Roland | Dr. Rhytm DR-110 | Owner`s manual | Roland Dr. Rhytm DR-110 Owner`s manual

Owner’s Manual
Thank you, and congratulations on your choice of the BOSS DR-3 Dr. Rhythm.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–4)
• IMPORTANT NOTES (page 5)
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.
■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[SONG]
SONG button
START [
] START button
• Reference such as (p. **) indicate pages in this manual to which you can refer.
Copyright © 2003 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS
CORPORATION.
03236845
1*SX
USING THE UNIT SAFELY
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.
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.
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.
* 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 things that must be
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
007
• Before using this unit, make sure to
read the instructions below, and the
Owner’s Manual.
• Make sure you always have the unit
placed so it is level and sure to remain
stable. Never place it on stands that
could wobble, or on inclined surfaces.
..................................................................................................
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
..................................................................................................
008b
• Use only the specified AC adaptor
(PSA-series), and 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.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
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.
010
015
• 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.
• 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.
..................................................................................................
011
..................................................................................................
016
• Do not allow any objects (e.g.,
flammable material, coins, pins); or
liquids of any kind (water, soft drinks,
etc.) to penetrate the unit.
• 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” sheet.
..................................................................................................
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 powersupply cord has been damaged; or
• If smoke or unusual odor occurs
• 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.
..................................................................................................
019
• Batteries must never be recharged,
heated, taken apart, or thrown into fire
or water.
..................................................................................................
..................................................................................................
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!)
..................................................................................................
3
101b
110b
• The unit and the AC adaptor should
be located so their location or position
does not interfere with their proper
ventilation.
• Whenever you suspect the possibility
of lightning in your area, disconnect
the AC adaptor from the outlet.
..................................................................................................
102d
• If used improperly, batteries may
explode or leak and cause damage or
injury. In the interest of safety, please
read and observe the following
precautions (P. 15).
• Always grasp only the output plug or
the body of the AC adaptor when
plugging into, or unplugging from,
this unit or an outlet.
..................................................................................................
103b
• Any accumulation of dust between the
AC adaptor and the power outlet can
result in poor insulation and lead to
fire. Periodically wipe away such dust
with a dry cloth. Also, disconnect the
power plug from the power outlet
whenever the unit is to remain unused
for an extended period of time.
..................................................................................................
111: Selection
1
• Carefully follow the installation
instructions for batteries, and make
sure you observe the correct
polarity.
2
• Avoid using new batteries together
with used ones. In addition, avoid
mixing different types of batteries.
3
• Remove the batteries whenever the
unit is to remain unused for an
extended period of time.
..................................................................................................
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.
5
• If a battery has leaked, use a soft
piece of cloth or paper towel to
wipe all remnants of the discharge
from the battery compartment.
Then install new batteries. To avoid
inflammation of the skin, make sure
that none of the battery discharge
gets onto your hands or skin.
Exercise the utmost caution so that
none of the discharge gets near
your eyes. Immediately rinse the
affected area with running water if
any of the discharge has entered the
eyes.
..................................................................................................
106
• Never climb on top of, nor place heavy
objects on the unit.
..................................................................................................
107d
• Never handle the AC adaptor body, or
its output 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. 16).
..................................................................................................
6
• Never keep batteries together with
metallic objects such as ballpoint
pens, necklaces, hairpins, etc.
..................................................................................................
112
• Used batteries must be disposed of in
compliance with whatever regulations for their safe disposal that may
be observed in the region in which you
live.
..................................................................................................
4
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–4, please read and
observe the following:
Power Supply: Use of Batteries
Maintenance
301
401a
• Do not use this unit on the same power circuit
with any device that will generate line noise (such
as an electric motor or variable lighting system).
• 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.
302
• The AC adaptor will begin to generate heat after
long hours of consecutive use. This is normal,
and is not a cause for concern.
303a
• The use of an AC adaptor is recommended as the
unit’s power consumption is relatively high.
Should you prefer to use batteries, please use the
alkaline type.
304a
• When installing or replacing batteries, always
turn off the power on this unit and disconnect
any other devices you may have connected. This
way, you can prevent malfunction and/or
damage to speakers or other devices.
306b
• Batteries are supplied with the unit. The life of
these batteries may be limited, however, since
their primary purpose was to enable testing.
307
• 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 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.
352a
• This device may interfere with radio and
television reception. Do not use this device in the
vicinity of such receivers.
352b
• Noise may be produced if wireless communications devices, such as cell phones, are operated
in the vicinity of this unit. Such noise could occur
when receiving or initiating a call, or while
conversing. Should you experience such
problems, you should relocate such wireless
devices so they are at a greater distance from this
unit, or switch them off.
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.
402
• Never use benzine, thinners, alcohol or solvents
of any kind, to avoid the possibility of discoloration and/or deformation.
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 on a paper.
552
• Unfortunately, it may be impossible to restore
the contents of data that was stored in 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).
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.
355b
• When moved from one location to another where
the temperature and/or humidity is very
different, water droplets (condensation) may
form inside the unit. Damage or malfunction
may result if you attempt to use the unit in this
condition. Therefore, before using the unit, you
must allow it to stand for several hours, until the
condensation has completely evaporated.
5
Main Features
■ Making Your Own Rhythm Pattern Arrangements with Style Play
With the DR-3, you can enjoy performing rhythm patterns made up of drum and bass sounds.
You can add fill-ins and switch patterns while you play, making it easy to develop choruses,
bridges, and solos for your songs.
■ 100 Different Preset Styles
The DR-3 comes with 100 different prepared Styles in a variety of genres, including Rock, Funk,
Hip Hop, Jazz, Latin, and more. You can also create up to 100 of your own original Styles.
■ TSC (Total Sound Control) Function
This includes two types of effects, “Sound Shape,” which adjusts the overall tone of the sound,
and “Ambience,” which alters the overall acoustic characteristics.
This feature makes it easy to attain the sound you want, whether it be a harder sound for Rock,
an acoustic sound for Jazz, or the sound you get when performing live on stage.
Sound Shape and Ambience each includes eight presets and eight memories you can use to store
your own favorite settings.
■ Control the DR-3 with a Foot Switch
The DR-3 allows you to connect up to two (optional) foot switches. You can use your foot to
control the DR-3 as you perform, making this perfect for jam sessions and live performances.
You can a variety of functions to the foot switches, including switching patterns and turning the
Variation function on and off.
■ Variation Function Lets You Enjoy a Wide Variety of Arrangements
The DR-3 includes a Variation function that lets you play different arrangements within songs,
for example arrangements to build up the excitement, quieter ones for vocal solos, along with a
wide variety of other arrangements.
■ Produce Rhythm Patterns Automatically in Auto Mode
In Auto mode, you can produce songs by having the rhythm patterns be changed automatically
every eight or sixteen measures, allowing you to enjoy jam sessions once you start a song,
without having to operate the DR-3.
■ High-Quality Instrument Sounds–Ghost Notes, Too
The DR-3 features special “soft shot,” “double shot,” and “buzz shot” sounds for use as snare
ghost notes. Using these makes it possible to get even more realistic rhythm patterns.
■ Dynamics-Capable Pad Keys
The pad keys on the DR-3 are capable of producing dynamics. The volume changes in response
to the force you use to play the pads.
This lets you alter the sound you play depending on how hard you hit the pads, such as for hard
shots and soft shots on the snare.
6
Main Features
■ Setting the Tempo with Tap Tempo Function
You can set tempos just by tapping the button at the desired timing.
■ Key Shift Function
You can easily change the key in which you are playing.
You can also easily get flat-tuning of a guitar, or match the key used by a different instrument,
such as a sax.
■ Convenient Song Composing and Performing Functions
While basically following procedures similar to those used in performing Styles, you can create
songs intuitively with the panel pads.
After you create a song, you can add cymbal crashes, change bass phrases, and edit specific
portions of songs.
■ Synchronize Performances with Digital Recorders and Sequencers
Using MIDI, you can synchronize performances with digital recorders (such as those in the BR
Series) and sequencers, or start and stop the DR-3 using a GT-6.
■ Equipped with Both Phono Jacks and Phone Jacks
In addition to 1/4” phone jacks, the DR-3 also features RCA phono jacks, which let you connect
a variety of other devices, such as mixers, amps, and audio systems.
■ Compact Body
The DR-3 is lightweight, compact, and very portable. And since the unit can be powered with
batteries, you can use it just about anywhere.
7
Contents
USING THE UNIT SAFELY ..................................................................... 2
IMPORTANT NOTES............................................................................... 5
Main Features ......................................................................................... 6
Panel Descriptions ............................................................................... 12
Before You Play .................................................................................... 15
Install Batteries .......................................................................................................... 15
Making Connections................................................................................................. 16
Turning On/Off the Power ..................................................................................... 17
Reset to Default Factory Settings (Factory Reset) ................................................ 18
Quick Start .......................................................20
Let’s Listen to the Demo...................................................................... 21
Let’s Play a Style .................................................................................. 22
Performing Styles with Selecting Patterns ([MANU]) ........................................ 22
Performing Variations on Styles (VARIATION).................................................. 24
Selecting Styles .......................................................................................................... 26
Changing the Tempo ([TEMPO]) ........................................................................... 27
Setting the Tempo by Tapping It Out (Tap Tempo) ..................................... 27
Changing the Key ([KEY SHIFT]) .......................................................................... 28
Let’s Use a Foot Switch ....................................................................... 29
Connecting the Foot Switch .................................................................................... 29
Using the Foot Switch .............................................................................................. 30
Let’s Perform with the Patterns Switched Automatically ([AUTO]) ....... 31
Let’s Change the Overall Tone of the Sound and Acoustics (TSC) ...... 32
Chapter 1 Overview of the DR-3.......................................................... 34
The DR-3’s Performance Modes ............................................................................. 34
Style Play Mode ........................................................................................................ 34
Makeup of a Style ..................................................................................................... 35
Song Mode ................................................................................................................. 37
Switching the Pad Functions................................................................................... 37
Main Screens and Functions.................................................................................... 38
Starting and Stopping Performances and Recording ................................... 40
Adjusting the Tempo ([TEMPO]) .................................................................... 41
Changing the Key of the Performance ([KEY SHIFT])................................. 42
Chapter 2 Playing Styles (Manual Mode [MANU]) ............................. 43
How the Pads Work When Performing Styles .............................................. 43
Selecting Styles .......................................................................................................... 43
Selecting the Patterns to be Played......................................................................... 44
Starting/Stopping.............................................................................................. 44
How to Change Patterns................................................................................... 44
Selecting Variations (VARIATION) ....................................................................... 45
8
Contents
Chapter 3 Playing Styles (Auto Mode [AUTO]) .................................. 46
Selecting a Style......................................................................................................... 46
Performing in Auto Mode ....................................................................................... 46
Changing the Pattern Progression in Auto Mode......................................... 47
Chapter 4 Controlling the Styles with a Foot Switch ........................ 48
Starting and Stopping Performances ..................................................................... 48
Switching Verses....................................................................................................... 48
Assigning Functions to the Foot Switch ................................................................ 49
Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC).......... 51
Changing the Overall Tone of the Sound ([SOUND SHAPE]) .......................... 51
Altering the Acoustic Characteristics of the Overall Sound ([AMBIENCE])... 52
Changing the Sound Shape Parameters ................................................................ 53
How to Make the Settings ................................................................................ 53
Changing the Equalizer Parameters ............................................................... 53
Changing the Compressor Parameters........................................................... 54
Naming the Settings .......................................................................................... 55
Copying the Settings ......................................................................................... 55
Changing the Ambience Parameters ..................................................................... 56
How to Make the Settings ................................................................................ 56
Changing the Ambience Parameters .............................................................. 56
Naming the Settings .......................................................................................... 57
Copying the Settings ......................................................................................... 57
Chapter 6 Performing with the Pads................................................... 58
Playing Drum Sounds .............................................................................................. 59
Playing Percussion Sounds ..................................................................................... 59
Playing Bass Sounds................................................................................................. 59
Selecting a Different Sound (VARIATION [KIT])................................................ 60
Chapter 7 Creating Styles.................................................................... 61
Procedure for Creating Styles ................................................................................. 61
<1> Selecting a Number for the Style .................................................................... 62
<2> Making the Settings for the New Style .......................................................... 62
Setting the Tempo for the Style ....................................................................... 62
Setting the Beat................................................................................................... 62
Setting Up the Kit .............................................................................................. 63
Changing the Sound to Be Muted ................................................................... 63
Making the TSC Settings for the Style ............................................................ 64
Determining the Number of Measures for Each Pattern ............................. 64
<3> Recording the Patterns ..................................................................................... 65
Using Realtime Recording................................................................................ 65
• Recording the Drum Part .............................................................................. 65
• Recording the Bass Part................................................................................. 66
Using Step Recording........................................................................................ 67
• Recording the Drum Part .............................................................................. 67
• Recording the Bass Part................................................................................. 68
Adding Dynamics to the Sounds (Velocity Edit).......................................... 69
Transposing the Pattern’s Bass Part................................................................ 70
Playing Back Recorded Patterns...................................................................... 70
9
Contents
<4> Confirming the Created Style.......................................................................... 70
Performing the Created Style........................................................................... 70
Editing the Settings............................................................................................ 70
Naming, Copying, and Deleting Styles ................................................................. 71
Naming the Style ............................................................................................... 71
Copying the Style............................................................................................... 71
Clearing the Style............................................................................................... 72
Copying and Deleting Patterns .............................................................................. 72
Copying Patterns ............................................................................................... 72
Clearing Patterns ............................................................................................... 73
Chapter 8 Creating and Performing Songs ([SONG]) ....................... 74
What is a Song? .................................................................................................. 74
Procedure for Creating Songs ................................................................................. 74
<1> Selecting a Number for the Song .................................................................... 75
<2> Make the Settings for the New Song.............................................................. 75
Setting the Basic Tempo.................................................................................... 75
Making the TSC Settings for the Song ............................................................ 76
<3> Recording the Song........................................................................................... 76
When Using Step Recording ............................................................................ 76
When Using Realtime Recording .................................................................... 77
Editing Notes to Drum Parts and Bass Parts in the Song ............................ 78
<4> Editing Songs..................................................................................................... 80
Adding Patterns In the Song (INSERT).......................................................... 80
Deleting Specified Segments (DELETE)......................................................... 81
Copying Specified Segments (COPY)............................................................. 82
Changing the Tempo Part Way Through a Song (TEMPO) ........................ 83
<5> Checking the Created Song ............................................................................. 83
Performing the Created Song........................................................................... 83
Editing the Settings............................................................................................ 83
Naming, Copying, and Deleting Songs ................................................................. 84
Naming the Song ............................................................................................... 84
Copying the Song .............................................................................................. 84
Clearing the Song............................................................................................... 85
Performing Songs ..................................................................................................... 85
Performing Songs .............................................................................................. 85
Switching Patterns With a Foot Switch .......................................................... 86
Playing Multiple Songs Continuously (Song Chain) ................................... 87
Chapter 9 Changing the Operating Environment (System).............. 88
How to Make the Settings ................................................................................ 88
Setting the Parts To Be Output from the OUTPUT Jacks.................................... 89
Adjusting the Pad Sensitivity.................................................................................. 89
Setting the Reference Pitch for the Bass Part ........................................................ 89
Changing the Volume of the Metronome Sound ................................................. 89
Chapter 10 Creating Your Own Kits.................................................... 90
How to Make the Settings ................................................................................ 90
Selecting the Sounds Assigned to the Pads........................................................... 91
Setting the Volume ................................................................................................... 91
Setting the Position of the Sound ........................................................................... 91
Naming the Kit.......................................................................................................... 91
Copying the Kit ......................................................................................................... 92
10
Contents
Chapter 11 Connecting and Using External MIDI Devices ............... 93
What is MIDI? .................................................................................................... 93
Starting/Stopping and Synchronizing Performances on the DR-3
from an External MIDI Device................................................................................ 93
Setting the MIDI Channels ............................................................................... 94
Setting Sync Mode ............................................................................................. 95
Using An External MIDI Device to Play the DR-3............................................... 95
Using the DR-3 to Record Performances Played by External MIDI Devices ... 96
Appendices......................................................98
Troubleshooting ................................................................................... 99
Message List ....................................................................................... 100
Parameter List..................................................................................... 101
Instrument/Bass Tone List ................................................................ 104
Preset Kit List ..................................................................................... 106
Preset Style List.................................................................................. 116
MIDI Implementation .......................................................................... 117
MIDI Implementation Chart ................................................................ 120
Specifications ..................................................................................... 122
Index .................................................................................................... 123
11
Panel Descriptions
Front Panel
fig.Panel
2
1
3
4
5
8
9
13
7
6
10
11
12
14
1.
Display
*
2.
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.
VALUE dial
Selects Styles and songs.
You can set tempos by rotating the dial
after pressing the TEMPO button (11).
This is also used during editing to input
settings values.
12
3.
MODE button
MANU (Manual) button
Press this button to switch to Manual
mode, in which you perform by switching
the patterns yourself.
AUTO button
Press this button to switch to Auto mode,
in which the patterns are switched
automatically during play of Styles.
SONG button
Press this button to switch to Song mode,
in which you play songs.
Panel Descriptions
4.
8.
START
button
* These are indicated in this manual as [
Starts and pauses Styles/songs playback
or recording.
STOP
STEP REC
5.
button
6.
VARIATION buttons
PTN button
KIT button
EDIT button
MUTE button
/ /
/EXIT /
/ENTER buttons
The four buttons,
,
,
and
are called the cursor buttons.
Cursor buttons are used to select
parameters and changes screens (pages).
EXIT button is pressed to stop an operation.
ENTER button is used to “lock in” a value
you’ve set or to execute an operation.
7.
9.
This starts Step Recording of Styles and
songs.
Pressing START button during Step
Recording then starts Realtime Recording.
Uses this when making settings related to
the performance and the usage
environment for the DR-3.
TSC (Total Sound Control)
buttons
SOUND SHAPE button
Adjusts the overall tone of the sound.
AMBIENCE button
Alters the acoustic characteristics of the
overall sound.
].
Press this button to switch patterns with
the pads (12).
When this button is ON (lit), the 9–12
buttons switch to the following functions.
button
This stops the performance of the Styles or
songs.
PTN button
The Pattern’s variation is played.
Plays with the Kit’s variation sound.
Some instrument sounds of the pattern are
muted.
10. KEY SHIFT button
Changes the key of the Patterns and songs
(transposing).
11. TEMPO (TAP) button
Adjusts the tempo.
You can tap this button at least four times
to set the tempo to the interval between the
taps.
12. Pattern Pads
When the PTN button (8) is on, you can
switch the patterns with these eight pads.
13. INST (Instrument) button
Press this button to use the pads to play
drum and bass sounds.
When this button is on (lit), the 9–12
buttons play the drum and bass sounds.
Also, you can press this button to switch
the sound groups for the pads (14).
14. Pads
When INST button (13) is ON (lit), drum
and bass sounds are played with these
pads.
13
Panel Descriptions
Rear Panel
fig.jack
1
1.
2
3
4
5
6
7
8
MIDI IN connector
External MIDI device can be connected to this connector.
2.
FOOT SW (Switch) jack
By connecting a foot switch, you can obtain pedal control over the start and stop of performances,
switching the patterns, or other actions.
3.
OUTPUT jack R (MONO) / L (PHONES)
Provides output of the audio signals. Connect to your amp, stereo system, or similar equipment.
For monaural output use the R (MONO) jack.
For a set of headphones use the L (PHONES) jack.
*
4.
You cannot get monaural output while simultaneously using the headphones.
OUTPUT jack R / L
Provides output of the audio signals. Connect to your amp, stereo system, or similar equipment.
Connect cables having RCA phono plugs here.
5.
VOLUME knob
Adjusts the volume from the OUTPUT jacks.
6.
POWER switch
Switches the power on and off.
7.
AC Adaptor jack
You can use a separately sold AC adapter (BOSS PSA series).
8.
Security Slot (
)
http://www.kensington.com/
14
Before You Play
Install Batteries
1
NOTE
fig.00-01
2
When turning the unit upsidedown, get a bunch of
newspapers or magazines, and
place them under the four
corners or at both ends to
prevent damage to the buttons
and controls. Also, you should
try to orient the unit so no
buttons or controls get
damaged.
Remove the battery cover on the unit’s underside.
NOTE
3
Insert six AA batteries in the battery case, taking care
to ensure that the positive (+) and negative (-)
terminals are not reversed.
When turning the unit upsidedown, handle with care to
avoid dropping it, or allowing
it to fall or tip over.
fig.00-02
We recommend the use of
alkaline batteries for extended
battery life.
NOTE
Do not mix new batteries with
partially used batteries, and do
not mix batteries of differing
types.
4
Close the battery cover.
When the battery power
begins to run low, “Battery
Low!” appears in the display
when the power is turned on.
When this occurs, replace with
new (six AA) batteries.
15
Before You Play
Make sure that the power is turned off.
Before You Play
Making Connections
The DR-3 is not equipped with an internal amp or speakers. To
hear sound, either connect an amplifier and speakers or use stereo
headphones.
Audio cables, MIDI cables, Stereo headphones, and foot switches
are not included. Please purchase these items from your dealer.
1
Before you begin making connections, confirm the
following.
NOTE
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 with
the DR-3.
• Is the volume level of the DR-3 or connected amp turned all the
way down?
• Is the power to the DR-3 or connected amp turned off?
fig.00-03
Stereo Headphones
Foot Switch
AC Adoptor
(PSA-series: option)
For instructions on connecting
to the MIDI connectors, refer
to p. 93.
For instructions on
connecting to the FOOT
SW jack, refer to p. 29.
Monitor Speaker
2
Audio Set
Connect the amp and audio gear, or the headphones
as shown in the diagram.
In order to take full advantage of the DR-3’s sound we
recommend that you play it in stereo.
When using the system in mono, connect to the OUTPUT R
(MONO) jack.
16
NOTE
You cannot get monaural
output while simultaneously
using the headphones.
Before You Play
Turning On/Off the Power
■ Turning on the power
1
Before You Play
Once the connections have been completed (p. 16), 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.
Before you turn the power on, make sure of the
following points.
• Are external devices connected correctly?
• Is the volume level of the DR-3 or connected amp turned all the
way down?
2
Turn on the POWER switch located on the rear panel
of the DR-3.
fig.00-04
NOTE
3
Turn on the power of the amp.
Press the flashing [INTRO/START] button to start the performance.
Rotate the VOLUME knob on the rear panel to adjust the DR-3’s
volume level.
fig.00-05
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.
Press STOP [
performance.
] to stop the
Also adjust the volume levels for amps and other connected gear.
■ Turning Off the Power
1
Before turning off the DR-3’s power, make sure that:
• Is the volume level of the DR-3 or connected amp turned all the
way down?
2
3
Switch off any amps and other external equipment.
Turn off the power of the DR-3.
17
Before You Play
Reset to Default Factory Settings (Factory Reset)
This returns all settings on the DR-3 to the values they had when
the unit shipped from the factory. This is called Factory Reset.
fig.00-06p
1
2, 4
3, 5, 6
1
With the performance stopped, press [EDIT].
fig.00-07d
2
Press [
] to select a <SYSTEM>.
fig.00-08d
3
Press [ENTER].
fig.00-09d
18
Before You Play
4
Press [
] to select a <FACTORY RESET>.
fig.00-10d
Before You Play
5
Press [ENTER].
A message confirming that you want to proceed with Factory
Reset is displayed.
fig.00-11d
To cancel, press [EXIT].
6
To execute Factory Reset, press [ENTER].
Factory Reset is executed.
When Factory Reset is done, the previous screen is displayed.
All of the settings are restored to their original factory status.
19
Quick Start
This Quick Start manual describes how to enjoy performing the
rhythm used in the DR-3’s Styles.
Pre-programmed Styles are provided in Rock, Jazz, and a variety of
other musical genres.
Once you select a Style in the desired genre, you can put together
backing that matches your own performances by switching Patterns.
The Patterns prepared for each Style include not only an “intro” and
“ending,” but up to three types of “fill-ins” and “verses” (main rhythm
patterns). You can perform the rhythm in a variety of ways.
20
Let’s Listen to the Demo
Now listen to the demo performance, which brings the DR-3’s
“Styles” to life.
fig.QS-01p
1
2
NOTE
1
Hold down [MANU] and press [AUTO].
