
sound into three bands.
DivideType Determines how the sound (wave) is sliced by the 
note length. This helps in setting rhythmic effects that 
match the timing of the music.
DlyLvl Determines the level of the delayed sound.
DlyLvlC Determines the level of the delayed sound for the 
center channel.
DlyMix Determines the mixing level of the delayed sound.
DlyOfst Determines the offset value of the delay modulation.
DlyTrnsit Determines the speed (rate) at which the delay time 
is changed from the current value to the specified 
new value.
Drive [For HARMONIC ENHANCER, TALKING MODULA-
T
OR]
Determines the extent to which the enhancer or talk-
ing modulator is applied.
[For NOISY, SLICE]
Determines the degree and character of the distor-
tion effect.
DriveHorn Determines the depth of the modulation generated 
via the rotation of the horn.
DriveRotor Determines the depth of the modulation generated 
via the rotation of the rotor.
Dry/Wet Determines the balance of the dry sound and effect 
sound.
DryLPF Determines the cutoff frequency of the low pass filter 
applied to the dry sound.
DryLvl Determines the level of the dry sound (the unproc-
essed sound).
DryMixLvl Determines the level of the dry sound (the unproc-
essed sound).
DrySndNoise Determines the level of the dry signal sent to the 
noise effect.
 
P
aramater 
nameDescriptions
 
DyLvlOfs Determines the offset value added to the output from 
the envelope follower.
DyThreshLvl Determines the minimum level at which the envelope. 
f
ollower starts.
Edge Sets the curve that determines how the sound is dis-
torted.
Emphasi Determines the change of the characteristics in high 
frequencies.
EQ1Freq Determines the Cutoff frequency of EQ1 (Low Shelv-
ing).
EQ1Gain Determines the level gain of EQ 1 (Low Shelving).
EQ2Freq Determines the center frequency of EQ2.
EQ2Gain Determines the level gain of EQ2.
EQ2Q Determines the Q of EQ2.
EQ3Freq Determines the center frequency of EQ3.
EQ3Gain Determines the level gain of EQ3.
EQ3Q Determines the Q of EQ3.
EQ4Freq Determines the center frequency of EQ4.
EQ4Gain Determines the level gain of EQ4.
EQ4Q Determines the Q of EQ4.
EQ5Freq Determines the Cutoff frequency of EQ5 (High 
Shelving).
EQ5Gain Determines the level gain of EQ5 (High Shelving).
EQFreq Determines the center frequency for each band of 
the EQ.
EQGain Determines the level gain of the EQ center frequency 
f
or each band.
EQWidth Determines the width of the EQ band.
ER/Rev Determines the level balance of the early reflection 
and reverb sound.
F/RDpth This Auto Pan parameter (available when PAN Direc-
tion is set to “L turn” and “R turn”) determines the 
depth of the F/R (front/rear) pan.
FBHiDmp Determines how the high frequencies of the feedback 
sound decay.
FBHiDmR Determines the amount of decay in high frequencies 
f
or the R channel as offset.
FBLevel [For CHORUS effects, DELAY effects, TECH effects, 
CLASSIC FLANGER, TEMPO FLANGER, DYNAMIC 
FLANGER, COMP DISTORTION DELAY]
Determines the feedback level output from the delay 
and returned to the input.
[For TEMPO PHASER, DYNAMIC PHASER]
Determines the feedback level output from the delay 
and returned to the input.
[For REVERB effects]
Determines the feedback level of the initial delay.
FBLvl1 Determines the feedback level of the delayed sound 
in the 1st series.
FBLvl2 Determines the feedback level of the delayed sound 
in the 2nd series.
FBLvlR Determines the feedback level for the R channel as 
offset.
FBTime Determines the delay time of the feedback.
FBTime1 Determines the delay time of feedback 1.
FBTime2 Determines the delay time of feedback 2.
FBTimeL Determines the delay time of the feedback for the left 
channel.
FBTimeR Determines the delay time of the feedback for the 
r
ight channel.
F eedback Determines the level of the sound signal output from 
the effect block and returned to its own input.
Fine1 Determines the fine pitch setting for the 1st series.
Fine2 Determines the fine pitch setting for the 2nd series.
FltType [For LO-FI]
Determines the type of tonal characteristics.
[For DYNAMIC FILTER]
Determines the filter type.
 
