Roland HPD-15 Owner Manual

Information

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

Parsons Music Ltd.

8th Floor, Railway Plaza, 39

Chatham Road South, T.S.T,

Kowloon, HONG KONG

TEL: 2333 1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra

Mahalaxmi Flats Compound

Off. Dr. Edwin Moses Road,

Mumbai-400011, INDIA

TEL: (022) 2493 9051

INDONESIA

PT Citra IntiRama

Jl. Cideng Timur No. 15J-15O

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39,

Dataran Prima, 47301 Petaling

Jaya, Selangor, MALAYSIA

TEL: (03) 7805-3263

VIET NAM

Suoi Nhac Company, Ltd

370 Cach Mang Thang Tam St.

Dist.3, Ho Chi Minh City,

VIET NAM

TEL: 9316540

AFRICA

EGYPT

Al Fanny Trading Office

9, EBN Hagar Al Askalany

Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICA

T.O.M.S. Sound & Music

(Pty)Ltd.

2 ASTRON ROAD DENVER

JOHANNESBURG ZA 2195,

SOUTH AFRICA

TEL: (011)417 3400

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24

Londonderry Road, Ottery 7800

Cape Town, SOUTH AFRICA

TEL: (021) 799 4900

ASIA

CHINA

Roland Shanghai Electronics

Co.,Ltd.

5F. No.1500 Pingliang Road

Shanghai 200090, CHINA

TEL: (021) 5580-0800

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

SINGAPORE

SWEE LEE MUSIC

COMPANY PTE. LTD.

150 Sims Drive,

SINGAPORE 387381

TEL: 6846-3676

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung

Shan N.Road Sec.2, Taipei,

TAIWAN, R.O.C.

TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Soi Verng NakornKasem,

New Road, Sumpantawongse,

Bangkok 10100, THAILAND

TEL: (02) 224-8821

AUSTRALIA/

NEW ZEALAND

AUSTRALIA/

NEW ZEALAND

Roland Corporation

Australia Pty.,Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA


Co.,Ltd.

(BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili

Chaoyang District Beijing

100011 CHINA

TEL: (010) 6426-5050

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

TEL: 2415 0911

For Australia

Tel: (02) 9982 8266

For New Zealand

Tel: (09) 3098 715

CENTRAL/LATIN

AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park

Wildey, St.Michael, Barbados

TEL: (246)430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9

Medellin, Colombia

TEL: (574)3812529

COSTA RICA

JUAN Bansbach Instrumentos

Musicales

Ave.1. Calle 11, Apartado

10237,

San Jose, COSTA RICA

TEL: 258-0211

Gigamusic SARL

10 Rte De La Folie

97200 Fort De France

Martinique F.W.I.

TEL: 596 596 715222

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico

D.F. MEXICO

TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos

Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida

1 Cuadra al Lago.#503

Managua, Nicaragua

TEL: (505)277-2557

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE

PANAMA

TEL: 315-0101

PARAGUAY

Distribuidora De

Instrumentos Musicales

J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (595) 21 492147

PERU

Audionet

Distribuciones Musicales SAC

Juan Fanning 530

Miraflores

Lima - Peru

TEL: (511) 4461388

TRINIDAD

AMR Ltd

Ground Floor

Maritime Plaza

Barataria Trinidad W.I.

TEL: (868) 638 6385

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

TEL:(593-4)2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo II,

Edificio No.4010 San Salvador,

EL SALVADOR

TEL: 262-0788

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11

Ciudad de Guatemala

Guatemala

TEL:(502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona

3 Ave.11 Calle S.O

San Pedro Sula, Honduras

TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle

97232 Le Lamantin

Martinique F.W.I.

TEL: 596 596 426860

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa

1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

VENEZUELA


Allegro,C.A.

Av.las industrias edf.Guitar import

#7 zona Industrial de Turumo

Caracas, Venezuela

TEL: (212) 244-1122

EUROPE

AUSTRIA

Roland Elektronische

Musikinstrumente HmbH.

Austrian Office

Eduard-Bodem-Gasse 8,

A-6020 Innsbruck, AUSTRIA

TEL: (0512) 26 44 260

BELGIUM/FRANCE/

HOLLAND/

LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL: (014) 575811

CROATIA

ART-CENTAR

Degenova 3.

HR - 10000 Zagreb

TEL: (1) 466 8493

CZECH REP.

CZECH REPUBLIC

DISTRIBUTOR s.r.o

Voctárova 247/16

CZ - 180 00 PRAHA 8,

CZECH REP.

TEL: (2) 830 20270

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial

Finland

Elannontie 5

FIN-01510 Vantaa, FINLAND

TEL: (0)9 68 24 020

GERMANY



Oststrasse 96, 22844

Norderstedt, GERMANY

TEL: (040) 52 60090

GREECE/CYPRUS

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint,

HUNGARY

TEL: (23) 511011

IRELAND

Roland Ireland

G2 Calmount Park, Calmount

Avenue, Dublin 12

Republic of IRELAND

TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

UL. Gibraltarska 4.

PL-03 664 Warszawa

POLAND

TEL: (022) 679 4419

PORTUGAL

Roland Iberia, S.L.

Portugal Office

Cais das Pedras, 8/9-1 Dto

4050-465, Porto, PORTUGAL

TEL: 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

TEL: (266) 364 609

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6

117 545 Moscow, RUSSIA

TEL: (095) 981-4967

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18.

SK - 940 01 Nové Zámky

TEL: (035) 6424 330

SPAIN


Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

SWEDEN


SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a.

Nedecey Str. 30

UA - 89600 Mukachevo,

UKRAINE

TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

UNITED KINGDOM

TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha

Building Road 3931, Manama

339 BAHRAIN

TEL: 17 813 942

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha'alia Hashnia St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

NORTH AMERICA

CANADA

Roland Canada Ltd.

(Head Office)

5480 Parkwood Way

Richmond B. C., V6V 2M4

CANADA

TEL: (604) 270 6626


(Toronto Office)

170 Admiral Boulevard

Mississauga On L5T 2N6

CANADA

TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (323) 890 3700

JORDAN

MUSIC HOUSE CO. LTD.

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192 JORDAN

TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine

Bldg., Achrafieh, P.O.Box: 16-

5857

Beirut, LEBANON

TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1

Al Noor Street, Ruwi

SULTANATE OF OMAN

TEL: 2478 3443

QATAR

Al Emadi Co. (Badie Studio &

Stores)

P.O. Box 62, Doha, QATAR

TEL: 4423-554

SAUDI ARABIA aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

31952 SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

Bldg. No. 21, P.O.BOX 13520,

Damascus, SYRIA

TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37

Beyoglu - Istanbul / TURKEY

TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Ground Floor, Dubai,

U.A.E.

TEL: (04) 3360715

As of May 1, 2007 (ROLAND)

01909823 07-09-7N

* 0 1 9 0 9 8 2 3 0 7 *

Owner’s Manual

Thank you, and congratulations on your choice of the Roland HandSonic HPD-15.

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY”

(p. 2–3) and “IMPORTANT NOTES” (p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

* The D Beam Controller is provided under license from Interactive Light, Inc.

Copyright © 2000 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.

For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE:

BROWN:

NEUTRAL

LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

USING THE UNIT SAFELY

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

●

symbol alerts the user to things that must be The carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

..........................................................................................................

002c

• Do not open (or modify in any way) the unit or its

AC adaptor.

..........................................................................................................

003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland

Service Center, or an authorized Roland distributor, as listed on the "Information" page.

..........................................................................................................

004

• Never use or store the unit in places that are:

• Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors); or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

..........................................................................................................

2

005

• This unit should be used only with a rack or stand that is recommended by Roland.

..........................................................................................................

006

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

..........................................................................................................

008c

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

..........................................................................................................

009

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

..........................................................................................................

For EU Countries


This product complies with the requirements of European Directive 89/336/EEC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the

FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna.

– Increase the separation between the equipment and receiver.

– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

– Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the users authority to operate this equipment.

This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

HPD-15_e.book 3 ページ２００７年８月２２日　水曜日　午前１０時５３分

010

• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

..........................................................................................................

011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

..........................................................................................................

012c

• Immediately turn the power off, remove the AC adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the

"Information" page when:

• The AC adaptor or the power-supply cord has been damaged; or

• Objects have fallen into, or liquid has been spilled onto the unit; or

• The unit has been exposed to rain (or otherwise has become wet); or

• The unit does not appear to operate normally or exhibits a marked change in performance.

..........................................................................................................

013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

..........................................................................................................

014

• Protect the unit from strong impact.

(Do not drop it!)

..........................................................................................................

015

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating

(watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

..........................................................................................................

016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service

Center, or an authorized Roland distributor, as listed on the "Information" page.

..........................................................................................................

101b

• The unit and the AC adaptor should be located so their location or position does not interfere with their proper ventilation.

..........................................................................................................

102d

• Always grasp only the plug or the body of the AC adaptor when plugging into, or unplugging from, an outlet or this unit.

..........................................................................................................

103b

• Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor.

..........................................................................................................

104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

..........................................................................................................

106

• Never climb on top of, nor place heavy objects on the unit.

..........................................................................................................

107d

• Never handle the AC adaptor body, or its plugs, with wet hands when plugging into, or unplugging from, an outlet or this unit.

..........................................................................................................

108b

• Before moving the unit, disconnect the AC adaptor and all cords coming from external devices.

..........................................................................................................

109b

• Before cleaning the unit, turn off the power and

unplug the AC adaptor from the outlet (p. 13).

..........................................................................................................

110b

• Whenever you suspect the possibility of lightning in your area, disconnect the AC adaptor from the outlet.

..........................................................................................................

3


4

IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:

Power Supply

301

• Do not use this unit on the same power circuit with any

302 device that will generate line noise (such as an electric motor or variable lighting system).

• The AC adaptor will begin to generate heat after long

307 hours of consecutive use. This is normal, and is not a cause for concern.

• Before connecting this unit to other devices, turn off the power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

351

• Using the unit near power amplifiers (or other equipment

352 containing large power transformers) may induce hum.

To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

• This device may interfere with radio and television reception. Do not use this device in the vicinity of such receivers.

354a

• Do not expose the unit to direct sunlight, place it near devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes.

Excessive heat can deform or discolor the unit.

355

• To avoid possible breakdown, do not use the unit in a wet area, such as an area exposed to rain or other moisture.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any kind, to avoid the possibility of discoloration and/or deformation.

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory or another

MIDI device (e.g., a sequencer) once it has been lost.

Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

558d

• This instrument is designed to minimize the extraneous sounds produced when it’s played. However, since sound vibrations can be transmitted through floors and walls to a greater degree than expected, take care not to allow these sounds to become a nuisance to neighbors, especially when performing at night and when using headphones.

559a

• When you need to transport the unit, package it in the box

(including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

561

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

• Do not strike pads extremely strong. Be careful to prevent your fingers or hands from injury.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer).

• The rubber portion of the striking surface is treated with a preservative to maintain its performance. With the passage of time, this preservative may appear on the surface as a white stain, or reveal how the pads were struck during product testing. This does not affect the performance or functionality of the product, and you may continue using it with confidence.


Contents

IMPORTANT NOTES ...............................................................................4

Features ...................................................................................................8

How To Use This Manual........................................................................9

About the Symbols in This Manual .............................................................................................. 9

Panel Descriptions................................................................................10

Front Panel................................................................................................................................................. 10

Rear Panel .................................................................................................................................................. 11

Attaching the HPD-15 to the Stand .....................................................12

Chapter 1 Quick Start ...........................................................................13

Turning On/Off the Power..................................................................................................................... 13

Listening to the Demo Song.................................................................................................................... 14

Performing................................................................................................................................................. 15

Hit the pads.................................................................................................................................... 15

Slide Your Finger on the Ribbons ............................................................................................... 15

Pass Your Hand over the D Beam .............................................................................................. 16

Sustaining the Sound (ROLL/HOLD Button) .......................................................................... 16

Playing Various Sounds ............................................................................................................... 17

Controlling Pad Sounds ............................................................................................................... 17

Playing a Scale ............................................................................................................................... 18

Using Knobs to Modify the Tone (Realtime Modify) .............................................................. 19

Adding Effects Such as Reverb or Distortion (Multi-Effects) ............................................................ 20

Turning Multi-Effects On/Off .................................................................................................... 20

Changing Sounds to Play (Patch Select) ............................................................................................... 21

Changing Patches with the Dial.................................................................................................. 22

Changing Patches with the Panel Switches............................................................................... 22

Changing Patches with the Pads (Pad Patch Select) ................................................................ 23

Changing the Settings of a Patch (EZ Edit) .......................................................................................... 24

Playing Back a Preset Pattern ................................................................................................................. 26

Changing the Tempo .................................................................................................................... 27

System Settings ......................................................................................................................................... 28

Adjusting the Display for Best Visibility (LCD Contrast)....................................................... 28

Adjusting the D Beam Sensitivity............................................................................................... 29

If the Sound or Operation Is not as You Expect................................................................................... 30

Rapidly Selecting Parameters or Values ............................................................................................... 31

Key Repeat Function..................................................................................................................... 31

Turbo Repeat Function................................................................................................................. 31

Skip Function ................................................................................................................................. 32

Try to Play the Conga .............................................................................................................................. 34

Conga - Basic Rhythm .................................................................................................................. 34

Chapter 2 Modifying a Patch................................................................35

Basic procedure in Edit Mode ................................................................................................................ 35

Adjusting Sounds ..................................................................................................................................... 36

Adding Cyclic Change to the Tone........................................................................................................ 38

Effect Settings............................................................................................................................................ 39

Adjusting the Reverb Settings..................................................................................................... 39

Adjusting the Multi-Effect Settings ............................................................................................ 40

Controlling the Tone ................................................................................................................................ 52

Using a Pad to Start a Pattern ................................................................................................................. 54

Set the Volume of the Entire Patch ........................................................................................................ 54

Settings for Other Functions ................................................................................................................... 54

Limiting the Resonance ................................................................................................................ 54

5


6

Contents

Adjusting the Sensitivity of the Pads ......................................................................................... 54

Specifying the Roll Speed ............................................................................................................ 55

Setting for MIDI Transmission ............................................................................................................... 55

Naming a Patch......................................................................................................................................... 55

Saving Your Settings (Write) .................................................................................................................. 56

Duplicating Settings (Copy).................................................................................................................... 56

Basic Procedure for Copy............................................................................................................. 56

Copying a Pad Set (Pad Set Copy).............................................................................................. 57

Copying Pad/D Beam/Ribbon Settings (Pad Copy)............................................................... 57

Copying Pad/D Beam/Ribbon Settings to All Pads (Pad Copy to All) ............................... 57

Exchanging Patch Settings (Patch Exchange) ........................................................................... 57

Copying a Value to All Pads................................................................................................................... 58

Using Realtime Modify to Adjust Values ............................................................................................. 58

Chapter 3 Recording Your Performance (Sequencer).......................59

Basic Settings for Recording ................................................................................................................... 59

Settings for the Pattern ................................................................................................................. 60

Settings for the Click, and others ................................................................................................ 61

Settings for the Recording (Set in the Recording Stand-by mode) ........................................ 62

Rehearsal Function........................................................................................................................ 62

Basic Settings for Playing Back............................................................................................................... 63

Pause ............................................................................................................................................... 63

Fast-Forward and Rewind ........................................................................................................... 63

Synchronizing with an External MIDI device (MIDI Sync) .................................................... 63

Changing the Settings of Pattern............................................................................................................ 63

Saving the Changed Settings....................................................................................................... 63

Editing a Pattern ....................................................................................................................................... 64

Basic Settings for Editing ............................................................................................................. 64

Copying a Pattern ......................................................................................................................... 64

Erasing Parts .................................................................................................................................. 64

Connecting Two Patterns............................................................................................................. 64

Deleting a Pattern.......................................................................................................................... 64

Chapter 4 Changing Patches in the Desired Sequence ....................65

Creating a Patch Chain (Chain Edit) ..................................................................................................... 65

Specifying the Last Step of the Patch Chain.............................................................................. 65

Inserting a Chain Step .................................................................................................................. 66

Deleting a Chain Step ................................................................................................................... 66

Playing with a Patch Chain (Chain Play).............................................................................................. 66

Chapter 5 Settings for the Entire HPD-15 ...........................................67

Settings for basic operation ..................................................................................................................... 67

Settings for the Basic Operation.................................................................................................. 68

Settings for the Controllers .......................................................................................................... 69

Turning On/Off the D Beam....................................................................................................... 69

Turning On/Off the Ribbons ...................................................................................................... 69

Setting the Pad Sensitivity ........................................................................................................... 70

Using the Foot Switches to Control the Tone / Sequencer ................................................................ 71

Settings for the Foot Switches ..................................................................................................... 71

Using the Pedal to Control the Hi-Hat / Tone..................................................................................... 72

Settings for the Pedal .................................................................................................................... 72

Using the External Pads/Kick Trigger Unit to Trigger a Sound ....................................................... 73

Settings for the External Pads / Kick Trigger Unit .................................................................. 73

More Detailed Settings for the External Pads / Kick Trigger Unit........................................ 74

Setting the Sound of the External Pads / Kick Trigger Unit .................................................. 75

MIDI Settings ............................................................................................................................................ 75

Restoring Settings to Their Default Values (Factory Reset) ............................................................... 75


Contents

Chapter 6 Connecting MIDI Devices ...................................................76

Using the HPD-15 to Play External Instruments ................................................................................. 76

Setting for MIDI Transmission.................................................................................................... 76

Setting the MIDI Channels........................................................................................................... 77

Using the HPD-15 As a Sound Module................................................................................................. 78

Setting the MIDI Channel for a Part........................................................................................... 78

Using with the Roland SPD-20 (SOFT THRU)..................................................................................... 79

Using a Sequencer or a Computer to Record/Play Back the Performance on the HPD-15 .......... 79

Cutting the Connection Between the Sound Generator and the Pad Controller

(Local Control)............................................................................................................................... 80

Saving Data to an External MIDI Instrument....................................................................................... 80

Transmitting (Bulk Dump) .......................................................................................................... 80

Receiving (Bulk Load) .................................................................................................................. 81

Setting the Device ID .................................................................................................................... 82

Program Change Number List (User Patches) ......................................................................... 82

Troubleshooting....................................................................................83

Problems With the Overall Sound ......................................................................................................... 83

MIDI-related Problems ............................................................................................................................ 84

Sequencer-related Problems ................................................................................................................... 84

Restoring the Factory Settings............................................................85

Messages and Error Messages ...........................................................86

About MIDI .............................................................................................88

Preset Patch List...................................................................................90

Preset Pattern List ................................................................................91

Instrument List ......................................................................................92

Pad Set Instrument List ........................................................................................................................... 94

Backing Instrument List .......................................................................................................................... 94

Effect Type List .....................................................................................95

Demo Song List.....................................................................................96

MIDI Implementation.............................................................................97

Specifications......................................................................................112

Index.....................................................................................................113

7


Features

• The HPD-15 is a compact and lightweight digital hand percussion unit with built-in sound generator, that you can play with your naked hands.

• A pressure-sensitive pad divided into fifteen sections allows you to play full-fledged hand percussion without any other equipment.

• 600 versatile sounds including percussion instruments from around the world with Latin, African, and Asian sounds, as well as drum sets, dance sounds, and sound effects.

• Numerous controllers including ribbons, D Beam , and realtime modify knobs allow you to create realtime changes in the sound.

• Kick trigger units and a hi-hat controller can be connected to create a space-saving drum set.

• Convenient editing functions for the percussionist include an EZ Edit function and a Guide tone (click note).

• Built-in high-quality reverb and multi-effects selected especially for percussion let you produce spacious sounds or invent creative new possibilities.

• Basic rhythm performances are built-in as preset patterns, so that you can enjoy ensemble playing or use the HPD-15 to keep time in place of a metronome.

• A convenience sequencer is provided for recording your performance in realtime — great for practicing or listening to your own playing.

• The HPD-15 can be connected to an external sound module as a MIDI controller, or used as to input drum parts for music data.

8


How To Use This Manual

This owner’s manual is organized as follows.

Quick Start (Chapter 1)

This section is intended for those using the HPD-15 for the first time, and explains how to use various functions in a simple way. Please read Quick

Start and follow along by actually operating the HPD-15. This will help you understand most of what you need to know for basic operations.

Advanced Use (Chapter 2 – Chapter 6)

This section explains all functions of the HPD-15 and is divided into specific parts. Basic operations are covered in the Quick Start. The Advanced Use section assumes you already understand basic procedures, so if anything unclear, refer to the “Quick Start.”

Chapter 2 Modifying a Patch

This chapter explains how to modify the sounds you play, how to control the sounds, and how to use effects.

Chapter 3 Recording Your Performance (Sequencer)

This chapter explains how to record and play back your performance.

Chapter 4 Changing Patches in the Desired Sequence

This chapter explains the Patch Chain function that lets you switch patches in a desired order.

Chapter 5 Settings for the Entire HPD-15

This chapter explains settings that affect the entire HPD-15, such as screen display, control settings, and how to connect external pads, pedals, or foot switches for use with the HPD-15.

Chapter 6 Connecting MIDI Devices

This chapter explains MIDI-related functions, such as using the HPD-15 to play external sound modules, or saving data on an external device.

Appendices

If you run into problems, refer to “Troubleshooting” to make sure that the settings are correct. If an error message appears during operation, refer to

“Messages and Error Messages” and take appropriate action. This section also provides information related to MIDI, backing instrument list, and the

MIDI implementation charts.

About the Symbols in This Manual

Words of symbols enclosed in [square brackets] indicate panel buttons or dial.

For example, [EDIT] signifies the Edit button.

The explanations in this manual include illustrations that depict what should typically be shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

9


Panel Descriptions

Front Panel

fig.0-01.e

VOLUME Knob

Adjusts the volume of the entire HPD-15.

When this knob is turned fully counterclockwise, no sound will be output.

REALTIME MODIFY Section

Turn these knobs to modify the sound (p. 19).

Sequencer Section

You can record and play back your performance (p. 59).

PATCH/VALUE Dial

Turn to select a patch or change the value.

D BEAM

Pass your hand to produce or control the sound (p. 16).

Patch Select

Section

Changes the patch (p. 22).

10

Ribbon (L)

Slide your finger on this ribbon to produce a sound or to control the tone (p. 15).

Ribbon (R)

ROLL/HOLD Button

When this button is lit, the sound will repeat like rolls while pressing a pad (p. 16).

Pad

Strike to produce a sound or press to control the tone (p.15).

PATCH SEL Button

Striking the pad while holding down this button changes the patch (p. 23). This button is used as the shift button of some operations, too.


Panel Descriptions

Rear Panel

fig.0-02.e

TRIGGER INPUT Jack

Connect the kick trigger units, external pads, foot switches (p. 73).

FOOT SWITCH Jack

Connect the optional foot switches (BOSS FS-5U).

You can use foot switches to select a patch, to control the sequencer, and so on (p. 71).

MIDI Connectors (IN, OUT/THRU)

Connect the MIDI cable when using the

HPD-15 to play external instruments, using the HPD-15 as a sound module, or to save/load the setting data (p. 76).

AC Adaptor Jack

Connect the include AC adaptor.

POWER Switch

Turns the power on/off.

EXP PEDAL/HH CTRL Jack

Connect an expression pedal (EV-5), a hi-hat control pedal (FD-7), or a foot switch (p. 72).

MIX IN STEREO Jack

Connect a CD/MD player or use for the expanded input at the live performance.

The sound that is input to this jack will be output from the OUTPUT jacks and

PHONES jack.

OUTPUT Jacks

Connect to external audio devices or amps. If using monaural sound, plug the cable into the L (MONO) jack only.

PHONES Jack

Connect stereo headphones.

Even if headphones are connected, sound will still be output from the

OUTPUT jacks.

Cord hook

AC adaptor

PCS-31 (optional)

BOSS FS-5U (optional)

PCS-31 (optional)

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

Stereo headphones

Audio cable

Speakers with built-in amp, etc.

L

To prevent the inadvertent disruption of power to your unit (should the plug be pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

R

Stereo set, etc.

Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/ or damage to the unit.

CD Player, etc.

Kick trigger unit, External pad, etc.

Roland

EV-5 (optional) FD-7 (optional)

BOSS FS-5U

(optional)

For details on connecting

MIDI devices, refer to

“Chapter 6 Connecting

MIDI Devices” (p. 76).

11


Attaching the HPD-15 to the Stand

1

Attach the stand holder (included with the optional PDS-15) to the HPD-15.

Using the screws provided with the PDS-15, attach the holder so the unit is oriented as shown in the diagram.

fig.0-03.e

Use the screws provided with the PDS-15. Use of other screws may result in damage to the unit.

Wide

Narrow

2

Attach the HPD-15 to the pad stand (PDS-15).

For details on assembling the pad stand and attaching the HPD-15, refer to the owner’s manual for the pad stand.

fig.0-04.e

for playing by fingers for using the heel of your hand

(like a conga player)

If you attach only the screws to the HPD-15 without attaching the stand holder and strike the pads strongly when it is resting on the floor or table, the screw heads may contact the floor or table and scratch it.

Do not slope the stand excessively. Be careful that the stand does not lose its balance.

12


Chapter 1 Quick Start

This chapter explains basic operation of the HPD-15.

For details on modifying sounds and settings, refer to “Chapter 2 Modifying

a Patch” (p. 35).

Turning On/Off the Power

* Once the connections have been completed (p. 11), turn on power to your various

devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

1

Make sure that all volume controls on the HPD-15 and connected devices are set to “0.”

2

Turn on the device connected to the MIX IN Jack.

3

4

5

Turn on the HPD-15’s [POWER] switch.

When turns the power on, be careful not to shut the

window of the D Beam (p.

16) until the patch name (p.

21) is displayed. The HPD-

15 adjusts the sensitivity of the D Beam automatically when turns the power on.

Turn on the device connected to the OUTPUT Jacks.

Adjust the volume levels for the devices.

Before switching off the power, lower the volume on each of the devices in your system and then TURN OFF the devices in the reverse order to which they were switched on.

If you connect the hi-hat control pedal (FD-7, optional), do not step on the pedal until the patch name is displayed when the power is turned on. The

HPD-15 will check the position of the pedal then.

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.

13



Listening to the Demo Song

1

Simultaneously press [SEQUENCER] and [SYSTEM].

fig.1-01 fig.1-02

HPD-15 DEMO PLAY

1.TABLECTRIC

2

Turn [PATCH/VALUE] or use [PATCH NUMBER ] and

[PATCH NUMBER ] to select the demo song that you wish to hear.

fig.1-03

For details on the demo songs, refer to “Demo Song

List” (p. 96).

3

Press [PLAY/STOP].

fig.1-04

Playback will begin.

To stop playback, press [PLAY/STOP] once again.

4

Press [EXIT].

You will return to the previous screen.

14

No data for the music that is played will be output from MIDI OUT.


Performing

Hit the pads

The pads of the HPD-15 will produce different volume or tones depending on where or how strongly they are struck, and you can also vary the tone and duration of the sounds by continuing to press the pad after striking it or by pressing another pad.

The pads are divided into 15 sections, which are numbered as follows.

fig.1-05

B2

B3

B4

B5 C1

C2

C3

A2 A4

C4

B1 C5

A3

A1 A5


Pad Set

The pads are in sets of five. Pads A1–A5 are referred to as pad set A, pads

B1–B5 as pad set B, and pads C1–C5 as pad set C.

Slide Your Finger on the Ribbons

By sliding your finger on the

ribbons

located at the left and right of the

HPD-15 you can produce sounds or modify the tone.

fig.1-06

If Ribbon [SOUND] is not lit, sliding your finger on the ribbon will not produce sound. Press [SOUND] to make it light.

[HOLD] is used when you control the tone by a ribbon. Refer to “Turning

On/Off the Ribbons” (p.

69).

15



Pass Your Hand over the D Beam

By passing your hand over the

D Beam

located at the top of the panel, you can produce sounds or modify the tone.

fig.1-07

If D Beam [SOUND] is not lit, passing your hand over the D Beam will not produce sound. Press

[SOUND] to make it light.

If there is no sound even though [SOUND] is lit, adjust the sensitivity of the

D Beam.

Sustaining the Sound (ROLL/HOLD Button)

1

Press [ROLL/HOLD] (located at the upper left of the pads) to make it light.

fig.1-08

If D Beam [CONTROL] is not lit, passing your hand over the D Beam will not modify the tone. Press

[CONTROL] to make it light.

Ribbons, D Beam, connected expression pedal, and connected hi-hat control pedal are called

“controller.“

2

Press the pad.

While you press the pad, the sound will be repeated as a roll.

Pressing strongly will increase the volume.

To specify the interval at which the sound is repeated, refer to

“Specifying the Roll Speed”

(p. 55).

The sound of the instruments marked with “*H” in the Instrument List (p.

92) will sustain if you remove your hand from the pad.

The sound of the instrument assigned to the

D Beam, ribbons, external triggers, or pedal will not be repeated.

16



Playing Various Sounds

Let’s use the patch (p. 21) of

P0101 Conga

to hear various sounds from the pads, ribbons, and D Beam.

* If the following screen is not shown, turn [PATCH/VALUE] until the following screen appears.

fig.1-09

P01 LATIN

01 Conga

fig.1-10

Bell Tree

If D Beam [SOUND] is not lit, passing your hand over the D Beam will not produce sound. Press


Guiro

Timbale

(High)

Timbale

(Low)

Bongo

(Low)

Bongo

(High)

Shaker

Conga

(Toe/Open)

Maracas

Tambourine

Claves

Cowbell

Agogo

Conga

(Bass)

Conga

(Low Open)

Conga

(Heel/Open)

Conga

(Open/Slap)

Conga

Slide

If [SOUND] located above the ribbon is not lit, rubbing the ribbon will not produce sound. Press


Controlling Pad Sounds


P0201 Talking Drm

and use the ribbons, D

Beam, and other pads to control the pitch of the pads.


fig.1-10a

P02 AFRICAN

01 TalkingDrm

While striking the pad, rub the ribbons or move your hand over the D Beam to raise the pitch.

While striking the pad, press one of the pads A1–A5 will also raise the pitch.

If D Beam [CONTROL] is not lit, passing your hand over the D Beam will not modify the tone. Press

[CONTROL] to make it light.

17



Playing a Scale

You can use the pads to play the sounds of a pitched instrument such a steel drum or marimba.


P0501 Vibraphone

to play a scale.


fig.1-10b

P05 ORCH

01 Vibraphone

The pads are assigned to the notes of the keyboard as follows.

fig.1-10c

C2 C3

Simultaneously striking pads A1–A3 (the left half of pad set A) will produce a

“C” chord, and simultaneously striking

A3–A5 (the right half) will produce a “G” chord.

Helpful Use of the Included Label

C #

D

E

D #

F

F

#

G

G

#

A

A #

C

B

C #

C D

18



Using Knobs to Modify the Tone (Realtime Modify)

The sounds of the HPD-15 have various

parameters

that determine the loudness, pitch, and duration, and how the notes are sounded. By modifying the

values

of each parameters, you can vary the tone.

Normally, you will adjust the parameter values to your liking before you perform. However, some of the parameters can be freely modified while you play. This is referred to as “

realtime modify

.” fig.1-11

In Edit mode (p. 35), you

can also use Realtime

Modify to adjust the

parameter values (p. 58).

3 1

1

Press [SELECT] to select the parameter that you wish to modify.

The indicator at the right of the selected parameter will light.

2

Sound the pad (D Beam, ribbon) for the sound that you wish to modify.

* The M-FX DEPTH and LFO parameters will apply in the same way to all pads/ ribbons/D Beam.

3

Turn the [REALTIME MODIFY] knob.

The selected parameter and the value being modified will be displayed, and the sound will change.

fig.1-12

RTM

A1* PITCH +600

* If the multi-effects (p. 20) is off, turning the [M-FX DEPTH] knob makes no

modification.

* If the LFO Waveform (p. 38) is set to “OFF,” turning the [LFO RATE], [LFO

PITCH] and [LFO FLT/AMP] knobs makes no modification.

4

By repeating steps 1–3 you can create numerous variations in the sound.

* By pressing [EXIT/MODIFY CLEAR] you can cancel any value changes you made

(

Modify Clear

).

Modify Lock

Hold down [SELECT], and sound the pad (D Beam, ribbon). It will be fixed to the target of modification and other pads cannot become to the target. (The

[SELECT] indicator will blink at this time.)

To unlock, hold down

[SELECT], and press

[EXIT].

When you turn the knobs too fast, some noise may be heard from some tones .

Hold down [EXIT/

MODIFY CLEAR], and press [SELECT]. You can excute Modify Clear and cancel the Modify Lock at the same time.

19



Adding Effects Such as Reverb or

Distortion (Multi-Effects)

The HPD-15 contains a multi-effect unit that can apply various effects to the sound.

Turning Multi-Effects On/Off

1

Press [MULTI-EFFECTS].

fig.1-13

When the effect is on, [MULTI-EFFECTS] will light.

The sound will change according to the selected type of effect.

For more on multi-effects, refer to “Adjusting the

Multi-Effect Settings” (p.

40).

20


Changing Sounds to Play (Patch Select)

A

patch

contains settings for the pads, controllers, and effects. The HPD-15 contains

80 User patches

that you can rewrite if desired, and

160 Preset patches

that cannot be rewritten. User patches and preset patches are organized into

10 patch groups

.

Names are assigned to preset patch groups.

• GROUP 1 LATIN Latin-American Percussion instruments

• GROUP 2 AFRICAN

• GROUP 3

• GROUP 4

INDIAN

ASIAN

• GROUP 5 ORCH

Percussion instruments of Africa and other regions

Percussion instruments of India and the

Middle East

Percussion instruments of Asia

Orchestral percussion instruments, and mallet instruments (e.g., xylophone, marimba)

• GROUP 6 DRUMS

• GROUP 7 DANCE

• GROUP 8 SFX

• GROUP 9 OTHERS

• GROUP 10 LOOPS

Drum sets

Sounds for dance music

Sound effects

Melody instruments (e.g., bass, synthesizer), and other sounds

Preset patterns are assigned to pads B1–

C5. You can listen and compare the preset patterns.

Each patch is assigned a name (

Patch Name

).

The currently selected group number, patch number, and patch name are displayed in the screen.

fig.1-15.e

Group Number Group Name

U

: User

P

: Preset

P01 LATIN

01 Conga

Patch Number Patch Name


21



Changing Patches with the Dial

1

Turn [PATCH/VALUE].

The patch will change as shown in the diagram.

fig.1-16

U0101

U0102

P1001

U0108

U0201

P0901

Changing Patches with the Panel Switches

fig.1-17

2

3 1

3

1

Press [USER] or [PRESET] to select either user patches or preset patches.

The selected button will light.

2

Use [GROUP -] and [GROUP +] to select the patch group.

The indicator of the selected patch group will light.

3

Use [PATCH NUMBER ] and [PATCH NUMBER ] to select the patch number within the patch group.

If you continue holding a button, the patch groups/ numbers will change

consecutively (p. 31).

22



Changing Patches with the Pads (Pad Patch Select)

fig.1-18

1, 2

B5 C1

B4 C2

B3

C3

B2

A2 A4

C4

B1 C5

1 2

1

Hold down [PATCH SEL], and strike a pad B1–C5 to select a patch group.

