MODODRUM

USER MANUAL
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Table of Contents
English1
Contents2
License Agreement5
Chapter 1 – Introduction9
Chapter 2 – Model Section10
2.1 – List of Cymbals20
Chapter 3 – Top Header22
3.1 – Save a Preset22
3.2 – Create a New Folder22
3.3 – Load a Preset23
3.4 – Delete a Preset23
Chapter 4 – Customize Section24
4.1 – Edit Kit24
4.1.1 – Enable / Disable Drums25
4.1.2 – Swapping Drums26
4.2 – Edit Element28
4.2.1 – Edit Cymbals30
4.2.2 – Edit Kick31
4.2.2.1 – Kick Batter Head33
4.2.2.2 – Kick Shells34
4.2.2.3 – Kick Resonant Head35
4.2.3 – Buzz, Room and Overheads Controls36
4.2.4 – Edit Snare37
4.2.4.1 – Snare Batter Head38
4.2.4.2 – Snare Shell39
4.2.4.3 – Snare Resonant Head40
4.2.5 – Save/Load a Element Preset41
4.2.5.1 – Reset to Default41
4.2.6 – Edit Toms42
4.2.6.1 – Tom Batter Head43
4.2.6.2 – Tom Body44
4.2.6.3 – Tom Resonant Head45
4.2.7 – Save/Load A Element Preset46
4.2.7.1 – Reset To Default46
Chapter 5 – Play Style47
5.1 – Snare And Toms Play Style47
5.1.1 – Volume48
5.2 – Kick Play Style49
Chapter 6 – Room Section51

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Chapter 7 – Mixer Section53

7.1 – The Sends55
7.2 – The Fx Sends And Returns55
7.3 – The Overhead / Room Sends and Returns57
7.4 – Buses59
7.5 – The Equalizer61
7.6 – The Effects63
7.6.1 – Compressor65
7.6.2 – Comp 2A66
7.6.3 – Comp 7667
7.6.4 – Gate68
7.6.5 – SL Comp69
7.6.6 – Clipper70
7.6.7 – Big Pig71
7.6.8 – Crusher72
7.6.9 – Distortion73
7.6.10 – Plate Reverb74
7.6.11 – Room Reverb75
7.6.12 – Inverse Reverb76
7.6.13 – Hall Reverb77
7.6.14 – Delay79
7.6.15 – Tape Delay80
7.6.16 – Phazer81
7.6.17 – Chorus82
7.6.18 – Flanger83
7.7 – DAW Outputs84
7.8 – Perspective86
7.9 – Mixer Preset86
Chapter 8 – Grooves Section87
8.1 – MIDI Patterns Drag And Drop90
8.2 – The Tempo Tab91
Chapter 9 – The Transport Bar92
9.1 – Play Button92
9.2 – The Refresh Button93
Chapter 10 – MIDI Mappings94
10.1 – Factory mapping94
10.1.1 – Range C#0 - A#0 (HI-Hat Articulations)97
10.1.2 – Range A#2 - E4 (Snare and Toms Right Hand)97
10.2 – Custom MIDI mapping98
10.3 – Velocity Curve100
10.4 – MIDI Monitor102
10.5 – Save and Load MIDI Maps102
10.6 – Continuous Controls103
10.6 – Special Hi-Hat Articulations (CC SHANK – CC TIP)103

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Chapter 11 – Preferences104
11.1 – General Preferences104
11.2 – Sound Content Folder104
11.3 – Audio/MIDI Preferences105
11.3.1 – Output Device105
11.3.2 – Left Channel/Right Channel105
11.3.3 – Sample Rate105
11.3.4 – Buffer Size106
11.3.5 – Info106
11.3.6 – Lock106
Chapter 12 – Troubleshooting107
Chapter 13 – Support109
13.1 – User Area109

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License Agreement
END-USER LICENSE AGREEMENT FOR IK MULTIMEDIA PRODUCT

Please read this document carefully before breaking the seal on the media package. This agreement licenses the
enclosed software to you and contains warranty and liability disclaimers.

By breaking the seal on the media envelope, you are confirming to have taken notice of terms and conditions
of this agreement and you acknowledge your acceptance of the software as well as your acceptance of the
terms of this agreement. If you do not wish to do so, do not break the seal. Instead, promptly return the entire
package, including the unopened media package, to the dealer from whom you have obtained it, for a full
refund.

1) DEFINITIONS

“EULA” means this end user license agreement.

“IK Multimedia Product” means the software program included in the enclosed package, and all related updates
supplied by IK Multimedia.

“IK Multimedia Product” means the software program and hardware (if any) included in the enclosed package,
the related documentation, models, multimedia content (such as animation, sound and graphics) and all related
updates supplied by IK Multimedia.

“Not for resale (NFR) Version” means a version of IK Multimedia Product, so identified, is intended for review and
evaluation purposes, only.

2) LICENSE

The “IK Multimedia Product” is protected by copyright laws and international copyright treaties, as well as other
intellectual property laws and treaties. The “IK Multimedia Product” is licensed, not sold. This EULA grants you
the rights as specified here below. All other actions and means of usage are reserved to the written permission
of the right holder IK Multimedia Production Srl:

Applications Software. The “IK Multimedia Product” may be used only by you. You may install and use the “IK
Multimedia Product”, or any prior version thereof for the same operating system, on up to three (3) computers,
provided that (a) each computer is owned by (or leased to) and under the exclusive control of the licensee; (b)
the program(s) shall NOT be used simultaneously on more than one machine, and (c) any computer(s) with
IK Multimedia software installed shall not be sold, rented, leased, loaned or otherwise be removed from the
licensee’s possession without first removing (uninstalling) the licensed software, except as provided in Paragraph
4 (below) pertaining to “Software Transfer”.

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Storage/Network use. You may also store or install a copy of the “IK Multimedia Product” on a storage device,
such as a network server, used only to install or run the “IK Multimedia Product” on your other computers
over an internal network; however, you must acquire and dedicate a distinct license for each user of the “IK
Multimedia Product” from the storage device. Any given license for the “IK Multimedia Product” may not
be shared or used concurrently or otherwise on different computers or by different developers in a given
organization.

3) AUTHORIZATION CODE

The “IK Multimedia Product” only functions when you have authorized it. The “IK Multimedia Product” will be
authorized upon completing the authorization procedure. Once your product is authorized, you may use it.

You agree to follow the authorization procedure and will provide true, accurate and complete information about
yourself. If you provide any information that is untrue, inaccurate, not correct or incomplete, or IK Multimedia
has reasonable grounds to suspect that such information is untrue, inaccurate, not correct or incomplete, IK
Multimedia has the right to suspend or to revoke the license.

The termination of the license shall be without prejudice to any rights, whatsoever, of IK Multimedia.

4) DESCRIPTION OF OTHER RIGHTS AND LIMITATIONS

Limitations on Reverse Engineering, Decompilation, and Disassembly. You may not reverse engineer,
decompile, or disassemble the “IK Multimedia Product”, except and only to the extent that such activity is
expressly permitted by applicable law notwithstanding this limitation of components. The “IK Multimedia
Product” is licensed as a single product. Its component parts may not be separated for use on more than one
computer.

Not for Resale Version. If the “IK Multimedia Product” is labeled “Not for Resale” or “NFR” or “Evaluation
Copy”, then, notwithstanding other sections of this EULA, you may not sell, or otherwise transfer the “IK
Multimedia Product”.

Rental. You may not rent, lease, or lend the “IK Multimedia Product” to any party.

Software Transfer. You may not transfer, license or sublicense your rights as Licensee of the software or any
IK Multimedia product, as licensed to you under this agreement without prior written consent of the rights
owner. The carrier on which the IK Multimedia product has been distributed may be transferred or otherwise
made available to any third party only with the prior written consent of the rights owner and provided that (a) the
original media and license(s) accompany the carrier and (b) the party transferring the media does not retain a
copy of the media.

Online Purchase Withdrawal Right. If you purchase an “IK Multimedia Product” from the IK Multimedia
Production srl Online Shop, you have fourteen (14) days to withdraw your purchase from the date you receive
it. We will give you a full refund within 14 days of you exercising this right of withdrawal. You must however do

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this within the fourteen (14) day period. The “IK Multimedia Product” must be returned in ‘as new’ condition.
This includes all contents and packaging, which must not be damaged in any way. Once you break the seal,
you lose your right of withdrawal. Right of withdrawal does not apply to IK Multimedia Products purchased as
downloadable versions (Digital Delivery). To exercise the withdrawal right, you must contact IK Multimedia at
www.ikmultimedia.com/contact-us and confirm your wish to a refund within the fourteen (14) day period.

5) UPGRADES

If the “IK Multimedia Product” is labeled or otherwise identified by IK Multimedia as an “upgrade”, you must be
properly licensed to use a product identified by IK Multimedia as being eligible for the upgrade in order to use
the “IK Multimedia Product”.

An “IK Multimedia Product” labeled or otherwise identified by IK Multimedia as an upgrade replaces and/or
supplements the product that formed the basis for your eligibility for such upgrade. You may use the resulting
upgraded product only in accordance with the terms of this EULA. If the “IK Multimedia Product” is an upgrade
of a component of a package of software programs that you licensed as a single product, the “IK Multimedia
Product” may be used and transferred only as part of that single product package and may not be separated for
use on more than one computer.

6) DUAL-MEDIA SOFTWARE

You may receive the “IK Multimedia Product” in more than one medium. You may not loan, rent, lease, or
otherwise transfer the other medium to another user, except as part of the permanent transfer (as provided
above) of the “IK Multimedia Product”.

7) LIMITED WARRANTY

IK Multimedia warrants to the original purchaser of the computer software product, for a period of ninety
(90) days following the date of original purchase, that under normal use, the software program and the user
documentation are free from defects that will materially interfere with the operation of the program as described
in the enclosed user documentation.