P
aramater 
nameDescriptions 
						

							Basic Structure of the DTXTREME III
Reference
74DTXTREME III Owner’s Manual
ReferenceDrum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
GateTime Determines the gate time of the sliced portion.
H.FreqDetermines the center frequency of the high EQ 
band that is attenuated/boosted.
H.GainDetermines the amount of boost or attenuation 
applied to the high EQ band.
Height Determines the height of the simulated room.
HiAtkDetermines the amount of time from the moment a 
note is played to the moment the compressor is 
applied to the high frequencies.
HiGain Determines the output gain for the high frequencies.
HiLvl Determines the level of the high frequencies.
HiMute Switches the mute status of the high frequencies.
HiRat[For MULTI BAND COMP]
Determines the ratio of the compressor for the high 
frequencies.
HiRat[For REVERB effects]
Adjusts the resonance of the high frequencies.
HiThDetermines the minimum input level at which the 
effect is applied to the high frequencies.
HornFDetermines the speed of the horn when the slow/fast 
switch is set to “fast.”
HornSDetermines the speed of the horn when the slow/fast 
switch is set to “slow.”
HPFDetermines the Cutoff frequency of the High Pass 
Filter.
InitDlyDetermines the amount of time that elapses between 
the direct, original sound and the initial reflections.
InitDly1 Determines the delay time for the 1st series.
InitDly2 Determines the delay time for the 2nd series.
InitDlyL Determines the delay time of the left channel.
InitDlyR Determines the delay time of the right channel.
InpLvl Determines the input level. 
InpModeSelects mono or stereo configuration for the input 
sound.
InpSelect Selects an input.
L.FreqDetermines the center frequency of the low EQ band 
that is attenuated/boosted.
L.GainDetermines the amount of boost or attenuation 
applied to the low EQ band.
L/RDiffuse Determines the spread of the sound.
L/RDpth Determines the depth of the L/R pan effect.
LagDetermines the lagging time additionally applied to 
the delayed sound, and is specified via a note length. 
This helps in setting rhythmic effects that match the 
timing of the music.
LFODpth[For CHORUS effects, RING MODULATOR, CLAS-
SIC FLANGER, TEMPO FLANGER]
Determines the depth of the modulation.
[For TEMPO  PHASER]
Determines the depth of the phase modulation.
LFOPhDiffDetermines the L/R phase difference of the modu-
lated wave.
LFOPhRst Determines how the initial phase of the LFO is reset.
LFOSpeed[For CHORUS effects, TREMOLO, RING MODULA-
TOR, CLASSIC FLANGER, TEMPO FLANGER]
Determines the frequency of the modulation.
[For TEMPO  PHASER]
Determines the modulation speed via a note length. 
This helps in setting rhythmic effects that match the 
timing of the music.
[For AUTO PAN]
Determines the frequency of the Auto Pan.
LFOWave[For CLASSIC FLANGER, RING MODULATOR]
Selects the wave for modulation.
[For AUTO WAH]
Selects the wave, sine or square.
[For AUTO PAN]
Determines the panning curve.
Paramater 
nameDescriptions
LivenssDetermines the decay characteristics of Early Reflec-
tion.
LowAtkDetermines the amount of time from the moment a 
note is pressed to the moment the compressor is 
applied to the low frequencies.
LowGain Determines the output gain for the low frequencies.
LowLvl Determines the output level for the low frequencies.
LowMuteDetermines whether the low frequency band is off or 
on.
LowRat[For MULTI BAND COMP]
Determines the ratio of the compressor for the low 
frequencies.
LowRat[For REVERB effects]
Determines the ratio of the low frequencies.
LowThDetermines the minimum input level at which the 
effect is applied to the low frequencies.
LPF Determines the cutoff frequency of the low pass filter.
LPFResoDetermines the Resonance of the Low Pass Filter for 
the input sound.
M.FreqDetermines the center frequency of the middle EQ 
band that is attenuated/boosted.
M.GainDetermines the amount of boost or attenuation 
applied to the middle EQ band.
M.Width Determines the width of the middle EQ band.
Manual[For FLANGER]
Determines the offset value of the delay modulation.
[For PHASER MONO, PHASER STEREO]
Determines the offset value of the phase modulation.
MicAngl Determines the L/R angle of the microphone.
MidAtkDetermines the amount of time from the moment a 
note is pressed to the moment the compressor is 
applied to the mid frequencies.
MidGain Determines the output gain for the mid frequencies.
MidLvl Determines the output level for the mid frequencies.
MidMute Switches the mute status of the mid frequencies.
MidRatDetermines the ratio of the compressor for the mid 
frequencies.
MidThDetermines the minimum input level at which the 
effect is applied for the mid frequencies.
Mix Determines the volume of the effect sound.
MixLvlDetermines the level of the effect sound mixed to the 
dry sound.
ModDpth Determines the depth of the modulation.
ModDptRDetermines the depth of the modulation for the right 
channel as offset.
ModeDetermines the phaser type, or more specifically, the 
factor for forming the phaser effect.
ModFB Determines the feedback level to the modulation.
ModGain Determines the gain of the modulation.
ModLPFDetermines the cutoff frequency of the low pass filter 
applied to the modulated sound.
ModLPFResoDetermines the resonance of the low pass filter for 
the modulated sound.
ModMixDetermines the mix balance of the modulated ele-
ment.
ModPhDetermines the L/R phase difference of the modu-
lated wave.
ModSpd Determines the modulation speed.
ModWave Selects the wave type for modulation.
MoveSpeedDetermines how long it takes to move the sound from 
the current status to the sound specified via the 
Vowel parameter.
NoiseQDetermines the resonance of the low pass filter 
applied to the noise.
NoisLPFDetermines the cutoff frequency of the low pass filter 
applied to the noise.
NoisLvl Determines the noise level.
Paramater 
nameDescriptions 
						