Use the panel switches to change between user patches and preset patches.

2

Hold down [PATCH SEL], and strike pad A2 or A4 to select the patch number.

Striking pad A4 will increase the patch number, and striking A2 will decrease it.

* Pads B1–C5 correspond to the patch groups, and pads A2 and A4 correspond to

[PATCH NUMBER ] and [PATCH NUMBER ] respectively.

fig.1-19

GROUP

1

2

3

4

5 6

7

8

9

10

B2

B3

B1

B4

B5 C1

C2

C3

C4

C5

A2 A4

While you continue holding [PATCH SEL], the indicator for the selected patch group and the indicator beside the pad

(B1–C5) corresponding to that group will blink.

NUMBER

23



Changing the Settings of a Patch (EZ

Edit)

The process of modifying a patch is called “editing.” The HPD-15 provides

Easy (EZ) Edit mode for making basic settings, and Edit mode for making settings in more detail. This section explains EZ Edit mode.

fig.1-20

4

To learn how to make more detailed settings, refer to

“Chapter 2 Modifying a

Patch” (p. 35).

3 6 1

1

Press [EDIT].

[EDIT] will blink, and you will enter EZ Edit mode.

2

Strike a pad to select the pad set (p. 25) that you wish to

modify. You can also select the D Beam or ribbons.

3

Press [ PARAMETER] or [PARAMETER ] to select the parameter that you wish to modify.

If you press [EDIT] once again, [EDIT] will light and

you will be in Edit mode (p.

35).

You can make your selection rapidly by using

the Key Repeat Function (p.

31) or Skip Function (p. 32).

4

To modify the value, either turn [PATCH/VALUE] or use

[PATCH NUMBER ] and [PATCH NUMBER ].

5

Repeat steps 2–4 to continue editing.

6

When you are finished editing, press [EXIT].

You will return to normal Play mode.

The settings you edit will return to the original values when you switch patches. If you wish to keep your changes, refer to

“Saving your settings

(Write) / Duplicating

settings (Copy)” (p. 56).

24



fig.1-20a.e

"A", "B", or "C" appears when "Pad Set" is selected

Patch Number appears if the Value is edited

Edit Target

(Pad Set, Ribbon, D Beam, etc.)

U0101A* PAD SET

Pitch +200cent

Parameter Value fig.1-21.e

EZ Edit — Parameter List

PAD SET,

RIBBON L,

RIBBON R,

D BEAM,

PEDAL,

TRIG 1,

TRIG 2

Inst

Level

Pan

Selects the instrument for Pad Set A, B, C

(Ribbon, D Beam).

Pads can be selected by five sets.

Refer to Pad Set

Instrument List

(p. 94)

Adjusts the volume.

0 – 127

Adjusts the pan (localization) of the output sound.

L63 – R63,

Random,

Alternate

Random:

The pan changes randomly each time the pad is struck.

Alternate:

The pan alternates left and right each time the pad is struck.

ReverbSend

Adjusts the reverb depth.

0 – 127

Pitch

Adjusts the pitch of the sound.

-2400 – +2400

Decay

Adjusts the duration (decay time).

-31 – +31

REVERB

MULTI-FX

PATCH LEV

MULTI-FX/LFO

Turns the multi-effects and LFO on/off.

If you select PadData, this will be determined by the on/off setting in Edit mode (p. 36).

Type

Selects the type of the reverb.

Depth

Adjusts the overall reverb depth.

Type

Selects the type of the multi-effects.

Depth

Adjusts the depth of the multi-effects.

FxOut Volume

Adjusts the output volume of the multi-effects.

Fx Rev Send

Adjusts the depth of reverb applied to the sound processed by the multi-effects.

MasterVolume

Adjusts the volume of the entire patch.

OFF, ON,

PadData

* PadData can be selected for PAD SET.

Refer to Effect

Type List (p. 95)

0 – 127

Refer to Effect

Type List (p. 95)

0 – 127

0 – 127

0 – 127

0 – 127

PATCH NAME

Give the pattern a name of up to 10 characters.

Refer to "Naming a Patch" (p. 55)

* About PEDAL, TRIG 1, and TRIG 2, see p. 72–p. 73.

25



Playing Back a Preset Pattern

fig.1-22

2

5 1, 5

1

Press [SEQUENCER].

[SEQUENCER] will light, and you will enter Sequencer mode.

fig.1-22a.e

Pattern Number

Current Measure

Current Beat

Tempo

U

: User

P

: Preset

P01 001-01 =100

4/4 Cha-Cha

Time Signature

Pattern Name

2

Turn [PATCH/VALUE] to select the pattern.

3

Press [PLAY/STOP].

The selected pattern will play back.

4

To stop playback, press [PLAY/STOP] once again.

The pattern will stop playing.

5

Press [SEQUENCER] or [EXIT].


3, 4

For more on preset patterns, refer to “Preset

Pattern List” (p. 91).

26



Changing the Tempo

fig.1-23

2

1, 3

1

Press [TEMPO].

[TEMPO] will light, current tempo is displayed in the screen.

fig.1-23a

Tempo =100

2

Turn [PATCH/VALUE] to change the tempo.

3

When you have finished making changes, press [TEMPO] once again.

[TEMPO] will go dark, and you will return to the previous screen.

The tempo can be changed either when the pattern is playing or stopped.

27



System Settings

Settings that are shared by all patches are called “

system settings

.”

Settings such as the display contrast and the D Beam sensitivity are system settings.

Adjusting the Display for Best Visibility (LCD

Contrast)

fig.1-24

2

3 1, 3

1

Press [SYSTEM].

[SYSTEM] will light, and the following screen will appear.

fig.1-25

UTILITY

LCD Contrast 5

2

Turn [PATCH/VALUE] to adjust the contrast of the display screen.

Increasing the value will darken the display.

3

When you have finished adjusting, press [SYSTEM] or [EXIT].


When you modify the system setting, the new setting is automatically saved as soon as you make the change. You do not have to operate for the storing.

28



Adjusting the D Beam Sensitivity

The sensitivity of the D Beam will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location.

fig.1-26

3

The HPD-15 adjusts the sensitivity of the D Beam automatically when turns the power on.

2 4 1, 4

1

Press [SYSTEM].

[SYSTEM] will light.

2

Press [PARAMETER ] to display the following screen.

fig.1-27

CONTROLLER

DBEAM Sens 100


the Key Repeat Function (p.

31) or Skip Function (p. 32).

3

Place your hand about 20 inches (50 cm) above the D Beam, and turn [PATCH/VALUE] to adjust the sensitivity.

Move the meter at the upper right of the screen to the center line as shown in right screen. The D Beam will respond as far as the position where your hand was when you made the adjustment.

fig.1-28

CONTROLLER

DBEAM Sens 100

CONTROLLER

DBEAM Sens 64

The sensitivity of the D

Beam will be less in a dark location. In such locations, it is a good idea to make the adjustment with your hand approximately 12 inches (30 cm) above the D

Beam.

4

When you have finished adjusting, press [SYSTEM] or [EXIT].


For details on other system parameters, refer to

“Chapter 5 Settings for the

entire HPD-15” (p. 67).

29



If the Sound or Operation Is not as You

Expect

If, as you modify the settings, the sound or operation is no longer as you expect and you are unable to restore the correct settings, you can execute the

Factory Reset

operation to reset all settings to their factory condition.

fig.1-29

When you execute factory reset, the edited contents will be lost.

4, 5 2 3 1

1

Press [SYSTEM].

[SYSTEM] will light.

2

Hold down [PARAMETER ] to access the following screen.

fig.1-30

FACTORY RESET

SYSTEM [WRITE]

3

Turn [PATCH/VALUE] to select “ALL.”

fig.1-30a

FACTORY RESET

ALL [WRITE]

4

Press [WRITE].

The following screen will appear.

fig.1-31

Are You Sure?

[WRITE/EXIT]

5

If you wish to execute factory reset, press [WRITE].

After the data has been initialized, the following screen will appear.

fig.1-09

P01 LATIN

01 Conga

* If you decide not to execute, press [EXIT].

30


the Skip function (p. 32).

It is also possible to initialize specific data, such as only the patches or only the system settings. For details, refer to “Restoring

the Factory Settings” (p.

85).



Rapidly Selecting Parameters or Values

Key Repeat Function

This can also be used when selecting either parameters or values, and when selecting patch groups or patch numbers.

1

Press and hold either [ PARAMETER],

[PARAMETER ], [PATCH NUMBER ], [PATCH

NUMBER ], [GROUP -], or [GROUP +].

The parameter, value, patch number, or group will change consecutively.

Turbo Repeat Function

This function can also be used when selecting a value or patch number.

1

Hold down [PATCH NUMBER ], and press

[PATCH NUMBER ].

fig.1-32.e

press while holding down

The value (value or patch number) will increase rapidly.

1

Hold down [PATCH NUMBER ], and press

[PATCH NUMBER ].

fig.1-33.e

while holding down press

The value (value or patch number) will decrease rapidly.

Turbo Function of the Dial

1

Hold down [PATCH SEL], and turn [PATCH/VALUE].

fig.1-33a.e

while holding down turn

If you are changing the value, the value will change in 10 steps.

When you select the instrument or adjust the pitch, you can use the Skip

function (p. 32) instead of

the Turbo repeat function.

31



Skip Function

You can rapidly select parameters or values.

Skipping Parameters

Parameters are grouped into several

categories

according to the content that is being edited. By using the skip function you can jump to the first parameter of the category.

1

Hold down [PARAMETER ], and press and release

[ PARAMETER].

fig.1-34.e

while holding down press and release

UTILITY

LCD Contrast 5

CONTROLLER

DBEAM Sens 100

The first parameter of the next category will be shown.

1

Hold down [ PARAMETER], and press and release

[PARAMETER ].

fig.1-35.e

while holding down press and release

CONTROLLER

DBEAM Sens 100

UTILITY

LCD Contrast 5

The first parameter of the previous category will be shown.

32


Skipping Values

When selecting an instrument or setting the pitch, you can make the value jump.

Instruments (sounds) are grouped into several categories. By using the skip function you can jump to the first sound in each group.

The pitch value can be changed in steps of 100 cent (one semitone).

1

While pressing [PATCH NUMBER ], press and release

[PATCH NUMBER ].

fig.1-36.e

press and release while holding down

Pad Inst (p. 36) select screen

P0101A1*PAD INST

L09:Conga Hi /H


F01:Shekere

Pitch adjust screen


Pitch +12cent


Pitch +100cent

If you are selecting instruments, the first sound in the next group will be displayed.

If you are setting the pitch, the value will increase in 100 cent steps.

1

While pressing [PATCH NUMBER ], press and release

[PATCH NUMBER ].

fig.1-37.e

while holding down

Pad Inst (p. 36) select screen


R01:Dry Hard Kik

press and release


O01:Sleigh Bell

Pitch adjust screen


Pitch +783cent


Pitch +700cent

If you are selecting instruments, the first sound in the previous group will be displayed.

If you are setting the pitch, the value will decrease in 100 cent steps.


33



Try to Play the Conga

Let’s try to play the conga using the HPD-15.

Use the patch

P0101 Conga

.

• Open (

O

)

Strike the pad A5 or A4, and remove the hand immediately.

• Closed 1 (

C1

)

Strike the pad A5 and do not remove the hand.

• Closed 2 (

C2

)

While pressing the pad A1 by the left hand, strike the pad A5.

• Open Slap (

OS

)

Strike the edge of the pad A5 powerfully and remove the hand immediately.

• Closed Slap (

CS

)

While pressing the pad A1 by the left hand, strike the edge of the pad

A5.

• Heel (

H

)

Strike the pad A1 by the heel of the left hand.

• Toe (

T

)

While pressing the PAD A1 by the heel of the left hand, strike the pad

A2 by the toe of the same hand.

• Pitch Bend (

PB

)

While pressing the pad A3, strike the pad A5.

Conga - Basic Rhythm

fig.1-38.e

Pad:

Technique:

A1 A2 A5 A2 A1 A2 A4 A4

H T CS T H T O O

A1 A2 A5 A2 A1 A2 A4 A4

H T CS T H T O O x

L L R L L L R R x

L L R L L L R R

Pad:

Technique:

A1 A2 A5 A4 A4 A2 A5 A5

H T CS O O T O O

A1 A2 A5 A4 A4 A2 A5 A5

H T CS O O T O O x

L L R R R L R R x

L L R R R L R R

L:

left hand

R:

right hand

34

A2

A3

A4

A1 A5



This chapter explains

Edit mode

, where you can make detailed settings.

Basic procedure in Edit Mode

1.

fig.2-01

Press [EDIT] to make it blink; you will enter EZ Edit mode.

U0101A PAD SET

001:Conga

2.

Once again press [EDIT] to make it light; you will enter

Edit mode.

* The

parameter category

will be displayed in the upper right of the screen.

fig.2-02.e

Parameter Category

U0101A1 PAD INST

L09:Conga Hi /H

3.

Strike a pad to select the pad (D Beam, ribbon) that you wish to edit.

fig.2-03.e

Pad A3 is selected


L17:Conga HiBass

D Beam is selected

U0101DB PAD INST

I35:Bell Tree

5.

To modify the value, either turn [PATCH/VALUE] or use [PATCH NUMBER ] and [PATCH NUMBER

].

fig.2-05.e


Pad Level 100

Value

6.

Repeat steps 3–5 to continue editing.

7.

When you are finished editing, press [EXIT] or [EDIT].

[EDIT] will go dark, and you will return to normal Play mode.

fig.2-06

U01 USER01

01* Conga

You can make your selection rapidly (p. 31). You can also use

realtime modify to change the value (p. 58).

The settings you edit will return to the original values when you switch patches. If you wish to keep your changes, refer to “Saving Your Settings (Write) / Duplicating Settings

(Copy)” (p. 56).

Ribbon (right) is selected

U0101RR PAD INST

L18:Conga Slide

4.

Press [ PARAMETER] or [PARAMETER select the parameter that you wish to modify.

fig.2-04.e

] to

If you edit the settings of a user patch, you can keep your changes in the same patch by pressing [WRITE] twice.

When you change a value, an “*” will appear beside the patch number in the screen, indicating that the data is being edited. If you switch patches or perform the Write or Copy

operation (p. 56), the “*” will disappear.


Pad Level 100

Parameter

35



Adjusting Sounds

Select the sound that you wish to play by using the pads, D

Beam, or ribbons. You can also adjust the pitch or duration of the sound.

* Some parameters have relation to the parameters in EZ Edit mode. If there are problems (e.g., no sound), check the parameters in EZ Edit mode.

Parameter Category: PAD INST

fig.2-07.e

(Inst select screen)


L09:Conga Hi /H

Inst Group Inst Name

(Other value select screen)


Pad Level 100

Parameter Value

(Inst) : Refer to Instrument List (p. 92)

Selects the sound (instrument.)

* You can jump to the first sound in each instrument group by

using the Skip function (p. 33).

Pad Level: 0–127

Adjusts the volume.

Pan: L63–Center–R63, Random, Alternate

Adjusts the pan (localization) of the output sound.

Random:

The pan changes randomly each time the pad is struck.

Alternate:

The pan alternates left and right each time the pad is struck.

Reverb Send: 0–127

Adjusts the depth of the reverberation.

Pitch: -2400–+2400cent

Adjusts the pitch.

100 cents is a semitone.

* You can change the pitch in steps of 100 cent by using the Skip

function (p. 33).

Decay: -31–+31

Adjusts the duration (decay time.)

* Some sounds do not change the duration.

Color: -31–+31

Adjusts the tone.

Sweep: -31–+31

Changes the pitch.

Positive (+) values will cause the pitch to change from high to low. Negative (-) values will cause the pitch to change from low to high.

MULTI-FX/LFO: OFF, ON

Turns the multi-effects and LFO on or off.

TrigMode: Shot, Gate, Trig (Pad)

Move, MovGate, Touch, TchGate,

Scrape, Scrp1wy (D Beam, Ribbon)

Selects how the sound will be played.

• Pad

Shot

* : When you strike the pad, the sound will play for the duration specified for that particular sound.

Gate

Trig

:

* : The sound will play while you continue pressing the pad. This is effective when you have selected a sustaining sound.

The sound will play when you strike the pad, and will stop when you strike the pad once again. This is effective when you have selected a sustaining sound.

• D Beam, Ribbon

Move

: The sound will play when you place your hand above (or touch with your finger) and move.

MovGate

: The sound will play when you place your hand above (or touch with your finger) and move. If a sustaining sound is selected, the sound will continue playing until you stop your hand or finger.

Touch

: The sound will play when you place your hand above (or touch with your finger).

TchGate

: The sound will play when you place your hand above (or touch with your finger). If a sustaining sound is selected, it will continue playing until you move your hand or finger away.

Scrape

* : The sound will play when you move your hand or finger. This is used to play sounds such as guiro.

• only D Beam

Scrp1wy

* : The sound will play continuously when you move your hand. The sound will play for only one direction.

* Pedal can be specified the value marked with “*.”

36



VeloCurve: Linear, Exp1–2, Log1–2, Spline,

Loud1–2, Fix1–16

Selects how striking force will affect the volume.

Linear

:

Exp1, Exp2

Log1, Log2

:

:

This is the normal setting and most natural correspondence between velocity and volume change.

Compared to Linear, a wider volume change will occur for stronger hits.

Compared to Linear, a wider volume change will occur for softer hits.

Spline

: Variation in striking force will produce extreme change.

Loud1, Loud2

: Variation in striking force will produce little change, and a constant volume will be maintained.

Fix1–16

: The sound will play at a fixed volume regardless of how strongly you strike.

Fix1 will produce the lowest volume, and Fix16 will produce the highest volume.

fig.2-08.e

Loudness

Striking force

Linear Exp1 Exp2 Log1 Log2

Spline Loud1 Loud2 Fix1 Fix16

Edit Parameters Block Diagram

fig.2-09.e

Pad

D Beam

Ribbon

TrigMode

VeloCurve

Sound

Generator

Inst

Pad Level

Pitch

Decay

Color

Sweep

Pan

MULTI-FX/LFO

+

Reverb Send

+

REVERB

L R

MasterVolume

Fx Rev Send

OUTPUT

MULTI-

EFFECTS

+

FxOut Volume

37



Adding Cyclic Change to the

Tone

You can use the

LFO

(Low Frequency Oscillator) to cyclically change the pitch, volume, etc.

* The LFO will apply to all pads / D Beam / ribbons.

Parameter Category: PAD LFO

fig.2-10

U0101 LFO

Waveform Triangl

Waveform: OFF, Triangl, Sine, SawRise,

SawFall, Square, Trape, Smp&Hld,

Random, Chaos

Selects the waveform of the LFO. If you select OFF, there will be no change, and the following parameters will not be displayed.

fig.2-11.e

Triangl Sine SawRise

Realtime2: PITCH, EFFECT

Selects the LFO parameter which is modified by turning the middle realtime modify knob. You can modify the

PitchDepth if you select the PITCH, or the EffectDepth if you select the EFFECT.

This parameter is effective only when the bottom indicator that at the upper right of the Realtime Modify knobs is lit by pressing [SELECT].

Realtime3: FILTER, AMP

Selects the LFO parameter which is modified by turning the right realtime modify knob. You can modify the FilterDepth if you select the FILTER, or the AmpDepth if you select the

AMP.

This parameter is effective only when the bottom indicator that at the upper right of the Realtime Modify knobs is lit by pressing [SELECT].

Triangle wave

SawFall

Sine wave

Square

Sawtooth wave (Up)

Trape

Sawtooth wave (Down)

Smp&Hld

Square wave Trapezoidal wave

Random Chaos

Sample and hold wave

Random wave Chaos wave

Rate: 0–127

Adjusts the modulation rate of the LFO waveform.

PitchDepth: 0–127

Adjusts the depth of the pitch modulation.

FilterDepth: 0–127

Adjusts the depth of the modulation in tone.

AmpDepth: 0–127

Adjusts the depth of the modulation in volume.

EffectDepth: 0–127

Adjusts the depth of modulation for the effect parameter. For details on the parameter that will be modulated, refer to

“Adjusting Multi-Effect Settings” (p. 40).

38



Effect Settings

You can add reverberation to the sound to create the sensation of playing in a hall or on stage, apply distortion to the sound, or add depth, spaciousness, and modulation.

* The effect will apply to all pads / D Beam / ribbons.

Adjusting the Reverb Settings

Reverb adds reverberation to the sound to simulate a spacious ambience.

Parameter Category: REVERB

fig.2-12

U0101 REVERB/DLY

Type# Room1

Type: Refer to REVERB/DELAY Type (p. 95)

Selects the preset setting of reverb.

If you wish to make even more detailed settings, adjust the algorithm and parameters below. When you change a value, a “#” will appear beside the “Type.”

Algo: OFF, Room1–2, Stage, Plate, Hall1–2,

Delay, PanDly

Selects the type (algorithm) of reverb. If you select OFF no reverb will be applied, and the following parameters will not be displayed.

Room1

: Simulation of the reverberation in a room

Room2

: Brighter reverb than Room1

Stage

: Simulation of on-stage reverberation

Plate

: Simulation of a metal plate reverb

Hall1

: Simulation of a larger space than Room

Hall2

: Brighter reverb than Hall1

Delay

: Standard delay (Echo)

PanDly

: Delay that pans (moves) the reflection between left and right

Level: 0–127

Adjusts the volume of the reverberation (or delay sound).

Time: 0–127

If Algo is Room1–Hall2, this adjusts the duration of the reverberation. If Algo is Delay or PanDly, this adjusts the delay time.

HF Damp: 200Hz–8kHz, THRU

Adjusts the currently at which the high range of the reverberation will be cut. As you lower the frequency, more of the high range will be cut, producing a softer sound. If you do not wish to cut the high range, set this to THRU.

Dly Feedback: 0–127

Adjusts the number of times that the delay sound will be repeated.

* This will be displayed only if Algo is Delay or PanDly.

fig.2-13.e

Algo: Room1–2, Stage, Plate, Hall1–2

Direct Sound

Level

Reverb Sound

Time

Algo: Delay, PanDly

Direct Sound

Delay Sound

Level

Time Dly Feedback

If you change the “Type,” the algorithm of the reverb and the values of the parameters will be changed to the setting of each type.

39



Adjusting the Multi-Effect Settings

Multi-effect (M-FX) allows you to select different

algorithms

to obtain a variety of effects.

Parameter Category: MULTI-FX

fig.2-14

U0101 MULTI-FX

Type# Hall"A"

Type: Refer to MULTI-FX Type (p. 95)

Selects the preset setting of multi-effects.

If you wish to make even more detailed settings, adjust the algorithm below and parameters on the following pages.

When you change a value, a “#” will appear beside the

“Type.”

Algo:

Selects the algorithm of the effect. The parameters and values will differ depending on the algorithm.

Stereo EQ

: Stereo Equalizer (Modify the tone)

CompLimiter

: Compressor/Limiter (Make the volume more consistent)

Enhancer

Spectrum

:

:

Enhancer (Add sparkle to the sound)

Spectrum (Add character to the sound)

Isolator

:

DynamicFltr

:

Sustainer

:

Isolator (Cut off a specific frequency range)

Dynamic Filter (Modify the tone according to the volume)

Sustainer (Increase the duration of the sound)

Overdrive

Distortion

Lo-Fi

:

:

:

RingModltr

Stereo Cho

:

:

Overdrive (Mildly distort the sound)

Distortion (Severely distort the sound)

Lo-Fi (Simulate a “low-fidelity” sound)

Ring Modulator (Give the sound a metallic character)

Stereo Chorus (Add depth and spaciousness to the sound)

TetraChorus

: Tetra Chorus (Layer chorus sounds to create more spaciousness)

Tremolo Cho

: Tremolo Chorus (Cyclically modulate the volume to create spaciousness)

Space D

: Space D (Add transparent spaciousness)

Stereo Fln

:

StepFlanger

Phaser

:

FbackPitch

:

:

Stereo Flanger (Add metallic resonance to the sound)

Step Flanger (Add metallic resonance while shifting the pitch by steps)

Phaser (Give the sound a “swooshing” character)

Feedback Pitch Shifter (Shift the pitch)

40

StereoDelay

Mod Delay

:

TimeCtrlDly

3TapDlySht

:

:

: Stereo Delay (Delay the sound)

Modulation Delay (Delay the sound while modulating it)

Time Control Delay (Control the delay and pitch in realtime)

3-tap delay short (Delay the sound in three directions)

3-tap delay Long

3TapDlyLng

:

4TapDlySht

: 4-tap delay short (Produce four delayed sounds)

4TapDlyLng

: 4-tap delay Long

AdvanceRev

: Advanced Reverb (Add reverb to the sound)

GateReverb

: Gate Reverb (Sharply cut the reverberation)

The parameters of each algorithm are explained on the following pages.

In the explanation on the following pages, the value of parameters marked with “RTM” can be controlled by [M-FX

DEPTH] of the Realtime Modify (p. 19).

* If you modify the MULTI-FX DEPTH in EZ Edit Mode (p.

25), the value of these parameters will be changed.

In the explanation on the following pages, the value of parameters marked with “LFO” can be controlled by the

LFO. For details, refer to “Adding Cyclic Change to the

Tone” (p. 38).

In the explanation on the following pages, the value of parameters marked by “Ctrl1, Ctrl2, Ctrl3” can be controlled by the pads, D Beam, and ribbons. For details, refer to the section on

CtrlTx: MFX Ctrl 1–3

in “Controlling the tone” (p. 52).

FxOut Volume:

Adjusts output volume of the multi-effects.

Fx Rev Send:

Adjusts the depth of reverb applied to the sound processed by the multi-effects.

If you change the “Type,” the algorithm of the effect and the values of the parameters will be changed to the setting of each type.



Stereo Equalizer (Stereo EQ)

This is a four-band stereo equalizer (low, mid x 2, high).

Low Freq: 100Hz, 200Hz, 400Hz

Selects the frequency of the low range.

Low EQ: -15–+15dB

Adjusts the level of the low frequency.

Mid1Freq: 100Hz–12.5kHz

Ctrl3

Adjusts the frequency of mid range 1.

Mid 1 Q: 0.5, 1.0, 2.0, 4.0, 8.0

Adjusts the width of the area around the Mid1Freq that will be affected by the Level setting. Higher values of Q will result in a narrower area being affected.

fig.2-15.e

Level

8.0

0.5

Frequency

Compressor/Limiter (CompLimiter)

The Compressor/Limiter compresses signals that exceed a specified volume level, smoothing out unevenness in volume and preventing distortion from occurring.

Threshold: 0–127

Adjusts the volume at which compression will begin.

Ratio: 1:1–100:1, infinite:1

LFO, Ctrl1

Adjusts the compression ratio.

Attack: 0–127

Ctrl2

Adjusts the attack time of an input sound.

Release: 0–127

Ctrl3

Adjusts the time from when the volume falls below the

Threshold Level until compression is no longer applied.

Pan: L63–Center–R63

Adjusts the stereo location of the output sound.

TotalLevel: -15–+15dB

RTM

Adjusts the output level.

Mid 1 EQ: -15–+15dB

LFO, Ctrl1

Adjusts the level for the area specified by the Mid1Freq and

Q settings.

Mid2Freq: 100Hz–12.5kHz

Adjusts the frequency of mid range 2.

Mid 2 Q: 0.5, 1.0, 2.0, 4.0, 8.0

Adjusts the width of the area around the Mid2Freq that will be affected by the Level setting. Higher values of Q will result in a narrower area being affected.

Mid 2 EQ: -15–+15dB

Ctrl2

Adjusts the level for the area specified by the Mid2Freq and

Q settings.

HighFreq: 4kHz, 8kHz, 12.5kHz

Selects the frequency of the high range.

High EQ: -15–+15dB

Adjusts the level of the high frequency.


RTM


41



Enhancer

The Enhancer controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

Sens: 0–127

LFO, Ctrl1

Adjusts the sensitivity of the enhancer.

Mix: 0–127

RTM, Ctrl2

Adjusts the ratio with which the overtones generated by the enhancer are combined with the direct sound.

Low EQ: -15–+15dB

Adjusts the level of the low frequency range.

High EQ: -15–+15dB

Ctrl3

Adjusts the level of the high frequency range.

Isolator

The Isolator is a stronger version of an equalizer, and is able to completely cut a specific frequency range.

Low Level: 0–127

Ctrl3


Mid Level: 0–127

LFO, Ctrl1

Adjusts the level of the middle frequency.

High Level: 0–127

Ctrl2





RTM


Spectrum

Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. It is similar to an equalizer, but has 5 frequency points fixed at locations most suitable for adding character to the sound.

Band 1: -15–+15dB

Adjusts the 500 Hz level.

Band 2: -15–+15dB

LFO, Ctrl1

Adjusts the 1 kHz level.

Band 3: -15–+15dB

Adjusts the 1.25 kHz level.

Band 4: -15–+15dB

Ctrl2

Adjusts the 3.15 kHz level.

Band 5: -15–+15dB

Adjusts the 4 kHz level.

Width: 1–5

Ctrl3

Simultaneously adjusts the width of the adjusted areas for all the frequency bands.




RTM


Dynamic Filter (DynamicFltr)

The Dynamic Filter varies the tone by moving a filter according to the volume.

Filter Type: LPF, BPF

Selects the type of filter.

LPF

: The wah effect will be applied over a wide frequency range.

BPF

: The wah effect will be applied over a narrow frequency range.

Sens: 0–127

Ctrl2

Adjusts the sensitivity with which the filter is controlled.

Manual: 0–127

RTM, LFO, Ctrl1

Adjusts the center frequency from which the effect is applied.

Peak: 0–127

Ctrl3

Adjusts the amount of the wah effect that will occur in the area of the center frequency. Lower settings will cause the effect to be applied in a broad area around the center frequency. Higher settings will cause the effect to be applied in a more narrow range.



42



Sustainer

The Sustainer restrains loud levels and boosts low levels, making the sound more consistent and sustaining the sound.

Attack: 0–127

LFO, Ctrl1

Adjusts the attack time of an input sound.

Sustain: 0–127

Ctrl2

Adjusts the degree of boost.


Ctrl3



RTM


Overdrive

This effect creates a soft distortion similar to that produced by vacuum tube amplifiers.

Drive: 0–127

RTM, LFO, Ctrl1

Adjusts the degree of distortion. The volume will change together with the degree of distortion.

Character: 1–4

Selects the character of distortion. Increasing the value will make more sound pressure.


Ctrl2


Distortion

This effect produces a more intense distortion than

Overdrive.

Drive: 0–127

RTM, LFO, Ctrl1

Adjusts the degree of distortion. The volume will change together with the degree of distortion.


Selects the character of distortion. Increasing the value will make more sound pressure.


Ctrl2


43



Lo-Fi

This effect intentionally degrades the audio quality to simulate a Lo-Fi sound.

Bit Down: 0–7

Ctrl3

Lowers the audio quality. The audio quality will worsen as this setting is increased.

S-Rate Down: 32, 16, 8, 4

Ctrl2

Coarsens the output signal. The sound will become coarser as this setting is lowered.

Low EQ: -15–+15dB


High EQ: -15–+15dB

RTM, LFO, Ctrl1


Output: Mono, Stereo

Specifies how the sound will be output. With a setting of

“Mono,” the output sound will be monaural.

Ring Modulator (RingModltr)

A ring modulator add the amplitude modulation to the sound, giving a metallic character.

Frequency: 0–127

Ctrl1

Adjusts the frequency for modulation.


LFO, Ctrl2

Adjusts the tone. The high-frequency range will change.

Effect Level: 0–127

RTM, Ctrl3

Adjusts the output level of effect sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Stereo Chorus (Stereo Cho)

This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the processed sound is heard.

Rate: 0.05–10.0Hz

LFO, Ctrl1

Adjusts the rate of modulation.

Depth: 0–127

Ctrl2

Adjusts the depth of modulation.

Phase: 0–180deg

Adjusts the spatial spread of the sound.

Filter Type: OFF, LPF, HPF


OFF

: A filter will not be used. Cutoff will not be displayed.

LPF

: Cut the frequency range above the cutoff frequency.

HPF

: Cut the frequency range below the cutoff frequency.

Cutoff: 200–8kHz

Ctrl3

Adjusts the basic frequency of the filter.


RTM

Adjusts the output level of chorus sound.



44



Tetra Chorus (TetraChorus)

Tetra chorus uses a four-phase chorus (four layers of chorused sound) to give richness and spatial spread to the sound.


Adjusts the time delay from when the direct sound begins until the chorus sound is heard.

Rate: 0.05–10.0Hz

LFO, Ctrl1


Depth: 0–127

Ctrl2


Pre Delay Dev: 0–20

Adjusts the differences in Pre Delay between each chorus sound.

Depth Dev: -20–+20

Adjusts the difference in modulation depth between each chorus sound.

Pan Deviation: 0–20

Ctrl3

Adjusts the difference in stereo location between each chorus sound. With a setting of 0, all chorus sounds will be in the center. Increasing the value will cause the chorus sound to be panned more expansively.


RTM




Tremolo Chorus (Tremolo Cho)

Tremolo Chorus is a chorus effect with added Tremolo

(cyclic modulation of volume).


Adjusts the time delay from when the direct sound begins until the chorus sound is heard.

Cho Rate: 0.05–10.0Hz

LFO

Adjusts the modulation speed of the chorus effect.

Cho Depth: 0–127

Adjusts the modulation depth of the chorus effect.

Trm Phase: 0–180deg

Ctrl3

Adjusts the spread of the tremolo effect.

Trm Rate: 0.05–10.0Hz

Ctrl1

Adjusts the modulation speed of the tremolo effect.

Trm Depth: 0–127

Ctrl2

Adjusts the modulation depth of the tremolo effect.


RTM

Adjusts the output level of tremolo chorus sound.



45



Space D

Space D is a multiple chorus that applies two-phase modulation in stereo. This is a chorus with a transparent character and minimal sense of modulation.


Adjusts the time delay from when the direct sound begins until the processed sound is heard.

Rate: 0.05–10.0Hz

LFO, Ctrl1


Depth: 0–127

Ctrl2



Ctrl3


Tone: -15–+15

Adjusts the tone quality. Positive (+) settings will emphasize the high range, and negative (-) settings will emphasize the low range.


RTM




Stereo Flanger (Stereo Fln)

This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.


Adjusts the time delay from when the direct sound begins until the flanger sound is heard.

Rate: 0.05–10.0Hz

LFO, Ctrl1


Depth: 0–127

Ctrl2


Feedback: -98–+98%

Ctrl3

Adjusts the amount (%) of the processed sound that is returned (fed back) into the input. Positive (+) settings will return the sound in phase, and negative (-) settings will return the sound in reverse phase.



Filter Type: OFF, LPF, HPF


OFF

: A filter will not be used. Cutoff will not be displayed.

LPF

: Cut the frequency range above the cutoff frequency.

HPF

: Cut the frequency range below the cutoff frequency.

Cutoff: 200–8kHz

Adjusts the basic frequency of the filter.


RTM

Adjusts the output level of flanger sound.



46



Step Flanger (StepFlanger)

The Step Flanger effect is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.


Adjusts the time delay from when the direct sound begins until the flanger sound is heard.

Rate: 0.05–10.0Hz

Ctrl3


Depth: 0–127

Ctrl2


Feedback: -98–+98%

Adjusts the amount (%) of the flanger sound that is returned

(fed back) into the input. Negative (-) settings will invert the phase.