8) WARRANTY CLAIMS

To make a warranty claim under the above limited warranty, please return the product to the point of purchase,
accompanied by proof of purchase, your name, your return address and a statement of the defect, or send
the CD(s) to us at the below address within ninety (90) days of purchase. Include a copy of the dated purchase
receipt, your name, your return address and a statement of the defect. IK Multimedia or its authorized dealer will
use reasonable commercial efforts to repair or replace the product and return it to you (postage prepaid) or issue
to you a credit equal to the purchase price, at its option.

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9) LIMITATIONS ON WARRANTY

IK Multimedia warrants only that the program will perform as described in the user documentation. No other
advertising, description or representation, whether made by a IK Multimedia dealer, distributor, agent or
employee, shall be binding upon IK Multimedia or shall change the terms of this warranty.

EXCEPT AS STATED ABOVE, IK MULTIMEDIA MAKES NO OTHER WARRANTY, EXPRESSED OR

IMPLIED, REGARDING THIS PRODUCT. IK MULTIMEDIA DISCLAIMS ANY WARRANTY THAT
THE SOFTWARE IS FIT FOR A PARTICULAR PURPOSE, AND ANY IMPLIED WARRANTY OF
MERCHANTABILITY SHALL BE LIMITED TO A NINETY (90) DAY DURATION OF THIS LIMITED EXPRESS
WARRANTY AND IS OTHERWISE EXPRESSLY AND SPECIFICALLY DISCLAIMED. IK MULTIMEDIA
SHALL NOT BE LIABLE FOR SPECIAL, INCIDENTAL, CONSEQUENTIAL OR OTHER DAMAGES, EVEN IF
IK MULTIMEDIA IS ADVISED OF OR AWARE OF THE POSSIBILITY OF SUCH DAMAGES. THIS MEANS
THAT IK MULTIMEDIA PRODUCTION SRL SHALL NOT BE RESPONSIBLE OR LIABLE FOR THE LOSS
OF PROFITS OR REVENUES, OR FOR DAMAGES OR COSTS AS A RESULT OF LOSS OF TIME, DATA
OR USE OF THE SOFTWARE, OR FROM ANY OTHER CAUSE EXCEPT THE ACTUAL COST OF THE
PRODUCT. IN NO EVENT SHALL IK MULTIMEDIA LIABILITY EXCEED THE PURCHASE PRICE OF THIS
PRODUCT.

10) CHOICE OF LAW

You agree that any and all claims, suits or other disputes arising from your use of the software shall be
determined in accordance with the laws of Italy, in the event IK Multimedia, is made a party thereto. You agree to
submit to the jurisdiction of the court in Modena, Italy for all actions, whether in contract or in tort, arising from
your use or purchase of the software.

11) GENERAL

This Agreement contains the complete agreement between the parties with respect to the subject matter
hereof, and supersedes all prior or contemporaneous agreements or understandings, whether oral or written. All
questions concerning this Agreement shall be directed to:

IK Multimedia Production Srl

Via dell’Industria 46
41122 Modena
Italy

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Chapter 1 – Introduction

Congratulations! You are now the proud owner of MODO DRUM.

Like our award-winning MODO BASS software, MODO DRUM delivers incredibly realistic and authentic tracks for
your music with a level of control over every detail you’ve never imagined before. Create the drum tracks of your
dreams with access to every parameter of every drum in your kit from size and tension to material and play style
and so much more. MODO DRUM’s innovative modal synthesis technology shatters the limitations of traditional
drum sample libraries for a new standard in realistic, natural and customizable drum tracks.

Unlike traditional sample-based virtual instruments, MODO DRUM utilizes IK’s award-winning modal synthesis
technology and an ultra-optimized sound engine to bring your drums to life. Each drum’s acoustic behavior is
determined by its physical parameters: dimensions, materials, skin and more. MODO DRUM also models the play
style, the interaction of the drum head with the body, the sympathetic vibration of the drums with each other and
the acoustic interaction with the room.

In short, MODO DRUM is creating sound in real-time based on the ever-changing interactions between the player,
drums and room, mimicking the vibe of a real, live drummer. It’s never been easier to bring life to your drum tracks
and to your music overall.

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Chapter 2 – Model Section

MODO DRUM offers 10 iconic drum kits to cover every style and genre of music. From jazz to grunge kits, from
maple shells to exotic bubinga, each kit has been chosen to represent a particular style, genre or time period
for the widest possible range of timbres and tones. Three complete cymbal sets are also included as well as
tambourine, cowbell and claps for full General MIDI compatibility.

The Model Section is a showroom where you can browse and load a kit from the upper carousel and read about
each kit’s characteristics in a short description at the lower left. Just like a factory preset, once a Kit is selected,
a related Room is assigned, and a suitable Mix and FX environment is loaded. These amazing presets are the
best starting point for every user, from beginner to pro. Believe it!

Here’s a complete list of all the Models with the related descriptions and the Cymbals that you will find
navigating the MODO DRUM interface:

Black Oyster

4-piece kit. This is a great choice for classic vintage sound. Used by legendary rock bands and star drummers
symbols of the 60s, this kit carries on a proud drumming legacy. Put a legend into your studio, play like a Starr.

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Djentleman

5-piece kit. A deep burst of sound invites you to dive in and explore the depths of this drum set. The biting yet
warm notes spoken by this kit create the fundamental expression of the new metal movement, the so-called,
“djent genre.”

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Jazzy

4-piece kit. Designed for bebop or more subtle dynamic jazz played at lower volumes, this kit features a bright,
balanced sound. Manufactured heads, pre-muffled bass drum heads and 100% mahogany shells make it
perfect for jazz purists and many other music genres.

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Extreme

8-piece set. This modern classic is a symbol of legendary 80s and 90s metal bands. With specifically crafted
shells, it offers a sound that harkens back to the robust tones of vintage drums but with a more contemporary
attack, greater projection and consistent timbre.

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Reference

8-piece set. Marked as a new philosophical shift in drum-set construction, this classic, timeless kit represents a
major advance in design with interior plies of mahogany and outer plies of maple. A heavyweight masterpiece.

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Bubinga

7-piece set. This kit exudes craftsmanship with its striking finish. The top-quality construction immediately
catches your eye. Made of exotic, heavy bubinga wood, all the shells are made with smooth interiors of beautiful
wood grain.

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Grungy

4 piece set. Product of extreme craftmanship used in the 80s and passed into history with the advent of video
age. A cult symbol of the grunge movement used by the most inglorious artists. Time to get on stage now, you
bloody legend!

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Plexi

5-piece set. Once upon a time, there was a hard-hitting rock ‘n’ roll drummer from the 70s with a larger-than-life
stage presence. He was the one and only. This solid plexiglass drum kit delivers a pure, round tone through a
fully-stabilized shell and dual-reinforced seams.

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Studio

6-piece set. Focused, versatile and punchy, this production champion has been featured on countless records.
Starting life in the mid-1970s, it set a new studio standard by the early 1980s with piano lacquered all-birch
shells and full-length flush-braced lugs.

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Rock Custom

6-piece set. Hand built in USA by truly gifted craftsmen, this set features lacquer and satin finishes that give
it a heart and soul all its own. The maple shells provide a low-mid frequency range with plenty of punch and
articulation.

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2.1 – List of Cymbals

MODO DRUM
Elements

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On MODO DRUM, you can choose between three differents sets of Cymbals: IK, Elegance and Vintage.
Here’s a complete list of Cymbal elements you’re going to find on MODO DRUM kits:

Hi Hat Vintage Crash 20” IK Bell 10” IK

Hi Hat IK Crash 20” Vintage Bell 10” Elegance
Hi Hat Elegance
Crash 16” Efx 1 Ride 22” IK
Crash 16” IK Crash 16” Efx 2 Ride 22” Elegance
Crash 16” Elegance Ride 22” Vintage
Crash 16” Vintage China 18” Vintage
China 18” IK
Crash 18” IK China 20” IK China 18” Elegance
Crash 18” Elegance China 20” Elegance
Crash 18” Vintage
Splash 10” IK
Crash 17” IK Splash 10” Elegance
Crash 19” Elegance Splash 10” Vintage

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Chapter 3 – Top Header

In addition to the templates for each kit model, you can find additional factory presets by clicking the drop-down
menu at the upper left corner of the interface. You can also navigate presets using the up / down arrows next to
the preset menu.

3.1 – Save a Preset

Once you edit a kit, click Save to store your preset in a factory folder..

3.2 – Create a New Folder

To save a preset in a new folder, just click the Save button and select “New Folder”

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3.3 – Load a Preset

To Load a preset, click the drop-down menu at the top left and select the preset you wish to load.

3.4 – Delete a Preset

To remove a user preset, click the Delete button. Note that you cannot delete the factory presets.

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Chapter 4 – Customize Section

MODO DRUM offers the most customization options ever seen in a drum plug-in, allowing you to control the
entire spectrum of playing drums: from the kit itself, to the playing style, stick selection, room choice and effects.

The Customize section lets you add, remove, swap and rearrange drums from the template kits. For each drum
in the kit, you can adjust many characteristics on the fly including the skins, tuning, damping, diameter, height
and the shell profile of the drum itself.

For snare drums, the type and tension of the snare can be adjusted. And for both kick and snare, you can even
adjust the sympathetic vibration of nearby drums. Cymbals can be tuned up and down, and damping can be
adjusted to precisely shape their sound and performance.

The Customize section has two different types of editing: Edit Kit and Edit Element.

4.1 – Edit Kit

Click the Edit Kit button at the top left to open the Edit Kit menu. This will display an environment where you can
edit the details of the drum composition as well as enable, disable and swap drums belonging to different kits.