							Basic Structure of the DTXTREME III
Reference
DTXTREME III Owner’s Manual75
Drum Kit mode
Reference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
*1 The Bottom parameter is available only when the value is less than 
that of the Top parameter.
*2 The Color parameter may not be effective depending on the values 
of the Mode and Stage parameters.
*3 The Top parameter is available only when the value is more than that 
of the Bottom parameter. NoisModDpt Determines the depth of the noise modulation.
NoisModSpd Determines the speed of the noise modulation.
NoisTon Determines the characteristics of the noise.
On/Off Turns the isolator on or off.
OSCFrqCorsDetermines the frequency for modulating the input 
wave.
OSCFrqFineFinely determines the frequency for modulating the 
input wave.
OutGain Determines the level gain. 
OutLvl Determines the output level.
OutLvl1 Determines the output level for the 1st series.
OutLvl2 Determines the output level for the 2nd series.
Output Determines the output level.
OverDrDetermines the degree and character of the distor-
tion effect.
Pan1 Determines the pan position for the 1st series.
Pan2 Determines the pan position for the 2nd series.
PanAEGLvlThis parameter of the Slice effect determines the 
minimum level of the AEG applied to the panned 
sound.
PanAEGTypeThis parameter of the Slice effect determines the 
type of the AEG applied to the panned sound
PanDirectn Determines the type of the Auto Pan.
PanDpth Determines the depth of the pan effect.
PanType Determines the pan type.
PhShiftOfst Determines the offset value of the phase modulation.
Pitch1 Determines the pitch in semitones for the 1st series.
Pitch2 Determines the pitch in semitones for the 2nd series.
PMDepth Determines the depth of the pitch modulation.
Pre-LPFDetermines the Cutoff frequency of the Low Pass Fil-
ter before the modulation.
PreLPFResoDetermines the Resonance of the Low Pass Filter for 
the input sound.
PreModHPFDetermines the Cutoff frequency of the High Pass 
Filter before the modulation.
PresencThis guitar amp effect parameter controls the high 
frequencies.
Ratio Determines the ratio of the compressor.
RelCurvDetermines the release curve of the envelope fol-
lower.
ReleaseDetermines the amount of time that elapses between 
the release or end of a sound and the end of the 
compressor effect.
RelTime Determines the release time of the envelope follower.
Reso Determines the resonance of the filter.
ResoOfst Determines the resonance as offset.
RevDlyDetermines the delay time from the early reflections 
until the reverberations.
RevTime Determines the reverb time.
RoomSize Determines the room capacity.
Rotor/HornDetermines the volume balance of the horn and 
rotor.
RotorFDetermines the speed of the rotor when the slow/fast 
switch is set to “fast.”
RotorSDetermines the speed of the rotor when the slow/fast 
switch is set to “slow.”
Sens[For FLANGER&PHASER effects, TECH effects]
Determines the sensitivity of the modulation applied 
to the input change.
[For TOUCH WAH]
Determines the sensitivity of the wah filter’s change 
applied to the input change.
S-FTmHornDetermines how long it takes for the rotation speed of 
the horn to change from the current speed (slow or 
fast) to another speed (fast or slow) when the rotation 
speed is switched.
Paramater 
nameDescriptions
S-FTmRotorDetermines how long it takes for the rotation speed of 
the rotor to change from the current speed (slow or 
fast) to the another speed (fast or slow) when the 
rotation speed is switched.
SmplFrqCtr Controls the sampling frequency.
SpcType Selects the type of space simulation.
Speaker Selects the type of speaker simulation.
Speed[For FLANGER]
Determines the frequency of the LFO wave which 
controls the cyclic change of the delay modulation.
[For PHASER MONO, PHASER STEREO]
Determines the frequency of the LFO wave which 
controls the cyclic change of the phase modulation.
[For AUTO WAH]
Determines the speed of the LFO.
SpeedCtrl Switches the rotary speed.
Spread Determines the spread of the sound.
Stage Determines the step number of the phase shifter.
ThreshDetermines the minimum input level at which the 
effect is applied.
To p
*3Determines the maximum value of the wah filter.
Type[For FLANGER]
Determines the type of flanger.
[For WAH effects]
Determines the type of Wah.
[For EARLY REFLECTION]
Determines the type of the reflection sound.
VowelSelects a vowel type.
WallVaryDetermines the wall status of the simulated room. 
Higher settings produces more diffuse reflections.
Width Determines the width of the simulated room.
WordLenDetermines the resolution of the sound, or how 
“rough” the sound is. 
Paramater 
nameDescriptions 
						