The DR-3 switches to Demo mode, and the performance begins.
If a Pattern or song is playing, press STOP [
performance, then perform Step 1.
] to stop the
fig.QS-02d
The Style name which is playing, is displayed.
2
Press STOP [
All rights reserved.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
NOTE
You cannot switch Patterns by
pressing the pattern pads
while the demo performance is
playing. For information about
performances which do allow
you to switch the Patterns,
refer to “Let’s Play a Style” (p.
22).
] to stop the demo performance.
If you want to listen to the demo performance again, press START
[
].
When using [MANU],
[AUTO], or [SONG] to switch
modes, stop the performance
first before you press the
button.
21
Quick Start
The “Patterns” in the demo performance are switched
automatically. The pattern pads light when the corresponding
Patterns are playing.
Styles and Patterns —
Song performances require
rhythm patterns that vary a
little for each section of the
performance (intro, fill-ins,
ending, and so on). The DR-3
features eight prepared
rhythm patterns expressing
these variations within the
songs. Eight patterns are
grouped together in what is
called a “Style.” The DR-3
features 100 pre-programmed
internal Styles (Preset Styles)
to suit a variety of musical
genres. You can also put
together your own
combinations of Patterns to
create whole new Styles (User
Styles).
Let’s Play a Style
There are two ways to perform Styles, using “Manual mode,” in
which you switch the Pattern yourself, or “Auto mode,” where
the DR-3 switches Patterns automatically.
Now, try performing in Manual mode.
For more information on
“Auto mode,” please refer to
p. 31.
Performing Styles with Selecting Patterns ([MANU])
Each Style includes eight prepared rhythm patterns; intro, fill-in
A, verse A, fill-in B, verse B, fill-in C, verse C and ending.
In Manual mode, you play switching Patterns yourself.
fig.QS-03p
1
2
3
4
Pattern Pad
1
With the performance stopped, press [MANU] so the
button lights up.
This puts the DR-3 in Manual mode.
The Style screen appears in the display.
pads, press [
fig.QS-04d
button lights up.
Style No.
Measure Beat
22
If [INST] is lit, then drum or
bass sounds are played when
you press the pads (p. 58).
To switch Patterns with the
Style Name
Tempo
] so that this
Let’s Play a Style
2
3
Press [INTRO/START] to start the performance from
the intro.
Press one of the pattern pads to switch Patterns.
When you press a pattern pad
other than [INTRO/START],
the performance begins from
that pattern.
Pad
Name
INTRO/
START
After the
intro is
Descrip- played, the
tion
Style proceeds to
Verse A.
FILL A
VERSE A
FILL B
VERSE B
FILL C
VERSE C
ENDING/
STOP
After Fill-In
A is played,
the Style
proceeds to
Verse A.
This is the
main performance
Pattern.
After Fill-In
B is played,
the Style
proceeds to
Verse B.
This is a
complementary
Pattern to
Verse A.
After Fill-In
C is played,
the Style
proceeds to
Verse C.
This is the
most elaborate of
the Patterns A–C.
The ending
is played,
and then
the performance
stops.
When you press a pattern pad, the pattern for the pad you've
pressed will start playing as soon as the one that's currently
playing has finished.
When you press [FILL], the fill-in is played, and then the verse
corresponding to that fill-in is automatically played. For example,
if you press [FILL A], the DR-3 automatically switches to [VERSE
A] after the fill-in.
4
When you press [ENDING/STOP], the ending is
played and then the performance stops.
What is a Fill-In? —These are
lively performance Patterns
inserted in spaces between
phrases and other points in
songs and Styles. Fill-ins of up
to one whole measure in
length are played according to
when you press the [FILL].
To stop the Style without
having the ending played,
press STOP [
].
23
Quick Start
The Patterns assigned to the pattern pads are shown below.
Let’s Play a Style
Performing Variations on Styles (VARIATION)
You can use the three VARIATION buttons to add variety to the
performance, even with the same Style.
Button
Name
PTN
KIT
Description
The Pattern’s variation is played.
This substitutes
the kits, thereby
changing the tone.
MUTE
This mutes a part
of the drum set.
What is a Kit? — These are
sounds, selected from those
built into the DR-3, consisting
of 26 drum sounds and one
bass sound that are grouped
together as a single set.
fig.QS-05p
The settings used when you
press a VARIATION button
differ according to the Style.
1
3, 4, 5
2
6
You can use the VARIATION
buttons not only in Manual
mode, but in Auto mode and
Song mode (p. 37) as well.
VARIATION Button
1
With the performance stopped, press [MANU] so the
button lights up.
This puts the DR-3 in Manual mode.
2
3
When you press [INTRO/START], the performance
starts from the intro.
Press VARIATION [PTN].
VARIATION [PTN] lights up, and the variation for the Pattern
currently being performed is played.
When you press VARIATION [PTN] once again, the button’s
light goes out, and the original Pattern is played.
24
NOTE
The VARIATION [PTN]
button does not have any
effect on patterns other than
verses.
Let’s Play a Style
4
Press VARIATION [KIT].
VARIATION [KIT] lights up, and the drum set and bass sounds
changes.
When you press VARIATION [KIT] once again, the button’s light
goes out, and the original Pattern is played.
Quick Start
5
With some Styles, the sound
may not change.
Press VARIATION [MUTE].
VARIATION [MUTE] lights up, and a part of sounds are muted.
When you press VARIATION [MUTE] once again, the button’s
light goes out, and the muted sounds play again.
6
When you press [ENDING/STOP], the ending is
played and then the performance stops.
25
Let’s Play a Style
Selecting Styles
The DR-3 comes with 100 pre-programmed Styles already built
in.
Now try listening to some of the different Styles.
fig.QS-06p
You can also create your own
Styles. For more information,
refer to “Chapter 7 Creating
Styles” (p. 61).
2
1
3
1
4
With the performance stopped, press [MANU] so the
button lights up.
If you switch the style during
The Style screen appears in the display.
its performance, a “
fig.QS-04d
Style No.
Measure Beat
2
3
Style Name
Tempo
” mark
appears in front of the style
name which will be played
next.
The style switches after the
currently playing pattern ends,
and the “
” mark disappears.
Turn the VALUE dial to select a Style.
Press [INTRO/START] to start the performance from
the intro.
When you press a pattern pad
other than [INTRO/START],
the performance begins from
that pattern.
You can change Styles by turning the VALUE dial, even during
the performance.
4
26
When you press [ENDING/STOP], the ending is
played and then the performance stops.
“Preset Style List” (p. 116)
Let’s Play a Style
Changing the Tempo ([TEMPO])
Now let’s try changing the performance tempo.
fig.QS-08p
Quick Start
2
3
1
1
Press [TEMPO (TAP)].
The Tempo screen appears.
fig.QS-09d
2
Adjust the tempo with the VALUE dial.
The tempo can be set to any value from 20 to 260.
3
Press [EXIT] to return you to the previous screen.
■ Setting the Tempo by Tapping It Out (Tap Tempo)
You can have the tempo be set to match an interval that you’ve
demonstrated by tapping the button. This function is called “Tap
Tempo.”
1
Press [TEMPO (TAP)] at least four times.
The interval between presses of the button is set as the tempo.
27
Let’s Play a Style
Changing the Key ([KEY SHIFT])
You can perform Styles in different keys (transposed).
This function is called “Key Shift.”
fig.QS-10p
2
3
1
1
Press [KEY SHIFT].
The Key Shift screen appears.
fig.QS-11d
2
Set the key with the VALUE dial.
You can set the value in semitone units within the range from -12
to +12, or one octave lower to one octave higher.
This changes the key of the performance.
3
Press [EXIT] to return you to the previous screen.
To return to the original key, press [KEY SHIFT], then set the key
to “0” using the VALUE dial.
28
Let’s Use a Foot Switch
You can use a foot switch (such as the optional FS-5U) to start and
stop performances and switch verses (p. 23). This is convenient, as
it allows you to switch the Patterns with your foot.
You can connect up to two foot switches.
1
NOTE
Connect the foot switch to the FOOT SW jack on the
rear panel.
fig.QS-14
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
connecting a foot switch.
NOTE
PCS-31: Option
Red
White
(
A special PCS-31 cable
(optional) is required when
connecting two foot switches.
Start/Stop
Performance
)
(Switching Verses)
When connecting the foot
switch (the optional FS-5U) to
the FOOT SW jack, set the
polarity switch as shown in the
following figure.
When Connecting Two Foot Switches
With the factory settings, foot switches connected using the plug
with a white ring are used for starting and stopping
performances, and foot switches connected using the plug with a
red ring are used for switching verses.
Polarity Switch
You can change the foot switch
functions. For more details,
refer to “Assigning Functions
to the Foot Switch” (p. 49).
29
Quick Start
Connecting the Foot Switch
Let’s Use a Foot Switch
Using the Foot Switch
The example here describes use of the DR-3 with two foot
switches connected.
When you have only one foot switch connected, you can only use
it to start and stop the performance.
1
You can change the foot switch
functions. For more details,
refer to “Assigning Functions
to the Foot Switch” (p. 49).
With the performance stopped, press [MANU] so the
button lights up.
This puts the DR-3 in Manual mode.
2
When you press the foot switch connected with the
plug with a white ring, the performance begins.
The performance starts from the intro.
3
4
30
Pressing the foot switch connected with the plug that
has a red ring switches to the next verse after the
verse currently being played.
When you press the foot switch connected with the
plug with the white ring, the ending is played, and
then the performance stops.
When you press the foot
switch with the red ring, a fillin is played after the verse
currently being played, and
the performance switches to
the next verse. Pressing the
foot switch while Verse A is
playing switches the
performance to Verse B,
pressing the foot switch
during Verse B switches the
performance to Verse C, and
pressing the foot switch
during Verse C switches the
performance to Verse A.
By continuing to press the foot
switch, you can select
subsequent verses according to
the number of times you press
the foot switch.
Let’s Perform with the Patterns Switched
Automatically ([AUTO])
When you perform Styles in Auto mode, the DR-3 switches the
Patterns automatically, even without the pattern pads being
pressed.
This lets you enjoy session-like performances without having to
take your hands off the guitar or other instrument you are playing.
Quick Start
fig.QS-12p
1
2
1
3
With the performance stopped, press [AUTO] so the
button lights up.
This puts the DR-3 in Auto mode.
fig.QS-13d
2
Press [INTRO/START] to start the performance from
the intro.
In Auto mode, the Patterns are played automatically, repeating the
sequence of INTRO → VERSE A → FILL B → VERSE B → FILL C →
VERSE C → FILL A → VERSE A... and so on (according to the factory
settings).
3
When you press [ENDING/STOP], the ending is
played and then the performance stops.
You can change the Pattern
progression in Auto mode. For
more details, refer to
“Changing the Pattern
Progression in Auto Mode” (p.
47).
To stop the Style without
having the ending played,
press STOP [
].
31
Let’s Change the Overall Tone of the
Sound and Acoustics (TSC)
“TSC,” short for “Total Sound Control,” is a function that lets you
change the acoustic effects for the overall performance just by
pressing a few buttons.
TSC includes two types of effect, “Sound Shape,” which changes
the overall tone of the sound, and “Ambience,” which alters the
overall acoustic characteristics.
fig.QS-16p
4, 8
1
3, 5
7, 9
6, 10
2
1
2
3
With the performance stopped, press [MANU] or
[AUTO] so the button lights up.
Press [INTRO/START] to start the performance.
Press TSC [SOUND SHAPE].
The TSC screen is displayed.
fig.QS-17d
4
32
Turn the VALUE dial to select a Sound Shape effect.
You can save your preferred
“Sound Shape” and
“Ambience” settings.
For more details, refer to
“Changing the Sound Shape
Parameters” (p. 53) and
“Changing the Ambience
Parameters” (p. 56).
Let’s Change the Overall Tone of the Sound and Acoustics (TSC)
5
Press [SOUND SHAPE] so the button lights up.
Sound Shape is applied to the performance.
Each time you press [SOUND SHAPE], it alternately turns the
button on (lit) and off (unlit).
6
7
Quick Start
Press [EXIT] to return you to the previous screen.
Press TSC [AMBIENCE].
The TSC screen is displayed.
fig.QS-18d
8
9
Turn the VALUE dial to select a Ambience effect.
Press [AMBIENCE] so the button light up.
Ambience is applied to the performance.
Each time you press [AMBIENCE], it alternately turns the button
on (lit) and off (unlit).
10
Press [EXIT] to return you to the previous screen.
When you press [ENDING/STOP], the ending is played and then
the performance stops.
For more details about Sound
Shape and Ambience, refer to
“Chapter 5 Changing the
Overall Tone of the Sound and
Acoustics (TSC)” (p. 51).
33
Chapter 1 Overview of the DR-3
The DR-3’s Performance Modes
The DR-3 features two performance modes, Style Play mode, in which the rhythm patterns are
switched as you play, and Song mode, in which you create data by arranging the patterns
beforehand, and then perform.
Furthermore, “Style Play mode” features a Manual mode, in which you switch the rhythm
patterns yourself, and an Auto mode, where the rhythm patterns are switched automatically.
A Style contains a set of rhythm patterns that are needed for performance of a song.
In order to perform a song, you need to have different rhythm patterns set in different parts of
the song. For example, a rhythm pattern may change like this: Intro/melody A/melody B/
chorus/ending. To express the variation in such a song, each Style includes eight prepared
rhythm patterns.
The DR-3 includes 100 different Preset Styles (internal Styles) in rock, jazz, and various other
genres, so you can play all the rhythm patterns for a single song by selecting the genre you want
to play in and then switching the patterns.
A Song is created by arranging the sequence of rhythm patterns that make up the song.
You can also create a song by setting up a sequence of patterns from different Styles. What's
more, you can prepare further song data after you have created a song by editing parts of a song,
for example by changing bass phrases.
Switch between these three modes with the MODE button shown below.
fig.01-mode
Manual
Mode
Auto
Mode
Song
Mode
Style Play Mode
Style Play Mode
Manual Mode
Switch to Manual mode by pressing the MODE [MANU] button.
In Manual mode, you can switch patterns by pressing the pattern pads. You can perform freely
as you switch the patterns.
Auto Mode
Switch to Auto mode by pressing the MODE [AUTO] button.
In AUTO mode, you can have patterns switch automatically after the performance starts, which
then lets you enjoy jamming.
* When using a MODE button to switch modes, stop the performance first before you press the button.
34
Chapter 1 Overview of the DR-3
Makeup of a Style
Patterns
Variation
Verse A
Intro
Chapter 1
fig.01-01
Verse B
Verse C
Fill A Verse A Fill B Verse B Fill C Verse C Ending
Style
Variation
Patterns
Patterns
Kit
Kit
Mute
Kit
Instrument
Variation
KICK
Kit
SNR1
TOM3
KICK
SNR2
SNR1 TOM3
BASS
SNR2
TOM3
BASS
TOM3
BASS
1
2
3
4
Kit
No.128
KICK
SNR1 TOM3
SNR2
No.1
BASS
KICK
TOM3
SNR1 TOM3
SNR2
BASS
BASS
TOM3
254
255
256
Bass Tone
BASS
BASS
1
2
TSC
Tempo
16
Sound Shape
TSC
Preset
1
2
8
User
1
2
Sound
Shape
8
Ambience
Ambience
Preset
1
2
8
User
1
2
8
Patterns
The following eight patterns are set up for the different parts of the song.
Pattern Name
INTRO
Description
This is played at the beginning of the song.
VERSE A, B, C
These are the main performance Patterns.
A is the basic performance Pattern, and B and C are Patterns complementary to Verse A.
FILL A, B, C
These are lively performance Patterns inserted in spaces between phrases
and other points in songs. Select Fill-In A, B, or C according to the verse you
want to have played after the fill-in.
ENDING
This is the performance Pattern used to finish the song.
Each of the eight patterns is assigned to a pattern pad. Press the pattern pads as the Style is
played to switch the patterns.
fig.01-03p
Pattern Pad
35
Chapter 1 Overview of the DR-3
Kits
The drum, percussion, and bass sounds used in performing patterns are referred to as “kits.”
The Styles have predetermined kits assigned to them, so you can change kits by changing Styles,
and thus change the sounds played with the pads.
Variation
Variation is a function that alters performances, for example building up the performance or
toning it down.
There are three kinds of variations, [PTN] (Pattern), [KIT], and [MUTE].
[PTN]
This alternates the Pattern.
[KIT]
[MUTE]
This substitutes the kits,
thereby changing the sound.
This mutes a part of the drum
set. This is used to tone down the
performance and bring solos out
to the forefront.
The three kinds of variations are switched on and off with the VARIATION [PTN], [KIT] and
[MUTE].
fig.01-vari
Pattern
Kit
Mute
TSC
“TSC,” short for “Total Sound Control,” is a function that lets you change the overall tone of the
sound and acoustics.
TSC includes two kinds of effects, “SOUND SHAPE” and “AMBIENCE.”
“SOUND SHAPE” adjusts the overall tone of the sound with a three-band equalizer and threeband compressor that are used to boost or cut specific pitches (frequency bands).
“AMBIENCE” adjusts the breadth of the sound by altering the acoustic characteristics of the
sound.
You can select the TSC settings that sound best with each Style, and you can switch [SOUND
SHAPE] and [AMBIENCE] on and off independently.
fig.01-tsc
Tempo
Each Style includes a tempo setting suited to that Style.
After you select a Style, you can perform with a different tempo, and even change the tempo
while the performance is in progress.
36
Chapter 1 Overview of the DR-3
Song Mode
Chapter 1
Switch to Song mode by pressing the MODE [SONG] button.
In Song mode, you create songs by recording the sequence in which the patterns are to be
played, or play the song that you have created.
* When using a MODE button to switch modes, stop the performance first before you press the button.
Switching the Pad Functions
The DR-3’s [
] and [INST] are used to switch between two different functions.
Specifying Patterns with the Pads ([
] is Lit)
fig.01-padptn
Lit
Pattern Pads
When you press [
], you can then switch the patterns with the pattern pads.
Furthermore, you can press the VARIATION [PTN], [KIT], [MUTE], [KEY SHIFT], and [TEMPO
(TAP)] to use the functions marked for each of these buttons.
Playing Instruments (Instrument Sounds) with the Pads ([INST] is Lit)
fig.01-padinst
Lit
Pad No.
Bass Pitch
Instrument Name
Pads
When you press [INST], different sounds are assigned to the pads, and you can then press the
pads to play these drum and bass sounds. The instrument names and the bass pitch names
assigned to the pads are printed under each pads.
You cannot use the VARIATION [PTN], [KIT], [MUTE], [KEY SHIFT], and [TEMPO (TAP)]
functions when [INST] is lit.
Also, when [INST] is lit, you can use the VALUE dial or [INST] to switch the sound groups
(drums, percussion, bass) for the pads.
37
Chapter 1 Overview of the DR-3
Main Screens and Functions
Style screen
fig.01-d1
Style No.
Style Name
Measure Beat
Tempo
With the performance stopped, pressing [MANU] or [AUTO] causes the button to light up,
switches the DR-3 to Style Play mode, and calls up the Style screen.
When the DR-3 is in Style Play mode, pressing the [EXIT] button returns the Style screen to the
display.
Song screen
fig.01-d2
Song No.
Measure
Song Name
Style No.
Loop Play Mode
With the performance stopped, pressing [SONG] causes the button to light up, switches the DR3 to Song mode, and calls up the Song screen.
When the DR-3 is in Song mode, pressing the [EXIT] button returns the Song screen to the display.
Edit screen
fig.01-d3
Item
Item
Value
With the performance stopped, pressing [EDIT], switches the DR-3 to Edit mode, and calls up
the Edit screen.
In Edit mode, you can press [
][
] to switch “pages,” turn the VALUE dial to change the
values, press [ENTER] to set the values, and press [EXIT] to cancel operations.
Step Recording screen
fig.01-d4
Step Display
Measure Beat
Pad Name
Quantize
In Style Play mode ([MANU] or [AUTO] lit), you can press STEP REC [
Recording and call up the Step Recording screen.
When you press STOP [
38
] to start Step
], recording stops and you're returned to the Style screen.
Chapter 1 Overview of the DR-3
Realtime Recording screen
fig.01-d5
Measure Beat
Chapter 1
Style No.
Pattern Name
Sound Group
Quantize
When you press START [
] after pressing STEP REC [
] in Style Play mode ([MANU] or
[AUTO] lit), Realtime Recording starts and the Realtime Recording screen is displayed.
When you press STOP [
], recording stops and you're returned to the Style screen.
Velocity Edit screen
fig.01-d6
Measure Beat Tick
Pad Name
Velocity
When you press [EDIT] during Style Step Recording (STEP REC [
screen is displayed.
Pressing [EXIT] returns you to the Step Recording screen.
] lit), the Velocity Edit
Song Recording screen
fig.01-d7
Song No.
Measure
Style No.
Pattern Name
In Song mode ([SONG] lit), you can press STEP REC [
] to start Step Recording and call up
the Song Recording screen.
In Song mode, the Song Recording screen is also displayed during Realtime Recording.
When you press STOP [
], recording stops and you're returned to the Song screen.
Song Edit screen
fig.01-d8
Item
Item
Value
When you press [EDIT] during Step Recording (STEP REC [
the Song Edit screen is displayed.
Pressing [EXIT] returns you to the Song Recording screen.
] lit) in Song mode ([SONG] lit),
39
Chapter 1 Overview of the DR-3
■ Starting and Stopping Performances and Recording
Use these buttons to start, pause, stop, and record performances of Styles and songs.
fig.01-plystp
START [
]
Press START [
] when the performance is stopped to start the performance of the Style or
song.
When you press START [
] while the performance is playing, the performance of the Style
or song is paused. Press the button once again to resume the performance from the point where
it was paused.
If you press START [
] while Step Recording (STEP REC [
] lit) is in progress,
Realtime Recording will start.
STOP [
]
This stops the performance and recording of the Style or song.
STEP REC [
]
This starts Step Recording of Styles and songs.
If you press START [
] while Step Recording (STEP REC [
Realtime Recording will start.
] lit) is in progress,
Realtime recording...p. 65, p. 77
Step recording...p. 67, p. 76
Notes Concerning Editing and Recording
Edited or recorded data is not saved if the power is turned off while editing or
recording is still in progress. Be sure to carry out the following.
- To quit editing, press [EXIT].
- To finish recording press STOP [
].
The message “Keep Power ON! Now Working...” appears when these operations are
in progress.
Never turn off the power while this message is displayed.
40
Chapter 1 Overview of the DR-3
■ Adjusting the Tempo ([TEMPO])
Chapter 1
Use the following procedure to adjust Style and song tempos.
fig.01-03p
2
3
1
1.
Press [TEMPO (TAP)].
The Tempo screen appears in the display.
fig.01-04d
2.
Adjust the tempo with the VALUE dial.
You can tap [TEMPO (TAP)] at
least four times to set the
tempo to the interval between
the taps. For more details, refer
to “Setting the Tempo by
Tapping It Out (Tap Tempo)”
(p. 27).
The tempo can be set to any value from 20 to 260.
3.
Press [EXIT] to return to the previous screen.
41
Chapter 1 Overview of the DR-3
■ Changing the Key of the Performance ([KEY SHIFT])
Use the following procedure to change the key of the Styles and songs (transposing).
fig.01-04p
2
3
1
1.
Press [KEY SHIFT].
The Key Shift screen appears in the display.
fig.01-05d
2.
Set the key with the VALUE dial.
You can set the value in semitone units within the range from -12
to +12, or one octave lower to one octave higher.
This changes the key of the performance.
3.
Press [EXIT] to return to the previous screen.
To return to the original key, press [KEY SHIFT], then set the key
to “0” using the VALUE dial.
42
If notes whose pitches are
changed using the Key Shift
function are in registers that
are unplayable for the DR-3,
the notes in the expressible
range above or below that
octave are sounded.
Chapter 2 Playing Styles (Manual Mode [MANU])
The DR-3 features 100 pre-programmed internal Styles in a
variety of musical genres. You can perform by selecting the Styles
and switching the Patterns in “Manual mode.”
fig.02-01p
For more on creating Styles,
refer to “Chapter 7 Creating
Styles” (p. 61).
Lit
Pattern Pad
The DR-3’s pads can be switched between two modes of
operation, [
] and [INST] (p. 37).
Patterns are switched with the pads when [
] is lit.
When switching Patterns and performing Styles in Manual mode,
be sure to confirm that [
] is lit.