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4.1.1 – Enable / Disable Drums

When deactivated, just click on each individual drum element to activate it. Right click to view the Drum Enable
control and deactivate the element.

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4.1.2 – Swapping Drums

The Edit Kit controls are very useful for swapping individual drum elements within a kit. Click a single element in
the kit, then use the carousel select a new drum to replace the current one.

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Now that you’ve learned how the Edit Kit menu works, you can experiment with customizing your kit using
different elements from the various kits. This can be a lot of fun. Look at what we’ve created simply by starting
with the Grungy Kit. Now you might call it “The Frankenstein Kit!”

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4.2 – Edit Element

Access the Edit Element menu by clicking its button at the top right. The Edit Element menu lets you customize
features, materials and behavior of every single element. For instance, it is possible to change skins, adjust
tuning and damping, or you can edit the diameter, the depth and the shell profile of the drum itself. Once you
enter the Edit Element mode, the selected element shows all its fine parameters. Here you can see the Edit
Element views for the ride cymbal (cymbals have fewer editing possibilities since they are sample-based), kick,
snare and toms.

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The available parameters are:

• Batter Head Type

• Batter Head Damping
• Batter Head Tuning
• Shell Profile Type
• Shell Diameter
• Shell Depth
• Resonant Head Tuning
• Mechanical Interaction Amount (Tom Buzz, Snare Buzz)
• Snare Type (For snare elements only)
• Snare Resonance (sets the amount of the shell resonance for the snare only)
• Room (controls the room reflections)
• Overhead (adjusts the amount of the “overhead microphones” simulation)

Note that Tom Buzz is available for the Kick and Snare. Snare Buzz is available for the Kick only.

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4.2.1 – Edit Cymbals

When you click the Edit Element button when a Cymbal is selected, the available parameters will appear in the
upper part of the screen. Cymbals are sample-based, so they have fewer editing options. They can be tuned up
and down to simulate different sizes, and they can be damped to adjust the desired amount of sustain. You can
also use the Room and Overhead controls to give more depth and space to your cymbal elements.

Damp: This controls the amount of decay for the cymbals.

Tuning: Tune your cymbals with fine precision.

Room: Control the amount of room sound to be applied on your cymbals.

Overhead: Control the amount of overhead microphone. Note: Just like in the real world, a big part of the
cymbal sound comes from the overhead channel, but in MODO DRUM, the cymbals also have a “direct” output
which can be mixed with the overhead channel. See the Mixer section of this manual for more information.

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4.2.2 – Edit Kick

With MODO DRUM, editing kick drums has never been so easy. This detailed and straightforward section gives
you access to all the control a drummer has over the physical instrument.

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Save/Load an Element Preset

You can Save and Load your edited elements as Element Presets when working in Customize mode. Click the
Save button at the bottom right.

Click the Save button and type in your new Element Preset name.

Click the Load button to view your presets in the drop-down menu.

Reset to Default
Reset the values to their default position by clicking “Reset to Default.” This will revert the Element to its original
default state.

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4.2.2.1 – Kick Batter Head

The batter head primarily produces the energy that is being transformed into sound. It affects the attack, volume
and tonal spectrum. It is also responsible for the rebound and durability of the drum.

Damp: This controls the decay amount of your kick to sculpt the feel of a groove.

Volume: This sets the volume of your front head.

Tuning: Tune the head to fit perfectly the kick in your mix.

Coated or Clear Heads?

Coating on a drumhead tends to muffle the sound while clearer heads tend to sound brighter and more open.
Coated heads on a kick make your drums warmer, while clear kick heads give you more attack.
From the Edit Element section, you can edit the heads of your kick drum and choose between Coated or Clear.
Pick the most suitable one for your musical application.

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Element Selector: At the bottom left corner of the Edit Element section, you can access the “Element Selector.”
Here you can change the specific Element you want to edit as shown in this image:

4.2.2.2 – Kick Shells

The shell is the main part of any drum. This is really where the sound starts once you hit the head. Whether it’s
a wooden shell glued in plies or a metal shell cast in a mold, everything that goes into making the shell has an
effect on the sound the drum produces. Let’s take a look at the infinite possibilities you have at your fingertips
with MODO DRUM.

Note: The choice of the shell is a very important process as it involves a different sound for both the batter and
the resonant heads. Try experimenting with different materials and find your optimal balance!

Diameter and Depth Controls

The shell Diameter determines how deep your kick drum sounds. The larger the kick diameter, the deeper the
sound. Use this in conjunction with the Depth control to obtain the result you’re looking for. Depth controls the
low frequency amount of the sustain of your kick. Shorter kicks are punchy and fast, longer kicks are said to be
like cannons.

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Point, Sharp or Rounded Shells edges?

Whether you’re a vintage lover or a modern cutting-edge drummer, with MODO DRUM you can set up your
instrument in no time.

Try experimenting with the Rounded Shells Edge to give your drum a more damped sound and a higher pitch,
or go for the Sharp Edge to get a medium Sustain. Alternatively, use Point Shells Edge to get more sustain and
a lower pitch. Blend the result with Diameter and Depth to create the perfect body of your kick drum.

4.2.2.3 – Kick Resonant Head

The bottom or resonant head does exactly what its namesake suggests: it resonates. The resonant head
amplifies certain frequencies that were initially produced by the batter head and the drum shell. It works a bit like
an equalizer. Therefore, the tuning of the resonant head has a big impact on the overall sound of the Element’s
decay.

Damp: This controls the amount of decay for your kick to sculpt the feel of a groove.
Note: Since the Batter and Resonant heads are interacting, the Batter damping will highly affect the Resonant
damping as well. For example, if you don’t get the desired “tail” when you set the Resonant Head Damp to 0,
you should also decrease the Batter Head Damp value.

Volume: This sets the volume of your bottom head.

Tuning: Tune the head to fit the drum perfectly in your mix.

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4.2.3 – Buzz, Room and Overheads Controls

Just like a drum tech, with MODO DRUM, you can control every aspect of the kit construction. The MODO
DRUM engine gives you control over the Mechanical Interactions.

For example, when you play the kick drum or hit the snare with your sticks, the contact between drumstick and
membrane creates an interaction process between kick, snare and toms. MODO DRUM can reproduce that
exact interaction to let you feel like you’re playing the real thing. Try experimenting with these two controls:

Tom Buzz: This sets the amount of mechanical interaction between the kick and the toms.

Snare Buzz: This sets the amount of mechanical interaction between the kick and the snare
TIP: To get the desired effect from the Buzz control, try experimenting with changing the Tom and Snare settings.
You will hear a change in the timbre of the Buzz.

Finally, to ensure we didn’t miss anything, we added the Room and Overhead controls for your kick, too.

Room: Control the amount of room sound to be applied to your kick

Overhead: Sets the volume for the overhead microphones.

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4.2.4 – Edit Snare

When you edit a snare, MODO DRUM provides you with all the tools to faithfully define the style of your drums
without missing any details.

Let’s take a look at all the controls you have at your disposal.

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4.2.4.1 – Snare Batter Head

Choose your favorite head by selecting Clear or Coated.

Clear heads offer:
• A brighter sound
• More “attack” than coated heads

Coated heads offer:
• A warmer sound
• A greater muting of the various overtones
• More bounce

Volume: Control the volume of your snare head.

Tuning: This tunes the snare head to fit it perfectly in you mix.

Damp: Set the decay length of your snare to help sculpt the feel of the groove.

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4.2.4.2 – Snare Shell

Diameter: Snare drum diameters tend to vary far less than snare drum depths. Even so, it can make a massive
difference to the sound. Snare drums with narrower diameters tend to have a higher pitch and a shorter attack,
like the soprano snare.

Depth: A deeper snare has more low-end body, while a shallow snare has a sharp, snappy sound.

TIP: The depth of the snare affects the “body” or “fullness” of the sound, while the diameter affects the pitch.

Deeper snares produce a “fatter sound” especially when tuned low. They are common in pop, rock and their
sub-genres.

Shallower snares have more of a “crack” in the sound and are common in jazz, funk and other related genres.
They are also more responsive due to the shorter distance between the batter head and the snare wires.

Pointed, Sharp, or Rounded Shell Edge?

Drum shell edges can dramatically impact the sound – they can actually change the timbre. Therefore, it’s
essential to understand how the different bearing-edge options affect the sound in order to make the best
choices for your music.

Pointed Edge: This very common cut features an edge that peaks close to the outside of the shell. This offers a
wider tuning range and less damping.

Sharp Edge: Sharper bearing edges produce more attack and more sustain which results in a generally more
lively, “modern” sound. The increased attack and sustain result because less of the drumhead film is in contact
with the shell.

Rounded Edge: This type of bearing edge is rounded off at the peak, resulting in more head-to-shell contact.
Rounded bearing edges were the standard cut until the trend shifted toward sharper edges in the 1980s. Still
utilized on many jazz and vintage-style drums today, rounded edges tend to provide a sharp stick impact and a
warmer overall sound.

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4.2.4.3 – Snare Resonant Head

Volume: Set the desired volume for the bottom snare head.

Tension: Set the Tension of the snare wires on the bottom head.

Snare Type: (Medium or Large). Select Large for a crisper and brighter sound or Medium for a more standard
behavior.

Snare wires (cable strands) sit against the bottom head of the snare drum. There are usually 20 or more strands.

With MODO DRUM, you can easily manage Tension and Size (Medium or Large) of the snare-wires as showed
in this image.

TIP: Snare wires create the characteristically crisp sound. Strands of coiled wire are stretched across the bottom
drumhead so that when struck, they vibrate crisply against it. Each snare note is made up of the sound of the
stick striking the top head and the sound of the snares rattling against the bottom head. The tension of the wires
against the head, their material and number, all have a great effect on the tone of the snare drum.