Step Rate: 0.05–10.0Hz, note-value

LFO, Ctrl1

Adjusts the rate (period) of pitch change. This parameter can be set as a note-value of the tempo of the sequencer. In this case, specify the value of the desired note.


RTM

Adjusts the output level of flanger sound.



Phaser

A phaser adds a phase-shifted sound to the original sound, producing a twisting modulation that creates spaciousness and depth.

Manual: 100–8kHz

Adjusts the basic frequency from which the sound will be modulated.

Rate: 0.05–10.0Hz

LFO, Ctrl3

Adjusts the frequency (period) of modulation.

Depth: 0–127

Ctrl2


Resonance: 0–127

Ctrl1

Adjusts the amount of feedback for the phaser.

Mix: 0–127

RTM

Adjusts the ratio with which the phase-shifted sound is combined with the direct sound.



47



Feedback Pitch Shifter (FbackPitch)

A Pitch Shifter shifts the pitch of the original sound. This pitch shifter allows the pitch shifted sound to be fed back into the effect.

Coarse: -24–+12semi

LFO, Ctrl1

Adjusts the pitch of the pitch shifted sound in semitone steps

(-2–+1 octaves).

Fine: -100–+100cent

Makes fine adjustments to the pitch of the pitch shifted sound in 2-cent steps (-100–+100 cents). One cent is 1/100th of a semitone.


Ctrl3

Adjusts the stereo location of the pitch shifted sound.

Pre Delay: 0.0–500ms

Adjusts the time delay from when the direct sound begins until the pitch shifted sound is heard.

Mode: 1–5

Lower settings of this parameter will result in faster response. Higher settings will result in slower response, but steadier pitch.

Feedback: -98–+98%

Ctrl2

Adjusts the proportion (%) of the processed sound that is fed back into the effect. Negative (-) settings will invert the phase.

Tone: -15–+15



RTM

Adjusts the output level of pitch shifted sound.



Stereo Delay (StereoDelay)

This is a stereo delay.

Delay Left: 0.0–500ms

DelayRight: 0.0–500ms

Adjusts the time from the original sound until when the delay sound is heard.

Feedback: -98–+98%

Ctrl1

Adjusts the proportion (%) of the delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Fbk Mode: NORMAL, CROSS

Selects the way in which delay sound is fed back into the effect.

NORMAL

: The left delay sound will be fed back into the left delay, and the right delay sound into the right delay.

fig.2-16.e

L in

L out

Delay

Feedback

Delay

R in

R out

CROSS

: The left delay sound will be fed back into the right delay, and the right delay sound into the left delay.

fig.2-17.e

L in

L out

Delay

Feedback

Delay

R in

R out

Phase L: NORMAL, INVERSE

Phase R: NORMAL, INVERSE

Selects the phase of the left/right delay sound.

NORMAL

: Phase is not changed.

INVERSE

: Phase is inverted.


Ctrl2

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to THRU.

Tone:-15–+15



RTM, LFO, Ctrl3

Adjusts the output level of delay sound.



48



Modulation Delay (Mod Delay)

This effect adds modulation to the delayed sound, producing an effect similar to a flanger.

Delay Left: 0.0–500ms

DelayRight: 0.0–500ms

Adjusts the time from the original sound until when the right delay sound is heard.

Feedback: -98–+98%

Ctrl2


Fbk Mode: NORMAL, CROSS

Selects the way in which delay sound is fed back into the effect.

NORMAL

: The left delay sound will be fed back into the left delay, and the right delay sound into the right delay.

fig.2-16.e

L in

L out

Delay

Feedback

Delay

R in

R out

CROSS

: The left delay sound will be fed back into the right delay, and the right delay sound into the left delay.

fig.2-17.e

L in

L out

Delay

Feedback

Delay

R in

R out

Rate: 0.05–10.0Hz

LFO, Ctrl1


Depth: 0–127

Ctrl3






Tone:-15–+15



RTM




Time Control Delay (TimeCtrlDly)

This effect allows you to use pads/D Beam/ribbons to control the delay time and pitch in realtime. Lengthening the delay will lower the pitch, and shortening it will raise the pitch.

Delay: 200–1000ms

LFO, Ctrl1

Adjusts the time delay from the direct sound until when each delay sound is heard.

Acceleration: 0–15

Adjusts the time over which the delay time will change from the current setting to a newly specified setting. The rate of change for the delay time directly affects the rate of pitch change.

Feedback: -98–+98%

Ctrl2





Ctrl3

Adjusts the stereo location of the delay sound.

Tone: -15–+15



RTM




49



3-Tap Delay (3TapDlySht/3TapDlyLng)

The 3-Tap Delay produces three delay sounds; center, left and right. The delay time can be specified as a note value of the tempo of the sequencer.

* There is no difference between

Sht

and

Lng

but the length of the delay time.

Delay C: 20–600ms (Sht), 200–1000ms (Lng), note-value

Delay L: 20–600ms (Sht), 200–1000ms (Lng), note-value

Delay R: 20–600ms (Sht), 200–1000ms (Lng), note-value

Adjusts the time delay from the direct sound until when the delay sound is heard. This parameter can be set as a notevalue of the tempo of the sequencer. In this case, specify the value of the desired note.

Feedback: -98–+98%

Adjusts the proportion (%) of the center delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Center Level: 0–127

LFO, Ctrl1

Left Level: 0–127

Ctrl2

Right Level: 0–127

Ctrl3

Adjusts the volume of each delay sound.



Tone: -15–+15



RTM




4-Tap Delay (4TapDlySht/4TapDlyLng)

The 4-Tap Delay has four delays. Each of the delay time parameters can be specified as a note value of the tempo of the sequencer.

* There is no difference between

Sht

and

Lng

but the length of the delay time.

The stereo location of each delay sound is as follows.

fig.2-18

2 3

1 4

L

R

Delay 1: 20–600ms (Sht), 200–1000ms (Lng), note-value




Adjusts the time delay from the direct sound until when each delay sound is heard. These parameters can be set as a notevalue of the tempo of the sequencer. In this case, specify the value of the desired note.

Level 1: 0–127

LFO, Ctrl1

Level 2: 0–127

Ctrl2

Level 3: 0–127

Ctrl3

Level 4: 0–127

Adjusts the volume of each delay sound.

Feedback: -98–+98%

Adjusts the proportion (%) of the delay 1 sound that is fed back into the effect. Negative (-) settings will invert the phase.




RTM




50



Advanced Reverb (AdvanceRev)

The Reverb effect adds reverberation to the sound, simulating an acoustic space.

Type: ROOM1–2, STAGE, PLATE, HALL1–2

Selects the type of Reverb effect.

Room1

: Simulation of the reverberation in a room

Room2

: Brighter reverb than Room1

Stage

: Simulation of on-stage reverberation

Plate

: Simulation of a metal plate reverb

Hall1

: Simulation of a larger space than Room

Hall2

: Brighter reverb than Hall1


Adjusts the time delay from when the direct sound begins until the reverb sound is heard.

Time: 0–127

Ctrl2

Adjusts the time length of reverberation.


Ctrl3

Adjusts the frequency above which the reverberant sound will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want the high frequencies to be cut, set this parameter to THRU.


RTM, LFO, Ctrl1

Adjusts the output level of reverb sound.



fig.2-19.e

Direct Sound

Direct

Level

Effect

Level

PreDelay

Reverb Sound

Time

Gate Reverb (GateReverb)

Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.

Type: NORMAL, REVERSE, SWEEP1, SWEEP2

Selects the type of reverb.

NORMAL

: conventional gate reverb

REVERSE

: backwards reverb

SWEEP1

: the reverberant sound moves from right to left

SWEEP2

: the reverberant sound moves from left to right


Ctrl2

Adjusts the time delay from when the direct sound begins until the reverb sound is heard.

Gate Time: 5–500ms

Ctrl3

Adjusts the time from when the reverb is heard until when it disappears.


RTM, LFO, Ctrl1

Adjusts the output level of reverb sound.



fig.2-20.e

Direct Sound

Direct

Level

Effect

Level

PreDelay

Reverb Sound

Gate Time

51



Controlling the Tone

By pressing on a pad or moving your hand over the D Beam or a ribbon, you can control the tone of other pads or controllers.

Parameter Category: PAD CTRL

fig.2-21

U0101A1 PAD CTRL

MuteRx ON

Control Parameters Block Diagram

fig.2-22.e

Pad (D Beam, Ribbon, etc.)

Generate

Trigger

MuteTx PitchTx CtrlTx

Sound

Mute Rx

PitchRx

Range

Ctrl Rx

Rx Self

+

+

Ctrl Rx: OFF, ON

Specifies whether control signals other than mute, pitch, and roll will be received. If you select ON, signals from other pads or controllers will affect the tone.

* “MFX Ctrl” and LFO control signals are received even if this parameter is set to “OFF.”

Roll Rx: OFF, ON

Specifies whether the sound will be repeated when [ROLL/

HOLD] is lit.

* The Controllers other than pads will be displayed as “---” and cannot be set.

Rx Self: OFF, ON

Specifies whether or not the transmitted control signal will itself be received.

MuteTx: OFF, ON

Specifies transmission for mute signals. If you select ON, you will be able to cut the notes of pads or controllers.

* Mute may have no effect for some sounds.

+

Sound

Trigger

Generate

Other Pads, D Beam, Ribbons

Mute Rx: OFF, ON

Specifies how mute signals (to cut the note) will be received.

If you select ON, signals from other pads or controllers will mute the note.

* Mute may have no effect for some sounds.

PitchRxRange: -24–OFF–+24, Rdm

Specifies how pitch control signals will be received. With positive (+) settings, pitch control signals will raise the pitch.

With negative (-) settings, pitch control signals will lower the pitch. If you select Rdm, the pitch will change randomly each time a signal is received. If you select OFF, the pitch will not change even if signals are received.

PitchTx: OFF, ON

Specifies transmission for pitch control signals. If you select

ON, you will be able to modify the pitch of pads or controllers.

CtrlTx: OFF, LFO Pitch, LFO Fltr, LFO Amp,

MFX Ctrl1–3 (Pad)

OFF, Level -, Level +, Decay -, Decay +,

Cutoff, Resonance, Color 1–2,

RevSend -, RevSend +, LFO Rate,

LFO Pitch, LFO Fltr, LFO Amp,

LFO Pc&Rt, LFO Ft&Rt, LFO Am&Rt,

MFX Ctrl1–3, RollSpeed, Tempo -,

Tempo +, TurnTable

(D Beam, Ribbon, Pedal)

Play/Stop (D Beam, Pedal)

Specifies transmission for control signals other than mute and pitch.

Level -, Level +

:

Modifies the volume.

Decay -, Decay +

:

Modifies the duration (decay time.)

52



Cutoff

:

Modifies the cutoff frequency of the filter. The character of the high-frequency range will change.

Resonance

:

Modifies the resonance of the filter. The range near the filter cutoff frequency will be emphasized.

Color 1–2

:

Simultaneously changes the filter cutoff frequency and resonance. The tonal character will change.

RevSend -, RevSend +

:

Modifies the depth of the reverberation.

LFO Rate

* :

Modifies the modulation rate of the LFO waveform.

LFO Pitch

* :

Modifies the depth of the pitch modulation produced by the LFO.

LFO Fltr

* :

Modifies the depth of the tonal change produced by the

LFO.

LFO Amp

* :

Modifies the depth of the volume change produced by the LFO.

LFO Pc&Rt *

:

Modifies the depth of the pitch modulation produced by the LFO and the speed of modulation.

LFO Ft&Rt

* :

Modifies the depth of the tonal change produced by the

LFO and the speed of modulation.

LFO Am&Rt

* :

Modifies the depth of the volume change produced by the LFO and the speed of modulation.

MFX Ctrl1–3

* :

Modifies the parameter value of the multi-effect. The parameter that will be controlled will depend on the selected effect. Please refer to “Adjusting Multi-Effect

Settings” (p. 40). If you select MFX Ctrl1, parameters

marked by “Ctrl1” can be controlled. The same applies to MFX Ctrl2–3.

RollSpeed

* :

Changes the speed at which the roll will repeat. The same effect can be obtained even if [ROLL/HOLD] is not lit.

Tempo -, Tempo +

:

Adjusts the tempo of the sequencer.

TurnTable

* :

An effect will be produced as though you were manually rotating the turntable of a record player.

Play/Stop

:

Controls sequencer play/stop. This is the same operation as pressing [PLAY/STOP] on the panel.

* This cannot control sequencer start/stop in the Recording

Stand-by Mode (p. 59).

When CtrlTx is set to any value marked with a "*," the effect can be obtained even with pads (ribbons, D Beam, etc.) for which Ctrl Rx has been set to OFF.

CtrllrType: Posit, Speed

Specifies how the D Beam, ribbon, and pedal will transmit signals. If you select Posit, the transmitted signal will change according to the position at which your hand is located relative to the controller. If you select Speed, the transmitted signal will change according to the speed at which you move your hand.

* The pad will be displayed as “---” and cannot be set.

53



Using a Pad to Start a

Pattern

You can play a sequencer pattern by striking a pad (B1–B5,

C1–C5).

Pads A1–A5, the D Beam, and the ribbon controllers can not play patterns.

Parameter Category: PAD PTN

fig.2-23

U0101B1 PAD PTN

PTN Number U01

PTN Number:

Selects a pattern. If a pattern is not selected, this will be displayed as “OFF.”

* For pads A1–A5, the D-beam, and the ribbons, “---” will be displayed, and a pattern cannot be selected.

If a pattern is selected, the indicator beside the pad will go red. It will blink while the pattern is playing back.

* If you change the patch while a pattern is playing back, you can stop the pattern by pressing [PLAY/STOP].

Tempo:

Sets the tempo of the pattern.

When using a pad to start a pattern, the tempo which is set to

the pattern (p. 60) is ignored.

* If you change the “PTN Number,” the tempo which is set to the selected pattern will be set to the value of this parameter.

Level:

Adjusts the volume at which the pattern will sound.

For details on a pattern, refer to “Chapter 3 Recording Your

Performance (Sequencer)” (p. 59).

Set the Volume of the Entire

Patch

You can set the volume of the patch to adjust the volume balance between patches.

Parameter Category: PATCH LEV

fig.2-24

U0101 PATCH LEV

MasterVolume 100

MasterVolume: 0–127

Settings for Other Functions

Parameter Category: FUNC

Limiting the Resonance

You can set an upper limit for the resonance of the filter.

fig.2-25

U0101 FUNC

Reso Limit 100

Reso Limit: 50–126, OFF

If you select OFF, the tonal change produced by the filter will be greater, but loud sounds may be produced unexpectedly.

Adjusting the Sensitivity of the

Pads

You can adjust the sensitivity of the pads as suitable for your playing style.

fig.2-26

U0101 FUNC

PadSnsType Hand1

PadSnsType: Hand1–2, Fing1–2

If you are striking the pads with your hand, select Hand; if with your fingers, select Fing. “2” is more sensitive than “1.”

If you are using sticks to strike the pad, select Fing1 or Fing2.

54



Specifying the Roll Speed

You can specify the speed at which notes will be repeated when you press [ROLL/HOLD].

fig.2-27

U0101 FUNC

Roll Speed 20

Roll Speed: 1.0–50, 1/2, 1/3, 1/4, 1/6, 1/8,

1/12, 1/16, 1/24, 1/32, 1/48

1–50

:

The selected number of notes will be repeated each second.

1/2–1/48

:

The notes will be played at note value intervals relative

to the sequencer tempo (p. 27, p. 60).

Setting for MIDI

Transmission

For details, refer to p. 76.

Parameter Category: PAD MIDI

Note No. : OFF, 0:C - –127:G 9

Sets the MIDI note number that each pad will transmit. If you select “OFF,” no MIDI note message will be transmitted.

Gate Time: 0.1–8.0sec

For each pad, you can specify the length of time the note will

“hold” during transmission from the MIDI OUT.

Naming a Patch

Each patch can be given a name (

Patch Name

) of up to 10 characters.

Parameter Category: PATCH NAME

fig.2-28.e

U0101 PATCH NAME

[Conga _ ]

Cursor

Use [ PARAMETER] or [PARAMETER ] to move the cursor to left or right, and turn [PATCH/VALUE] to select the desired characters.

Characters May Be Used in a Name

fig.2-29.e

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

0123456789!#$%&"’^‘_+-*/=

<>()[]{},.:;?@ ¥|

(Blank)

55



Saving Your Settings (Write)

The settings you modify will be lost if you switch patches or turn off the power. If you wish to keep your changes, you must execute the write operation.

1.

Press [WRITE].

fig.2-30.e

U0101*Conga

U0101

Conga

patch number is blinking

2.

Turn [PATCH/VALUE] to select the write-destination patch.

* If you wish to overwrite the data onto the currently selected patch, simply proceed to step 3.

fig.2-31.e

current patch

U0101*Conga

U0201

TalkingDrm

write-destination patch (patch number is blinking)

* It is not possible to select a preset patch as the writedestination.

3.

Press [WRITE].

fig.2-32

The settings will be written into the selected patch. After the data has been written, the write-destination patch will be selected.

U02 USER02

01 Conga

* If you decide not to execute the write operation, press [EXIT].

Duplicating Settings (Copy)

Patch or pad settings can be copied to another patch, pad, or controller. You can also exchange settings between two patches.

Basic Procedure for Copy

We will explain the basic copy procedure using the example of copying patch settings (Patch Copy).

1.

Press [WRITE].

2.

The following screen will appear.

fig.2-33.e

copy-source patch

U0101 Conga

PatchCpy

U0101

type of copy (blinking) copy-destination patch number

3.

Turn [PATCH/VALUE] to select the type of copy.

For details on the types of copy, refer to the next page.

4.

Use [ PARAMETER]/[PARAMETER ] to make the copy-source / copy-destination patch numbers blink.

5.

Turn [PATCH/VALUE] to select the copy-source / copy-destination patches.

* It is not possible to select a preset patch as the writedestination.

6.

Press [WRITE] to execute the copy.

* If you decide not to execute the copy operation, press [EXIT].

7.

Press [EXIT] to end the procedure.

You will return to the previous screen.

For details on selecting patches, refer to “Chapter 1 Quick

Start,” in the section “Changing Sounds to Play (Patch

Select)” (p. 21).

For details on selecting patches, refer to “Chapter 1 Quick

Start,” in the section “Changing Sounds to Play (Patch

Select)” (p. 21).

Never turn the power off while a writing process. If you turned the power off, the data will be damaged.

Never turn the power off while a copying process. If you turned the power off, the data will be damaged.

56



Copying a Pad Set (Pad Set Copy)

You can copy the settings of a pad set to another pad set. You can also copy to a different pad set of the same patch.

fig.2-34.e

copy-source pad set

U0101B Conga

PadSetCpy

U0201

C

copy-destination pad set (patch number is blinking)

1.

In step 3 of “Basic Procedure for Copy” (p. 56), select

PadSetCpy

.

2.

After selecting the patch in step 5, strike a pad to select a pad set.

* “PAD MIDI Note No.” cannot be copied.

Copying Pad/D Beam/Ribbon

Settings (Pad Copy)

Pad/D Beam/ribbon settings can be copied to another pad/

D Beam/ribbon.

fig.2-35.e

U0101A3 Conga

PadCpy

U0101

RL

copy-destineation pad (patch number is blinking)

Ribbon controller (left) is chosen in this figure.

1.


PadCpy

.

2.

After selecting the patch in step 5, strike a pad (D Beam, ribbon) to select it.


Copying Pad/D Beam/Ribbon

Settings to All Pads

(Pad Copy to All)

You can copy the settings of one pad/D Beam/ribbon to every pad/D Beam/ribbon.

fig.2-35a.e

copy-source pad

U0101A1 Conga

PadCpToAll

U0101

copy-destination patch number (blinking)

1.


PadCpToAll

.

2.

After selecting the patch in step 5, strike a pad (D Beam, ribbon) to select it.


Exchanging Patch Settings

(Patch Exchange)

You can exchange the settings of two patches.

fig.2-36.e

exchange-source patch

U0101 Conga

PatchExchg

U0102

exchange-destination patch number (blinking)

1.


PatchExchg

.

57



Copying a Value to All Pads

1.

Hold down [PATCH SEL], and press [WRITE] in Edit mode.

The displayed value of the parameter is copied to every fig.2-36a pad and controller.

Value - All

Pad Level 100

* Following parameters can be copied only among either pads or controllers.

PAD INST TrigMode

PAD CTRL Rx Self

Mute Tx

Pitch Tx

Ctrl Tx

PAD PTN Number

Tempo

Level

*

PAD MIDI Note No.

cannot be copied.

The value you copied in this procedure will return to the original values when you switch patches. If you wish to keep your changes, refer to “Saving Your Settings (Write) /

Duplicating Settings (Copy)” (p. 56).

Using Realtime Modify to

Adjust Values

In Edit mode, you can use realtime modify (p. 19) to adjust

values.

fig.2-37

3 1

This is effective when used on parameters that have a wide range of adjustment, such as Pitch.

1.

Press [SELECT] to select the parameter that you wish to edit.

2.

Strike the pad you wish to modify, to select it. You can also select the D Beam or a ribbon.

3.

Turn the [REALTIME MODIFY] knob.

The selected parameter and the modified value will be displayed, and the sound will also change.

fig.2-38.e

RTM

A3* PITCH +750

parameter value

If you wish to move to the parameter set screen, hold down

[PATCH SEL] located at the upper right of the pad and turn the knob. You will jump to the selected parameter set screen.

In the case of M-FX DEPTH, you will jump to the “Type” select screen.

The values you edit in this procedure will not return to the original values by pressing [EXIT/MODIFY CLEAR].

58



You can record your performance in the

sequencer

.

On the HPD-15, your performance will be recorde exactly as you play it (

Realtime Recording

).

The HPD-15’s sequencer consists of four

parts

(Percussion 1,

Percussion 2, Melody 1, Melody 2). The collective performance of these four parts is called a

pattern

.

Preset patterns

(pattern P01–P99)

What the various parts should play has already been recorded.

User patterns

(pattern U01–U99)

These are patterns that you can record.

Basic Settings for Recording

1.

Press [SEQUENCER] to make it light; you will enter the

Sequencer mode.

fig.3-01.e

Current Measure

Pattern Number

Current Beat

Tempo

U

: User

P

: Preset

Time

Signature

U01 001-01 =120

4/4 #User-001

Displayed for an unrecorded pattern

Pattern Name

2.

fig.3-02

Turn [PATCH/VALUE] to select the user pattern for recording your performance.

U07 001-01 =120

4/4 #User-007

3.

Press [ PARAMETER] or [PARAMETER ] to select the pattern/click parameter that you wish to set.

fig.3-03.e

Parameter Category

U07 SETUP

Time Sig. 4/4

Parameter Value

4.

Turn [PATCH/VALUE] to make settings for the pattern or click.

fig.3-04.e

appears if this pattern is edited

U07* SETUP

Length 8

Parameter Value

5.

Press [REC] and you will enter the

Recording Stand-by

Mode

.

[PLAY/STOP] will blink.

fig.3-05.e

U07*001-01 =120

RecStby Perc1

Part for Recording

* If you press [REC] once again, you will return the previous screen.

6.

Press [ PARAMETER] or [PARAMETER ] to select the recording parameter in the Recording Stand-by

Mode.

fig.3-06.e

U07*001-01 =120

RecMode Replace

Parameter Value

7.

Turn [PATCH/VALUE] to make settings for the recording.

8.

Press [PLAY/STOP] to start the recording.

While the recording, [PLAY/STOP] will light.

* It is possible to start/stop the recording by the foot switch (p.

71), but it is not possible by the D Beam or pedal (p. 53).

9.

When you are finished recording, press [PLAY/STOP] once again.

fig.3-07

[REC] and [PLAY/STOP] will go dark, and the recording will stop.

Write Rec Data?

10.

Naming the pattern, press [WRITE].

How to naming a pattern is the same as naming a patch.

Refer to “Naming a Patch” (p. 55).

It is not possible to record to a preset pattern.

* To return to normal Play mode, Press [SEQUENCER] or

[EXIT]; [SEQUENCER] will go dark.

59



Settings for the Pattern

fig.3-08.e

Category

SETUP

PART

PERC1,

PERC2

MELO1,

MELO2

Parameter Value

Time Sig.

Length

Tempo

PlayType

Reset Time

Quick Play

Specifying the Time Signature

Numerator: Number of beats per measure

Denominator: Basic note value

* It is not possible to change after the pattern is recorded.

Numerator:

1 – 13

Denominator:

2, 4, 8, 16

Specifying the Length (Number of Measures) of the Pattern

When "Replace" is selected for the RecMode (p. 62), it is not necessary to specify the Length. Recording will continue until you press [PLAY/STOP], and the number of measures recorded will automatically become the "Length" setting.

* It is not possible to change while the pattern is playing back.

1 – 999

Specifying the Tempo of the Pattern

When "Ext" is selected for the Seq Sync (p. 68), "MIDI" ( =MID) will appear.

20 – 240, (MIDI)

Choosing a Playing Method

Loop: After the pattern is played back to the end, playback then repeats

and continues until [PLAY/STOP] is pressed.

OneShot:

Playback stops once the end of the pattern is reached.

Tap:

Each time the [PLAY/STOP] is pressed (or pad is struck; refer to p. 54),

the sounds contained in a pattern are played back one at a time in sequence.

TapVelo: Tap playback with changes of the volume depending on how strongly

the pad are struck.

* It is not possible to change while the pattern is playing back.

Loop, OneShot,

Tap, TapVelo

OFF, 0.1 – 4.0s

Specifying the Time to Return the Pattern to the Beginning

In Tap playback, this returns the pattern to the beginning if the set time interval elapses without the pad being hit again. If it is set to "OFF," this function will be disabled.

Ignoring a pause at the beginning of the pattern

If "ON" is selected, this starts playback of the pattern from the first note even if a pause is left at the beginning of the pattern.

OFF, ON

-24 – +24 TransposeMl1

TransposeMl2

Select

Adjusting the Pitch of Melody Parts

This transposes the key of the melody parts in semitone steps.

Ml1: Melody Part 1, Ml2: Melody Part 2

Selecting the Part

* You can use the pads to sound the tone of the part in the part screen.

(Patch)

Level

Selecting the Patch Played by the Part

Adjusting the Volume of the Part

Reverb Send

Adjusting the Depth of Reverb Applied to the Part

(when the effect is off)

MULTI-FX/LFO Turning the Multi-Effects On/Off for the Part

* The same type of the effect which is selected in Play mode will be selected.

It is different from the type which is set in the patch selected for the Part.

Inst

Level

Pan

Selecting the Instrument of the Part

Adjusting the Volume of the Part

Adjusting the Pan (Localization) of the Part

Bend Range

Adjusting the Amount of Change in Pitch

This adjusts the amount of change in pitch with pitch bend at maximum level in semitone steps.

Reverb Send

Adjusting the Depth of Reverb Applied to the Part

(when the effect is off)

MULTI-FX/LFO Turning the Multi-Effects On/Off for the Part

PadNote

Specifying the Note of Each Pad

You can use the pads to record patterns if you have no MIDI keyboards.

This parameter specifies the note of each pad in this case. Strike (Sound) the pad (D Beam, ribbon) to select it that you wish to specify the note.

Perc1, Perc2,

Melo1, Melo2

0 – 127

0 – 127

OFF, ON

1 – 54

(refer to p. 94)

0 – 127

L63 – Center – R63

0 – 24

0 – 127

OFF, ON

C-1 – G9

60



Settings for the Click, and others

fig.3-09.e

Category

CLICK

Parameter

Intrvl

Inst

Specifying the Interval

Selecting a Sound

Value

1/2, 1/4, 3/8, 1/8, 1/12, 1/16,

3-2 Son, 2-3 Son, 3-2 Rumba,

2-3 Rumba, 6/8 Clave

Click, Sticks, Metronome,

Claves, WoodBlock, Triangle,

Cowbell, Conga, TalkingDrum,

Maracas, Cabasa, Cuica,

Agogo, Tambourine, Snaps,

909Snare, 808Cowbell

0 – 127 Level

Pan

Adjusting the Volume

Adjusting the Pan (Localization)

L63 – Center – R63

Reverb Send

Adjusting the Depth of Reverb

Using the reverb makes the click more comfotable to listen to.

Mode

Turning the Click On/Off

0 – 127

OFF, REC Only,

REC/PLAY

OFF: Click doesn't sound while the playback /recording.

REC Only: Click sounds while the recording.

REC/PLAY: Click sounds while the playback /recording.

PlyCountIn

Adding a Count Sound Before Playback

OFF:

Playback will begin without a count-in.

1Meas: Playback begins after a 1-measure count-in.

2Meas: Playback begins after a 2-measure count-in.

OFF, 1Meas, 2Meas

OFF, 1Meas, 2Meas

MEMORY

PATTERN NAME

RecCountIn

Available

Adding a Count Sound Before Recording

OFF: Recording will begin without a count-in.

1Meas: Recording begins after a 1-measure count-in.

2Meas: Recording begins after a 2-measure count-in.

Checking the Remaining Amount of Memory

The remaining amount of memory is displayed.

Changing the Pattern Name

How to changing the name is same as naming a patch.

Refer to "Naming a Patch" (p. 55).

(only displayed)

(up to 10 characters)

61



Settings for the Recording (Set in the Recording Stand-by mode)

fig.3-10.e

Parameter

RecStby

Specifying the Part

Value

Perc1, Perc2,

Melo1, Melo2,

Import

Perc1, Perc2: Percussion Part 1, Percussion Part 2

Melo1, Melo2: Melody Part 1, Melody Part 2

Import: Select this when you will record multiple Parts simultaneously by

using an external sequencer. Each Part will receive the data from

specified MIDI channel (p. 78).

* When you select Perc1, Perc2, Melo1, or Melo2, all channel data is received.

You do not need to change the channel of the MIDI deveice connected to the HPD-15.

RecMode

Specifying the Recording Method

Loop All: The entire pattern will be repeated, and on each pass your performance

will be added, ("over-dubbed") and mixed with what you did previously.

Loop 1, Loop 2, Loop 4, Loop 8: This determines the length of the section you are

recording, and 1, 2, 4 or 8 measure section will repeat.

Replace: Recording will continue until you press [PLAY/STOP]. Any previously

recorded data for all Parts will be erased.

Loop All, Loop 1,

Loop 2, Loop 4,

Loop 8, Replace

Quantize

HitPadStart

Regularizing the Timing of Performance Data When Recording

This corrects inaccuracies of timing while you record.

1/8–1/64: Data will be quantized to the note of the tempo of the sequencer.

OFF: The pattern is recorded with the timing used in performance.

Specifying How to Start the Recording

OFF:

Recording starts when [PLAY/STOP] is pressed.

ON: Recording starts when you start the performance on pads/D Beam/ribbons.

1/8, 1/12, 1/16, 1/24,

1/32, 1/48, 1/64, OFF

OFF, ON

You can start recording by pressing [PLAY/STOP] at every screen above.

Rehearsal Function

The rehearsal function is a feature that temporarily suspends recording during recording. This allows you to practice the phrase while Loop recording is in progress.

1.

Start recording.

2.

Press [REC] while recording.

[REC] will blink, and the rehearsal function will be on.

Performances cannot be recorded.

3.

Press [REC] to resume recording.

[REC] will light and the rehearsal function will be off.

Using the controllers (D Beam, ribbons, pad pressure, etc.) too much will increase the consumption of memories. If you wish to reduce the data, refer to the explanation of “Data

Thin” in “Settings for the Controllers” (p. 69).

62



Basic Settings for Playing Back

1.

Press [SEQUENCER] to make it light; you will enter the

Sequencer mode.

fig.3-11.e

Pattern Number

U

: User

P

: Preset

U01 001-01 =120

4/4 #User-001

Pattern Name

2.

fig.3-12

Turn [PATCH/VALUE] to select the pattern that you wish to play back.

U07 001-01 =120

4/4 User-007

3.

Press [PLAY/STOP] to start playing back.

While the playing back, [PLAY/STOP] will light.

4.

Press [PLAY/STOP] once again to stop playback.

[PLAY/STOP] will go dark, and the pattern returns you to the beginning of the pattern.

Synchronizing with an External

MIDI device (MIDI Sync)

You can play the sequencer of the HPD-15 with an external

MIDI device. For details, refer to “Chapter 6 Connecting


Changing the Settings of

Pattern

You can modify the length of the pattern, tempo, or the instrument of the part.

1.

Select the pattern you wish to modify the settings.

2.

Press [ PARAMETER] or [PARAMETER select the parameter.

] to

3.

Turn [PATCH/VALUE] to modify the value.

* If you wish to keep your changes, refer to next “Saving the

Changed Settings.”

After step 2, if you nedd, make settings for the pattern or click. For details on making settings, refer to “Basic Settings

for Recording,” in step 3–5 (p. 59).

* To return to normal Play mode, Press [SEQUENCER] or

[EXIT]; [SEQUENCER] will go dark.

Pause

1.

Hold down [PATCH SEL], and Press [PLAY/STOP] during playback of a pattern.

Playback will stop.

2.

Press [PLAY/STOP] once again to begin playback again.

Playback begins from the beginning of the measure.

Fast-Forward and Rewind

When playback of pattern is stopped, you can do the following.

• Advance to the next measure

Press [GROUP +].

• Return to the previous measure

Press [GROUP -].

• Advance to the end of the pattern

Hold down [PATCH SEL], and press [GROUP +].

• Return to the beginning of the pattern

Hold down [PATCH SEL], and press [GROUP -].

You can change the tempo by pressing [TEMPO] and turning

[PATCH/VALUE] (p. 27).

It is not possible to change the time signature (Time Sig.) of the recorded patterns.

Saving the Changed Settings

1.

fig.3-13

Press [WRITE] in Sequencer mode.

U01 PTN WRITE

[WRITE/EXIT]

2.

Press [WRITE] once again.

The modified settings are saved.


You can write the modified settings to another pattern. For

details, refer to “Editing a Pattern” (p. 64).

It is not possible to write the modification to a preset pattern.

If you press [WRITE] at a preset pattern, copy-destination select screen will appear.

63



Editing a Pattern

You can edit either copy/delete the patterns or erase the part.

Basic Settings for Editing

1.

Press [WRITE] in Sequencer mode.

fig.3-14.e

when [WRITE] is pressed at the preset pattern

Pattern Number Function

U

: User

P

: Preset

P01 PTN COPY

Dst:U01 ALL

Parameters when [WRITE] is pressed at the user pattern

U01 PTN WRITE

[WRITE/EXIT]

2.

Press [ PARAMETER] or [PARAMETER select the editing function or parameter.

3.

Turn [PATCH/VALUE] to set the value.

4.

Press [WRITE] to execute.


] to

Copying a Pattern

You can copy selected part of currently selected pattern.

fig.3-15

U01 PTN COPY

Dst:U01 Perc1

Dst: U01–U99

Select the copy-destination user pattern.

ALL, Perc1, Perc2, Melo1, Melo2

Select the part that you wish to copy.

ALL

: All parts are copied.

Perc1

: Percussion Part 1 is copied.

Perc2

: Percussion Part 2 is copied.

Melo1

: Melody Part 1 is copied.

Melo2

: Melody Part 2 is copied.