							Basic Structure of the DTXTREME III
Reference
76DTXTREME III Owner’s Manual
ReferenceDrum Kit mode Song mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
Internal Memory and File Management
As you use the DTXTREME III, you’ll create many different kinds of data, including Drum Kits, Drum Voices, Songs and 
Chain programs. This section describes how to maintain the various types of data and use the memory devices/media for 
storing them. 
The chart below lists the data types you can create on the 
instrument and the internal memory locations to which they 
are stored, permanently or temporarily. Keep in mind that 
certain types of data are lost when you turn off the power 
and you should always prepare a USB storage device for 
use BEFORE you start creating or editing data.Below are explanations of the basic terms used in the 
Memory Structure illustration on the next page.
●Flash ROM
ROM (Read Only Memory) is memory designed specifi-
cally for reading out data, and as such data cannot be writ-
ten to it. Unlike conventional ROM, Flash ROM can be 
overwritten – allowing you to store your own original data. 
The contents of Flash ROM are maintained even when the 
power is turned off. 
●DRAM
RAM (Random Access Memory) is memory designed spe-
cifically for data writing and data reading operations. There 
are two different kinds of RAM, depending on the condi-
tion for storing the data: SRAM (Static RAM) and DRAM 
(Dynamic RAM). The created data stored on DRAM is lost 
when the power is turned off. Because of this, you should 
always store any data residing in DRAM to the USB stor-
age device before turning off the power.
●DIMM (sold separately)
DIMM modules must be installed in order for using the 
Sampling function or for loading audio data (User Voice/
WAV file/AIFF file) to the instrument. As with DRAM 
described above, the created data stored on DIMM is lost 
when the power is turned off. Because of this, you should 
always store any data residing in DIMM to the USB stor-
age device before turning off the power.
●User Memory
The internal memory to which all the data you have created 
can be stored, permanently or temporarily is referred to as 
“User Memory.” 
Among various types of data created on the DTXTREME 
III, data stored on Flash ROM can be maintained even if 
you turn the power off. On the other hand, data on DRAM 
(User Song) and DIMM (User Voice) should be saved to 
the USB storage device before turning the power off 
because these types of data will be lost when you turn the 
power off. 
Data Lost and Retained When Power 
is Turned  Off
Data typesInternal memory types to which 
data is stored
Drum Kit Flash ROM
Click settings Flash ROM
Trigger Setups Flash ROM
Utility settings Flash ROM
Chain Flash ROM
User SongDRAM 
→ Will be lost when turning the power off!
User VoiceDIMM 
→ Will be lost when turning the power off!
•Among the data types above, the User Song and User Voice data 
should be saved to a USB storage device connected to the USB TO 
DEVICE connector before turning the power off. Otherwise, the cre-
ated data will be lost.
CAUTION
Internal Memory 
						