When [INST] is lit, drum and
bass sounds are played with
the pads while the patterns are
in progress.
For more information on
[INST], refer to “Chapter 6
Performing with the Pads” (p.
58).
Selecting Styles
Use this procedure to select the Styles to be performed.
1.
If you switch the style during
With the performance stopped, press [MANU] so the button
lights up.
fig.02-02d
its performance, a “
and the “
2.
” mark
appears in front of the style
name which will be played
next.
The style switches after the
currently playing pattern ends,
” mark disappears.
Turn the VALUE dial to select a Style.
Style numbers for the Preset Styles (internal Styles) are preceded
by a “P”; Style numbers for the User Styles (p. 61) are preceded by
a “U.”
Depending on its settings,
there may be some delay for
the TSC (p. 51) to change, if the
style is switched while it is
being performed.
“Preset Style List” (p. 116)
43
Chapter 2
■ How the Pads Work When Performing Styles
For more on “Auto mode,” in
which the Patterns are selected
automatically, refer to
“Chapter 3 Playing Styles
(Auto Mode [AUTO])” (p. 46).
Chapter 2 Playing Styles (Manual Mode [MANU])
Selecting the Patterns to be Played
fig.02-03p
Pattern Pads
A single Style is divided into eight performance units called
“Patterns,” which are assigned to the pattern pads.
Pattern
Pad
INTRO/
START
After the
intro is
Descrip- played, the
tion
Style proceeds to
Verse A.
FILL A
After Fill-In
A is played,
the Style
proceeds to
Verse A.
VERSE A
This is the
main performance
Pattern.
FILL B
After Fill-In
B is played,
the Style
proceeds to
Verse B.
FILL C
VERSE C
ENDING/
STOP
After Fill-In
C is played,
the Style
proceeds to
Verse C.
This is the
most elaborate of the
Patterns A–
C.
The ending
is played,
and then
the performance
stops.
VERSE B
This is a
complementary
Pattern to
Verse A.
■ Starting/Stopping
1.
Press any pattern pad.
With the performance stopped, press any of the pattern pads to
start the performance.
When you press [INTRO/START], the performance starts from
the intro. After the intro is played, the Style proceeds to Verse A.
2.
Press [ENDING/STOP].
The ending is played, and then the performance stops.
If you press STOP [
], the performance stops without the
ending being played.
■ How to Change Patterns
1.
Press any of the pattern pads while the performance is in
progress.
If while a Pattern is being played you press a pad for a different
Pattern, the pad you have pressed begins to flash, indicating that
this is to be the next Pattern played. When the currently playing
pattern ends, the pattern is switched, and the pad that was
flashing will instead light steadily.
When you press any of the [FILL A–C] buttons, a fill-in of up to
one measure in length is played, and that is followed by the
corresponding [VERSE A–C].
When you press [ENDING/STOP], the ending is played, and
then the performance stops.
44
Chapter 2 Playing Styles (Manual Mode [MANU])
Selecting Variations (VARIATION)
fig.02-04p
VARIATION Buttons
Lit
Each Style includes three different variations, which you can use
to add variety to the performance, even with the same Style.
The functions of the three VARIATION buttons are described
below.
Button
Name
Description
1.
PTN
This alternates the
Patterns.
KIT
This substitutes
the kits, thereby
changing the
sound.
MUTE
This mutes a part
of the drum set.
While the performance is in progress, press VARIATION
[PTN], [KIT], or [MUTE] so the button lights up.
The pressed button lights up (indicating it is on).
When you press the button once more, the button’s light goes out
(indicating it is off), and the original Pattern is played.
You can also perform with more than one of these buttons on.
The settings used when you
press a VARIATION button
differ according to the Style.
45
Chapter 2
You can use the VARIATION
buttons not only in Manual
mode, but in Auto mode (p.
46) and Song mode (p. 85) as
well.
Chapter 3 Playing Styles (Auto Mode [AUTO])
When you perform Styles in Auto mode, the DR-3 switches the
Patterns automatically, even without the pattern pads being
pressed.
This lets you enjoy session-like performances without having to
take your hands off the guitar or other instrument you are playing.
When performing in Auto mode, the Patterns are basically played
in the following sequence. You can also press a button other than
[INTRO/START] to begin the performance from that Pattern.
“Patterns” (p. 35)
fig.03-01
● Pattern Progression in Auto Mode
Intro
Verse A
Fill-in B
Verse B
Fill-in C
Verse C
Fill-in A
Ending
Play Repeat Automatically
Selecting a Style
fig.03-01
1.
You can change the Pattern
progressions and the number
of measures repeated.
Refer to “Changing the Pattern
Progression in Auto Mode” (p.
47).
With the performance stopped, press [AUTO] so the button
lights up.
2.
When [INST] is lit, drum and
bass sounds are played with
the pads while the patterns are
in progress.
For more information on
[INST], refer to “Chapter 6
Performing with the Pads” (p.
58).
Turn the VALUE dial to select a Style.
Style numbers for the Preset Styles (internal Styles) are preceded by a
“P”; Style numbers for the User Styles (p. 61) are preceded by a “U.”
Performing in Auto Mode
1.
Press any of the pattern pads.
When the performance of the Pattern initially specified is
finished, the next Pattern is played automatically.
To see the sequence in which the Patterns are played, please refer
to the figure “Pattern Progression in Auto Mode.”
If you press a pattern pad while the performance is in progress,
the Style switches to the Pattern corresponding to the pressed
pad, and the performance then continues by repeating the Pattern
progression sequence.
2.
When the performance is
stopped, pressing any pattern
pad will start the performance.
When you press [ENDING/STOP], the ending is played and
then the performance stops.
To stop the Style without having the ending played, press STOP [
46
].
Chapter 3 Playing Styles (Auto Mode [AUTO])
■ Changing the Pattern Progression in Auto Mode
You can change the pattern progression
when performing in Auto mode.
1. With the performance stopped, press
[EDIT].
The Edit Menu screen appears.
fig.09-01d
fig.09-02d
Parameter
Value
ABC, ABC 4, ABC 8, ABC 16,
AB, AB 4, AB 8, AB 16
AutoType
The letters indicates the sequence of the
verses.
The numeral represents the number of
measures performed in each verse.
When the number of measures has been
specified by means of a value that has been
set, then regardless of the original number of
measures in each verse, the verse is repeated
only for the number of measures specified.
Example: When performing a Style with a
Verse A of four measures, a Verse B of two
measures, and Verse C of two measures.
3. Press [
set.
fig.09-04d
], select a <Auto Type> to be
- With “ABC” for “AutoType”
The sequence with Verses A, B, and C played
once each is repeated.
fig.09-ABC4
Fill-in B Fill-in C Fill-in A
Intro
Verse A
(4 meas.)
Ending
Verse B Verse C
(2 meas.) (2 meas.)
Performance repeats automatically
- With “ABC4” for “AutoType”
The sequence in which four measures of
Verses A, B, and C are played is repeated.
fig.09-ABC4
Fill-in B
Intro
Verse A
(4 meas.)
Fill-in C
Verse Bx2
(4 meas.)
Fill-in A
Verse Cx2
(4 meas.)
Performance repeats automatically
5. Press [EXIT] a number of times until you
exit Edit mode.
47
Chapter 3
2. Press [
], select a <SYSTEM>, then
press [ENTER].
4. Turn the VALUE dial to set the value.
Chapter 4 Controlling the Styles with a Foot Switch
You can use a foot switch (such as the optional FS-5U) to start and
stop performances and switch verses (p. 44). This is convenient, as
it allows you to switch the Patterns with your foot.
You can connect up to two foot switches.
When using the special cable (PCS-31), the foot switch connected
with the white-striped plug is used to start and stop
performances, and the foot switch connected with the red-striped
plug is used to switch verses (as set at the factory).
Starting and Stopping Performances
You can use a foot switch to start and stop the performance of
Styles and songs (p. 85).
1.
NOTE
During recording or editing in
Edit mode (p. 38), depressing
the foot switch will have no
effect.
Wiring diagrams for the foot
switch jack is shown at below.
With the performance stopped, press the foot switch.
When [MANU] or [AUTO] is lit: performance of the Style begins
from the intro.
When [SONG] is lit: performance of the song begins.
2.
For instructions on connecting
the foot switch, refer to
“Connecting the Foot Switch”
(p. 29).
FS1
FS2
Press the foot switch while the performance is in progress.
When [MANU] or [AUTO] is lit: the ending is played, and then
the performance stops.
When [SONG] is lit: the song stops.
Switching Verses
If two foot switches are
connected, press the foot
switch connected using the
plug with the white ring.
You can press the foot switch during performance of the Style to
have a fill-in inserted in the current verse and then switch to the
next verse. For example, if you press the foot switch while Verse
A is playing, the DR-3 inserts a fill-in B and switches to Verse B.
1.
Press the foot switch while the performance is in progress.
A fill-in is inserted, and the DR-3 switches to the verse following
the verse currently being played.
Pressing the foot switch while Verse A is playing switches the
performance to Verse B, pressing the foot switch during Verse B
switches the performance to Verse C, and pressing the foot switch
during Verse C switches the performance to Verse A.
By continuing to press the foot switch, you can select subsequent
verses according to the number of times you press the foot switch.
Pressing the switch while the performance is in progress switches
the DR-3 to the next verse specified for the song.
48
When connecting two foot
switches, press the foot switch
connected using the plug with
the red ring. If you have only
one foot switch connected, use
the procedure described in the
following section “Assigning
Functions to the Foot Switch”
to assign “VERSE, LOOP” to
the foot switch.
Chapter 4 Controlling the Styles with a Foot Switch
Assigning Functions to the Foot Switch
You can assign functions other than starting and stopping
performances and switching verses to the foot switch.
fig.04-01p
Press the [EDIT] button.
2.
Press [
Chapter 4
1.
] to select a <SYSTEM>.
fig.04-02d
3.
Press [ENTER].
4.
Press [
][
] to select a <FS1> or a <FS2>.
If you have two foot switches connected using the special cable
(PCS-31), select <FS1> when making settings for the foot switch
with the white ring, and <FS2> when making settings for the foot
switch connected using the plug with the red ring.
fig.04-03d
5.
With the factory settings,
<FS1> is set to “INTRO/END”
and <FS2> is set to “VERSE,
LOOP.”
Turn the VALUE dial to select the function to be assigned.
Refer to the following chart to see which functions can be
assigned.
Press [EXIT] a number of times to return to the previous screen.
49
Chapter 4 Controlling the Styles with a Foot Switch
Functions That Can Be Assigned to Foot Switches
Settings
Function
INTRO/
END
When [MANU] or [AUTO] is lit:
When the foot switch is pressed while
the performance is stopped, the performance starts from the intro. If the
foot switch is pressed while the performance is in progress, the ending is
played, and then the performance
stops.
When [SONG] is lit:
When the foot switch is pressed while
the performance is stopped, the performance of the song begins, and if
pressed while the performance is in
progress, the performance stops.
VERSE,
LOOP
When [MANU] or [AUTO] is lit:
A fill-in is played after the verse currently being played, and the performance switches to the next verse in
the Pattern. Pressing the foot switch
while Verse A is playing switches the
performance to Verse B, pressing it
during Verse B switches the performance to Verse C, and pressing it
during Verse C switches the performance to Verse A. No action results
when the foot switch is pressed during the intro or ending.
By continuing to press the foot
switch, you can select subsequent
verses according to the number of
times you press the foot switch.
When [SONG] is lit:
The function that is used when you
press the pedal varies according to
the [EDIT] <SONG> “LoopType” setting.
* Refer to “Switching Patterns With a
Foot Switch” (p. 86)
Settings
Function
TAP
TEMPO
When the foot switch is pressed four
or more times, the tempo is specified
according to the interval between
each press (Tap Tempo, p. 27).
STRT/
PAUSE
This has the same function as START
[
].
START/
STOP
When the foot switch is pressed while
the performance is stopped, the performance begins, and if pressed while
the performance is in progress, the
performance stops.
STYLE
FWD
This switches from the Style currently
being played to the next higher-numbered Style.
* If the current Style number is
“P100,” the DR-3 switches to “U001”;
if the current Style number is “U100,”
the DR-3 switches to “P001.”
STYLE
BWD
This switches from the Style currently
being played to the Style one number
lower.
* If the current Style number is
“P001,” the DR-3 switches to “U100”;
if the current Style number is “U001,”
the DR-3 switches to “P100.”
INTRO
This has the same function as [INTRO/START].
FILL A
This has the same function as [FILL A].
VERSE A
This has the same function as [VERSE A].
FILL B
This has the same function as [FILL B].
VERSE B
This has the same function as [VERSE B].
FILL C
This has the same function as [FILL C].
VERSE C
This has the same function as [VERSE C].
ENDING
This has the same function as [ENDING/STOP].
VAR PTN
This has the same function as VARIATION [PTN] (p. 45).
DRUM
KICK–
DRUM
CYM5
This plays the sounds assigned to
DRUM KICK – DRUM CYM5 in the
kit (p. 58) currently being played.
VAR KIT
This has the same function as VARIATION [KIT] (p. 45).
PERC 1–
PERC 13
VAR
MUTE
This has the same function as VARIATION [MUTE] (p. 45).
This plays the sounds assigned to
PERC 1 – PERC 13 in the kit (p. 58)
currently being played.
50
Chapter 5 Changing the Overall Tone of the
Sound and Acoustics (TSC)
“TSC,” short for “Total Sound Control,” is a function that lets you
change the overall tone of the sound and acoustics.
TSC includes two types of effect, “Sound Shape,” which changes
the overall tone of the sound, and “Ambience,” which alters the
acoustic characteristics of the overall sound.
“Sound Shape” and “Ambience” each feature eight preprogrammed groups of settings (Preset), but you can also add up
to eight more of your own settings (User settings) to these.
With the Preset Styles, settings
for the two types of TSC effects
are predetermined for each
Style individually, allowing
you to attain the acoustic effect
most suitable for each Style.
fig.05-01p
Chapter 5
Changing the Overall Tone of the Sound
([SOUND SHAPE])
“Sound Shape” allows you to adjust the overall tone of the sound
with a three-band equalizer and three-band compressor that are
used to boost or cut specific pitches (frequency bands).
1.
Press [SOUND SHAPE].
The TSC screen appears.
fig.05-02d
Each time you press [SOUND SHAPE], it alternately turns the
button on (lit) and off (unlit).
2.
Turn the VALUE dial to select the effect.
Value
Name
Value
Name
P1
ROCK
P2
LOUD
P3
TIGHT
P4
ENHANC
P5
ACSTIC
P6
LIVE
P7
LO-FI
P8
HRDCMP
U1–8
When the unit left the factory, the User settings (U1–U8) contained the same settings as the Preset (P1–P8).
3.
You can change the
parameters of the Sound Shape
settings and name the settings.
You can store up to eight
settings. For more details, refer
to “Changing the Sound Shape
Parameters” (p. 53).
Press [EXIT] to return you to the previous screen.
51
Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)
Altering the Acoustic Characteristics of
the Overall Sound ([AMBIENCE])
“Ambience” adjusts the breadth of the sound by altering the
acoustic characteristics of the sound.
1.
Press [AMBIENCE].
The TSC screen appears.
fig.05-03d
Each time you press [AMBIENCE], it alternately turns the button
on (lit) and off (unlit).
2.
Turn the VALUE dial to select the effect.
Value
Value
Name
NATURL
P2
LARGE
P3
BRIGHT
P4
POWER
P5
ROOM 1
P6
ROOM 2
P7
ROOM 3
P8
HALL
U1–8
3.
52
Name
P1
When the unit left the factory, the User settings (U1–U8) contained the same settings as the Preset (P1–P8).
Press [EXIT] to return you to the previous screen.
You can change the
parameters of the Ambience
settings and name the settings.
You can store up to eight
settings. For more details, refer
to “Changing the Ambience
Parameters” (p. 56).
Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)
Changing the Sound Shape
Parameters
■ Changing the Equalizer Parameters
You can store up to eight edited Sound Shape
parameters.
The values that can be set for each of the
parameters are shown below.
*
Unable to change the settings for the Preset Sound Shape,
with a “P” appended to their number.
This changes the parameters of the Sound Shape
3-Band equalizer.
Parameter
Value
Description
When the unit left the factory, the User settings (U1–U8)
contained the same settings as the Preset (P1–P8).
EQ / Switch OFF, ON
*
If the parameters below are changed during the
performance of a style or song, the changes are nullified
when you press [EDIT], restoring the settings for the
currently selected style or song.
- Key Shift value (p. 42)
- Tempo value (p. 41)
- Sound Shape and Ambience values (p. 51, p. 52)
EQ /
Input
-24 dB–
+12 dB
Sets the overall volume before passing through the
equalizer.
EQ (Low) /
Type
Shelving,
Peaking
Sets the equalizer type
(shelving, peaking) for the
lower range.
EQ (Low) /
Gain
-12 dB–
+12 dB
Sets the amount of boost or
cut in the lower range.
Certain data cannot be changed while it is being performed.
First stop the performance, then make the changes.
EQ (Low) /
Freq
20 Hz–
2.0 kHz
Sets the center frequency
for the lower range.
EQ (Low) /
Q (*1)
0.3–16.0
Sets the steepness of the frequency response curve for
the lower range’s center
frequency.
EQ (Mid) /
Gain
-12 dB–
+12 dB
Sets the amount of boost or
cut in the middle range.
EQ (Mid) /
Freq
20 Hz–
8.0 kHz
Sets the center frequency
for the middle range.
EQ (Mid) /
Q
0.3–16.0
Sets the steepness of the frequency response curve for
the middle range’s center
frequency.
EQ (High) /
Type
Shelving,
Peaking
Sets the equalizer type
(shelving, peaking) for the
upper range.
EQ (High) /
Gain
-12 dB–
+12 dB
Sets the amount of boost or
cut in the upper range.
EQ (High) /
Freq
500 Hz–
14.0 kHz
Sets the center frequency
for the upper range.
EQ (High) /
Q (*1)
0.3–16.0
Sets the steepness of the frequency response curve for
the upper range’s center
frequency.
EQ / Out
Level
-24 dB–
+12 dB
Sets the overall volume level after equalization.
*
■ How to Make the Settings
1. With the performance stopped, press [EDIT].
The Edit Menu screen appears.
fig.09-23d
2. Press [
], select a <SOUND SHAPE>,
then press [ENTER].
fig.09-24d
3. Turn the VALUE dial to select the Sound
Shape number to be set.
4. Press [
be set.
][
], select the parameter to
5. Turn the VALUE dial to set the value.
6. When you have finished making the
setting, press [EXIT] a number of times
until you exit Edit mode.
(*1) The “EQ (Low) / Q” and “EQ (High) / Q” is disabled
when “Shelving” (shelving type equalization) is selected
for the “EQ (Low) /Type” or “EQ (High) / Type.”
53
Chapter 5
*
This parameter turns the
equalizer effect on/off.
Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)
■ Changing the Compressor
Parameters
This changes the parameters of the Sound Shape
compressor.
The Compressor compresses the overall output
signal when the input volume level exceeds a set
value.
The values that can be set for each of the
parameters are shown below.
Parameter
COMP /
Switch
Value
Description
OFF, ON
This parameter turns the
compressor effect on/off.
COMP /
SplitL
20 Hz–
800 Hz
This sets the frequency (in the
lower range) at which the
source sound is split into
three separate ranges.
COMP /
SplitH
This sets the frequency (in the
1.6 kHz– upper range) at which the
14.0 kHz source sound is split into
three separate ranges.
COMP
(Low) /
Thres
-30 dB–
+6 dB
This sets the volume level at
which the lower-range compressor goes into effect.
COMP
(Low) /
Ratio
1:1.00–
1:16.0,
1:INF
This sets the ratio of suppression of the lower-range output when the input level
exceeds the Lo threshold level (COMP (Low) / Thres).
COMP
(Low) /
Attack
0 ms–
100 ms
This sets the time it takes for
the lower-range compressor
to go into effect once the input level exceeds the Lo
threshold level.
50 ms–
5000 ms
This sets the time it takes for
the lower-range compressor
effect to stop once the input
level falls below the Lo
threshold level.
COMP
(Low) /
Release
COMP(Mid) -30 dB–
/ Thres
+6 dB
This sets the volume level at
which the midrange compressor goes into effect.
1:1.00–
COMP(Mid)
1:16.0,
/ Ratio
1:INF
This sets the ratio of suppression of the midrange output
when the input level exceeds
the Middle threshold level
(COMP(Mid) / Thres).
54
Parameter
Value
Description
COMP(Mid) 0 ms–
/ Attack
100 ms
This sets the time it takes for
the midrange compressor to
go into effect once the input
level exceeds the Middle
threshold level.
COMP(Mid) 50 ms–
/ Release
5000 ms
This sets the time it takes for
the lower-range compressor
effect to stop once the input
level falls below the Middle
threshold level.
COMP(Hi)
/ Thres
-30 dB–
+6 dB
This sets the volume level at
which the upper-range compressor goes into effect.
COMP(Hi)
/ Ratio
1:1.00–
1:16.0,
1:INF
This sets the ratio of suppression of the upper-range output when the input level
exceeds the Hi threshold level (COMP(Hi) / Thres).
0 ms–
100 ms
This sets the time it takes for
the upper-range compressor
to go into effect once the input level exceeds the Hi
threshold level.
50 ms–
5000 ms
This sets the time it takes for
the upper-range compressor
effect to stop once the input
level falls below the Hi
threshold level.
COMP(Hi)
/ Attack
COMP(Hi)
/ Release
*
With the compressor, the level is automatically adjusted
to the optimum setting according to the threshold
(Thres) and ratio (Ratio) settings. In addition, since
lengthening the attack (Attack) setting may result in
distortion, a buffer (margin) of -6 dB is provided. Adjust
the following parameter levels as needed.
COMP /
Low Lev
-60 dB–
+6 dB
Sets the volume level of the
lower range after the signal
passes through the expander
and compressor.
COMP /
Mid Lev
-60 dB–
+6 dB
Sets the volume level of the
midrange after the signal
passes through the expander
and compressor.
COMP /
High Lev
-60 dB–
+6 dB
Sets the volume level of the
upper range after the signal
passes through the expander
and compressor.
COMP /
OutLevel
-60 dB–
+6 dB
Sets the overall volume level
after compressor.
Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)
■ Naming the Settings
■ Copying the Settings
Select a <NAME> on step 4 in p. 53, then press
[ENTER].
Select a <COPY> on step 4 in p. 53, then press
[ENTER].
You can edit the name of the currently selected
Sound Shape setting, using up to six characters
for the name.
Copy the currently selected Sound Shape setting
to the User settings (U1–U8).
fig.09-28d
fig.09-27d
Press [
][
] to move to the point where you
want to enter the character(s).
Turn the VALUE dial to select the number for the
Sound Shape to be copied, then press [
].
fig.09-29d
Each time you press [ENTER], it switches
between upper and lower case for the text being
input.
Chapter 5
Turn the VALUE dial to select the character.
When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.
Turn the VALUE dial to select the copydestination Sound Shape number, then press
[
].
fig.09-30d
Press [ENTER] to execute the copy.
If you press [
], the copy is cancelled, and
you’re taken back to the screen you were in
immediately before that.
When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.
55
Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)
Changing the Ambience
Parameters
You can store up to eight edited Ambience
parameters.
*
■ Changing the Ambience
Parameters
The values that can be set for each of the
parameters are shown below.
Unable to change the settings for the Preset Ambience,
with a “P” appended to their number.
Parameter
*
When the unit left the factory, the User settings (U1–U8)
contained the same settings as the Preset (P1–P8).
Size
5.6 m–
20.5 m
This parameter adjusts the
size of the room which is simulated.
*
If the parameters below are changed during the
performance of a style or song, the changes are nullified
when you press [EDIT], restoring the settings for the
currently selected style or song.
- Key Shift value (p. 42)
- Tempo value (p. 41)
- Sound Shape and Ambience values (p. 51, p. 52)
Time
0.1–32.0
This parameter adjusts the
duration (time) of the reverb.
Level
0–100
This parameter adjusts the effect level.
PreDelay
0 ms–
20 ms
This parameter adjusts the
time interval between the direct sound and the beginning
of the reverb sound.
Density
0–100
Adjust the density of the
whole reverb sound.