Erasing Parts

You can erase performance data from specified measures of a part or pattern. The erased position will become blank measures.

fig.3-16

U01 PTN ERASE

Meas:001-999 Pc1

Meas: ALL, 001–999-001–999

ALL

: This erases the data from all measures.

001–999-001–999

: This erases the data from specified area.

ALL, Pc1, Pc2, Ml1, Ml2

Select the part to be erased.

ALL

: All parts are erased.

Pc1

: Percussion Part 1 is erased.

Pc2

: Percussion Part 2 is erased.

Ml1

: Melody Part 1 is erased.

Ml2

: Melody Part 2 is erased.

Connecting Two Patterns

You can connect the currently selected pattern to the end of the selected pattern.

fig.3-17

U01 PTN APPEND

Dst Pattern U01

Dst Pattern: U01–U99

Select the append-destination pattern.

Deleting a Pattern

You can delete specified measures from a pattern. Later measures are moved forward.

fig.3-18

U01 PTN DELETE

Measure ALL

Meas: ALL, 001–999-001–999

ALL

: This deletes all measures.

001–999-001–999

: This deletes the specified measures.

It is not possible to select a preset pattern as the copy / append-destination, or execute the erase /delete at a preset pattern.

64



This allow you to step through the patches of your choice and in the order you want. The HPD-15 lets you create and store 10 different groups of up to 32 steps each.

fig.4-01.e

32 Steps

Chain

Group 1

Chain

Group 2

Patch

U0107

Patch

U0504

Patch

P0802

Patch

U0306

6.

Turn [PATCH/VALUE] or use Pad Patch Select (p. 23) to

select the patch.

7.

Repeat Steps 5–6 to continue editing.

8.

Press [EDIT] or [EXIT].

fig.4-07

[EDIT] will go dark, and you will return to Chain Play mode.

U02 CHAIN 05-01

01 TalkingDrm

Chain

Group 10

Creating a Patch Chain

(Chain Edit)

1.

Press [CHAIN].

fig.4-02

[CHAIN] will light, and you will enter Chain Play mode.

U01 CHAIN 01---

01 Conga

2.

Press [EDIT].

fig.4-03

[EDIT] will light, and you will enter Chain Edit mode.

CHAIN EDIT 01-01

(EMPTY CHAIN)

3.

fig.4-04

Press [GROUP -] or [GROUP +] to select the chain group which you wish to edit.


(EMPTY CHAIN)

4.

fig.4-05

Turn [PATCH/VALUE] or use Pad Patch Select (p. 23) to

select the patch that will be selected first.


U0201 TalkingDrm

5.

fig.4-06

Press [PATCH NUMBER


-----[LOOP]-----

] to move to the next step.

When you modify the setting of a patch chain, the new setting is automatically saved as soon as you make the change.If you need to return to the factory settings, refer to

“Restoring the Factory Settings” (p. 85).

Specifying the Last Step of the

Patch Chain

Specify one of the following as the last step in the patch chain. If you have specified patched up to step 32, you can specify it at step 33.

It is not possible to specify a patch at step 33.

END:

When you reach the last step, the progression of steps will end.

fig.4-08.e

Chain Step

1 2 3 4 5 (6 = END)

LOOP:

If you advance a step from the last step, you will return to step 1.

fig.4-09.e

Chain Step

1 2 3 4 5 (6 = LOOP)

JUMP TO CH01–10:

If you advance a step from the last step, you will jump to step

1 of the specified chain group.

fig.4-10.e

Chain Step

1 2 3 4 5 (6 = JUMP TO CH10)

1 2

(Chain Group 10)

65



Inserting a Chain Step

This operation inserts a patch into the specified location of a chain.

fig.4-11

1 2 3 4 5

Playing with a Patch Chain

(Chain Play)

1.

Press [CHAIN].

fig.4-15

[CHAIN] will light, and you will enter Chain Play mode.

U01 CHAIN 01-01

01 Conga

1 2 4 5 6

A maximum of 32 steps can be set in a chain. If the chain already contains 32 steps, the patch at step 32 will be deleted.

1.

Press [PATCH NUMBER ] or [PATCH NUMBER

] to select the step in which the patch is to be inserted.

2.

fig.4-12

Press [PARAMETER ].

01-02 InsertStep

OK? [WRITE/EXIT]

3.

Press [WRITE].

The step is inserted with the same patch, and later steps are each moved back one place.


4.

Turn [PATCH/VALUE] to select the patch in the new step.

Deleting a Chain Step

This operation deletes an unneeded patch from a chain.

fig.4-13

1 2 3 4 5 6

2.

fig.4-16

Press [GROUP +] or [GROUP -] to select the chain group to be used. You can select the chain group by striking a pad B1–C5 while holding down [PATCH SEL]. Pads B1–

C5 correspond to chain groups 1–10 respectively.

U02 CHAIN 05-01

01 TalkingDrm

In the case of a chain group which has no patch, “--” will be displayed at the upper right of the screen.

3.

fig.4-17

Press [PATCH NUMBER ] or [PATCH NUMBER

] or turn [PATCH/VALUE] to call up the patches to be used in each selected step in the chain. You can call up the patches by striking a pad A2 or A4 while holding down [PATCH SEL]. Striking the pad A2 will decrease the chain step, and striking the pad A4 will increase it.

U05 CHAIN 05-02

01 Vibraphone

4.

When the performance is finished, press [CHAIN]; you will return to normal Play mode.

[CHAIN] will go dark.

* [EXIT/MODIFY CLEAR] operates as modify clear (p. 19),

and cannot make Chain Play mode off.

1 2 3 4 5

1.

Press [PATCH NUMBER ] or [PATCH NUMBER to select the step from which the patch is to be deleted.

]

2.

fig.4-14

Press [ PARAMETER].

01-02 DeleteStep

OK? [WRITE/EXIT]

3.

Press [WRITE].

The step is deleted, and later steps are each moved forward one place.


66

You can use foot switches to call up patch chains. For details,

refer to “Settings for the Foot Switches” (p. 71).



Settings that affect the entire HPD-15 are called

system settings

. This chapter explains how to modify the system settings (

System Edit

).

Settings for basic operation

1.

Press [SYSTEM] to make it light; you will enter System

Edit mode.

* The upper line of the screen will show the

parameter category

, and the lower line will show the parameter and value.

fig.5-01.e

Parameter Category

UTILITY

LCD Contrast 5

Parameter Value

2.

fig.5-02

Press [ PARAMETER] or [PARAMETER select the parameter that you wish to modify.

CONTROLLER

DBEAM Sens 100

] to

3.

fig.5-03


CONTROLLER

DBEAM Sens 64

4.

Repeat steps 2–3 to continue system edit.

5.

When you finished editing, press [EXIT] or [SYSTEM].

[SYSTEM] will go dark, and you will return to normal

Play mode.

You can make your selection rapidly. See p. 31.

When you modify the system setting, the new setting is automatically saved as soon as you make the change. You do not have to operate for the storing. If you need to return to the factory settings, refer to “Restoring the Factory Settings”

(p. 85).

67



Settings for the Basic Operation

fig.5-04.e

Category

UTILITY

Parameter

LCD Contrast

Adjusting the Contrast of the Display

Increasing the value will darken the display.

Beep Level

Adjusting the Volume of the Operating Sound

When set to "0," no operating sound will be heard.

MasterTune

Pad Chase

Tuning the Instruments

This adjusts the pitch of instruments marked with "*T" in the

Instrument List (p. 92) and backing instruments (p. 94).

* 440.0Hz is the standard tuning.

Specifying How a Pad Will be Selected for Editing

OFF: The pad last struck in Play mode will be edited. This is convenient when

you wish to compare the response with other pads. If you hold down

[PATCH SEL] and strike a pad, the pad you struck will be edited.

ON: The pad you strike will be selected for editing each time.

Value

1 – 16

0 – 15

415.3 – 466.2 (Hz)

OFF, ON

Power ON

Dial Lock

Roll Sync

Seq Sync

Specifying the Patch Selected at Power-On

RESET:

Patch P0101 will always be selected.

LAST: The patch last-selected when the power was turned off will be selected.

RESET, LAST

Locking Patch Selection From the Dial

If this is turned "ON," turning [PATCH/VALUE] will not change the patch.

This lets you prevent the patch from being accidently changed when you touch the dial during a performance.

Synchronizing Rolls Between Pads

OFF: The roll will start when you press the pad, and will not synchronize

with other pads.

ON: Rolls of other pads will synchronize to the roll of the first-pressed pad.

OFF, ON

OFF, ON

Synchronizing the Internal Sequencer with an External MIDI Device

Int:

The HPD-15's tempo setting will be used for playback /recording.

When shipped from factory, this setting is selected.

Ext:

The HPD-15's sequencer will operate in accordance with tempo data

(MIDI Clock) from the external device.

Remote:

The HPD-15 will obey start /pause /stop messages from an external

device, but will playback according to its own tempo setting.

Int, Ext, Remote

68



Settings for the Controllers

fig.5-05.e

Category Parameter

CONTROLLER DBEAM Sens

Adjusting the Sensitivity of the D Beam

Place your hand at the height at which you want the D Beam to start to take effect (about 20 inches = 50cm), and adjust the setting so that the meter in the upper right of the screen is at the center line. When the power is turned on, this will be adjusted automatically according to the brightness of the surroundings.

0 – 127

DBEAM Trim

Data Thin

Adjusting the D Beam Response

Make adjustments so that the D Beam triggers sound and outputs control data smoothly. Adjust the setting so that the meter in the upper right of the screen moves smoothly when you move your hand up or down.

1 – 5

Reducing the Transmitted Data

This function allows you to prevent an excessive amount of data from being transmitted from the controllers (pads, D Beam, ribbons, hi-hat control pedal, etc.) to the internal sequencer or via the MIDI OUT. This will be used if you wish to conserve sequencer memory, it will cause tonal changes to become rougher.

OFF, 1, 2

OFF: Data sent from the controllers is not reduced.

Value

1: This reduce the data sent from the controllers.

2: This reduce the data sent from the controllers. This setting results in even less

data than when "1" is selected.

* When you want to make smooth changes in pitch control with Hi-Hat control Pedal,

set this to "1" or "OFF."

Turning On/Off the D Beam

fig.5-05a

Turning On/Off the Ribbons

fig.5-05b

Pressing D Beam [SOUND] turns on/off the producing sound by using the D Beam.

When D Beam [SOUND] is not lit, passing your hand over the D Beam will not produce sound.

Pressing D Beam [CONTROL] turns on/off the controlling the tone by using the D Beam.

When D Beam [CONTROL] is not lit, passing your hand over

the D Beam will transmit no control signals (p. 52).

Pressing ribbon [SOUND] turns on/off the producing sound by using the ribbons.

When ribbon [SOUND] is not lit, sliding your finger on the ribbon will not produce sound.

Press ribbon [HOLD] to make it light; if you move your finger away, the control signal keeps the value which is transmitted at the location where you move it away.

You can set these settings on each patch.

You can set these settings on each patch.

When you control the tone too fast, some noise may be heard from some tones.

When you control the tone too fast, some noise may be heard from some tones.

69



Setting the Pad Sensitivity

If you wish to make more detailed settings, set the following parameters.

fig.5-06.e

Category

PAD

Parameter

Sens

Threshold

Mask Time

Pressure Sens

Edge Level

Edge Area

Adjusting the Sensitivity

Increasing this value will raise the sensitivity and produce the larger sound even if the striking force is the same.

Setting Minimum Levels

A trigger signal to be transmitted only when the pad is struck harder than a specified force. This allows you to prevent the pad from picking up extraneous vibrations from neighboring pads. If the striking force is less than the threshold, the pad will not sound.

* To have the unit sound even when struck lightly, set the threshold as low as possible.

Preventing Double Triggering

Once a pad has been hit, any additional trigger signals occuring within the specified Mask Time will be ignored.

* Increasing this value will lose certain notes if you play very fast. Set this value

as short as possible.

Adjusting Pad Pressure Sensitivity

Adjust the sensitivity of pad to pressure. Increasing the value will increase the sensitivity, so that it will be easier to transmit mute or pitch control signals.

Adjusting the Volume of the Edge Sound

Adjust the volume of the sound that is heard when you strike the edge of pads

A1 or A5.

Adjusting the Edge Area

Adjust the size of the area that will trigger the edge sound of pads A1 or A5.

Increasing this value will broaden the area that triggers the edge sound.

Value

1 – 16

1 – 16

0 – 64ms

1 – 16

1 – 16

1 – 16

To set Sens, Threshold, Mask Time, and Pressure Sens, strike the pad that you wish to set. The selected pad number will appear in the display.

70



Using the Foot Switches to Control the Tone / Sequencer

You can connect two foot switches (BOSS FS-5U, optional) to the FOOT SWITCH jack with the special cable (PCS-31, optional).

See p. 11.

Settings for the Foot Switches

fig.5-07.e

Category

FOOT SW

FUNCTION

Parameter Value

SW 1, SW 2 Specifying the Function of the Foot Switch

Specify the function of the foot switches connected to the

FOOT SWITCH jack.

OFF: No function is assigned to the foot switch.

PATCH DOWN: In normal Play mode, this goes back to the previous patch number.

In Chain Play mode, this goes back to the previous chain step.

In Sequencer Play mode, this goes back to the previous pattern

number.

OFF,

PATCH DOWN,

PATCH UP,

REV OFF/ON,

M-FX OFF/ON,

ROLL/HOLD,

PLAY/STOP,

Mdfy SEL DN,

Mdfy SEL UP

PATCH UP: In normal Play mode, this advances to the next patch number.

In Chain Play mode, this advances to the next chain step.

In Sequencer Play mode, this advances to the next pattern.

REV OFF/ON:

This turns the reverb on/off.

M-FX OFF/ON:

This turns the multi-effects on/off.

ROLL/HOLD:

This turns the [ROLL/HOLD] (p. 16) on/off.

PLAY/STOP:

Play/stop the sequencer.

Mdfy SEL DN: Select the parameter that will be adjusted by realtime modify (p. 19).

The indicator that at the upper right of the realtime modify knobs will

move from top to bottom. This is the same operation as pressing [SELECT].

Mdfy SEL UP: Select the parameter that will be adjusted by realtime modify (p. 19).

The indicator that at the upper right of the realtime modify knobs will

move from bottom to top; the opposite of pressing [SELECT] (Mdfy SEL DN).

The white plug of the PCS-31 is the SW 1, and the red one is the SW 2.

If you connect one foot switch with a monaural cable, you can use it as the SW 1. It is not possible to use the SW 2 in this case.

You can use the pedal switch DP-2 (optional) as the SW 1. It is not possible to use the SW 2 in this case.

71



Using the Pedal to Control the Hi-Hat / Tone

You can use a expression pedal / hi-hat control pedal connected to the EXP PEDAL/HH CTRL jack to control the tone or play the hi-hat with continuous control from open to closed positions.

Settings for the Pedal

fig.5-08.e

Category

PEDAL

Parameter

Select

Specifying the Pedal

Select the type of the pedal that connected to the EXP PEDAL/HH CTRL jack.

EXP PEDAL: Select this when connecting an expression pedal (EV-5: optional).

HI-HAT:

Select this when connecting a hi-hat control pedal (FD-7: optional).

SW +, SW -: Select this when connecting a foot switch. Select either SW + or SW -

so that the sound will play when you press it.

* If you connect a foot switch, you cannot use the half-open hi-hat.

Value

EXP PEDAL,

HI-HAT,

SW +, SW -

Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

Using a Pedal to Control the Hi-Hat

Continuously

1.

fig.5-08a

In Edit mode, assign the instrument marked with “*F” in

the Instrument List (p. 92) to the pad which you wish to

use as the hi-hat.


R70:13" Hi-Hat

2.

fig.5-08b

Depress the pedal connected to the EXP PEDAL/HH

CTRL jack to display the pedal setting screen, and select

PEDAL(A1)–PEDAL(C5) (the pad which is assigned the hi-hat sound in step 1) to PadInst of the pedal.

P0606PL*PAD INST

PEDAL(A3)

You can use the pedal to play the hi-hat with continuous control from open to closed positions and trigger the

“foot close” hi-hat sound.

* PEDAL(A1)–PEDAL(C5) appear last when you select the instruments.

If you connect the hi-hat control pedal (FD-7, optional), do not step on the pedal until the patch name is displayed when the power is turned on. The HPD-15 will check the position of the pedal then.

72



Using the External Pads/Kick Trigger Unit to Trigger a Sound

You can connect two external pads (PD-7, PD-9, PD-80, PD-80R, PD-100, or PD-120; optional) or kick trigger units (KD-7, KD-80,

or KD-120; optional) to the TRIGGER INPUT jack with the special cable (PCS-31, optional). See p. 11.

Settings for the External Pads / Kick Trigger Unit

fig.5-09.e

Category

TRIGGER

INPUT

Parameter

InputMode Select Whether or Not You Will Use Rim Shots

Select whether you will connect a pad that allows rim shots to be played, or whether you will connect two pads.

Trig Type

Value

HD/RM, TRIGx2

HD/RM: Select this if connecting a pad that allows rim shots to be played

(PD-7, PD-9, PD-80R, PD-120).

TRIGx2:

Select this if connecting two pads or kick pedals.

* If two pads are connected, it will not be possible to play rim shots.

Select the Type of the Connecting Pad

PD-5, PD-7, PD-9, PD-80,

PD-80R, PD-100, PD-120:

P-1, P-2:

Select this when connecting each pad.

Select this when connecting a pad made by another manufacturer.

KD-7, KD-80, KD-120: Select this when connecting each kick trigger unit.

K-1, K-2:

Select this when connecting a kick pad made by another manufacturer.

PD-5, PD-7, PD-9,

PD-80, PD-80R,

PD-100, PD-120,

P-1, P-2, KD-7,

KD-80, KD-120,

K-1, K-2, KICK,

SNARE, TOM,

FLOOR, SW +,

SW -

KICK, SNARE, TOM, FLOOR:

Select this when using an acoustic drum trigger.

SW +, SW -: Select this when connecting a foot switch. Select either SW + or SW -

so that the sound will play when you press it.

When you connect two pads with the PCS-31, the white plug of the PCS-31 is the TRIG 1, and the red one is the TRIG 2.

To use the external pad for rim shots, connect with the PCS-

33. In this case, it is not possible to use two external pads.

When using a pad made by another manufacturer, first select

“PD-7” and try playing the pad. If, with this setting, the pad striking force does not produce a stable volume, try a setting of “P-1.” A setting of “P-2” will be even more stable, but the interval from when the pad is struck until the sound is heard will be slightly (approximately 0.003 seconds) longer.

(For a kick, select “KD-7,” and if the result is not stable, try

“K-1” or “K-2.”)

If you wish to make even more detailed settings, refer to the explanation in the following section “More Detailed Settings for the External Pads/Kick Trigger Units.” Normally you don’t need to adjust these parameters, but you may use them if you wish to make more accurate settings for your playing style.

73



More Detailed Settings for the External Pads / Kick Trigger Unit

When you are using pads made by other manufacturers, try adjusting the following parameters.

fig.5-10.e

Category

TRIGGER

INPUT

Parameter

Trig Sens

Curve

Value

Adjusting the Sensitivity

Increasing this value will raise the sensitivity and produce the larger sound even if the striking force is the same.

1 – 16

Selecting How Striking Force Will Affect the Volume

(see figure on p. 37)

Adjusts this curve until the response feels as natural as possible.

Linear, Exp1,

Exp2, Log1,

Log2, Spline,

Loud1, Loud2

Linear:

This is the normal setting and most natural correspondence

between velocity and volume change when using the

PD-5/7/9/80/80R/100/120.

Exp1, Exp2: Compared to Linear, a wider volume change will occur for stronger hits.

Log1, Log2: Compared to Linear, a wider volume change will occur for softer hits.

Spline: Variation in striking force will produce extreme change.

Loud1, Loud2:

Variation in striking force will produce little change, and a constant

volume will be maintained. When using drum triggers, these settings

help maintain stable levels.

Threshold

Scan Time

Setting Minimum Levels

A trigger signal to be transmitted only when the pad is struck harder than a specified force. This allows you to prevent the pad from picking up extraneous vibrations from neighboring pads. If the striking force is less than the threshold, the pad will not sound.

* To have the unit sound even when struck lightly, set the threshold as low as possible.

1 – 16

Adjusting the Trigger Signal Detection Time

By adjusting the amount of time between the striking of the pad and detection of that strike, you can achieve the correct detection of striking force if your pad have rather long attack times.

* To maximize the speed at which sounds are triggered, set this time as short as possible.

1 – 3ms

Retrig Cancel

Mask Time

X-Talk Rate

Rim Sens

Cancelling Incorrect Triggering

Increasing this value will eliminate multiple soundings from single strike.

* If this value is extremely high, individual notes may drop out more readily

when you strike repeatedly or play rolls, so set the value as low as possible.

Preventing Double Triggering

Once a pad has been hit, any additional trigger signals occuring within the specified Mask Time will be ignored.

* Increasing this value will lose certain notes if you play very fast. Set this time

as short as possible.

Preventing Vibrations from Other Pads

When two pads are mounted on the same stand, the vibration produced by hitting one pad may trigger the sound from another pad unintentionally

(This is called crosstalk.) Increasing this value will prevent such problems.

* If this value is too high, then when two pads are struck simultaneously, the sound

from the pad that is struck more weakly may be omitted.

* In some cases, you can prevent crosstalk between two pads you have connected by

increasing the distance between the pads.

Setting Rim Sensitivity

When using a pad that can be used rim shots, you can adjust the sensitivity of the rim. Increasing this value will raise the sensitivity of the rim. With a setting of "OFF," omly the head will sound.

* Increasing the value excessively may cause the rim instrument to sound as well

when the head is struck.

1 – 16

0 – 64ms

OFF, 20 – 80%

OFF, 1 – 15

74



Setting the Sound of the External

Pads / Kick Trigger Unit

The settings of the sound of the external pads or the kick trigger unit on each patch are same as the pads/D Beam/

ribbons. Refer to “Chapter 2 Modifying a Patch” (p. 35).

Some parameters are not possible to be set the external pads or kick trigger units.

MIDI Settings

Parameter Catgory: MIDI

fig.5-11

MIDI

Pad CH 10

For details on MIDI Settings, refer to “Chapter 6 Connecting


Restoring Settings to Their

Default Values (Factory

Reset)

Parameter Category: FACTORY RESET

fig.5-12

FACTORY RESET

SYSTEM [WRITE]

For details on factory reset, refer to “Restoring the Factory

Settings” (p. 85).

75



There are many possibilities when using MIDI, such as:

Use the HPD-15 to play external instruments

Use the HPD-15 as a sound module

Use an external sequencer to record/play back the performance on the HPD-15.

Use an external sequencer to save/load patch data, pattern data, etc. (Bulk dump)

fig.6-02.e

Note Number setting display

U0101A1 PAD MIDI

Note No. 60:C 4

Gate Time setting display

U0101A1 PAD MIDI

Gate Time 0.1sec

For more on MIDI, refer to “About MIDI” (p. 88).

Using the HPD-15 to Play

External Instruments

Make settings for using the pads, D Beam, and ribbons to play external MIDI sound modules.

By making these settings, you can simultaneously play the

HPD-15 and external sound modules.

Use a MIDI cable to connect the HPD-15’s MIDI OUT connector to the MIDI IN connector of the external MIDI sound module.

fig.6-01.e

MIDI IN

MIDI sound module

MIDI OUT

You can make your selection rapidly by using the Skip

Function (p. 32).

3.

fig.6-03

Strike a pad to select the pad (D Beam, ribbon) that you wish to edit.

U0101C5 PAD MIDI

Note No. 73:C#5

4.


5.

Repeat steps 3–4 to continue setting on each pad.

6.

When you are finished editing, press [EDIT] or [EXIT].

Note No.: OFF, 0:C-1 –127:G 9

Set the MIDI note number that each pad will transmit. If you select “OFF,” no MIDI note message will be transmitted.

Note Number of Each Pad (Factory Settings)

fig.6-03a.e

F#4 G#4

F4 A4

D4

D#4

63

62

65

64:E4

66 68

69

71:B4

70

A#4

72

C5

C#4 61 73 C#5

67:G4

60:C4 74:D5

HPD-15

Setting for MIDI Transmission

1.

Press [EDIT] twice, and you will enter Edit mode.

2.

Press [ PARAMETER] or [PARAMETER display the MIDI setting screen.

] to

D Beam

Ribbon L

Ribbon R

Trigger 1

Trigger 2

Pedal

79:G5

59:B3

78:F#5

77:F5

57:A3

58:A#3

76



Setting the Note Number When Connecting to the Drum Sound Module

Select the patch of

P0606 Studio

, specify the Note No. as below.

fig.6-03b.e

Pad Instrument Note No.

TD-10 Pad Note No.

TD-8 Pad

A5

B1

B2

B3

A1

A2

A3

A4

B4

B5

C1

C2

C3

C4

C5

D Beam

Ribbon L

Ribbon R

Trigger 1

Trigger 2

Pedal fig.6-03c

Beech Snare

Dbl Head T 1

13" Hi-Hat

Dbl Head T 2

Dbl Head T 2

Hall CrosStk

Pgy Crash C1

Crash Cymbal

Crash Cymbal

Splash Cym 1

Splash Cym 1

Ride Bell C

Ride Cymbal

Chinese Cym

Cowbell 1

Large Gong

Hand Clap 2

Cowbell 2

Dry Hard Kik

Jazz Kick

PEDAL(A3)

51

33

34

84

57

55

32

53

74

56

36

35

44

41

37

52

49

38

45

46

43

Snare Head

Tom 2 Head

Hi-Hat Head

Tom 3 Head

Tom 4 Head

Cross Stick

Crash 2 Rim

Crash 1 Head

Crash 2 Head

Crash 1 Rim

Aux 1 Rim

Ride Rim

Ride Head

Aux 2 Head

Aux 2 Rim

Bell Tree

Giro Long 1

Cowbell

Kick Head

Kick Rim

Foot Pedal

51

59

90

91

57

55

32

53

39

56

36

35

44

41

37

52

49

38

48

46

45

Snare Head

Tom 1 Head

Hi-Hat Head

Tom 2 Head

Tom 3 Head

Cross Stick

Crash 2 Rim

Crash 1 Head

Crash 2 Head

Crash 1 Rim

Aux 2

Ride Rim

Ride Head

Ride Edge

Tiny Gong

Gong

Clap

Cowbell

Kick 1

Kick 2

Foot Pedal

Large Gong

Note No.

51

59

42

58

57

55

54

53

39

56

36

35

44

41

37

52

49

38

45

46

43

GM Percussion

Acoustic Snare

Low Tom

Open Hi-Hat

High Floor Tom

Low Floor Tom

Side Stick

Chinese Cymbal

Crash Cymbal 1

Crash Cymbal 2

Splash Cymbal

Tambourine

Ride Bell

Ride Cymbal 1

Ride Cymbal 2

Close Hi-Hat

Vibraslap

Hand Clap

Cowbell

Bass Drum 1

Acoustic Bass Drum

Pedal Hi-Hat

Crash

Cymbal

Crash

Cymbal

Pgy Crash

C1

Hall

CrosStk

Splash

Cym 1

Dbl Head

T 1

Splash

Cym 1

Ride

Bell C

13"

Dbl Head

Hi-Hat

T 2

Ride

Cymbal

Chinese

Cym

Cowbell

1

Beech

Snare

Dbl Head

T 2

Hand Clap 2 Cowbell 2

PDL

PEDAL(A3)

K1 K2

Dry Hard Kik Jazz Kick

Gate Time: 0.1–8.0sec

For each pad, you can specify the length of time the note will

“hold” during transmission from the MIDI OUT.

Gate Time settings are valid if the pad trigger mode

(TrigMode) is set to “Shot.” For details on trigger mode, refer

to “Adjusting Sounds” (p. 36).

Do not change the note numbers in the patch that is used for the recording to the external sequencer. The pattern cannot be played back correctly if they are changed.

The settings you edit will return to the original values when you switch patches. If you wish to keep your changes, refer to “Saving Your Settings (Write) / Duplicating Settings

(Copy)” (p. 56).

Setting the MIDI Channels

For setting the MIDI channel, refer to “Using the HPD-15 As

a Sound Module” (p. 78). Performance on the pads is

transmitted on the channel setting for the “Pad CH.”

77



Using the HPD-15 As a

Sound Module

Make settings for playing the HPD-15 as a sound module from a MIDI keyboard or other device.

Use a MIDI cable to connect the HPD-15’s MIDI IN connector to the MIDI OUT connector of an external keyboard, sequencer, etc.

fig.6-04.e

MIDI OUT

MIDI keyboard

MIDI IN

HPD-15

Setting the MIDI Channel for a

Part

For each part, you can specify the channel on which the

HPD-15 will receive and transmit MIDI messages.

1.

Press [SYSTEM] and make it light.

2.

fig.6-05

Press [ PARAMETER] or [PARAMETER display the following screen.

MIDI

Pad CH 10

] to

3.

Turn [PATCH/VALUE] to specify the channel.

Pad CH: 1–16, OFF

Specify the channel on which performance data of the pad controller section (pads, D Beam, ribbons, external triggers) will be transmitted and received. Normally you will set this to channel 10.

Perc 1 CH: 1–16, OFF

Specify the channel for percussion part 1 of the internal sequencer. Normally you will set this to channel 11.

Perc 2 CH: 1–16, OFF

Specify the channel for percussion part 2 of the internal sequencer. Normally you will set this to channel 12.

Melo 1 CH: 1–16, OFF

Specify the channel for melody part 1 of the internal sequencer. Normally you will set this to channel 5.

Melo 2 CH: 1–16, OFF

Specify the channel for melody part 2 of the internal sequencer. Normally you will set this to channel 6.

At a setting of “1” through “16,” MIDI messages will be transmitted and received on that channel. A setting of “OFF” lets you turn off transmission and reception for that part, so that notes are not received.

* When you are finished setting, press [SYSTEM] or [EXIT].

For more on synchronization with external sequencer, refer to “Synchronizing the Internal Sequencer with an External

MIDI Device” in “Settings for the Basic Operation” (p. 68).

78



Using with the Roland SPD-

20 (SOFT THRU)

This section explains how you can use the Roland SPD-20 (a

MIDI controller) together with the HPD-15 to play internal sounds and an external sound module.

Performance data of the HPD-15 and performance data of the

SPD-20 will both be sent to the external sound module.

fig.6-06.e

To the MIDI IN of another sound module or sampler

MIDI OUT MIDI IN

MIDI

OUT/THRU

Using a Sequencer or a

Computer to Record/Play

Back the Performance on the

HPD-15

HPD-15 performance data can be saved on an external sequencer or computer.

For details on the settings for the recording, refer to “Using

the HPD-15 to Play External Instruments” (p. 76), for details

on the settings for the playing back, refer to “Using the HPD-

15 As a Sound Module” (p. 78).

Use MIDI cables to connect the HPD-15’s MIDI OUT connector to the MIDI IN connector of the external sequencer, and connect the HPD-15’s MIDI IN connector to the MIDI OUT connector of the external sequencer.

fig.6-08.e

SPD-20

MIDI IN MIDI OUT MIDI IN MIDI OUT

HPD-15

1.

Press [SYSTEM] to make it light.

2.

fig.6-07


MIDI

Soft Thru OFF

] to

3.

Turn [PATCH/VALUE] to select ON/OFF.

4.

When you are finished setting, press [SYSTEM] or

[EXIT].

Soft Thru: OFF, ON

The messages (except for System Exclusive) received at the

MIDI IN will also be transmitted from the MIDI OUT/THRU connector when Soft Thru is set to “ON.”

External Sequencer

HPD-15

When you make connections as shown, turn off Local

Control (p. 80) and Soft Thru. For details, refer to “Cutting

the Connection Between the Sound Generator and the Pad

Controller (Local Control)” (p. 80).

When you use an external sequencer for Loop recording, it may not be possible to completely play back the modifications of the tone controlled by realtime modify.

If this setting is not used, leave it “OFF” as the trigger response of the pads will be faster.

79



Cutting the Connection Between the Sound Generator and the

Pad Controller (Local Control)

This setting is required when you wish to record your pad performance on an external MIDI sequencer.

The performance data from the pad, rather than being sent directly to the sound module section (Local Control Off), is first sent to the external sequencer, and then on to the HPD-

15’s sound module.

fig.6-09.e

HPD-15

MIDI OUT/THRU

Trigger MIDI

Converter

Local Control: OFF

Soft Thru: OFF

Sound Generator

MIDI IN

External

Sequencer

: Performance data flow route

Saving Data to an External

MIDI Instrument

The data in the HPD-15 can be transmitted either singly or collectively to a sequencer (or another HPD-15). The operation of transmitting this data is called a “Bulk Dump”; receiving this data is called a “Bulk Load.”

Transmitting (Bulk Dump)

The HPD-15 transmits stored data to a sequencer.

Use a MIDI cable to connect the HPD-15’s MIDI OUT connector to the MIDI IN connector of the external sequencer or the other HPD-15.

fig.6-11.e

MIDI IN MIDI OUT

If you make connections and record as shown, with a setting of Local On, duplicate notes will be re-transmitted to the

HPD-15 and will not be played correctly. If you turn on Soft

Thru (p. 79) and make connections as shown in the diagram,

MIDI messages will create a loop, and the system will not play correctly. Be sure to turn off Soft Thru as well.

1.


2.

fig.6-10


MIDI

LocalControl ON

] to

3.

Turn [PATCH/VALUE] to select ON/OFF.

4.

When you are finished setting, press [SYSTEM] or

[EXIT].

LocalControl: OFF, ON

When Local Control is set to “OFF,” the internal sound generator does not sound, even when the pad is struck.

External Sequencer

HPD-15

1.


2.


fig.6-12.e

MIDI [WRITE]

BlkDmp ALL

] to or

MIDI [WRITE]

BlkDmp

U0101

-0101

blinking

3.

Turn [PATCH/VALUE] to select the contents that you wish to transmit.

4.

Put the receiving sequencer in record mode. When you wish to transmit to another HPD-15, put the receiving

HPD-15 in play mode.

80



Refer to the owner’s manual of the receiving device.

5.

Press [WRITE] to begin data transmitting.

* If you wish to stop transmission, press [EXIT].

BlkDmp: ALL, SYS, SEQ ALL, PATCH ALL,

GROUP01–10, U0101–1008, TEMPORARY,

U0101–1008-U0101–1008

ALL

:

Transmit all settings.

* The settings of the current patch which is not written into memory (TEMPORARY) will not be transmitted.

SYS

:

Transmit system settings (p. 67).

SEQ ALL

:

Transmit all data for the user patterns (p. 59) of the

sequencer.

PATCH ALL

:

Transmit all user patch settings.

GROUP01–10

:

Transmit the settings of all patches in the selected patch group.

U0101–1008

:

Transmit the settings of the selected user patch.

TEMPORARY

:

Transmit the settings of the current patch. This allows you to transmit the state of the settings before pressing

[WRITE] to write them into memory.

U0101–1008-U0101–1008

:

Transmit the settings of the specified area of user patches.

Receiving (Bulk Load)

The HPD-15 receives data that was stored in a sequencer.