							Basic Structure of the DTXTREME III
Reference
DTXTREME III Owner’s Manual77
Drum Kit mode
Reference
Song mode
Click mode
Trigger mode
File mode
Utility mode
Chain mode
Sampling mode
This diagram details the relationship among the functions of the DTXTREME III and the internal memory and USB storage 
device.
*External Drum Kits stored in the root directory of the USB storage device can be called up 
directly in the Drum Kit mode without the Load operation in the File mode. The file (Exten-
sion:.T3E) will be created automatically when storing the drum kit to an external bank. Do 
not change the file name.
** Standard MIDI file Songs (format 0) saved in the root directory of the USB storage device 
can be called up directly in the Song mode and played back. This type of Songs can be 
loaded in the File mode with the File type “Song” as a User Song. 
Memory Structure
• Drum Kit
• Voice
• Song
• Trigger  Setup
Preset data (ROM)
Internal Memory
User Memory
Flash ROM
DRAM
DIMM Data Creation function
• User Drum Kit 1 – 50
• Click settings
• User Trigger 
Setups 1 – 5
• Utility settings
• Chains 1 – 64
File extensions: .wav
(File type = Wav) • User Song 1 – 50
File extensions: .aif
(File type = Aiff)
Standard MIDI file
(SMF Format 
= 0)** File extensions: .T3V
(File type = AllVoice) File extensions: .T3S
(File type = AllSong) File extensions: .T3H
(File type = AllChain) File extensions: .T3U
(File type = Utility)File extensions: 
.T3A
(File type 
= AllData)
File extensions: .T3T
(File type = AllTrigger)
File extensions: .T3C
(File type = Click) File extensions: .T3K
(File type = AllKit)External Drum Kit*
EXT-A 01 – 99
EXT-B 01 – 99
:
EXT-P 01 – 99
Load/SaveStore
• User Voice
USR-A: 001 – 127
USR-B: 001 – 127
:
USR-H: 001 – 127
• Drum Kit Edit
• Click settings
• Trigger  Setup
• Utility settings
• Chain Edit
• Song Record
• Sampling
External USB storage device 
						