Tom Buzz: This sets the amount of mechanical interaction between the snare and the toms which also creates
an interesting longer tail on the snare.

Room: Control the amount of room sound to be applied to your snare.

Overhead: Control the volume of the overhead microphones.

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The Save and Load Element Preset buttons are located at the bottom of the screen.

4.2.5 – Save/Load a Element Preset

When working on a Element in Customize mode, you can Save and Load your edited Elements by clicking the
Save button at the lower right corner.

Click the Save button and type in your new Element Preset name.

Click the Load button to view your presets from the drop-down menu.

4.2.5.1 – Reset to Default

Reset the values to their defaults by clicking “Reset to Default.” This will return the element to its original default
state.

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4.2.6 – Edit Toms

Like the Cymbals, Kick and Snare, the Toms also have a dedicated section for their settings.
While in the Customize tab, select a Tom, and then click the Edit Element button.

Turn on Tom Group Editing (located at the center top of the screen) to edit all your toms at once.

All parameters in the Edit view will change accordingly for all Toms and Floor Toms.

Note: Diameter and Depth will change proportionally to the default size for each Tom and Floor Tom.

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4.2.6.1 – Tom Batter Head

Volume: Set the volume of your tom batter head.

Tuning: Tune the tom’s batter head to fit it perfectly in your mix.

Damp: Control the amount of damping.

Coated or Clear Heads?

TIP: Coated heads on toms tend to make the drums warmer, while clear tom heads provide more attack.

Clear heads offer:
• A brighter sound
• More “attack” than coated heads

Coated heads offer:
• A warmer sound
• A greater muting of the various overtones
• More bounce

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4.2.6.2 – Tom Body

Diameter: Tom diameters tend to vary far less than depths. Even so, it can make a massive difference to the
sound. Tom drums with narrower diameters tend to have a higher pitch and a shorter attack.

Depth: Tom depth tends to affect a number of things with a tom sound, most notably the tone or “shape” of
the sound. A deeper tom would give it more low-end body, while a shallow tom would have a sharp, snappy
sound.

Tom Profile Edge

Pointed Edge: This very common cut features an edge that peaks close to the outside of the shell. This offers a
wider tuning range and less damping.

Sharp Edge: Sharper bearing edges produce more attack and more sustain, which results in a generally more
lively, “modern” sound. The added attack and sustain are due to less of the drumhead film being in contact with
the shell.

Rounded Edge: This type of bearing edge is rounded off at the peak, resulting in more head-to-shell contact.
Rounded bearing edges were the standard cut until the trend shifted toward sharper edges in the 1980s. Still
utilized on many jazz and vintage-style drums today, rounded edges tend to provide sharp stick impact and
warmer overall sound.

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4.2.6.3 – Tom Resonant Head

TIP: you can consider the resonant head as one of the key factors in controlling a drum sustain. When the batter
head (top head) is struck, it vibrates creating an air column that pushes air outwards. When the air makes contact
with the bottom head, it gets sent back to the batter and vice versa. This back and forth is what keep the heads
vibrating which creates a longer sound. If you were to remove the bottom drumhead, you would hear a large
amount of attack and tone but have far less resonance. This isn’t necessarily a bad thing. The technique was very
popular in the 70s and 80s. A bottomless tone can be heard in a lot of the funk style recordings from that era.
Times have changed, and modern drum sounds require more resonance, vibration and sustain. Most of the pop
and R&B style drum recordings of today feature this “long tone” sound.

Volume: Sets the volume of the resonant tom head.

Tuning: Tune the tom’s resonant head to fit it perfectly in your mix.

Damp: Control the amount of damping. Here this is the decay time of your toms.

You can also find the following buttons at the bottom of the screen:

Room: This controls the amount of room sound to be applied on your toms

Overhead: This controls the volume of the overhead microphones.

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4.2.7 – Save/Load A Element Preset

When working on a Element in Customize mode, you can Save and Load the edited Elements edits by clicking
the Save button at the bottom right corner.

Click the Save button and type in your new Element Preset name.

Click the Load button to view your presets from the drop-down menu.

4.2.7.1 – Reset To Default

Reset the values to their defaults by clicking “Reset to Default”. This will return the element to its original default
state.

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Chapter 5 – Play Style

In addition to the sound of the drums themselves, MODO DRUM also lets you adjust the way the drummer
plays the instrument. For toms and snare, it is possible to select the stick type and set the related tip size
individually for both the left and right hands.
Open the Play Style section by clicking on the tab in the bar at the top of the screen.

5.1 – Snare And Toms Play Style

From the Element menu on the left, select Snare, Toms or Kick. From the Sticks menu on the right of the
screen, select which kind of stick you prefer.

The 3 available tips types are:

• Tear Drop Nylon
• Tear Drop Wood
• No Tip

The type of stick influences the timbre of the attack. Choose NO TIP for a resonant, mid-frequency attack or
Teardrop Nylon for a high-frequency attack. Teardrop Wood is a middle ground between the two.

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Note: In addition to the left and right hands, you can also choose different snare sticks and toms. This is offers
even more customization possibilities!
Select the open lock image to edit left and right sticks separately.
Select the closed lock image to edit both sticks together.

5.1.1 – Volume
Volume sets the volume of the stick tip timbre (keep it at 5 for standard behavior).

For the toms and snare, it is also possible to adjust the amount the drummer’s hitting precision for the left and
right sticks. The hit area can be trimmed by an area parameter which goes from focused to wide.

Note: see the MIDI Mapping chapter to see how the Left and Right triggers are managed in MODO DRUM.

Use the “L Area” and “R Area” knobs to adjust the precision of the hit area. This lets you set the degree of hit
consistency from a random, irregular mood to a super focused mechanical hit.

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Use the L and R buttons at the bottom left corner to manually select which hit area to edit.

TIP: these buttons can be useful when the two areas are overlapping and the same size.

5.2 – Kick Play Style

Select the kick pedal from the Element menu to view these options:

As you can see, it is possible to select between two different kick beater techniques. Select Heel-Up or Heel-
Down from the Technique dialog in the bottom left corner.

Heel-Up: Heel up drumming means the heel is slightly lifted off the bass drum pedal, and you push down with
the ball of your foot. To play fast double bass, heel up is generally the best way choice considering endurance,
muscles used and power.

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Heel-Down: The entire foot is planted flat on the bass pedal, and the front part of the foot lifts in order to play
the note. With heel-down bass drum technique, it’s really easy to let the beater rebound off of the drum head.
This leads to more resonance and tone which is generally suitable for softer styles of music like jazz. Heel
down drumming usually doesn’t feel as natural to a drummer as heel up. You have to learn to keep the heel
planted, and it takes some time to develop the right muscles in your ankles necessary for playing this way. Once
mastered, though, you can get much more dynamic range out of the bass drum than any other method.

The pedal beater size can also be changed with three different materials for the beater available. Select the
material you prefer from the Beater dialog in the top-right corner.

Felt: Felt is the most common type of kick drum beater material – these beaters are great for general use. There
is enough definition for the strokes to stand out, and you still get a nice full bass drum thump. Felt is the best
bass drum beater for drummers wanting a moderate attack and a deep thud without the brightness that comes
with harder kick drum beater types.

Felt bass drum beaters are very common for rock, pop, R&B, hip hop, country or any music style that isn’t super
loud or super quiet. With a felt kick drum beater, there is a strong focus on midrange frequencies in the attack
creating a punchy bass drum sound.

Plastic: Like felt, plastic is one of the more common bass drum beater types. A plastic bass drum beater has
a very defined attack which means your bass drum will be heard loud and clear. Upon striking the drumhead,
plastic bass drum beater creates a bright cutting sound with excellent stroke definition.

If you use fast double bass drumming, a plastic kick drum beater is a great choice. You’ll get the definition you
need for each stroke to stand out clearly, and you’ll have enough high-end attack to cut through even in very
loud environments.

The cutting power of plastic is great for loud single bass drumming as well. Plastic bass drum beaters shine in
any situation where there are a lot of high-volume instruments in the mix.

Wood: You hit the rest of your kit with wooden sticks, so why not use wood on the bass drum too!

The sound of a wood bass drum beater is similar to wooden drumsticks. To compare with other kick drum
beater types, think of wood as a slightly-less-bright version of a plastic beater.

There’s a strong attack with a wood bass drum beater and a good amount of depth to the sound. Depending on
the wood’s size and density, wooden bass drum beaters can have a heavy impact or a lighter feel.

Wood bass drum beaters are great for music styles that require a strong bass drum punch. You’ll get good
depth to your sound, and your bass drum will stand out.

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Chapter 6 – Room Section

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MODO DRUM’s Room section lets you place your drums in many different environments from a dry drum booth
to IK’s own in-house recording studio, from to clubs to cathedrals and more! MODO DRUM uses convolution
techniques to ensure each element of your kit interacts naturally with the space and with the other elements. Let
it ring or add gates and compression on the room tone for even more creative drum sounds.

Open the Room section by clicking on the Room tab at the top of the screen.

In the Room section, you can place the kit in the various available environments from a dry studio Booth to the
fully wet reverberating sound of the Cathedral.

The 9 available rooms are:

• Booth
• Mid Studio
• Garage
• Bunker
• Large Studio
• Cathedral
• Club
• Venue
• Warehouse

Access the Room Slider by clicking on the icon at the middle-right side of the screen. From this dialog, you
can control the amount of Room sound in the mix.

This slider mirrors the Room Channel Strip in the mixer section.

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Chapter 7 – Mixer Section

The MIXER built into MODO DRUM gives you total control over the recorded sound. Adjust levels and panning
per element of your kit, mute or solo your elements and flip the phase. Elements can be grouped in buses, and
each element has 4 sends, two sends for FX1 and FX2 and two sends for Overheads and Room Control.