Use a MIDI cable to connect the HPD-15’s MIDI IN connector to the MIDI OUT connector of the external sequencer or the other HPD-15. Set the HPD-15 play mode.

fig.6-13.e

MIDI OUT

External Sequencer

MIDI IN

HPD-15

Send the data from the external sequencer to the HPD-15.

The transmitted settings are reproduced.

When data is received, the data that was previously in the

HPD-15’s memory will be lost.

Never turn the power off while receiving the bulk data and writing the data into memory. If the power is turned off, the data will be lost.

Select “Int” for the “Seq Sync” in system settings (p. 68). If

you select other than “Int,” the internal sequencer will begin playback and won’t receive the data.

81



Setting the Device ID

The setting described here is necessary only when you wish to transmit separate data to two or more HPD-15 units at the same time. Do not change this setting in any other case.

At the factory settings, the Device ID is set to “17.”

1.

Press [SYSTEM] and make it light.

2.

fig.6-14


MIDI

Device ID 17

] to

3.

Turn [PATCH/VALUE] to change the Device ID.

4.

When you are finished modifying, press [SYSTEM] or [EXIT].

DEVICE ID: 1–32

Example:

Suppose that when data was saved via bulk dump, the HPD-

15’s Device ID was set to “17.” When re-transmitting this data back to the HPD-15, it won’t receive if the Device ID is set to something other than “17.” fig.6-15.e

Transmit data

Device ID: 17

MIDI IN MIDI OUT

HPD-15

Device ID: 17

MIDI IN

HPD-15

Device ID: 16

External Sequencer

System Exclusive is not received

If you lose track of the Device ID setting that was used when saving data via a bulk dump, it will no longer be possible to reload the bulk data that was saved.

Program Change Number List

(User Patches)

Bank Select: 1 fig.6-16.e

Patch

Number

10

11

8

9

12

13

14

15

16

17

18

19

20

21

22

Program

Change

Number

1

2

3

4

5

6

7

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

U0108

U0201

U0202

U0203

U0204

U0205

U0206

U0207

U0208

U0301

U0302

U0303

U0304

U0305

U0306

U0101

U0102

U0103

U0104

U0105

U0106

U0107

U0307

U0308

U0401

U0402

U0403

U0404

U0405

U0406

U0407

U0408

U0501

U0502

U0503

U0504

U0505

U0506

U0507

U0508

Patch

Number

U0601

U0602

U0603

U0604

U0605

U0606

U0607

U0608

U0701

U0702

U0703

U0704

U0705

U0706

U0707

U0708

U0801

U0802

U0803

U0804

U0805

U0806

U0807

U0808

U0901

U0902

U0903

U0904

U0905

U0906

U0907

U0908

U1001

U1002

U1003

U1004

U1005

U1006

U1007

U1008

Program

Change

Number

41

42

43

44

45

46

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

* Program change numbers of the preset patches are written in

the Preset Patch List (p. 90).

82


Troubleshooting

This chapter outlines points to check if you experience problems, and what to do about them.

Problems With the Overall

Sound

Intended Sound Not Produced

Are the pad sensitivity settings correct?

Make sure that the following parameters are set to correct value.

System Settings:

PAD Sens (p. 70), DBEAM Sens (p. 69)

Patch Settings:

PadSnsType (p. 54), TrigMode (p. 36)

The HPD-15 adjusts the sensitivity of the D Beam autmatically for the brightness of its location when the power is turned on. Do not shut the window of the D Beam until the patch name is displayed.

If you connect the hi-hat control pedal (FD-7, optional), the

HPD-15 check the position of the pedal when the power is turned on. Do not step on the pedal until the patch name is displayed.

No Sound

Has the [VOLUME] knob (p. 10) turned fully

counterclockwise?

Turn the [VOLUME] knob clockwise.

Has the left realtime modify knob (p. 19)

turned fully counterclockwise?

Press [SELECT] to make the upper indicator light. Then turn the left realtime modify knob ([LEVEL]) clockwise to increase the level.

Are the PAD SET Level (p. 25), Pad Level (p.

36), and MasterVolume (p. 54) in the patch

lowered?

Raise the values.

Are the Effect Level, Direct Level, and FxOut

Volume (p. 40) in the multi-effects lowered?

Raise the values.

Is “Off” selected for the Pad Inst? (p. 36)

Select a instrument other than “Off.”

Is “OFF” selected for the Local Control? (p. 80)

Select “ON.”

Is not the [SOUND] button of D Beam or ribbon light?

Press [SOUND] to make it light.

Are the cables connected to the correct jacks?

Connect the cables to the OUTPUT jacks.

The Volume Level of the

Instrument Connected to OUTPUT

Jacks is Too Low

Could you be using a connection cable that contains a resistor?

Use a connection cable that does not contain a resistor.

Sound Does Not Stop

Is the [ROLL/HOLD] button light? (p. 16)

Press [ROLL/HOLD] to make it dark.

Is “Gate” or “Trig” selected for the

“TrigMode?” (p. 36)

Select “Shot.”

Is the window of the D Beam shut? (p. 16)

Be careful not to shut the window of the D Beam.

Modification Does not Change the Sound

Is the selected pad correct?

The pad which is hit last becomes edit target.

Is “OFF” selected for the “Pad Chase?” (p. 68)

When “OFF” is selected, edit target does not change. Select

“ON” for the Pad Chase or Strike the pad to select it while holding down [PATCH SEL].

Is Modify Lock (p. 19) on?

When the [SELECT] indicator is blinking, there is a pad which is fixed to the target of modification. Hold down

[SELECT], and press [EXIT] to unlock.

83


Troubleshooting

Multi-Effects / Reverb / LFO Does not Applied

Is not the [MULTI-EFFECTS] button light? (p. 20)

Press [MULTI-EFFECTS] to make it light.

Is “OFF” selected for the REVERB Type (p. 25)

or MULTI-FX/LFO (p. 25, p. 36) ?

Select a setting other than “OFF.”

Is the Reverb Send in the PAD SET or PAD (p.

25, p. 36) lowered?

Raise the values.

MIDI-related Problems

No Sound when using an external controller (sequencer, keyboard etc.)

Is the MIDI cable connected properly? (p. 78)

Is the MIDI channel correct? Or is the channelset to “OFF?”

Select the correct MIDI channel (p. 78).

Bulk Dump Is Not Transmitted

Is the MIDI cable connected properly?

If you wish to save a bulk dump on an external device, connect the HPD-15’s MIDI OUT/THRU connector to the

external sequencer’s MIDI IN connector (p. 80).

Has the “No reception of MIDI Exclusive

Messages” setting been selected on the external MIDI device?

Refer to the owner’s manual for the external MIDI device.

Sequencer-related Problems

No Sound When [PLAY/STOP] is

Pressed

Is it a blank pattern that is being played back?

Play back a pattern containing performance data.

Is “Ext” selected for the “Seq Sync?” (p. 68)

Select “Int.”

Playback Stops Immediately

After Beginning

Is “Tap” or “TapVelo” selected for the pattern’s PlayType?

Select “Loop” or “OneShot” (p. 60).

“Tap” and “TapVelo” refer to the convenient playback function in Pad Pattern (tapping the pad causes the pattern to be played back).

84


Restoring the Factory Settings

You can restore patch and pad settings as well as pattern data stored in the HPD-15 to the settings in effect when the unit was shipped from the factory.

PTN ALL

:

Erases all user pattern (p. 59) data and restores

sequencer settings (p. 60–p. 62) to their factory presets.

ALL

:

Restores all settings to their factory presets.

All data and settings in the restored part are lost. Follow the

procedures described in “Bulk Dump” (p. 80) to save any

data and settings you need to keep to an external MIDI device.

Procedure for Factory Reset

1.

fig.7-01

Press [SYSTEM].

UTILITY

LCD Contrast 5

2.

fig.7-02

Press [PARAMETER screen.

] to display the following

FACTORY RESET

SYSTEM [WRITE]

While executing factory reset, do not turn the power off. Data in the HPD-15’s memory will be corrupted.

You can make your selection rapidly by using the Skip

Function (p. 32).

3.

fig.7-03

Turn [PATCH/VALUE] to select the part that you wish to restore.

FACTORY RESET

ALL [WRITE]

4.

Press [WRITE] to execute factory reset.


FACTORY RESET:SYSTEM, CHAIN ALL, PATCH

ALL, PTN ALL, ALL

SYSTEM

:

Restores all system settings (p. 67) to their factory

presets.

CHAIN ALL

:

Erases all patch chain (p. 65) settings.

PATCH ALL

:

Restores all user patch (p. 21) settings to their factory

presets.

85


Messages and Error Messages

This section lists the messages (error messages) that the

HPD-15 produces and explains the meaning of each message, giving you to appropriate action to take.

Error Messages

fig.7-04

System Error!

A problem has occured with the internal system. Contact your dealer or a nearby Roland service center.

fig.7-05

Memory Damaged!!

Reset [WRITE]

Data in the HPD-15’s memory is corrupted. Press [WRITE] to execute factory reset

If you turned the power off when the HPD-15 is writing data into memory, the data will be damaged. Never turn the power off while the HPD-15 is executing a writing process.

fig.7-06

No Enough Memory

Aborted! [EXIT]

Pattern recording or editing could not be carried out because there was not enough internal memory. Press [EXIT].

Try deleting patterns that are no longer needed (p. 64).

fig.7-07

Empty Pattern!

Aborted!

This pattern contains no performance data; it cannot be edited.

fig.7-08

PTN Write Error!

Writing a pattern data failed.

fig.7-09

Max 999 Measures

Aborted! [EXIT]

The maximum number of measures that can be recorded to one pattern has been exceeded; no further recording or editing that adds measures can be carried out. Press exit.

fig.7-10

PRESET PATTERN!!

Select User PTN

This is a Preset pattern; it cannot be edited or recorded. Select a User pattern.

fig.7-10a

No Empty Pattern

There are no empty patterns for recording.

Delete unneeded pattern or select a recorded pattern that can be used for recording.

fig.7-11

Data Overload!

[EXIT]

Pattern contained an excessive amount of data, and as a result could not be played back or recorded. Press [EXIT].

Try eliminating a part that has too much data.

fig.7-12

BULK Receive

Error! [EXIT]

Reception of bulk dump failed. Press [EXIT].

Make sure that all MIDI cables are firmly connected (p. 81).

fig.7-13

Checksum Error!

[EXIT]

The checksum value of a system exclusive message was incorrect. Press [EXIT].

Correct the checksum value.

86


Messages and Error Messages

fig.7-14

MIDI Buffer Full

A large amount of MIDI messages were received in a short time, and could not be processed completely.

Confirm that the external MIDI device is properly connected

(p. 78). If the problem persists, reduce the amount of MIDI

messages sent to the HPD-15.

fig.7-15

MIDI Offline!!

A MIDI cable was disconnected. (Or communication with the external MIDI device stopped for some reason.)

Make sure that MIDI cables have not been pulled out or broken.

fig.7-16

Device ID is

Different!

Due to an incorrect Device ID, the system exclusive message could not be received.

Set the correct Device ID. (p. 82)

Messages

fig.7-17

Now Writing.....

KEEP POWER ON!!

The HPD-15 is writing data into memory. Do not turn the power off.

fig.7-18

Now Copying.....

KEEP POWER ON!!

The HPD-15 is copying data. Do not turn the power off.

fig.7-19

Now Exchange....

KEEP POWER ON!!

The HPD-15 is executing an exchange function. Do not turn the power off.

fig.7-23

Now Executing...

KEEP POWER ON!!

The HPD-15 is executing a process. Do not turn the power off.

fig.7-20

Now Resetting...

KEEP POWER ON!!

The HPD-15 is restoring the factory settings. Do not turn the power off.

fig.7-21

BULK DATA

Transmitting...

Bulk data is now being transmitted.

fig.7-22

BULK Receiving..

KEEP POWER ON!!

Bulk data is now being received. Do not turn the power off.

87


About MIDI

MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers.

MIDI With a MIDI cable connecting MIDI devices that are equipped with MIDI connectors, you can play multiple instruments with a single keyboard, have multiple MIDI instruments perform in ensemble, program the settings to change automatically to match the performance as the song progresses, and more.

While using only pads with the HPD-15, there is no need to have any detailed knowledge of MIDI. For those who wish to use MIDI keyboards to record patterns on the HPD-15, use it as a sound module with external sequencers, or learn the

HPD-15 at a more advanced level, the following explains such matters related to MIDI.

About MIDI Connectors

The HPD-15 is equipped with the two types of MIDI connectors, each which works differently.

fig.7-24

MIDI IN Connector

This connector receives messages from external MIDI devices

(keyboards, sequencers controllers etc.) to play the HPD-15’s instruments or change its settings.

MIDI OUT/THRU Connector

The HPD-15 uses both the MIDI OUT and MIDI THRU

connector are combined. The “Soft Thru” setting (p. 79)

changes the function. As shipped from the factory, this is set to “Soft Thru OFF.”

Soft Thru OFF

This connector transmits MIDI messages to external

MIDI devices. MIDI messages received at MIDI IN are not transmitted.

Soft Thru ON

HPD-15’s MIDI messages and MIDI messages received at MIDI IN are transmitted from this connector.

MIDI Channels and Multi-timbral

Sound Sources

MIDI transmits many types of data over a single MIDI cable.

This is made possible by the concept of MIDI channels which allow a device to distinguish the data that is or is not intended for it. In some ways, MIDI channels are similar to television channels. By changing the channel on a television set, you can view the programs that are being broadcast by different stations. In the same way, MIDI also allows a device to select the information intended for that device out of the variety of information that is being transmitted to it. fig.7-25.e

The cable from the antenna carries the TV signals from many broadcast stations.

Station A

Station B

Station C

The TV is set to the channel of the station you wish to watch.

MIDI uses sixteen channels; 1 through 16. Set the receiving device so that it will receive only the channel that it needs to receive.

Example:

Set MIDI keyboard to send Channel 1 and Channel 2, then set sound module A to receive only Channel 1 and sound module B only Channel 2. With this setup, you can get an ensemble performance, with, for example, a guitar sound from sound module A and bass from sound module B.

fig.7-26.e

MIDI OUT MIDI IN MIDI THRU

Transmit channel: 1, 2

MIDI keyboard

Sound

Module

A

Receive channel: 1

Sound

Module

B

Receive channel: 2 MIDI IN

When used as a sound module, the HPD-15 can receive on up to five of the sixteen MIDI channels. Sound modules like the HPD-15 which can receive multiple MIDI channels simultaneously to play different sounds on each channel are called “multi-timbral sound modules.”

88


How the Internal Sequencer

Operates

A sequencer is an electronic instrument used for recording and playback of performances. The HPD-15 features such a sequencer function. The HPD-15 comes with built-in performance patterns (Preset patterns) which can be used for drum practice and other purposes. You can also create your own patterns. fig.7-27.e

External sound module

MIDI keyboard

HPD-15

Internal sequencer

Percussion Part 1

Percussion Part 2

Melody Part 1

Melody Part 2

Pad

Internal sound generator

For playback, the performance data that has been recorded to the sequencer is sent to the sound generator, which produces the sound. The data for each of the sequencer’s parts causes the corresponding part in the internal sound generator to be played. When performance data is recorded, the performance data from pads and MIDI keyboards is sent to the sequencer; the data recorded here is then sent to the sound module for playback.

About MIDI

89


Preset Patch List

#: Patch Change via MIDI

(Bank No.) - (Program No.)

L

ATIN

P0101

Conga

P0102

Bongo

P0103

Timbales

P0104

LatinToys

P0105

CONGAbongo

P0106

TimbaleMix

P0107

Conga II

P0108

Bongo II

P0109

TimbalesII

P0110

BONGO-BRS-

P0111

TimbalSong

P0112

Steel Drum

P0113

Pandeiro

P0114

Surdo

P0115

ESCOLA

P0116

Berimbau

P0117

PandeiroII

P0118

Surdo II

P0119

Brazil Mix

P0120

Perc Echos

P0121

SpaceConga

P0122

808 Latin

#

2-17

2-18

2-19

2-20

2-21

2-22

2-11

2-12

2-13

2-14

2-15

2-16

2-8

2-9

2-10

2-5

2-6

2-7

2-1

2-2

2-3

2-4

A

F

RICAN

P0201

TalkingDrm

P0202

Djembe S

P0203

Djembe L

P0204

Frame Drum

P0205

Pot Drum

P0206

Kalimba

P0207

Log Drum

P0208

Balaphone

P0209

Gyilli

P0210

AfroZither

P0211

MonguDrum

P0212

AfricaToys

P0213

Gyilli&Cng

P0214

NaturePerc

P0215

GyliBalaph

P0216

TalkDrm II

P0217

PotDrum II

#

2-28

2-29

2-30

2-31

2-32

2-33

2-23

2-24

2-25

2-26

2-27

2-34

2-35

2-36

2-37

2-38

2-39

A

SIAN

P0401

JAPAN

P0402

MATSURI

P0403

CHINA

P0404

Yang Qin

P0405

Korean4Drm

P0406

Gamelan

P0407

JavaGameln

P0408

BaliGameln

P0409

Bali&Java

P0410

Gongs

P0411

Angklung

P0412

Bonang

P0413

Gender

P0414

Saron

O

RCH

P0501

Vibraphone

P0502

Glockenspl

P0503

Xylophone

P0504

Marimba

P0505

Bs Marimba

P0506

TubularBel

P0507

Timpani

P0508

Orch Hit

I

NDIAN

P0301

Tabla

P0302

Dholak

P0303

Madal

P0304

Dhol

P0305

DrmOfIndia

P0306

MadalTalan

P0307

Tabla II

P0308

Tabla III

P0309

TABLATIX

P0310

Sitar

P0311

SantoorMaj

P0312

SantoorMin

P0313

Tambura

P0314

Darabukka

P0315

Rek

P0316

Doholla

P0317

Doira

P0318

Turk-Mltry

#

2-64

2-65

2-66

2-67

2-68

2-69

2-70

2-71

2-58

2-59

2-60

2-61

2-62

2-63

#

2-76

2-77

2-78

2-79

2-72

2-73

2-74

2-75

#

2-44

2-45

2-46

2-47

2-48

2-49

2-40

2-41

2-42

2-43

2-50

2-51

2-52

2-53

2-54

2-55

2-56

2-57

P0509

LightOrch

P0510

OrchPerc

P0511

Aux Perc

D

R

UMS

P0601

Standard

P0602

Jazzbrush

P0603

Analog

P0604

TR-808

P0605

TR-909

P0606

Studio

P0618

TechnoGate

P0619

FlangeDrms

P0620

JunkyDrums

P0621

Brush Box

2-83

2-84

2-85

2-86

2-87

2-88

P0607

Rock Stage

P0608

Swing

P0609

Brushes

P0610

Orch Set

P0611

Mexi-Set

P0612

Hi-Boy

2-89

2-90

2-91

2-92

2-93

2-94

P0613

Low&Dry

P0614

Jazz Mix

P0615

JzBrush&Bs

2-95

2-96

2-97

P0616

BluesClub

2-98

P0617

Drum&Horns

2-99

2-100

2-101

2-102

2-103

#

2-80

2-81

2-82

P0719

SynthDrums

P0720

Discotica

P0721

Dance 6

2-122

2-123

2-124

P0722

Lock Out

2-125

P0723

DanceMenu1

2-126

P0724

DanceMenu2

2-127

S

FX

P0801

PsycoDrama

P0802

Forest

P0803

GrandBlue

P0804

NoiseSonic

P0805

ArpegPerc

P0806

CartoonFX

P0807

Silly FX

P0808

Rol&FiltMe

P0809

MetalMania

P0810

ChaosSoniq

P0811

SFX Menu 1

P0812

SFX Menu 2

P0813

SFX Menu 3

D

ANCE

#

P0701

Clap&Scrch

P0702

FILTERED

P0703

Trash Beat

P0704

LatinHouse

P0705

Techey

2-104

2-105

2-106

2-107

2-108

P0706

TechDance

P0707

EthniDance

P0708

Cosmo 21

2-109

2-110

2-111

P0709

Industrial

2-112

P0710

UndaGround

2-113

P0711

StreetBeat

2-114

P0712

909-2000

P0713

AlienDance

P0714

TechNow

2-115

2-116

2-117

P0715

Sweep 808

P0716

Revolution

2-118

2-119

P0717

Backbeat

2-120

P0718

AmberWater

2-121

O

T

HERS

P0901

Laserwave

P0902

Heavy Gtr

P0903

Acous Bass

P0904

SH101 Bass

P0905

Flute

P0906

Syn String

P0907

Saw Wave

P0908

Juno Rave

P0909

Fantasia

P0910

Thick Pad

P0911

Calliope

P0912

Melody-808

LOO

P

S

P1001

Latin Loop

P1002

Samba Loop

P1003

AfricaLoop

P1004

IndianLoop

P1005

Asian Loop

P1006

FusionLoop

P1007

Dance Loop

P1008

Shot & Tap

#

3-17

3-18

3-19

3-20

3-21

3-22

3-23

3-24

3-13

3-14

3-15

3-16

#

3-8

3-9

3-10

3-11

3-12

2-128

3-1

3-2

3-3

3-4

3-5

3-6

3-7

#

3-25

3-26

3-27

3-28

3-29

3-30

3-31

3-32

90


Preset Pattern List

PlayType: Loop

Baion

BahiaGroov

Samba-Med

SambaSao

Slow Samba

Samba-Roda

SambaBasic

EscolaRthm

GyilliSong

PotDrumPtn

Djembeat

2Bt-Afro

12/8-Afro

Funky Afro

7Bt-Clay

4Bt-Clay

Cha-Cha

ChaChaLite

MamboBreak

ComparSlow

ComparFast

SonMontuno

Merengue

Latin 6/8

Mozambique

Salsa

Salsa-Med

Guaguanco

6/8 Groove

Descarga1

Descarga2

4BtRl-Clay

TurkMarch

BellyDance

Arabic10Bt

Arabic4Bt

Silkroad

Tabla-Med

Tabla-Slow

Bhairavi

Kashimir

Santoor

IndianFolk

DholakBeat

BengalRthm

BanglaBeat

Madal Seq.

5Bt-Indian

7Bt-Indian

4Bt-Indian

Spanish-12

Asian-12/8

P24

P25

P26

P27

P28

P29

P30

P31

P16

P17

P18

P19

P20

P21

P22

P23

P08

P09

P10

P11

P12

P13

P14

P15

P01

P02

P03

P04

P05

P06

P07

P40

P41

P42

P43

P44

P45

P46

P47

P48

P49

P50

P51

P52

P32

P33

P34

P35

P36

P37

P38

P39

P77

P78

P79

P80

P81

P82

P83

P84

P69

P70

P71

P72

P73

P74

P75

P76

P61

P62

P63

P64

P65

P66

P67

P68

P53

P54

P55

P56

P57

P58

P59

P60

HardFusion

Funk

JazzFunk

LatinJazz

AfroJazz

Reggae

Mambo w/b

Salsa w/b

Samba w/b

Carrib

House

TechnoPop

Locomotive

KiddyDisco

Night-Bird

Drops

MATSURISM

OHAYASHI 1

OHAYASHI 2

SamulNori1

SamulNori2

China-Mood

Polynesian

Javanese

Balinese

ForestSong

FILTERTIV

Sevenate

A.O.R.

AcidFusion

ElecFusion

Fusion-3/4

PlayType: OneShot

P85

LatinFill1

P86

LatinFill2

P87

Cha-Fill1

P88

Cha-Fill2

P89

Cha-Fill3

P90

Ending1

P91

Ending2

P92

Ending3

PlayType: Tap

P93

SantoorTap

P94

BassTap1

P95

BassTap2

P96

AcoGuitTap

P97

AdlibTap

P98

WahGtTap

P99

CodeMenu (C, C m

, C m7

, C maj7

, C

6

, C dim

, C

7sus4

, C

7

)

91


Instrument List

*M: Mute switching sound

*P: Responds to positional sensing when assigned to pad A1 or A5.

*D: The ribbons/D Beam will produce different tones depending on the direction of the movement of your hand when TirgMode is set to “Move” or “MovGate.” The pads can switch the sound when TrigMode is set to “Gate” or “Trig.”

*F: These are hi-hat sounds that can be controlled by the hi-hat control pedal (FD-7, optional).

*H: The sound will sustain by pressing [ROLL/HOLD] button when TrigMode is set to “Gate” or “Trig.”

*T: The pitch of these sounds can be adjusted by MasterTune in system setting.

Remarks

*T

*T

*T

*H, *T

No.

Inst

L

ATIN

L57

L58

L59

L60

L61

L62

L63

L64

L49

L50

L51

L52

L53

L54

L55

L56

L65

L66

L67

L68

L69

L70

L71

L41

L42

L43

L44

L45

L46

L47

L48

L33

L34

L35

L36

L37

L38

L39

L40

L25

L26

L27

L28

L29

L30

L31

L32

L17

L18

L19

L20

L21

L22

L23

L24

L09

L10

L11

L12

L13

L14

L15

L16

L01

L02

L03

L04

L05

L06

L07

L08

Cowbell 2

Cowbell 3

Claves 1

Claves 2

Guiro Long

Guiro Short

Guiro LngSht

Guiro 1notch

Maracas

Shaker 1

Shaker 2

Shaker 3

Tambourine 1

Tambourine 2

Timbale Hi

Timbale HiRm

Timble+Crash

Timbale Lo

Timbale LoRm

TimblHiPaila

TmblHiPilaMt

TimblLoPaila

TmblLoPilaMt

Timbl Hi Hnd

TimblHiHndMt

Timbl Lo Hnd

TimblLoHndMt

Vibra-slap

Steel Drum 1

Steel Drum 2

Agogo 1 Hi

Agogo 1 Lo

Agogo 1 HiLo

Agogo 2 Hi

Agogo 2 Lo

Agogo 2 HiLo

Agogo 3

Cabasa

Cuica 1

Bongo Hi

Bongo Hi /H

Bongo Hi /T

Bongo Hi Cls

Bng HiHndSlp

Bongo Lo

R-8 Bongo Hi

R-8 Bongo Lo

Conga Hi /H

Conga Hi /T

Conga Hi

CongaHiOpSlp

Conga Hi Cls

CongaHiClSlp

Conga HiHeel

Conga Hi Toe

Conga HiBass

Conga Slide

Conga Lo /H

Conga Lo /T

Conga Lo

CongaLoOpSlp

Conga Lo Cls

CongaLoClSlp

Conga LoHeel

Conga Lo Toe

Conga LoBass

R-8 Conga Hi

R-8Cng HiCls

R-8 Conga Lo

Cowbell 1

Cowbell 1 Mt

*M, *P

*M, *P

*M

*M, *P

*M

*M, *P

*M, *P

*M

*M, *P

*M

*M

*M

*P

*P

*M

*M

*M

*M

*T

*T

*M, *D

*M, *D

*M, *D

L72

L73

L74

L75

L76

L77

L78

L79

L80

L81

L82

L83

L84

L85

L86

L87

Cuica 1 Open

Cuica 1 Mut1

Cuica 1 Mut2

Cuica 2

Cuica 2 Open

Cuica 2 Mut1

Cuica 2 Mut2

Pandeiro

Pandeiro Mut

Pandeiro Slp

Pandeiro Lo

Pand Lo Mut

Pand Lo Slp

R-8 Surdo

R-8 Surdo Mt

R-8 Surdo Rm

L88

L89

L90

L91

L92

L93

L94

L95

Surdo

Surdo Mute

Tamborim

Tamborim Mut

Tamborim Slp

Tamborim 2

Whistle Long

Whistle Shrt

L96

L97

Whstl LngSht

Caxixi

L98

Berimbau

L99

Berimbau Mut

l01

Berimbau Up

l02

Berimbau Dn

l03

BerimbauUpDn

l04

Caixa

l05

Caixa Rim

l06

Caixa Roll

l07

Rain Stick

l08

RainStk Soft

l09

SambaBateria

l10

Space Conga

l11

SpaceCng Bas

l12

E.Conga

l13

E.Conga Bass

l14

DR-55 Claves

l15

CR-78 Cowbel

l16

CR-78 MetalB

l17

CR-78 Guiro

l18

CR-78 Tambrn

l19

CR-78 Maracs

l20

CR-78 Bongo

l21

CR-78 Claves

l22

TR-808 Conga

l23

TR-808 Clavs

l24

TR-808 Marcs

l25

TR-808 Cow

A

F

RICAN

F01

Shekere

F02

Djembe /H

F03

Djembe /T

F04

Djembe

F05

Djembe Mute

F06

Djembe Slap

F07

Djembe Bass

F08

SmallDjmb /H

F09

SmallDjmb /T

F10

Small Djembe

F11

SmallDjmb Mt

F12

SmallDjmbSlp

F13

SmallDjmb Bs

F14

TalkingDrm 1

F15

TalkingDrm 2

F16

TalkingDrm 3

F17

Afro Drum 1

F18

Afro Drum 2

F19

Afro Dr Flam

*M

*M, *D

*M

*M

*M

*M, *P

*P

*M, *P

*P

*M, *P

*P

*M, *D

*M, *T

*T

*T

*T

*D, *T

*P

*M, *P

*M, *P

*M, *P

*M

*M, *P

*P

*M, *P

*M

*M, *P

*P

F20

Afro Dr Rttl

F21

Metal Casta

F22

PotDrm 1 Lo

F23

PotDrm 1 Hi

F24

PotDrm 1 Acc

F25

PotDrm 2

F26

PotDrm 2 Mut

F27

PotDrm 2 Lng

F28

PotDrm 2 Sht

F29

PotDrm 3 Slp

F30

PotDrm 3 Bas

F31

PotDrm 3 BsE

F32

Kalimba

F33

Log Drum

F34

Gyilli A

F35

Gyilli D

F36

Gyilli G

F37

Gyilli C

F38

Gyilli Hi G

F39

Gyli GlissUp

F40

Gyli GlissDn

F41

Gyli GlsUpDn

F42

Balaphone A

F43

Balaphone F#

F44

Balaphone E

F45

Balaphone B

F46

Balphn GlsUp

F47

Balphn GlsDn

F48

Balphn UpDn

F49

Balaphone 2

F50

Afro Zither

F51

Afro Feet

F52

Afro Stomp

F53

Hand Drum

F54

Hand Drum Bs

F55

MonguDrm Hi

F56

MngDrm Hi Bs

F57

MonguDrm Lo

F58

Clapstick

F59

Boomerang

F60

Bamboo

F61

Bloom Bell

I

NDIAN

I01

Sarna Bell

I02

Tabla Na

I03

Tabla Tin

I04

Tabla Tun

I05

Tabla Ti

I06

Tabla TinNa

I07

Tabla TiNa

I08

Tabla TunTin

I09

Tabla 2 Te

I10

Baya Slide

I11

Baya Gin

I12

Baya Ka

I13

Baya Ge

I14

Baya GeKa

I15

Dholak Ga

I16

Dholak Ta

I17

Dholak Tun

I18

Dholak Na

I19

Dholak TunNa

I20

Madal Da

I21

Madal Din

I22

Madal Ta

I23

Madal DinTa

I24

Khole

I25

Dhol Ga

I26

Dhol Slide

I27

Dhol Ka

I28

Dhol Da

I29

Sitar

I30

Sitar Gliss

*M

*D

*T

*T

*T

*T

*T

*T

*T

*D, *T

*T

*T

*T

*T

*T

*T

*T

*T

*T

*D, *T

*M

*M, *P

*P

*P

*P

*M

*P

*P

*P

*M

*T

*T

I31

Santoor Lowr

I32

Santoor Uppr

I33

Tambura

I34

Tambura Dron

I35

Bell Tree

I36

Sagat Open

I37

Sagat Closed

I38

Sagat OpCls

I39

Darbuka1 Dom

I40

Darbuka1 Tak

I41

Darbuka2

I42

Doira Dun

I43

Doira Tik

I44

Doholla Dom

I45

Doholla Sak

I46

Doholla Tak

I47

Doholla Roll

I48

Doholla Stop

I49

Dohol RolStp

I50

Rek Dom

I51

Rek Tek

I52

Rek Open

I53

Rek Trill

I54

Bendir

I55

Dawul

I56

HmrDlcmr Lwr

I57

HmrDlcmr Upr

A

SIAN

A01

Biwa

A02

Atarigane

A03

Hyoshigi

A04

Ohkawa

A05

Tsuzumi Hi

A06

Tsuzumi Lo

A07

Shime Taiko1

A08

Shime Taiko2

A09

MatsuriTaiko

A10

Matsuri TkRm

A11

Buk

A12

Buk Rim

A13

Jang-Gu

A14

Jing

A15

Jing Mute

A16

Gengari

A17

Gengari Mute

A18

Ban Gu 1

A19

Ban Gu 2

A20

Ban Gu 3

A21

Gu Roll

A22

Gu High

A23

Gu Roll-Stop

A24

Tang Gu

A25

Tang Gu Mute

A26

Hu Yin Luo

A27

HuYinLuo Mut

A28

Nao Bo

A29

Xiao Bo

A30

Large TamTam

A31

Large Gong

A32

Small Gong

A33

Bend Gong

A34

Yang Qin

A35

Finger Cym

A36

Fingr Cym Mt

A37

Rama Cymbal

A38

Chenchen Opn

A39

Chenchen Cls

A40

Chenchn OpCl

A41

Bali Cym Opn

A42

Bali Cym Cls

A43

BaliCym OpCl

A44

Thai Gong

A45

JawsHarp Opn

*M

*P

*P

*P

*M, *D

*P

*T

*T

*T

*P

*P

*M

*M

*M, *D

*M

*M

*T

*M

*M

*M

92


Instrument List

A46

A47

A48

A49

A50

A51

A52

A53

JawsHarp Wow

JawsHrp OpWo

Bonang

Gender

Saron

Angklung

Gamelan 1

Gamelan 2

O

RCH

O09

O10

O11

O12

O13

O14

O15

O16

O01

O02

O03

O04

O05

O06

O07

O08

O17

O18

O19

O20

O21

O22

O23

O24

O25

Sleigh Bell

Tree Chimes

Triangle

Triangle Mut

Castanets

Wood Block

WdBlock HiLo

Slapstick

Concert BsDr

Conc BsDrMut

Timpani

Perc Hit

Orch Hit 1

Orch Hit 2

DrmMaj Whstl

Glockenspiel

Vibraphone

Xylophone

Marimba 1

Marimba 2

Bass Marimba

Celesta

Tubular Bell

Glass

Iron Hammer

D

R

UMS

R25

R26

R27

R28

R29

R30

R31

R32

R17

R18

R19

R20

R21

R22

R23

R24

R09

R10

R11

R12

R13

R14

R15

R16

R01

R02

R03

R04

R05

R06

R07

R08

R41

R42

R43

R44

R45

R46

R33

R34

R35

R36

R37

R38

R39

R40

Dry Hard Kik

Jazz Kick

Vintage Kick

26” Deep Kik

Wood Beatr K

HipHop Kick

Plastic Kick

Electronic K

TR-808 Kick

808 Boom Kik

TR-909 Kick

CR-78 Kick

Beech Snare

BeechS RmSht

Loose S Hrd

Loose S Rim

Concert Snr

Concrt S Rol

Concrt S Buz

Hi Piccolo S

L.A. Snare

Brush Snare

Brush Rol S1

Brush Rol S2

Brush Swsh S

Brush Slp S1

Brush Slp S2

House Dopn’S

Swing Snare

Quinto Snare

Electronic S

TR-808 Snare

TR-909 Snare

CR-78 Snare

Amb CrossStk

Hall CrosStk

Stick Hit

Sticks

TR-808 Stick

TR-909 Stick

CR-78 Stick

Metal Stick

Vintage Tom1

Vintage Tom2

Dbl Head T 1

Dbl Head T 2

*M

*P

*P

*M

*P

*P

*M, *D

*T

*T

*T

*T

*T

*M, *D

*M

*T

*T

*T

*T

*T

*T

*T

*T

*T

*T

*T

*T

*T

R47

R48

R49

R50

R51

R52

R53

R54

R55

R56

R57

R58

R59

R60

R61

R62

Room Tom 1

Room Tom 2

Brush Slp T1

Brush Slp T2

Electronic T

2-Tone ElecT

Bright ElecT

TR-808 Tom

TR-909 Tom

909 Whack T

Pure CHH

PureCHH Edge

Pure HalfOHH

Pure OHH

Tamburn CHH

Tamburn OHH

R63

R64

TR-808 CHH

808 CHH Edge

R65

TR-808 OHH

R66

808 OHH Edge

R67

TR-909 CHH

R68

TR-909 OHH

R69

Pure Hi-Hat

R70

13” Hi-Hat

R71

Hand Cym HH

R72

Tambourin HH

R73

Maracas HH

R74

Chenchen HH

R75

TR-808 HiHat

R76

TR-909 HiHat

R77

Metal 808 HH

R78

Metal 909 HH

R79

Crash Cymbal

R80

Chinese Cym

R81

Szl ChineseC

R82

Splash Cym 1

R83

Splash Cym 2

R84

Pgy Crash C1

R85

Ride Cymbal

R86

Ride Bell C

R87

Ride X Bell

R88

Sizzl Ride C

R89

Sizzl Rd Bel

R90

Pgy Ride Cym

R91

Brush Ride C

R92

Brsh Szl RdC

R93

Hand Cymbals

R94

Mallet Cymbl

R95

TR-808 Cymbl

R96

TR-606 Cymbl

R97

Wheel Pedal

R98

KickCymbal 1

R99

KickCymbal 2

r01

KickCymbal 3

r02

Voice Kick

r03

Voice Snare

r04

Voice Hi-Hat

D

ANCE

D01

TR-808 Clap

D02

Hand Clap 1

D03

Hand Clap 2

D04

Hand Clap 3

D05

Afro Clap

D06

Scratch Push

D07

Scratch Pull

D08

ScrhPushPull

D09

Scrch Stereo

D10

Scr BsDr Psh

D11

Scr BsDr Pul

D12

Scr Bs PshPl

D13

Jungle Cymbl

D14

Dance Shaker

D15

Trash body

D16

Trash edge

D17

Trash lid

D18

Trash bottom

D19

High-Q 1

D20

High-Q 2

D21

Rev High-Q

D22

Air Blip

D23

Techno Snap

D24

Organ Chord

D25

Dist Guitar

D26

Auh Voice

*P

*P

*P

*F

*F

*F

*F

*F

*F

*F

*F

*F

*F

*F

*D

*D

*P

*D

*H, *T

*H, *T

*H, *T

D27

Techno Chord

D28

Techno Scene

D29

Synth Hit

D30

Distort Hit

D31

Techno Hit

D32

Philly Hit

D33

Funk Hit

D34

Funny Hit

D35

Cuica Hit

D36

Rev Cuica Ht

D37

Thin Beef

D38

Bounce

D39

Dist Swish

D40

PCM Press

D41

Reverse Beat

D42

Monster Drum

D43

Can Drum

D44

Jungle Rol K

D45

Jungle Rol S

S

FX

S33

Random Noiz3

S34

Random Noiz4

S35

White Noise

S36

Pink Noise

S37

Rev Vibraslp

S38

RevSitar Gls

S39

Rev Bend Gng

S40

Rev Voice K

S41

Rev Voice S

S42

Cabasa 1shot

S43

Matsuri

S44

Uut?