							Reference
78DTXTREME III Owner’s Manual
ReferenceDrum Kit modeSong mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
Drum Kit Mode[DRUM KIT]
This chapter explains the Drum Kit mode called up via the [DRUM KIT] button.
In the Drum Kit mode, you can select and play the desired Drum Kit from 50 Preset Drum Kits (PRE: 01 to 50), with 
another 50 User Drum Kits (USR: 01 to 50) available for editing and creating your own kits. In addition, you can create 
and store original kits to the 1584 External Drum Kits (EXT-A: 01 – 99 … EXT-P: 01 – 99) by using an external USB 
storage device connected to the USB TO DEVICE terminal. These Drum Kits can be called up directly, even though 
they are stored to an external device.
Basic Procedure in the Drum Kit Mode
1Press the [DRUM KIT] button to enter the 
Drum Kit mode, then select a Drum Kit that 
most closely matches your desired set-
tings. 
2Select the menu you wish to edit by press-
ing the [F1] – [F6] buttons.
When sub menus are assigned to the [SF1] – [SF6] buttons, 
select the desired sub menu for editing by pressing the [SF1] 
– [SF6] buttons.
When editing parameters in the [F2] VOICE, [F3] STK/ALT 
and [F5] PAD display, follow the procedure below. 
2-1 From the [F2] VOICE display, press the [SF5] but-
ton to select “INPUT” or “SOURCE.” 
When “INPUT” is selected, you can edit the parameters 
for each Trigger Input jack (pages 12 and 60). When 
“SOURCE” is selected, you can edit the parameters for 
each Trigger Source (page 61).
2-2 Select the Trigger Input jack or Trigger Input 
Source by hitting the corresponding pad or by using 
the [INC/YES], [DEC/NO] buttons and data dial 
with the cursor located on the INPUT or SOURCE 
position.
3Move the cursor to the desired parameter 
by using the Cursor buttons, then set the 
value by using the [INC/YES], [DEC/NO] 
buttons and data dial. 
4Press the [ENTER/STORE] button after 
making the settings. 
The following display appears.
5Select the Drum Kit bank and number as 
destination by using the [INC/YES], [DEC/
NO] buttons and data dial.
6Press the [ENTER/STORE] button.
The display prompts you for confirmation. To cancel the Store 
operation, press the [DEC/NO] button. 
7Press the [INC/YES] button to execute the 
Store operation.
NOTE
•When a USB storage device is connected to the USB TO DEVICE ter-
minal, you can store your original Drum Kit to the external (“EXT-A” – 
“EXT-P”) banks as well as the internal User (“USR”) bank. 
•The edited Drum Kit will be lost when selecting a different Drum 
Kit or turning the power off. Make sure to store the Drum Kit data 
to internal memory by pressing the [ENTER/STORE] button 
before selecting a different Drum Kit or turning the power off. 
•Never attempt to turn off the power while data is being written to 
Flash ROM (while a “Please keep power on” message is shown), 
otherwise all the User Drum Kit data on the instrument may be 
damaged or lost. 
CAUTION 
						

							 Drum Kit Mode [DRUM KIT] 
Reference
 
DTXTREME III Owner’s Manual 79 
Drum Kit modeReference
Song mode
Click mode
Tr igger mode
File mode
Utility mode
Chain mode
Sampling mode
 
Selecting a Drum Kit 
[F1] PLAY 
Explanations about the display called up via the [DRUM KIT] 
 
→
 
 [F1] PLAY are described on page 30 in the Quick Guide.  Setting Drum Voice Parameters 
[F2] VOICE 
Each of the displays called up via the [F2] button and [SF1] – [SF4] buttons provides two indication types: INPUT and 
SOURCE, which are shown at the top left of the display. From these displays, pressing the [SF5] button toggles the display 
type between “INPUT” (meaning that parameters can be edited for e\
ach Trigger Input jack) and “SOURCE” (meaning that 
parameters can be edited for each Trigger Input Source). 
When the INPUT display is called up, you can assign a Voice 
Set to each of the Trigger Input jacks. When the SOURCE 
display is called up, you can assign a Drum Voice to each of 
the Trigger Input Sources of the pad. By setting the 
SOURCE to MIDI on the SOURCE display, you can assign 
the Drum Voice to each MIDI note number. This is conve-
nient when using the Stack/Alternate function (page 86). 
 
When the INPUT display is called up: 
 
1
 
INPUT
 
Determines the Trigger Input jack (to which the desired pad is 
connected). When Input Lock   5 
 is turned off, you can select 
the Trigger Input jack also by hitting the corresponding pad.  
B
 
V
oice Set category
 
Determines the Voice Set category.  C
 
V
oice Set number
 
Determines the Voice Set number included in the Voice Set 
category selected at   2 
.  D
 
[SF5] SOURCE
 
Pressing the [SF5] button toggles the display type between 
“INPUT” (meaning that parameters can be edited for each 
Trigger Input jack) and “SOURCE” (meaning that parameters 
can be edited for each Trigger Input Source).  
E
 
[SF6] Input Lock
 
Y
ou can turn the Input Lock on or off by pressing this button. 
When Input Lock is turned on (the [L] indicator appears at the 
top right of the display), the Trigger Input jack 
 
1 
 cannot be 
changed even if you hit any pad. This function is useful when 
you want to adjust the parameters of the current pad (connected 
to the current Trigger Input jack) while hitting other pads. 
 