0–100
This parameter adjusts the
volume level of the sound
(Early Reflections) that arrives at the listener after
bouncing off the walls once
or a few times.
RelDensity
0–100
This parameter adjusts the
density of the sound that
reaches the listener after
many repeated reflections.
Low Damp
/ Gain
This parameter adjusts the
amount of damping for Low
-36.0 dB–
Damp. No low-frequency
0.0 dB
damping occurs when set to
“0.”
Low Damp
/ Freq
This parameter adjusts the
standard frequency at which
55 Hz–
the low-frequencies are
4.00 kHz damped. The reverb sound in
the band below this frequency is damped.
Hi Damp /
Gain
This parameter adjusts the
amount of damping for High
-36.0 dB–
Damp. No high-frequency
0.0 dB
damping occurs when set to
“0.”
*
Certain data cannot be changed while it is being performed.
First stop the performance, then make the changes.
Value
■ How to Make the Settings
1. With the performance stopped, press [EDIT].
The Edit Menu screen appears.
ErLevel
fig.09-23d
2. Press [
], select a <AMBIENCE>, then
press [ENTER].
fig.09-24d
3. Turn the VALUE dial to select the
Ambience number to be set.
4. Press [
be set.
][
], select the parameter to
5. Turn the VALUE dial to set the value.
6. When you have finished making the
setting, press [EXIT] a number of times
until you exit Edit mode.
56
Description
Chapter 5 Changing the Overall Tone of the Sound and Acoustics (TSC)
Parameter
Hi Damp /
Freq
Value
Description
400 Hz–
16 kHz
This parameter adjusts the
standard frequency at which
the high-frequencies are
damped. The reverb sound in
the band above the standard
frequency is damped.
This parameter adjusts the
frequency at which the lowfrequencies are cut.
Low Cut /
Freq
20 Hz–
2.0 kHz
High Cut /
Freq
This parameter adjusts the
250 Hz–
frequency at which the low14.0 kHz,
frequencies are cut. No effect
FLAT
occurs when set to “FLAT.”
■ Copying the Settings
Select a <COPY> on step 4 in p. 56, then press
[ENTER].
Copy the currently selected Ambience setting to
the User settings (U1–U8).
fig.09-28d
Turn the VALUE dial to select the number for the
Ambience to be copied, then press [
].
fig.09-29d
■ Naming the Settings
You can edit the name of the currently selected
Ambience setting, using up to six characters for
the name.
Turn the VALUE dial to select the copydestination Ambience number, then press [
].
fig.09-30d
fig.09-27d
Press [ENTER] to execute the copy.
Press [
][
] to move to the point where you
want to enter the character(s).
Each time you press [ENTER], it switches
between upper and lower case for the text being
input.
Turn the VALUE dial to select the character.
If you press [
], the copy is cancelled, and
you’re taken back to the screen you were in
immediately before that.
When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.
When you have finished making the setting,
press [EXIT] a number of times until you exit Edit
mode.
57
Chapter 5
Select a <NAME> on step 4 in p. 56, then press
[ENTER].
Chapter 6 Performing with the Pads
When you press [INST], the button lights up, and you can then
play drum set and bass sounds by pressing the pads. You can also
turn [INST] on while Styles and songs are in progress to play
sounds with the pads.
You can perform using the following pads when [INST] is lit.
The tones that are assigned to
the pads in the Preset Styles
are predetermined for each
Style.
fig.06-01p
Lit
Pad No.
Bass Note
Instrument Name
Pads
You can perform with the pads using three groups of sounds
(DRUM, PERC, BASS).
Select the desired group by pressing [INST], and cycling through
the available choices:
“DRUM” → “PERC” → “BASS” → “oct
BASS” → “oct
BASS” → “DRUM” and so on.
The name of the sound group appears in the display.
Displayed
Group
Name
DRUM
Drum Set
The sounds in the drum set are assigned to the
pads. The sound names are printed under the
pads.
PERC
Percussion
Various percussion instrument sounds are assigned to the pads.
BASS
Bass
The various pitches of the scale for the specified bass sound are assigned to the pads. The
note names are printed under the pads.
Sound
oct
BASS
The bass sound one octave lower is assigned to
the pads.
oct
BASS
The bass sound one octave higher is assigned
to the pads.
When you tap a pad, the sound of the instrument assigned to that
pad or the specified pitch is played.
The volume and tone change according to how hard you tap the
pads.
58
Press [
] when using the
pads to switch Patterns. For
more details, refer to
“Switching the Pad Functions”
(p. 37).
You can adjust the pad
sensitivity. For more details,
refer to “Adjusting the Pad
Sensitivity” (p. 89).
Chapter 6 Performing with the Pads
Playing Drum Sounds
1.
Press [INST] a number of times until “DRUM” appears in the
display.
fig.06-02d
For details on the sounds
assigned to the pads, refer to
the “Preset Kit List” (p. 106).
2.
Tap the pads to perform.
The instrument sounds assigned to the pads are played.
The names of the assigned instruments are printed under the pads.
Playing Percussion Sounds
1.
Press [INST] a number of times until “PERC” appears in the
display.
fig.06-03d
Chapter 6
2.
Tap the pads to perform.
The instrument sounds assigned to the pads are played.
Playing Bass Sounds
1.
Press [INST] a number of times until “BASS,” “oct
BASS”
NOTE
or “oct
BASS” appears in the display.
fig.06-04d
2.
You cannot play more than
one bass sound at the same
time.
Tap the pads to perform.
The bass sound is played at the pitch assigned to a particular pad.
The bass sound stops playing when you release the pad.
The names of the notes assigned to the pads are printed under the pads.
59
Chapter 6 Performing with the Pads
Selecting a Different Sound
(VARIATION [KIT])
When [INST] is on, the set of three groups of sounds played with
the pads (DRUM, PERC, BASS) is called the “drum kit.”
A single Style has two drum kits included with it, and you can
switch between these two drum kits by turning VARIATION
[KIT] on and off.
fig.06-06p
1.
Press [
2.
Press VARIATION [KIT] so the button lights up.
3.
Press [INST] so the button lights up.
] so the button lights up.
When you press the pads, the variation drum kit plays.
To return to the original drum kit, press [
] and then
VARIATION [KIT], causing the button lights to go out.
60
You can change the instrument
sounds contained in a drum
kit, and create original drum
kits. You can also change the
volume and pan (sound
localization) settings.
For further details, refer to
“Chapter 10 Creating Your
Own Kits” (p. 90).
Turning VARIATION [KIT] on
switches not only the pad
drum kit, but also the drum kit
for the Style or song currently
being played.
Chapter 7 Creating Styles
Even though the DR-3 comes with a great variety
of styles, representing many genres, you can also
create your own original styles. Such original
styles are called “User styles.”
User styles have a “U” at the beginning of the
style number, for example “U001.” You can
create and store up to 100 User styles in the DR-3.
Procedure for Creating
Styles
Here are the steps you need to take to create a
new style:
fig.07-01
<1> Select a Number for the Style
You Are Creating
<2> Make the Settings for the New Style
- Set the Tempo
- Set the Beat
- Set Up the Drum Kit
- Set VARIATION [MUTE]
- Make the TSC Settings
- Determine the Number of Measures for Each Pattern
recorded.)
<3> Record the Patterns
(Realtime Recording/Step Recording)
Realtime Recording
With this method, the key pads are played in time
with a metronome count, with the pattern being
recorded just as it is performed. Even if there is a little
unevenness in the timing used in tapping the key
pads, the Quantize function allows you to record
with the timing corrected. (Refer to step 3 on p. 65)
Step Recording
With this method, you “record” by specifying the
timing (step), volume, etc., of each instrument
sound, one at a time. This allows patterns to be
recorded accurately, even those that are hard to
record using Realtime Recording.
You can also record patterns using both Realtime
and Step Recording.
After recording the basic pattern using Step
Recording, finish creating the Pattern by using
Realtime Recording to add sounds in a freer adlib style.
Convenient Functions for Creating Styles
You can speed up the process of creating a new
style by first copying a Preset style, or the
patterns in a Preset style to a User style, and then
modifying that to create the new style.
•
•
Copying and Deleting Styles (p. 71)
Copying and Deleting Patterns (p. 72)
- Record the Drum Part
- Record the Bass Part
- Change Dynamics to the Sounds (Velocity Edit)
- Transpose the Bass Part
<4> Check the Created Style
- Edit the Settings
<Finish the Style>
- Name the Style
Creating Two-Measure Patterns from Four-Measure
Patterns
When you copy a four-measure pattern, and then, using
the procedure described in “Determining the Number
of Measures for Each Pattern” (p. 64), set the number of
measures to “2,” it results in a pattern in which only the
first two measures of the original pattern are played.
In this manner, you can use the setting described on p.
64 to create a pattern after copying a pattern that is
shorter than the one you start with.
Changing the Key of the Bass Part (Key Transpose)
After copying or recording a pattern, you can change
the key of its bass part.
61
Chapter 7
(These settings can be changed after the patterns are
There are two ways to record the patterns in Step <3>.
Chapter 7 Creating Styles
<1> Selecting a Number
for the Style
1. With the performance stopped, press
[MANU].
The Style screen appears.
■ Setting the Tempo for the Style
1. Select the style to be set, then press
[EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
fig.07-03d
fig.07-02d
2. Turn the VALUE dial to select the number
(U001–U100) for the style you are
creating.
You cannot record to the Preset styles (P001–
P100).
3. Select a <Tempo>.
<2> Making the Settings
for the New Style
4. Turn the VALUE dial to set the tempo.
The tempo can be set to any value from 20 to 260.
*
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
If the parameters below are changed during the
performance of a style, the changes are nullified when you
press [EDIT], restoring the settings for the currently
selected style or song.
- Key Shift value (p. 42)
- Tempo value (p. 41)
- Sound Shape and Ambience values (p. 51, p. 52)
*
Certain data cannot be changed while it is being performed.
First stop the performance, then make the changes.
*
VARIATION [PTN] [KIT] and [MUTE] will have no
effect in Edit mode.
fig.07-04d
■ Setting the Beat
*
When you copy a style, the new style uses the beat of the
original style.
1. Select the style to be set, then press
[EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select a <Beat>.
fig.07-05d
4. Turn the VALUE dial to set the beat.
2/4, 3/4,... 8/4,
4/8, 5/8,... 16/8
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
62
Chapter 7 Creating Styles
■ Setting Up the Kit
Changing the kit changes the sounds used in the
style being created.
When setting kit’s variation (p. 36), select <Kit2>
in Step 3 below.
*
You can also create kits using the instruments you prefer
(User kits). For more details, refer to “Chapter 10
Creating Your Own Kits” (p. 90).
■ Changing the Sound to Be
Muted
When VARIATION [MUTE] is on, this sets the
sound to be played.
If you press VARIATION [MUTE] while the
currently selected style is playing, the sound
selected in this setting is played, and all other
sounds are muted.
1. Select the style to be set, then press
[EDIT].
The Edit Menu screen appears.
1. Select the style to be set, then press
[EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
2. Select a <STYLE>, then press [ENTER].
3. Press [
3. Press [
], select a <Kit1> or a <Kit2>.
fig.07-07d
4. Turn the VALUE dial to select the kit.
Each contains settings P01–P50 and U01–
U50.
For more on the instrument that make up
each kit, refer to the “Preset Kit List” (p. 106).
4. Turn the VALUE dial to select the sound
to be performed with VARIATION [MUTE]
is set to ON.
Item
Mute
Value
HH (High Hat and Cymbal), Kick, Bass,
HH&Kc (High Hat & Kick),
Kc&Bs (Kick & Bass),
HH&Bs (High Hat & Bass), Drums
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
63
Chapter 7
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
], select a <Mute>.
fig.07-17d
Chapter 7 Creating Styles
■ Making the TSC Settings for
the Style
■ Determining the Number of
Measures for Each Pattern
Make the TSC (Sound Shape and Ambience)
settings for the style you are creating.
*
1. Select the style to be set, then press
[EDIT].
The Edit Menu screen appears.
1. Press [EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select the item to be set.
Fill-Ins A–C are set at one measure each. This setting
cannot be changed.
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select a <PATTERN>, then
press [ENTER].
fig.07-06d
Item
Value
Description
Shape
Sw
ON, OFF
This sets the Sound Shape
On/Off setting to be used
when this Style is selected.
Shape
P1–P8,
U1–U8
This sets the Sound Shape
when this Style is selected.
Ambi
Sw
ON, OFF
This sets the Ambience
On/Off setting to be used
when this Style is selected.
Ambi
P1–P8,
U1–U8
This sets the Ambience
when this Style is selected.
4. Press [
][
] to select the pattern to
change the setting.
Select the pattern with “PATTERN MEAS”
displayed the upper part of the screen.
*
fig.07-08d
For more on “PTN KEY TRANS” in the upper row and
the screens that are displayed, refer to “Transposing the
Pattern’s Bass Part” (p. 70).
5. Turn the VALUE dial to select the number
of measures.
You can set patterns to a maximum length of
four measures.
6. When you press [EXIT] twice, the setting
is changed, and you’re returned to the
previous screen.
*
4. Turn the VALUE dial to set the value.
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
64
When changing the number of measures in a copied
pattern, even though you set the copied pattern so it has
fewer measures than the original pattern, the amount of
data remains the same as that of the original.
Chapter 7 Creating Styles
<3> Recording the Patterns
Display
■ Using Realtime Recording
––
The following explains the Realtime Recording
procedure, in which you record by pressing the
pads in time with the tempo provided by the
metronome.
*
When you record to a pattern which has already been
recorded, the sounds are layered without the previously
recorded sounds being erased.
*
You cannot record to the Preset Styles (P001–P100).
*
The tempo, Sound Shape, and Ambience settings that are
set at the time of recording are saved to the recorded
pattern.
• Recording the Drum Part
*
With the drum part, you cannot record multiple notes
from the same pad number at the same step (timing).
Make sure you have pressed [MANU] to switch
to Manual mode.
2. Hold down STEP REC [
] and press
START [
].
STEP REC [
] lights up, and START
[
] flashes. Recording begins after one
measure metronome count. The “MEASBEAT” indication counts in time with the
metronome count.
[INST] lights up, and the pads are enabled for
performing instrument sounds.
fig.07-08d
Style No.
Pattern Name
Measure Beat Sound Group
Quantize
3. Turn the VALUE dial to set the
quantization.
This corrects mistakes in the rhythm played
to the closest selected note value.
32th note
16th note triplets
16th note
8th note triplets
8th note
*
For more detailed information about the Quantize
function, refer to the column on p. 66.
4. Press [INST] to select either “DRUM” or
“PERC” as the instrument to be recorded.
5. Record the performance, pressing the
pads while following the rhythm provided
by the metronome.
The force used to tap the pads is recorded as
velocity (the strength or stress of the sound).
Recorded sounds are played back repeatedly.
Sounds continue to be layered as the sounds
that have already been recorded are played
back.
6. Repeat Steps 3–5 as needed.
7. To stop recording, press STOP [
].
Erasing Previously Recorded Sounds
As You Continue Recording
You can use the following procedure to erase
specified instrument sounds in the pattern
currently being recorded.
1. Hold down STEP REC [
] and press the
pad to which the instrument whose
sound you want to erase is assigned.
For example, when recording with “DRUM”
selected for [INST], holding down STEP REC
[
] and pressing [VERSE A (SNR 2)] erases
the SNR 2 sounds that have already been
recorded.
65
Chapter 7
1. Hold down [
] and press any of the
pattern pads to specify the pattern to be
recorded.
The pattern pad flashes when pressed.
Description
Off
Sounds are recorded without quantization, with the same timing used in tapping
the pads.
Chapter 7 Creating Styles
• Recording the Bass Part
*
Bass parts are monophonic. Even if multiple notes are
layered in a recording, only one sound is played.
Steps 1–3 are identical to those in “Recording
the Drum Part” above.
4. Press [INST] to select “BASS,” “
or “
BASS”
BASS.”
fig.07-09d
Style No.
Pattern Name
Erasing Previously Recorded Sounds
As You Continue Recording
You can use the following procedure to erase the
bass sounds in the pattern currently being
recorded.
1. Hold down STEP REC [
] and press
any one pad.
All bass sounds, regardless of pitch, are
erased while STEP REC [
] and the pad are
held down.
*
Measure Beat
Octave Sound Quantize
for bass Group
5. Record the performance, pressing the
pads while following the rhythm provided
by the metronome.
The force used to tap the pads is recorded as
velocity (the strength or stress of the sound).
Recorded sounds are played back repeatedly.
6. Repeat Steps 4–5 as needed.
7. To stop recording, press STOP [
].
What is Quantize?
You can correct for timing discrepancies in a
recorded performance by automatically
aligning the music with the timing you
specify. This is called “Quantizing.”
Quantize
66
When erasing long note sounds, press the key pad at the
point the sound begins to play. Regardless of the length of
the note, the entire sound recorded at that time is erased.
Chapter 7 Creating Styles
■ Using Step Recording
• Recording the Drum Part
What is Step Recording?
Make sure you have pressed [MANU] to switch
to Manual mode.
This is a recording method whereby measures
are divided into units called “steps,” and the
timing of each sound to be played is specified.
The step length is set in “Quantize.” For example,
if the value in Quantize is set to the eighth note,
then when the time signature (beat) is set to 4/4,
eight notes can be input in one measure.
When you press the pads while recording drum
parts, one step length of the sound assigned to
that pad will be input.
1. Hold down [
] and press any of the
pattern pads to specify the pattern to be
recorded.
The pattern pad flashes when pressed.
2. Press STEP REC [
].
The STEP REC [
] button lights up, and the
“Step Recording screen” is displayed.
fig.07-12d
Step Display
fig.07-10
Measure Beat
Pad Name
Quantize
One Measure
Quantize (16th note)
One Measure
Quantize (8th note)
3. Press [ENTER] to move the cursor to the
quantization value, then turn the VALUE
dial to set the quantization.
In Step Recording, the quantization value
represents the unit for the length of one note
(the step).
Display
16th note triplets
16th note
8th note triplets
8th note
fig.07-11
• Quantize
32th note
Chapter 7
When recording bass parts, pressing a pad inputs
one step length of the pitch corresponding to that
pad. To record a long note, input the note by
holding down the pad and pressing [
].
Description
(8th note)
Hold down
4. Press [EXIT].
The cursor moves to the step display.
Hold down
5. Press [INST] to select either “DRUM” or
“PERC” as the sound group to be
recorded.
6. Press [
][
recorded.
] to specify the step to be
67
Chapter 7 Creating Styles
7. Tap the pad for the instrument to be
recorded.
At this time, the force used to tap the key
pads is recorded as velocity.
The recording automatically advances by one
step.
When you press the pad for an instrument
other than the instrument shown in the
screen, the indication in the display changes.
The screen always shows the step for the
instrument currently being input.
Erasing Sounds That’ve Been Input
1. Press [
][
be deleted.
] to move to the step to
• Recording the Bass Part
*
Bass parts are monophonic. Even if multiple notes are
layered in a recording, only one sound is played.
Steps 1–4 are identical to those in “Recording
the Drum Part” above.
5. Press [INST] to select “BASS,” “BASS oct
” or “BASS oct
Select “BASS oct ” when you want to input
the bass sound one octave lower.
Select “BASS oct ” when you want to input
the bass sound one octave higher.
fig.07-13d
2. Hold down STEP REC [
] and press
the pad to which the instrument you
want to erase is assigned.
Changing the Instrument Displayed
Without Inputting
8. Repeat Steps 3–7 as needed.
Confirming the Input Sound
Press [
][
] in the Step Recording
screen to move to other steps.
You can move continuously through
steps by holding down [
][
]. If
there is a note present when you press
[
], the note is played.
When you press [
] to move through
the steps, START [
] lights up at the
).
9. To stop recording, press STOP [
The STEP REC [
] goes out.
*
Note that pressing START [
Step Display
Measure Beat Sound Octave Quantize
Group for Bass
Hold down [INST] and press the pad for
the instrument you want to display.
start of the beat (
.”
].
] during Step
Recording (while STEP REC [
] is lit) switches the
DR-3 to Realtime Recording (p. 65).
6. Press [
][
recorded.
] to specify the step to be
7. Tap the pad for the instrument to be
recorded.
At this time, the force used to tap the key
pads is recorded as velocity.
The recording automatically advances by one
step.
Inputting Long Notes
Hold down the pad being recorded and
press [
]; press this the same number
of times as the number of steps that you
want the sound to be extended.
The length of the note is then set when
you release the pad.
Erasing Sounds That’ve Been Input
1. Press [
][
be deleted.
] to move to the step to
2. Hold down STEP REC [
one of the pad.
68
] and press
Chapter 7 Creating Styles
■ Adding Dynamics to the
Sounds (Velocity Edit)
8. Repeat Steps 5–7 as needed.
Confirming the Input Sound
Press [
][
] in the Step Recording
screen to move to other steps.
You can move continuously through
steps by holding down [
][
].
If there is a note present when you press
[
], the note is played.
With extended notes, only the sound in
the first step is played.
*
Make sure you have pressed [MANU] to switch
to Manual mode.
Using a rougher Quantize value (such as eighth
notes) makes it easier to check detailed phrases.
] and press any of the pattern
1. Hold down [
pads to specify the pattern to be recorded.
The pattern pad flashes when pressed.
When you press [
the steps, START [
] to move through
] lights up at the
2. Press STEP REC [
Recording screen.
start of the beat (
).
3. Press [EDIT].
The Velocity Edit screen is displayed.
9. To stop recording, press STOP [
The STEP REC [
] goes out.
*
You can change the dynamics (velocity) of
specific notes in patterns that have already been
recorded. Adding accents to the notes lets you
give the rhythm greater liveliness.
Note that pressing START [
].
] to display the Step
fig.07-15d
Measure Beat
Tick
] during Step
Recording (while STEP REC [
] is lit) switches the
DR-3 to Realtime Recording (p. 65).
Instrument
Velocity
4. Press [
][
] to find the note whose
velocity is to be changed.
When you press [
][
], all notes are
displayed one by one, regardless of whether
they are in the drum part or bass part.
Hold down the button to seek the note
(moving through the notes continuously).
When you press [
], the sound for the
displayed note is played.
When you press [ENTER], the sound for the
displayed note is played. This does not move
you to another note.
5. Turn the VALUE dial to change the value.
You can set the velocity to any value from 1 to 127.
6. Repeat Steps 4 and 5 as needed.
7. Press [EXIT] to quit Velocity Edit.
The Step Recording screen appears.
When you press STOP [
to the Style screen.
], you're returned
69
Chapter 7
The position of the note is indicated as
“measure-beat-tick.”
Tick is a term used to refer to units of time
shorter than a beat.
Chapter 7 Creating Styles
■ Transposing the Pattern’s
Bass Part
Use this procedure to transpose the bass part and
store the pattern (Key Transpose).
*
*
Key Transpose settings are disregarded when recording
patterns.
If notes whose pitches are changed using the Key
Transpose function are in registers that are unplayable
for the DR-3, the notes in the expressible range above or
below that octave are sounded.
1. Press [EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select a <PATTERN>, then
press [ENTER].
4. Press [
], select a <PTN KEY TRANS>.
<4> Confirming the
Created Style
Now play back the new style to check the tempo
and drum kits.
You can also press the TSC and VARIATION
[PTN], [KIT] and [MUTE] to check the settings,
and adjust these settings if necessary.
■ Performing the Created Style
1. Press [MANU] or [AUTO].
2. Press any of Pattern Pads or START
[
] to start the performance.
3. Press [ENDING/STOP] or STOP [
stop the performance.
] to
fig.07-18d
■ Editing the Settings
You can make changes to the following settings,
even after creation of the style is finalized.
5. Press [
][
] to select the pattern to
be set the key.
Select the pattern with “PTN KEY TRANS”
displayed the upper part of the screen.
The pattern names appear as “VERSE Av,”
“VERSE Bv,” and “VERSE Cv” when
VARIATION [PTN] is on.
6. Turn the VALUE dial to select the key.
You can set the value in semitone units
within the range from -12 to +12.
7. When you press [EXIT] twice, the setting
is changed, and you’re returned to the
previous screen.
■ Playing Back Recorded Patterns
After recording each of the patterns, play them
back to check out how they sound.
1. If recording is in progress, press STOP
[
] to stop the recording.
2. Press START [
].
The recorded pattern is played.
3. Press STOP [
70
] to stop the performance.
•
Style Tempo —
“Setting the Tempo for the Style” (p. 62)
•
Kit Settings —
“Setting Up the Kit” (p. 63)
•
TSC Settings —
“Making the TSC Settings for the Style” (p.
64)
•
VARIATION [MUTE] Settings —
“Changing the Sound to Be Muted” (p. 63)
Chapter 7 Creating Styles
Naming, Copying, and
Deleting Styles
■ Naming the Style
You can edit the name of the currently selected
style, using up to ten characters for the name.
1. Select the style to be set, then press
[EDIT].
The Edit Menu screen appears.
■ Copying the Style
This copies the Style to the User styles.
1. Press [EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select a <COPY>, then press
[ENTER].
fig.07-19d
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select a <NAME>, then press
[ENTER].
fig.07-24d
4. Turn the VALUE dial to select the number
for the Style to be copied, then press
[
].
fig.07-20d
4. Press [
][
] to move to the point
where you want to enter the character(s).
5. Turn the VALUE dial to select the copydestination Style number, then press
[
].
fig.07-21d
Chapter 7
5. Turn the VALUE dial to select the
character.
Each time you press [ENTER], it switches
between upper and lower case for the text
being input.
6. Repeat Steps 4–5 as needed.
7. When you press [EXIT] twice, the setting
is changed, and you’re returned to the
previous screen.
If you press [
], you’re taken back to the
screen you were in immediately before that.
6. Press [ENTER] to execute the copy.
You can press [EXIT] to cancel the procedure,
and go back to the previous screen.
71
Chapter 7 Creating Styles
■ Clearing the Style
Copying and Deleting Patterns
1. Press [EDIT].
The Edit Menu screen appears.
■ Copying Patterns
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select a <CLEAR>, then
press [ENTER].
fig.07-22d
This copies patterns and User Styles to specified
patterns.
1. Press [EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
3. Press [
], select a <PATTERN>, then
press [ENTER].
4. Turn the VALUE dial to select the number
for the Style to be cleared, then press
[
].
4. Press [
], select a <COPY>, then press
[ENTER].
fig.07-25d
fig.07-23d
If you press [
], you’re taken back to the
screen you were in immediately before that.
5. Press [ENTER] to execute the clearing.
You can press [EXIT] to cancel the procedure,
and go back to the previous screen.
5. Turn the VALUE dial to select the number
for the Style to be copied, then press
[
].
fig.07-26d
6. Turn the VALUE dial to select the pattern
to be copied, then press [
].
fig.07-27d
7. Turn the VALUE dial to select the copydestination Style number, then press
[
].
fig.07-28d
72
Chapter 7 Creating Styles
8. Turn the VALUE dial to select the copydestination pattern, then press [
].
fig.07-29d
■ Clearing Patterns
This clears the specified pattern.
1. Press [EDIT].
The Edit Menu screen appears.
2. Select a <STYLE>, then press [ENTER].
If you press [
], you’re taken back to the
screen you were in immediately before that.
9. Press [ENTER] to execute the copy.
You can press [EXIT] to cancel the procedure,
and go back to the previous screen.
3. Press [
], select a <PATTERN>, then
press [ENTER].
4. Press [
], select a <CLEAR>, then
press [ENTER].
fig.07-30d
5. Turn the VALUE dial to select the Style,
then press [
].
fig.07-31d
fig.07-31d
If you press [
], you’re taken back to the
screen you were in immediately before that.
7. Press [ENTER] to execute the clearing.
You can press [EXIT] to cancel the procedure,
and go back to the previous screen.
73
Chapter 7
6. Turn the VALUE dial to select the pattern
to be cleared, then press [
].
Chapter 8 Creating and Performing Songs ([SONG])
With the DR-3, it’s easy and convenient to create
“songs” by arranging patterns in the sequence
they are to be played.
This chapter explains how to create and perform
such songs.
■ What is a Song?
Procedure for Creating Songs
Here are the steps you need to take to create a
new song:
fig.08-01
<1> Select a Number for the Song
You Are Creating
A number of patterns arranged in the sequence in
which they are played is called a “song.”
<2> Make the Settings for the New Song
You can create and save up to 100 songs on the
DR-3.
- Make the TSC Settings
You can record up to a maximum of 250 patterns
in one song.
*
The DR-3 contains no song data when shipped from the
factory.
*
For more on performing songs, refer to “Performing
Songs” (p. 85).
- Set the Initial Tempo
(These settings can be changed after the patterns are
recorded.)
<3> Record the Song
- Place the Patterns
(Step Recording / Realtime Recording)
- Edit Notes to Drum Parts and Bass Parts in the Song
<4> Edit the Song
- Insert
- Delete
- Copy
- Change the Tempo Part Way Through a Song
<5> Check the Created Song
- Edit the Settings
<Finish the Song>
- Name the Song
There are two ways to record the patterns in Step
<3>.
Realtime Recording
Performances in Manual mode (p. 43) are
recorded as songs just as they are.
You can use Realtime Recording to record the
drum part and bass part independently. After
arranging the patterns to create a song, you can
then add drum and bass sounds, and make other
changes to the song (p. 78).
Step Recording
This is a recording method whereby patterns are
arranged in a sequence, one by one.
74
Chapter 8 Creating and Performing Songs ([SONG])
Convenient Functions for Creating Songs
Copying a song is useful and convenient
whenever you want to take a previously created
song, replace some of its patterns, change the
tempo and other settings, and then store the
result as a new song.
• Copying and Deleting Songs (p. 84)
Using a Foot Switch to Specify
Switching of Song Patterns
By using a foot switch while playing back
songs, you can set the DR-3 so that a single
pattern plays back repeatedly until you
press the foot switch, at which point the
song advances to the next pattern.
Using these settings, you don’t have to
determine how many times the patterns are
to be played, but instead you can record
each pattern just one time each in the
sequence they are to be played, then use the
foot switch to switch the patterns during
playback.
When using a foot switch to switch song
patterns, set the [EDIT] <SONG>
“LoopType” to “BLOCK.” For more details,
refer to “Setting a Specified Segment for
Playing Repeatedly” (p. 87).
1. With the performance stopped, press
[SONG].
2. Turn the VALUE dial to select the number
(S001–S100) for the song you are
creating.
*
If the parameters below are changed during the
performance of a song, the changes are nullified when you
press [EDIT], restoring the settings for the currently
selected style or song.
- Key Shift value (p. 42)
- Tempo value (p. 41)
- Sound Shape and Ambience values (p. 51, p. 52)
■ Setting the Basic Tempo
This sets the tempo that serves as the reference
(the initial tempo) when the song is performed.
1. Press [EDIT].
The Edit Menu screen appears.
fig.08-02d-1
2. Select a <SONG>, then press [ENTER].
3. Select a <InitTempo>.
fig.08-02d-2
4. Turn the VALUE dial to set the initial
tempo.
The tempo can be set to any value from 20 to
260.
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
fig.08-01d
Song No.
Song Name
Measure Style No. Loop Play Mode
75
Chapter 8
<1> Selecting a Number
for the Song
<2> Make the Settings for
the New Song
Chapter 8 Creating and Performing Songs ([SONG])
■ Making the TSC Settings for
the Song
Make the TSC (Sound Shape and Ambience)
settings for the song you are creating.
1. Select the song to be set, then press
[EDIT].
The Edit Menu screen appears.
2. Select a <SONG>, then press [ENTER].
3. Press [
set.
Item
][
], select the item to be
Value
Description
Shape
Sw
ON, OFF
This sets the Sound Shape
On/Off setting to be used
when this song is selected.
Shape
P1–P8,
U1–U8
This sets the Sound Shape
when this song is selected.
Ambi
Sw
ON, OFF
This sets the Ambience
On/Off setting to be used
when this song is selected.
Ambi
P1–P8,
U1–U8
This sets the Ambience
when this song is selected.
fig.08-03d
<3> Recording the Song
■ When Using Step Recording
This lets you record the song by specifying
patterns one at a time in the order they are to be
played.
*
With Step Recording, the data is recorded in pattern
units. You cannot record specified measures.
Make sure you have pressed [SONG] to switch to
Song mode.
1. With the performance stopped, press
STEP REC [
].
The STEP REC [
] button lights up, and the
“Step Recording screen” is displayed.
fig.08-04d
Song No.
Measure
Pattern Name
2. Turn the VALUE dial to select the style,
use the pattern pads to select the pattern
to record, and specify the Variation with
the VARIATION [PTN], [KIT] and [MUTE].
The screen appears as follows.
Display
4. Turn the VALUE dial to set the value.
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
*
76
Style No.
Step
Description
INTRO
Press [INTRO/START]
INTRO is input
VERSE
A–C
Press [VERSE A–C]
Verse A–C is input
/FA
/FB
/FC
These are alternately
shown or are hidden in the
display each time [FILL
A–C] is pressed
Fill A–C is input
The last measure
of the verse becomes a fill-in.
v
These are alternately
shown or are hidden in the Indicates one or
display each time VARIA- more VARIATIONs are on
TION [PTN], [KIT] or
[MUTE] is pressed
ENDING
Press [ENDING/STOP]
ENDING is
input
Normally, fill-ins are added at the end of the verse, but
you can also input fill-ins in empty steps. Empty steps
are indicated by “- - - -” when [EXIT] is pressed in the
Song screen.
Chapter 8 Creating and Performing Songs ([SONG])
3. Press [ENTER] to determine the pattern
to be recorded.
The measure numbers advance automatically.
The asterisk (*) indicates that the pattern
displayed has not been confirmed. If you press
[EXIT] at this point, the pattern that has already
been set appears in the display. If no pattern has
been confirmed, “- - - -” is displayed. Once you
confirm the pattern, the asterisk disappears.
4. Press [
][
be recorded.
] to change the step to
■ When Using Realtime Recording
The sounds are recorded as the patterns are
switched with the pads.
*
When recording over a song that has already been
recorded, the newly recorded data overwrites the
previously recorded data, which is discarded.
Make sure you have pressed [SONG] to switch to
Song mode.
1. Hold down STEP REC [
START [
].
] and press
fig.08-02d-1
5. Repeat Steps 2–4 as needed to record the
data for the song.
6. To stop recording, press STOP [
The STEP REC [
] goes out.
*
].
Note that pressing START [
] during Step
Recording (while STEP REC [
DR-3 to Realtime Recording.
] is lit) switches the
Erasing Previously Recorded Sounds
As You Continue Recording
2. Turn the VALUE dial to select the style,
and press a pattern pad to specify the
first pattern to be recorded.
Recording begins from the pattern specified.
The Song Recording screen appears.
fig.08-05d
Song No.
You can use the following procedure to delete the
displayed pattern.
1. Press [
][
be deleted.
Style No.
] to display the pattern to
2. Hold down STEP REC [
] and press
[ENTER].
The pattern is deleted, and the subsequent
patterns are shifted forward.
Measure
Pattern Name
*
If you switch the style during its performance, a “
”
mark appears in front of the style name which will be
played next. The style switches after the currently
playing pattern ends, and the “
*
” mark disappears.
The ON/OFF status of the VARIATION buttons and
fill-ins can be recorded only in a unit of pattern.
4. When you press [ENDING/STOP], the
ending is played, and then both the
performance and the recording stop.
If you want to stop the recording
immediately, press STOP [
].
77
Chapter 8
3. Perform by switching the patterns with
the pattern pads.
Perform exactly as in Style Manual mode (p. 43).
The ON/OFF status of the VARIATION
[PTN], [KIT] and [MUTE] (p. 45) is also
recorded.
You can also change styles by turning the
VALUE dial.
Chapter 8 Creating and Performing Songs ([SONG])
Substituting Recorded Patterns
When you record using Realtime Recording into
a song that already has material recorded in it,
the patterns in the segment in which you record
are overwritten, allowing you to replace them
with the new patterns.
1. With the performance stopped, press
[
][
] to select a measure slightly
ahead of where you want to record.
2. Hold down STEP REC [
START [
].
■ Editing Notes to Drum Parts
and Bass Parts in the Song
You can use Realtime Recording to add and edit
notes to drum and bass parts in songs you have
recorded.
When editing sounds, begin recording from a
point slightly before the point where you want to
edit the sounds.
*
You cannot record notes into empty songs that contain
no recorded data.
*
The performance recorded here is only stored in the song
as exclusive patterns. The edited notes are not reflected in
performances of patterns in Style Play mode (when
[MANU] or [AUTO] is lit). Additionally, changing
patterns in Style Play mode has no effect on the songs.
*
You can have up to 100 exclusive patterns for all of the
songs.
] and press
The prerecorded pattern starts to play.
3. When you reach the measure before the
one you want to substitute, select the
next pattern to be recorded.
4. To stop recording, press STOP [
].
The previously recorded pattern data after
the point where you stop the recording
remains unchanged.
Make sure you have pressed [SONG] to switch to
Song mode.
1. With the performance stopped, press
[
][
] to select a measure slightly
ahead of where you want to record.
2. Press STEP REC [
].
The Song Recording screen appears.
3. Press [INST].
A massage screen is displayed.
fig.08-02d-1
4. Press [INST] to select the sound group to
be recorded.
Displayed
78
Group Name
DRUM
Drum Set
PERC
Percussion
BASS
Bass
BASS
The bass sound one octave lower
BASS
The bass sound one octave higher
Chapter 8 Creating and Performing Songs ([SONG])
5. Turn the VALUE dial to set the
quantization.
This corrects mistakes in the rhythm played
to the closest selected note value.
Display
––
Description
Description
Off. Sounds are recorded
without quantization, with
the same timing used in
tapping the pads.
32th note
16th note triplets
16th note
8th note triplets
Erasing Previously Recorded Sounds As You
Continue Recording
1. Hold down STEP REC [
] and press the
pad to which the instrument whose
sound you want to erase is assigned.
All bass sounds, regardless of pitch, are
erased while STEP REC [
] and the pad are
held down.
*
*
fig.08-06d
mark
before the pattern name.
8th note
6. Press START [
].
STEP REC [
] lights up, START [
]
flashes, and the metronome begins playing.
In both Step Recording and Realtime Recording,
patterns with edited notes are indicated by a
If you record a different pattern to a pattern that has
edited notes, the previous pattern is replaced, and the
“
” mark disappears from the pattern name. You cannot
turn on VARIATION [PTN] or add fill-ins with
patterns that have edited notes.
Turning on VARIATION [PTN] or adding fill-ins
deletes the pattern if it has edited notes.
7. Record the performance, pressing the
pads while following the rhythm provided
by the metronome.
The force used to tap the pads is recorded as
velocity (the strength or stress of the sound).
Only the bass sounds recorded afterwards
are stored.
*
8. To stop recording, press STOP [
Chapter 8
When too many notes are recorded within one recording
period, a “Memory Full!!” message appears, and the
recording stops.
You can edit the notes continuously once the recording is
stopped.
].
79
Chapter 8 Creating and Performing Songs ([SONG])
<4> Editing Songs
4. Select a <INSERT>, then press [ENTER].
fig.08-09d
You can copy and delete specified segments of
recorded songs.
■ Adding Patterns In the Song
(INSERT)
This operation inserts a pattern at a point within
the song.
5. Turn the VALUE dial to select the Style of
the pattern to be inserted, then press [
].
fig.08-10d
fig.08-ins
Verse B
Insert
Verse A Fill
Verse B
B
1 2 3 4 5 6 7 8 9 10 11 12
measure
Measure to be specified
Intro
6. Turn the VALUE dial to select the pattern
to be inserted, then press [
].
fig.08-11d
Verse A Fill
Verse B Verse B
B
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
measure
Intro
*
Patterns are inserted in units of a whole pattern.
You cannot specify only a certain number of measures
within a recorded pattern to be inserted.
*
You cannot turn the VARIATION on and off or add fillins. If you want to turn the VARIATION on or off, or
add a fill-in, first insert the pattern, then edit using Step
Recording.
1. Press [SONG] so that the button lights
up, then press STEP REC [
].
The Song Recording screen appears.
7. Turn the VALUE dial to set the number of
times the inserted pattern is to be
repeated, then press [
].
*
The maximum number of steps permitted for a song is
250. For this reason, the “Times” setting cannot be given
a value that would cause the song to have more than the
maximum number of steps.
A confirmation screen is displayed.
fig.08-12d
fig.08-07d
If you press [
], the immediately
preceding screen returns to the display.
2. Press [
][
] until the measure in
which you want to insert a pattern is
displayed.
3. Press [EDIT].
fig.08-08d
8. Press [ENTER] and the pattern will be
inserted.
If you press [EXIT], the operation is cancelled,
and you’re returned to the previous screen.
9. Press [EXIT] a number of times to return
to the Song Recording screen.
If you press Stop [
appeared.
80
], the Song screen is
Chapter 8 Creating and Performing Songs ([SONG])
■ Deleting Specified Segments
(DELETE)
A confirmation screen is displayed.
fig.08-13d
This deletes unneeded patterns from songs.
fig.08-del
Delete
Verse A Fill
Verse B Verse B
B
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
measure
Measure to be specified
Intro
Verse A Fill
Verse B
B
1 2 3 4 5 6 7 8 9 10 11 12
measure
Intro
1. Press [SONG] so that the button lights
up, then press STEP REC [
].
The Song Recording screen appears.
2. Press [EDIT].
3. Press [
], select a <DELETE>, then
press [ENTER].
fig.08-13d
If you press [
], the immediately
preceding screen returns to the display.
6. Press [ENTER] to delete the segment
you’ve specified.
If you press [EXIT], the operation is
cancelled, and you’re returned to the
previous screen.
*
Note that the delete process may take up to a minute or
more to complete when the data contains exclusive
patterns (p. 78).
7. Press [EXIT] a number of times to return
to the Song Recording screen.
If you press Stop [
appeared.
], the Song screen is
4. Turn the VALUE dial to select the
beginning measure of the segment you
want to delete, then press [
].
fig.08-14d
Chapter 8
5. Turn the VALUE dial to select the last
measure of the segment you want to
delete, then press [
].
*
You cannot set the final measure of the segment to be
deleted ahead of the beginning measure.
81
Chapter 8 Creating and Performing Songs ([SONG])
■ Copying Specified Segments
(COPY)
5. Turn the VALUE dial to select the last
measure of the segment you want to
copy, then press [
].
You can copy a specified segment of a song, and
then insert the segment elsewhere in the same
song.
fig.08-18d
fig.08-copy
Copy
Verse A Fill
B Verse B Verse B
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
measure
Intro
6. Turn the VALUE dial to select the
measure in which you want to insert the
copied segment, then press [
].
fig.08-19d
Fill
Intro
Verse A Fill
B Verse B Verse A B Verse B
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 1617 18 19 20
measure
1. Press [SONG] so that the button lights
up, then press STEP REC [
].
The Song Recording screen is displayed.
2. Press [EDIT].
7. Turn the VALUE dial to set the number of
times the inserted pattern is to be
repeated, then press [
].
*
3. Press [
], select a <COPY>, then press
[ENTER].
fig.08-16d
The maximum number of steps permitted for a song is
250. For this reason, the “Times” setting cannot be given
a value that would cause the song to have more than the
maximum number of steps.
A confirmation screen is displayed.
fig.08-20d
4. Turn the VALUE dial to select the
beginning measure of the segment you
want to copy, then press [
].
If you press [
], the immediately
preceding screen returns to the display.
fig.08-17d
*
The maximum number of steps permitted for a song is
250. For this reason, the “EndMeas” setting cannot be
given a value that would cause the song to have more
than the maximum number of steps.
8. Press [ENTER] and the pattern will be
copied.
If you press [EXIT], the operation is
cancelled, and you’re returned to the
previous screen.
*
Note that the copy process may take up to a minute or
more to complete when the data contains exclusive
patterns (p. 78).
9. Press [EXIT] a number of times to return
to the Song Recording screen.
If you press Stop [
appeared.
82
], the Song screen is
Chapter 8 Creating and Performing Songs ([SONG])
■ Changing the Tempo Part Way
Through a Song (TEMPO)
You can have the tempo change at a specified
measure within the song.
This changes the tempo setting in all measures
following the specified measure.
<5> Checking the Created
Song
Play back the recorded song to confirm the tempo
and TSC settings.
Change the settings as needed.
1. Press [SONG] so that the button lights
up, then press STEP REC [
].
The Song Recording screen is displayed.
■ Performing the Created Song
2. Press [
][
] until the measure
where you want the tempo to change is
displayed.
2. Press START [
performance.
3. Press [TEMPO (TAP)].
1. Press [SONG].
3. Press STOP [
performance.
] to start the
] to stop the
fig.08-21d
■ Editing the Settings
4. Turn the VALUE dial to select the tempo.
You can tap [TEMPO (TAP)] at least four times to
set the tempo.
You can make changes to the following settings,
even after creation of the song is finalized.
• Initial Tempo —
“Setting the Basic Tempo” (p. 75)
• TSC Settings —
“Making the TSC Settings for the Song” (p. 76)
5. Press [ENTER] and the tempo change will
be recorded.
If you press [EXIT], the immediately
preceding screen returns to the display.
Press [
] and the Song display appears.
Chapter 8
Undoing Tempo Changes
1. Press [SONG] so that the button lights
up, then press STEP REC [
].
The Song Recording screen is displayed.
2. Press [
][
] to move to the step in
which the tempo has been changed.
“Tempo” appears in the display for steps in
which the tempo has been changed.
3. Hold down STEP REC[
] and press
[ENTER].
The tempo change is cancelled.
83
Chapter 8 Creating and Performing Songs ([SONG])
Naming, Copying, and
Deleting Songs
■ Copying the Song
■ Naming the Song
2. Select a <SONG>, then press [ENTER].
You can edit the name of the currently selected
song, using up to ten characters for the name.
3. Press [
], select a <COPY>, then press
[ENTER].
1. Press [EDIT].
The Edit Menu screen appears.
fig.08-24d
1. Select the song to be set, then press
[EDIT].
The Edit Menu screen appears.
2. Select a <SONG>, then press [ENTER].
3. Press [
], select a <NAME>, then press
[ENTER].
fig.08-23d
4. Turn the VALUE dial to select the number
for the song to be copied, then press
[
].
fig.08-25d
4. Press [
][
] to move to the point
where you want to enter the character(s).
5. Turn the VALUE dial to select the
character.
Each time you press [ENTER], it switches
between upper and lower case for the text
being input.
5. Turn the VALUE dial to select the copydestination song number, then press
[
].
A confirmation screen is displayed.
fig.08-26d
6. When you press [EXIT] twice, the setting
is changed, and you’re returned to the
previous screen.
If you press [
], you’re taken back to the
screen you were in immediately before that.
6. Press [ENTER] to execute the copy.
You can press [EXIT] to cancel the procedure,
and go back to the screen you were in right
before that.
*
84
Note that the copy process may take up to a minute or
more to complete when the data contains exclusive
patterns (p. 78).
Chapter 8 Creating and Performing Songs ([SONG])
■ Clearing the Song
Performing Songs
1. Press [EDIT].
The Edit Menu screen appears.
Play back the recorded song.
2. Select a <SONG>, then press [ENTER].
3. Press [
], select a <CLEAR>, then
press [ENTER].
fig.08-28d
4. Turn the VALUE dial to select the number
for the song to be cleared, then press
[
].
A confirmation screen is displayed.
In addition to the normal way of performing
songs, you can also do the following.
• Repeat playback of a specified segment
(Loop Play)
• Switch patterns with a foot switch (Block
Loop)
• Play multiple songs in succession (Song
Chain)
■ Performing Songs
1. With the performance stopped, press
[SONG] so the button lights up.
This puts the DR-3 in Song mode.
fig.08-30d
fig.08-29d
Song No.
Song Name
Measure Style No.
If you press [
], you’re taken back to the
screen you were in immediately before that.
5. Press [ENTER] to execute the clearing.
You can press [EXIT] to cancel the procedure,
and go back to the screen you were in right
before that.
*
2. Turn the VALUE dial to select a song.
3. Press START [
performance.
4. Press STOP [
performance.
*
] to start the
] to stop the
Pressing a pattern pad in Song mode while [
] is on
and the performance is stopped starts the performance.
You cannot switch the patterns with the pattern pads.
85
Chapter 8
Note that the clear process may take up to a minute or
more to complete when the data contains exclusive
patterns (p. 78).