S45

Drop

S46

Emergency

S47

Woody 1

S48

Woody 2

S49

Punch

S50

Metallic Lid

S51

Glass Crash

S52

Door Close

S53

Bomb

S54

Reverse Bomb

S55

Explosion

S56

Thunder

S57

Stream

S58

Snaps

S59

Foot Step

S60

Human Whistl

S61

Chiki!

S62

Hey!

S63

Voice Ahhh

S64

Rev Voc Ahhh

S01

Burt

S02

Boing

S03

ReverseBoing

S04

Tom Noise

S05

Laser

S06

ReverseLaser

S07

Toy Gun

S08

Eddy

S09

Congerin

S10

Moment

S11

Toy Chat

S12

Second Tick

S13

Drip

S14

Click

S15

Metronm Bell

S16

Metronm Clk

S17

R-8 Spark

S18

Anvil

S19

Chop

S20

Metal 1

S21

Metal 2

S22

Crash

S23

Shot 1

S24

Shot 2

S25

Shot 3

S26

Shot 4

S27

Noise Acc 1

S28

Noise Acc 2

S29

Noise Acc 3

S30

Noise Acc 4

S31

Random Noiz1

S32

Random Noiz2

*M

*M

*H, *T

*T

*T

*T

*T

*T

*T

*H, *T

*H, *T

O

T

HERS

T33

Fingered Bs

T34

Funk Bass

T35

Pick Bass

T36

Muted PickBs

T37

Fretless Bs

T38

Slap Bass

T39

Synth Bass

T40

TB-303 Bass

T41

SH-101 Bass

T42

Orch Strings

T43

Syn Strings

T44

OB Strings

T45

Brass Hit L

T46

Brass Hit S

T47

Brass Hit LS

T48

Brass Fall

T49

Octave Brass

T50

Poly Brass

T51

Tenor Sax

T52

Flute

T53

Sine Wave

T54

Saw Wave 1

T55

Saw Wave 2

T56

Square Wave

T57

Buzzer

T58

Beep

T59

JU-2 Sub OSC

T60

Poly OSC

T61

Juno Rave

T62

JP Hoover

T63

Feedback Wav

T64

Atmosphere

T65

Syn Calliope

T66

Fantasia

T67

Thick Pad

T68

80’s PolySyn

T69

Off

T01

Ac.Piano

T02

E.Piano

T03

60’s EP

T04

Soft FM EP

T05

Clavinet

T06

Even Bar

T07

Organ

T08

Nylon Guitar

T09

Steel Guitar

T10

Jazz Guitar

T11

Clean Guitar

T12

Muted Guitar

T13

Pop Guitar

T14

Funk Guitar

T15

Overdrive Gt

T16

Heavy Guitar

T17

Muted DistGt

T18

Rock Rhythm

T19

Wah Gtr Dn 1

T20

Wah Gtr Up 1

T21

Wah Gtr Dn 2

T22

Wah Gtr Up 2

T23

Cut Gtr Dn

T24

Cut Gtr Up

T25

Gtr Scratch1

T26

Rev Gtr Scr1

T27

Gtr Scrach2

T28

Rev Gtr Scr2

T29

Bass Slide

T30

Rev Bs Slide

T31

Acoustic Bs

T32

E.AcousticBs

(Pedal Only)

PEDAL(A1)

:

PEDAL(C5)

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*M, *H, *T

*T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*T

*T

*T

*T

*T

*T

*T

*T

*T

*T

*T

*H, *T

*H, *T

*H, *T

*H, *T

*T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

*H, *T

93


Instrument List

No.

21

22

23

24

17

18

19

20

13

14

15

16

5

6

7

8

1

2

3

4

9

10

11

12

29

30

31

32

33

25

26

27

28

Pad Set Instrument List

Name

Conga

Conga II

Bongo

Timbales

Paila Lo

Paila Hi

Giro&Cowbel

Latin Perc 1

Latin Perc 2

Latin Perc 3

Agogo

Cuica

Surdo

Pandeiro

Tamborim

Caixa

Berimbau

Space Conga

808 Latin A

808 Latin B

808 Latin C

Djembe S

Djembe L

TalkingDrum

TalkingDrmII

Pot Drum A

Pot Drum B

Pot Drum C

Afro Drum

MonguDrum

Balaphon

Gyilli

Tabla

No.

62

63

64

65

66

58

59

60

61

54

55

56

57

50

51

52

53

46

47

48

49

42

43

44

45

38

39

40

41

34

35

36

37

Name

Dholak

Madal

Dhol

Darabukka

Rek

Doholla

Doira

JAPAN

MATSURI

CHINA

Yang Qin

Korean4Drm A

Korean4Drm B

Korean4Drm C

Gender

Bonang

Saron

Gamelan

Bali Cymbal

Thai Gong

Asian Cymbal

Timpani

Orch Hit

Drum Basic 1

Drum Basic 2

Brush Drum

Elec.Drum

Elec.Tom 1

Elec.Tom 2

TR-808 Drum

TR-909 Drum

CrashCymSet

RideCymSet

No.

95

96

97

98

99

91

92

93

94

87

88

89

90

83

84

85

86

79

80

81

82

75

76

77

78

71

72

73

74

67

68

69

70

Name

Jazz Drum

BrushRideSet

Timpani&S.D.

OrchPerc

CymbalSet

Junk Drums

JunkCymbal 1

JunkCymbal 2

Brush Box

Claps

Scratches

Trash Beat

StreetRhythm

LatinHouseDr

Dance Drum 1

Dance Drum 2

Dance Drum 3

AnalogPerc.

LaserWave

Metal SFX 1

Metal SFX 2

Metal SFX 3

Industrial 1

Industrial 2

Industrial 3

OneShotSFX 1

OneShotSFX 2

Long SFX 1

Long SFX 2

SFX & Hit

Forest SFX

GrandBlue 1

GrandBlue 2

Backing Instrument List

13

14

15

16

9

10

11

12

17

18

7

8

5

6

3

4

1

2

Program

Change No.

Display Inst Name

Ac.Piano

Acoustic Piano

E.Piano

Electric Piano

FM+SA EP FM+SA E.Piano

60’s EP 60’s E.Piano

St.FM EP St.FM E.Piano

Br.FM EP Bright FM E.Piano

Clav.

Clavinet

Celesta

Glcknspl

Celesta

Glockenspiel

Vibraphn Vibraphone

Marimba Marimba

Xylophon Xylophone

Tublrbel Tubular-bells

Organ 1

Organ 2

Organ 1

Organ 2

Nylon Gt Nylon Guitar

Steel Gt Steel Guitar

Jazz Gt Jazz Guitar

31

32

33

34

27

28

29

30

35

36

23

24

25

26

19

20

21

22

Program

Change No.


Clean Gt Clean Guitar

ChorusGt Chorus Guitar

Muted Gt Muted Guitar

Pop Gt

Funk Gt

Pop Guitar

Funk Guitar

OvrdrvGt Overdrive Guitar

Heavy Gt Heavy Guitar

MutDstGt Muted Distortion Guitar

RokRhytm Rock Rhythm

Wah Gt

Aco.Bass

Wah Guitar

Acoustic Bass

El.Ac.Bs

FingerBs

Electric Acoustic Bass

Fingered Bass

FunkBass Funk Bass

PickBass Pick Bass

MutPikBs Muted Pick Bass

FrtlesBs Fretless Bass

SlapBass Slap Bass

49

50

51

52

45

46

47

48

53

54

41

42

43

44

37

38

39

40

Program

Change No.


Saw Bass Saw Bass

TB303 Bs TB303 Bass

SH101 Bs SH101 Bass

Syn.Str.

OB Str.

Brass 1

Brass 2

Synth Strings

OB Strings

Brass 1

Brass 2

Syn. Brs

Poly Brs

Synth Brass

Poly Brass

TenorSax Tenor Sax

Flute Flute

Saw Wave Saw Wave

Calliope Synth Calliope

Fantasia Fantasia

ThickPad Thick Pad

80’sPoly

Kalimba

80’s Poly Synth

Kalimba

SteelDrm Steel Drums

94


Effect Type List

* REVERB/DELAY Type and MULTI-FX Type are common to EZ Edit mode and Edit mode.

REVERB/DELAY Type

OFF

WarmRoom

DarkRoom

BrightRoom

Club

GymStage

Underground

ThinPlate

ThickPlate

No reverb

Room reverb featuring a milder ambiance

Room reverb that imparts a darker mood

Room reverb featuring a rougher, gritty feeling

Room reverb that lends a relaxed ambiance to the sound

Simulates the reverberation of a gymnasium

Reverb that makes sounds seem to be coming from under the ground

Plate reverb with slow decay

Plate reverb with rapid decay

EmptyHall

BigTube

RichAmb

ShortDelay

MedDelay

LongDelay

PanDelaySht

PanDelayMed

PanDelayLng

Reverberation of an unoccupied hall

Reverb resembling that produced within a large tube

Reverb with rich reflections

Single delay with short delay time

Adds a slight repeat of the sound

Effect resembling mountain echoes

Single delay with panned delayed sound

Delayed sound with added lateral breadth

Delayed sound that crosses between the left and right sides

MULTI-FX Type

Low Boost

Low Cut

Mid Boost

Mid Cut

High Boost

High Cut

Limiter

Compressor

ComPRESSED!

Enhancer

Radio

OnAir

TiledRoom

Outside

NoHighs

Only Lows

Only Mids

Only Highs

DynamicFltr

Ctrl Wah

Sustainer

RadioOD

SmallOD

BigOD

LoudOD

RadioDST

SmallDST

BigDST

LoudDST

Lo-Fi

Lo-Fi(mono)

RingModltr

Bell

Buzz

MetalBar

Stereo Cho

Glossy Cho

Phasy Cho

TetraChorus

Bamboo Cho

TremoloCho

Giddy Cho

Sigh Cho

Space D

Boosts the low end

Cuts the low end

Boosts the midrange

Cuts the midrange

Boosts the high end

Cuts the high end

Standard limiter settings

Keeps sound volume in a uniform range

Creates a very bound, constricted sound

Emphasizes the high-end harmonics

Makes sounds as produced from a radio

Creates a sound like that found in public recordings

Sound like that produced in a tiled room

Produces a heard-outside-the-door kind of sound

Eliminates the high end

Leaves only the low end

Leaves only the midrange

Leaves only the high end

Filter’s cutoff frequency changes in response to the volume of the strike

The wah effect is added in response to M-FX DEPTH and CtrlTx

Effect appears to stretch the sound’s envelope

Light distortion from a cheap amp

Mild distortion from a small amp

Mild distortion from a large-size amp

Mild distortion with more sound pressure

Strong distortion from a cheap amp

Hard distortion from a small amp

Hard distortion from a large-size amp

Hard distortion with more sound pressure

Creates a rough, broken sound

Rough sound output monaurally

Gives the sound a metallic quality

Adds a bell-like sound

Adds a bee-like buzzing quality to the sound

Adds a sound like that of a metal bar being struck

Standard chorus settings

Warm chorus sound

Chorus with a heavy modulation

Chorus with great breadth

Chorus with fluttering reflections

Chorus with tremolo added

Spinning chorus that make the listener dizzy

Chorus with a slight crying sound

Effect that fattens the sound

3TapDlySht

3RhythmSht

3TapDlyLng

3RhythmLng

3TempoDly

4TapDlySht

4RhythmSht

4TapDlyLng

4RhythmLng

4TempoDly

SoftRoom

HardRoom

RoomCorner

Stage

Plate

Hall”A”

Hall”B”

Tunnel

Stadium

GateReverb

ReverseGate

Stereo Fln

Wind Fln

Grumble Fln

Jet Fln

StepFlanger

AnalogCyber

Phaser

Rubbing

Arpeggio

Warp

Bandit

PitchShift

StereoDelay

Doubling

Booming

RhythmDly1

RhythmDly2

Mod Delay

CrossModDly

TimeCtrlDly

Standard flanger settings

Produces an effect like that of a refreshing breeze

Layers on the sound of a human voice

Adds a jet-like sound effect

Standard step-flanger settings

Sound like the oscillation of an analog synthesizer

Standard phaser settings

Adds a grinding sound

Sounds pitch-shifted by five semitones are layered on, one after another

Pitch rises three semitones at a time

Gliss-down effect

Sounds shifted by five semitones are layered on

The delayed sound is played at the same position as the instrument

Doubling effect which layers the sound

Sound like the playing of a high-tension string is added

Triple rhythmic delay

Rhythmic delay differing from RhythmDly1

Delay with modulation

Delay with modulation, with the sound alternately crossing between left and right

When CtrlTx is used to change “Time,” an effect similar to that produced by changing an analog delay’s Time can be obtained

Three-tap delay with short delay time

Triple pattern using delay

Produces sound at center, left, and right, in that order

Rhythmic delay

Three-sound delay synchronized to the sequencer’s tempo

Four-tap delay with short delay time

Provides an effect like the clicking of castanets

Delay sounds start on the right and move to the left

Rhythmic delay

Four-sound delay synchronized to the sequencer’s tempo

Room reverb with mild reverberation

Gritty room reverb

Room reverb with first reflections emphasized

Simulates the reverb on a small stage

Gritty plate reverb

Simulates the reverberation of a hall with a low ceiling

Simulates the reverberation of a large hall

Reverberation like that in a tunnel

Simulates the reverberation of a stadium

Standard gated reverb settings

Reverse gated reverb

95


Demo Song List

1. TABLECTRIC

2. Forest Trip

3. NewSalsa2000

4. Escola!

5. Asian Delight

6. Nightmare

Music by

Ikuo Kakehashi

Music by

Ikuo Kakehashi

Music by

Efrain Toro

Music by

Ikuo Kakehashi

Music by

Efrain Toro

Music by

Ikuo Kakehashi

Copyright © 2000 Roland Corporation






* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws.

* No data for the music that is played will be output from MIDI OUT.

Profiles of Composers

Ikuo Kakehashi

majored in Percussion at Tokyo College of Music and studied under Prof. Makoto Ariga and Prof. Tadahiro

Wakabayashi. He has also done extensive research on world music (especially Asian and Arabic). He is involved as a non-border percussionist (Ethnic Music - contemporary music - electronics, pop music) in session and studio work. He also produces

Computer Music Software and advises Roland on new musical instruments.

Efrain Toro

is one of the world’s most versatile drummer/percussionists, and his unique approach to rhythm and education is a musical revolution in the making. His career began in his native Puerto Rico. Efrain later moved to the New England

Conservatory. While in Boston, he studied with Alan Dawson. He moved to Los Angeles in 1979, where he has played on countless film and TV scores. Efrain has also worked with a variety of great artists that include Stan Getz, George Benson, Los

Lobos, Chicago, Placido Domingo and many others. Efrain has taught at the renowned Musician’s Institute, California Institute of the Arts and UCLA. He has authored five books for musicians and artists that explain his theories and skills on topics like rhythm, hand-finger technique, Latin styles, and odd meters.

96


MIDI Implementation

Model HPD-15

Version 1.00

March.23 2000

1. Receive data

■

Channel Voice Messages

* The following channel voice messages are received on the channel specified as the

[SYSTEM]-(MIDI).

●

Note Off

Status

8nH

9nH

2nd byte kkH kkH n = MIDI channel number: kk = note number: vv = note off velocity:

3rd byte vvH

00H

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

01H - 7FH (1 - 127)

* In the melody parts, the velocity values of Note Off message are ignored.

* When the Trigger Mode of the pad is set to "Shot", the pad part and the percussion parts will ignore the velocity values of Note Off message.

* When the Trigger Mode of the pad is set to "Gate" or "Trig", the pad part and the percussion parts will receive only the note numbers which are specified by the patch, and the same processing will be carried out as when pad is released.

* When recording, this is recorded in the sequencer data itself.

●

Note On

Status

9nH

2nd byte kkH

3rd byte vvH n = MIDI channel number: kk = note number: vv = note on velocity:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

00H - 7FH (0 - 127)

* The pad part and the percussion parts will receive only the note numbers which are specified by the patch.


●

Polyphonic Key Pressure

Status 2nd byte 3rd byte

AnH kkH vvH n = MIDI channel number: kk = note number: vv = pressure:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received.

* The pad part and the percussion parts will receive only the note numbers which are specified by the patch.

* This is used as the pad pressure data.


●

Control Change

❍

Bank Select (Controller number 0, 32)

Status

BnH

BnH

2nd byte

00H

20H

3rd byte mmH llH n = MIDI channel number: mm = Bank number MSB: ll = Bank number LSB:

0H - FH (ch.1 - ch.16)

00H - 02H (bank1: User Patch bank2, 3: Preset Patch) processed as 00H


* Bank select processing will be suspended until a program change message is received.

* Not recorded in the sequencer.

❍

Modulation (Controller number 1)

Status

BnH

2nd byte

01H

3rd byte vvH n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the data of the [LFO PITCH] knob.


❍

Foot Control (Controller number 4)


BnH 04H vvH n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* Only the pad part the and percussion parts can be received.

* This is used as the position data of the pedal connected to the EXP PEDAL/HH CTRL jack.


❍

Data Entry (Controller number 6)

Status

BnH

2nd byte

06H

3rd byte mmH n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = The value of the parameter specified by RPN.

* Only the melody parts can be received.


On the normal mode of HPD-15, RPN can be used to modify the following parameters.

RPN

MSB LSB

00H 00H

7FH 7FH

Data entry

MSB LSB mmH ---

--- ---

Explanation

Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones)

LSB: ignored (processed as 00H) specify up to 2 octaves in semitone steps

RPN null set condition where RPN is unspecified. The data entry messages after set RPN null will be ignored. (No Data entry messages are required after RPN null).

Settings already made will not change.

MSB,LSB of data entry: ignored

❍

Volume (Controller number 7)

Status

BnH

2nd byte

07H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* In the melody parts, it is used as the part level of the sequencer pattern data.

* When recording, this is recorded in the sequencer data itself if it is received on the melody parts.

* In the percussion parts, it is used as the part level of the sequencer pattern data.

* Not recorded in the sequencer if it is received on the percussion parts.

❍

Pan (Controller number 10)

Status

BnH

2nd byte

0AH


0H - FH (ch.1 - ch.16)

00H - 40H - 7FH (Left - Center - Right)

* In the melody parts, it is used as the part panpot of the sequencer pattern data.

* In the pad part or the percussion parts, it is used as the data of the [PAN] knob.


97



❍

Expression (Controller number 11)

Status

BnH

2nd byte

0BH


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the data of the [LEVEL] knob.


❍

Effect Control 1 (Controller number 12)


BnH 0CH vvH n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the data of the [M-FX DEPTH] knob.


❍

General purpose controller 1 (Controller number 16)



0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the position data of the pad A1.


❍


Status

BnH

2nd byte

11H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the position data of the pad A5.


❍

Hold 1 (Controller number 64)

Status nH

2nd byte

40H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


❍

Sostenuto (Controller number 66)


BnH 42H vvH

0-63 = OFF, 64-127 = ON n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON


* If the value is 64 and over, the Modify Lock will be done. If the value is 63 and under, the

Modify Lock will be canceled.


❍

Soft (Controller number 67)

Status

BnH

2nd byte

43H

3rd byte

00H n = MIDI channel number: 0H - FH (ch.1 - ch.16)


* When this message is received, the Modify Clear will be done.


❍

Sound Controller 1 (Controller number 70)

Status

BnH

2nd byte

46H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the data of the [SWEEP] knob.


❍



BnH 4AH vvH n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the data of the [COLOR] knob.


❍




0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the data of the [LFO RATE] knob.


❍


Status

BnH

2nd byte

51H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the position data of the d beam controller.


❍


Status

BnH

2nd byte

52H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the position data of the ribbon controller L.


❍




0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the position data of the ribbon controller R.


❍

Effect 1(Reverb Send Level) (Controller number 91)


BnH 5BH vvH n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* Only the percussion parts and the melody parts can be received.

* This is used as the part reverb send level of the sequencer pattern data.


98



❍

Effect 2(Tremolo Depth) (Controller number 92)

Status

BnH

2nd byte

5CH


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)


* This is used as the data of the [LFO FLT/AMP] knob.


❍

Effect 4(Celeste Depth) (Controller number 94)


BnH 5EH vvH n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON

* In the melody parts and the percussion parts, it is used as the multi effects switch of the sequencer pattern data.

* In the pad part, it is used as the data of the [MULTI EFFECTS] button.

* When recording, this is recorded in the sequencer data itself if it is received on the pad part or the percussion parts.

❍

RPN MSB/LSB (Controller number 101, 100)


BnH

BnH

65H

64H mmH llH n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = upper byte of parameter number specified by RPN (MSB) ll = lower byte of parameter number specified by RPN (LSB)

* Only the channel assigned to the melody part can be received.

* The value specified by RPN will not be reset even by messages such as program change or reset all controllers.


**RPN**

The RPN (Registered Parameter Number) messages are expanded control changes,and each function of an RPN is described by the MIDI Standard.

To use these messages, you must first use RPN (controller number 100 and 110, their order does not matter) to specify the parameter to be controlled, and then use Data Entry messages (controller number 6, 38) to specify the value of the specified parameter. Once an

RPN parameter has been specified, all data entry messages received on that channel will modify the value of that parameter. To prevent accidents, it is recommended that you set

RPN null (RPN number = 7FH 7FH) when you have finished setting the value of the desired

parameter. Refer to "Examples of actual MIDI messages" <Example 4> (p. 109).

On the normal mode of HPD-15, RPN can be used to modify the following parameters.

Regarding the value of each parameter, refer to Data Entry (Controller number 6).

RPN mm ll

00H 00H

7FH 7FH

Parameter

Pitch Bend Sensitivity

RPN null

●

Program Change

Status 2nd byte

CnH ppH n = MIDI channel number: pp = Program number:

0H - FH (ch.1 - ch.16)

00H - 7FH (prog.1 - prog.128)

* The sound will change beginning with the next note-on after the program change is received.


●

Pitch Bend Change

Status 2nd byte

EnH llH

3rd byte mmH n = MIDI channel number: mm,ll = Pitch Bend value:

0H - FH (ch.1 - ch.16)

00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* In the melody parts, it is used as the part pitch bend change of the sequencer pattern data.

* In the pad part or the percussion parts, it is used as the data of the [PITCH] knob.


■

Channel Mode Messages

●

All Sounds Off (Controller number 120)


BnH 78H 00H n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* When this message is received, all currently-sounding notes on the corresponding channel will be silenced. However, the status of channel messages will not change.


●

Reset All Controllers (Controller number 121)


BnH 79H 00H n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* When this message is received, the following controllers will be set to their reset values.

* When recording, a control message carrying the reset value will be created and recorded.

Controller

Pitch Bend Change

Polyphonic Key Pressure

Modulation

Foot Control

General Purpose Controller 1





Hold 1

RPN

Reset value

+/-0 (center)

0 (off)

0 (off)

0 (off)

0 (off)

0 (off)

0 (off)

0 (off)

0 (off)

0 (off) unset; previously set data will not change

●

All Notes Off (Controller number 123)


BnH 7BH 00H n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* When All Notes Off is received, all notes on the corresponding channel will be turned off. However if Hold 1 is ON, the sound will be continued until these are turned off.

* In the recording mode, “Note OFF message” will be created for corresponding Note ON message, and will be recorded.

99



●

OMNI OFF (Controller number 124)


BnH 7CH 00H n = MIDI channel number:0 H - FH (ch.1 - ch.16)

* The same processing will be carried out as when All Notes Off is received.

●

OMNI ON (Controller number 125)


BnH 7DH 00H n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* The same processing will be carried out as when All Notes Off is received.

●

MONO (Controller number 126)


BnH 7EH mmH n = MIDI channel number: mm = mono number:

0H - FH (ch.1 - ch.16)

00H - 10H (0 - 16)

* The same processing will be carried out as when All Sound Off or All Notes Off is received.

●

POLY (Controller number 127)


BnH 7FH 00H n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* The same processing will be carried out as when All Sound Off or All Notes Off is received.

■

System Realtime Message

* Following System Realtime Messages cannot be recorded in recording mode.

●

Timing Clock

Status

F8H

* Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext".

●

Start

Status

FAH

* Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext" or "Remote".

●

Continue

Status

FBH


●

Stop

Status

FCH


●

Active Sensing

Status

FEH

* When Active Sensing is received, the unit will begin monitoring the intervals of all further messages. While monitoring, if the interval between messages exceeds about 420 ms, the same processing will be carried out as when All Sounds Off, All Notes Off and

Reset All Controllers are received, and message interval monitoring will be halted.

■

System Exclusive Message

* Following System Exclusive Messages cannot be recorded.

Status

F0H

F0H: ii = ID number:

Data byte Status iiH, ddH, ......, eeH F7H

System Exclusive Message status an ID number (manufacturer ID) to indicate the manufacturer whose

Exclusive message this is. Roland’s manufacturer ID is 41H.

ID numbers 7EH and 7FH are extensions of the MIDI standard;

Universal Non-realtime Messages (7EH) and Universal Realtime

Messages (7FH).

00H - 7FH (0 - 127)

EOX (End Of Exclusive) dd,..., ee = data:

F7H:

The System Exclusive Messages received by the normal mode of HPD-15 are; Universal

Non-realtime System Exclusive Messages, Data Requests (RQ1), and Data Set (DT1).

●

Universal Non-realtime System Exclusive Messages

❍

Identity Request

Status Data byte Status

F0H 7EH, dev, 06H, 01H F7H

Byte

F0H

7EH dev

06H, 01H

F7H

Explanation

Exclusive status

ID number (universal non-realtime message)

Device ID (dev:00H - 1FH (1 - 32) Initial value is 10H (17))

Identity request

EOX (End Of Exclusive)

* Even if the Device ID is 7FH (Broadcast), Identity reply message will be transmitted.

*

When Identity Request is received, Identity reply message will be transmitted (p. 104).

●

Data transmission

HPD-15 can transmit and receive the various parameters using System Exclusive messages.

The exclusive message of HPD-15's data has a model ID of 00H 2EH and a device ID of 10H

(17). Device ID can be changed in HPD-15.

❍

Request data 1 RQ1 (11H)

This message requests the other device to send data. The Address and Size determine the type and amount of data to be sent.

When a Data Request message is received, if the device is ready to transmit data and if the address and size are appropriate, the requested data will be transmitted as a "Data Set 1

(DT1)" message. If not, nothing will be transmitted.

Status

F0H

Data byte

41H, dev, 00H, 2EH, 11H, aaH, bbH, ccH, ddH, ssH, ttH, uuH, vvH, sum

Status

F7H bbH ccH ddH ssH ttH uuH vvH sum

F7H

Byte Explanation

F0H

41H dev

00H 2EH

11H aaH

Exclusive status

ID number (Roland)

Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))

Model ID (HPD-15)

Command ID (RQ1)

Address MSB: upper byte of the starting address of the requested data

Address 2nd: 2nd byte of the starting address of the requested data

Address 3rd: 3rd byte of the starting address of the requested data

Address LSB: lower byte of the starting address of the requested data

Size MSB

Size 2nd

Size 3rd

Size LSB

Checksum


* The amount of data that can be transmitted at once time will depend on the type of data, and data must be requested using a specific starting address and size. Refer to the

Address and Size listed in "Parameter Dump Request" (p. 108).

*

Regarding the checksum please refer to p. 109.

100



❍

Data set 1 DT1 (12H)

This is the message that actually performs data transmission, and is used when you wish to transmit the data.

bbH ccH ddH eeH

: ffH sum

F7H

Status

F0H

Byte

F0H

41H dev

00H 2EH

12H aaH

Data byte

41H, dev, 00H, 2EH, 12H, aaH, bbH, ccH, ddH, eeH,... ffH, sum

Status

F7H

Explanation

Exclusive status

ID number (Roland)


Model ID (HPD-15)

Command ID (DT1)

Address MSB: upper byte of the starting address of the transmitted data

Address 2nd : 2nd byte of the starting address of the transmitted data

Address 3rd: 3rd byte of the starting address of the transmitted data

Address LSB: lower byte of the starting address of the transmitted data

Data: The actual data to be transmitted. Multiple bytes of data are transmitted in order starting from the address.

:

Data

Checksum



Address and Size listed in "Parameter Dump Request" (p. 108).

* If "Data Set 1" is transmitted successively, there must be an interval of at least 40ms.

*


2. Transmit data

* When [SYSTEM]-(MIDI) Soft Thru is set to "ON", messages received in addition to the following messages are also sent.

■

Channel Voice Messages

* The following channel voice messages are transmitted on the channel specified as the

[SYSTEM]-(MIDI).

●

Note off

Status

8nH

9nH

2nd byte kkH kkH

3rd byte vvH

00H n = MIDI channel number: kk = note number: vv = note off velocity:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

00H - 7FH (0 - 127)

* With the Trigger Mode is set to "Shot", 9n kk 00H is transmitted afetr the set time has elapsed.

* With the Trigger Mode is set to "Gate", 8n kk vvH is transmitted when you release the pad.

* With the Trigger Mode is set to "Trig", Note On and 8n kk vvH are alternately transmitted when you strike the pad.

* On the channel assigned to the pad part and the percussion parts, the note numbers specified by the patch will be transmitted.

●

Note on

Status

9nH

2nd byte kkH

3rd byte vvH n = MIDI channel number: kk = note number: vv = note on velocity:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

01H - 7FH (1 - 127)

* With the Trigger Mode is set to "Shot", Note On message is transmitted when you strike the pad.

* With the Trigger Mode is set to "Gate", Note On message is transmitted when you strike the pad.

* With the Trigger Mode is set to "Trig", Note On and Note Off messages are alternately transmitted when you strike the pad.

* On the channel assigned to the pad part and the percussion parts, the note numbers specified by the patch will be transmitted.

●

Polyphonic Key Pressure


AnH kkH vvH n = MIDI channel number: kk = note number: vv = pressure:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

00H - 7FH (0 - 127)

* The HPD-15 tramsmits a value corresponding to the pressing force of the pad.

* This will not be transmitted if the MuteTx, PitchTx and CtrlTx are set to "OFF".

* This is transmitted only on the channel which is assigned to the pad part and the percussion parts.

* Transmitted when the HPD-15 is in play for pattern in which this message is recorded.

●

Control Change

❍

Bank Select (Controller number 0, 32)

Status

BnH

BnH

2nd byte

00H

20H

3rd byte mmH llH n = MIDI channel number: mm = Bank number MSB: ll = Bank number LSB:

0H - FH (ch.1 - ch.16)

00H - 02H (bank1:user patch bank bank2,3:preset patch) processed as 00H

* Bank Select corresponding to patch are sent when patch are selected.

* Bank Select corresponding to each part's instrument are sent when patterns is selected.

Also, when instruments are selected for parts,bank select for the respective instruments are sent.


101



❍

Modulation (Controller number 1)

Status

BnH

2nd byte

01H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* When the [LFO PITCH] knob is turned, the corresponding value will be transmitted.



❍

Foot control (Controller number 4)



0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* The HPD-15 tramsmits a value corresponding to the position of the pedal connected to the EXP PEDAL/HH CTRL jack.



❍

Data Entry (Controller number 6)

Status

BnH

2nd byte

06H

3rd byte mmH n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = The value of the parameter specified by RPN.

* When a pattern is selected or adjust the Bend Range setting, the pitch bend sensitivity of the sequencer pattern data will be transmitted.

* This is transmitted only on the channel which is assigned to the melody parts.

Values for the RPN parameter, on the normal mode of HPD-15, are as follows.