When the SOURCE display is called up: 
 
1
 
SOURCE
 
Determines the Trigger Input Source. When Input Lock   5 
 is 
turned off, you can select the Trigger Input Source also by hit-
ting the corresponding section of the pad.  
B
 
V
oice category
 
Determines the Voice Category.  
Assigning the Drum Voice to the Pad 
[SF1] SELECT 
NOTE  
•F or information about the relationship between Drum Kits, Drum Voices, 
V oice Sets, Trigger Input Sources and Trigger Input jacks, see page 62. 
Settings  
snare, tom1, tom2, tom3, tom4, ride, crash1, 
crash2, hihat, kick, pad11, pad12, pad13, pad14, 
pad15  
Settings  
kick, snare, tom, cymbal, hihat, perc, efct 
NOTE  
• In the INPUT display, an asterisk (*) will appear when the Voice set at 
each Trigger Input source is different from that in the current Voice 
Set. 
4
1
32
5
 
Settings
 
Refer to the separate Data List booklet.
 
Settings
 
Refer to the Trigger Input Source List on page 
61. When “MIDI” is selected, you can assign the 
Drum Voice to each of the MIDI note numbers. 
 
Settings
 
kick1, kick2, snare1, snare2, snare3, tom1, 
tom2, cymbal, hihat, perc1, perc2, efct1, efct2, 
USR-A, USR-B, USR-C, USR-D, USR-E, USR-F, 
USR-G, USR-H
4
1
325 
						

							Drum Kit Mode [DRUM KIT]
Reference
80DTXTREME III Owner’s Manual
ReferenceDrum Kit modeSong mode Click mode Trigger mode File mode Utility mode Chain mode Sampling mode
CVoice number
Determines the Voice number included in the Voice category 
selected at 2. 
D[SF5] INPUT
Pressing the [SF5] button toggles the display type between 
“INPUT” (meaning that parameters can be edited for each 
Trigger Input jack) and “SOURCE” (meaning that parameters 
can be edited for each Trigger Input Source). 
E[SF6] Input Lock
You can turn Input Lock on or off by pressing this button. 
When Input Lock is turned on (the [L] indicator appears at the 
top right of the display), the Trigger Input Source 
1 cannot be 
changed even if you hit any pad. This function is useful when 
you want to adjust the parameters of the current Trigger Input 
Source while hitting the pads of other Trigger Input Sources. 
When “MIDI” is selected as SOURCE, the following dis-
play appears. 
1
Note number
Determines the MIDI note number to which you can assign 
the desired Drum Voice. 
From this display, you can set parameters such as volume 
and tuning. This display consists of two pages, which can 
be called up via the Cursor [N] and [M] buttons. 
The first page when the INPUT display is called up: 
The first page when the SOURCE display is called up:
The initial page when the SOURCE display is called 
up and “MIDI” is selected:
1Volume
When the INPUT display is called up, this parameter (for 
which the value is indicated in the knob icon) determines the 
volume of each selected Trigger Input Jack. When the 
SOURCE display is called up, this parameter determines the 
volume of each selected Trigger Input Source. You can adjust 
the volume balance among the Voices assigned to the pads by 
setting this parameter. 
BTuning
When the INPUT display is called up, this parameter (for 
which the value is indicated in the knob icon) determines the 
pitch of each selected Trigger Input Jack. When the SOURCE 
display is called up, this parameter determines the pitch of 
each selected Trigger Input Source. The Tuning parameter can 
be adjusted finely in cents. 
CPAGE >
This appears when another page can be called up from the 
current page. Use the Cursor [M] or [N] button to call up 
another page. 
SettingsRefer to the separate Data List booklet.
NOTE
•Check the Stack/Alternate settings; when “----” is displayed, you can-
not select the voice category and number (page 86 and 126).
SettingsC#1 – A#5
NOTE
•MIDI note messages from an external MIDI device can also be used 
to set this parameter. Once this is set via MIDI, Input Lock can be 
used to disable further inadvertent editing.
1
Setting Volume, Tuning and Other 
Parameters
[SF2] OUT-TUNE
Range0 – 127
Range-24.00 – +24.00
321
321
321