Loop Play Mode
Chapter 8 Creating and Performing Songs ([SONG])
■ Switching Patterns With a
Foot Switch
Normally, when a song is played, the patterns in
the song switch in the same sequence as they are
recorded in the song. However, you can set the
DR-3 so that a single pattern plays back
repeatedly until you press the foot switch, at
which point the song advances to the next pattern
with “Loop Type” set to “BLOCK” (Block Loop).
When recording a song, you can record each
pattern just once in the desired sequence, without
having to determine the number of repeats for
any pattern. You can then control how many
times any one pattern is to be repeated by
pressing the foot switch during playback.
1. Select the song to play, then press [EDIT].
The Edit Menu screen appears.
2. Select a <SONG>, then press [ENTER].
3. Press [
4. Turn the VALUE dial to select the value.
Value
You can press the foot switch during
performances with “Loop Type” set to “AB” to
repeat the performance of the segment specified
with the following “LoopStart” and “LoopEnd”
parameters (Loop Play). Press the foot switch
once again to exit Loop Play and resume playing
the rest of the performance.
If you want to switch patterns with a foot switch,
first assign the “VERSE,LOOP” function to the
foot switch. For more detailed information, refer
to “Assigning Functions to the Foot Switch” (p.
49).
You can also execute this same function by
pressing [ENTER] instead of the foot switch.
fig.08-ftsw
• When Set to “Block”
Pressing the foot switch advances the performance to the next verse.
Song
Intro
Fill
Verse A B
Verse B
Verse C
Ending
Verse B
Verse C
Ending
• When Set to “AB”
Loop Play is switched on and off.
Song
Intro
Verse A Fill
B
LoopStart
86
LoopEnd
], select a <LoopType>.
fig.08-33d
*
Description
AB
Loop Play is alternately switched on
and off each time you press the foot
switch or [ENTER]. “LP:ON” appears
in the display when Loop Play is ON.
The measures at which Loop Play begins and ends are set with “LoopStart” and “LoopEnd.”
Please refer to “Setting a Specified
Segment for Playing Repeatedly” (p.
87).
BLOCK
When the foot switch or [ENTER] is
pressed, then the song proceeds to the
next pattern.
“LP:BLK” appears in the display
when Block Loop is ON.
“LP:OFF” appears in the Song screen when Loop Play is
switched OFF.
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
Chapter 8 Creating and Performing Songs ([SONG])
Setting a Specified Segment for Playing
Repeatedly
This sets the specified segment for playing repeatedly
(Loop Play).
1. Select the song to play, then press [EDIT].
The Edit Menu screen appears.
2. Select a <SONG>, then press [ENTER].
3. Press [
] to select a <LoopStart> or a
<LoopEnd>, then press [ENTER].
The measure where Loop Play begins is set
with “LoopStart”; the measure where Loop
Play stops is set with the “LoopEnd” setting.
■ Playing Multiple Songs
Continuously (Song Chain)
You can specify the song number of the song that
you want to have played right after the currently
selected song, when it is played. By setting in
each song the number of the song that is to follow
it, you can achieve continuous playback of up to
100 songs.
You can also have the performance of any
particular song(s) be repeated.
fig.08-chain
Song 001
Song Chain: 002
fig.08-31d
Song 002
Song Chain: 003
Song 003
Song Chain: OFF
1. Select the song to play, then press [EDIT].
The Edit Menu screen appears.
2. Select a <SONG>, then press [ENTER].
3. Press [
], select a <Chain>.
fig.08-35d
4. Turn the VALUE dial to set the starting or
ending measure for Loop Play.
4. Turn the VALUE dial to select the value.
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
Value
Description
REPEAT
Playback of the song(s) is repeated.
S001–
S100
The selected song is played back, and
is followed by playback of the next
specified song.
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
*
Depending on its settings, there may be some delay for
the TSC (p. 51) to change, if the song is switched while
Song Chain is in progress.
87
Chapter 8
OFF
Plays back the currently selected song
one time and then stops.
Chapter 9 Changing the Operating Environment (System)
These settings include those for the DR-3’s pad
sensitivity, Master Tuning, and other global
settings.
■ How to Make the Settings
1. With the performance stopped, press
[EDIT].
The Edit Menu screen appears.
fig.09-01d
Description
Page
Drum
MidiCh
Display
Sets the MIDI channel for the
drum part.
p. 94
Bass
MidiCh
Sets the MIDI channel for the
bass part.
p. 94
<FACTORY
RESET>
Restores all of the settings to
the original factory settings.
p. 18
4. Turn the VALUE dial to set the value.
5. When you press [EXIT], the setting is
changed, and you’re returned to the
previous screen.
2. Press [
], select a <SYSTEM>, then
press [ENTER].
fig.09-02d
3. Press [
be set.
Display
][
], select the parameter to
Description
Page
Output
Sets the parts output from
the OUTPUT jacks.
p. 89
Auto
Type
Changes the pattern progression when performing in
Auto mode.
p. 47
FS1
Assigns the function controlled with Foot Switch 1.
p. 49
FS2
Assigns the function controlled with Foot Switch 2.
p. 49
PadSens
Adjust the pad sensitivity
p. 89
Mstr
Tune
Sets the reference pitch for
the bass part.
p. 89
Click
Level
Adjusts the volume of the
metronome sound.
p. 89
Sync
When connecting an external
MIDI device and synchronizing the performance, this determines whether the DR-3 is
to be the slave.
p. 95
88
Chapter 9 Changing the Operating Environment (System)
Setting the Parts To Be Output
from the OUTPUT Jacks
Setting the Reference Pitch
for the Bass Part
You can set the parts that are to be heard from the
external audio device connected to the OUTPUT
jacks.
The reference pitch for the bass part can be set
within the range of A = 438 Hz to A = 445 Hz.
*
Changing this setting does not change the drum parts.
fig.09-03d
fig.09-06d
Parameter
Output
Value
Description
ALL
The sounds from all parts
are played.
DRUM
Only the drum part
sounds are played. The
bass part is muted.
BASS
Only the bass part sounds
are played. The drum part
is muted.
Adjusting the Pad Sensitivity
The pads are less sensitive when this is set to a
lower value. Although strong accents are not
produced unless you tap the pads with force, it
allows you to impart more subtlety and nuance to
your performances.
Raising the value increases the sensitivity.
Although this allows you to produce strong
accents even with gentle taps, you lose the ability
to add subtle changes.
Parameter
MstrTune
Value
438–445 Hz
Changing the Volume of
the Metronome Sound
This changes the metronome volume when
Realtime Recording (p. 65) is used to record
patterns.
fig.09-07d
Parameter
ClickLevel
Value
1–10
Parameter
Chapter 9
fig.09-05d
Value
Description
1–10
PadSens
Fix
The velocity will not be
affected by the strength
of your tapping the
pads.
89
Chapter 10 Creating Your Own Kits
You can change (edit) the settings for the User
style kits, including those for the kit instruments
and the way the sounds are played.
4. Turn the VALUE dial to select the sound
group.
Displayed
You can store up to 50 kits with edited settings as
“User kits.”
*
*
Unable to change the settings for the Preset kit, with a
“P” appended to their number.
When the unit left the factory, the User kits (U01–U50)
contained the same settings as the Preset kits (P01–P50).
*
Certain data cannot be changed while it is being
performed. First stop the performance, then make the
changes.
■ How to Make the Settings
1. With the performance stopped, press
[EDIT].
The Edit Menu screen appears.
Drum Set
PERC
Percussion
BASS
Bass
oct
BASS
The bass sound one octave lower
oct
BASS
The bass sound one octave higher
5. Press the pad to be edited.
There is no need to specify the pad when
“BASS” is selected for the sound group.
6. Press [
be set.
Display
fig.09-10d
2. Press [
], select a <KIT>, then press
[ENTER].
fig.09-11d
Group Name
DRUM
][
], select the parameter to
Description
Page
Inst
Selects the sound assigned
to the pad.
p. 91
Level
Sets the instrument’s volume level.
p. 91
Pan
Sets the positioning (pan)
of the instrument’s sound.
p. 91
<NAME>
Names the drum kit.
p. 91
<COPY>
Copies the drum kit.
p. 92
7. Turn the VALUE dial to set the value.
8. Repeat Steps 4–7 as needed.
3. Turn the VALUE dial to select the number
for the kit to be set, then press [
].
fig.09-12d
90
9. When you have finished making the
setting, press [EXIT] a number of times
until you exit Edit mode.
*
When you exit Edit mode, the kit values return to those
set in the style or song (p. 63).
Chapter 10 Creating Your Own Kits
Selecting the Sounds
Assigned to the Pads
Setting the Position of the
Sound
This selects the instruments to be assigned to the
pads.
This sets the placement (Pan) of each instrument,
with fifteen degrees of adjustment.
fig.09-14d
fig.09-16d
Parameter
Inst
*
Value
Refer to the “Instrument/Bass Tone
List” (p. 104).
Parameter
Pan
Value
L7–CENTER–R7
fig.09-pan
You cannot select bass tones for the drum parts, and
cannot select drum instruments for the bass part.
Setting the Volume
This sets the volume (the level) for each
instrument. The velocity when you actually tap
the key pads is changed within the level range set
here.
fig.09-15d
L7
L1 CENTER R1
R7
Naming the Kit
You can edit the name of the currently selected
kit, using up to eight characters for the name.
fig.09-17d
Parameter
Level
Value
0–15
Press [ENTER].
fig.09-18d
Each time you press [ENTER], it switches
between upper and lower case for the text being
input.
Turn the VALUE dial to select the character.
91
Chapter 10
Press [
][
] to move to the point where you
want to enter the character(s).
Chapter 10 Creating Your Own Kits
Copying the Kit
This copies the kit to the User kit (U01–U50).
fig.09-19d
Press [ENTER].
fig.09-20d
Turn the VALUE dial to select the number for the
kit to be copied, then press [
].
fig.09-21d
Turn the VALUE dial to select the copydestination kit number, then press [
].
fig.09-22d
Press [ENTER] to execute the copy.
If you press [
], you’re taken back to the screen
you were in immediately before that.
You can press [EXIT] to cancel the procedure, and
go back to the previous screen.
92
Chapter 11 Connecting and Using External MIDI Devices
■ What is MIDI?
MIDI (Musical Instrument Digital Interface) is a
universal standard that allows for the exchange
of performance data and other information
among electronic musical instruments and
computers. Once MIDI cables are used to connect
together devices equipped with MIDI connectors,
each device can send data to, or receive data from
any of the others.
MIDI Connector
*
For more details concerning the way MIDI has been
implemented on this unit, please refer to “MIDI
Implementation” (p. 117).
*
Some MIDI messages cannot be received while editing is
in progress.
Starting/Stopping and
Synchronizing Performances on
the DR-3 from an External MIDI
Device
The DR-3 is equipped with a MIDI IN connector.
fig.10-01
MIDI IN
Connector
You can synchronize the DR-3’s performances
with digital recorders, MIDI sequencers, rhythm
machines, and other such devices.
Master and Slave
When synchronizing two or more devices, one is
made the “master” device and all others “slaves.”
MIDI IN
Receives data from an external MIDI device.
Connect to the MIDI OUT connector on the
external MIDI device.
With the DR-3, you can use MIDI data to do the
following.
• Use an external MIDI device to play the DR-3
• Starting/stopping and synchronizing
performances on the DR-3 from a digital
recorder or MIDI sequencer
• Using the DR-3 to record performances
played by external MIDI devices
MIDI Implementation Chart
MIDI OUT
Master
MIDI IN
Slave (DR-3)
When the master device is started or stopped, a
MIDI message for that operation is transmitted.
The slave or slaves then start or stop in
accordance with the transmitted MIDI message.
Furthermore, timing clock data corresponding to
the tempo is transmitted by the master device.
Slave devices synchronize their performances to
this timing clock.
Other data transmitted from the master device to
slave devices includes song numbers (Song
Select) and the position of song performances
(Song Position Pointer).
93
Chapter 11
In order to exchange MIDI data, the data
transmitted by the MIDI devices must be
common to both. The owner’s manuals for a
MIDI device always includes a MIDI
Implementation Chart, which allows you to
quickly check the compatibility of that device
with other devices. By comparing the MIDI
Implementation Charts of each device you are
using, you can confirm which kinds of data can
be exchanged.
fig.10-02
Chapter 11 Connecting and Using External MIDI Devices
Data Synchronized with the DR-3
■ Setting the MIDI Channels
The following MIDI messages are handled
during synchronization with the DR-3.
• Start
• Timing Clock
• Continue
• Song Select
• Stop
• Song Position Pointer
To enable proper reception of performance data,
the MIDI channels for the transmitting and
receiving devices must be matched.
*
*
For more information on the MIDI messages handled by
the devices you are connecting, refer to the owner’s
manual for each device.
When synchronizing a drum machine connected to the
DR-3, you should set things up so that sounds are not
played by the DR-3’s internal sound generator in
response to Note messages received from the connected
drum machine. Either prevent Note messages from being
transmitted by the connected device, or set the DR-3 so it
doesn’t receive Note messages. For more on the DR-3’s
MIDI channel settings, refer to the following.
You can assign the drum part and bass part to
different MIDI channels.
1. With the performance stopped, press
[EDIT].
The Edit Menu screen appears.
2. Press [
], select a <SYSTEM>, then
press [ENTER].
3. Press [
], select a <DrumMidiCh> or a
<BassMidiCh> to be set.
fig.09-08d
4. Turn the VALUE dial to set the value.
*
Parameter
Value
Drum
MidiCh
OFF,
1–16
Sets the drum part MIDI
channel
When set to “OFF,” Note
and Program Change messages are not received.
Bass
MidiCh
OFF,
1–16
Sets the bass part MIDI
channel
When set to “OFF,” Note
messages are not received.
Program Change messages are received on the drum part
MIDI channel.
5. Press [EXIT] a number of times until you
exit Edit mode.
94
Chapter 11 Connecting and Using External MIDI Devices
■ Setting Sync Mode
When connecting an external MIDI device and
synchronizing the performance, this determines
whether the DR-3 is to be the slave.
1. With the performance stopped, press
[EDIT].
The Edit Menu screen appears.
Using An External MIDI
Device to Play the DR-3
You can use performance data transmitted from
an external MIDI device to play the DR-3.
fig.10-05
MIDI Keyboard
2. Press [
], select a <SYSTEM>, then
press [ENTER].
MIDI OUT
3. Press [
], select a <Sync>.
fig.10-03d
MIDI IN
4. Turn the VALUE dial to set the value.
Parameter
Sync
DR-3
Value
Description
AUTO
When the performance is
stopped and a Start message is input from an external MIDI device, the DR-3
automatically switches to
slave.
REMOTE
Messages input from the
external MIDI device are
used only to control starting and stopping.
INT
You can use Note messages
from external MIDI devices
to play the DR-3's internal
sound generator, without
synchronization.
MIDI Channels
In order to exchange performance data between
an external MIDI device and the DR-3, the MIDI
channel settings must be the same for both
devices. Performance data can be exchanged
successfully only when the MIDI channels match.
For more on the DR-3’s MIDI channel settings,
refer to “Setting the MIDI Channels” (p. 94).
5. Press [EXIT] a number of times until you
exit Edit mode.
*
When the DR-3 is functioning as a slave device, the
tempo cannot be controlled from the DR-3.
Chapter 11
95
Chapter 11 Connecting and Using External MIDI Devices
Performance Data Handled by the DR-3
•
Note Messages
These are messages that convey the performance
status of drum parts and bass parts. These are
equivalent to the performance data for keys on a
keyboard. The different kinds of Note messages
are shown below.
Note Number
Pad number to which an instrument or bass tone is assigned
Note On
Pad is tapped
Note Off
Pad is released
Velocity
Force used to tap the pad
This correspondence of the DR-3’s pads to Note
Number as shown below.
Using the DR-3 to Record
Performances Played by
External MIDI Devices
The DR-3 can be used to record, in real time, what
is being played on a MIDI keyboard or MIDI
pads. You can also use the DR-3 to record
performance data from sequencers and rhythm
machines.
*
When recording performances from an external device,
set “Sync” in [EDIT] <SYSTEM> to “AUTO” (p. 95).
*
To enable proper reception of performance data, the MIDI
channels for the transmitting and receiving devices must
be matched. For more on MIDI channel settings, refer to
p. 94.
fig.10-06
• Select “DRUM” for the “INST”
36
38
48
45
41
37
42
46
53
57
58
51
49
Recording Performances on MIDI
Keyboards and MIDI Pads
When recording MIDI keyboard or MIDI pad
performances as DR-3 patterns, the patterns are
recorded in real time.
fig.10-05
• Select “PERC” for the “INST”
62
63
69
75
70
64
60
61
MIDI Keyboard
39
67
68
56
54
MIDI OUT
• Note numbers are 28–64 when BASS is
selected for INST.
MIDI IN
When you tap one of the DR-3’s pads, the Note
Number for that pad is transmitted.
When a Note Number is received from an
external MIDI device, the instrument or bass tone
assigned to the pad corresponding to that Note
Number is played.
*
Note Numbers that do not correspond to any of the pads
are disregarded if received.
•
Program Change
This message switches the drum kit.
*
Program Change messages are received on the drum part
MIDI channel.
*
For more information on the messages that can be
handled by the devices you are connecting, refer to the
owner’s manual for each device.
96
DR-3
First, follow the instructions in “<2> Making the
Settings for the New Style” (p. 62) to make the
necessary settings. Follow the instructions in Step
5 of “• Recording the Drum Part” (p. 65) (or “•
Recording the Bass Part” (p. 66)) to play the MIDI
keyboard or MIDI pad performance.
To stop recording, press STOP [
].
Chapter 11 Connecting and Using External MIDI Devices
Recording Sequencer and Rhythm
Machine Performances
When connecting a sequencer or rhythm machine
and recording the performance data from it, the
start of recording with the DR-3 is controlled
from the connected device.
fig.10-08
MIDI OUT
MIDI Sequencer
etc.
MIDI IN
DR-3
Press [MANU] on the DR-3 so that the button
lights up, then press STEP REC [
]. The DR-3
begins recording at the same time the
performance from the connected sequencer or
rhythm machine is played back.
To stop recording, press STOP [
].
Chapter 11
97
Appendices
98
Troubleshooting
If the DR-3 still does not work properly after you check these points, consult your local Roland Service
or your dealer.
Problem
Check/Solution
Is the volume turned down (p. 17)?
Is the Output set to “DRUM” or “BASS” (p. 89)?
No sound
Is the instrument’s level set to “0” (p. 91)?
Have you selected a style, pattern or song containing no performance data?
Are you playing too many sounds simultaneously?
The DR-3 has a maximum polyphony of 12 sounds.
Sounds drop out
Performance does not start
when START [
pressed
] is
The button does not flash
when STEP REC [
] is
pressed / Recording does not
start STEP REC [
down and START [
pressed
] is held
] is
No metronome sound when
Realtime Recording is used
Cannot change the settings
(Kits, Styles, TSC)
Cannot play the DR-3 using an
external MIDI device / Cannot
play external MIDI device from
the DR-3
Have you selected a style, pattern or song containing no performance data?
Have you selected a Preset Style?
Select User Styles with a “U” appended to their number (p. 62).
Have you selected Edit mode?
Press [EXIT] in number of times until you exit Edit mode.
Is the metronome level (Click Level) set to “0” (p. 89)?
Have you selected a Preset?
Select User settings with a “U” appended to their number (p.
90, p. 62, p. 75)
Certain data cannot be changed while it is being performed.
First stop the performance, then make the changes.
Are the MIDI channel settings correct (p. 94)?
Are the note numbers correct (p. 96)?
Some MIDI messages cannot be received while editing is in
progress.
Press [EXIT] in number of times until you exit Edit mode.
Are the foot switch properly connected (p. 29)?
Foot switch does not work
During recording or editing, depressing the foot switch will
have no effect.
99
Appendices
If you find the DR-3 is not operating correctly, check the items listed below.
Message List
Message Keep Power On!
Now Working...
Cause
Data is being saved to memory.
Action Never turn off the power while this
message is displayed. This may cause
damage to the internal memory,
rendering it useless.
Message Battery Low!
Cause
The DR-3’s batteries are running low.
Action Use the AC adapter, or change the
batteries promptly (p. 15).
Press any button to clear the message.
Sounds may become distorted, or the
DR-3 may not operate correctly if you
continue to use it in this condition.
Message Can Not Edit!
Cause
Unable to change the settings for the
Preset Styles, Preset kits, or TSC presets
with a “P” appended to their number.
Action Select User Styles, User kits, and TSC
presets with a “U” appended to their
number.
Action When basing your data on Preset data,
copy the preset data to the User
memory before changing the settings.
Message Can Not Record
Cause
Unable to record on the Preset Styles.
Action Select User Style and record
performance.
Message Data Empty!
Cause
No data.
Massage Memory Full!
Cause
Memory is full.
Action Try the operation once again.
Action Delete unneeded patterns or songs
(p. 73, p. 85).
Message Song Data Full!
Cause
No space remains in the song for any
more patterns to be recorded.
Action You can record or copy up to a
maximum of 250 patterns in one song.
100
Message Excl. Ptn Full!
Cause
The exclusive patterns for songs are full
(p. 78).
Action To continue recording or copying, first
delete the exclusive patterns.
Message Stop SEQ!
Cause
The operation you attempted cannot be
carried out while a Style or song is
being performed or recorded.
Action
Press STOP [
] to stop the
performance or recording of the Style
or song, then try the operation again.
Message MIDI Off Line!
Cause
A MIDI Active Sensing error has
occurred. A abnormality has been
detected in the device or cable
connected to MIDI IN.
Action Check the device or cable connected to
MIDI IN.
Message MIDI Full!
Cause
Too many MIDI messages were
received all at once, and the DR-3 was
unable to process all of them.
Action Reduce the volume of the MIDI
messages being sent by the
transmitting device.
Message Too Busy!
Cause
The system attempted to concurrently
process abnormally large amounts of
data, but was unable to succeed.
Action Make sure that the unit is not being
forced to handle an overly large
amount of data (in patterns, or received
MIDI messages) all at once, and try to
reduce the amount of data.
Message System Error!
Cause
An unknown error has occurred in the
system.
Action Immediately stop using the unit, and
consult your dealer or nearest Roland
Service Center.
Parameter List
Display
Appendices
Parameter
Value
Temporary (These parameters are not saved. These are reset each time the DR-3’s power is turned on.)
Sound Shape
TSC AUDITION / Shape
P1 - P8, U1 - U8
Ambience
TSC AUDITION / Ambi
P1 - P8, U1 - U8
Tempo
PLAY TEMPO / Tempo
20 - 260
Key Shift
PLAY KEY SHIFT / KeyShift
-12 - +12
Tempo
Tempo
20 - 260
Beat
Beat
2/4 - 8/4, 4/8 - 16/8
Kit
Kit1
P01 - P50, U01 - U50
Kit Variation
Kit2
P01 - P50, U01 - U50
Mute Variation
Mute
HH, Kick, Bass, HH&Kick, Kick&Bass,
HH&Bass, Drums
Sound Shape Switch
ShapeSw
OFF, ON
Sound Shape
Shape
P1 - P8, U1 - U8
Ambience Switch
AmbiSw
OFF, ON
Ambience
Ambi
P1 - P8, U1 - U8
<Pattern>
<PATTERN>
Style (This is selectable in Style Play Mode)
Pattern Measure /
PATTERN MEAS
INTRO, VERSE A, VERSE B,
VERSE C, ENDING
1-4
Pattern Key Transpose /
PTN KEY TRANS
INTRO, FILL A, VERSE A,
VERSE Av, FILL B, VERSE B,
VERSE Bv, FILL C, VERSE C,
VERSE Cv, ENDING
-12 - +12
Pattern Copy
<COPY>
Pattern Clear
<CLEAR>
Style Name
<NAME>
Style Copy
<COPY>
Style Clear
<CLEAR>
10 letters
Song (This is selectable in Song Mode)
Initial Tempo
InitTempo
20 - 260
Sound Shape Switch
ShapeSw
OFF, ON
Sound Shape
Shape
P1 - P8, U1 - U8
Ambience Switch
AmbiSw
OFF, ON
Ambience
Ambi
P1 - P8, U1 - U8
Loop Type
LoopType
AB, BLOCK
Loop Start
LoopStart
1 - Last mesure number of the song
Loop End
LoopEnd
1 - Last mesure number of the song
Song Chain
Chain
OFF, REPEAT, S001 - S100
Song Name
<NAME>
10 letters
Song Copy
<COPY>
Song Clear
<CLEAR>
101
Parameter List
Kit
Kit
Kit
P1 - P50, U1 - U50
Instrument
Inst
“Instrument/Bass Tone List” (p. 104)
Level
Level
0 - 15
Pan
Pan
L7 - CENTER - R7
Kit Name
<NAME>
8 letters
Kit Copy
<COPY>
Sound Shape
Sound Shape
Shape
P1 - P8, U1 - U8
Equalizer Switch
EQ / Switch
OFF, ON
Equalizer Input
EQ / Input
-24 dB - +12 dB
Equalizer Low Type
EQ (Low) / Type
Shelving, Peaking
Equalizer Low Gain
EQ (Low) / Gain
-12 dB - +12 dB
Equalizer Low Frequency
EQ (Low) / Freq
20 Hz - 2.0 kHz
Equalizer Low Q
EQ (Low ) / Q
0.3 - 16.0
Equalizer Middle Gain
EQ (Mid) / Gain
-12 dB - +12 dB
Equalizer Middle Frequency
EQ (Mid) / Freq
20 Hz - 8.0 kHz
Equalizer Middle Q
EQ (Mid) / Q
0.3 - 16.0
Equalizer High TYPE
EQ (High) / Type
Shelving, Peaking
Equalizer High Gain
EQ (High) / Gain
-12 dB - +12 dB
Equalizer High Frequency
EQ (High) / Freq
500 Hz - 14.0 kHz
Equalizer High Q
EQ (High) / Q
0.3 - 16.0
Equalizer Out Level
EQ / OutLevel
-24 dB - +12 dB
Compressor Switch
COMP / Switch
OFF, ON
Compressor Sprit Frequency L
COMP / SpritL
20 Hz - 800 Hz
Compressor Sprit Frequency H
COMP / SpritH
1.6 kHz - 14.0 kHz
Compressor Low Threshold
COMP(Low) / Thres
-30 dB - +6 dB
Compressor Low Ratio
COMP(Low) / Ratio
1: 1.00 - 1: 16.0, 1: INF
Compressor Low Attack
COMP(Low) / Attack
0 ms - 100 ms
Compressor Low Release
COMP(Low) / Release
50 ms - 5000 ms
Compressor Middle Threshold
COMP(Mid) / Thres
-30 dB - +6 dB
Compressor Middle Ratio
COMP(Mid) / Ratio
1: 1.00 - 1: 16.0, 1: INF
Compressor Middle Attack
COMP(Mid) / Attack
0 ms - 100 ms
Compressor Middle Release
COMP(Mid) / Release
50 ms - 5000 ms
Compressor High Threshold
COMP(Hi) / Thres
-30 dB - +6 dB
Compressor High Ratio
COMP(Hi) / Ratio
1: 1.00 - 1: 16.0, 1: INF
Compressor High Attack
COMP(Hi) / Attack
0 ms - 100 ms
Compressor High Release
COMP(Hi) / Release
50 ms - 5000 ms
Compressor Low Level
COMP / Low Lev
-60 dB - +6 dB
Compressor Middle Level
COMP / Mid Lev
-60 dB - +6 dB
Compressor High Level
COMP / High Lev
-60 dB - +6 dB
Compressor Out Level
COMP / OutLevel
-60 dB - +6 dB
Sound Shape Name
<NAME>
6 letter
Sound Shape Copy
<COPY>
102
Parameter List
Ambience
Ambi
P1 - P8, U1 - U8
Reverb Size
Size
5.6 m - 20.5 m
Reverb Time
Time
0.1 - 32.0
Reverb Level
Level
0 - 100
Pre Delay
PreDelay
0 ms - 20 ms
Density
Density
0 - 100
Early Reflection Level
ErLevel
0 - 100
Release Density
RelDensity
0 - 100
Low Damp Gain
Low Damp / Gain
-36.0 dB - 0.0 dB
Low Damp Frequency
Low Damp / Freq
55 Hz - 4.00 kHz
High Damp Gain
Hi Damp / Gain
-36.0 dB - 0.0 dB
High Damp Frequency
Hi Damp / Freq
400 Hz - 14 kHz
Low Cut Frequency
Low Cut / Freq
20 Hz - 2.0 kHz
High Cut Frequency
High Cut / Freq
250 Hz - 14.0 kHz, FLAT
Ambience Name
<NAME>
6 letters
Ambience Copy
<COPY>
Appendices
Ambience
System
Output
Output
ALL, DRUM, BASS
Auto Repeat Type
AutoType
ABC, ABC4, ABC8, ABC16, AB, AB4, AB8,
AB16
Foot Switch 1
FS1
Foot Switch 2
FS2
Pad Sensitivity
PadSens
1 - 10, FIX
Master Tune
MstrTune
438 Hz - 445 Hz
Click Level
ClickLevel
0 - 10
MIDI Synchro Mode
Sync
AUTO, REMOTE, INT
Drum MIDI Channel
DrumMidiCh
OFF, 1 - 16
Bass MIDI Channel
BassMidiCh
OFF, 1 - 16
Factory Reset
<FACTORY RESET>
INTRO/END, VERSE,LOOP, VAR PTN,
VAR KIT, VAR MUTE, TAP TEMPO,
STRT/PAUSE, START/STOP, STYLE FWD,
STYLE BWD, INTRO, FILL A, VERSE A,
FILL B, VERSE B, FILL C, VERSE C, ENDING,
DRUM KICK - DRUM CYM5,
PERC 1 - PERC 13
103
Instrument/Bass Tone List
Instrument
Inst. No. v Display Instrument
K01
Maple Maple Kick
Inst. No. v Display Instrument
T01
VintH Vintage Tom High
K02
Rnd1
Round Kick 1
T02
VintM
Vintage Tom Mid
K03
Rnd2
Round Kick 2
T03
VintL
Vintage Tom Low
K04
Dry
Dry Hard Kick
T04
AmbiH Ambient Tom High
K05
Comp Comp Kick
T05
AmbiM Ambient Tom Mid
K06
Rev1
Reverb Kick 1
T06
AmbiL Ambient Tom Low
K07
Rev2
Reverb Kick 2
T07
DblH
K08
Stdio
Studio Kick
T08
DblM
Double Head Tom Mid
K09
26"dp
26" Deep Kick
T09
DblL
Double Head Tom Low
K10
Jazz
Jazz Kick
T10
RockH Rock Tom High
K11
Elec
Electronic Kick
T11
RockM Rock Tom Mid
K12
TR909 TR-909 Kick
T12
RockL Rock Tom Low
Wet
T13
BrshH Brush Slap Tom High
S01
v
Wet Snare / Soft Shot
Double Head Tom High
S02
Warm Warm Snare Hard Shot
T14
BrshM Brush Slap Tom Mid
S03
Maple Maple Snare
T15
BrshL
Maple Maple Snare / Beach Soft Shot
T16
ElecH Electronic Tom High
S05
BchH
Beech Snare Hard Rim Shot
T17
ElecM Electronic Tom Mid
S06
BchS
Beech Snare Soft Shot
T18
ElecL
Electronic Tom Low
Beech Beech Snare Rim / Beech Snare Soft
T19
TR H
TR-808 Tom High
Open
Open Snare Rim Shot
T20
TR M
TR-808 Tom Mid
v
Open
Open Sanre / Beech Snare Soft Shot
T21
TR L
TR-808 Tom Low
Dry
Dry Snare Hard Shot
H01
PureC Pure Closed Hi-Hat
*1
v
Dry
Dry Snare Hard Shor / Med Soft Shot
H02
PureO Pure Open Hi-Hat
*1
S12
MdSft
Medium Soft Shot
H03
PureP Pure Pedal Closed Hi-Hat
*1
S13
Natrl
Natural Snare
H04
PureO Pure HH Open / Pedal
*1
S04
S07
v
v
S08
S09
S10
S11
v
Brush Slap Tom Low
S14
v
Natrl
Natural Snare / BeechSoft
H05
16"C
16" Closed Hi-Hat
*1
S15
v
Rock
Rock Rim Shot / Med Soft
H06
16"O
16" Open Hi-Hat
*1
S16
Picco
Piccolo Rim Shot Snare
H07
16"P
16" Pedal Closed Hi-Hat
*1
S17
House House Snare
H08
16"O
16" HH Open / Pedal
S18
Soft
H09
S19
BrshR Brush Roll
H10
S20
BrshS Brush Slap
H11
BrshS Brush Slap / Swish
S22
S23
Soft Shot
v
*1
RealO Real Open Hi-Hat
*1
RealO Real HH Open / Pedal
*1
H12
BrshC Brush Closed Hi-Hat
*1
Whack Whack Snare
H13
BrshO Brush Open Hi-Hat
*1
Regga Reggae Snare
C01
Crsh1 Crash Cymbal 1
*2
S24
Elec
C02
Crsh2 Crash Cymbal 2
*3
S25
TR808 TR-808 Snare
C03
Crsh3 Crash Cymbal 3
*4
S26
Doubl
Double Shot Ghost
C04
Chok1 Choked Crash 1
*2
S27
Buzz
Buzz Snare Ghost
C05
Chok2 Choked Crash 2
*3
S28
Stck1
Ambient Cross Stick
C06
Chok3 Choked Crash 3
*4
S29
Stck2
Natural Cross Stick
C07
Splsh
Splash Cymbal
S30
Stck3
TR-808 Cross Stick
C08
China
Chinese Cymbal
S21
104
v
Electronic Snare
v
*1
RealC Real Closed Hi-Hat
Instrument/Bass Tone List
Bass Tone
IInst. No.
Display Instrument
C09
Ride1
Ride Cymbal 1
B01
Fing1
Fingered Bass 1
C10
Ride2
Ride Cymbal 2
B02
Fing2
Fingered Bass 2
C11
Bell1
Ride Bell Cymbal 1
B03
MuteB Mute Bass
C12
Bell2
Ride Bell Cymbal 2
B04
Frtls
Fretless Bass
C13
BrshC Brush Crash Cymbal
B05
Pick1
Picked Bass 1
C14
BrshR Brush Ride Cymbal
B06
Pick2
Picked Bass 2
C15
Gong
B07
Acous Acoustic Bass
P01
Cowbl Cowbell
B08
Slap
P02
Tmbrn Tambourine
B09
Stick
Stick
P03
BngoH Bongo High
B10
Solid
Solid Bass
P04
BngoL Bongo Low
B11
Pluck
Pluck Bass
P05
CngHM Conga High Mute
B12
Sine
Sine Wave Bass
P06
CngHO Conga High Open
P07
CngaL Conga Low Open
P08
TmblH Timbale High
P09
TmblL Timbale Low
P10
Clave
Clave
P11
Vibra
Vibraslap
P12
GuirS
Guiro Short
P13
GuirL
Guiro Long
P14
Marcs Maracas
P15
Shakr
P16
Cabas Cabasa
P17
WhslS Whistle Short
P18
WhslL Whistle Long
P19
AgogH Agogo High
P20
AgogL Agogo Low
P21
CuicH Cuica High
P22
CuicL
P23
SurdM Surdo Mute
P24
SurdO Surdo Open
P25
Tbla1
Tabla 1
P26
Tbla2
Tabla 2
P27
Tbla3
Tabla 3
P28
Clap1
Real Clap
P29
Clap2
TR-808 Clap
Large Gong
Appendices
Inst. No. v Display Instrument
Slap Bass
Shaker
Cuica Low
v...The sound will alter depending on the
strength you tap the pads.
*1–*4...will not sound simultaneously with other
percussion instruments of the same number.
105
Preset Kit List
Kit No.
Kit Name
No. P01
Power1
No. P02
BigFunk
No. P03
Groove
No. P04
Studio 1
No. P05
Room 1
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Rnd2
K01
Maple
K02
Rnd1
K04
Dry
K06
Rev1
DRUM KICK
K03
DRUM SNR1
S01 v Wet
S01 v Wet
S01 v Wet
S09 v Open
S08
Open
DRUM SNR2
S28
Stck1
S27
Buzz
S27
Buzz
S26
Doubl
S28
Stck1
DRUM CHH
H05
16"C
H09
RealC
H09
RealC
H05
16"C
H09
RealC
DRUM OHH
H08 v 16"O
H10
RealO
H11 v RealO
H08 v 16"O
H10
RealO
DRUM CYM1
C12
Bell2
C12
Bell2
C12
Bell2
C12
Bell2
C12
Bell2
DRUM CYM2
C10
Ride2
C10
Ride2
C10
Ride2
C10
Ride2
C10
Ride2
DRUM CYM3
C01
Crsh1
C01
Crsh1
C01
Crsh1
C01
Crsh1
C01
Crsh1
DRUM TOM1
T07
DblH
T07
DblH
T07
DblH
T04
AmbiH
T04
AmbiH
DRUM TOM2
T08
DblM
T08
DblM
T08
DblM
T05
AmbiM
T05
AmbiM
DRUM TOM3
T09
DblL
T09
DblL
T09
DblL
T06
AmbiL
T06
AmbiL
DRUM CYM4
C02
Crsh2
C04
Chok1
C03
Crsh3
C07
Splsh
C03
Crsh3
DRUM CYM5
C08
China
C08
China
C08
China
C08
China
C07
Splsh
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B05
Pick1
B09
Stick
B08
Slap
B01
Fing1
B05
Pick1
106
Preset Kit List
No. P07
Power 2
No. P08
Big
No. P09
Funk 1
No. P10
Natural1
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
DRUM KICK
K06
Rev1
K07
Rev2
K09
26"dp
K04
Dry
K05
Comp
DRUM SNR1
S02
Warm
S02
Warm
S07 v Beech
S07 v Beech
S14 v Natrl
DRUM SNR2
S28
Stck1
S28
Stck1
S26
Doubl
S26
Doubl
S28
Stck1
DRUM CHH
H05
16"C
H05
16"C
H05
16"C
H01
PureC
H01
PureC
DRUM OHH
Kit Name
H08 v 16"O
H08 v 16"O
H08 v 16"O
H04 v PureO
H04 v PureO
DRUM CYM1
C08
China
C12
Bell2
C11
Bell1
C12
Bell2
C11
Bell1
DRUM CYM2
C10
Ride2
C10
Ride2
C10
Ride2
C09
Ride1
C09
Ride1
DRUM CYM3
C01
Crsh1
C01
Crsh1
C01
Crsh1
C02
Crsh2
C01
Crsh1
DRUM TOM1
T10
RockH
T04
AmbiH
T07
DblH
T01
VintH
T07
DblH
DRUM TOM2
T11
RockM
T05
AmbiM
T08
DblM
T02
VintM
T08
DblM
DRUM TOM3
T12
RockL
T06
AmbiL
T09
DblL
T03
VintL
T09
DblL
DRUM CYM4
C02
Crsh2
C02
Crsh2
C02
Crsh2
C07
Splsh
C02
Crsh2
DRUM CYM5
C15
Gong
C15
Gong
C08
China
C08
China
C08
China
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B05
Pick1
B06
Pick2
B09
Stick
B08
Slap
B06
Pick2
107
Appendices
No. P06
Loud
Kit No.
Preset Kit List
Kit No.
Kit Name
No. P11
Gospel
No. P12
Room 2
No. P13
Ambient
No. P14
HeavyFnk
No. P15
Whack
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Maple
K06
Rev1
K06
Rev1
K03
Rnd2
K03
Rnd2
Whack
DRUM KICK
K01
DRUM SNR1
S14 v Natrl
S15 v Rock
S15 v Rock
S15 v Rock
S22
DRUM SNR2
S29
Stck2
S28
Stck1
S01 v Wet
S27
Buzz
S15 v Rock
DRUM CHH
H05
16"C
H01
PureC
H05
H09
RealC
H05
DRUM OHH
16"C
16"C
H08 v 16"O
H04 v PureO
H08 v 16"O
H11 v RealO
H08 v 16"O
DRUM CYM1
C12
Bell2
C12
Bell2
C12
Bell2
C11
Bell1
C11
Bell1
DRUM CYM2
C10
Ride2
C10
Ride2
C09
Ride1
C10
Ride2
C10
Ride2
DRUM CYM3
C01
Crsh1
C01
Crsh1
C01
Crsh1
C01
Crsh1
C01
Crsh1
DRUM TOM1
T07
DblH
T04
AmbiH
T10
RockH
T07
DblH
T04
AmbiH
DRUM TOM2
T08
DblM
T05
AmbiM
T11
RockM
T08
DblM
T05
AmbiM
DRUM TOM3
T09
DblL
T06
AmbiL
T12
RockL
T09
DblL
T06
AmbiL
DRUM CYM4
C07
Splsh
C02
Crsh2
C02
Crsh2
C02
Crsh2
C02
Crsh2
DRUM CYM5
C08
China
C08
China
C08
China
C08
China
C08
China
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P28
Clap1
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B01
Fing1
B01
Fing1
B02
Fing2
B09
Stick
B05
Pick1
108
Preset Kit List
No. P17
Express
No. P18
Vintage
No. P19
Fusion
No. P20
Funk 2
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
DRUM KICK
K04
Dry
K02
Rnd1
K01
Maple
K08
Stdio
K05
Comp
DRUM SNR1
S11 v Dry
S10
Dry
S04 v Maple
S04 v Maple
S16
Picco
DRUM SNR2
S29
Stck2
S26
Doubl
S28
Stck1
S26
Doubl
S28
Stck1
DRUM CHH
H01
PureC
H01
PureC
H01
PureC
H01
PureC
H09
RealC
DRUM OHH
Kit Name
H04 v PureO
H04 v PureO
H02
PureO
H04 v PureO
H11 v RealO
DRUM CYM1
C12
Bell2
C11
Bell1
C11
Bell1
C12
Bell2
C11
Bell1
DRUM CYM2
C10
Ride2
C10
Ride2
C09
Ride1
C10
Ride2
C09
Ride1
DRUM CYM3
C01
Crsh1
C01
Crsh1
C01
Crsh1
C01
Crsh1
C02
Crsh2
DRUM TOM1
T07
DblH
T04
AmbiH
T01
VintH
T07
DblH
T07
DblH
DRUM TOM2
T08
DblM
T05
AmbiM
T02
VintM
T08
DblM
T08
DblM
DRUM TOM3
T09
DblL
T06
AmbiL
T03
VintL
T09
DblL
T09
DblL
DRUM CYM4
C02
Crsh2
C02
Crsh2
C02
Crsh2
C07
Splsh
C07
Splsh
DRUM CYM5
C08
China
C08
China
C08
China
C08
China
C08
China
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B01
Fing1
B02
Fing2
B01
Fing1
B05
Pick1
B09
Stick
109
Appendices
No. P16
Standrd1
Kit No.
Preset Kit List
No. P21
Electro
No. P22
Dance
No. P23
Hip Hop
No. P24
Techno
No. P25
Drm'n'Bs
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
DRUM KICK
K11
Elec
K12
TR909
K02
Rnd1
K12
TR909
K12
TR909
DRUM SNR1
S24
Elec
S25
TR808
S17
House
S17
House
S17
House
DRUM SNR2
S30
Stck3
S13
Natrl
S05
BchH
S30
Stck3
S25
TR808
DRUM CHH
H12
BrshC
H12
BrshC
H12
BrshC
H12
BrshC
H12
BrshC
Kit No.
Kit Name
DRUM OHH
H13
BrshO
H13
BrshO
H13
BrshO
H13
BrshO
H13
BrshO
DRUM CYM1
C11
Bell1
C12
Bell2
C12
Bell2
C11
Bell1
C12
Bell2
DRUM CYM2
C10
Ride2
C10
Ride2
C09
Ride1
C10
Ride2
C10
Ride2
DRUM CYM3
C01
Crsh1
C01
Crsh1
C03
Crsh3
C02
Crsh2
C02
Crsh2
DRUM TOM1
T16
ElecH
T19
TR H
T16
ElecH
T16
ElecH
T19
TR H
DRUM TOM2
T17
ElecM
T20
TR M
T17
ElecM
T17
ElecM
T20
TR M
DRUM TOM3
T18
ElecL
T21
TR L
T18
ElecL
T18
ElecL
T21
TR L
DRUM CYM4
C07
Splsh
C03
Crsh3
C02
Crsh2
C03
Crsh3
C03
Crsh3
DRUM CYM5
C08
China
C07
Splsh
C15
Gong
C07
Splsh
C07
Splsh
PERC 1
P27
Tbla3
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P26
Tbla2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P25
Tbla1
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B10
Solid
B12
Sine
B10
Solid
B11
Pluck
B12
Sine
110
Preset Kit List
No. P27
Boom
No. P28
Jazz 1
No. P29
Jazz 2
No. P30
Country
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
DRUM KICK
K12
TR909
K12
TR909
K10
Jazz
K10
Jazz
K01
Maple
DRUM SNR1
S25
TR808
S25
TR808
S06
BchS
S11 v Dry
S12
MdSft
DRUM SNR2
S30
Stck3
S30
Stck3
S29
Stck2
S28
Stck1
S29
Stck2
DRUM CHH
H12
BrshC
H12
BrshC
H01
PureC
H01
PureC
H09
RealC
Kit Name
DRUM OHH
H13
BrshO
H13
BrshO
H04 v PureO
H04 v PureO
H10
RealO
DRUM CYM1
C12
Bell2
C12
Bell2
C11
Bell1
C09
Ride1
C12
Bell2
DRUM CYM2
C10
Ride2
C10
Ride2
C10
Ride2
C10
Ride2
C10
Ride2
DRUM CYM3
C02
Crsh2
C02
Crsh2
C01
Crsh1
C01
Crsh1
C01
Crsh1
DRUM TOM1
T19
TR H
T19
TR H
T01
VintH
T01
VintH
T07
DblH
DRUM TOM2
T20
TR M
T20
TR M
T02
VintM
T02
VintM
T08
DblM
DRUM TOM3
T21
TR L
T21
TR L
T03
VintL
T03
VintL
T09
DblL
DRUM CYM4
C03
Crsh3
C03
Crsh3
C02
Crsh2
C02
Crsh2
C02
Crsh2
DRUM CYM5
C07
Splsh
C07
Splsh
C03
Crsh3
C03
Crsh3
C08
China
PERC 1
P27
Tbla3
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P26
Tbla2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P25
Tbla1
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P28
Clap1
P29
Clap2
P28
Clap1
P28
Clap1
P28
Clap1
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B10
Solid
B11
Pluck
B07
Acous
B07
Acous
B01
Fing1
111
Appendices
No. P26
House
Kit No.
Preset Kit List
No. P31
Ballad 1
No. P32
Folk
No. P33
Brushes1
No. P34
Ballad 2
No. P35
Pops 1
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
DRUM KICK
K09
26"dp
K10
Jazz
K10
Jazz
K01
Maple
K01
Maple
DRUM SNR1
S12
MdSft
S20
BrshS
S21 v BrshS
S04 v Maple
S09 v Open
DRUM SNR2
S29
Stck2
S26
Doubl
S19
BrshR
S29
Stck2
S29
Stck2
DRUM CHH
H05
16"C
H01
PureC
H03
PureP
H01
PureC
H01
PureC
DRUM OHH
Kit No.
Kit Name
H08 v 16"O
H04 v PureO
H13
BrshO
H04 v PureO
H04 v PureO
DRUM CYM1
C11
Bell1
C12
Bell2
C11
Bell1
C11
Bell1
C12
Bell2
DRUM CYM2
C09
Ride1
C14
BrshR
C14
BrshR
C09
Ride1
C10
Ride2
DRUM CYM3
C01
Crsh1
C01
Crsh1
C13
BrshC
C01
Crsh1
C01
Crsh1
DRUM TOM1
T04
AmbiH
T01
VintH
T13
BrshH
T01
VintH
T07
DblH
DRUM TOM2
T05
AmbiM
T02
VintM
T14
BrshM
T02
VintM
T08
DblM
DRUM TOM3
T06
AmbiL
T03
VintL
T15
BrshL
T03
VintL
T09
DblL
DRUM CYM4
C02
Crsh2
C13
BrshC
C02
Crsh2
C02
Crsh2
C02
Crsh2
DRUM CYM5
C07
Splsh
C07
Splsh
C03
Crsh3
C07
Splsh
C07
Splsh
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P29
Clap2
P28
Clap1
P28
Clap1
P29
Clap2
P29
Clap2
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B04
Frtls
B03
MuteB
B07
Acous
B04
Frtls
B01
Fing1
112
Preset Kit List
Kit No.
No. P36
Punk
No. P37
Pops 2
No. P38
Standrd2
No. P39
Natural2
No. P40
Studio 2
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Dry
K04
Dry
K01
Maple
K04
Dry
K02
Rnd1
DRUM KICK
K04
DRUM SNR1
S15 v Rock
S07 v Beech
S04 v Maple
S14 v Natrl
S09 v Open
DRUM SNR2
S26
Doubl
S28
Stck1
S26
Doubl
S28
Stck1
S26
Doubl
DRUM CHH
H09
RealC
H01
PureC
H01
PureC
H01
PureC
H05
16"C
DRUM OHH
H11 v RealO
H04 v PureO
H02
PureO
H04 v PureO
H08 v 16"O
DRUM CYM1
C12
Bell2
C12
Bell2
C11
Bell1
C11
Bell1
C12
Bell2
DRUM CYM2
C10
Ride2
C09
Ride1
C09
Ride1
C10
Ride2
C10
Ride2
DRUM CYM3
C01
Crsh1
C02
Crsh2
C01
Crsh1
C01
Crsh1
C01
Crsh1
DRUM TOM1
T04
AmbiH
T01
VintH
T07
DblH
T04
AmbiH
T07
DblH
DRUM TOM2
T05
AmbiM
T02
VintM
T08
DblM
T05
AmbiM
T08
DblM
DRUM TOM3
T06
AmbiL
T03
VintL
T09
DblL
T06
AmbiL
T09
DblL
DRUM CYM4
C02
Crsh2
C07
Splsh
C02
Crsh2
C02
Crsh2
C02
Crsh2
DRUM CYM5
C08
China
C08
China
C08
China
C07
Splsh
C08
China
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
P29
Clap2
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B01
Fing1
B01
Fing1
B01
Fing1
B01
Fing1
B01
Fing1
113
Appendices
Kit Name
Preset Kit List
Kit No.
Kit Name
No. P41
Power 3
No. P42
Room 3
No. P43
Brushes2
No. P44
Latin
No. P45
Samba
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Rnd1
K06
Rev1
K10
Jazz
K04
Dry
K01
Maple
DRUM KICK
K02
DRUM SNR1
S01 v Wet
S08
Open
S21 v BrshS
S11 v Dry
S06
BchS
DRUM SNR2
S26
Doubl
S28
Stck1
S19
BrshR
S29
Stck2
S29
Stck2
DRUM CHH
H09
RealC
H09
RealC
H03
PureP
H12
BrshC
P23
SurdM
DRUM OHH
SurdO
H11 v RealO
H10
RealO
H13
BrshO
H13
BrshO
P24
DRUM CYM1
C12
Bell2
C12
Bell2
C11
Bell1
C12
Bell2
C12
Bell2
DRUM CYM2
C10
Ride2
C10
Ride2
C14
BrshR
P21
CuicH
P21
CuicH
DRUM CYM3
C01
Crsh1
C01
Crsh1
C13
BrshC
P22
CuicL
P22
CuicL
DRUM TOM1
T04
AmbiH
T04
AmbiH
T13
BrshH
P08
TmblH
P08
TmblH
DRUM TOM2
T05
AmbiM
T05
AmbiM
T14
BrshM
P09
TmblL
P09
TmblL
DRUM TOM3
T06
AmbiL
T06
AmbiL
T15
BrshL
T09
DblL
T09
DblL
DRUM CYM4
C02
Crsh2
C03
Crsh3
C02
Crsh2
C10
Ride2
P17
WhslS
DRUM CYM5
C08
China
C07
Splsh
C03
Crsh3
P11
Vibra
P18
WhslL
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P29
Clap2
P29
Clap2
P28
Clap1
P28
Clap1
P28
Clap1
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B01
Fing1
B01
Fing1
B04
Frtls
B01
Fing1
B04
Frtls
114
Preset Kit List
No. P47
Reggae
No. P48
India
No. P49
Afro 1
No. P50
Afro 2
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
Inst.
No.
Instrument
DRUM KICK
K10
Jazz
K05
Comp
K01
Maple
K01
Maple
K05
Comp
DRUM SNR1
S16
Picco
S23
Regga
S13
Natrl
S13
Natrl
P09
TmblL
DRUM SNR2
S29
Stck2
S29
Stck2
S29
Stck2
S29
Stck2
S29
Stck2
DRUM CHH
H12
BrshC
H01
PureC
H01
PureC
H05
16"C
H01
PureC
Kit Name
DRUM OHH
H13
BrshO
H02
PureO
H04 v PureO
H08 v 16"O
H02
PureO
DRUM CYM1
C12
Bell2
C12
Bell2
C12
Bell2
C12
Bell2
C12
Bell2
DRUM CYM2
C10
Ride2
C10
Ride2
C10
Ride2
C10
Ride2
C10
Ride2
DRUM CYM3
C03
Crsh3
C07
Splsh
C01
Crsh1
C07
Splsh
C07
Splsh
DRUM TOM1
P08
TmblH
P08
TmblH
P25
Tbla1
P08
TmblH
T07
DblH
DRUM TOM2
P09
TmblL
P09
TmblL
P26
Tbla2
P09
TmblL
T08
DblM
DRUM TOM3
T09
DblL
T03
VintL
P27
Tbla3
T05
AmbiM
T09
DblL
DRUM CYM4
P15
Shakr
C03
Crsh3
C02
Crsh2
P13
GuirL
P24
SurdO
DRUM CYM5
P11
Vibra
P11
Vibra
C07
Splsh
P21
CuicH
P11
Vibra
PERC 1
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
P05
CngHM
PERC 2
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
P06
CngHO
PERC 3
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
P07
CngaL
PERC 4
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
P03
BngoH
PERC 5
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
P04
BngoL
PERC 6
P28
Clap1
P28
Clap1
P29
Clap2
P29
Clap2
P28
Clap1
PERC 7
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
P01
Cowbl
PERC 8
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
P02
Tmbrn
PERC 9
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
P16
Cabas
PERC 10
P10
Clave
P10
Clave
P10
Clave
P10
Clave
P10
Clave
PERC 11
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
P14
Marcs
PERC 12
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
P19
AgogH
PERC 13
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
P20
AgogL
Bass
B07
Acous
B03
MuteB
B07
Acous
B03
MuteB
B07
Acous
115
Appendices
No. P46
Salsa
Kit No.
Preset Style List
No.
Style Name
No.
Style Name
No.
Style Name
P001
ROCK JAM 1
P041
16TH FEEL1
P081
BIG BAND
P002
ROCK JAM 2
P042
16TH FEEL2
P082
JAZZ WALTZ
P003
SHFFL JAM
P043
16TH FEEL3
P083
JAZZ FIVE
P004
ROCK HOP
P044
SHUFFLE
P084
DRM'N'BSS1
P005
STREET HOP
P045
BALLAD 1
P085
DRM'N'BSS2
P006
MIAMI
P046
BALLAD 2
P086
TECHNO 1
P007
FUNK ROCK
P047
BALLAD 3
P087
TECHNO 2
P008
HARD ROCK1
P048
BALLAD 4
P088
HOUSE 1
P009
HARD ROCK2
P049
COUNTRY 1
P089
HOUSE 2
P010
HARD ROCK3
P050
COUNTRY 2
P090
BOSSA JAM
P011
HARD ROCK4
P051
BLUE GRASS
P091
BOSSA NOVA
P012
HARD ROCK5
P052
BLUES 1
P092
SAMBA 1
P013
HARD ROCK6
P053
BLUES 2
P093
SAMBA 2
P014
HVY ROCK 1
P054
CHICAGO
P094
SAMBA 3
P015
HVY ROCK 2
P055
ROCK BLUES
P095
SALSA 1
P016
HVY ROCK 3
P056
LATIN ROCK
P096
SALSA 2
P017
FAST ROCK1
P057
FUNK 1
P097
LATIN JAM
P018
FAST ROCK2
P058
FUNK 2
P098
LATIN POP1
P019
FAST ROCK3
P059
FUNK 3
P099
LATIN POP2
P020
ROCK SWING
P060
FUNK 4
P100
REGGAE
P021
ROCK 1
P061
FUNK 5
P022
ROCK 2
P062
FUNK 6
P023
ROCK 3
P063
SOUL 1
P024
ROCK 4
P064
SOUL 2
P025
ROCK 5
P065
NEW R&B
P026
ROCK 6
P066
HIP HOP 1
P027
ROCK 7
P067
HIP HOP 2
P028
ROCK 8
P068
HIP HOP 3
P029
TRIBE ROCK
P069
FUSION 1
P030
JELLY JAM
P070
FUSION 2
P031
KNCKL HEAD
P071
FUSION 3
P032
GROOVE CUT
P072
FUSION 4
P033
AC ROCK
P073
GROOVE SIX
P034
ELEC ROCK1
P074
HEAVY FUNK
P035
ELEC ROCK2
P075
GOSPEL 1
P036
SURF ROCK
P076
GOSPEL 2
P037
8TH FEEL 1
P077
MED BLUES
P038
8TH FEEL 2
P078
SWING 1
P039
8TH FEEL 3
P079
SWING 2
P040
8TH FEEL 4
P080
BRUSH
116
Dr. Rhythm
Model: DR-3
MIDI Implementation
Date: Dec. 27, 2002
Version:1.00
Appendices
1. RECOGNIZED RECEIVE DATA
■Channel Voice Message
●Note Off
Status
8nH
9nH
Second
kkH
kkH
Third
vvH
00H
n = MIDI Channel Number: 0H–FH (ch.1–ch.16)
kk = Note Number: 00H–7FH (0–127)
vv = Velocity: 00H–7FH (0–127)
*
*
Velocity value is not recognized.
Not recognized in case that MIDI Channel value is “OFF” for each part.
●Note On
Status
9nH
Second
kkH
Third
vvH
n = MIDI Channel Number: 0H–FH (ch.1–ch.16)
kk = Note Number: 00H–7FH (0–127)
vv = Velocity: 01H–7FH (1–127)
*
*
Not recognized in case that MIDI Channel value is “OFF” for each part.
For drum part, note number of recognized data is as follows:
DRUM
Pad number
Pad 1
Pad 2
Pad 3
Pad 4
Pad 5
Pad 6
Pad 7
Pad 8
Pad 9
Pad 10
Pad 11
Pad 12
Pad 13
*
PERC
Note number
36 (24H) (C2)
38 (26H) (D2)
37 (25H) (C#2)
42 (2AH) (F#2)
46 (2EH) (A#2)
53 (35H) (F3)
51 (33H) (D#3)
49 (31H) (C#3)
48 (30H) (C3)
45 (2DH) (A2)
41 (29H) (F2)
57 (39H) (A3)
58 (3AH) (A#3)
Pad number
Pad 1
Pad 2
Pad 3
Pad 4
Pad 5
Pad 6
Pad 7
Pad 8
Pad 9
Pad 10
Pad 11
Pad 12
Pad 13
Note number
62 (3EH) (D4)
63 (3FH) (D#4)
64 (40H) (E4)
60 (3CH) (C4)
61 (3DH) (C#4)
39 (27H) (D#2)
56 (38H) (G#3)
54 (36H) (F#3)
69 (45H) (A4)
75 (4BH) (D#5)
70 (46H) (A#4)
67 (43H) (G4)
68 (44H) (G#4)
For the bass part, the range of note numbers are 1CH–40H (28–64, E1–E4). Though the other note numbers can be received, they are
sounded converting into the range of the note numbers E1–E4.
117
MIDI Implementation
●Program Change
Status
CnH
Second
ppH
n = MIDI Channel Number: 0H–FH (ch.1–ch.16)
pp = Program Number: 00H–63H (prog.1–prog.100)
*
*
*
*
MIDI Channel Number is same as drum part channel.
Not recognized in case that drum part channel is “OFF”.
Recognizing Program Change message, DR-3 switches Drum Kit of the same number as Program Number. Consequently, bass tone
changes as the Drum kit including.
The prog.1–50 correspond to the P01–P50, and the prog.51–100 correspond to the U01–U50.
After recognizing a Program Change message, new voices will sound as a switch, but sounding voices will not change then.
■System Common Message
●Song Position Pointer
Status
F2H
Second
llH
Third
mmH
mm, ll = Value: 00 00H–7F 7FH (0–16383)
*
Recognized under stop state of performances in Song Play mode or Style Play mode, and located the start position to play as a Value.
●Song Select
Status
F3H
Second
ssH
ss = Song Number: 00H–63H (1–100)
*
Recognized under stop state of performances in Song Play Mode, and switched song to play.
■System Real-time Message
●Timing Clock
Status
F8H
*
Recognition regards Sync Mode setting as follows:
Sync Mode: AUTO
Starting by receiving Start message (FAH) or Continue message (FBH), performances are synchronized to Timing Clock message
(F8H).
Sync Mode: REMOTE
Not recognized.
Sync Mode: INT
Not recognized.
●Start
Status
FAH
118
MIDI Implementation
●Continue
Appendices
Status
FBH
●Stop
Status
FCH
●Active Sensing
Status
FEH
*
Once receiving Active Sensing message, DR-3 begins checking intervals of receiving messages. If an interval is over 500msec, DR-3
will stop sounding tones temporarily and not check intervals after this.
2. Messages stored in patterns
■Channel Voice Message
●Note Off
Status
9nH
Second
kkH
Third
00H
n = MIDI Channel Number: 0H–FH (ch.1–ch.16)
kk = Note Number: 00H–7FH (0–127)
●Note On
Status
9nH
Second
kkH
Third
vvH
n = MIDI Channel Number: 0H–FH (ch.1–ch.16)
kk = Note Number: 00H-7FH (0–127)
vv = Velocity: 01H–7FH (1–127)
*
For drum part, note number of stored data is as follows:
DRUM
Pad number
Pad 1
Pad 2
Pad 3
Pad 4
Pad 5
Pad 6
Pad 7
Pad 8
Pad 9
Pad 10
Pad 11
Pad 12
Pad 13
*
PERC
Note number
36 (24H) (C2)
38 (26H) (D2)
37 (25H) (C#2)
42 (2AH) (F#2)
46 (2EH) (A#2)
53 (35H) (F3)
51 (33H) (D#3)
49 (31H) (C#3)
48 (30H) (C3)
45 (2DH) (A2)
41 (29H) (F2)
57 (39H) (A3)
58 (3AH) (A#3)
Pad number
Pad 1
Pad 2
Pad 3
Pad 4
Pad 5
Pad 6
Pad 7
Pad 8
Pad 9
Pad 10
Pad 11
Pad 12
Pad 13
Note number
62 (3EH) (D4)
63 (3FH) (D#4)
64 (40H) (E4)
60 (3CH) (C4)
61 (3DH) (C#4)
39 (27H) (D#2)
56 (38H) (G#3)
54 (36H) (F#3)
69 (45H) (A4)
75 (4BH) (D#5)
70 (46H) (A#4)
67 (43H) (G4)
68 (44H) (G#4)
All note numbers are stored in bass part.
119
120
X
X
Control
Change
X
X
X
X
Pitch Bend
Key's
Channel's
After
Touch
**************
**************
Note
Number : True Voice
Note On
Note Off
**************
Velocity
**************
Default
Messages
Altered
Mode
X
**************
**************
Default
Changed
Transmitted
X
X
X
X
O
X
0–127
28–64
Mode 3
X
1–16
1–16
Recognized
MIDI Implementation Chart
Basic
Channel
Function...
Model DR-3
Dr. Rhythm
9n v=1–127
Storable in Memory
Remarks
Version : 1.00
Date: Dec. 27, 2002
MIDI Implementation Chart
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
: Reset
*1
*1
0–99
1–100
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
* 1 Received when Sync Mode is AUTO and unit is functioning as slave
X
X
O
X
X
X
X
X
Aux
: All Notes Off
Messages : Active Sensing
Notes
O SYNC=AUTO
O SYNC=AUTO
X
X
: Clock
System
Real Time : Commands
: Local On/Off
O
O
X
X
X
X
: Song Position
System
: Song Select
Common
: Tune Request
O
X
**************
X
X
: True Number
System Exclusive
Program
Change
O : Yes
X : No
Appendices
121
Specifications
Styles
Connectors
User Style: 100 styles
Preset Style: 100 styles
Output Jack: L, R (RCA phono type),
L (PHONES), R (MONO) (1/4 inch phone type)
Foot Switch Jack (Stereo 1/4 inch phone type)
MIDI IN Connector
DC IN (AC Adaptor Jack)
* 11 patterns for a style
Songs
User Song: 100
Song Length: Maximum 250 patterns for a song
TSC (Total Sound Control)
Sound Shape
Preset Patch: 8 patches
User Patch: 8 patches
Ambience
Preset Patch: 8 patches
User Patch: 8 patches
Max Polyphony
12 voices
Instrument
Drum and Perc: 120
Bass: 12
Resolution
96 per quarter note
Tempo
20–260 bpm
Recording Method
Realtime / Step
Pads
13 (Velocity-sensitive)
Display
Backlit LCD (16 Characters x 2 Lines)
122
Power Supply
DC 9V: Dry Battery x 6, AC Adapter (PSA series)
Power Consumption
200 mA
* Expected battery life under continuous use:
Alkaline: approx. 5 hours
This figures will vary depending on the actual
conditions of use.
Dimensions
213 (W) x 185 (D) x 53 (H) mm
8-7/16 (W) x 7-5/16 (D) x 2-1/8 (H) inches
Weight
710 g / 1 lb 10 oz (excluding dry batteries)
Accessories
Alkaline Dry Battery (LR6 (AA) type) x 6
Owner's Manual
Roland Service (Information Sheet)
Options
AC Adaptor: PSA Series
Foot Switch: FS-5U
Foot Switch Cable: PCS-31 (Roland)
(1/4inch Phone Plug (stereo)–1/4inch Phone
Plug (mono) x 2)
* In the interest of product improvement, the
specifications and/or appearance of this unit are
subject to change without prior notice.
Index
E
[AMBIENCE] ........................................................ 52
[AUTO] .................................................................. 46
[INST] .................................................................... 58
[KEY SHIFT] ......................................................... 42
[MANU] ................................................................ 43
[SONG] .................................................................. 74
[SOUND SHAPE] ................................................. 51
[TEMPO] ............................................................... 41
Edit screen ............................................................. 38
Editing
Notes ............................................................... 78
Songs ............................................................... 80
ENDING ................................................................ 35
Equalizer ................................................................ 53
A
AMBIENCE ........................................................... 36
Ambience .............................................................. 33
Copying .......................................................... 57
Naming ........................................................... 57
Parameters ..................................................... 56
Auto Mode ...................................................... 34, 46
B
Bass Part .......................................................... 66, 68
Bass Sounds .......................................................... 59
Batteries ................................................................. 15
Beat ......................................................................... 62
Block Loop ............................................................ 86
C
Clearing
Patterns ........................................................... 73
Song ................................................................ 85
Style ................................................................. 72
Compressor ........................................................... 54
Connection ............................................................ 16
Foot Switch .................................................... 29
MIDI Devices ................................................. 93
COPY ..................................................................... 82
Copying
Kit .................................................................... 92
Patterns ........................................................... 72
Song ................................................................ 84
Style ................................................................. 71
D
DELETE ................................................................. 81
Demo ...................................................................... 21
Drum Part ....................................................... 65, 67
Drum Sounds ........................................................ 59
F
Factory Reset ......................................................... 18
FILL ........................................................................ 35
Foot Switch ...................................................... 29, 48
H
Headphones .......................................................... 16
I
Initial tempo .......................................................... 75
INSERT .................................................................. 80
Instruments ........................................................... 37
INTRO .................................................................... 35
K
Key Shift .......................................................... 28, 42
Key Transpose ...................................................... 70
Kit ........................................................................... 90
Copying .......................................................... 92
Naming ........................................................... 91
Style ................................................................. 63
Kits ......................................................................... 36
L
Loop Play .............................................................. 86
LP:OFF ................................................................... 86
LP:BLK ................................................................... 86
LP:ON .................................................................... 86
M
Manual Mode ....................................................... 34
Manual mode ........................................................ 43
Master .................................................................... 93
Metronome Volume ............................................. 89
MIDI ....................................................................... 93
MIDI Channels ..................................................... 94
MIDI Connector ................................................... 93
Mute ................................................................. 45, 63
123
Appendices
Buttons
Index
N
S
Naming
Kit .................................................................... 91
Song ................................................................ 84
Style ................................................................. 71
Note Messages ...................................................... 96
Slave ....................................................................... 93
Song .................................................................. 34, 74
Changing the Tempo .................................... 83
Clearing .......................................................... 85
Copying .......................................................... 84
Creating .......................................................... 74
Edit .................................................................. 80
Naming ........................................................... 84
Performing ..................................................... 85
Playing Repeatedly (Loop Play) ................. 87
Recording ....................................................... 76
Tempo ............................................................. 75
TSC .................................................................. 76
Song Chain ............................................................ 87
Song Edit screen ................................................... 39
Song Mode ............................................................ 37
Song Recording screen ........................................ 39
Song screen ........................................................... 38
Sound group ......................................................... 58
SOUND SHAPE ................................................... 36
Sound Shape ......................................................... 32
Copying .......................................................... 55
Naming ........................................................... 55
Parameters ..................................................... 53
Step Recording ......................................... 61, 67, 76
Step Recording screen ......................................... 38
Style .................................................................. 22, 34
Beat .................................................................. 62
Clearing .......................................................... 72
Copying .......................................................... 71
Creating .......................................................... 61
Kit .................................................................... 63
Mute ................................................................ 63
Naming ........................................................... 71
Selecting .................................................... 26, 43
Starting/Stopping ......................................... 44
Tempo ............................................................. 62
TSC .................................................................. 64
Style Play Mode .................................................... 34
Style screen ............................................................ 38
Sync Mode ............................................................. 95
Synchronizing ....................................................... 93
System .................................................................... 88
O
OUTPUT Jack ....................................................... 89
P
Pad ......................................................................... 58
Pad Functions ....................................................... 37
Pad Sensitivity ...................................................... 89
Pan .......................................................................... 91
Pattern ................................................................... 44
Clearing .......................................................... 73
Copying .......................................................... 72
Measures ........................................................ 64
Recording ....................................................... 65
Substituting .................................................... 78
Pattern pads .............................................. 23, 35, 44
Pattern Progression .............................................. 47
Patterns .................................................................. 35
Pause ...................................................................... 40
Percussion Sounds ............................................... 59
Performing
Songs ............................................................... 85
Polarity switch ...................................................... 29
Power ..................................................................... 17
POWER switch ..................................................... 17
Preset Style ............................................................ 43
Q
Quantize ................................................................ 66
R
Realtime Recording ................................. 61, 65, 77
Realtime Recording screen ................................. 39
Recording
Patterns ........................................................... 65
Song ................................................................ 76
Reference Pitch ..................................................... 89
124
Index
T
Appendices
Tempo ........................................................ 27, 36, 41
Song ................................................................ 75
Style ................................................................. 62
TSC ............................................................. 32, 36, 51
Song ................................................................ 76
Style ................................................................. 64
U
User kits ................................................................. 90
V
VARIATION ................................................... 24, 45
Variation ................................................................ 36
VARIATION [KIT] ......................................... 45, 60
VARIATION [MUTE] ......................................... 45
VARIATION [PTN] ............................................. 45
Velocity Edit ......................................................... 69
Velocity Edit screen ............................................. 39
VERSE .................................................................... 35
Volume
Instrument sound ......................................... 91
125
Memo ...
126
USING THE UNIT SAFELY
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.
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.
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.
* 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 things that must be
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
007
• Before using this unit, make sure to
read the instructions below, and the
Owner’s Manual.
• Make sure you always have the unit
placed so it is level and sure to remain
stable. Never place it on stands that
could wobble, or on inclined surfaces.
..................................................................................................
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
..................................................................................................
008b
• Use only the specified AC adaptor
(PSA-series), and 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.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
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.
Owner’s Manual
Thank you, and congratulations on your choice of the BOSS DR-3 Dr. Rhythm.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–4)
• IMPORTANT NOTES (page 5)
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.
■ Printing Conventions in This Manual
• Text or numerals enclosed in square brackets [ ] indicate buttons.
[SONG]
SONG button
START [
] START button
• Reference such as (p. **) indicate pages in this manual to which you can refer.
Copyright © 2003 BOSS CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of BOSS
CORPORATION.
03236845
1*SX
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