RPN

MSB LSB

00H 00H

7FH 7FH

Data entry

MSB LSB mmH ---

--- ---

Explanation

Pitch Bend Sensitivity mm: 00H - 18H (0 - 24 semitones)

RPN null set condition where RPN is unspecified.

❍

Volume (Controller number 7)

Status

BnH

2nd byte

07H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* When the [LEVEL] knob is turned in the melody parts, the corresponding value will be transmitted.

* This is transmitted only on the channel which is assigned to the melody parts and the percussion parts.

* When a pattern is selected, the part level of the sequencer pattern data will be transmitted.


❍

Pan (Controller number 10)

Status 2nd byte

BnH 0AH


0H - FH (ch.1 - ch.16)

00H - 40H - 7FH (Left - Center - Right)

* When the [PAN] knob is turned, the corresponding value will be transmitted.

* When a pattern is selected, the part panpot of the sequencer pattern data will be transmitted.


❍

Expression (Controller number 11)

Status

BnH

2nd byte

0BH


0H - FH (ch.1 - ch.16)

00H - 7FH

* When the [LEVEL] knob is turned, the corresponding value will be transmitted.



102

❍

Effect Control 1 (Controller number 12)

Status

BnH

2nd byte

0CH


0H - FH (ch.1 - ch.16)

00H - 7FH

* When the [M-FX DEPTH] knob is turned, the corresponding value will be transmitted.



❍




0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* The HPD-15 tramsmits a value corresponding to the strike position of the pad A1.



❍




0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* The HPD-15 tramsmits a value corresponding to the strike position of the pad A5.



❍

Hold 1 (Controller number 64)

Status

BnH

2nd byte

40H


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* This message is transmitted with the value 7FH when turned on the [ROLL/HOLD] button or value 00H when turned off.


❍

Sostenuto (Controller number 66)

Status

BnH

2nd byte

42H


0H - FH (ch.1 - ch.16)

00H, 7FH (0:release Modify Lock, 127:Modify Lock)

* This message is transmitted with the value 7FH when the Modify Lock is done or transmitted with the value 00H when the Modify Lock is canceled.



❍

Soft 1 (Controller number 67)

Status

BnH

2nd byte

43H


0H - FH (ch.1 - ch.16)

00H (0)

* This message is transmitted with the value 00H when the Modify Clear is done.



❍


Status

BnH

2nd byte

46H


0H - FH (ch.1 - ch.16)

00H - 7FH (0, 127)

* When the [SWEEP] knob is turned, the corresponding value will be transmitted.





❍


Status

BnH

2nd byte

4AH


0H - FH (ch.1 - ch.16)

00H - 7FH (0, 127)

* When the [COLOR] knob is turned, the corresponding value will be transmitted.



❍




0H - FH (ch.1 - ch.16)

00H - 7FH (0, 127)

* When the [LFO RATE] knob is turned, the corresponding value will be transmitted.



❍

General Purpose Controller 6 (Controller number 81)



0H - FH (ch.1 - ch.16)

00H - 7FH (0, 127)

* The HPD-15 tramsmits a value corresponding to the position of the d beam controller.



❍


Status

BnH

2nd byte

52H


0H - FH (ch.1 - ch.16)

00H - 7FH (0, 127)

* The HPD-15 tramsmits a value corresponding to the position of the ribbon controller L.



❍


Status

BnH

2nd byte

53H


0H - FH (ch.1 - ch.16)

00H - 7FH (0, 127)

* The HPD-15 tramsmits a value corresponding to the position of the ribbon controller R.



❍

Effect 1 (Reverb Send Level) (Controller number 91)


BnH 5BH vvH n = MIDI channel number: vv = Control value:

0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* When a pattern is selected, the part reverb send level of the sequencer pattern data will be transmitted.

* This is transmitted only on the channel which is assigned to the melody parts and the percussion parts.

❍

Effect 2 (Tremolo Depth) (Controller number 92)

Status

BnH

2nd byte

5CH


0H - FH (ch.1 - ch.16)

00H - 7FH (0 - 127)

* When the [LFO FLT/AMP] knob is turned, the corresponding value will be transmitted.



❍

Effect 4 (Celeste Depth) (Controller number 94)

Status

BnH

2nd byte

5DH


0H - FH (ch.1 - ch.16)

00H, 7FH (0, 127)

* This message is transmitted with the value 7FH when turned on the [MULTI EFFECTS] button or value 00H when turned off.

* When a pattern is selected, the part M-FX of the sequencer pattern data will be transmitted.


❍

RPN MSB/LSB (Controller number 101,100)


BnH

BnH

65H

64H mmH llH n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = upper byte of parameter number specified by RPN (MSB) ll = lower byte of parameter number specified by RPN (LSB)

* Only the channel assigned to the melody parts are sent.

* When a pattern is selected, the pitch bend sensitivity of the sequencer pattern data will be transmitted.

*

Regarding the RPN please refer to p. 99.

Values for the RPN parameter, on the normal mode of HPD-15, are as follows. Regarding the value of each parameter, refer to Data Entry (Controller number 6).

RPN mm ll

00H 00H

7FH 7FH

Parameter

Pitch Bend Sensitivity

RPN null

●

Program Change

Status 2nd byte

CnH ppH n = MIDI channel number: pp = Program number:

0H - FH (ch.1 - ch.16)

00H - 7FH (prog.1 - prog.128) preset patch

00H - 4FH (prog.1 - prog.80) user patch

00H - 35H (prog.1 - prog.54) melody part's instrument

* Program changes corresponding to patch are sent when patch is selected.

* Program changes corresponding to each part's instrument are sent when pattern is selected. Also, when instruments are selected for parts, program changes for the respective instruments are sent.

●

Pitch Bend Change

Status 2nd byte

EnH llH

3rd byte mmH n = MIDI channel number: mm,ll = Pitch Bend value:

0H - FH (ch.1 - ch.16)

00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* When the [PITCH] knob is turned, the corresponding value will be transmitted.


■

System Realtime Message

●

Timing Clock

Status

F8H

●

Start

Status

FAH

●

Continue

Status

FBH

103



●

Stop

Status

FCH

●

Active Sensing

Status

FEH

* This will be transmitted constantly at intervals of approximately 250ms.

■

System Exclusive Messages

*

Regarding the system exclusive message refer to p. 100.

Identity reply and Data Set 1 (DT1) are the only System Exclusive messages transmitted by

HPD-15.

When an appropriate Identity Request or Data Request 1 (RQ1) message is received, the requested internal data will be transmitted.

●

Universal Non-realtime System Exclusive Messages

❍

Identity Reply

Status Data byte Status

F0H 7EH, dev, 06H, 02H, 41H, 2EH, 01H,

00H, 00H, 00H, 02H, 00H, 00H

F7H

Byte

F0H

7EH dev

06H 02H

41H

2EH 01H

Explanation

Exclusive status

ID number (universal non-realtime message)


Identity Reply

ID number(Roland)

Device family code

00H 00H Device family number code

00H 02H 00H 00H software revision level

F7H EOX (End Of Exclusive)

*

When Identity Request (p. 100) is received, Identity Reply message will be transmitted.

●

Data Transmission

❍

Data set 1 DT1 (12H)

Status Data byte

F0H 41H, dev, 00H, 2EH, 12H, aaH, bbH, ccH, ddH, eeH,... ffH, sum

Status

F7H data bbH ccH ddH eeH

Byte

F0H

41H dev

00H 2EH

12H aaH

: ffH sum

F7H

:

Explanation

Exclusive status

ID number (Roland)


Model ID (HPD-15)

Command ID (DT1)

Address MSB: upper byte of the starting address of the transmitted

Address 2nd: 2nd byte of the starting address of the transmitted data

Address 3rd: 3rd byte of the starting address of the transmitted data

Address LSB: lower byte of the starting address of the transmitted data

Data: The actual data to be transmitted. Multiple bytes of data are transmitted in order starting from the address.

Data

Checksum



Address and Size listed in "Parameter address map" (p. 104).

* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If “Data Set

1” is transmitted successively, there must be an interval of at least 40 ms between packets.

*


3. Parameter address map

(Model ID = 00H 2EH)

This map indicates address, size, range of data (value) and description of parameters which can be transferred using "Data set 1 (DT1)".

All the numbers of address and size are indicated in 7-bit Hexadecimal-form. All the numbers of data are indicated in Decimal-form.

Addresses marked at "#" cannot be used as starting addresses.

■

Parameter Address Block

HPD-15 (Model ID = 00H 2EH)

+—————————————————————————————————————————————————————————————————+

|Start | |

| address | Description |

|—————————————+———————————————————————————————————————————————————|

| 00 00 00 00 | SYSTEM (Individual) 1-1|

|—————————————+———————————————————————————————————————————————————|

| 01 00 00 00 | TEMPORARY PATCH (Individual) 1-2|

|—————————————+———————————————————————————————————————————————————|

| 10 00 00 00 | SYSTEM (Bulk) 1-1|

|—————————————+———————————————————————————————————————————————————|

| 11 00 00 00 | TEMPORARY PATCH (Bulk) 1-2|

|—————————————+———————————————————————————————————————————————————|

| 12 00 00 00 | USER PATCH 01-01 (Bulk) 1-2|

| : | : |

| 12 4F 00 00 | USER PATCH 10-08 (Bulk) 1-2|

|—————————————+———————————————————————————————————————————————————|

| 20 00 00 00 | USER PATTERN (Bulk) 1-3|

+—————————————————————————————————————————————————————————————————+

1-1 SYSTEM

+—————————————————————————————————————————————————————————————————+

|Offset | |


|—————————————+———————————————————————————————————————————————————|

| 00 00 00 | UTILITY 1-1-1|

|—————————————+———————————————————————————————————————————————————|

| 01 00 00 | FOOT SW 1-1-2|

|—————————————+———————————————————————————————————————————————————|

| 02 00 00 | MIDI 1-1-3|

|—————————————+———————————————————————————————————————————————————|

| 03 00 00 | CONTROLLER 1-1-4|

|—————————————+———————————————————————————————————————————————————|

| 04 00 00 | PAD A1 1-1-5|

| : | : |

| 04 0E 00 | PAD C5 1-1-5|

|—————————————+———————————————————————————————————————————————————|

| 05 00 00 | TRIG COMMON 1-1-6-1|

|—————————————+———————————————————————————————————————————————————|

| 05 01 00 | TRIG 1 1-1-6-2|

|—————————————+———————————————————————————————————————————————————|

| 05 02 00 | TRIG 2 1-1-6-2|

|—————————————+———————————————————————————————————————————————————|

| 06 00 00 | PATCH CHAIN GROUP 1 1-1-7|

| : | : |

| 06 09 00 | PATCH CHAIN GROUP 10 1-1-7|

+—————————————————————————————————————————————————————————————————+

1-1-1 UTILITY

+—————————————————————————————————————————————————————————————————+

|Offset | | |

| address | Size | Description Data (Value) |

|—————————————+———————————+———————————————————————————————————————|

| 00 00 | 0000 aaaa | LCD Contrast 0 - 15 |

| | | (1 - 16) |

|—————————————+———————————+———————————————————————————————————————|

| 00 01 | 0000 aaaa | Beep Level 0 - 15 |

|—————————————+———————————+———————————————————————————————————————|

| 00 02 | 0000 000a | Dial Lock 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 00 03 | 0000 000a | Power On Mode 0 - 1 |

| | | (RESET,LAST) |

|—————————————+———————————+———————————————————————————————————————|

| 00 04 | 0000 000a | Pad Chase 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 00 05 | 0000 000a | Roll Sync Mode 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 00 06 | 0000 00aa | Sequencer Sync Mode 0 - 2 |

| | | (Int,Ext,Remote) |

|—————————————+———————————+———————————————————————————————————————|

| 00 07 | 0000 aaaa | (Reserved) |

|—————————————+———————————+———————————————————————————————————————|

| 00 08 | 0000 000a | Pedal Select 0 - 3 |

| | | (EXP PEDAL,HI_HAT,SW +, SW -) |

|—————————————+———————————+———————————————————————————————————————|

| 00 09 | 0000 aaaa | Master Tune 0 - 509 |

|# 00 0A | 0000 bbbb | (415.3 - 466.2Hz, 0.1Hz step) |

|# 00 0B | 0000 cccc | |

|# 00 0C | 0000 dddd | |

+—————————————————————————————————————————————————————————————————+

1-1-2 FOOT SW

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 00 | 0000 aaaa | Foot Sw1 0 - 8 (*1) |

|—————————————+———————————+———————————————————————————————————————|

| 00 01 | 0000 aaaa | Foot Sw2 0 - 8 (*1) |

+—————————————————————————————————————————————————————————————————+

(*1) OFF, PATCH DOWN, PATCH UP, REV OFF/ON, M-FX OFF/ON, ROLL/HOLD,

PLAY/STOP, Mdfy SEL DN, Mdfy SEL UP

104



1-1-3 MIDI

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 00 | 000a aaaa | Melo1 MIDI Ch 0 - 16 |

| | | (1 - 16,OFF) |

|—————————————+———————————+———————————————————————————————————————|

| 00 01 | 000a aaaa | Melo2 MIDI Ch 0 - 16 |

| | | (1 - 16,OFF) |

|—————————————+———————————+———————————————————————————————————————|

| 00 02 | 000a aaaa | Perc1 MIDI Ch 0 - 16 |

| | | (1 - 16,OFF) |

|—————————————+———————————+———————————————————————————————————————|

| 00 03 | 000a aaaa | Perc2 MIDI Ch 0 - 16 |

| | | (1 - 16,OFF) |

|—————————————+———————————+———————————————————————————————————————|

| 00 04 | 000a aaaa | Pad MIDI Ch 0 - 16 |

| | | (1 - 16,OFF) |

|—————————————+———————————+———————————————————————————————————————|

| 00 05 | 0000 000a | Local Control 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 00 06 | 0000 000a | Soft Thru 0 - 1 |

| | | (OFF,ON) |

+—————————————————————————————————————————————————————————————————+

1-1-4 CONTROLLER

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 00 | 0000 00aa | Data Thin 0 - 2 |

| | | (OFF,1,2) |

|—————————————+———————————+———————————————————————————————————————|

| 00 01 | 0000 0000 | Edge Level 0 - 15 |

| | | (1 - 16) |

|—————————————+———————————+———————————————————————————————————————|

| 00 02 | 0000 0000 | Edge Area 0 - 15 |

| | | (1 - 16) |

|—————————————+———————————+———————————————————————————————————————|

| 00 03 | 0000 0000 | (Reserved) |

|—————————————+———————————+———————————————————————————————————————|

| 00 04 | 0000 0aaa | D Beam Curve 0 - 4 |

| | | (1 - 5) |

|—————————————+———————————+———————————————————————————————————————|

| 00 05 | 0000 aaaa | (Reserved) |

|—————————————+———————————+———————————————————————————————————————|

| 00 06 | 0aaa aaaa | D Beam Sense 0 - 127 |

+—————————————————————————————————————————————————————————————————+

1-1-5 PAD

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0000 aaaa | Sens 0 - 15 |

| | | (1 - 16) |

|—————————————+———————————+———————————————————————————————————————|

| 01 | 000a aaaa | Threshold 1 - 16 |

|—————————————+———————————+———————————————————————————————————————|

| 02 | 0aaa aaaa | Mask Time 0 - 32 |

| | | (0 - 64ms, 2ms step) |

|—————————————+———————————+———————————————————————————————————————|

| 03 | 0000 aaaa | Pressure Sens 0 - 15 |

| | | (1 - 16) |

+—————————————————————————————————————————————————————————————————+

1-1-6-1 TRIG COMMON

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 00 | 0000 000a | Trigger Input Mode 0 - 1 |

| | | (HD/RM,TRIGx2) |

|—————————————+———————————+———————————————————————————————————————|

| 00 01 | 0000 aaaa | Trigger Rim Sens 0 - 15 |

| | | (OFF,1 - 15) |

+—————————————————————————————————————————————————————————————————+

1-1-6-2 TRIG

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 000a aaaa | Trigger Type 0 - 19 (*2) |

|—————————————+———————————+———————————————————————————————————————|

| 01 | 0000 aaaa | Trigger Sens 0 - 15 |

| | | (1 - 16) |

|—————————————+———————————+———————————————————————————————————————|

| 02 | 0000 0aaa | Trigger Curve 0 - 7 (*3) |

|—————————————+———————————+———————————————————————————————————————|

| 03 | 000a aaaa | Trigger Threshold 1 - 16 |

|—————————————+———————————+———————————————————————————————————————|

| 04 | 0000 00aa | Trigger Scan Time 0 - 2 |

| | | (1 - 3ms, 1ms step) |

|—————————————+———————————+———————————————————————————————————————|

| 05 | 0000 aaaa | Trigger Retrig Cancel 0 - 15 |

| | | (1 - 16) |

|—————————————+———————————+———————————————————————————————————————|

| 06 | 0aaa aaaa | Trigger Mask Time 0 - 32 |

| | | (0 - 64ms, 2ms step) |

|—————————————+———————————+———————————————————————————————————————|

| 07 | 0000 aaaa | Trigger Crosstalk Rate 0 - 13 (*4) |

+—————————————————————————————————————————————————————————————————+

(*2) PD-5, PD-7, PD-9, PD-80, PD-80R, PD-100, PD-120, P-1, P-2, KD-7, KD-80, KD-120, K-1,

K-2, KICK, SNARE, TOM, FLOOR, SW +, SW -

(*3) Linear, Exp1, Exp2, Log1, Log2, Spline, Loud1, Loud2

(*4) OFF, 20%, 25%, 30%, 35%, 40%, 45%, 50%, 55%, 60%, 65%, 70%, 75%, 80%

1-1-7 PATCH CHAIN GROUP

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0000 aaaa | Patch Number (step1) 0 - 251 (*5) |

|# 01 | 0000 bbbb | |

|—————————————+———————————+———————————————————————————————————————|

| 02 | 0000 aaaa | Patch Number (step2) 0 - 251 |

|# 03 | 0000 bbbb | |

| : | : | |

| 40 | 0000 aaaa | Patch Number (step33) 240 - 251 |

|# 41 | 0000 bbbb | |

+—————————————————————————————————————————————————————————————————+

(*5) P0101 - U1008, JUMP TO CH01 - JUMP TO CH10, LOOP, END

1-2 USER PATCH and TEMPORARY PATCH

+—————————————————————————————————————————————————————————————————+

|Offset | |


|—————————————+———————————————————————————————————————————————————|

| 00 00 | PAD SET A 1-2-1|

|—————————————+———————————————————————————————————————————————————|

| 01 00 | PAD SET B 1-2-1|

|—————————————+———————————————————————————————————————————————————|

| 02 00 | PAD SET C 1-2-1|

|—————————————+———————————————————————————————————————————————————|

| 10 00 | PAD A1 1-2-2-1|

|—————————————+———————————————————————————————————————————————————|

| 11 00 | PAD A2 1-2-2-1|

| : | : |

| 1E 00 | PAD C5 1-2-2-1|

|—————————————+———————————————————————————————————————————————————|

| 1F 00 | PEDAL 1-2-2-2|

|—————————————+———————————————————————————————————————————————————|

| 20 00 | D BEAM 1-2-2-2|

|—————————————+———————————————————————————————————————————————————|

| 21 00 | RIBBON L 1-2-2-2|

|—————————————+———————————————————————————————————————————————————|

| 22 00 | RIBBON R 1-2-2-2|

|—————————————+———————————————————————————————————————————————————|

| 23 00 | TRIG 1 1-2-2-1|

|—————————————+———————————————————————————————————————————————————|

| 24 00 | TRIG 2 1-2-2-1|

|—————————————+———————————————————————————————————————————————————|

| 30 00 | EFFECT 1-2-3|

|—————————————+———————————————————————————————————————————————————|

| 38 00 | LFO 1-2-4|

|—————————————+———————————————————————————————————————————————————|

| 40 00 | COMMON 1-2-5|

+—————————————————————————————————————————————————————————————————+

1-2-1 PAD SET

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0000 aaaa | Inst 0 - 98 (*6) |

|# 01 | 0000 bbbb | |

|—————————————+———————————+———————————————————————————————————————|

| 02 | 0000 aaaa | Pitch 0 - 960 |

|# 03 | 0000 bbbb | (-2400 - +2400cent, 5cent step) |

|# 04 | 0000 cccc | |

|# 05 | 0000 dddd | |

|—————————————+———————————+———————————————————————————————————————|

| 06 | 0aaa aaaa | Level 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 07 | 0000 aaaa | Pan 1 - 129 (*7) |

|# 08 | 0000 bbbb | |

|—————————————+———————————+———————————————————————————————————————|

| 09 | 00aa aaaa | Decay 0 - 62 |

| | | (-31 - +31) |

|—————————————+———————————+———————————————————————————————————————|

| 0A | 0aaa aaaa | ReverbSend 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 0B | 0000 00aa | M-FX SW 0 - 2 |

| | | (OFF,ON,PadData) |

+—————————————————————————————————————————————————————————————————+

(*6) Conga, Latin1.....etc.

(*7) L63 - Center - R63, Random, Alternate

1-2-2-1 PAD A1 - PAD C5, TRIG 1, TRIG 2

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0000 aaaa | Inst 0 - 600 |

|# 01 | 0000 bbbb | |

|# 02 | 0000 cccc | |

|# 03 | 0000 dddd | |

|—————————————+———————————+———————————————————————————————————————|

| 04 | 0000 aaaa | Pitch 0 - 4800 |


|# 06 | 0000 cccc | |

|# 07 | 0000 dddd | |

|—————————————+———————————+———————————————————————————————————————|

| 08 | 0aaa aaaa | Level 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 09 | 0000 aaaa | Pan 1 - 129 (*8) |

|# 0A | 0000 bbbb | |

|—————————————+———————————+———————————————————————————————————————|

| 0B | 00aa aaaa | Decay 0 - 62 |

| | | (-31 - +31) |

|—————————————+———————————+———————————————————————————————————————|

| 0C | 00aa aaaa | Sweep 0 - 62 |

| | | (-31 - +31) |

|—————————————+———————————+———————————————————————————————————————|

| 0D | 00aa aaaa | Color 0 - 62 |

| | | (-31 - +31) |

105



|—————————————+———————————+———————————————————————————————————————|

| 0E | 0aaa aaaa | ReverbSend 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 0F | 0000 000a | M-FX SW 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 10 | 0000 00aa | Trigger Mode 0 - 2 |

| | | (Shot,Gate,Trig) |

|—————————————+———————————+———————————————————————————————————————|

| 11 | 000a aaaa | Velocity Curve 0 - 23 (*9) |

|—————————————+———————————+———————————————————————————————————————|

| 12 | 0000 000a | Roll Rx 0 - 1 (*10) |

| | | (OFF, ON) |

|—————————————+———————————+———————————————————————————————————————|

| 13 | 0000 0000 | (Reserved) |

| 14 | 0000 0000 | (Reserved) |

| 15 | 0000 0000 | (Reserved) |

| 16 | 0000 0000 | (Reserved) |

| 17 | 0000 0000 | (Reserved) |

| 18 | 0000 0000 | (Reserved) |

| 19 | 0000 0000 | (Reserved) |

| 1A | 0000 0000 | (Reserved) |

|—————————————+———————————+———————————————————————————————————————|

| 1B | 00aa aaaa | Ctrl Tx 0 - 6 (*11) |

|—————————————+———————————+———————————————————————————————————————|

| 1C | 0000 000a | Pitch Tx 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 1D | 0000 000a | Mute Tx 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 1E | 0000 000a | Ctrl Rx 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 1F | 00aa aaaa | Pitch Rx Range 0 - 49 (*12) |

|—————————————+———————————+———————————————————————————————————————|

| 20 | 0000 000a | Mute Rx 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 21 | 0000 000a | Rx Self 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 22 | 0000 0000 | (Reserved) |

|—————————————+———————————+———————————————————————————————————————|

| 23 | 0000 aaaa | MIDI Note Number 0 - 128 |

|# 24 | 0000 bbbb | (OFF,C-1 - G9) |

|—————————————+———————————+———————————————————————————————————————|

| 25 | 0aaa aaaa | Gate Time 0 - 79 |

| | | (0.1 - 8.0, 0.1 step) |

|—————————————+———————————+———————————————————————————————————————|

| 26 | 0000 aaaa | Pattern Number 0 - 198 (*13) |

|# 27 | 0000 bbbb | (OFF,P01 - U99) |

|—————————————+———————————+———————————————————————————————————————|

| 28 | 0000 aaaa | PadPattern Tempo 0 - 220 (*13) |

|# 29 | 0000 bbbb | (20 - 240) |

|—————————————+———————————+———————————————————————————————————————|

| 2A | 0aaa aaaa | PadPattern Level 0 - 127 (*13) |

+—————————————————————————————————————————————————————————————————+

(*8) L63 - Center - R63, Random, Alternate

(*9) Linear, Exp1, Exp2, Log1, Log2, Spline, Loud1, Loud2, Fix1 - Fix16

(*10) PAD A1 - PAD C5 omly.

(*11) OFF, LFO Pitch, LFO Fltr, LFO Amp, MFX Ctrl1, MFX Ctrl2, MFX Ctrl3

(*12) -24 - OFF - +24, Random

(*13) PAD B1 - PAD C5 only.

1-2-2-2 PEDAL, D BEAM, RIBBON L, RIBBON R

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0000 aaaa | Inst 0 - 600 |

|# 01 | 0000 bbbb | (PEDAL: 0-615) |

|# 02 | 0000 cccc | |

|# 03 | 0000 dddd | |

|—————————————+———————————+———————————————————————————————————————|

| 04 | 0000 aaaa | Pitch 0 - 4800 |


|# 06 | 0000 cccc | |

|# 07 | 0000 dddd | |

|—————————————+———————————+———————————————————————————————————————|

| 08 | 0aaa aaaa | Level 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 09 | 0000 aaaa | Pan 1 - 129 (*8) |

|# 0A | 0000 bbbb | |

|—————————————+———————————+———————————————————————————————————————|

| 0B | 00aa aaaa | Decay 0 - 62 |

| | | (-31 - +31) |

|—————————————+———————————+———————————————————————————————————————|

| 0C | 00aa aaaa | Sweep 0 - 62 |

| | | (-31 - +31) |

|—————————————+———————————+———————————————————————————————————————|

| 0D | 00aa aaaa | Color 0 - 62 |

| | | (-31 - +31) |

|—————————————+———————————+———————————————————————————————————————|

| 0E | 0aaa aaaa | ReverbSend 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 0F | 0000 000a | M-FX SW 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 10 | 0000 00aa | Trigger Mode 0 - 3 (*14) |

| | | 0 - 5 (*15) |

| | | 0 - 4 (*16) |

|—————————————+———————————+———————————————————————————————————————|

| 11 | 000a aaaa | Velocity Curve 0 - 23 (*9) |

|—————————————+———————————+———————————————————————————————————————|

| 12 | 0000 0000 | (Reserved) |

| 13 | 0000 0000 | (Reserved) |

| 14 | 0000 0000 | (Reserved) |

| 15 | 0000 0000 | (Reserved) |

| 16 | 0000 0000 | (Reserved) |

| 17 | 0000 0000 | (Reserved) |

106

| 18 | 0000 0000 | (Reserved) |

| 19 | 0000 0000 | (Reserved) |

| 1A | 0000 0000 | (Reserved) |

|—————————————+———————————+———————————————————————————————————————|

| 1B | 00aa aaaa | Ctrl Tx 0 - 24 (*17) |

| | | 0 - 25 (*18) |

|—————————————+———————————+———————————————————————————————————————|

| 1C | 0000 000a | Pitch Tx 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 1D | 0000 000a | Mute Tx 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 1E | 0000 000a | Ctrl Rx 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 1F | 00aa aaaa | Pitch Rx Range 0 - 49 (*11) |

|—————————————+———————————+———————————————————————————————————————|

| 20 | 0000 000a | Mute Rx 0 - 1 |

| | | (OFF/ON) |

|—————————————+———————————+———————————————————————————————————————|

| 21 | 0000 000a | Rx Self 0 - 1 |

| | | (OFF/ON) |

|—————————————+———————————+———————————————————————————————————————|

| 22 | 0000 000a | Controller Type 0 - 1 (*19) |

| | | (Posit,Speed) |

|—————————————+———————————+———————————————————————————————————————|

| 23 | 0000 aaaa | MIDI Note Number 0 - 128 |

|# 24 | 0000 bbbb | (OFF,C-1 - G9) |

|—————————————+———————————+———————————————————————————————————————|

| 25 | 0aaa aaaa | Gate Time 0 - 79 |

| | | (0.1 - 8.0, 0.1 step) |

|—————————————+———————————+———————————————————————————————————————|

| 26 | 0000 0000 | (Reserved) |

| 27 | 0000 0000 | (Reserved) |

| 28 | 0000 0000 | (Reserved) |

| 29 | 0000 0000 | (Reserved) |

| 2A | 0000 0000 | (Reserved) |

+—————————————————————————————————————————————————————————————————+

(*14) PEDAL:

Shot, Gate, Scrape, Scrp1Wy

(*15) D BEAM:

Move, MovGate, Touch, TchGate, Scrape, Scrp1Wy

(*16) RIBBON L, RIBBON R:

Move, MovGate, Touch, TchGate, Scrape

(*17) RIBBON L, RIBBON R:

OFF, Level -, Level +, Decay -, Decay +, Cutoff, Resonance, Color 1, Color 2,

RevSend -, RevSend +, LFO Rate, LFO Pitch, LFO Fltr, LFO Amp, LFO Pc&Rt,

LFO Ft&Rt, LFO Am&Rt, MFX Ctrl1, MFX Ctrl2, MFX Ctrl3, RollSpeed, Tempo -,

Tempo +, Turntable

(*18) D BEAM, PEDAL:

OFF, Level -, Level +, Decay -, Decay +, Cutoff, Resonance, Color 1, Color 2,

RevSend -, RevSend +, LFO Rate, LFO Pitch, LFO Fltr, LFO Amp, LFO Pc&Rt,

LFO Ft&Rt, LFO Am&Rt, MFX Ctrl1, MFX Ctrl2, MFX Ctrl3, RollSpeed, Tempo -,

Tempo +, Turntable, Play/Stop

(*19) D BEAM, RIBBON L, RIBBON R only

1-2-3 EFFECT

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0000 0aaa | ReverbType 0 - 17 |

|—————————————+———————————+———————————————————————————————————————|

| 01 | 000a aaaa | (Reserved) |

|—————————————+———————————+———————————————————————————————————————|

| 02 | 0000 0aaa | ReverbAlgorithm 0 - 8 (*20) |

| 03 | 0aaa aaaa | ReverbLevel 0 - 127 |

| 04 | 0aaa aaaa | ReverbTime 0 - 127 |

| 05 | 000a aaaa | Reverb HF Damp 0 - 17 (*21) |

| 06 | 0aaa aaaa | DelayFeedback 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 07 | 000a aaaa | M-FX Type 0 - 84 |

| 08 | 000a aaaa | M-FX Depth(for EZ Edit) 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 09 | 000a aaaa | M-FX Algorithm 0 - 27 (*22) |

| 0A | 0aaa aaaa | M-FX Output Volume 0 - 127 |

| 0B | 0aaa aaaa | M-FX Reverb Send Level 0 - 127 |

| 0C | 0aaa aaaa | M-FX Parameter 1 0 - 127 |

| 0D | 0aaa aaaa | M-FX Parameter 2 0 - 127 |

| 0E | 0aaa aaaa | M-FX Parameter 3 0 - 127 |

| 0F | 0aaa aaaa | M-FX Parameter 4 0 - 127 |

| 10 | 0aaa aaaa | M-FX Parameter 5 0 - 127 |








+—————————————————————————————————————————————————————————————————+

(*20) OFF, Room1, Room2, Stage, Plate, Hall1, Hall2, Delay, PanDly

(*21) 200Hz, 250Hz, 315Hz, 400Hz, 500Hz, 630Hz, 800Hz, 1kHz, 1.25kHz, 1.6kHz, 2kHz,

2.5kHz, 3.15kHz, 4kHz, 5kHz, 6.3kHz, 8kHz, THRU

(*22) Stereo EQ, CompLimiter, Enhancer, Spectrum, Isolator, DynamicFltr, Sustainer,

Overdrive, Distortion, Lo-Fi, RingModltr, Stereo Cho, TetraChorus, TremoloCho,



Space D, Stereo Fln, StepFlanger, Phaser, FbackPitch, StereoDelay, Mod Delay,

TimeCtrlDly, 3TapDlySht, 3TapDlyLng, 4TapDlySht, 4TapDlyLng, AdvanceRev,

GateReverb

1-2-4 LFO

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0000 aaaa | LFO Waveform 0 - 9 (*23) |

|—————————————+———————————+———————————————————————————————————————|

| 01 | 0aaa aaaa | LFO Rate 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 02 | 0aaa aaaa | LFO Pitch Depth 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 03 | 0aaa aaaa | LFO Filter(Cutoff)Depth 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 04 | 0aaa aaaa | LFO Amplitude Depth 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 05 | 0aaa aaaa | LFO Effect Depth 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 06 | 0000 000a | LFO Realtime2 0 - 1 |

|—————————————+———————————+———————————————————————————————————————|

| 07 | 0000 000a | LFO Realtime3 0 - 1 |

+—————————————————————————————————————————————————————————————————+

(*23) OFF, Triangl, Sine, SawRise, SawFall, Square, Trape, Smp&Hld, Random, Chaos

1-2-5 COMMON

+—————————————————————————————————————————————————————————————————+

|Offset | | |


|—————————————+———————————+———————————————————————————————————————|

| 00 | 0aaa aaaa | Master Volume 0 - 127 |

|—————————————+———————————+———————————————————————————————————————|

| 01 | 0aaa aaaa | Resonance Limit 50 - 127 |

| | | (50 - 126,OFF) |

|—————————————+———————————+———————————————————————————————————————|

| 02 | 0000 000a | D BEAM SOUND 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 03 | 0000 000a | D BEAM CONTROL 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 04 | 0000 000a | RIBBON L SOUND 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 05 | 0000 000a | RIBBON L HOLD 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 06 | 0000 000a | RIBBON R SOUND 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 07 | 0000 000a | RIBBON R HOLD 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 08 | 0000 000a | MULTI EFFECTS 0 - 1 |

| | | (OFF,ON) |

|—————————————+———————————+———————————————————————————————————————|

| 09 | 0000 000a | Pad Sens Type 0 - 3 |

| | | (Hand1,Hand2,Fing1,Fing2) |

|—————————————+———————————+———————————————————————————————————————|

| 0A | 0000 aaaa | Roll Speed 0 - 127 (*24) |

|—————————————+———————————+———————————————————————————————————————|

| 0B | 0aaa aaaa | Patch Name 1 32 - 127 |

|# 0C | 0aaa aaaa | Patch Name 2 32 - 127 |

|# 0D | 0aaa aaaa | Patch Name 3 32 - 127 |

|# 0E | 0aaa aaaa | Patch Name 4 32 - 127 |

|# 0F | 0aaa aaaa | Patch Name 5 32 - 127 |

|# 10 | 0aaa aaaa | Patch Name 6 32 - 127 |





+—————————————————————————————————————————————————————————————————+

(*24) 1.0 - 3.0 (0.1 step), 3.2 - 16.0 (0.2 step), 16.5 - 20 (0.5 step), 21 - 38 (1 step), 40 - 50 (2 step),

1/2, 1/3, 1/4, 1/6, 1/8, 1/12, 1/16, 1/24, 1/32, 1/48

1-3 USER PATTERN

+—————————————————————————————————————————————————————————————————+

|Offset | |


|—————————————+———————————————————————————————————————————————————|

| 00 00 00 | All User Pattern Request |

|—————————————+———————————————————————————————————————————————————|

| 7F 7F 7F | User Pattern Data End |

+—————————————————————————————————————————————————————————————————+

■

Parameter Address Block Map

An outlined address map of the Exclusive Communication is as follows;

Address(H) Block Sub block Reference

=========== =========== ============================ =========

00 00 00 00 +—————————+...+——————————————+...............+———————+

|SYSTEM | |UTILITY | |1-1-1 |

+—————————+. +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |FOOT SW | |1-1-2 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |MIDI | |1-1-3 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |CONTROLLER | |1-1-4 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |PAD A1 | |1-1-5 |

: : . +——————————————+...............+———————+

: : . | : | | : |

: : . +——————————————+...............+———————+

: : . |PAD C5 | |1-1-5 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |TRIG COMMON | |1-1-6-1|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |TRIG 1 | |1-1-6-2|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |TRIG 2 | |1-1-6-2|

: : . +——————————————+...............+———————+

: : . +——————————————+...+———————+...+———————+

: : . |CHAIN GROUP 1 | |STEP 1 | |1-1-7 |

: : . +——————————————+. +———————+...+———————+

: : . | : | . | : |

: : . +——————————————+ . +———————+

: : . |CHAIN GROUP 10| . |STEP 33|

: : .+——————————————+ .+———————+

: :

01 00 00 00 +—————————+...+——————————————+...............+———————+

|TEMPORARY| |PAD SET A | |1-2-1 |

| PATCH | +——————————————+...............+———————+

+—————————+. +——————————————+...............+———————+

: : . |PAD SET B | |1-2-1 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |PAD SET C | |1-2-1 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |PAD A1 | |1-2-2-1|

: : . +——————————————+...............+———————+

: : . | : | | : |

: : . +——————————————+...............+———————+

: : . |PAD C5 | |1-2-2-1|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |PEDAL | |1-2-2-2|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |D BEAM | |1-2-2-2|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |RIBBON L | |1-2-2-2|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |RIBBON R | |1-2-2-2|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |TRIG 1 | |1-2-2-1|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |TRIG 2 | |1-2-2-1|

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |EFFECT | |1-2-3 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |LFO | |1-2-4 |

: : . +——————————————+...............+———————+

: : . +——————————————+...............+———————+

: : . |COMMON | |1-2-5 |

: : .+——————————————+...............+———————+

: :

10 00 00 00 +—————————+...................

|SYSTEM | ^

+—————————+ |

: : |

11 00 00 00 +—————————+ |

|TEMPORARY| |

|PATCH | |

+—————————+ |

: : Bulk area

12 00 00 00 +—————————+ |

|USER | |

|PATCH | |

+—————————+ |

: : |

20 00 00 00 +—————————+ |

|USER | |

|PATTERN | v

+—————————+...................