Click the fifth tab in the bar to open the Mixer section. This is where you create your perfect balance between
the close mics, room mics, buses, FX and room signals.

A special feature of MODO DRUM mixer is the instrument icon positioned at the top of every channel strip.
Every icon graphically represents the instrument associated with the channel. Click the icons to hear the sound
of each drum channel.

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Each channel has volume, pan, mute, solo, two sends, 4 effects slots, an 8-bands parametric equalizer and
a phase inversion switch. All faders can be reset to their default values by CMD + Click on the channel (Mac
users) or Ctrl + Click on the channel (Windows users).

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7.1 – The Sends

Each channel strip’s Send is equipped with On/Off button and Gain knobs.

The available Sends are Send 1 (to FX1), Send 2 (to FX2), OH Send (to Overhead channel), Room Send (to
Room Control).

Clicking the FX button on the Master Channel all the channel strip will now show the related Sends 1 and 2.
Clicking the OH / Room button on the Master Channel, all the channel strips will now show the related OH and
Room Sends.

7.2 – The Fx Sends And Returns

Clicking the FX button on the Master Channel, all the channels strip will show the related Sends 1 and 2 (to FX1
and FX2).

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Each Send is equipped with On/Off button and Gain knobs.

These FX SENDS are related to the two FX strips which you can view by clicking the FX button on the Master
channel.

Like a standard channel strip, the FX Return channels also have 4 effect slots available and a separate 8-band
equalizer.

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7.3 – The Overhead / Room Sends and Returns

The overhead microphones are commonly considered one of the most important elements for drummers. This is
because you can hear the overall sound that the drumkit is producing, ensuring that you’re delivering the exact
sound that you’re looking for.

Room is also very important, try to experiment by giving your elements some air!

With MODO DRUM, you can control Overheads and Room on a separate channel. From the MIXER section,
access to the dedicated channel strip by clicking the Oh/Room button in the Master channel.

NOTE: All the mixer channel strips are now showing two dedicated Sends to Room and to OH from where you
can control the volume of the Element Sends to the Overhead channel and to the Room channel.

TIP: The OVERHEAD SENDS and ROOM SENDS of the mixer mirror the “Overhead control” and the “Room
Control” in the Edit Element section. So, when you are in the Edit Element section, you can rely on that without
opening the mixer each time.

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Like a standard channel strip, the Overhead and Room channels also has 4 slots available dedicated to effects,
a separate 8-band parametric equalizer and mute/solo/phase inversion buttons. See the image below.

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7.4 – Buses
MODO DRUM let you use infinite buses to group your drum elements any way you like.

To create a bus, select an Element track from the mixer and view the routing options by clicking the drop-down
menu at the bottom of each track.

Click Master to see the routing options.

Click Bus, then select Add Bus 1.

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Click on the Buses button to access the bus track you previously created. Here’s an example with 4 buses.

TIP: A mix bus is a way to send or “route” one or more selections of audio to a particular place. Being able to
adjust multiple sources or channels with a single group fader is one of the great advantages to having multiple
buses at your disposal.

Like a standard channel strip, the Bus channel also has 4 slots dedicated to effects, a separate 8-band
equalizer, mute/solo/phase inversion buttons and routing options.

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7.5 – The Equalizer

MODO DRUM mixer channels are equipped with a separate 8-band parametric equalizer derived from the
T-RackS mastering suite. This is an ultra-clear, high-end parametric equalizer with an extremely transparent
sound and ultra-precise editing.

The Equalizer opens with a flat white line that represents the EQ curve. Create the first band by clicking
anywhere on the curve. From there, you can select the shape and types of equalization with up to 8 total bands.
The spectrum range goes from 20 Hz to 20 kHz, and the amplitude ranges from -20dB to +20dB.

The result is an ultra-high-resolution processor that is the most transparent equalization tool digital audio
technology allows today offering the most wanted EQ curves and crystal-clear processing.

For each band you have 5 different equalization curves types:

Hi Pass, Low Shelf, Bell, Hi Shelf, Low Pass

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Depending on the shape and type of filter applied, you will find the following controls:

On: Activate or Bypass the selected band.

Freq: Set the frequency of the band. Attenuating (reducing) or boosting the amplitudes of different frequencies
changes the timbre of an instrument. Use this slider to control which frequencies to boost or attenuate on the
relative signal amplitudes.

Gain: Set the volume of your frequency boost or attenuation. Use this slider to control how much gain to boost
or attenuate the relative signal amplitudes.

Q: Set the ratio of center frequency to bandwidth. This control allows you to attenuate or boost a very narrow or
wide range of frequencies within each EQ band.

X: Eliminate the selected EQ band.

Meter: At the top right corner of the equalizer, the meter displays the incoming signal from the element.

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7.6 – The Effects

MODO DRUM includes a massive suite of 19 studio processors and effects derived from T-RackS and
AmpliTube to sculpt the final flavor of the kit.

Each channel of the Mixer is equipped with 4 effects slots.

Note: You can easily Drag n’ Drop effects from a slot to another, simply click and hold the effect from the Mixer
view and drag it to the desired track’s slot.

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The effect included are:

Dynamic 
• Compressor
• Comp 2A
• Comp 76
• Gate
• SL Comp

Distortion 
• Clipper
• Big Pig
• Crusher
• Distortion 

Reverb & Delay 

• Plate Reverb
• Room Reverb
• Inverse Reverb
• Hall Reverb
• Delay
• Tape Delay

Modulation 
• Phazer
• Chorus 
• Flanger

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7.6.1 – Compressor

This effect is a model of a classic compressor.

Threshold: this control sets the level (in dB) below which the incoming signal is attenuated by the compressor
circuit.

Attack: sets the amount of time it takes the Compressor to respond to an incoming signal and begin gain
reduction. The attack time is fastest when the Attack knob is in its fully clockwise position, and it is slowest
when in its fully counterclockwise position.

Ratio: these controls set the behavior of the compressor related to the signal hitting the threshold. A setting of
4:1 means that signal exceeding the set threshold will be reduced by four times (4 dBs over the threshold will
reduced to 1dB). Likewise, 8:1. Higher ratios will make the Compressor work as a limiter.

Release: sets the amount of time it takes the Compressor to return to its initial (pre-gain reduction) level. The
release time is fastest when the Release knob is in its fully clockwise position, and it is slowest when in its fully
counterclockwise position.

Makeup: this controls the desired output level with compression active. The preferred range for professional
applications is ±12 dB with a center-detent 0dB unity gain position. Gain can be done in the main signal path or
in the sidechain as a control offset.

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7.6.2 – Comp 2A

The Comp 2A compressor is an impressive reproduction of one of the most popular and great sounding
dynamics processing units in music recording history. Its tube driven electro-optical gain reduction circuit is well-
known for a very smooth and natural compression, yet it is very vibey and incredibly musical when driven hard.
This character has been faithfully captured in the Comp 2A plug-in — right down to the accurate movement of
the meter — in order to provide you with one of the most useful tools for your compression needs. It is a must-
have gentle, warm, consistent compression.

Controls:

Output: the gain control should be set after the desired amount of compression is determined using the Peak
Reduction control. Once the Peak Reduction control is set, adjust the Gain Control to set the desired output
level.

Peak Reduction: sets the amount of compression applied to the signal processed by the plug-in. There is no
compression when the knob is turned fully counterclockwise, and there is maximum compression when it is
turned fully clockwise.

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7.6.3 – Comp 76

Comp 76 is based on the most famous FET limiting amplifier. The strong sonic character of Comp 76 makes
it one of the most versatile compressor-limiters. Based on all-discrete transistor circuitry with true peak limiting
and fast attack time, it is the go-to workhorse compressor for all instruments. Black 76 can be used on
everything: drums, vocals, bass, guitars, piano, choirs, brass, strings... literally everything! Black 76 gives drums
power, density, with total control on the level of “snap” you want. This dynamic processing legend has been
carefully modeled with IK’s maniacal attention to detail right down to the design of the VU meter for incredible
accuracy.

Input: determines the amount of signal going into the Comp 76.

Output: determines the final level going out of the Comp 76. Once the desired amount of limiting or
compression is achieved with the use of the Input control, the Output control can be used to make up any gain
loss due to the gain reduction process.

Attack: sets the amount of time it takes the Comp 76 to respond to an incoming signal and begin gain
reduction. The attack time is fastest when the Attack knob is in its fully clockwise position, and it is slowest
when in its fully counterclockwise position.

Ratio: these controls set the behavior of the compressor related to the signal hitting the threshold. A setting of
4:1 means that signal exceeding the set threshold will be reduced by four times (4 dBs over the threshold will
reduced to 1dB). Likewise, 8:1. Higher ratios will make the Comp 76 work as a limiter.

Release: sets the amount of time it takes the Comp 76 to return to its initial (pre-gain reduction) level. The
release time is fastest when the Release knob is in its fully clockwise position, and it is slowest when in its fully
counterclockwise position.

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7.6.4 – Gate

This effect is a model of a classic gate.

Threshold: this control sets the level (in dB) below which the incoming signal is attenuated by the gate/expander
circuit.

Range: this parameter controls the amount of gain reduction (in dB) applied to the incoming signal when this
falls below the threshold level. The extreme counterclockwise position will have none to minimal gain reduction,
while more effective gating (for more noisy or problematic tracks) is obtained turning progressively this control
towards the fully clockwise.

Release: this control determines the time (in seconds) it takes the expander/gate to release the signal to its
normal level once it has gone above the threshold.

Fast Attack: this control switches the attack time it takes to the gate/expander circuit to open, down to 1ms.
This can be useful to produce some very particular effects like snappy and percussive sounds with very sharp
attack transients.

Exp: this control activates the expansion mode for the gate/expander section.

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7.6.5 – SL Comp

The SL Comp module is based on one of the most popular and universally acclaimed British mixing consoles
which hit the market with great impact in the ‘80s and forever changed the way records were made. The SL
Comp carefully reproduces all of its op-amp driven Compressor behavior.

Threshold: this control sets the level in dB which has to be passed by the input signal coming into the SL Comp
module for the compression to start working. At the 0 position the module is not compressing. Turning the knob
clockwise will lower the threshold and, depending on the input signal, start compressing. Turning the knob
counterclockwise towards the +10 value will lift the threshold so that hotter signals can be easily managed. This
control and its behavior can be affected by the Master section’s I/O level controls. As an example, try driving the
compressor’s input level harder with the Master’s section IN knob and set the threshold low for some serious
squashing and pumping compression effects. The Out knob will make calibrating the final output of the module
easy in order to avoid clipping.

Ratio: this control determines the gain reduction amount applied to the signal passing above the level set by the
threshold control. Lower values of this control result in no compression to very light compression, while turning
the knob clockwise will progressively add a more pronounced compression effect as you approach higher
values. The extreme clockwise position will result in a limiting effect.

Fast Attack: this switch shifts the attack time it takes the circuit to start compressing once the incoming
signal has passed the set threshold to a faster 1ms. It can be quite handy to emphasize attack transients on
percussive instruments like snare or kick drums and the likes.

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Release: this control sets the time (in seconds) it takes the compressor to release the signal back to
uncompressed state after it has gone below the threshold level. Shorter release times will make the compressor
snappy to downright “pumping” when lots of compression is applied. Longer release times will result in a more
natural sounding effect and increased sustain on particular instruments.

Hard: this switch changes the detection mode of the compressor from RMS to peak.

7.6.6 – Clipper

This clipping stage module is useful every time you need to cut out all the peaks that keep the average level of
a signal too low. Peak clipping is very often used in mastering because it’s in most cases more transparent than
peak limiting.

Gain: The Gain control adjusts the pre-level of this clipping stage. This is the level of the signal injected into the
clipper and will determine the amount of saturation applied to the audio.

Output: this is internally calibrated to ensure that the output of the clipper will never overload. This means that
at a setting of 0dB, regardless the input level of the clipper and the position of the Gain knob, you’ll never get
samples over 0dB out from this module because the internal clipping has a –0.05 dBfs ceiling.

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7.6.7 – Big Pig

This effect is modeled after an iconic distortion effect that has withstood the test of time. Capable of tones from
smooth sustain and compression to heavy buzz-saw distortion, this is perfect for all different styles of metal.

Volume: controls the distortion output level. It does not alter the timbre of the distortion unless another distorting
device follows like another distortion effect at high gain or volume.

Distortion: controls the amount of distortion.

Tone: controls the timbre of the distortion.

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7.6.8 – Crusher

This model alters the sound of the input signal by changing the sample rate and cutoff frequency and also
distorting it. This effect can produce very aggressive distorted sounds, more noticeable than overdrive stomp
boxes. The low pass filter offers additional creative options when combined to high distortion levels.

Cutoff: controls the cutoff frequency of the low pass filter.

Decim: selects the sample rate ratio of the processed sound.

Gain: sets the amount of signal sent to the effect, therefore it also controls the amount of distortion. This is
useful when creating heavily distorted sounds.

Level: controls the output volume.

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7.6.9 – Distortion

This effect is based on one of the most versatile distortion stomp boxes ever made.

Level: controls the distortion output level. It does not alter the timbre of the distortion unless another distorting
device follows like another distortion effect at high gain or volume.

Drive: controls the amount of distortion.

Tone: controls the timbre of the distortion.

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7.6.10 – Plate Reverb

Plate reverbs have been a staple in pop music recording since the late ‘50s. They consisted of a large metal
sheet, suspended from a heavy steel frame, with a small transducer (like a small speaker) transmitting the sound
energy onto the plate. A pickup (or two if stereo) was used to capture the sound. This was all housed in a 4 x
8-foot box. When originally designed, this was considerably smaller than the forerunning “echo chamber” that
required a whole room.

Since the creation of digital reverbs, to further exemplify its popularity, a plate reverb algorithm is found on just
about every rack-mounted reverb box. It is exceptional on drums and percussion. Its smooth attack and bright
characteristic make it a great choice for adding depth to a snare drum without burying it in the reverberation.

Mix: controls the mix of reverb and original sound. 0% is all unprocessed (dry) sound. 100% is all reverb (wet).
Use this control to increase or decrease the amount of reverb in the sound. If you are using your reverb as a
send effect, this control should be set to 100%.

Diffusion: determines the rate that the echo density increases over time. A small diffusion setting simulates an
acoustic space with smooth walls like a bathroom. A larger diffusion setting creates a more open and dense
sounding reverb.

RVB Time (Reverb Time): adjusts the length of the reverb. This is a commonly-used control that shortens and
lengthens the time that the reverb tail lasts.

Low Time: controls the length of the reverb for low frequencies (determined by the Crossover control) of the
RVB Time.

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High Damp (High Dampening): shortens the high frequency decay time of the reverb. This allows you to emulate
the way different materials, such as carpet and furnture, absorb sound in a real room.

High Freq (High Frequency): changes the frequency of high frequency dampening.

7.6.11 – Room Reverb

Room reverb is often used to create the ambience of a small to medium-sized room. This type of reverb is very
effective on any instrument where you want to add the illusion of recording the sound with room ambience. This
might seem like a simple thing, but in reality, most close-miked instruments lack very much ambience in the
recorded sound. Adding a little bit of room reverb can make the sound sit nicer in the mix and give the illusion
that the sound came from a nice sounding room, even if it was recorded in a small, boxy closet!

This is useful on any sound needing a small to medium size acoustic space.

Mix: controls the ratio of reverb and original sound. 0% is all unprocessed (dry) sound. 100% is all reverb (wet).
Use this control to increase or decrease the amount of reverb in the sound. If you are using your reverb as a
send effect, this control will probably be set to 100%.

Diffusion: determines the rate that the echo density increases over time. A small diffusion setting simulates an
acoustic space with smooth walls, like a bathroom. A larger diffusion setting creates a more open and dense
sounding reverb.

Decay Time: controls the length of the reverb tail.

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Decay Level: controls the level of the reverb tail. When turned off, only the early reflections are in the signal.

High Freq (High Frequency): changes the frequency of high frequency damping.

High Damp (High Dampening): shortens the high frequency decay time of the reverb. This allows you to emulate
the way different materials, such as carpet and furniture, absorb sound in a real room.

7.6.12 – Inverse Reverb

Reverse reverbs were popularized in the 1980s. This type of reverb can be heard on many rock snare drums
from this time period. A reverse reverb applies an envelope (slow attack, fast decay) to the early reflections. The
main parameter that affects the sound of this reverb is time. Time can be adjusted for the buildup and cut off of
the early reflections. This affects the sound as if it were being reversed in the reverberation, but in actuality it is
simply an envelope effect.

This type of reverb has been heavily used on drums and percussion. Try combining this reverb with another
reverb effect to create a complex, moving ambience around the sound.

Mix: controls the ratio of reverb and original sound. 0% is all unprocessed (dry) sound. 100% is all reverb (wet).
Use this control to increase or decrease the amount of reverb in the sound. If you are using your reverb as a
send effect, this control will probably be set to 100%.

Diffusion: determines the rate that the echo density increases over time. A small diffusion setting simulates an

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acoustic space with smooth walls, like a bathroom. A larger diffusion setting creates a more open and dense
sounding reverb.

Reverb Time: adjusts the length of the reverb. This is a commonly used control that shortens and lengthens the
time that the reverb tail lasts.

Mid Slope: controls the middle and high frequency envelopes. The actual frequencies affected are determined
by the crossover. Positive values will cause the middle to high frequencies to swell from soft to loud over time.
The higher the value the more pronounced the swell. Negative values make the mid to high frequencies become
quieter over time. More extreme settings will make this attenuation more prominent.

Low Slope: controls the shape of the low frequency envelope for the reverb. A value above 0 creates a smooth
rise from soft to loud over time. A negative value causes the low frequencies in the reverb to become quieter
over time before dropping off.

Buildup: changes the speed of the reverb’s buildup. When this control is turned down, it causes a fast attack
in the reverb. To create a slower buildup in the reverberation, turn up the buildup control. Increasing the Buildup
will create the sense of a large room/hall, but the spatial information can be lost. This can be restored with the
reflection parameters (delay and level).

7.6.13 – Hall Reverb

Hall reverb is a simulation of a large acoustic hall. This type of effect has been widely used to create large
ambient spaces. Digital reverbs made this sound popular, simply because it was not until the introduction of
digital technology that such complex artificial reverbs were possible, unless you had the keys to your local

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cathedral or concert hall...

Mix: controls the ratio of reverb and original sound. 0% is all unprocessed (dry) sound. 100% is all reverb (wet).
Use this control to increase or decrease the amount of reverb in the sound. If you are using your reverb as a
send effect, this control should be set to 100%.

Diffusion: determines the rate that the echo density increases over time. A small diffusion setting simulates an
acoustic space with smooth walls like a bathroom. A larger diffusion setting creates a more open and dense
sounding reverb.

RVB Time (Reverb Time): adjusts the length of the reverb. This is a commonly used control that shortens and
lengthens the time that the reverb tail lasts.

Low Time: controls the length of the reverb for low frequencies (determined by the Crossover parameter) of the
RVB Time.

High Freq (High Frequency): changes the frequency of high frequency dampening.

High Damp (High Dampening): shortens the high frequency decay time of the reverb. This allows you to emulate
the way different materials, such as carpet and furniture, absorb sound in a real room.

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7.6.14 – Delay

This effect is a model of a classic Delay.

Delay: changes the length of the delay between each echo.

Feedback: changes the amount of time that the echo repeats.

Level: sets the level of the effected (wet) sound.

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7.6.15 – Tape Delay

The Tape Delay is the gold standard of vintage tape echo units.

Delay: moves the recording head to change the length of the delay between each echo.

Level: sets the level of the effected (wet) sound.

Sustain: changes the amount of time that the echo repeats.

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7.6.16 – Phazer

A model of a classic analog multimode phaser.

Speed: sets the speed of the modulation.

Color: set it to the lower position for a more gentle phasing effect, or set it at the upper position for a more
pronounced and deep phasing effect.

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7.6.17 – Chorus

This chorus is modeled after a classic Digital Chorus.

Rate: sets the rate of the chorus effect.

Depth: sets the intensity of the chorus effect.

Level: sets the input level of the effect.

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7.6.18 – Flanger

This effect is a model of a classic flanger.

Rate: sets the rate of the flanger effect.

Depth: sets the intensity of the flanger.

Feedback: sets a delay for the flanger to take effect.

Level: sets the input level of the effect.

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7.7 – DAW Outputs

When you open MODO DRUM as a plugin on your DAW, every mixer channel (tracks, buses, overhead returns
and effect returns) can be routed to an external output for DAW integration. This process eliminates the signal
routing through the MODO DRUM Master channel, therefore the Master channel meter will not display the
signal.

To access the DAW Outputs, click the drop-down menu at the bottom of each track to view and select the
routing options. For example, click DAW Out, and then assign the track to DAW Output 1. Repeat the process
on all the tracks you want to route to your DAW.

Note that when using the standalone version, any channels previously routed to DAW Outputs are re-routed
through the Master Channel.

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At the bottom of these channels, MODO DRUM will show the name, “Master,” in red to indicate a change in the
channel routing.

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7.8 – Perspective

From the MASTER track it is possible to select the desired perspective. This preference allows you to swap the
stereo image. Select the point of view of the drummer or the point of view of the audience. Note that all the PAN
controls work in DRUMMER perspective and will appear reversed in the AUDIENCE perspective.

7.9 – Mixer Preset

From the TOP of the MASTER Track it is possible to manage MIXER presets.
Click the arrow to open a DROP DOWN menu with SAVE and DELETE options followed by your saved presets.

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Chapter 8 – Grooves Section

Once you’ve dialed in your dream kit and mastered your drum mix, it’s time to start making music. Browse
MODO DRUM’s 1400+ MIDI patterns to help kick start your creativity. 

Here in the Grooves section, we’ve included smart filters to help pinpoint the exact performances you’re looking
for classified by categories such as genre, length and time signature. You’ll find MIDI patterns of every style and
mood here including variations to easily build song sections. These loops are handcrafted by our team or drawn
from our acclaimed virtual instrument libraries to be unmistakably unique, authentic and inspiring. Trigger these
from within MODO DRUM or drag and drop into your DAW to explore the virtually endless possibilities.

Open the Grooves section by clicking the Grooves tab at the top right of the screen.

Grooves let you search for your patterns using filters by: Genre, Categories, Leading Hand, Length, and
Signature.

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You can clear filtering by clicking a second time on any selected filter.

To help you find a pattern that you saw previously, you can locate it by simply clicking the icon at the top left
corner of the screen and typing part or all of the pattern name.

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As you can see in the Grooves tab on the right column, the selected pattern presents a Play button to hear the
sound and then a Stop button to stop it.

You can also mark a pattern as a Favorite by clicking the star icon at the right of each pattern name. Click the
star icon at the top right next to the Grooves column to show only the patterns you have marked as Favorites.

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8.1 – MIDI Patterns Drag And Drop

When using MODO DRUM as a plug-in, you can drag and drop MIDI patterns from the Grooves section into a
DAW track.

Click a pattern from the Grooves column, and then drag it to a MIDI track of your DAW.

Note: Once dropped, the Patterns will always conform to the BPM set in the DAW.

TIP: MIDI patterns dragged to the DAW contain tempo information.

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8.2 – The Tempo Tab

At the bottom of the Grooves column you’ll find the tempo tab. From here you can manage the tempo options
for previewing the pattern.

By default patterns are previewed at their original BPM as written in their name. This is the tempo at which they
were recorded and obviously the more natural to hear.

The Sync button forces the preview to a selectable BPM which is editable in the field at the right.

Also, you can use “½ X” and “2X” buttons to halve or double the tempo of your pattern.

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Chapter 9 – The Transport Bar

Now that you know how to use the Grooves section, we’ll explain the Transport Bar which is related to Grooves,
MIDI Velocity and Master Volume.

Velocity: This slider controls the velocity curve of the MIDI pattern. When set to its maximum value, pattern
dynamics will be at the loudest point for the drummer. Conversely, when positioned to the minimum the pattern
dynamics will be reduced to their minimum.

Note: Velocity affects not only patterns but all incoming MIDI. The Velocity parameter is also stored with each
preset.

To reset the value to its default position (in the middle), use the same method as for all other MODO DRUM
sliders:

CMD + Click on the slider for Mac users.

Ctrl + Click on the slider for Windows users.

9.1 – Play Button

Play Button: Play or stop the selected pattern

Pattern Name Display and Arrows: View the name of the selected pattern and their BPM tempo information.
Use the up / down arrows to navigate through the Grooves pattern column. When playing a pattern, it will loop,
and the display will show an orange line which is indicating the play position within the loop. If you change
patterns during the playback, the new pattern will start playing from the beginning.

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9.2 – The Refresh Button

The Refresh button: when activated, this control lets you change patterns without losing continuous
consistency in reproduction. You can just play and change patterns continuously without starting over each time
you change to another pattern.

Volume: The Volume slider at the bottom right corner mirrors the Master Volume. This slider let you manage the
Master volume from every section of MODO DRUM.

To reset the value to its default position:

CMD + Click on the slider for Mac users.

Ctrl + Click on the slider for Windows users.

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Chapter 10 – MIDI Mappings

The Mapping section lets you customize your MIDI Map, the note assignments for each drum or articulation.
A custom MIDI Map lets you associate the articulations of MODO DRUM Elements to MIDI notes. This can be
very useful when MODO DRUM is interfaced with specific electronic drum trigger hardware.

10.1 – Factory mapping

By default, MODO DRUM maps the keys from B0 to A2 following the General MIDI standard drum mapping.
The only slight exception is that Floor Tom 2 is mapped to both F1 and G1 because MODO DRUM only has 3
rack tom + 2 floor tom kits. This range corresponds to the left hand of MODO DRUM.

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Some kits only have a few Elements. Some Elements are optional, and some are always present. If an optional
Element is missing from a kit, the corresponding key will trigger some of the available elements. For example,
when Toms 1 and 3 are missing from the kit, their corresponding key will trigger Tom 2 which is always present.
Similarly, the keys assigned to Floor Tom 2 will trigger Floor Tom 1 when the kit doesn’t contain a Floor Tom 2.
In the same manner, notes for any missing cymbals in the kit will trigger Crash Cymbal 1.

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10.1.1 – Range C#0 - A#0 (HI-Hat Articulations)

Following the General MIDI standard, the notes, F#1 and G#1, trigger the TIP version of Hi-Hat Closed and
Hi-Hat Open, respectively.
The lower range if C#0 - A#0 is dedicated to further Hi-Hat articulations. This range features differnt apertures
with two different stick hit types: TIP and SHANK.

NOTE ARTICULATION

25 C#0 CC SHANK*
26 D0
27 D#0 CC TIP*
28 E0
29 F0 SUPER TIGHT
30 F#0 CLOSED SHANK
31 G0 EXTRA OPEN SHANK
32 G#0 FOOT OPEN
33 A0 EXTRA OPEN TIP
34 A#0 OPEN SHANK

Note that the MIDI notes, F#0 and G#0, trigger the Shank version of Hi-Hat Closed and Hi-Hat Open
respectively. This is just like how the octave above, F#1 and G#1, trigger the TIP version.

* Note: CC SHANK and CC TIP are special articulations. See chapter 10.7 for more informations.

10.1.2 – Range A#2 - E4 (Snare and Toms Right Hand)

The upper range of A#2 - E4 corresponds to the right hand of MODO DRUM for Snare and Toms. In this range,
the snare and toms are mapped like the General MIDI range but two octaves higher. This makes it easy to play
alternating left and right hand performances.
This range includes additional Cymbals and their relative Choke articulations as well.

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10.2 – Custom MIDI mapping

Select the desired Element to be edited in the KIT ELEMENTS menu on the left..

You can also select the Element in the middle window:

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The related articulations of the selected Kit Element are showed in the bottom tab:

Once an articulation is selected, you can edit the MIDI note association in 3 different ways:

1. Click on the MIDI icon with an L inside, and it will start blinking. This means that the articulation is in LEARN
status, and the next incoming MIDI note will automatically associate with the articulation.

2. Click on the right arrows to open a drop-down menu where you can select the desired note. (You can also
disable an association by selecting OFF)

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3. Click the existing note name, and enter the desired note number.

10.3 – Velocity Curve

Each Articulation can be controlled by a dedicated Velocity Curve.
The Velocity Curve transforms the incoming MIDI velocities to new values as determined by the shape of the
curve.
The practical purpose is to customize the MODO DRUM’s response in order to get the right feeling with your
hardware controller.

To customize the shape of the Velocity curve:

A node point can be created by clicking on the white line. This node then can be moved to create the desired
shape. The line will smoothly follow the point to let you draw the desired curve.

A convex curve will compress the incoming values.

e.g. In this case, the incoming 114 value is tranformed to 95.

This kind of curve can be useful in mainly two cases:

1. If you are working on already-recorded MIDI material and you find that some articulations give you too
aggressive of a result, you can remedy this by adding a convex curve to re-shape the behavior of the
articulation.
2. If you are playing with an hardware controller that seems too sensitive, then you can set a convex curve to
reduce the feeling of too much sensitivity.

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A concave curve instead will expand the incoming values.

e.g. In this case, the incoming 114 value is tranformed to 120.

This kind of curve can be useful in mainly two cases:

1. If you are working on already recorded MIDI material and you find that some articulations give you too light of
a result, then you can add a concave curve to strengthen the behavior of the articulation.
2. If you are playng with a hardware controller that seems to be not sensitive enough, then you can set a
concave curve to reduce the feeling of hardness.

To reset the curve to its default, just right-ckick on the orange point and select “Reset” from the displayed
dialog.

The limits of the Velocity curve can be edited as well. Just move the upper and lower orange horizontal lines to
compress the low or high velocity values limits.

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10.4 – MIDI Monitor

On the right side, there is a MIDI Monitor which shows all the incoming MIDI Notes and incoming MIDI Control
Changes. This display is very useful to check the correct MIDI comunication from your DAW or your hardware
controller.
You can filter the message monitoring by type. To do this, click the eye icon and select the MIDI messages you
want to show or hide.

10.5 – Save and Load MIDI Maps

Once you edit a MIDI Map, click the SAVE button to store it as a preset.
To load presets, just click the MIDI MAP PRESET field and select from the drop-down menu.
Click the DELETE button to delete the current preset.
Five factory MIDI map presets are available.
“DM-10 – Alesis”, “TD10 – Roland” and “TD50 - Roland” map-presets have been created to be compatible for
those popular E-Drum.
The other two “Generic E-Drum” and “Generic E-Drum non-inverted” are starting points or any E-Drum kits,
which are set with the most common MIDI CCs and note messages used on E-Drums.

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10.6 – Continuous Controls

You can control certain MODO DRUM parameters via MIDI Continuous Controllers, also known as Control
Change or CC.

The controllable parameters are:

• Hi-Hat Aperture
• Snare Hit Position
• Toms Hit position

You can enable the control and select the related MIDI Control Change value from the Control Change tab.

Note: When you enable one of these controls, all the notes that were articulations of the same element trigger
identically because the actual articulation is controlled by the selected CC. For example, if you enable the control
of the Hi-Hat aperture, all the keys assigned to Closed and Open Hi-Hat will trigger the Hi-Hat in the same way
since the aperture of the Hi-Hat is now being controlled by the CC and no longer by its distinct keys. Note that
the aperture control does not affect the SHANK/TIP version of the Hi-Hat. The notes trigger the Shank vs. Tip
version independent of the Continuous Controller.

Similarly, if you enable a Continuous Controller for the Snare Hit Position, then both the snare keys for left hand
(in the default range B0 – B2) and those for the right hand (in he default range C3-E4) will trigger the same hit
position which is now controlled by the selected CC.

10.6 – Special Hi-Hat Articulations (CC SHANK – CC TIP)

For the Hi-Hat, the two articulation named CC SHANK and CC TIP always follow the Continuous Controller. The
Continuous Controller always works with them using the CC that is set in the Preferences tab, even when the
Control is disabled. This is handy if you have a whole part programmed with Continuous Control OFF, opening
and closing the Hi-Hat using the dedicated keys, but then you just need an occasional variation of aperture. You
can then use these extra keys with the CC to further adjust the desired aperture for these notes.

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Chapter 11 – Preferences

Click the Gear icon in the top bar to open the MODO DRUM audio preferences.

11.1 – General Preferences

The first tab is General. Here you set the brightness of the MODO DRUM interface.

11.2 – Sound Content Folder

You can change the path for the Sound Content in the section at the bottom.
To change the Sound Content location, first move the folder “MD Sound Content” to the new desired location,
then browse to the new path with the BROWSE button.

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11.3 – Audio/MIDI Preferences

Set the audio and MIDI preferences by clicking the AUDIO/MIDI tab:

Note: The Audio/MIDI setup dialog is only available in the MODO DRUM standalone version since with the plug-
in version, the host determines the audio and MIDI settings.

11.3.1 – Output Device

Select the core Windows ASIO or MAC compatible audio interface you want to use.

11.3.2 – Left Channel/Right Channel

Select the physical output of the selected interface you want to use for the Left and Right Channels.

11.3.3 – Sample Rate

Select your preferred sample rate. The sample rate refers to the number of audio samples that are captured per
second and is measured in Hertz. This means that as you increase the sample rate, more data is captured per
second, and resolution is increased. Higher sample rates also tax your computer processor more.

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11.3.4 – Buffer Size

Select the buffer size here. Lower buffer sizes provides less latency, but they also tax the comptuer processor
more. Larger buffer sizes should be used here if you hear clicks or pops during playback.

11.3.5 – Info
Click the INFO button to view the info panel. You will find the product name and version number along with the
related copyright notes.

11.3.6 – Lock
If you are running the software in demo mode and click on the Lock button, the Authorization Manager will
appear. However, if you already registered and authorized your product, clicking the Lock button will display your
MODO DRUM serial number.

For further information about registering IK Multimedia products, please refer to the Authorization Manager user
manual.

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Chapter 12 – Troubleshooting

Where can I find my IK product Serial Number?

The Serial Number is written on the Registration Card (included with your IK product) or in the email you
received from DigitalDelivery@ikmultimedia.com (if you purchased the product as ‘Downloadable only version’).

IMPORTANT: the number zero can easily be identified in your Serial Number because it is crossed by a line.

Why is the Authorization Manager rejecting my Serial Number?

Probably because of a typo, here are some common errors:
• Typing a 0 (“zero” number) instead of an O (“o” letter).
• Typing 1 (“one” number) instead of an I (“i” letter).
• Typing 2 (“two” number) instead of a Z (“z” letter).
• Typing 5 (“five” number) instead of an S (“s” letter).
• Typing 8 (“eight” number) instead of a B (“b” letter).
• Typing a “.” (point) instead of a “-” (minus).

Suggestions:
• If possible, please copy and paste the information.
• Cut off all the leading and trailing spaces.
• Please type all codes in UPPERCASE during the installation and registration process.
• Check that the Serial Number that you are entering is in correlation with the product installed.

How can I authorize my product on another computer?

To authorize your product on another computer just follow these instructions:
• Install the product and the Authorization Manager on that computer
• Run the Authorization Manager

I need to log in into the User Area but I forgot my User Name and Password. What should I do?
You can retrieve your User Area login details in two different ways:
• Run the Authorization Manager and follow the steps until you reach the login page. Here you just have to
click on the ‘Forgot password?’ button and submit your email address. Your login details will be sent to
your email account. In case you have checked the ‘Remember me’ checkbox before and are not able to
access the login page, just click on the LOGOUT button.
• Go to www.ikmultimedia.com, click on ‘I forgot my username and/or password’ and submit your email
address. Your login details will be sent to your email account.

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I just bought an IK Multimedia software. What should I do to register and authorize my new product?
Just run the Authorization Manager and follow the instructions.
In case you don’t have the Authorization Manager, you can download it for free from the Products page of our
website at:
www.ikmultimedia.com/am

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MODODRUM

Chapter 13 – Support

For any questions you may have, please refer to the FAQ webpage at: www.ikmultimedia.com/faq
Here you will find answers to the most commonly asked questions.

To submit a Technical Support Form, go to: www.ikmultimedia.com/support

For other requests such as Product, Sales, or Web info, please go to: www.ikmultimedia.com/contact-us

13.1 – User Area

The User Area is a special section of our website specifically designed for our users.
Here you can easily edit your personal data, manage your product authorizations and licenses, and download
the latest IK products updates.

Access your User Area to be able to:

• Edit your Personal data.
• View and download the latest product updates, free content, and Sound Libraries.
• Access any current Promotions.
• View exclusive offers and pricing.
• Manage your earned JamPoints.
• View your Orders.
• Download firmware and hardware drivers.
• Access the IK Forum and more.

To access the User Area go to:

www.ikmultimedia.com/userarea

To access your User Area, please login with your User Name and Password created upon registration and
emailed to your registered email address. If you need to update your Password, you may do so at the User Area
login.

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IK Multimedia Production Srl IK Multimedia US, LLC IK Multimedia Asia
Via dell’Industria, 46, 590 Sawgrass Corporate Pkwy. TB Tamachi Bldg. 1F, MBE #709
41122 Modena Sunrise, FL 33325 4-11-1 Shiba
Italy USA Minato-ku, Tokyo 108-0014
Japan

www.ikmultimedia.com

MODO BASS®, MODO DRUM®, AmpliTube®, and T-RackS® are trademarks or registered trademarks of IK
Multimedia Production Srl. All other product names and images, trademarks and artists names are the property
of their respective owners, which are in no way associated or affiliated with IK Multimedia. Product names are
used solely for the purpose of identifying the specific products that were studied during IK Multimedia’s sound
model development and for describing certain types of tones produced with IK Multimedia’s digital modeling
technology. Use of these names does not imply any cooperation or endorsement.

Mac and the Mac logo are trademarks of Apple Computer, Inc., registered in the U.S. and other countries.
Windows and the Windows logo are trademarks or registered trademarks of Microsoft Corporation in the United
States and/or other countries. The Audio Units logo is a trademark of Apple Computer, Inc. VST is a trademark
of Steinberg Media Technologies GmbH.

All specifications are subject to change without further notice.

Document Version: 1.1 rev1 (2019/12/05)

© 2019 IK Multimedia. All rights reserved.