107



4. Bulk Dump

Bulk Dump allows you to transmit a large amount of data at once, and is convenient for storing settings for the entire unit on a computer or sequencer.

For Bulk Dump Request, you must use the Address and Size listed in the following Bulk

Dump Request.

■

Parameter Dump Request

Address(H)

10 00 00 00

11 00 00 00

12 mm 00 00

20 00 00 00

Size(H)

01 00 00 00 (SYSTEM: dump request for all system parameters)

01 00 00 00 (TEMPORARY PATCH: dump request for temporary patch)

00 01 00 00 (USER PATCH: single patch dump request specified by

"mm")

00 00 00 00 (ALL USER PATTERN: dump request for all user patterns) mm = 00 - 4FH (U0101 - U1008)

* Data of preset patch (P0101 - P1008) and preset pattern (P01 - P99) cannot be transmitted.

* Make sure to set "00 00 00 00" for the data size.

5. Supplementary material

■

Decimal and Hexadecimal table

In MIDI documentation, data values and addresses/sizes of exclusive messages etc. are expressed as hexadecimal values for each 7 bits.

The following table shows how these correspond to decimal numbers.

+——————————————————————————————————————————————————————————+

| Dec. | Hex. || Dec. | Hex. || Dec. | Hex. || Dec. | Hex. |

|——————+——————++——————+——————++——————+——————++——————+——————|

| 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |

| 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H |

| 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H |

| 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |

| 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |

| 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H |

| 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |

| 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H |

| 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |

| 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |

| 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH |

| 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH |

| 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |

| 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH |

| 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH |

| 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |

| 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H |

| 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |

| 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |

| 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H |

| 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H |

| 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |

| 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H |

| 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H |

| 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |

| 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |

| 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH |

| 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |

| 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH |

| 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH |

| 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |

| 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH |

+——————————————————————————————————————————————————————————+

* Decimal values such as MIDI channel, bank select, and program change are listed as one(1) greater than the values given in the above table.

* A 7-bit byte can express data in the range of 128 steps. For data where greater precision is required, we must use two or more bytes. For example, two hexadecimal numbers aa bbH expressing two 7-bit bytes would indicate a value of aa x 128 + bb.

* In the case of values which have a +- sign, 00H = -64, 40H = +- 0, and 7FH = +63, so that the decimal expression would be 64 less than the value given in the above chart. In the case of two types, 00 00H = -8192, 40 00H = +- 0, and 7F 7FH = +8191. For example if aa bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128 + bb - 64 x 128.

* Data marked "nibbled" is expressed in hexadecimal in 4-bit units. A value expressed as a

2-byte nibble 0a 0bH has the value of a x 16 + b.

<Example 1> What is the decimal expression of 5AH ?

From the preceding table, 5AH = 90

<Example 2> What is the decimal expression of the value 12 34H given as hexadecimal for each 7 bits ?

From the preceding table, since 12H = 18 and 34H = 52

18 x 128 + 52 = 2356

<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D ?

From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13

((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885

<Example 4> What is the nibbled expression of the decimal value 1258 ?

16) 1258

16) 78 ...10

16) 4 ...14

0 ... 4

Since from the preceding table, 00H = 0, 04H = 4, 14H = 0E, 10H = 0A , the answer is 00 04

0E 0A

108



■

Examples of actual MIDI message

<Example 1> 95 3E 5F

9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and

5FH = 95, this is a Note-on message with MIDI CH = 6, note number 62 (note name is D4), and velocity 95.

<Example 2> C9 20

CnH is the Program Change status, and n is the MIDI channel number. Since 9H = 9 and

20H = 32, this is a Program Change message with MIDI CH = 10, program number 33.

<Example 3> E4 00 28

EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte

(00H=0) is the LSB and the 3rd byte (28H=40) is the MSB, but Pitch Bend Value is a signed number in which 40 00H ( = 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is

28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072

If we assume that the Pitch Bend Sensitivity is set to two semitones, the pitch will change only -200 cents for a Pitch Bend value of -8192 (00 00H). Thus, this message is specifying a

Pitch Bend of -200 x (-3072) / (-8192) = -75 cents on MIDI channel 5.

<Example 4> B4 64 00 65 00 06 0C 26 00 64 7F 65 7F

BnH is the Control Change status, and n is the MIDI channel number. For Control Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in which two or more messages consecutive messages have the same status, MIDI has a provision called

“running status” which allows the status byte of the second and following messages to be omitted. Thus, the above messages have the following meaning.

B4 64 00

(B4) 65 00

(B4) 06 0C

(B4) 26 00

(B4) 64 7F

(B4) 65 7F

MIDI ch.5, lower byte of RPN parameter number:

(MIDI ch.5) upper byte of RPN parameter number:

(MIDI ch.5) upper byte of parameter value:

(MIDI ch.5) lower byte of parameter value:

(MIDI ch.5) lower byte of RPN parameter number:

(MIDI ch.5) upper byte of RPN parameter number:

00H

00H

0CH

00H

7FH

7FH

In other words, the above messages specify a value of 0C 00H for RPN parameter number

00 00H on MIDI channel 5, and then set the RPN parameter number to 7F 7FH.

RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +- 12 semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity is ignored, but the LSB should be transmitted anyway (with a value of 0) so that operation will be correct on any device.)

Once the parameter number has been specified for RPN or NRPN, all Data Entry messages transmitted on that same channel will be valid, so after the desired value has been transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.

This is the reason for the (B4) 64 7F (B4) 65 7F at the end.

It is not desirable for performance data (such as Standard MIDI File data) to contain many events with running status as given in <Example 4>. This is because if playback is halted during the song and then rewound or fast-forwarded, the sequencer may not be able to transmit the correct status, and the sound source will then misinterpret the data. Take care to give each event its own status.

It is also necessary that the RPN or NRPN parameter number setting and the value setting be done in the proper order. On some sequencers, events occurring in the same (or consecutive) clock may be transmitted in an order different than the order in which they were received. For this reason it is a good idea to slightly skew the time of each event (about

1 tick for TPQN =96, and about 5 ticks for TPQN =480).

* TPQN : Ticks Per Quarter Note

●

Example of an Exclusive message and calculating a

Checksum

Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before

F7) to make sure that the message was correctly received. The value of the checksum is determined by the address and data (or size) of the transmitted exclusive message.

❍

How to calculate the checksum

(hexadecimal numbers are indicated by "H")

The checksum is a value derived by adding the address, size and checksum itself and inverting the lower 7 bits.

Here’s an example of how the checksum is calculated. We will assume that in the exclusive message we are transmitting, the address is aa bb cc ddH and the data or size is ee ff gg hhH.

aa + bb + cc + dd + ee + ff + gg + hh = sum sum / 128 = quotient ... remainder

128 - remainder = checksum

(However, the checksum will be 0 if the remainder is 0.)

<Example 1> Setting Trigger Mode of Pad A5 in temporary patch to "Gate".

According to the "Parameter address map", the temporary patch has an address of 01 00 00

00H, Pad A5 has a offset address of 14 00H and Trigger Mode has a offset address of 10H.

Thus,

01 00 00 00

14 00

+) 10

01 00 14 10 and "Gate" is a value of 01H,

F0

(1)

41

(2)

10

(3)

00 2E

(4)

12

(5)

01 00 14 10 address

01 ??

data checksum

F7

(6)

(1) Exclusive status, (2) ID number (Roland), (3) Device ID (17)

(4) Model ID (HPD-15), (5) Command ID (DT1), (6) EOX

Next we calculate the checksum.

01H + 00H + 14H + 10H + 01H = 1 + 0 + 20 + 16 + 1 = 38 (sum)

38 (sum) / 128 = 0 (quotient) ... 38 (remainder) checksum = 128 - 38 (remainder) = 90 = 5AH

This means that F0 41 10 00 20 12 01 00 14 10 01 5A F7 is the message we transmit.

<Example 2> Requesting transmission of Resonance Limit of temporary patch.

According to the "Parameter address map",the temporary patch has an address of 01 00 00

00H, patch common parameter has a offset address of 40 00H and Resonance Limit has a offset address of 01H. Thus,

01 00 00 00

40 00

+) 01

01 00 40 01

Since Size = 00 00 00 01H,

F0

(1)

41

(2)

10

(3)

00 2E

(4)

11

(5)

01 00 40 01 00 00 00 01 address size

??

checksum

F7

(6)

(1) Exclusive status, (2) ID number (Roland), (3) Device ID (17)

(4) Model ID (HPD-15), (5) Command ID (RQ1), (6) EOX

Next we calculate the checksum.

01H + 00H + 40H + 01H + 00H + 00H +00H + 01H = 1 + 0 + 64 + 1 + 0 + 0 + 0 + 1 = 67 (sum)

67 (sum) / 128 = 0(quotient) ... 67 (remainder) checksum = 128 - 67 (remainder) = 61 = 3DH

This means that F0 41 10 00 2E 11 01 00 40 01 00 00 00 01 3D F7 is the message we transmit.

109



PERCUSSION SOUND MODULE (Except Sequencer Section)

Model HPD-15

MIDI Implementation Chart

Date : Mar. 23, 2000

Version : 1.00

Function...

Transmitted Recognized

Remarks

Basic

Channel

Default

Changed

1–16, OFF

1–16, OFF

1–16, OFF

1–16, OFF

Memorized (Non-Volatile)

Mode

Default

Messages

Altered

Note

Number :

True Voice

Velocity

Note On

Note Off

After

Touch

Key's

Channel's

Mode 3

X

**************

0–127

**************

O

O

O *1

X

Mode 3

X

**************

0–127

0–127

O

O *1

O *1

X

Pitch Bend

Control

Change

91

92

94

100, 101

76

81

82

83

0, 32

1

4

6

7

10

11

66

67

70

74

12

16

17

64

Program

Change

: True Number

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

0–127

*1

*1

*1

*1

*1

*1

*1

*1

*3

*1

*2

*1

*1

*1

*2

*2

*1

*1

*1

*1

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

0–127

System Exclusive

System

Common

: Song Position

: Song Select

: Tune Request

O

X

X

X

O

X

X

X

System

Real Time

: Clock

: Commands

X

X

X

X

Aux

Messages

: All Sound Off

: Reset All Controllers

: Local On/Off

: All Notes Off

: Active Sensing

: System Reset

Notes

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

X

X

X

X

O

X

O (120, 126, 127)

O

X

O (123–127)

O

X

* 1 Pad part and percussion part only.

* 2 Melody part only.

* 3 Percussion part and melody part only.

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

*1

*1

*1

*1

*1

*1

*1

*1

*3

*1

*2

*1

*1

*1

*2

*3

*1

*1

*1

*1

Bank select

Modulation

Foot Control

Data entry

Volume

Panpot

Expression

Effect Control 1



Hold 1

Sostenuto

Soft

Sound Controller 1

Sound Controller 5

Sound Controller 7

General purpose controller 6



Effect 1

Effect 2

Effect 4

RPN LSB, MSB

Program No. 1–128

O : Yes

X : No

110



PERCUSSION SOUND MODULE (Sequencer Section)

Model HPD-15

MIDI Implementation Chart

Date : Mar. 23, 2000

Version : 1.00

Function...

Transmitted Recognized

Remarks

Basic

Channel

Default

Changed

1–16, OFF

1–16, OFF

1–16, OFF

1–16, OFF

Memorized (Non-Volatile)

Mode

Default

Messages

Altered

Note

Number :

True Voice

Velocity

Note On

Note Off

After

Touch

Key's

Channel's

Mode 3

X

**************

0–127

**************

O

O *1

O *1

X

X

X

**************

0–127

0–127

O

O *1

O *1

X

Pitch Bend

Control

Change

91

92

94

100, 101

76

81

82

83

0, 32

1

4

6

7

10

11

66

67

70

74

12

16

17

64

Program

Change

: True Number

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

O

0–127

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*2

*1

*1

*1

*2

O

O

O

O

O

O

O

O

O

X

O

O

O

X

O

O

X

O

O

X

O

O

O

O

X

0–127

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*1

*2

Bank select

Modulation

Foot Control

Data entry

Volume

Panpot

Expression

Effect Control 1



Hold 1

Sostenuto

Soft

Sound Controller 1

Sound Controller 5

Sound Controller 7




Effect 1

Effect 2

Effect 4

RPN LSB, MSB

Program No. 1–128

System Exclusive

System

Common

: Song Position

: Song Select

: Tune Request

O

X

X

X

O (do not record)

X

X

X

System

Real Time

: Clock

: Commands

O

O

O *3

O *3, *4

Aux

Messages

: All Sound Off

: Reset All Controllers

: Local On/Off

: All Notes Off

: Active Sensing

: System Reset

Notes

X

X

X

X

X

X

* 1 Percussion part only.

* 2 Melody part only.

X (120, 126, 127)

O

X

O (123–127)

O

X

* 3 Receives when "Seq Sync" setting is "Ext."

* 4 Receives when "Seq Sync" setting is "Remote."

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

O : Yes

X : No

111


Specifications

HPD-15: HandSonic

Maximum Polyphony

64 Voices

Instruments

Pad Instruments: 600

Backing Instruments: 54

User Patches

80

Preset Patches

160

Patch Chains

10 chains (32 steps per chain)

Effect Type

Reverb, Multi-Effects

Sequencer

User Patterns: 99 (Maximum)

Preset Patterns: 99

Tracks: 4

Play Functions: OneShot, Loop, Tap

Resolution: 96 ticks per quarter note

Recording Method: Real-time

Tempo

20–240

Display

16 characters, 2 lines (backlit LCD)

Controls

Volume Knob

Realtime Modify Knob 1/2/3

Ribbon L/R

D Beam

Pad

10 inches, 15 sections, Pressure-Sensitive

Connectors

Output Jacks (L (MONO), R)

Phones Jack (stereo)

Mix In Jack (stereo)

Expression Pedal / Hi-Hat Control Jack

Trigger Input Jack (dual)

Foot Switch Jack (dual)

MIDI Connectors (IN, OUT/THRU)

Output Impedance

1 k ohms

Power Supply

AC Adaptor (DC 9V)

Current Draw

1000 mA

Dimensions

406 (W) x 405 (D) x 98 (H) mm

16 (W) x 16 (D) x 3-7/8 (H) inches

Weight

2.9 kg / 6 lbs 7 oz (Excluding AC Adaptor)

Accessories

Owner’s Manual

AC Adaptor (ACI/ACB Series)

Scale Label

Options

Pad (PD-5, PD-7, PD-9, PD-80, PD-80R, PD-100, PD-120)

Kick Trigger Unit (KD-7, KD-80, KD-120)

Hi-Hat Control Pedal (FD-7)

Expression Pedal (EV-5)

Foot Switch (BOSS: FS-5U)

Pad Stand (PDS-15)

* In the interest of product improvement, the specifications and/ or appearance of this unit are subject to change without prior notice.

112


Index

Numerics

3-Tap Delay (3TapDlySht/3TapDlyLng) ............................. 50

4-Tap Delay (4TapDlySht/4TapDlyLng) ............................. 50

A

Advanced Reverb (AdvanceRev) .......................................... 51

Algo ..................................................................................... 39–40

Amp Depth ............................................................................... 38

APPEND ................................................................................... 64

Available ................................................................................... 61

B

BEEP .......................................................................................... 68

Bend Range ............................................................................... 60

Bulk Dump ............................................................................... 80

Bulk Load .................................................................................. 81

C

Category .............................................................................. 35, 67

Chain ......................................................................................... 65

Chorus ................................................................................. 44–46

Click ........................................................................................... 61

Color .......................................................................................... 36

CompLimiter ............................................................................ 41

Compressor .............................................................................. 41

Contrast ............................................................................... 28, 68

Copy .................................................................................... 56, 64

Count ......................................................................................... 61

Count In .................................................................................... 61

Ctrl Rx ....................................................................................... 52

Ctrl Tx ....................................................................................... 52

Ctrllr Type ................................................................................ 53

Cursor ........................................................................................ 55

D

D Beam ................................................................................ 16, 69

D BEAM Sens ..................................................................... 29, 69

D BEAM Trim .......................................................................... 69

Data Thin .................................................................................. 69

Decay ................................................................................... 25, 36

Delay ............................................................................. 39, 48–50

Delete ......................................................................................... 64

Delete Step ................................................................................ 66

Depth ......................................................................................... 25

Device ID .................................................................................. 82

Dial Lock ................................................................................... 68

Distortion .................................................................................. 43

Dly Feedback ............................................................................ 39

Dynamic Filter ......................................................................... 42

DynamicFltr ............................................................................. 42

E

Edge Area ................................................................................. 70

Edge Level ................................................................................ 70

Edit ............................................................................................. 35

Effect .......................................................................................... 39

Effect Depth .............................................................................. 38

Enhancer ................................................................................... 42

Erase .......................................................................................... 64

Error Message .......................................................................... 86

Exchange ................................................................................... 57

Exp ............................................................................................. 37

Expression Pedal (EXP Pedal) ............................................... 72

External Pad ....................................................................... 73–74

EZ Edit ...................................................................................... 24

F

Factory Reset ............................................................................ 85

Feedback Pitch Shifter (FbackPitch) ..................................... 48

Filter Depth ............................................................................... 38

Fix .............................................................................................. 37

Flanger ................................................................................ 46–47

Foot Switch ............................................................................... 71

Fx Out Volume ................................................................... 25, 40

Fx Rev Send ........................................................................ 25, 40

G

Gate ............................................................................................ 36

Gate Reverb .............................................................................. 51

Gate Time .................................................................................. 77

H

Hall ...................................................................................... 39, 51

HF Damp ............................................................................ 39, 51

HH CTRL .................................................................................. 72

Hi-Hat ....................................................................................... 72

Hi-Hat Control Pedal .............................................................. 72

Hit Pad Start ............................................................................. 62

I

Inport ......................................................................................... 62

Input Mode ............................................................................... 73

Insert .......................................................................................... 66

Inst ............................................................................................. 25

Isolator ...................................................................................... 42

K

Key Repeat ................................................................................ 31

Kick Pedal ........................................................................... 73–74

Kick Trigger Unit ............................................................... 73–74

L

LCD Contrast ..................................................................... 28, 68

Level .......................................................................................... 25

LFO ............................................................................................ 38

Limiter ....................................................................................... 41

Linear ........................................................................................ 37

Local Control ............................................................................ 80

Lo-Fi ........................................................................................... 44

Log ............................................................................................. 37

Loud .......................................................................................... 37

M

Mask Time ................................................................................ 70

Master Tune .............................................................................. 68

Master Volume ......................................................................... 25

Memory ..................................................................................... 61

M-FX .......................................................................................... 40

MFX Ctrl ................................................................................... 53

MIDI .................................................................................... 76, 88

MIDI Channel .......................................................................... 78

Modify Clear ............................................................................ 19

Modify Lock ............................................................................. 19

Modulation Delay (Mod Delay) ............................................ 49

Move .......................................................................................... 36

MovGate ................................................................................... 36

Multi-Effects ............................................................................. 40

MULTI-FX ........................................................................... 25, 40

Mute ........................................................................................... 52

Mute Rx ..................................................................................... 52

Mute Tx ..................................................................................... 52

113


Index

N

Note No. .................................................................................... 76

O

Overdrive .................................................................................. 43

P

Pad ............................................................................................. 15

Pad Chase ................................................................................. 68

Pad Data .................................................................................... 25

Pad Level .................................................................................. 36

Pad Note ................................................................................... 60

Pad Patch Select ....................................................................... 23

Pad Pattern ............................................................................... 54

PAD PTN .................................................................................. 54

Pad Set ....................................................................................... 15

Pad Sns Type ............................................................................ 54

Pan ....................................................................................... 25, 36

Pan Dly ...................................................................................... 39

Parameter .................................................................................. 19

Part ............................................................................................. 59

Patch .......................................................................................... 21

Patch Chain .............................................................................. 65

Patch Group ............................................................................. 21

Patch Name .................................................................. 21, 25, 55

Patch Select ............................................................................... 21

Pattern ....................................................................................... 59

Pattern Name ........................................................................... 61

PCS-31 ................................................................................. 71, 73

PCS-33 ....................................................................................... 73

Pedal .......................................................................................... 72

Phaser ........................................................................................ 47

Pitch ..................................................................................... 25, 36

Pitch Depth ............................................................................... 38

Pitch Rx Range ......................................................................... 52

Pitch Shifter .............................................................................. 48

Pitch Tx ..................................................................................... 52

Plate ..................................................................................... 39, 51

Play Type .................................................................................. 60

Power ON ................................................................................. 68

Preset Patch .............................................................................. 21

Pressure Sens ............................................................................ 70

PTN Number ............................................................................ 54

Q

Quantize .................................................................................... 62

Quick Play ................................................................................ 60

R

Rate .......................................................................... 38, 44–47, 49

Realtime .................................................................................... 38

Realtime Modify ...................................................................... 19

Realtime Recording ................................................................. 59

Rec Mode .................................................................................. 62

Rec Stby ..................................................................................... 62

Reset Time ................................................................................ 60

Reso Limit ................................................................................. 54

Resonance ................................................................................. 54

Reverb ................................................................................. 39, 51

Reverb Send ........................................................................ 25, 36

Ribbon ................................................................................. 15, 69

Ring Modulator (RingModltr) ............................................... 44

Roll Rx ....................................................................................... 52

Roll Speed ........................................................................... 53, 55

Roll Sync ................................................................................... 68

114

ROLL/HOLD ........................................................................... 16

Room ................................................................................... 39, 51

RTM ........................................................................................... 40

Rx Self ........................................................................................ 52

S

Scrape ........................................................................................ 36

Scrp1wy ..................................................................................... 36

Sens ............................................................................................ 70

Sensitivity ........................................................................... 54, 70

Seq Sync .................................................................................... 68

Sequencer ............................................................................ 26, 59

Shot ............................................................................................ 36

Skip ...................................................................................... 32–33

Soft Thru ................................................................................... 79

Space D ...................................................................................... 46

Spectrum ................................................................................... 42

Spline ......................................................................................... 37

Stage .................................................................................... 39, 51

Step Flanger .............................................................................. 47

Stereo Chorus (Stereo Cho) .................................................... 44

Stereo Delay .............................................................................. 48

Stereo EQ .................................................................................. 41

Stereo Flanger (Stereo Fln) ..................................................... 46

Sustainer ................................................................................... 43

Sweep ........................................................................................ 36

System ................................................................................. 28, 67

T

Tap Delay .................................................................................. 50

TchGate ..................................................................................... 36

Tempo ................................................................................. 27, 60

TEMPORARY ........................................................................... 81

Tetra Chorus ............................................................................. 45

Threshold .................................................................................. 70

Time ..................................................................................... 39, 51

Time Control Delay (TimeCtrlDly) ....................................... 49

Time Sig. (Time Signature) ..................................................... 60

Touch ......................................................................................... 36

Transpose .................................................................................. 60

Tremolo Chorus (Tremolo Cho) ............................................ 45

Trig ............................................................................................. 36

Trig Mode ................................................................................. 36

Trig Type ................................................................................... 73

Turbo Repeat ............................................................................ 31

Turn Table ................................................................................ 53

Type ........................................................................................... 25

U

User Patch ................................................................................. 21

V

Value .......................................................................................... 19

Velo Curve ................................................................................ 37

W

Waveform ................................................................................. 38

For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE:

BROWN:

NEUTRAL

LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows:

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

USING THE UNIT SAFELY

Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.

Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.

* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.

The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.

The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.

●

symbol alerts the user to things that must be The carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

001

• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.

..........................................................................................................

002c

• Do not open (or modify in any way) the unit or its

AC adaptor.

..........................................................................................................

003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland

Service Center, or an authorized Roland distributor, as listed on the "Information" page.

..........................................................................................................

004

• Never use or store the unit in places that are:

• Subject to temperature extremes (e.g., direct sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors); or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

..........................................................................................................

2

005

• This unit should be used only with a rack or stand that is recommended by Roland.

..........................................................................................................

006

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

..........................................................................................................

008c

• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.

..........................................................................................................

009

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

..........................................................................................................



This product complies with the requirements of European Directive 89/336/EEC.

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the

FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

– Reorient or relocate the receiving antenna.

– Increase the separation between the equipment and receiver.

– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

– Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the users authority to operate this equipment.

This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

Information

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below.

Parsons Music Ltd.

8th Floor, Railway Plaza, 39

Chatham Road South, T.S.T,

Kowloon, HONG KONG

TEL: 2333 1863

INDIA

Rivera Digitec (India) Pvt. Ltd.

411, Nirman Kendra

Mahalaxmi Flats Compound

Off. Dr. Edwin Moses Road,

Mumbai-400011, INDIA

TEL: (022) 2493 9051

INDONESIA

PT Citra IntiRama

Jl. Cideng Timur No. 15J-15O

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39,

Dataran Prima, 47301 Petaling

Jaya, Selangor, MALAYSIA

TEL: (03) 7805-3263

VIET NAM

Suoi Nhac Company, Ltd

370 Cach Mang Thang Tam St.

Dist.3, Ho Chi Minh City,

VIET NAM

TEL: 9316540

AFRICA

EGYPT

Al Fanny Trading Office

9, EBN Hagar Al Askalany

Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICA

T.O.M.S. Sound & Music

(Pty)Ltd.

2 ASTRON ROAD DENVER

JOHANNESBURG ZA 2195,

SOUTH AFRICA

TEL: (011)417 3400

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24

Londonderry Road, Ottery 7800

Cape Town, SOUTH AFRICA

TEL: (021) 799 4900

ASIA

CHINA


Co.,Ltd.

5F. No.1500 Pingliang Road

Shanghai 200090, CHINA

TEL: (021) 5580-0800

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

SINGAPORE

SWEE LEE MUSIC

COMPANY PTE. LTD.

150 Sims Drive,

SINGAPORE 387381

TEL: 6846-3676

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung

Shan N.Road Sec.2, Taipei,

TAIWAN, R.O.C.

TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Soi Verng NakornKasem,

New Road, Sumpantawongse,

Bangkok 10100, THAILAND

TEL: (02) 224-8821

AUSTRALIA/

NEW ZEALAND

AUSTRALIA/

NEW ZEALAND

Roland Corporation

Australia Pty.,Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA


Co.,Ltd.

(BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili

Chaoyang District Beijing

100011 CHINA

TEL: (010) 6426-5050

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

TEL: 2415 0911

For Australia

Tel: (02) 9982 8266

For New Zealand

Tel: (09) 3098 715

CENTRAL/LATIN

AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park

Wildey, St.Michael, Barbados

TEL: (246)430-1100

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9

Medellin, Colombia

TEL: (574)3812529

COSTA RICA

JUAN Bansbach Instrumentos

Musicales

Ave.1. Calle 11, Apartado

10237,

San Jose, COSTA RICA

TEL: 258-0211

Gigamusic SARL

10 Rte De La Folie

97200 Fort De France

Martinique F.W.I.

TEL: 596 596 715222

MEXICO

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico

D.F. MEXICO

TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos

Musicales Nicaragua

Altamira D'Este Calle Principal de la Farmacia 5ta.Avenida

1 Cuadra al Lago.#503

Managua, Nicaragua

TEL: (505)277-2557

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE

PANAMA

TEL: 315-0101

PARAGUAY

Distribuidora De


J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (595) 21 492147

PERU

Audionet

Distribuciones Musicales SAC

Juan Fanning 530

Miraflores

Lima - Peru

TEL: (511) 4461388

TRINIDAD

AMR Ltd

Ground Floor

Maritime Plaza

Barataria Trinidad W.I.

TEL: (868) 638 6385

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

TEL:(593-4)2302364

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo II,

Edificio No.4010 San Salvador,

EL SALVADOR

TEL: 262-0788

GUATEMALA

Casa Instrumental

Calzada Roosevelt 34-01,zona 11

Ciudad de Guatemala

Guatemala

TEL:(502) 599-2888

HONDURAS

Almacen Pajaro Azul S.A. de C.V.

BO.Paz Barahona

3 Ave.11 Calle S.O

San Pedro Sula, Honduras

TEL: (504) 553-2029

MARTINIQUE

Musique & Son

Z.I.Les Mangle

97232 Le Lamantin

Martinique F.W.I.

TEL: 596 596 426860

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa

1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

VENEZUELA


Allegro,C.A.

Av.las industrias edf.Guitar import

#7 zona Industrial de Turumo

Caracas, Venezuela

TEL: (212) 244-1122

EUROPE

AUSTRIA



Austrian Office

Eduard-Bodem-Gasse 8,

A-6020 Innsbruck, AUSTRIA

TEL: (0512) 26 44 260

BELGIUM/FRANCE/

HOLLAND/

LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL: (014) 575811

CROATIA

ART-CENTAR

Degenova 3.

HR - 10000 Zagreb

TEL: (1) 466 8493

CZECH REP.

CZECH REPUBLIC

DISTRIBUTOR s.r.o

Voctárova 247/16

CZ - 180 00 PRAHA 8,

CZECH REP.

TEL: (2) 830 20270

DENMARK


Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

TEL: 3916 6200

FINLAND

Roland Scandinavia As, Filial

Finland

Elannontie 5

FIN-01510 Vantaa, FINLAND

TEL: (0)9 68 24 020

GERMANY



Oststrasse 96, 22844

Norderstedt, GERMANY

TEL: (040) 52 60090

GREECE/CYPRUS

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: 2610 435400

HUNGARY

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint,

HUNGARY

TEL: (23) 511011

IRELAND

Roland Ireland

G2 Calmount Park, Calmount

Avenue, Dublin 12

Republic of IRELAND

TEL: (01) 4294444

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 2273 0074

POLAND

ROLAND POLSKA SP. Z O.O.

UL. Gibraltarska 4.

PL-03 664 Warszawa

POLAND

TEL: (022) 679 4419

PORTUGAL


Portugal Office

Cais das Pedras, 8/9-1 Dto

4050-465, Porto, PORTUGAL

TEL: 22 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

TEL: (266) 364 609

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6

117 545 Moscow, RUSSIA

TEL: (095) 981-4967

SLOVAKIA

DAN Acoustic s.r.o.

Povazská 18.

SK - 940 01 Nové Zámky

TEL: (035) 6424 330

SPAIN


Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

SWEDEN


SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

UKRAINE

EURHYTHMICS Ltd.

P.O.Box: 37-a.

Nedecey Str. 30

UA - 89600 Mukachevo,

UKRAINE

TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

UNITED KINGDOM

TEL: (01792) 702701

MIDDLE EAST

BAHRAIN

Moon Stores

No.1231&1249 Rumaytha

Building Road 3931, Manama

339 BAHRAIN

TEL: 17 813 942

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha'alia Hashnia St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

NORTH AMERICA

CANADA


(Head Office)

5480 Parkwood Way

Richmond B. C., V6V 2M4

CANADA

TEL: (604) 270 6626


(Toronto Office)

170 Admiral Boulevard

Mississauga On L5T 2N6

CANADA

TEL: (905) 362 9707

U. S. A.

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (323) 890 3700

JORDAN

MUSIC HOUSE CO. LTD.

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192 JORDAN

TEL: (06) 5692696

KUWAIT

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

Chahine S.A.L.

George Zeidan St., Chahine

Bldg., Achrafieh, P.O.Box: 16-

5857

Beirut, LEBANON

TEL: (01) 20-1441

OMAN

TALENTZ CENTRE L.L.C.

Malatan House No.1

Al Noor Street, Ruwi

SULTANATE OF OMAN

TEL: 2478 3443

QATAR

Al Emadi Co. (Badie Studio &

Stores)

P.O. Box 62, Doha, QATAR

TEL: 4423-554

SAUDI ARABIA aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

31952 SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

Bldg. No. 21, P.O.BOX 13520,

Damascus, SYRIA

TEL: (011) 223-5384

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37

Beyoglu - Istanbul / TURKEY

TEL: (0212) 249 85 10

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Ground Floor, Dubai,

U.A.E.

TEL: (04) 3360715

As of May 1, 2007 (ROLAND)

01909823 07-09-7N

* 0 1 9 0 9 8 2 3 0 7 *

Owner’s Manual

Thank you, and congratulations on your choice of the Roland HandSonic HPD-15.

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY”

(p. 2–3) and “IMPORTANT NOTES” (p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

* The D Beam Controller is provided under license from Interactive Light, Inc.

Copyright © 2000 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION.