Roland SPD-20 Drums User Manual

Information

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

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICA

That Other Music Shop

(PTY) Ltd.

11 Melle St., Braamfontein,

Johannesbourg, SOUTH AFRICA

P.O.Box 32918, Braamfontein 2017

Johannesbourg, SOUTH AFRICA

TEL: (011) 403 4105

Paul Bothner (PTY) Ltd.

17 Werdmuller Centre,

Main Road, Claremont 7708

SOUTH AFRICA

P.O.BOX 23032, Claremont 7735,

SOUTH AFRICA

TEL: (021) 674 4030

ASIA

CHINA

Beijing Xinghai Musical

Instruments Co., Ltd.

6 Huangmuchang Chao Yang

District, Beijing, CHINA

TEL: (010) 6774 7491

Shanghai Xingtong Acoustics

Equipment CO.,Ltd.

5F. No.1500 Pingliang Road

New East Club Plaza, Shanghai,

CHINA

TEL: (021) 5580-0800

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

TEL: 2415 0911

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra Mahalaxmi

Flats Compound Off. Dr. Edwin

Moses Road, Mumbai-400011,

INDIA

TEL: (022) 498 3079

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA

BENTLEY MUSIC SDN BHD

140 & 142, Jalan Bukit Bintang

55100 Kuala Lumpur,MALAYSIA

TEL: (03) 2144-3333

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

SINGAPORE

Swee Lee Company

150 Sims Drive,

SINGAPORE 387381

TEL: 846-3676

CRISTOFORI MUSIC PTE

LTD

Blk 3014, Bedok Industrial Park E,

#02-2148, SINGAPORE 489980

TEL: 243 9555

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung Shan

N.Road Sec.2, Taipei, TAIWAN,

R.O.C.

TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2,

Bangkok 10100, THAILAND

TEL: (02) 2248821

VIETNAM

Saigon Music

138 Tran Quang Khai St.,

District 1

Ho Chi Minh City

VIETNAM

TEL: (08) 844-4068

AUSTRALIA/

NEW ZEALAND

AUSTRALIA

Roland Corporation

Australia Pty., Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

TEL: (02) 9982 8266

NEW ZEALAND

Roland Corporation Ltd.

32 Shaddock Street, Mount Eden,

Auckland, NEW ZEALAND

TEL: (09) 3098 715

CENTRAL/LATIN

AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

BRAZIL

Roland Brasil Ltda

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

COSTA RICA

JUAN Bansbach

Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237,

San Jose, COSTA RICA

TEL: 258-0211

CHILE

Comercial Fancy S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo ,

Edificio No.4010 San Salvador,

EL SALVADOR

TEL: 262-0788

MEXICO

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

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

MEXICO

TEL: 668-0480

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE PANAMA

TEL: 315-0101

PARAGUAY

Distribuidora De

Instrumentos Musicales

J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (021) 492-124

PERU

VIDEO Broadcast S.A.

Portinari 199 (ESQ. HALS),

San Borja, Lima 41,

REP. OF PERU

TEL: (01) 4758226

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

VENEZUELA

Musicland Digital C.A.

Av. Francisco de Miranda,

Centro Parque de Cristal, Nivel

C2 Local 20 Caracas

VENEZUELA

TEL: (212) 285-8586

EUROPE

AUSTRIA

Roland Austria GES.M.B.H.

Siemensstrasse 4, P.O. Box 74,

A-6063 RUM, AUSTRIA

TEL: (0512) 26 44 260

BELGIUM/HOLLAND/

LUXEMBOURG

Roland Benelux N. V

.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL: (014) 575811

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

TEL: (039)16 6200

FRANCE

Roland France SA

4, Rue Paul Henri SPAAK,

Parc de l'Esplanade, F 77 462 St.

Thibault, Lagny Cedex FRANCE

TEL: 01 600 73 500

FINLAND

Roland Scandinavia As,

Filial Finland

Lauttasaarentie 54 B

Fin-00201 Helsinki, FINLAND

TEL: (9) 682 4020

GERMANY

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt,

GERMANY

TEL: (040) 52 60090

GREECE

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: (061) 43-5400

HUNGARY

Intermusica Ltd

.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint, HUNGARY

TEL: (23) 511011

IRELAND

Roland Ireland

Audio House, Belmont Court,

Donnybrook, Dublin 4.

Republic of IRELAND

TEL: (01) 2603501

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 273 0074

POLAND

P. P. H. Brzostowicz

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

PORTUGAL

Tecnologias Musica e Audio,

Roland Portugal, S.A.

Cais Das Pedras, 8/9-1 Dto

4050-465 PORTO

PORTUGAL

TEL: (022) 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

RO-4200 Gheorghehi

TEL: (095) 169-5043

RUSSIA

MuTek

3-Bogatyrskaya Str. 1.k.l

107 564 Moscow, RUSSIA

TEL: (095) 169 5043

SPAIN

Roland Electronics de España, S. A.

Calle Bolivia 239, 08020

Barcelona, SPAIN

TEL: (93) 308 1000

SWEDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (08) 702 0020

SWITZERLAND

Roland (Switzerland) AG

Musitronic AG

Gerberstrasse 5, Postfach,

CH-4410 Liestal, SWITZERLAND

TEL: (061) 927-8383

UKRAINE

TIC-TAC

Mira Str. 19/108

P.O. Box 180

295400 Munkachevo, UKRAINE

TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

UNITED KINGDOM

TEL: (01792) 700139

MIDDLE EAST

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue,

P.O.Box 247, Manama 304,

State of BAHRAIN

TEL: 211 005

CYPRUS

Radex Sound Equipment Ltd.

17, Diagorou Street, Nicosia,

CYPRUS

TEL: (02) 66-9426

IRAN

MOCO, INC.

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

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon &

Sons Ltd.

8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

JORDAN

AMMAN Trading Agency

245 Prince Mohammad St.,

Amman 1118, JORDAN

TEL: (06) 464-1200

KUWAIT

Easa Husain Al-Yousifi

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

A. Chahine & Fils

Gerge Zeidan St., Chahine Bldg.,

Achrafieh, P.O.Box: 16-5857

Beirut, LEBANON

TEL: (01) 20-1441

QATAR

Al Emadi Co. (Badie Studio

& Stores)

P.O. Box 62,

Doha, QATAR

TEL: 4423-554

SAUDI ARABIA aDawliah Universal

Electronics APL

Corniche Road, Aldossary Bldg.,

1st Floor, Alkhobar,

SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Bldg. No. 47,

Khaled Ebn Al Walid St.

Damascus, SYRIA

TEL: (011) 221-1230

TURKEY

Barkat muzik aletleri ithalat ve ihracat Ltd Sti

Siraselviler Caddesi Siraselviler

Pasaji No:74/20

Taksim - Istanbul, TURKEY

TEL: (0212) 2499324

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai, U.A.E.

TEL: (04) 3360715

NORTH AMERICA

CANADA

Roland Canada Music Ltd.

(Head Office)

5480 Parkwood Way Richmond

B. C., V6V 2M4 CANADA

TEL: (0604) 270 6626

Roland Canada Music Ltd.

(Toronto Office)

Unit 2, 109 Woodbine Downs

Blvd, Etobicoke, ON

M9W 6Y1 CANADA

TEL: (0416) 213 9707

U. S. A.

Roland Corporation U.S

.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (323) 890 3700

As of January 1, 2002 (Roland)

01453923 '02-2-AE2-61N

OWNER’S MANUAL

Thank you, and congratulations on your choice of the SPD-20

Total Percussion Pad. The SPD-20 is an electronic percussion unit that has eight pads, trigger interfaces, a high-quality digital sound generator, and on-board digital effects.

Since the SPD-20 includes a sound generator and effects in one lightweight, compact package, you can use it anywhere, anytime.

A wide variety of options (pads, pedals, drum stand, etc.) are available, allowing you to easily create a custom drum kit. By adding sequencers or samplers, you can take advantage of the possibilities of MIDI percussion.

The SPD-20 provides the flexibility and expandability that will be appreciated by every percussionist, from beginner to professional.

About the Symbols in This Manual

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

For example, [LAYER] signifies the Layer button.

Items marked by

MEMO

are supplementary explanations.

Items headed by

NOTE

explain important points concerning the operation of your SPD-20.

Items preceded by give you useful tips and information regarding the use of the SPD-20.

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

NOTES” (Owner’s manual p. 2; p. 6). These sections pro-

vide 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.

Copyright



1998 ROLAND

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

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

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

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

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

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

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.

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

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

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

AC adaptor.

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

• 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.

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

• 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

• Dusty; or are

• Subject to high levels of vibration.

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

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable.

If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

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

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

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

• Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged.

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

• 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 allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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

2

For the U.K.

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

BLUE:

BROWN:

NEUTRAL

LIVE

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

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

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

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

Apparatus containing

Lithium batteries

For EU Countries

CAUTION

Danger of explosion if battery is incorrectly replaced.

Replace only with the same or equivalent type recommended by the manufacturer.

Discard used batteries according to the manufacturer’s instructions.

ADVARSEL!

Lithiumbatteri - Eksplosionsfare ved fejlagtig håndtering.

Udskiftning må kun ske med batteri af samme fabrikat og type.

Levér det brugte batteri tilbage til leverandøren.

VARNING

Explosionsfara vid felaktigt batteribyte.

Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren.

Kassera använt batteri enligt fabrikantens instruktion.

ADVARSEL

Eksplosjonsfare ved feilaktig skifte av batteri.

Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten.

Brukte batterier kasseres i henhold til fabrikantens instruks joner.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu.

Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

For EU Countries

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

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

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

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

– Reorient or relocate the receiving antenna.

– Increase the separation between the equipment and receiver.

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

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

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

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

For Canada

NOTICE

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

AVIS

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

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

"Information" page when:

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

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

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

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

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

• 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.

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

• Protect the unit from strong impact.

(Do not drop it!)

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

• 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.

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

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

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

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

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

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

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

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

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

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

• 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.

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

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

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

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

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

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

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

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 12).

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

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

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

1

2

3

4

5

3

Table of Contents

USING THE UNIT SAFELY.............................................2

How to Use This Manual..................................................5

Important Notes ................................................................6

Main Features of the SPD-20............................................7

Panel Descriptions.............................................................8

Attaching the SPD-20 to a Drum Stand........................10

Using the Slit Tape (Included).......................................10

How to Restore the Factory Settings

(System Initialize)........................................................11

Adjusting the Pad Sensitivity (TRIG SENS) ................30

Setting the Pad’s Minimum Level

(TRIG THRESHOLD)......................................................31

Copying a Patch (COPY) ................................................32

Setting Up Your Own Patch Sequences

(Patch Chain)................................................................33

What is a Patch Chain?........................................................33

Setting up a Patch Chain.....................................................33

Using a Patch Chain to Select Patches ..............................34

Erasing a Patch Chain .........................................................34

CHAPTER 1 Quick Start

Connection to Audio Equipment ..................................12

Playing the Pads ..............................................................12

Turning the Power On ........................................................12

Turning the Power Off ........................................................13

Adjusting the Volume .........................................................13

Selecting a Patch ..............................................................14

What is a Patch? ...................................................................14

Using a Footswitch to Select Patches ................................15

Comparing Layered Sounds ..........................................15

What is a Pad Bank? ............................................................16

What is the Layer Function?...............................................17

CHAPTER 2 Using the SPD-20 by Itself

About the SPD-20’s Internal Setup and Parameter

Settings (Edit)...............................................................18

What Kind of Instrument is the SPD-20? .........................18

Internal Organization ..........................................................18

Play Mode and Edit Mode..................................................19

How to Edit...........................................................................20

Selecting and Adjusting Sounds

(Sound Parameters).....................................................22

Selecting a Sound (INST) ....................................................22

Adjusting the Volume (LEVEL).........................................23

Adjusting the Pitch (PITCH) ..............................................23

Adjusting the Decay (DECAY) ..........................................23

Adjusting the Stereo Position (PAN) ................................23

Adjusting the Dynamic Volume Response (CURVE).....24

Adjusting the Effects Depth (FX SEND)...........................25

How to Edit Sound Parameters .........................................26

Adding Reverberation and Other Effects to the Sound

(Effect Parameters) ......................................................28

Select an Effect (FX TYPE) ..................................................28

Setting Effect Duration and Rate (FX TIME) ...................28

Adjust the Effect Depth for the Entire Patch

(FX LEVEL).......................................................................28

How to Edit Effect Parameters...........................................29

4

CHAPTER 3 Connecting External Pads or Pedals

Connecting External Pads or Hi-Hat Control Pedal ..35

Connecting External Pads or the Special Pedal...............35

Precautions When Connecting a External Pad................37

Precautions When Connecting the PD-100 or PD-120......................................................38

How to Use the Rim Shot and Cymbal Choke

Playing Techniques .........................................................39

Precautions When Connecting a Hi-Hat Control Pedal...................................................40

Using a Footswitch as a Hold Pedal..................................41

Settings for External Pads or Kick Trigger Units........42

Setting External Pad Tone and MIDI Parameters ...........42

How to Edit the Trigger Parameters .................................42

Setting Parameters for Reliable Performance using

Acoustic Drum Triggers and Other Manufacturers’

Pads (Advanced Trigger Parameters)...........................48

Settings for an External Hi-Hat Control Pedal............54

Controlling the Tone with the Hi-Hat

Control Pedal—Pedal Control (PDL CTRL)................54

Adjusting the Volume of the Pedal Hi-Hat Sound

(PDL LEVEL)....................................................................55

Using the Hi-Hat Control Pedal’s Action to Set

Controller Numbers for Sending and Receiving

MIDI Data (PDL CC#).....................................................56

CHAPTER 4 Connecting MIDI Devices

MIDI Connections ...........................................................57

About MIDI ......................................................................57

How MIDI Data is Sent and Received ..............................57

Main Types of MIDI Data Used by the SPD-20...............58

MIDI Parameter Settings ................................................61

How the MIDI Parameters Work ......................................61

Setting MIDI Parameters ....................................................66

Priority Ranking of Note Number Expression ................67

Using the SPD-20 as a MIDI Sound Module ...............67

Setting the Receive Channel (Basic Channel) ..................67

Settings for Each Pad...........................................................68

Using External MIDI Devices to Play the Internal

Sound Generator..............................................................69

Expanding Patches to Allow Reception of Many

Note Numbers (Patch Expand) .....................................69

How to Use a Sequencer or a Computer to

Record/Play back Your Performance ......................72

Connecting a Computer (or a Sequencer) ........................72

Breaking/Cutting the Connection Between the Sound

Generator and the Pad Controller (Local Control).....72

How to Set Up the SPD-20 for Sequencing ......................74

Storing the SPD-20’s Data in External Devices

(Bulk Dump) ....................................................................75

How to Transmit (Bulk Dump)..........................................75

How to Receive (Bulk Load) ..............................................76

Reading SPD-11 Data with the SPD-20.............................77

What is Device ID ................................................................78

CHAPTER 5 Supplementary Materials

Taking Advantage of the On-board Effects.................79

Troubleshooting...............................................................82

Error Messages.................................................................87

Instrument List.................................................................88

Patch List ..........................................................................93

Parameter List ..................................................................94

Trigger Type Internal Parameters

(Advanced Trigger Parameters) ........................................94

Blank Parameter Chart ...................................................95

Roland Exclusive Message .............................................96

MIDI Implementation.....................................................98

MIDI Implementation Chart........................................102

How to Read a MIDI Implementation Chart ............103

Specifications..................................................................104

Index................................................................................105

How-To Index ................................................................106

How to Use This Manual

This manual provides a step-by-step introduction to the many functions of the SPD-20. If this is your first time using electronic drums, or a MIDI device, please read the manual from beginning to end. If you are already familiar with electronic percussion and sequencers, you may not need to read the entire manual. Glance briefly over Chapters 1 & 2, then refer to other sections as necessary, while you experiment with the

SPD-20. You will soon learn how the unit works. If you don’t understand the meaning of a term or how a function works, use the index to find the appropriate explanation.

CHAPTER 1 Quick Start

Read this chapter first to learn how to play using the SPD-20.

It guides you quickly through the basics, up to the point where you can produce sound. All the fundamental operating procedures are also introduced.

CHAPTER 2 Using the SPD-20 by Itself

Read this chapter if you wish to use the SPD-20 as a standalone unit. Here you will find a variety of information, such as how the unit is organized internally, as well as how to modify the sounds.

CHAPTER 3

Connecting External Pads or Pedals

Read this chapter when you wish to connect external pads or hi-hat control pedal to the SPD-20.

1

2

3

CHAPTER 4 Connecting MIDI Devices

Read this chapter when you wish to use the SPD-20 to play an external sound module, to have sequencer performance data played through the SPD-20, or to save data from the

SPD-20 to a sequencer.

CHAPTER 5 Supplementary Materials

Supplementary sections provided with this manual include

“Troubleshooting,” a “Instrument List,” and the “MIDI

Implementation” chart. Read this when, for example, you need a solution to some difficulty in operating the unit, or when you just want to know about MIDI in greater detail.

You can find both a subject-specific index and general index at the end of this manual.

MEMO

NOTE

If you will be using the SPD-20 by itself, there is no need for you to read Chapters 3 and 4, or the MIDI

Implementation section in Chapter 5 (p. 98–101).

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.

5

4

5

6

Important Notes

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

Power Supply

• 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).

• The AC adaptor will begin to generate heat after long hours of consecutive use. This is normal, and is not a cause for concern.

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

Memory Backup

• This unit contains a battery which powers the unit’s memory circuits while the main power is off. When this battery becomes weak, the message shown below will appear in the display. Once you see this message, have the battery replaced with a fresh one as soon as possible to avoid the loss of all data in memory. To have the battery replaced, consult with your retailer, the nearest

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

Placement

• 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.

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

• 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.

Maintenance

• 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.

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

Repairs and Data

• Please be aware that all data contained in the unit’s memory may be lost when the unit is sent for repairs.

Important data should always be backed up in another

MIDI device (e.g., a sequencer), or written down on paper (when possible). During repairs, due care is taken to avoid the loss of data. However, in certain cases (such as when circuitry related to memory itself is out of order), we regret that it may not be possible to restore the data, and Roland assumes no liability concerning such loss of data.

Additional Precautions

• 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.

• 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.

• Never strike or apply strong pressure to the display.

• 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.

• 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).

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

• 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.

Main Features of the SPD-20

• The SPD-20 features 700 different internal instruments, including drum set sounds, percussion sounds from around the world, dance sounds, sound effects, phrase loops, and more, that can be used in a wide variety of musical genres. (Instrument List p. 88)

• Each sound can be edited using a wide variety of sound parameters, including level, pitch, decay, pan, velocity curve, and effect send (p. 22).

• Using the Layer function, different Velocity Curves can be assigned to each of two sounds, and the two sounds mixed (or switched) by your playing dynamics (p. 17).

• The on-board digital effects unit (Reverb, Delay, Chorus and Flanger) allows you to set the effect depth independently for each sound assigned to a pad (p. 28).

• Four external dual trigger inputs are provided, allowing you to connect kick trigger units

(KD-7s; sold separately) or pads (PD-7, PD-9, PD-5, PD-120, PD-100: sold separately), for playing in conjunction with the SPD-20’s pads (p. 35). When you connect the PD-7 or PD-9, you can enjoy such drum techniques as snare rim shots and cymbal choking (p. 39). With the

PD-120 connected, you can play rim shots. What’s more, you can play the SPD-20’s sounds using an acoustic drum trigger attached to an acoustic drum (p. 45).

• When a hi-hat control pedal (FD-7; sold separately) is connected, you have continuous control (from closed to open) of the hi-hat sounds (p. 54).

• Settings for the SPD-20’s 8 pads, 4 external pads, hi-hat control pedal, and the effects unit can be stored as one of 99 Patches. This means that a single SPD-20 is able to store and instantly recall 99 different percussion “sets,” covering virtually any style of music you can imagine.

• Using the Patch Chain function, you can create and store a sequence of up to 16 Patches which can be selected in a predetermined order (convenient for use within a song). The SPD-

20 can store eight such Patch Chains (p. 33).

• For each pad, you can set two independent MIDI transmit channels and Velocity Curves, so that your playing dynamics can control external and internal sound generators (p. 61).

• The SPD-20 is fully expandable via MIDI, and is especially powerful when used with a sequencer. For example, you might record SPD-20 settings as bulk data (p. 75) at the beginning of sequencer song data, or allow the sequencer to take care of Patch selection so that you can concentrate on playing.

1

2

3

4

5

7

Panel Descriptions

Front

fig. (Front Panel)

1 2 3 4 5

Pad 1 Pad 2 Pad 3

6 7 8 9 10 1112

15 14 13

Pad 4

Pad 5

Rear

fig. (Rear Panel and Cord Hook)

16 17

Pad 6

18 19 20 21

Pad 7 Pad 8

22 23 24 25

8

NOTE

Cord Hook

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

1 Pads 1–8

Play these pads to trigger the various sounds. The pads are velocity sensitive and will respond to your playing dynamics.

2 Patch display

This display indicates the Patch number or the value of each parameter (p. 14).

3 PAD BANK indicator

Indicates the selected pad bank (A or B) (p. 16).

4 EFFECT indicator

The LED of the selected effect will light (p. 28).

5 Parameter List

In the Edit mode, the indicator of the selected parameter will light (p. 20). Use the [SELECT] (Parameter

Group Select) and [ ][ ] (Parameter Select) buttons to choose parameters (p. 21).

6 Parameter Group Select button [SELECT]

In the Edit mode, this button selects the desired parameter group: SOUND, MIDI, FX/PEDAL, or SYS-

TEM (p. 21).

7 Parameter Select buttons [ ][ ]

In the Edit mode, use these buttons to select a parameter within the parameter group (p. 21).

8 [PATCH CHAIN] button

Use this button when setting up or playing a Patch

Chain (p. 33).

9 [BANK A/B] button

Switches you between pad banks A and B

(p. 16).

10 [COPY] button

Use to copy data from one Patch to another (p. 32).

11 [LAYER] button

This button allows the sounds assigned to pad banks

A and B to be played together (p. 15).

12 [EDIT] button

This button switches between the Edit and Play modes (p. 19).

13 [FX ON/OFF] button

This button turns the effects on or off (p. 28).

14 [ALL/ENTER] button

Use this button when setting all pads to the same value (p. 27), when performing a copy (p. 32), or when storing Patch Chain settings (p. 33).

15 PATCH/VALUE [-], [+] buttons

These buttons are used to select Patches. In the Edit mode they are used to modify parameter values

(p. 14).

16 VOLUME knob

Adjusts the volume of the OUTPUT jacks and

PHONES jack (p. 13).

17 PHONES jack

A pair of stereo headphones can be connected to this jack. Even with headphones connected, the OUTPUT jacks will still be active (p. 12).

18 OUTPUT (R, L/MONO) jacks

These jacks output the sound of the SPD-20. For monaural output use the L/MONO jack (p. 12).

19 [HH CTRL/TRIG 4] select switch

If a hi-hat control pedal (FD-7; sold separately) is connected to the hi-hat control pedal jack, set this switch to HH CTRL (p. 40). If an external pad is connected, set this switch to TRIG 4 (p. 37).

20 HH CTRL/TRIG 4 jack

A hi-hat control pedal (FD-7; sold separately) can be connected to this jack. If the external input select switch is set to TRIG 4, an external pad can be connected to this jack (p. 35, 36).

21. TRIGGER INPUT 1–3 jacks

External pads etc. can be connected here (p. 37).

MEMO

Use Trigger Input jack 1 and 2 to allow the playing of rim shots when using a PD-120 pad (p. 38).

22. MIDI IN/OUT connectors

External MIDI devices can be connected here (p. 57).

23. FOOT SW jack

A footswitch can be connected here allowing you to change Patches by remote control. If you use a special cable (PCS-31; sold separately) to connect two FS-5U switches (sold separately), you can move up or down through the Patch numbers. If you connect a DP-2 switch (sold separately), you can move up (but not down) through the Patch numbers (p. 15).

24. AC adaptor jack

Connect the included AC adaptor here (p. 12).

Use only the included AC adaptor. Use of any other AC adaptor may cause damage or malfunction.

25. POWER switch

This switch turns the unit on/off (p. 12).

9

1

2

3

4

5

Attaching the SPD-20 to a Drum Stand

If you are attaching the unit to a cymbal stand etc. with a pipe diameter of 10.5–30 mm, use an all purpose clamp set (APC-33: sold separately).

1

fig.3

Using a 4 mm wrench, remove the four screws from the bottom of the SPD-20.

fig.4

2

Use the four screws you removed in step 1 to attach the stand holder to the bottom of the SPD-20.

NOTE

The screws included with the APC-33 cannot be used.

Using the Slit Tape (Included)

Place the Slit tape, included with the SPD-20, along the slits, or grooves around each of the pads. The

Slit tape allows you to clearly distinguish where each pad is, even on stage or in other darkened locations. fig. Slit Tape

4

1 2 3

5

10

NOTE

Please note that Roland does not handle replacements or additional purchases of Slit Tape.

How to Restore the Factory Settings (System Initialize)

When the SPD-20 is shipped, it contains 99 Patches in memory. You can freely overwrite this data.

However, the same data is also preserved in ROM, and can be restored at any time. This procedure is called System Initialize.

ROM

This is an abbreviation for Read Only Memory, which is a type of memory that can only be read; modification or deletion is not possible.

fig.5

NOTE

The explanations in this manual assume that the SPD-20 is still in its factory initialized state. We recommend that before you begin using the unit, you perform this System Initialize operation.

When you execute the System Initialize operation, all your edited data will be lost. If your SPD-20 contains important edited data, you should make a note of the settings or store the data in an external device such as a sequencer (p. 75).

1

While holding down [ ] and [ALL/ENTER], turn the power on.

The following display will appear.

1

2

3

2

Press [ALL/ENTER] and the data will be initialized.

If you wish to quit without initializing, press any key other than [ALL/ENTER].

MEMO

It is possible to restore the factory settings of a single patch with Patch Copy (p. 32).

4

5

11

CHAPTER 1 Quick Start

Connection to Audio Equipment

With the SPD-20, you can produce realistic sounds simply by connecting an audio system. You can also use headphones.

fig.6

AC adaptor

Stereo Headphones

L I N E I N

L R

NOTE

Footswitches

Audio Equipment

(Stereo set)

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.

Playing the Pads

When connections are complete, you can play the SPD-20.

Turning the Power On

The POWER switch is on the rear panel.

NOTE

Once the connections have been completed, 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.

Always make sure to have the volume level turned down before switching on power. Even with the volume all the way down, you may still hear some sound when the power is switched on, but this is normal, and does not indicate a malfunction.

1

Check that all connections with other devices are correct, and that everything is off.

12

fig.7

fig.8

2

Press the power switch to turn the unit on.

On

Off

When the power is turned on, the SPD-20 will be in the Play mode. This is the mode in which you will play the SPD-20.

NOTE

When you turn the SPD-20’s power on, it takes about one second complete adjustments to the trigger circuits.

After you turn the power on, do not strike the pads or press the pedals until the Patch number is displayed.

If you turn the power on when a hi-hat control pedal (FD-7) is connected, make sure that the pedal is fully open. When you turn the power on, a message “Fd7” will be displayed briefly. (For details see p.

40.) Do not press the pedal until this message has been displayed.

3

Turn on the other devices, but turn the power amp on last.

Turning the Power Off

Power down your system in the reverse order.

When the power is turned off, the following three functions will be reset to their factory settings.

Function

Local Control (p. 72)

HH Control Pedal (p. 40)

PATCH CHAIN ON/OFF

Factory setting

On

Not set

Off

Functions and parameter settings other than these are retained even when the power is turned off.

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

Adjusting the Volume

When you strike a pad, it will trigger the sound that has been assigned to it. Playing harder will produce a louder sound. As you play, adjust the overall volume by rotating the VOLUME knob located on the rear panel.

fig.9

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.

NOTE

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).

13

1

2

3

4

5

Selecting a Patch

fig.10

MEMO

When you select a Patch, the sound assigned to each pad and the settings for MIDI, effect and pedal will all change instantly. Try each of the 99 factory-preset Patches to hear the different possibilities.

To select Patches first make sure you are in the Play mode. Then use the PATCH/VALUE [-] or [+] buttons to select Patches. The number of the selected Patch will appear in the display.

Pressing PATCH/VALUE [+] while holding down PATCH/VALUE [-] (or vice versa) causes the

Patch numbers to change more rapidly.

The factory patch names are listed on p. 93.

What is a Patch?

A Patch contains data determines how each pad sounds, settings for the effects and also MIDI settings.

The SPD-20 can store 99 different Patches.

fig.11

Pad 1

Sound Parameters

• Instrument

• Level

• Pitch

• Decay

• Pan

• Velocity Curve

• Effect Send

MIDI Parameters

• Transmit Channel

• Note Number

• Gate Time

• Pan

• Velocity Curve

• Velocity Sensitivity

• Program Change

Patch 99

Patch 1

Pad 1

Pad 5

Internal Pads 1-8

Effects

Pad 2

Pad 6

Pad 3

Pad 7

Pad 4

Pad 8

+

External Pads

1-4

Hi-Hat Control Pedal

MEMO

When you select a Patch, the settings for each pad are instantly changed (p. 15).

You can also use MIDI Exclusive messages to store Patch data in an external sequencer or other device (p. 75).

14

Using a Footswitch to Select Patches

By using a special cable (PCS-31; sold separately) to connect two footswitches (FS-5U; sold separately) to the FOOT SW jack, you can select Patches by remote control. When you press Footswitch 1 you will advance to the next Patch number, and when you press Footswitch 2 you will go back to the previous

Patch number. If you connect a DP-2, you can move up (but not down) through the Patch numbers.

fig.12

Stereo

(Red)

Mono

(White)

Mono

You can make the setting with the FS-5U polarity switch, as shown in the figure below.

POLALITY

Footswitch 2

(Previous Patch)

Footswitch 1

(Next Patch)

Connect the two mono cables of the PCS-31 to the two footswitches. The plug with the white line is for

Footswitch 1, and the plug with the red line is for Footswitch 2.

MEMO

Connecting the model DP-2 pedal switch (sold separately) allows you to only advance the Patch numbers.

When using the footswitch as a Hold Pedal, please refer to “Using a Footwitch as a Hold Pedal” on p. 41.

Comparing Layered Sounds

Most of the factory-preset Patches use Layer (p. 17). Select a layered Patch and listen to the sounds of pad banks A and B. When you select a layered Patch, both PAD BANK indicators (A and B) will light.

1

2

3

Select a Patch.

In the Play mode, press [LAYER] to turn Layer off.

PAD BANK indicator B will go out. Now you can play the pads to hear the sound of pad bank A.

To hear the sound of pad bank B, press [BANK A/B] so that PAD

BANK indicator B lights. Play the pads.

MEMO

Each time you press [BANK A/B], PAD BANK indicators A and B will light alternately.

1

2

3

4

5

15

What is a Pad Bank?

The 8 pads of the SPD-20, together with 4 external pads (plus the 4 rims)—for a total of 16 pads—are referred to as a pad bank. Each Patch contains two pad bank settings, A and B.

fig.13

Pad Bank B

Pad Bank A

Pad 1 Pad 2 Pad 3 Pad 4

Pad 5 Pad 6 Pad 7 Pad 8

fig.14

4 External Pads 4 Rims

When you select a Patch, the PAD BANK indicator will show which pad bank the Patch uses. If the

Layer function (explained below) is used in that Patch, both PAD BANK indicators (A and B) will be lit.

16

What is the Layer Function?

Layer means that two sounds are played simultaneously. The Layer setting is stored as part of each

Patch. A Patch for which Layer is enabled will simultaneously play the sounds of both pad banks (A and B). In this case, however, you will only be able to play half as many notes simultaneously (a maximum of 7). Layering sounds can open the door to creative expression.

fig.15-a

Ways to use the Layer function

By assigning different Instruments to pad banks A and B, and setting pad banks A and B to different

Velocity Curves (p. 24), your playing dynamics can be used to cross-fade or switch between the two sounds.

Velocity Mix: Playing dynamics will determine the mix of the two sounds.

Pad Bank A

Pad Bank B

+

fig.15-b fig.15-c

Velocity

Velocity Switch: Playing dynamics cause a switch between the two sounds.

Pad Bank A

Pad Bank B

+

Velocity

Velocity Crossfade: Playing dynamics produce cross-fades between the two sounds.

Pad Bank A

Pad Bank B

+

Velocity

1

2

3

4

5

17

CHAPTER 2 Using the SPD-20 by Itself

About the SPD-20’s Internal Setup and Parameter Settings (Edit)

This Chapter explains the basic structure of the SPD-20 and how it functions. Before we get into details, you should have an overall understanding of the unit.

What Kind of Instrument is the SPD-20?

The SPD-20 is an electronic percussion instrument that produces sound when its pads are struck. This type of device is usually called a MIDI pad controller. The SPD-20 includes a sound generator (700 sounds with 16-bit dynamic range) and digital effects unit in a compact and lightweight package. By connecting external pads or pedals (sold separately), you can obtain the same musical expressivity from the SPD-20 as you might enjoy with an acoustic drum kit. In addition, the SPD-20 is MIDI compatible, meaning that it can be connected to any other MIDI-compatible device (sequencer, sampler, etc.) regardless of the manufacturer. This allows you to create a very powerful music system.

Product Overview

• Self-contained compact MIDI pad controller

• 8 dynamics-sensitive pads

• 700 sounds with 16-bit dynamic range

• Built-in digital effects

• Expandable with external pads/pedals

(such as the PD-7, PD-120, KD-7, and FD-7)

• Teams up with various MIDI units

(such as sequencer, sampler, etc.)

Internal Organization

The SPD-20 can be divided into the following sections: fig.16

Pad section

18

Trigger Interface section

Local Control

On/Off

FX SEND

Effects section

FX LEVEL

Sound Generating section

Pad section

This section has 8 velocity sensitive pads that respond to changes in your playing dynamics.

Trigger Interface section

This section sends the trigger signals (electric signals produced when you strike a pad) to the Sound

Generating section.

Sound Generating section

This section receives signals from the trigger interface or MIDI IN, and produces sound in response. The

SPD-20 contains 700 sounds and up to 14 can be played simultaneously.

Effects section

This section adds effects (Flanger, Chorus, Reverb, Delay) to the sound from the sound generator. You can select from 25 effects combinations (p. 28).

Play Mode and Edit Mode

The SPD-20 has two modes; the Play mode and the Edit mode. Press [EDIT] to switch between them.

fig.17

Play Mode

Edit Mode

1

2

3

EDIT

(the display is lit)

(the display is flashing)

Play Mode

In this mode you can strike the pads and select Patches. In the Play mode, the display will show the

Patch number.

MEMO

Edit Mode

In this mode you can make settings for the various parameters. In the Edit mode, the display will show the parameter value (which will be flashing).

In addition to these two modes, there is another, the Advanced Edit mode, for making more detailed settings for the Trigger parameters. (p. 48)

4

5

19

How to Edit

To modify parameter values you must be in the Edit mode. The names of all the parameters you can modify are in the Parameter List printed on the front panel.

MEMO

“Edit” refers to the process of changing parameter values.

fig.18

How to read the parameter list

The parameter list has four indicators arranged horizontally and seven indicators arranged vertically. In the Edit mode, one of the horizontal indicators and one of the vertical indicators will always be lit. This shows which parameter is being edited; i.e., the intersection of the indicated column and row is the currently selected parameter. The display shows the value of this parameter. To edit a particular parameter, refer to the parameter list and use the [SELECT] and [ ] [ ] buttons to select it.

The intersection of the indicated column and row

Selected Parameter

Value (flashing)

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

PGM CHG

can be set to each pad

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

PDL LEVEL

PDL CC #

can be set to each Patch

BASIC CH

BULK DUMP

PATCH EXPAND

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

TRIG CURVE

can be set to the entire system

MEMO

Use PATCH/VALUE [-] or [+] to modify the parameter value.

20

fig.19

How to edit

1

2

Press [EDIT] to enter the Edit mode.

Select the parameter you wish to edit. Press [SELECT] to get the appropriate indicator to light, thus selecting a column. Use [ ] or

[ ] to select the desired row, by getting the appropriate indicator to light. (The display will show the value of the selected parameter.)

[SELECT] chooses the parameter group. The parameters of the SPD-20 are organized into four groups: SOUND, MIDI, FX/PEDAL, and SYSTEM. With each press of [SELECT], the indicator that lights (and the group that is selected), will be the next one in this group.

The [ ] and [ ] buttons are used to select parameters within the parameter groups.

The indicator above the currently lighted one will light when you press [ ], and the one below the one currently lighted will light when you press [ ].

SELECT

1

2

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

PGM CHG

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

PDL LEVEL

PDL CC #

BASIC CH

BULK DUMP

PATCH EXPAND

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

TRIG CURVE

3

In this illustration, the DECAY parameter in the SOUND parameter group is selected.

3

Use PATCH/VALUE [-] or [+] to set the value. The previous value of the parameter will be discarded. In the case of a numerical value,

PATCH/VALUE [+] increases the value, and PATCH/VALUE [-] decreases it.

MEMO

You can speed up the change in values by pressing [+] while holding down [-] (or vice versa).

4

5

If you wish to edit another parameter, repeat steps 2–3 as necessary.

Press [EDIT] to return to the Play mode.

The parameter list indicators will go out, and the display will once again show the Patch number.

4

5

21

Selecting and Adjusting Sounds (Sound Parameters)

MEMO

The parameters in the SOUND group (the sound parameters) allow you to modify the sound assigned to each pad.

The SOUND group contains 7 parameters: INST, LEVEL, PITCH, DECAY, PAN, CURVE and FX SEND.

Sound parameter settings for each pad are stored in each Patch.

Selecting a Sound (INST)

Each sound assigned to a pad is called an Instrument. The SPD-20 contains 700 such Instruments, and the Instrument assign settings determine which sounds will be played. The 700 Instruments are grouped into the following categories.

fig.96

b01 – b50

S01 – S86 t01 – t40 h01 – h33

H01 – H17

C01 – C36

L01 – L78 i01 – i33

F01 – F37

J01 – J51 o01 – o24

M01 – M59

A01 – A16 d01 – d43

E01 – E46 n01 – n31 r01 – r20

Mut oFF

Bass Drum

Snare Drum

Tom-tom

Hi-Hat Cymbal

Hi-Hat Cymbal for pedal control

Crash/Ride Cymbal

Latin Percussion (Cuban, Brazilian)

Indian Percussion

African/Middle Eastern/Australian/Other Percussion

Japanese/Korean/Chinese/Southeast Asian Percussion

Orchestral Percussion

Melodic Percussion/Melodic Instrument

Analog Percussion (CR-78, TR-808, etc.)

Dance Sounds

Artificial Sound Effects

Natural Sounds, Human Voice

Ambience, Reversed Sounds

Forces Phrase Loop Instrument to stop (MUTE). No sound

No sound

MEMO

The Hi-Hat Cymbals for pedal control “instruments H01–H17” can be used effectively only when a

Hi-Hat controller (FD-7; separately sold) is used (p. 54).

If the Instrument assign setting for any Pad is set to “oFF”, there will be no sound when you strike that Pad.

If you make the Hold Pedal settings (p. 41), then with some of the sounds, you can use the footswitch to sustain the sound. For the instruments that can be lengthened with the footswitch, refer to p. 88.

When an Instrument is selected, by pressing PATCH/VALUE [+] while holding down [-] (or vice versa), you can jump to the next Instrument group.

About Phrase Loop

Some Instruments are designed as Phrase Loops (p. 88).

When you select a Phrase Loop, you don’t just hear single notes; instead, a short phrase typical of that musical genre is played. You cannot play more than one Phrase Loop on different pads. You can layer two Phrase Loops on one pad and play them simultaneously. To force a Phrase Loop to stop sounding, select “Mut” and strike the pad. No sound is heard from a pad that has been set for

“Mut.”

22

Adjusting the Volume (LEVEL)

This parameter determines the volume (0–15). At a setting of 0 there will be no sound.

NOTE

When FX SEND in the SOUND parameter group is set above 0, the effects sound alone will be heard even if the LEVEL parameter is set to 0.

Adjusting the Pitch (PITCH)

This parameter determines the pitch of the Instrument (-24–+24). Each step will change the pitch by a semitone (100 cents).

NOTE

For some Instruments, raising the pitch beyond a certain point will not be possible.

Adjusting the Decay (DECAY)

This parameter adjusts the decay of the Instrument (-31–+31). Higher settings will result in a longer decay time.

fig.20

1

2

3

NOTE

-31 0 31

Time

For some Instruments, raising the decay beyond a certain point will not be possible.

When the connected pedal is assigned to “HH” (p. 54), the decay parameter has no effect on Hi-Hat

Cymbals for pedal control (instruments H01–H17).

Changing the decay setting for a Phrase Loop Instrument (p. 88) changes the attenuation time at the end of the loop.

Adjusting the Stereo Position (PAN)

fig.21

This parameter determines the stereo position of the Instrument (L7–Ctr–r7/rnd). A setting of L7 is far left, Ctr is center, and r7 is far right. At the “rnd” setting, the stereo position will change randomly each time you strike the pad.

Left Speaker Right Speaker

4

5

NOTE

L7

Ctr

(Center) r7

This parameter is meaningful only when the SPD-20 is connected to a stereo audio system.

23

Adjusting the Dynamic Volume Response (CURVE)

This parameter determines how the Instrument volume will change in response to your playing. You can choose from 16 response curves.

fig.22

L i n e a r E x p o n e n t i a l 1 E x p o n e n t i a l 2 E x p o n e n t i a l 3

E x p o n e n t i a l 4

S p l i n e 1 S p l i n e 2 S o f t 1

S o f t 2 S o f t 3 S o f t 4 H a r d 1

H a r d 2 H a r d 3 H a r d 4 C o n s t a n t

You can come up with some effective Layered sounds by combining SF (Soft) and Hd (Hard) Velocity

Curves.

Ex. 1: In a layered patch, when you combine SF1 and Hd1, or SF2 and Hd2, as the Velocity Curve settings for pad bank A and pad bank B, respectively, striking the pad lightly sounds the

Instrument of pad bank A, and the harder you hit, the louder you can make the sound of the pad bank B Instrument become (Velocity Crossfade).

Ex. 2: In a layered patch, when you combine SF3 and Hd3, or SF4 and Hd4, as the Velocity Curve settings for pad bank A and pad bank B, respectively, you can switch the pad bank A and pad bank B Instruments with the strength with which you strike the pads (Velocity Switch).

24

fig.23 fig.24

Pad Bank A

Pad Bank B

+

Velocity Crossfade

Soft 1

Pad Bank A

Hard 1

Pad Bank B

+

Velocity Switch

Soft 3 Hard 3

MEMO

When CSt is selected, the unit sounds at maximum volume, regardless of how hard you strike the pad.

Adjusting the Effects Depth (FX SEND)

This parameter determines the depth (0–15) of the effect applied to each Instrument assigned to the pad.

Higher settings will result in a deeper effect. With a setting of 0 there will be no effect. The overall effects level for a Patch is determined by FX LEVEL in the FX/PEDAL parameter group.

fig.25

FX SEND

Effects section

FX LEVEL

Sound Generating section

PAN

OUTPUT

L/MONO

R

LEVEL

NOTE

This FX SEND parameter will have an audible result only if the [FX ON/OFF] setting is on, and FX

LEVEL in the FX/PEDAL parameter group is set above 0.

1

2

3

4

5

25

How to Edit Sound Parameters

It is not possible to simultaneously edit the sound parameters of pad banks A and B. Use [BANK A/B] to switch between the two pad banks, and edit each bank separately.

Editing a sound parameter

1

2

In the Play mode, use the PATCH/VALUE [-] or [+] buttons to select the Patch (1–99) to edit.

Press [EDIT] to enter the Edit mode.

MEMO

Selecting and changing parameters is called editing.

fig.26

3

4

Strike the pad you wish to edit.

Turn Layer on or off if necessary.

MEMO

You can have only one of the Pad Bank Instruments sound by setting Layer to OFF.

5

6

Press [BANK A/B] to select the bank you wish to edit.

The selected PAD BANK indicator will be flashing.

Press [SELECT] to select the SOUND parameter group.

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

26

MEMO

7

8

Press [ ] or [ ] to select the parameter to be edited.

Use PATCH/VALUE [-] or [+] to set the value.

For a numerical parameter, pressing PATCH/VALUE [-] will decrease the value, and pressing PATCH/VALUE [+] will increase the value.

Pressing PATCH/VALUE [+] while holding down PATCH/VALUE [-] (or vice versa) makes this change more rapidly. However, when selecting a Parameter Group Instrument (INST), when you press PATCH/VALUE [+] while holding down PATCH/VALUE [-] (or vice versa), you jump to the next Instrument group.

fig.27

MEMO

9

10

To edit the other pad bank of the layered sound, repeat steps 5–8.

When you finish making settings, press [EDIT] to return to the Play mode.

By using a special cable (PCS-31; sold separately) to connect two footswitches (FS-5U; sold separately) to the FOOT SW jack, you can change parameter values by remote control. While in Edit Mode, when you press Footswitch 1 you will advance to the next higher parameter value, and when you press

Footswitch 2 you will go down to the next lower parameter value (p. 15). If you connect a single footswitch (DP-2; sold separately) you can only move up to a higher parameter value, not down to a lower parameter value.

Setting all pads to the same parameter value

If you press [ALL/ENTER] after step 8, the displayed parameter value will be set for all pads of the currently selected pad bank.

1

2

MEMO

If you are making settings for one of the SPD-20’s pads, the settings will be applied to all 8 pads. If you are making settings for an external pad, the settings will be applied to all 4 of the external pads, and all 4 of the external rims.

By assigning the same Instrument to all the pads and setting a different pitch for each, you can play melodies. The following procedure is an example using a melodic percussion Instrument (M01–M59).

1. Set the INST parameter in the SOUND parameter group to the desired Instrument.

2. Press [ALL/ENTER] to set all pads to the same sound.

3. Adjust the PITCH parameter for each pad.

3

4

5

27

Adding Reverberation and Other Effects to the Sound

(Effect Parameters)

MEMO

The SPD-20 has four on-board effects: Reverb, Delay, Chorus, and Flanger. There are three effects parameters: FX TYPE, FX TIME and FX LEVEL.

Effects settings are stored independently for each Patch, so you can set up the ideal effects for each

Patch.

Chapter 5 includes a section on “Taking Advantage of the On-board Effects” (p. 79), and we suggest that you read this as well.

Select an Effect (FX TYPE)

This parameter selects one of the 25 effects combinations (1–25).

The Effect Indicator for the selected effect type will light to show the effect being used.

fig.27-a

Effect Type

1–10

11–14

15–17

18–25

Explanation

Reverb sound

Chorus sound

Flanger sound

Delay sound

Adds reverberation to the sound

Adds breadth to the sound

Applies undulations to the sound

Adds an echo-like effect

MEMO

For details on each effect type, refer to the page 79.

The effects are toggled on/off with each press of [FX ON/OFF].

Setting Effect Duration and Rate (FX TIME)

This sets the duration of reverberation, or the modulation rate (1–32). The higher the value, the longer the reverb duration, or the higher the modulation rate. The result will be different depending on the type of effect. Refer to page 79.

Adjust the Effect Depth for the Entire Patch (FX LEVEL)

This parameter corresponds to the effect return level on a mixer, and higher settings will result in a deeper effect (0–15). At a value of 0 there will be no effect.

MEMO

The depth of the effect applied to each Instrument (assigned to a pad) is determined by FX SEND in the SOUND parameter group. (p. 25)

NOTE

This effect level parameter will have an audible result only if the [FX ON/OFF] setting is on, and if the Instrument parameter FX SEND for a pad is set above 0.

28

How to Edit Effect Parameters

1

2

3

Press [SELECT] to select the FX/PEDAL parameter group (p. 21).

fig.28

In the Play mode, use PATCH/VALUE [-] or [+] to select a Patch

(1–99).

Press [EDIT] to enter the Edit mode.

SOUND MIDI FX/PEDAL SYSTEM

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

PGM CHG

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

PDL LEVEL

PDL CC #

BASIC CH

BULK DUMP

PATCH EXPAND

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

TRIG CURVE

6

7

4

5

Press [ ] or [ ] to select the effect parameter you wish to edit.

Use PATCH/VALUE [-] or [+] to set the value.

Repeat steps 3–5 to finish making the effect settings for the Patch.

If you wish to adjust the effect depth independently for each pad, make the appropriate settings for the FX SEND in the SOUND parameter group for each pad (p. 25).

1

2

3

4

5

29

Adjusting the Pad Sensitivity (TRIG SENS)

NOTE

MEMO

By adjusting the TRIG SENS in the SYSTEM parameter group you can adjust the sensitivity of the pad when it is struck (the range of adjustment is 1–16). Higher settings result in higher sensitivity, so that the pad will produce a loud volume even when struck softly. This parameter applies to all 8 pads.

Factory Trigger Sensitivity (TRIG SENS) settings for the internal pad reflect the average user´s preferences. If these settings produce good results for you, then there is no need to change the Trigger

Sensitivity values.

This parameter is set for all 8 pads, i.e., the same value applies to all pads. However, this parameter can be set independently for each connected external pad.

Trigger Sensitivity (TRIG SENS) settings are common to all patches.

1

2

3

Press [EDIT] to enter the Edit mode.

Press [SELECT] to select the SYSTEM parameter group.

Use [ ] or [ ] to select TRIG SENS.

fig.29

fig.95

MEMO

4

Strike one of the 8 pads.

When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display on a six-level scale. Striking the pad forcefully sets velocity at a value of 127.

Strength of Striking

Hard

Velocity

127

100–126

75–99

50–74

25–49

1–24 Soft

5

Use PATCH/VALUE [-] or [+] to set the value.

30

Setting the Pad’s Minimum Level (TRIG THRESHOLD)

By adjusting the TRIG THRESHOLD in the SYSTEM parameter group you can have a pad produce a trigger signal only when struck with more than a certain level of force (a “threshold”). This can be used to prevent a pad from sounding in response to extraneous vibrations from another pad. However, if you strike the pad with a force less than the Trigger Threshold, it will not sound. In the diagram below, the pad will sound for 2, but not for 1 or 3. This parameter can be set over a range of 0–15.

fig.30

Threshold Level 0

1 2 3

1

fig.31

NOTE

MEMO

Factory Trigger Threshold (TRIG THRESHOLD) settings for the internal pad reflect the average user´s preferences. If these settings produce good results for you, then there is no need to change the

Trigger Sensitivity values.

This parameter is set for all 8 pads, i.e., the same value applies to all pads. However, this parameter can be set independently for each connected external pad.

Trigger Threshold (TRIG THRESHOLD) settings are common to all patches.

1

2

In the Edit mode, select the SYSTEM parameter group (p. 21).

Use [ ] or [ ] to select TRIG THRESHOLD.

2

3

4

5

3

4

Strike one of the 8 pads.

Use PATCH/VALUE [-] or [+] to set the value.

MEMO

For information on editing external Pad Trigger Parameters, please refer to p. 42.

31

Copying a Patch (COPY)

This operation copies Patch settings to another Patch. If you need another Patch that is only slightly different from an existing one, copy that Patch and then make the changes that you need.

fig.29-1

Copy source

Patch

Copy destination

Patch

MEMO

User Patch U1-U99

Preset Patch P1-P99

User Patch U1-U99

When you execute COPY, the contents of the copy destination patch are rewritten.

1

2

3

fig.32

In the Play mode, use PATCH/VALUE [-] or [+] to select the copy destination Patch (1–99).

When you execute COPY, the data is overwritten in this patch.

Press [EDIT] to enter the Edit mode.

Press [COPY].

fig.32-a

MEMO

4

Use PATCH/VALUE [-] or [+] to select the copy source Patch.

The copy source Patch can be selected from user Patches (U1–U99) or factorypreset Patches (P1–P99).

Play the pads to check the selected copy source Patch.

To quit without copying, press [COPY].

5

Press [ALL/ENTER] and the Patch will be copied.

32

MEMO

6

Press [EDIT] once again to return to the Play mode.

The external pad’s SOUND parameter, MIDI parameter, and FX/PEDAL settings are copied simultaneously.

Setting Up Your Own Patch Sequences (Patch Chain)

What is a Patch Chain?

fig.33

A Patch Chain is a sequence (that you create) of up to 16 Patches. The SPD-20 can store 8 of these Patch

Chains (A, b, C, d, e, F, G, H.)

Step 1 Step 2 Step 3 Step 4 Step 5

• • •

• • •

Step 16

Patch Chain A

• • •

Patch Chain B

• • •

Patch Chain H

By setting up a Patch Chain that contains all the Patches needed for a stage set or a song, you can quickly and easily access the Patches you need.

Setting up a Patch Chain

1

fig.36

In the Edit mode, press [PATCH CHAIN] to select a Chain (A, b, C, d, e, F, G, H).

A B C D

1

2

3

E F G H

MEMO

2

Use the PATCH/VALUE [-] or [+] buttons to select the Patch number

(1–99).

You can also select Patch numbers using a footswitch connected to the FOOT SW jack.

fig.35

MEMO

3

Press [ALL/ENTER].

4

Repeat steps 2–3 to create a Chain of Patches.

Each Chain can consist of up to 16 Patches. If you attempt to specify a 17th Patch, the display will show “FUL.”

5

When you are finished, press [ALL/ENTER].

4

5

33

NOTE

If you press [PATCH CHAIN] to select another Chain before pressing [ALL/ENTER], the Patch

Chain settings you just made will be lost.

6

7

If you wish, you may make settings for another Patch Chain.

When you finish making Patch Chain settings, press [EDIT] to return to the Play mode.

Using a Patch Chain to Select Patches

Here’s how to step through the Patches in a Patch Chain.

1

fig.36

In the Play mode, press [PATCH CHAIN] to select the Patch Chain you wish to use (A, b, C, d, e, F, G,H).

NOTE

A Patch Chain which does not contain any data will not be displayed in the Play mode.

MEMO

2

Each time you press PATCH/VALUE [-] or [+]the next Patch in the

Chain will be selected.

After the last Patch in the Chain, you will return to the first Patch.

A footswitch connected to the FOOT SW jack can also be used to select Patches.

3

Press [PATCH CHAIN] several times to return to the Play mode.

Erasing a Patch Chain

Here’s how to erase the current Patch Chain settings.

1

2

Press [EDIT] to enter the Edit mode.

fig.37

Use [PATCH CHAIN] to select a Patch Chain, and press [ALL/ENTER] to erase it. The following display will appear.

34

NOTE

3

Press [EDIT] once again to return to the Play mode.

After all chains are cleared, the Patch Chain cannot be used, even if you press [PATCH CHAIN] in the Play mode.

CHAPTER 3

Connecting External Pads or Pedals

You can add external pads to the SPD-20. Furthermore, you can connect a hi-hat control pedal (FD-7; sold separately) to control the opening and closing of the hi-hat.

Connecting External Pads or Hi-Hat Control Pedal

Connecting External Pads or the Special Pedal

Example 1: Percussion Set

The SPD-20 should be mounted on a stand. A commercially available cymbal or tom-tom stand works well for this. fig.38

1

2

3

4 Pads (PD-7)

HH CTRL

/TRIG 4

TRIGGER INPUT (1–3)

Set to TRIG 4

4

5

35

fig.39

Example 2: Full Set Kit

If you wish to connect a hi-hat control pedal (FD-7; sold separately) to the HH CTRL/TRIG 4 jack, set the [HH CTRL/TRIG 4] select switch (p. 40) to HH CTRL. If you wish to connect an external pad, set the switch to TRIG 4.

Hi-Hat

Crash Splash Ride China

Tom1 Tom2 Tom3 Tom4

Snare

Roland

Kick

Hi-Hat Control Pedal

Hi-Hat Control Pedal (FD-7)

Pad (PD-7)

Pad (PD-120) Kick Trigger Unit (KD-7)

+ Kick Pedal

TRIG 3

HH CTRL/TRIG 4

TRIG 2

TRIG 1

HH CTRL

/TRIG 4

TRIGGER INPUT (1–3)

Set to HH CTRL

36

Precautions When Connecting a External Pad

fig.40

The external pad and Kick Trigger Unit are connected to the Trigger Input jacks 1, 2, and

3, or the HH CTRL/TRIG 4 jack. (However, in this case, the Trigger Input switch is set to

TRIG 4.)

PD-7

PD-120

NOTE

NOTE

MEMO

NOTE

You may hear a brief sound when you change the position of the switch. This is normal, and should not be a cause for concern.

To perform with even greater expression, we recommend the use of the following specialized pads from

Roland.

PD-7, PD-9, PD-5, PD-120, PD-100, KD-7 (Kick Trigger Unit)

When you use these pads, it is necessary to set the pad type with the TRIGGER parameter TRIG TYPE

(p. 45).

Use a mono cable when connecting pads from other manufacturers.

When using a PD-7, PD-9 and KD-7, set the Polarity Switch on the pad to the “-” (negative) side, and make connections using the cable included with the pad or Kick Trigger Unit.

You may hear a brief sound when you change the position of this switch. This is normal, and should not be a cause for concern.

The four Trigger Input jacks provided with the SPD-20 are already Dual Trigger Type. This is to allow processing of two types of signals, for when you strike the head and for rim shots, when you connect a PD-7 or PD-9.

You can play rim shots with the PD-120 only by using Trigger Input jacks 1 and 2 (p. 38).

Precautions when connecting a Kick pedal (Kick Trigger Unit)

When using a kick pedal, a specialized Kick Trigger Unit (KD-7; sold separately) is necessary.

fig.41

NOTE

A connecting cable and beater are included with the KD-7, and you may use a favorite bass drum pedal to control the SPD-20 sounds. Set the Polarity Switch on the KD-7 to the “-”(negative) position, then connect to an TRIGGER

INPUT jack (1–3), or to the HH CTRL/TRIG 4 jack. (However, in the later case, be sure to set the External input select switch to TRIG 4.)

Kick Trigger Unit (KD-7)

+ Kick Pedal

By connecting two sets of units and pedals, you can use dual bass drum techniques. There are two ways to do this. You can use the mix in jack of one KD-7 and connect the two sets in serial to one SPD-

20 input, or you can connect each KD-7 to its own SPD-20 Trigger input. The first method uses only one

SPD-20 TRIGGER INPUT, and the second method uses two SPD-20 TRIGGER INPUTs. However, the second method allows you to control two different Instruments, so that you can assign different-sounding Kick Drums to each side, and change the pitch and Pan settings for a more expressive sound.

When connecting two KD-7s with the KD-7’s Mix In jack, the Kick Trigger signal is slightly weakened. In such cases, when connecting the KD-7 set the Trigger Input Trigger Sensitivity (TRIG

SENS, p. 43) slightly higher.

37

1

2

3

4

5

NOTE

Using a Footswitch Instead of a Kick Pedal

Even without a kick pedal, you can play Instruments by connecting a Pedal Switch (DP-2; sold separately) to Trigger Input jack 1. The pedal switch will yield one consistent level, regardless of how hard you hit the pedal. The level is set with a combination of two parameters. Set the Trigger Sensitivity (TRIG

SENS) to have enough signal, then you may reduce the volume level with the Sound parameter level

(LEVEL). Additionally, set the Trigger Threshold (THRESHOLD) between 6 and 8. Setting the Trigger

Threshold value any lower than this causes the pedal to trigger sounds even when you remove your foot; setting it any higher prevents any triggering.

When triggering a sound module via MIDI, you can set the volume using MIDI parameter SENS.

When using a Pedal Switch (DP-2; sold separately) to play Instruments, use only Trigger Input jack 1.

Precautions When Connecting the PD-100 or PD-120

Use the PD-120/PD-100 only after thoroughly reading the manuals provided with those models.

fig.42

When using models PD-120/PD-100, set the pad type

(120, 100) with the TRIGGER parameter TRIG TYPE (p.

45). With the PD-120, setting the Trigger Type makes it possible for you to play rim shots.

You can play rim shots with the PD-120 only by using

Trigger Input jacks 1 and 2.

MEMO

With the PD-7 and PD-9, you can play rim shots using any of the Trigger Inputs.

NOTE

The sound does not change, regardless of where you strike the head.

If the PD-120 does not play rim shots, check the following items.

➜ The PD-120’s rim shot trigger characteristics differ from those of the PD-7 (or PD-9). Rim shots are detected by setting the Trigger Type to the PD-120.

➜ Is it connected to Trigger Input 1 or 2?

Rim shots on the PD-120 are detected only through Trigger Input 1 and 2.

➜ Is the PD-120 connected with the stereo cable provided?

When the PD-120 is connected with a mono cable, rim shots are not detected.

➜ Please strike the rim close to where the PD-120’s jack is located (p. 39).

MEMO

When using the PD-120 as a snare, please play with the unit set up on a snare stand.

NOTE

Do not play the PD-120 or PD-100 when the head is loose.

Striking the head when it is loose not only causes sounds to be played incorrectly, but may also result in damage to the internal sensors.

Furthermore, you’ll get better performance if the head is on the stiff side.

38

How to Use the Rim Shot and Cymbal Choke Playing Techniques

If a PD-7 or PD-9 is connected, you will be able to use Rim Shot and Cymbal Choke playing technique.

If a PD-120 is connected, you will be able to use Rim Shot playing technique.

fig.43

MEMO

Rim Shot

By playing Rim Shot, you can play two types of sound from one pad. This can be done with a PD-7, PD-

9, PD-120.

At the time the unit was shipped from the factory, the Snare Drum Rim Shot Instrument was set to

Patch 1 Trigger Input 2; confirm this by actually striking the pad.

Normal shot: Strike only the head (center)

Rim shot: Strike both the head and the rim (perimeter) simultaneously.

Pad Pad

Rim of the Pad

1

2

fig.44

NOTE

NOTE

MEMO

Center of Pad

Rim Shot

When playing rim shots, striking only the rim does not produce a solid rim shot sound. Be sure to strike both the head and rim at the same time. With rim shots how hard the drum is struck is detected in the head portion.

When you play rim shots on the PD-120, with the pad

OUTPUT jack facing toward you as shown in the figure, strike the rim within the range shown. By making rim shots outside this range you will not be able to achieve a reliable rim shot sound.

rim shots can be played on the PD-120 only through

Trigger Input 1 and 2.

With the SPD-20, you can choose two separate MIDI sound modules for a dual trigger pad, i.e. send the “head only” to MIDI channel 10, and the “rim” to MIDI channel 11. This allows you to control instruments from two

MIDI systems with one PD-7, PD-9, or PD-120 (p. 66).

Range within which rim shots can be made

OUTPUT

Jack

Toward the player

3

4

5

Cymbal Choke

With the PD-7 and PD-9, physically grasping the rim of the pad just after the pad is struck stops the sound as it is made. This allows you to make the same sound you get when you stop the cymbal from sounding with your hand just after striking it.

fig.45

39

Precautions When Connecting a Hi-Hat Control Pedal

Connect the hi-hat control pedal (FD-7; sold separately) to the HH CTRL/TRIG 4 jack, and set the

Trigger input switch to HH CTRL. When using an FD-7 you will be able to control various Instrument parameters in real time (p. 54).

fig.46

fig. 47

FD-7

How to set the hi-hat control pedal for the best possible performance results

1

2

Using the cable included with the FD-7, connect the FD-7 to the HH

CTRL/TRIG 4 jack.

Make sure that the pedal is fully open.

NOTE

If the pedal is depressed, settings will not be made correctly.

3

Move the external input select switch to TRIG 4 and then move it back to HH CTRL. When the switch is moved back to HH CTRL the following display will appear. This indicates that the FD-7 has been

“recognized” by the SPD-20 and will now function correctly.

40

NOTE

You may hear a brief sound when you change the position of this switch. This is normal, and should not be a cause for concern.

Be very careful not to depress the pedal until the above message is displayed.

The appropriate settings will be made automatically and the same message will be displayed whenever the power is turned on with the FD-7 already plugged in.

Using a Footswitch in Place of the Hi-Hat Pedal

In place of a hi-hat control pedal, you can also control the hi-hat with a footswitch (DP-2 Pedal Switch; sold separately) connected to the HH CTRL/TRIG 4 jack. However, with this arrangement, techniques such as half open cannot be played. Just as with the hi-hat control pedal, when using the footswitch, it is necessary to have the pedal recognized using the previously mentioned procedure. When the pedal switch is properly recognized, “dP2” appears in the display.

Using a Footswitch as a Hold Pedal

A footswitch (DP-2/FS-5U; sold separately) connected to the FOOT SW jack can be used as a hold (sustain) pedal to control specified Instruments and external MIDI sound modules. When you depress the pedal, a Control Change message (Hold) will be transmitted, instructing the MIDI sound modules to continue sounding the notes that are currently being played.

If you turn the SPD-20 on while the footswitch is depressed, the following message will scroll across the display and the footswitch will act as a hold pedal.

fig.48

NOTE

MEMO

If you are using an FS-5U, Footswitch 1 with PCS-31 will act as the hold pedal, and Footswitch 2 will increase the Patch number.

The SPD-20’s display can only show 3 characters at once. To “scroll” means that the characters automatically move across the display to show a longer message. The SPD-20 will sometimes scroll error messages or other helpful information (p. 87).

Hold messages will be transmitted on the channel specified by the Basic Channel.

There are specific Instruments in the internal sound generator that can also be held with a footswitch

(p. 88).

NOTE

This may not work properly for some MIDI sound modules or some sounds.

When using the footswitch as a Patch Shift Pedal (p. 15), first turn off the power to the unit, then with the footswitch depressed, turn the power back on. The following message is displayed, and the footswitch is set to function as a Patch Shift Pedal.

1

2

3

The footswitch can function as a “Patch Shift Pedal” or a “Hold Pedal.”

Each time the power is turned on with the footswitch in the depressed position, the function is switched between “Patch Shift Pedal” and “Hold Pedal.” The footswitch setting is set at the factory to “Patch

Shift Pedal.”

4

5

41

Settings for External Pads or Kick Trigger Units

Setting External Pad Tone and MIDI Parameters

Sound and MIDI parameters can be set for external pads or Kick Trigger Units (connected to the TRIG

INPUT jacks) in the same way as for the on-board pads.

If a PD-7, PD-9, PD-120 is connected, each parameter can be set independently for the head and rim.

The method for setting external pad tones is the same as that for internal pads. Make settings after referring to “Selecting and Adjusting Sounds (Sound Parameters)” (p. 22). With external pads, you can make settings for both the head and the rim. To make settings for the head, strike only the head. To make settings for the rim, simultaneously strike the rim and head. (Rim settings apply only to the PD-7,

PD-9, and PD-120. However, the rim for the PD-120 can only be used with Trigger Input 1 and 2.)

Press the connected pedal when making the Kick Trigger Unit’s tone settings.

Except for the option of making rim settings, MIDI parameter settings for external pads are made the same way as those for internal heads. Make settings after referring to “MIDI Parameter Settings” (p.

61).

NOTE

It is better not to set and layer two different tones and Velocity Curves using the rim’s Pad Bank, since the relative strength is difficult to control precisely.

How to Edit the Trigger Parameters

You can set the sensitivity and make other settings for external pads (TRIGGER parameters). There are four types of TRIGGER parameters available (TRIG SENS, TRIG THRESHOLD, TRIG TYPE, and TRIG

CURVE).

Settings for some of these parameters can control both internal and external pads; others can control the external pads only.

Parameter

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

TRIG CURVE

Internal Pad

Common to 8 Pads

Common to 8 Pads

No

No

External Pad (4 Independent)

OK

OK

OK

OK

NOTE

External and internal pads have shared TRIGGER parameter settings.

42

fig.49

Adjusting the Sensitivity of a Pad or Kick Trigger Unit (TRIG SENS)

This parameter adjusts the sensitivity of a pad or Kick Trigger Unit. Higher values will result in higher sensitivity (setting range: 1–16). When external pads are connected, you should adjust the relative sensitivity between the external and on-board pads so as to provide a balanced feel for the entire drum kit.

1

2

In the Edit mode, select the SYSTEM parameter group (p. 21).

Use [ ] or [ ] to select TRIG SENS.

1

fig.95

MEMO

3

Strike the pad (or depress the Kick Trigger Unit) you wish to edit.

When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display in six levels. Striking the pad hard sets velocity at a value of 127.

Strength of Striking

Hard

Velocity

127

100–126

75–99

50–74

25–49

1–24 Soft

4

Use PATCH/VALUE [-] or [+] to set the value.

About the PD-120’s Rim Sensitivity

Available only when making Trigger Type settings to the PD-120, you can set the Rim Sensitivity in

Advanced Edit mode (p. 53).

2

3

4

5

43

fig.50

Setting Minimum Levels for the Pads (TRIG THRESHOLD)

By setting this parameter, you can make the pad respond with a trigger signal only when it is struck with a force above a threshold level. This allows you to prevent the pad from picking up extraneous vibrations from neighboring pads. If the striking force is less than the threshold, the pad will not sound.

In the following diagram, the statement like “2” of the examples will produce sound(setting range:

0–15.)

Threshold Level 0

1 2 3

fig.51

NOTE

To have the unit sound even when struck lightly, set the TRIGGER THRESHOLD as low as possible without triggering other connected pads.

Settings for the internal pads reflect the average user´s preferences. If these settings produce good results for you, there is no need to change these values.

1

2

In the Edit mode, select the SYSTEM parameter group (p. 21).

Use [ ] or [ ] to select TRIG THRESHOLD.

44

3

Strike the pad (or depress the Kick Trigger Unit) you wish to edit.

MEMO

Rim and head feature shared TRIG THRESHOLD settings for all pads (PD-7/9, PD-120).

4

Use PATCH/VALUE [-] or [+] to set the value.

MEMO

When the vibration from striking one external pad causes the Instrument of another pad to play, set

Crosstalk Cancel (p. 53).

fig.53

1

2

3

Selecting Types for External Pads (TRIG TYPE)

The SPD-20’s Trigger Inputs allow you to connect and play using a variety of pad types. While the trigger signal output from a pad can have a variety of characteristics depending on the type of pad, you can make sure the trigger signal is read correctly by setting the Trigger Type. In addition, when connecting the PD-120 or other pad models, setting the Trigger Type makes it possible to play rim shots on the PD-120 (p. 39). The

Trigger Type is set not only for different drum pad types, but for different acoustic drum triggers as well.

Acoustic Drum Triggers

These are pickups that are attached to acoustic drums. The strength with which the drum is struck is output as a trigger signal, allowing you to play sound modules with Trigger Inputs such as the

SPD-20’s.

In the Edit mode, select the SYSTEM parameter group (p. 21).

Use [ ] or [ ] to select TRIG TYPE.

Strike the External pad (or depress the Kick Trigger Unit) you wish to edit.

1

2

3

fig.54

MEMO

NOTE

Trigger Type rim and head settings are shared for all pads (PD-7/9, PD-120).

You cannot make settings for the internal pads. If you try to select the internal head by striking it,

“ ” is displayed.

4

Use PATCH/VALUE [-] or [+] to set the value.

Pad Trigger Types

Displayed Description

For the PD-5

For the PD-7, standard drum pads, other manufacturers’ pads

For the PD-9, low crosstalk (p. 53) pads

For the PD-100

For the PD-120

For other makers’ pads (See Note)

For other makers’ pads (See Note)

For the KD-7, standard kick pads, other manufacturers’ pads

For other manufacturers’ kick pads (see Note)

For other manufacturers’ kick Pads (see Note)

45

4

5

fig.54

(Note)

This type of Trigger (TRIG TYPE) is for drum pads whose output of the Trigger signal waveform’s attack is slow. In order to reliably detect the strength with which the pad is struck, the time set for detection of the trigger (Scan Time; p. 51) is as slow as 1–2 msec. When using other manufacturers’ pads, if while playing with the Trigger Type set to “Pd7” you notice the sound strength or dynamics are unstable, you should reset the Trigger Type to “P1” or “P2.”

For faster sound expression, set to “P1” or “P2” (“K1” or “K2”).

Acoustic Drum Trigger Types

Displayed Description

For kick drums (bass drums)

For snare drums

For toms

For floor toms, toms with 15-inch or bigger heads

Trigger Type Internal Settings (Advanced TRIGGER Parameters)

When you make settings for the Trigger Type, a number of internal parameters that do not appear on the panel are set automatically. These parameters are known as Advanced TRIGGER parameters. Normally, no detailed settings are necessary to match the selected Trigger Type, but when you get poor sound, even having set the Trigger Type, or when using pads or acoustic drum triggers not covered by a particular Trigger Type, then set the Advanced TRIGGER parameters as needed (p. 48).

Advanced TRIGGER Parameter Description

Scan Time

Retrigger Cancel

Mask Time

Crosstalk Cancel

Sets the time for detecting the trigger signal

Detects the attenuation of the trigger signal and cancels subsequent incorrect triggering

Cancels secondary sounding of the kick pad and other pads

Cancels triggering caused by vibration from other pads

Rim Sensitivity Adjusts the PD-120’s Rim Sensitivity

For more detailed information, refer to (p. 48).

46

fig. 55

Setting How the Strength with Which External Pads Are Struck Changes the Volume (TRIG CURVE)

With some external pads and acoustic drum triggers, the relationship between the strength with which you strike the pad and the changes in volume output signal is unnatural. To get natural-sounding volume changes, set the Trigger Curve.

1

2

3

In Edit mode, select the SYSTEM parameter group (p. 21).

Press [ ] or [ ] to select the TRIG CURVE.

Strike the external pad (or Kick Trigger Unit) to be set.

1

fig. 56

MEMO

Trigger Curve rim and head settings are shared for all pads (PD-7/9, PD-120).

You cannot make settings for the internal pads. If you try to select the internal head by striking it,

“ ” is displayed.

4

Using PATCH/VALUE [+] or [-], set the Trigger Curve (-2, -1, 0, 1, or 2).

Values correspond to the Trigger Curves shown below.

“0” denotes the standard Trigger Curve.

Level

2

3

4

-2

Striking Force

-1 0 (Standard) 1 2

MEMO

To make this setting correctly, set the Trigger Sensitivity before setting the Trigger Curve.

Setting the Same Parameter Values to All Pads

When you press [ALL/ENTER] while in Edit mode, the parameter values that are set in an external pad are set to all external pads that are in the selected pad bank at that time.

For example, with Trigger Type Pd7 set to Trigger Input 1, by pressing [ALL/ENTER], Pd7 is set to all four Trigger Inputs.

MEMO

If you press [ALL/ENTER] when setting the Trigger Type, the current pad’s Advance Trigger parameter settings (p. 48) are applied to all of the other Trigger Inputs.

NOTE

[ALL/ENTER] does not function in Advanced Edit mode (p. 48).

47

5

Setting Parameters for Reliable Performance using Acoustic Drum

Triggers and Other Manufacturers’ Pads

(Advanced Trigger Parameters)

Sometimes, when you use the SPD-20 with an acoustic drum trigger or a pad from another manufacturer, setting only the Trigger Type may result in poor sound or mistakenly played sounds. In such cases, by setting the Advanced Trigger Parameters, you can make more detailed trigger parameter settings.

NOTE

Advanced Trigger Parameters are set automatically when the Trigger Type is set. Normally, when you set the Trigger Type, no setting of the Advanced Trigger Parameters is necessary.

The five Advanced Trigger Parameters are as follows:

Scan Time Sets the time for detecting the trigger signal

Retrigger Cancel Detects the attenuation of the trigger signal, and prevents subsequent incorrect triggering

Mask Time Prevents secondary sounding of the kick pad and other pads

Crosstalk Cancel Prevents triggering caused by vibration from other pads

Rim Sensitivity Adjusts the sensitivity of the PD-120´s rim

NOTE

How to Set Advanced Trigger Parameters

The process of making settings for the Advanced Trigger Parameters differs from that when making other settings. Special procedures are required to set the parameters in Advanced Edit mode.

The Advanced Trigger Parameters cannot be found in the Parameter List on the front panel.

You cannot make Advanced Trigger Parameter settings for internal pads.

There are three modes

Play mode:

Edit mode:

The unit is played in this mode.

Status in which settings are made for the parameters from the parameter list.

Advanced Edit mode: In this mode, settings can be made for the Advanced Trigger Parameters, which are not included in the parameter list.

NOTE

First, set the Trigger Type. When you set the Trigger Type, the most suitable Advanced Trigger

Parameters values are set automatically.

If, after having set the Advanced Trigger Parameters, you then change the Trigger Type setting, the

Advanced Trigger Parameter settings revert to the initial values for that Trigger Type.

1

2

3

In Edit mode, select the SYSTEM parameter group (p. 21).

Press [ ] or [ ] to select the TRIG TYPE.

Strike the external pad (or drum pad) to be set.

fig. 57

48

fig. 58

MEMO

Trigger Type rim and head settings are shared for all pads (PD-7/9, PD-120).

You cannot make settings for the internal pads. If you try to select the internal head by striking it,

“ ” is displayed.

4

Using PATCH/VALUE [+] or [-], set the Trigger Type.

If you don’t find the settings most suitable for your Trigger Type, then set the type you think is closest.

Drum Pad:

Kick Pad:

Acoustic Drum Trigger:

Pd7, P 1, P 2

Kd7, K 1, K 2

KiK, Snr, toM, FLr

MEMO

For descriptions of each of the Trigger Types, see p. 45.

5

6

Up to this point, the procedure has been the same as in making normal Trigger Type settings.

After setting the Trigger Type, the following operation is used to enter Advanced Edit mode.

Confirm that Trigger Type (TRIG TYPE) in the SYSTEM parameter group has been selected.

Hold down [EDIT] for several seconds. This takes you into

Advanced Edit mode.

(Flashing)

1

2

3

4

MEMO

In Advanced Edit mode, the SYSTEM Parameter Group indicator flashes.

fig.59

One second after “Scn” appears in the display, the value is then displayed.

About one second later

NOTE

This is the Scan Time settings screen.

If the TRIG TYPE settings screen does not come up, consequently, you can not call up the Advanced

Edit Mode screens by holding down [EDIT].

5

49

7

Press [ ] or [ ] to select the Advanced Trigger Parameter to be set. When you make your selection, the name of the parameter appears, followed one second later by the value for that parameter.

fig. 60

Scn

Scan Time

rEt

Retrigger Cancel

MSK

Mask Time

CrS

Cross Talk Cancel

riM

Rim Sensitivity

MEMO

Refer to p. 51 for descriptions of how each of the parameters works.

8

Press PATCH/VALUE [+] or [-] to set the value.

MEMO

When making settings for another pad, strike the pad first.

9

10

When you have finished making settings, press [EDIT].

You are returned to the normal Edit mode.

Then press [EDIT] once again to return to Play mode.

NOTE

[ALL/ENTER] does not function in Advanced Edit mode (p. 48).

Overview of the Process of Making Settings in Advanced Trigger Parameters

• In Edit mode, select and set the TRIG TYPE.

• Press [EDIT] for about one second.

• Press [ ] or [ ] to select the parameter to be set. When you select the parameter, then one second after the name of the parameter is displayed, the value appears.

• Press PATCH/VALUE [+] or [-] to set the value.

• After you finish making the settings, press [EDIT] twice to return to PLAY mode.

50

fig.60-a

Adjusting the Trigger Signal Detection Time (Scan Time, Scn)

NOTE

(Available Settings) 0.0–0.3 ms (0.1 ms steps)

00–30 appears in the display.

fig.60-b

The trigger signal waveforms produced by some types of drum pads or acoustic drum triggers have rather long attack times, which can result in unstable volume levels, even when the same force is used to strike the pad; or can result in unreliable detection of striking force. In such cases, by adjusting the amount of time between the striking of the pad and detection of that strike (Scan Time), you can achieve the correct detection of striking force.

Scan Time Scan Time

PD-7

A Pad with a slow Trigger signal waveform attack

0

Time

0

Time

1

2

fig.95

MEMO

For reliable detection of Trigger signal output, adjust the time for reading the trigger signal (Scan Time).

For more on how to set these values, refer to p. 48.

To maximize the speed at which sounds are triggered, set the Scan Time value as low as possible.

For P 1 and P 2 trigger types, increase the Pd7 Scan Time values. For K 1 and K 2, increase the Kd7

Scan Time values.

When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display, with six possible levels. When the pad is struck hard, the velocity is set to a value of 127.

Strength of Striking

Hard

Velocity

127

Soft

100–126

75–99

50–74

25–49

1–24

3

4

5

51

fig.60-c

Detecting Trigger Signal Attenuation and Cancelling Incorrect Triggering (Retrigger Cancel, rEt)

fig.61

(Available Settings) 1–16

Use this setting when your setup uses mainly acoustic drum triggers.

Compared with drum pads, the trigger signal that is output from an acoustic drum trigger may have unnecessarily long attenuation times, and erratic waveforms. Multiple soundings from a single strike to the head are more likely to occur. You can eliminate such symptoms by increasing the Trigger Cancel value.

The peak here causes triggering

0

Time

0

Time

Waveform output from acoustic drum triggers and other devices PD-7 Waveform

NOTE

MEMO

If the Retrigger Cancel value is extremely high, individual notes may drop out more readily when you strike repeatedly or play rolls, so set the value as low as possible.

The problem of double sounding can also be eliminated using Mask Time. However, Mask Time cannot detect trigger signals if they occur within the specified amount of time after the previous trigger signal was received. Retrigger Cancel detects the attenuation of the trigger signal level, and triggers the sound after internally determining which trigger signals were actually generated when the head was struck, while weeding out the other false trigger signals that need not trigger a sound.

Trigger signal attenuation time varies with the type and workings of the connected acoustic drum trigger.

When using acoustic drum triggers, it is recommended that you mute the acoustic drums to suppress excess head vibration.

For more on how to set these values, refer to p. 48.

Preventing Double Triggering of Kick Pads and Other Instruments (Mask Time, MSk)

fig.61-a

(Available Settings) 0–64 (in milliseconds)

Make this setting when using acoustic drum triggers fitted to other manufacturers’ kick pads or to acoustic drums.

Sometimes when playing the kick pad or similar instruments, you may be trying to depress the kick pedal to have the beater strike the head just once, but the beater ends up striking twice or more, resulting in mistaken triggering. After a trigger signal is detected, Mask time prevents detection of any subsequent trigger signal only within the set time period, thus eliminating mistaken triggering.

However, since with Mask Time set, absolutely no trigger signal is detected in the set period, in order not to lose any sounds when playing repeated strikes, set the level as low as possible.

52

fig.62

0

Time

0

Mask Time (ms)

Time

MEMO

When Mask Time is set, all trigger signals are canceled within the set time.

If two or more sounds are being produced when you strike the head just once, then set Retrigger

Cancel (p. 52).

For more on how to set these values, refer to p. 48.

Preventing Vibrations from Other Pads from Causing Incorrect Triggering (Crosstalk Cancel, CrS)

fig.62-a

1

2

NOTE

(Available Settings) oFF, 30, 40, 50, 60, 70, 80

When different pads, for example one used as a tom and another as a cymbal, are attached to the same stand, vibrations from the tom may cause incorrect sounding of the cymbal pad (this phenomenon is called crosstalk). In this case, you can avoid the problem by setting Crosstalk Cancel on the cymbal pad. The higher the value is set, the more difficult it is for external vibrations to mistakenly trigger the pad.

However, if you increase the Crosstalk Cancel value on a pad, then when that pad and another pad are struck simultaneously, the sound from the pad that is struck more weakly may be omitted. To prevent this from occurring, set Crosstalk Cancel values as low as possible.

For more on how to set these values, refer to p. 48.

Setting Rim Sensitivity on the PD-120 (Rim Sensitivity, riM)

fig.62-b

NOTE

(Available Settings) oFF, 1–15

MEMO

You can set the Rim Sensitivity only when using the PD-120. When you find it difficult to get rim shots to sound, increase the Rim Sensitivity value. When Rim Sensitivity is set to oFF, striking the rim produces the sound of the same Instrument as that of the head.

With the Trigger Type set to 120 (PD-120), you can play rim shots and set the Rim Sensitivity.

Rim shots are possible on the PD-120 only with Trigger Inputs 1 and 2.

You cannot adjust the rim sensitivity of the PD-7 and PD-9. Both rim and head use the same values.

For more on how to set these values, refer to p. 48.

53

3

4

5

Settings for an External Hi-Hat Control Pedal

MEMO

You can use the hi-hat control pedal (FD-7; sold separately) not only to open and close the hi-hat, you can also use it to control the sound effect level sent in real time, and change the pitch (PDL CTRL; p. 54).

Additionally, you can send Control Change Data to connected external MIDI devices (PDL CC#; p. 56).

Hi-Hat Control pedal settings are made with FX/PEDAL Parameter Group PDL CTRL, PDL LEVEL, and PDL CC#. Too see how to make these settings, refer to each item shown on the following page.

For more on how to connect the pedal, refer to “Precautions When Connecting a Hi-Hat Control

Pedal” (p. 40).

Hi-Hat control pedal settings are stored in each Patch.

Controlling the Tone with the Hi-Hat Control Pedal—Pedal

Control (PDL CTRL)

Select from the following settings to determine how the hi-hat control pedal exerts control when pressed.

HH

EFS

U07, U12, U24, d05, d12, d24

Opened/closed hi-hat sounds (p. 54)

Tone Effect Send (p. 55)

Raising and lowering of the pitch (p. 55)

MEMO

1

In the Edit mode, select the FX/PEDAL parameter group.

2

Use [ ] or [ ] to select PDL CTRL.

3

Use PATCH/VALUE [-] or [+] to select the function you wish to control.

You can make settings for each Patch independently.

MEMO

Controlling the Opening and Closing of the Hi-Hat (HH)

The pedal works as a hi-hat control pedal controlling sounds (H01–H17) assigned to a pad. Stepping on the pedal while striking the pad produces a closed hi-hat sound, and by letting up on the pedal a little at a time, you continuously change the tone and length of the sound from closed, to half-opened, to opened. Additionally, you can get a “foot close” sound by stepping on the pedal more forcefully. You can also get a great “foot open” sound, similar to the sound you get as you lift your foot off the hi-hat.

Set the volume of the pedal hi-hat sound produced with the pedal in PDL LEVEL. For more on how to make these settings, refer to “Adjustivg the Volume of the Pedal Hi-Hat Sound” (p. 55).

NOTE

If a hi-hat sound (H01–H17) is assigned to two or more pads, the pedal hi-hat will sound for the highest-priority pad as shown in next page:

54

Pad Bank A high priority

INT1 INT2 INT3 INT4 INT5 INT6 INT7 INT8

TRIG1

(Head)

TRIG2

(Head)

TRIG3

(Head)

TRIG4

(Head)

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

Pad Bank B

INT1 INT2 INT3 INT4 INT5 INT6 INT7 INT8

NOTE

INT 1: Internal pad 1

TRIG 1: Trigger input 1

TRIG1

(Head)

TRIG2

(Head)

TRIG3

(Head)

TRIG4

(Head)

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

low priority

The Velocity Curve (p. 24) and layer (p. 17) settings do not affect the pedal hi-hat sound.

1

NOTE

Control the effect applied to an Instrument (EFS)

When this function is assigned, the hi-hat control pedal will control the effect send level of an

Instrument. When the pedal is released, the pad takes the values set for the pad (values set in FX

SEND). When the pedal is depressed, the effect send level will be increased proportionally to the angle of the pedal.

Control Instrument pitch (U07/U12/U24/d05/d12/d24)

When this function is assigned, the hi-hat control pedal will control the pitch of an Instrument. When the pedal is released, the pad takes the pitch set for the pad. When the pedal is depressed, the pitch will be modified proportionally to the angle of the pedal.

U07

U12

U24 d05 d12 d24

up up up down down down

700 cents (a perfect fifth)

1,200 cents (one octave)

2,400 cents (two octaves)

500 cents (a perfect fourth)

1,200 cents (one octave)

2,400 cents (two octaves)

Depending on the type of Instrument or on the sound parameter pitch settings, there may be a point above which the pitch cannot be raised.

Adjusting the Volume of the Pedal Hi-Hat Sound (PDL LEVEL)

When one of the Hi-Hat Cymbals for pedal control (H01–H17) sounds is assigned to the pad, you can control the pedal hi-hat volume when the hi-hat control pedal is pressed. Higher values will result in a louder sound. At a setting of 0, there will be no sound.

1

2

3

In the Edit mode, select the FX/PEDAL parameter group.

Use [ ] or [ ] to select PDL LEVEL.

Use PATCH/VALUE [-] or [+] to set the volume (0–15).

55

2

3

4

5

Using the Hi-Hat Control Pedal’s Action to Set Controller

Numbers for Sending and Receiving MIDI Data (PDL CC#)

When not using an external MIDI device, Setting Pedal Controller Numbers is unnecessary.

You can transmit the action of the hi-hat control pedal as Control Change messages sent to external

MIDI devices and have Control Change messages sent from external sources act as pedal movements.

A main way to use this setup is by controlling one more SPD-20 hi-hat, and by continuously pressing the pedals, you can do things like add modulation to the sounds from external MIDI sound modules.

However, there is no need to be able to receive the Controller Numbers set here to external MIDI devices.

MEMO

For explanations of Control Change messages and Controller numbers, refer to p. 59.

Send and Receive Controller Numbers are as shown below.

Controller Number

1

4

10

11

16

17

64 oFF

Modulation

Foot

Pan

Expression

General Purpose 1

General Purpose 2

Hold

No Transmission

MEMO

The Controller Number is set at the factory to 4 (Foot). You can control the SPD-20, TD-10, TD-7, and TD-5 hi-hats with this setting. For control of the SPD-11 hi-hat, set the number to 1

(Modulation).

When recording SPD-20 a performance to a sequencer, and playing back the same performance, set the

Controller Number to 4 (Foot). This way, you can faithfully reproduce the action of the hi-hat control pedal.

56

NOTE

1

2

3

In Edit mode, select the FX/PEDAL parameter group.

Press [ ] or [ ] to select PDL CC#.

Using PATCH/VALUE [+] or [-], select the Controller Number.

Refer to the above Controller Number.

If you switch to a Patch set with a different Pedal Controller Number while the hi-hat control pedal is pressed, the connected external sound module ends up being set with the Control Change message value set in the immediately preceding Patch. For example, Modulation will constantly be applied to the external sound module.

When each Patch is set with a different Controller Number, we recommend that you not switch Patches with the pedal depressed. If you do switch Patches while the pedal is pressed, the external sound module is then set with the Control Change message value just as it is. When you then revert to the original

Patch by releasing the pedal, the Control Change message value reverts to its initial setting.

CHAPTER 4 Connecting MIDI Devices

MIDI Connections

fig.64

When connected to other MIDI devices, the SPD-20 can be used in a wide variety of musically creative ways. For example, it can be connected to a sequencer as a pad controller for realtime input, and its onboard sound generator can be layered with external sound modules. Other applications include using a sequencer to automatically select SPD-20 Patches, or to store SPD-20 data in a sequencer or other MIDI

Bulk storage device.

Example of one way to connect when using the SPD-20 to control an external sound module

SPD-20

MIDI OUT

AC adaptor

Sampler

MIDI IN

1

2

L I N E I N

L R

3

Audio Equipment

(Stereo Set)

About MIDI

MIDI is an acronym for “Musical Instrument Digital Interface,” and is a standard by which electronic musical Instruments and computers can exchange musical data. The SPD-20 conforms to the MIDI specification and can be connected to other devices to either control, or be controlled.

How MIDI Data is Sent and Received

First, we will briefly explain how MIDI data is sent and received.

fig.65

MIDI connectors

MIDI data is sent and received through the following connectors. Use a MIDI cable to connectors these connectors to other devices.

MIDI IN:

MIDI OUT:

MIDI THRU: receives data from other MIDI devices transmits data to other MIDI devices re-transmits the data received via MIDI IN

NOTE

The SPD-20 does not have a MIDI THRU connector.

It is possible to connect (“daisy chain”) several MIDI devices using the MIDI THRU connectors, but you should keep the total length of MIDI cables within 10 meters, to prevent possible reception errors.

57

4

5

fig.66

MIDI channels

MIDI allows you to independently control two or more devices over a single MIDI cable. This is possible because MIDI provides for multiple channels of control. You can think of MIDI channels as being similar to television channels. Although many broadcast channels are in the air at any one time (many channels of MIDI data are moving through a single cable), a television set receives only the channel to which it is set (the MIDI device receives only the channel to which it is set).

TV Station A

TV Station B

TV Station C

Select the channel of the TV Station you wish to watch.

fig.67

TV messages from various TV Stations are sent through the antenna’s cable.

MIDI provides sixteen channels, 1–16, and the receiving device will only receive data when its receive channel matches the Transmit Channel. In the following diagram, playing the keyboard will cause only sound module B to play.

MIDI OUT

Sound Module A MIDI IN

MIDI THRU

Transmit channel: 1

Receive channel: 2

Sound Module B

MIDI IN

Receive channel: 1

MEMO

With the SPD-20, you can set the Transmit Channel (TX CH) for each pad (p. 61). Settings for the receiving end are made with the Basic Channel (BASIC CH) (p. 67).

Main Types of MIDI Data Used by the SPD-20

A wide variety of musical data can be transmitted by MIDI, with a different type of MIDI message provided for each type of data. MIDI messages can be broadly categorized into two groups: information that is differentiated by channel (Channel messages) and information that is not differentiated by channel (System messages).

Data differentiated by channel (Channel messages)

These messages carry musical performance data. Normally, these messages do most of the work. The result that each type of message produces will depend on the settings of the sound module.

•

Note messages

These messages notify the sound generator that a pad has been struck. (A keyboard would transmit these messages when keys are played.) Note messages convey the following information.

Note Number: Each note message (Note On or Note Off) carries the Note Number which was assigned to that pad (a number indicating the note position on a keyboard).

Note On:

Note Off:

Velocity:

This message is transmitted when a pad is struck (when a key is played).

This message is transmitted when the specified Gate Time has elapsed after the Note

On message (when a key is released).

Each note message contains data indicating how strongly the pad was struck (how strongly the key was played).

58

MEMO

The Note Numbers fall within the range of 0–127, with middle C (C4) as number 60 (p. 62).

Note numbers usually specify the pitch of the sound to be produced, but for rhythm sound generators, they specify the type of drum sound (the Instrument) which is to be played.

With the SPD-20, Note Numbers for transmitting and receiving are set with the MIDI parameter

NOTE #.

MEMO

• Aftertouch messages

Aftertouch messages are transmitted by some keyboards when you press down on the keyboard after playing a note. The degree of pressure (aftertouch) can thus be used to control various aspects of the sound. There are two types of aftertouch messages. Data which is transmitted independently for each key is called Polyphonic Key Pressure, and data which is transmitted for the overall keyboard (without differentiating between individual keys) is called Channel Key Pressure.

The SPD-20 transmits Polyphonic Key Pressure messages when the rim area of a pad (PD-7, PD-9) is squeezed or released. When the SPD-20 receives Polyphonic Key Pressure messages from another

MIDI device, its sound will be affected in the same way as when the rim area of a pad is squeezed.

MEMO

• Program Change messages (1–128)

These messages are usually used to select sounds.

The SPD-20 can transmit Program Change messages to select Patches on external sound modules (p .

65). When the SPD-20 receives a Program Change message from another MIDI device, the Patch will change (p. 69).

MEMO

• Control Change messages

These messages convey various types of information that make a musical performance more expressive.

Each message carries a control number that indicates which function it is to control. The result will depend on the MIDI device.

With the SPD-20, you can transmit PAN Control Change messages to each pad individually.

The SPD-20 transmits movements of the hi-hat control pedal as Control Change messages (p. 56).

When it receives Control Change messages from another MIDI device, its sound will be affected in the same way as when the pedal is moved.

MEMO

Data not differentiated by channel (System messages)

System messages include Exclusive messages as well as other messages that keep a MIDI system running smoothly.

• Exclusive messages

Exclusive messages are used to transmit and receive data which is unique to a particular device (such as

Patch data). This type of data can be received and transmitted between devices of identical type and manufacturer. For details, refer to the MIDI Implementation (p. 98).

• Start

This message starts playback of a song on a sequencer from the beginning of the song.

• Stop

This message stops playback of the sequencer song.

• Continue

This message is for starting playback of a sequencer song from the current location.

With the SPD-20, you can make external sequencers start, stop, and continue by striking the pads (p.

61).

59

1

2

3

4

5

fig.68

MEMO

• Song Position Point

This message tell the connected sequencer to move the current location in the song.

With the SPD-20, you can return to the first measure of a sequencer song by striking the pad (p. 61).

• Active sensing

These messages are used to monitor the integrity of MIDI connections. If no MIDI messages are received within a specific length of time, the device assumes that the connection has been broken (e.g., a cable disconnected) and will reset itself according to a specific procedure.

How to Read the MIDI Implementation Chart

MIDI has made it possible for a wide variety of devices to exchange information, but it is not always true that all types of MIDI messages can be exchanged between all types of devices.

To help you quickly determine what types of MIDI messages can be exchanged between master and slave, the manual of each MIDI device includes a MIDI Implementation chart. By looking at this chart, you can quickly see what messages the device is able to transmit and receive. MIDI Implementation charts are standardized, so you can fold the charts together to see at a glance how the two devices will communicate.

MIDI Implementation

Chart for the transmitter

MIDI Implementation

Chart for the receiver

Function Transmitted Recognized Remarks

MEMO

A MIDI Implementation chart for the SPD-20 is included in page 102 .

60

MIDI Parameter Settings

MEMO

If you wish to use the SPD-20 to control another MIDI sound module, or use another MIDI device to control the SPD-20, you will need to set the MIDI parameters.

You can set MIDI parameters for each pad in a pad bank (A and B), allowing you to control external sound modules on two channels. Additionally, MIDI parameters can be set to Patches.

For more on how to set MIDI parameters, refer to p. 66.

How the MIDI Parameters Work

Transmit Channel (TX CH)

Set this parameter to match the receive channel of the MIDI sound module you have connected. If you want a pad to play only the SPD-20’s sounds, set this parameter to “oFF.”

Besides the Transmit Channel, settings for transmitting Program Numbers by striking the pad, and for transmitting Start and Stop messages to external sequencers are also made in the TX CH settings.

MEMO

Using the Pads to Play External Sound Modules

1–16:

When playing external sound modules, Note messages are sent through the Transmit

Channels set here. If you find it unnecessary to make any special setting for this, just set it to

10 (the initial value).

If you switch Patches while setting Program Changes (PGM CHG; p. 65), the Program Number is sent through the TX CH (1–16) set here.

When You Are Not Sending MIDI Messages oFF:

MIDI messages are not transmitted.

NOTE

Using the Pads to Control External Devices

With these settings Note messages are not transmitted.

P1–P16:

Set this when using the pad to switch external sound module tones. The Program Number set to Program Change (PGM CHG; p. 65) is sent via the MIDI channel 1–16 (P1–P16) according to the timing with which you strike the pad.

S-S:

C-S: toP:

Controls external sequencers and other devices by mutual transmission of MIDI Start and

Stop messages when the Pad is struck.

Controls external sequencers and other devices by mutual transmission of MIDI Continue and Stop messages when the pad is struck.

Returns the external sequencer’s Song Position to the first measure of the song.

External sound modules cannot be played when you set oFF, P1–P16, S-S, C-S, or toP, since the Note

Numbers are not transmitted. Pads set with these parameters are dedicated pads for controlling external sound modules or external MIDI devices.

1

2

3

4

5

61

fig.69

Note Number (NOTE #)

Set this parameter to the sound (note) of the MIDI sound module you want to play from that pad

(0–127/oFF).

Correspondence between Note Numbers and Note Names

Note Name:

Note Number:

C-1

0

A0

21

C4

60

C8

108

G9

127

fig.70

MEMO

When setting the same Note Numbers to a number of pads within the same Patch, the same Note

Numbers and Note Messages are transmitted from each pad. However, when identical Note Numbers and Note Messages are received, only the tone set to the highest priority pad (p. 67) is expressed.

When making settings such as these, the indicator flashes more quickly, informing you that there are non-effective settings.

About Note Numbers for HI-Hats Controlled with Pedals

Normally one Instrument will be assigned one Note Number. However, a hi-hat sound (H01–H17) controlled by a hi-hat control pedal will automatically be given three note numbers; the displayed

Note Number and the two note numbers immediately below it. Only the highest Note Number will be displayed.

Sound of an Instrument

Pad

Hi-Hat sound controlled by a Pedal

Pad

Note # 38 Note # 46

44

42

Only the highest note number will be shown

For example, suppose that H01 has Note Number 46 assigned to it. With the pedal depressed, if you strike the pad to which H01 is assigned, Note Number 42 will be sent. If you strike the pad without depressing the pedal, Note Number 46 will be sent. If you depress the pedal without striking the pad, Note Number 44 will be sent.

62

fig.71

NOTE

Gate Time (GT TIME)

This parameter determines the length of time that the MIDI sound module will produce sound (0.1 second–4.0 seconds, ALt).

Settings values shown in the display are 01–40 and ALt (0.1–4.0 seconds and Alternate).

1

fig.72

Time

Gate time

NOTE

MEMO

This Gate Time parameter corresponds to the length of time a note is held (on a MIDI keyboard) before it is released.

When you set “ALt”, Note On and Note Off are alternately transmitted when you strike the pad. When using samplers and other such devices, you can strike a pad to start a sampler phrase loop, and stop the phrase loop the next you strike the same pad.

If the MIDI sound module ignores Note Off messages, this Gate Time parameter will not affect the length of the note (Drum sound modules and other sound modules).

The actual length of time the note sounds will depend on the settings of the MIDI sound module.

If you are using a pad to play a sound that has a slow attack, the note may be too quiet or may be cut off too quickly. If so, increase the Gate Time.

Pan (PAN)

If you have connected a MIDI sound module that can receive Pan Control Change messages (control number 10), this parameter allows you to specify the stereo position (L7–Ctr–r7/rnd/oFF). With a setting of “rnd” the stereo position will change randomly each time you strike the pad. With a setting of

“oFF,” Pan messages will not be transmitted.

Left Speaker Right Speaker

2

3

4

5

NOTE

L7

Ctr

(Center) r7

If the MIDI sound module ignores Pan Control Change messages (control number 10), this Pan parameter will not affect the stereo position.

63

fig.73

MIDI Velocity Curve (CURVE)

When changing the strength with which you strike the pad, select from the following 16 types of velocity curves for transmitting Velocity values (volume changes) from MIDI OUT.

L i n e a r E x p o n e n t i a l 1 E x p o n e n t i a l 2 E x p o n e n t i a l 3

E x p o n e n t i a l 4 S p l i n e 1 S p l i n e 2 S o f t 1

S o f t 2 S o f t 3 S o f t 4 H a r d 1 fig.74

H a r d 2 H a r d 3 H a r d 4 C o n s t a n t

If this parameter is set to “CSt” (constant), the volume will be the same for each note—regardless of how strongly or softly you strike the pad. In this case, you will adjust the velocity Sensitivity parameter to set the volume.

Velocity Sensitivity (SENS)

When striking the pad, you can adjust the Velocity Sensitivity (1–15) transmitted to a MIDI device.

Sensitivity increases as the value is raised, allowing you to transmit high Velocity levels even when striking the pad softly.

If the Velocity Curve parameter has been set to “CSt,” velocity will be transmitted with the following value.

Sensitivity

1

2

5

6

3

4

7

8

Velocity

1

10

19

28

37

46

55

64

Sensitivity

9

10

11

12

13

14

15

Velocity

73

82

91

100

109

118

127

64

fig.75

MEMO

Program Change (PGM CHG)

By transmitting Program Change messages, the SPD-20 can select sounds on another MIDI device. This parameter specifies the Program Number transmitted when Patches are switched (1–128, oFF). In the

Edit mode, each time you modify this parameter, a Program Change message will be transmitted immediately from MIDI OUT, so that you can then strike the pad to check the external sound module. If you do not wish to transmit Program Change messages, set this parameter to “oFF.”

Each Pad will transmit a Program Change message on its assigned MIDI channel whenever a Patch is selected in the Play mode. If two or more pads are assigned to the same MIDI channel and have been set to transmit different Program Numbers, only the highest-priority pad will transmit the Program

Change (p. 67).

If while editing you attempt to make such a conflicting setting, the display will flash more rapidly to warn you. Also, Program Change messages for the lowest-priority pad will not be transmitted from the conflicting pad.

NOTE

When transmitting Program Numbers set with Program Change (PGM CHG) by striking the pad, set the Transmit Channel (TX CH) to (P 1–P16) (p. 61). However, Note Numbers from a pad set like this are not transmitted, so you cannot use them to play an external sound module.

The following table shows how the numeric display (1–128) corresponds to the GBN

(Group/Bank/Number) Program Number scheme used in Roland devices.

1

2

3

4

5

6

7

8

Group A

Number

1 2 3 4 5 6 7 8

1 2 3 4 5 6 7 8

9 10 11 12 13 14 15 16

17 18 19 20 21 22 23 24

25 26 27 28 29 30 31 32

33 34 35 36 37 38 39 40

41 42 43 44 45 46 47 48

49 50 51 52 53 54 55 56

57 58 59 60 61 62 63 64

1

2

3

4

5

6

7

8

Group B

Number

1 2 3 4 5 6 7 8

65 66 67 68 69 70 71 72

73 74 75 76 77 78 79 80

81 82 83 84 85 86 87 88

89 90 91 92 93 94 95 96

97 98 99 100 101 102 103 104

105 106 107 108 109 110 111 112

113 114 115 116 117 118 119 120

121 122 123 124 125 126 127 128

GBN system

This is a way of organizing Patch memory select buttons into Groups (A/B), Banks (1–8) and Numbers (1–8), which is used on many Roland synthesizers and sound modules.

1

2

3

4

5

65

Setting MIDI Parameters

Since MIDI parameters can be set independently for each pad bank (A and B), each pad can control two external sound modules.

NOTE

1

2

In the Play mode, use PATCH/VALUE [-] or [+] to select the Patch

(1–99) for which you wish to make settings.

Press [EDIT] to enter the Edit mode.

3

4

Use [SELECT] to select the MIDI parameter group.

Use [ ] or [ ] to select the parameter you wish to set.

5

Press [BANK A/B] to select the pad bank you wish to set.

6

Strike the pad you wish to set.

If you have a PD-7, PD-9, or PD-120 connected, you can make independent settings to the pad and rim. When making MIDI parameter settings to the rim, play a rim shot to call up the trigger settings.

MEMO

7

Use PATCH/VALUE [-] or [+] to set the parameter value.

The value will change more rapidly if you press [+] while holding [-].

If you press [ALL/ENTER] at this point, the currently displayed value will be set for all pads. If you are making settings for an internal pad, this will apply to all 8 internal pads.

If you are making settings for an external pad, this will apply to the 4 external pads and rims.

You can strike the pad to hear the edited sound. If you have layered two sounds, it is probably a good idea to press [LAYER] to turn Layer off.

8

9

To set parameters for the other pad bank, repeat steps 5–7.

If you wish to set the same parameters for other pads, repeat steps

6–7. If you wish to set different parameters for the other pads, repeat steps 4–8.

10

Press [EDIT] once again to return to the Play mode.

Layer

When Layer is on, two note messages will be transmitted each time you strike a pad. By making appropriate MIDI Velocity Curve settings for each pad bank (A and B), you can create effects such as velocity crossfades for external sound modules.

66

MEMO

If you set Layer to Velocity Switch, be sure that the SENS parameter is set to the same value for both pad banks (A/B). By changing the SENS value, you can shift the switching point of two sounds otherwise.

Priority Ranking of Note Number Expression

When there are two or more sounds corresponding to Note Numbers that are received, only the sound that is set to the highest priority Pad (according to the following chart) is played.

fig.75-b

Pad Bank A high priority

INT1 INT2 INT3 INT4 INT5 INT6 INT7 INT8

TRIG1

(Head)

TRIG2

(Head)

TRIG3

(Head)

TRIG4

(Head)

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

Pad Bank B

INT1 INT2 INT3 INT4 INT5 INT6 INT7 INT8

MEMO

INT 1: Internal pad 1

TRIG 1: Trigger input 1

TRIG1

(Head)

TRIG2

(Head)

TRIG3

(Head)

TRIG4

(Head)

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

low priority

If different Program Numbers are set to multiple pads that are set to the same Transmit Channel, then when you switch Patches, the Program Number of the highest priority pad is transmitted.

Using the SPD-20 as a MIDI Sound Module

Incoming MIDI messages from an external device can also trigger the SPD-20’s sounds. The Instruments specified by the sound parameters for each pad will be played by incoming note messages of the Note

Number specified for each pad. Incoming note messages are received on the Basic Channel.

Setting the Receive Channel (Basic Channel)

The SPD-20 receives MIDI messages (note messages, Program Change messages, Control Change messages) on its Basic Channel. When using an external MIDI device to play the SPD-20’s sound generator, set the Transmit Channel of the external MIDI device to match the Basic Channel of the SPD-20.

1

2

3

4

In the Edit mode, press [SELECT] to select the SYSTEM parameter group.

Use [ ] or [ ] to select BASIC CH.

Use PATCH/VALUE [-] or [+] to specify the channel number (1–16).

Press [EDIT] to return to the Play mode.

1

2

3

4

5

67

Settings for Each Pad

Here’s how to specify the Instrument (and its Note Number) that will be played by incoming MIDI messages.

1

2

3

4

5

In the Play mode, use PATCH/VALUE [-] or [+] to select the Patch

(1–99) for which you wish to make settings.

Press [EDIT] to enter the Edit mode.

Strike the pad you wish to set.

Select an Instrument using INST in the SOUND parameter group (p.

22).

Select the note number (0–127) by using NOTE # in the MIDI parameter group (p. 62).

Now when the specified Note Number is received from the external device, you will be able to check the sound.

MEMO

6

If you wish to make settings for other pads, repeat steps 3–5.

7

Press [EDIT] to return to the Play mode.

If you have specified the same Note Number for two or more pads, each pad will transmit the same

Note Number. However, if a note message of that number is received, only the Instrument assigned to the highest-priority pad will sound (p. 67). If you attempt to make such a conflicting setting, the display will flash more rapidly to inform you that the setting is invalid.

NOTE

MEMO

If the Patch Expand function (p. 69) is on and more than two same note numbers are included in these five Patches, the display will also flash more rapidly.

Remember that three note numbers are assigned to each Hi-Hat Cymbal for pedal control sound

(H01–H17). If even one of these three note numbers coincides with a Note Number assigned to another pad, only the highest-priority pad will sound. For example, if Note Number 38 has been assigned to the S01 sound for pad number 1, and Note Number 42 has been assigned to the H01 sound for Pad number 2, the H01 sound will not be heard. If you attempt to make such a conflicting setting, the display will flash more rapidly to inform you that the setting is invalid.

By switching the Layer on/off, the way of note message processing will be changed;

Layer Off:

Each of the Note Numbers set to pad banks A and B are transmitted when received.

Layer On:

When received, the Note Number in pad bank B is ignored, while the Note Number in pad bank A is played.

68

Using External MIDI Devices to Play the Internal Sound

Generator

MEMO

1

2

3

Set the Transmit Channel for the external MIDI device to match the

Basic Channel of the SPD-20 (p. 67).

If necessary, use PATCH/VALUE [-] or [+] to select a Patch.

When you play the external MIDI device, the SPD-20 will sound.

When a note message is received from the external MIDI device, the Instrument selected for the pad set to the corresponding Note Number will sound.

If a Program Change message is received on the Basic Channel (p. 67), the corresponding Patch (1–99) will be selected. (Only in the Play mode.)

The SPD-20 will not respond to incoming Program Numbers 100–128 for patch changes.

Expanding Patches to Allow Reception of Many Note

Numbers (Patch Expand)

For each Patch of the SPD-20, 32 sounds can be selected. (If Layer is on, 16 sounds.) However, when using the unit as a MIDI sound module to play drum parts in GM System, GS Format, and other formats, this is an insufficient number of sounds. Therefore, the Patch Expand function is provided to make more sounds available for control from an external MIDI device. When Patch Expand is turned on, the sounds selected for Patches 96–99 will also be available, in addition to the currently selected

Patch. (This provides a total of five Patches that can be played simultaneously via MIDI.) Note Numbers

27–90 are set at the factory to each of the pads with Patch Numbers 96–99 (p. 70).

NOTE

The settings for the FX/PEDAL and FX/ON OFF will apply to the settings of currently selected

Patch.

How to turn the Patch Expand function on

1

2

3

4

In the Edit mode, press [SELECT] to select the SYSTEM parameter group.

Use [ ] or [ ] to select PATCH EXPAND.

Use PATCH/VALUE [-] or [+] to turn the Patch Expand function on.

Press [EDIT] to return to the Play mode.

When the Patch Expand function is on, an “E” will be displayed to the left of the Patch number when you are in the Play mode.

fig.76

1

2

3

4

5

69

fig.77

MEMO

NOTE

When you make settings for the Patch Chain (p. 33) while the Patch Expand function is on, the display will indicate the selected patch chain (A, b, c, d, e, F, G, H) only.

In order to make distinct the “E” indicating Patch Expand, a lower case “e” is used to indicate Patch

Chain.

70

Patch Expand function is On Patch Chain “e”

Contents of the Patches used for the Patch Expand function

The contents of the Patches used for the Patch Expand function (Patch numbers 96–99) are initially set as follows:

Patch Number 96

pad note# instrument

A01 27

d19

High-Q 1

A02 28

E25

Shot 4

A03 29

d06

Scratch Push

A04 30

d07

Scratch Pull

A05 31

S81

Hall Cross Stick

A06 32

A01

DR-55 Claves

A07 33

A03

CR-78 Metallic Beat

A08 34

A03

CR-78 Metallic Beat

B01 35

b23

Mondo Kick

B02 36

b01

Dry Kick

B03 37

S80

Ambient Cross Stick

B04 38

S37

L.A. Fat Snare

B05 39

d01

Hand Clap 1

B06 40

S46

Rock Snare

B07 41

t22

Real Tom 2

B08 42

h01

Pop Closed Hi-Hat Inner

Patch Number 97

pad note# instrument

A01 43

t22

Real Tom 2

A02 44

h05

Pop Pedal Hi-Hat

A03 45

t22

Real Tom 2

A04 46

h04

Pop Open Hi-Hat Outer

A05 47

t21

Real Tom 1

A06 48

t21

Real Tom 1

A07 49

C01

Crash Cymbal 1

A08 50

t21

Real Tom 1

B01 51

C15

Ride Cymbal 1

B02 52

C06

Chinese Cymbal 2

B03 53

C16

Ride Bell Cymbal 1

B04 54

L27

Tambourine 1

B05 55

C02

Crash Cymbal 2

B06 56

L14

Cowbell 1

B07 57

C02

Crash Cymbal 2

B08 58

L33

Vibra-Slap

Patch Number 98

pad note# instrument

A01 59

C31

Brush Ride Cymbal

A02 60

L03

Bongo High

A03 61

L04

Bongo Low 1

A04 62

L09

Conga High Mute

A05 63

L11

Conga High Open

A06 64

L12

Conga Low Open 1

A07 65

L30

Timbale High

A08 66

L31

Timbale Low

B01 67

L38

Agogo 3

B02 68

L38

Agogo 3

B03 69

L39

Cabasa

B04 70

L23

Maracas

B05 71

L64

Samba Whistle Short

B06 72

L65

Samba Whistle Long

B07 73

L21

Guiro Short

B08 74

L22

Guiro Long

Patch Number 99

pad note# instrument

A01 75

L19

Claves 1

A02 76

o07

Wood Block

A03 77

o07

Wood Block

A04 78

L43

Cuica Mute 1

A05 79

L45

Cuica Open

A06 80

o03

Triangle Mute

A07 81

o04

Triangle Open

A08 82

L24

Shaker 1

B01 83

o01

Sleigh Bell

B02 84

F15

Bell Tree

B03 85

o05

Castanets

B04 86

L54

R-8 Surdo Mute

B05 87

L55

R-8 Surdo Open

B06 88

L10

Conga High Slap

B07 89

J40

Small Gong

B08 90

J39

Large Gong

MEMO

In the contents of Patch Expand Patches, note numbers 35–81 are compatible with GM Percussion

Map which can be used to select Percussion sounds under the General MIDI System, and note numbers 27–87 are compatible with GS Standard Set which can be used under the GS Format.

General MIDI System

The General MIDI system is a set of recommendations which seeks to provide a way to go beyond the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating devices. Sound generating devices and music files that meets the General MIDI standard bears the

General MIDI logo ( ). Music files bearing the General MIDI logo can be played back using any

General MIDI sound generating unit to produce essentially the same musical performance. General

MIDI supports the GM Percussion Map in channel 10.

GS Format

The GS Format ( ) is Roland's set of specifications for standardizing the performance of sound generating devices. In addition to including support for everything defined by the General MIDI

System, the highly-compatible GS Format additionally offers an expanded number of sounds, provides for the editing of sounds, and spells out many details for a wide range of extra features, including effects such as reverb and chorus.

Designed with the future in mind, the GS Format can readily include new sounds and support new hardware features when they arrive.

Since it is upwardly compatible with the General MIDI System, Roland's GS Format is capable of reliably playing back GM Scores equally as well as it performs GS Music Files (music files that has been created with the GS Format in mind). The GS Standard set is one of the percussion sets which can be used in GS drum part. (Default; ch 10.) fig.78

MEMO

The contents of the Patches used by the Patch Expand function (Patches 96–99) can be modified in the same way as other Patches.

Sounding Priority when Patch Expand is On

If more than two sounds are set to the same note number and they receive the corresponding note number, only one sound will play, in the priority shown in the following diagram.

high priority

The currently selected Patch

96 97 98 99 low priority

1

2

3

4

5

71

How to Use a Sequencer or a Computer to

Record/Play back Your Performance

When you wish to record or play back the musical performance of your SPD-20, you must make connections properly and make settings (such as Local Control off) before you begin recording.

Connecting a Computer (or a Sequencer)

fig.79

Computer or Sequencer

MIDI OUT

MIDI IN

MIDI OUT

MIDI IN

Stereo

Headphones

L I N E I N

L R

AC adaptor

Audio Equipment

(Stereo Set)

Breaking/Cutting the Connection Between the Sound

Generator and the Pad Controller (Local Control)

The Local Control setting allows you to disconnect the pad section from the sound generating section.

When you wish to record and playback your SPD-20 performances using a MIDI sequencer or computer, set Local Control to off (Local Control Off).

fig.80

MIDI OUT MIDI IN

Local Control

Off

Pad section +

Trigger Interface section

Sound Generating section

SPD-20

72

fig.81

1

2

Turn off the power switch.

While pressing [PATCH CHAIN], turn the power switch back on.

The following message will scroll across the display, and Local Control will be turned off.

NOTE

When Local Control is set to “Off,” the internal sound generator does not sound, even when the Pad is struck, and in PLAY mode, the MIDI Indicator lights.

Local Control Off is lifted and Local Control On restored the next time the power is turned on.

fig.82

MEMO

Regardless of the Local Control setting, messages received at MIDI IN will play the internal sound generator, and the pads and pedals will transmit messages from MIDI OUT.

MIDI OUT MIDI IN

Local Control

Off

Pad section +

Trigger Interface section

Sound Generating section

MIDI OUT

Soft Thru

On

Internal

Memory

MIDI IN

SPD-20 MIDI Sequencer

MEMO

If you have connected the SPD-20 to a MIDI sequencer (or a personal computer running MIDI sequencing software) that has a “soft(ware) thru” function, set the SPD-20 to Local Off.

Soft Thru

“Soft thru” is a function (provided in most MIDI sequencers) by which the messages received at

MIDI IN of the sequencer are re-transmitted from MIDI OUT. (For details, refer to the manual of your sequencer or sequencer software.)

When the sequencer’s soft thru is turned on, messages it receives at its MIDI IN will be re-transmitted from its MIDI OUT. If the connected SPD-20 is set to Local On, it would sound each note twice: once in response to the message from the pad section, and once again in response to the

MIDI message sent via the software thru function of the sequencer.

MEMO

It is also useful to set Local Off when using the SPD-20 as a pad controller to play only external sound modules.

1

2

3

4

5

73

How to Set Up the SPD-20 for Sequencing

If you wish to record and playback an SPD-20 performance on a MIDI sequencer or computer, make the following settings. (these are the factory settings.)

• For each pad you wish to use, set TX CH (p. 61) to the same channel as the Basic Channel.

• For each pad you wish to use, set Note # (p. 62) for the pads so that they don’t overlap.

• For each pad you wish to use, set CURVE (p. 64) to “Lnr”.

• For each pad you wish to use, set SENS (p. 64) to 8.

If you wish to record and playback Patch changes made during a performance, you will need to make the following settings as well.

• For only one pad, set a Program Number that matches the Patch number (p. 65).

If you wish to record and playback the pedal controller hi-hat sound (H01–H17) layered with another instrument, following setting will be necessary.

• Assign a hi-hat cymbal for pedal control instrument (H01–H17) to pad bank A.

If you assign these instruments to pad bank B, recording will be correct, but since the SPD-20 ignores incoming note messages for pad bank B, the Pedal hi-hat will not be heard during playback.

74

Storing the SPD-20’s Data in External Devices (Bulk Dump)

The Patch data in the SPD-20 can be transmitted either singly or collectively to another SPD-20 (or to a sequencer). SPD-20 data is transmitted and received according to the Device ID number which has been set for each unit. (In the SPD-20, the Basic Channel number is also used as the Device ID number. p. 78)

The operation of transmitting this data is called a “Bulk Dump”; receiving this data is called a “Bulk

Load.”

How to Transmit (Bulk Dump)

The SPD-20 transmits stored data.

fig.83

MIDI OUT

MIDI IN

1

2

Computer or Sequencer

SPD-20

Connect the MIDI OUT of the SPD-20 to the MIDI IN of the sequencer.

1

2

3

4

Set the ID (the same as the Basic Channel’s; p. 67) of the device transmitting the Exclusive Messages.

Press [EDIT] to enter the Edit mode.

Use [ ] or [ ] to select the BULK DUMP in the SYSTEM parameter group.

Use PATCH/VALUE [-] or [+] to select the Patch data you wish to transmit (ALL/1–99).

If ALL is selected, all Patch data, Patch Chain data, and system parameter data will be transmitted at once. If you wish to save an individual patch, select the patch number you wish to send with the value buttons.

5

6

Set the receiving MIDI device so that it will be able to receive

Exclusive messages.

Press [ALL/ENTER] and data transmission will begin.

3

4

5

fig.84

If you wish to stop the operation during transmission, press [EDIT].

75

6

7

If you wish to transmit other Patch data, repeat steps 3–5.

Press [EDIT] to return to the Play mode.

How to Receive (Bulk Load)

Here’s how to receive Patch data that was stored in another SPD-20 (or in a sequencer).

fig.85

MIDI IN

MIDI OUT

NOTE

Computer or Sequencer

SPD-20

Connect the MIDI OUT of the transmitting device to the MIDI IN of the SPD-20.

When data is received, the previously existing patch settings will be lost.

76

1

2

Make sure that the MIDI channel of the transmitting device matches the Basic Channel of the receiving SPD-20 (p. 67).

If you transfer Exclusive data from another SPD-20, set the basic channels on both units match. If you receive the Exclusive data that was stored in a sequencer, set the basic channel to match the same number which was set when you saved data in the sequencer.

Transmit the Exclusive data from the other MIDI device. When reception begins, “Lod” appears in the SPD-20’s display.

You are returned to the previous display as soon as the Bulk Load has been completed.

MEMO

NOTE

When Patch data is received, the bulk dumped Patch data is written to identical Patch numbers.

For example, if you save Patch Number 21 using bulk dump, then when the Patch data is bulk loaded, it is stored in Patch Number 21.

Exclusive Messages cannot be received while Patch Copy and Patch Chain are being received.

Exclusive data transmission and reception requires a great deal of processing, so it is best to avoid playing or editing while transmission is going on. Also, Exclusive data transmission can require a significant amount of time, so allow a reasonable time for these operations. Data cannot be transmitted while incoming Bulk data is being processed, nor can data be received while Bulk data is being transmitted.

Reading SPD-11 Data with the SPD-20

You can use the SPD-20 to receive bulk data (bulk load) from the SPD-11. The SPD-20 has all of the

Instruments from the SPD-11 built in, allowing you to play back Patches and other data created on the

SPD-11.

fig. 86-a

MIDI OUT

MIDI IN

1

NOTE

SPD-11

SPD-20

When SPD-11 data is sent to the SPD-20, Patches 1–64 from the SPD-11 are stored in Patches 1–64.

When data is received by the SPD-11, the SPD-20’s Patch data is overwritten.

You cannot transmit SPD-20 data to the SPD-11.

NOTE

1

2

3

Using a MIDI cable, connect the MIDI OUT of the SPD-11 to the MIDI

IN of the SPD-20.

Match the SPD-11’s Basic Channel with the Basic Channel the SPD-

20. (p. 67)

Put the SPD-11 in Edit mode and select the BULK DUMP SYSTEM parameter.

4

Select the SPD-11 Patches (ALL, 1–64) to be forwarded.

When transmitting data, the SPD-11’s Patch Number is written as is to the same Patch Number on the SPD-20. When ALL is selected, then Patches 1–64 from the SPD-11 are written to Patches 1–64 on the SPD-20.

MEMO

5

6

When you press [ALL/ENTER] on the SPD-11, the data is forwarded from the SPD-11 to the SPD-20.

When reception begins, “Lod” appears in the SPD-20’s display.

Bulk Load is then completed.

When transferring Patches 1–64 used for Patch Expand on the SPD-11 (p. 70) to the SPD-20, you must then use Patch Copy to copy Patches 1–64 on the SPD-11, to Patches 96–99 on the SPD-20.

2

3

4

5

77

What is Device ID

According to the explanation on page 58 of this manual, Exclusive data is not differentiated by channel.

However, this would mean that in a complex MIDI system that contained two or more SPD-20s, it would not be possible to transmit Exclusive data to only a specific SPD-20. To get around this problem, each SPD-20 has its own Device ID number (1–16) on which it transmits and receives Exclusive data.

Exclusive data can be received only when the Device ID number of the receiving device matches the

Device ID number of the transmitting device.

In the SPD-20, the Basic Channel number is also used as the Device ID number.

NOTE

In some devices, the MIDI channel number and the Device ID number can be set independently, and will not necessarily be the same. When transferring Bulk data to another device, refer to the operation manual for that device.

MEMO

If you are using a sequencer to control two or more SPD-20s, you can set each unit to a different

Device ID so that select data can be sent to each unit. But remember that the Basic Channel numbers will also be different.

78

CHAPTER 5 Supplementary Materials

Here you will find materials that are useful in helping you get the most out of your SPD-20. Read the sections as needed.

Taking Advantage of the On-board Effects

Effect list

FX

TYPE Name

1.

Room (Bright)

2.

Room (Standard)

3.

Room (Dark)

4.

Hall (Bright)

5.

Hall (Standard)

6.

Hall (Dark)

7.

Plate (Bright)

8.

Standard Plate

9.

Chorus + Reverb

10.

Tremolo Reverb

11.

Chorus

12.

Chorus + Room

13.

Chorus + Hall

14.

Chorus + Plate

15.

Flanger

16.

Flanger + Reverb

17.

Flanger + Reverb

18.

Pitched Delay + Reverb

19.

Pitched Delay + Reverb

20.

Stereo Delay

21. Stereo Delay

22. Panning Delay

23. Panning Delay

24. Chorus + Delay

25. Chorus + Delay

Explanation

A bright-sounding room reverb

A standard room reverb

A dark-sounding room reverb

A bright-sounding hall reverb

A standard hall reverb

A dark-sounding hall reverb

A bright-sounding plate reverb

A standard plate reverb

Chorus and reverb

Tremolo and reverb

A standard chorus

Chorus and room reverb

Chorus and hall reverb

Chorus and plate reverb

A standard flanger

Flanger and reverb

Flanger and reverb

Pitch-shifted delay and reverb

Pitch-shifted delay and reverb

Stereo delay (without feedback)

Stereo delay (with feedback)

Panned delay (without feedback)

Panned delay (with feedback)

Chorus + stereo delay (without feedback)

Chorus + stereo delay (with feedback)

The parameter affected by “Time”

Reverb Time

Reverb Time

Reverb Time

Reverb Time

Reverb Time

Reverb Time

Reverb Time

Reverb Time

Reverb Time

Reverb Time

Chorus Rate

Reverb Time

Reverb Time

Reverb Time

Flanger Rate

Reverb Time

Flanger Rate

Delay Pitch

Delay Rate

Delay Time

Delay Time

Delay Time

Delay Time

Delay Time

Delay Time

1

2

3

4

5

79

Explanation of Terms

Room Reverb

A simulation of the reverberation in a small room.

Hall Reverb

Plate Reverb

Chorus

A simulation of the reverberation in a room with a high ceiling.

A simulation of a plate reverb (a reverb device which uses a metal plate), producing bright reverberation.

An effect of enhanced spaciousness.

Flanger

Pitched Delay

Delay Feedback

Panning Delay

Reverb Time

Chorus Rate

Flanger Rate

Pitched Delay Pitch

Pitched Delay Rate

Delay Time

An effect blending sounds reminiscent of a jet ascending and descending.

An effect in which the delayed sound is pitch-shifted.

This term refers to when the delayed signal is returned to the input of the circuit. Delay effects marked “with feedback” will have more repetitions of the delayed sound.

The delayed sound will be panned back and forth between the left and right speakers (if you are listening in stereo). Even if you select a Panning Delay marked “without feedback,” there will be one delay for each position of right, center, and left.

This sets the length of the reverberation.

This sets the modulation speed of the chorus effect. Higher settings result in faster chorusing.

This sets the modulation speed of the flanger effect. Higher settings result in faster flanging.

This sets the amount of pitch change applied to the delayed sound. Higher settings result in greater pitch change.

This sets the modulation speed of the delayed sound. Higher settings result in faster modulation.

This sets the Delay time. Higher settings result in a longer delay. For the exact

Delay times, refer to the table below.

fig.94

Delay Time: 0–450 (msec)

The following chart shows the correspondence between Effect Time values and actual time (msec) when

Delay is the Effect Type.

FX TIME

TIME [msec]

FX TIME

TIME [msec]

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

5 10 20 30 45 60 75 90 105 120 135 150 165 180 195 210

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32

225 240 255 270 285 300 315 330 345 360 375 390 405 420 435 450

80

Hints on Using Reverb

Reverb gives presence and spaciousness to any sound, whether solo or background. However, excessively high effects levels and long effects times may make the performance difficult to follow (because sounds are blurred), or make the rhythm less precise. There is a definite relationship between effect time and effect level. Here are two hints on using Reverb, based on that relationship.

• If you want to use a long effect time, decrease the effect level to reduce muddiness.

• If you want to use a high effect level, shorten the effect time to reduce muddiness.

Hints on Using Delay

While Reverb creates a lingering resonance, Delay creates quite a different effect. For Delay effects, the effect time setting can create significant differences in the resulting sound. For example, when playing a melodic solo using a mallet-type Instrument, an extremely short Delay time can be used to thicken the sound. On the other hand, a longer repeating Delay can be set to a Delay time of a half-note or quarternote that matches the tempo of the song.

If you are listening to the SPD-20 in stereo, it can also be interesting to select effect type 22 or 23 (Panned

Delay) and select a Pan setting of “random.”

Hints on Using Chorus/Flanger

For Chorus/Flanger effects, the Time parameter determines the rate (the speed of modulation).

For Chorus, lower settings of the time parameter will result in a more spacious sound, and higher settings will result in a more tremolo-like effect. Flanging is often used on metallic sounds such as cymbals or Hi-Hats to produce a frequently-heard effect.

Hints on Making Parameter Settings

Effects provide many possibilities, but if you always use the same heavily-applied Reverb or Chorus, all the Patches will sound the same. It is important to choose effect settings that are appropriate for the song or suited to the role of the Instrument (solo, backing, special effects, etc.).

The FX SEND in the SOUND parameter group allows you to set the effect depth independently for the

Instrument assigned to each pad, so it is possible, for instance, to apply flanging only to the cymbals. In the case of Reverb, higher settings of FX SEND will create the impression of the Instrument being played further away, so you might set the FX SEND parameter to a different value for each Instrument to create spatial contrast. By utilizing the Pan setting (the stereo position) and the Chorus effect, you can control a vast performance space.

Hints on Not Using Effects

Speaking of contrast, it can also be very “effective” to not use effects. Some possibilities are as follows.

• To apply effects to certain Instruments and not to others.

• To switch to a non-effect Patch at a strategic moment.

As an example of the first possibility, you might try using an ethnic percussion Instrument—such as a surdo—without any effects for a feeling of authenticity. As an example of the second possibility, you could switch from a Patch with deep Reverb to a Patch with no effects (or vice versa) to reinforce musical movement or development within a song.

1

2

3

4

5

81

Troubleshooting

When playing the internal sound generator

• No sound

Is the volume set to 0?

➜ Check the SPD-20 volume, and the volume of the amp system and mixer.

Can you here sound through the headphones?

➜ If there is sound through the headphones, the problem may be that a connecting cable is damaged, or there is a problem with the amp or mixer. Check the amplification system and the audio connections.

Is Layer Off selected?

➜ When Layer Off is selected, the sound from only one side is played.

Could LEVEL in the SOUND parameter group be set to 0?

➜ Set the levels to an appropriate value (p. 23).

Is INST (Instrument Assign) in the SOUND parameter group set to “oFF”?

➜ A pad will not sound if its Instrument Assign parameter is set to “oFF” (p. 22).

Is Local Control turned off?

➜ If Local Control is turned off, the pad section is disconnected from the sound generator, so playing the Pads will not produce sound (p. 72).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

➜ Make appropriate settings for the Velocity Curve parameter (p. 24).

NOTE

• No power/Power on, but unit does not operate

Are you using the supplied AC adaptor?

➜ Other AC adaptors may not work properly. If the SPD-20 does not operate even with the correct

AC adaptor, check whether the correct AC line voltage is being supplied.

It is best to avoid connecting many devices of high power consumption to the same AC outlet, or using an excessive number of AC outlet expansion plugs.

• The volume is too low

Is the volume turned down?

➜ Check the SPD-20 volume, and the volume of the amp system and/or mixer.

Are LEVEL in the SOUND parameter group set too low?

➜ Set the LEVEL to appropriate levels (p. 23).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

➜ Make appropriate settings for the Velocity Curve parameter(p. 24).

Is SENS (Velocity Sens) in the MIDI parameter group set too low?

➜ Make appropriate settings for the Velocity Sensitivity parameter.

• The sound is wrong

Are the SOUND parameters set correctly?

➜ Modify the SOUND parameters (p. 22).

82

• You hear sounds that you did not select

Is the layer function on?

➜ Set Layer to Off (p. 15).

Is an external MIDI sound module being played from that pad?

➜ If you do not wish to trigger an external MIDI sound module, set the Transmit Channel in the

MIDI parameter to “oFF” (p. 61).

• Soft strikes does not produce sound

Is the TRIG THRESHOLD setting too high?

➜ Set TRIG THRESHOLD to an appropriate value (p. 44).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

➜ Make appropriate settings for the Velocity Curve parameter (p. 24).

MEMO

• When two pads are struck simultaneously, only one of the sounds is played

Are you striking the center of the pad?

➜ When striking two pads simultaneously, you should hit them both in the center. Furthermore, you can be more sure of sounding both pads if you strike them with the timing slightly off.

With the SPD-20, the prevention of crosstalk (incorrect actions caused by the vibration from another pad) is processed internally. Thus, if when two pads are struck at the same time the signal output by one of the pads is extremely weak, then that sound is prevented from sounding. Being sure to strike both pads in their centers, with the same force/strength makes it difficult for the sound difficult to be omitted.

When external pads are connected

MEMO

When using external pads, set the TRIG TYPE (p. 45).

The volume can’t be controlled by adjusting the striking strength

➜ Make the TRIG TYPE match (p. 45).

➜ Make the TRIG SENS and TRIG CURVE match (p. 43, p. 47).

MEMO

When striking repeatedly, some sounds are lost

➜ Make the TRIG TYPE match (p. 45).

In some cases, when using pads or acoustic drum triggers from other manufacturers, you should make your settings in Advanced Trigger Parameters (p. 48).

There is no sound when rim shots are played

➜ Play the rim shot correctly (p. 39).

Are stereo cables used to connect the pads?

➜ Connect using stereo cables.

➜ On the PD-120, rim shots can be played when you use Trigger Inputs 1 and 2.

1

2

3

4

5

83

84

When playing external MIDI sound modules

• No sound

Are MIDI connections correct?

➜ Check that the SPD-20 MIDI OUT is connected to the MIDI IN of the external sound module, and that the MIDI cable is not damaged.

Is the volume of the MIDI sound module turned down?

➜ Raise the volume.

Is TX CH (Transmit Channel) in the MIDI parameter group set correctly?

➜ Make sure that the Transmit Channel is not set to “oFF” and that the MIDI channel of the pad and the sound module match (p. 61). Additionally, if the Transmit Channel is set to P1–P16, S-S,

C-S, or toP, Note Messages are not transmitted.

Is NOTE # (Note Number) in the MIDI parameter group set correctly?

➜ Check the note numbers of the MIDI sound module (p. 62).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

➜ Make appropriate settings for the Velocity Curve parameter (p. 64).

• The sound is too soft

Is GT TIME (Gate Time) set too low?

➜ If you are playing a sound with a soft attack, set a longer Gate Time (p. 63).

Is CURVE in the MIDI parameter group set to an inappropriate value?

➜ Set Velocity Curve to an appropriate value (p. 64).

Is SENS in the MIDI parameter group too low?

➜ Set Velocity Seneitivity to an appropriate value (p. 64).

• The volume does not change in response to playing dynamics

Is CURVE in the MIDI parameter group set to “CSt”?

➜ Set Velocity Curve to an appropriate value (p. 64).

• The note duration of the MIDI sound module does not change

even though you adjusted GT TIME

Does the MIDI sound module recognize Note Off messages? Or has it been set to a mode in which it does not recognize Note Off messages?

➜ Refer to the operation manual of the MIDI sound module.

• When you select a Patch, the sound of the MIDI sound module also changes

Has PGM CHG (Program Change) in the MIDI parameter group been set for a pad?

➜ Set Program Change to “oFF” (p. 65).

• The MIDI sound module does not change sounds in response to

Program Change messages

Is PGM CHG in the MIDI parameter group set to “oFF”?

➜ Make Program Change settings (p. 65).

Are the Transmit Channel of the pad and the MIDI channel of the MIDI sound module set appropriately?

➜ Check the Transmit Channel of the pad and the MIDI channel of the MIDI sound module (p. 61).

Is the MIDI sound module able to respond to Program Change messages? Or is it set to a mode in which it does not recognize Program Change messages?

➜ Refer to the operation manual of the MIDI sound module.

• Two sounds are played

Is the Layer function set to On?

➜ Turn the Layer function off (p. 15).

• When the pad is struck, the sound is intermittent

Is the Gate Time set to ALt?

➜ Set the Gate Time to something other than ALt (p. 63).

MEMO

When playing the internal sound generator of the SPD-20

• No sound

Does the Basic Channel of the SPD-20 match the Transmit Channel of the external MIDI device?

➜ Set both devices to the same channel (p. 67).

Set the Basic Channel (BASIC CH; p. 67) as the SPD-20’s Receive Channel.

Is the layer function on?

➜ When the layer function is on, note messages assigned to pad bank B will be ignored. Turn the layer function off.

Is the Instrument you wish to play assigned to a pad?

➜ Assign the Instrument to a pad (p. 22).

Is the Note Number set correctly?

➜ The SPD-20 will not produce sound if it receives a Note Number which has not been assigned to a pad.

Modify the Note Number, or select a Patch which has different note numbers assigned to it (p. 62).

Have you assigned the same Note Number to more than one pad?

➜ Even if you assign the same Note Number to more than one pad, only one Instrument will sound. Set different note numbers for each pad (p. 62).

• Note Numbers not set to a Patch are played

Is Patch Expand on?

➜ Set Patch Expand to Off (p. 69).

When a footswitch is connected

• The footswitch does not work

Is the footswitch connected correctly?

➜ Connect the footswitch properly (p. 15).

• The MIDI sound module does not sustain notes when you press

the Footswitch

Is the Hold Pedal function set?

➜ Turn on the Hold Pedal function (p. 41).

Is the MIDI sound module able to respond to Hold messages?

➜ Refer to the operation manual of the MIDI sound module.

1

2

3

4

5

85

86

• The internal sound generator does not hold notes when pressed

Have you chosen an instrument that can hold tones?

➜ Holding with the internal sound generator is limited to certain specific Instruments (p . 88).

NOTE

Others

• The Patch you set in a Patch Chain is not selected

Is the Patch Chain set correctly?

➜ Check whether the Patch Chain is set correctly (p. 33).

If you do not press [ENTER] after entering all of the Patch Numbers, the Patch Chain setting will not be completed.

Is the SPD-20 in the Play mode?

➜ The Patch Chain function works only in the Play mode.

Is the SPD-20 in the Patch Chain Play mode?

➜ While in Patch Chain Play mode, letters of the alphabet (A, b, C, d, e, F, G, H) appear to the left of the Patch Numbers.

MEMO

• Exclusive messages are not received

Does the Device ID number of the transmitting MIDI device match the Basic Channel (Device ID number) of the SPD-20?

➜ Set the basic channel (p. 67).

Set the SPD-20’s Device ID to the Basic Channel.

• The effect does not work

Is [FX ON/OFF] turned off?

➜ Press [FX ON/OFF] to on (p. 9).

Is the FX LEVEL at 0?

➜ Set the FX LEVEL to an appropriate level (p. 28).

Is the FX SEND at 0?

➜ Set the FX SEND LEVEL to an appropriate level (p. 25).

MEMO

• The display flashes rapidly during setting of the Note Numbers

➜ This indicates that during setting of Note Numbers the same Patch is being set to different pads

(including pad bank A/B). If you set the same Note Numbers to different pads, the Note

Number of the pad determined to have higher priority (p. 67) will take precedence.

When Patch Expand is in effect, check to see if the same Note Number is used in any more than one of the five patches.

• The sound recorded to a sequencer is not the same as that played back

Are the pad’s Note Numbers overlapping with those of another pad?

➜ Make all Note Numbers on the pads you are using different. The Note Number flashes rapidly when Note Numbers from different pads overlap (p. 62).

Error Messages

If a problem occurs during operation, an error message will be displayed. Take the appropriate action as described in this section.

fig.87

A MIDI cable is not connected properly or may be damaged.

➜

Check the MIDI cable(s) and the connections with the other device(s).

fig.88

Data loading was not successful.

➜

Try loading once again. Pressing any button will return to the previous display.

fig.89

MIDI data was received incorrectly.

Press any button on the front panel and the previous display will appear.

➜

If this message appears repeatedly, consult your dealer or the nearest Roland Service

Center.

fig.90

fig.91

fig.92

NOTE

The internal memory data has been lost.

➜

Press any button on the front panel. All data will be initialized, and the previous display will reappear.

If this happens, all the data in the SPD-20 will be reset to the factory presets.

This message indicates that there is an irregularity in the voltage of the pad detection circuit. Press any button on the front panel and the previous display will reappear.

➜

If the previous display does not reappear, no matter which button you press, contact the nearest Roland Service Center. Sometimes this error message will appear if you strike a pad while turning on the power. In this event, turn the power off and then on again.

fig.93

Too much MIDI data was received from another MIDI device.

➜

Reduce the amount of MIDI data transmitted by the other device. Or, re-transmit the data after a pause to reduce the amount of MIDI data transmitted all at once. Pressing any button will return you to the previous display.

The memory-backup battery is exhausted.

➜

If the backup battery runs down completely, the data in internal memory will be lost.

Contact your dealer or the nearest Roland Service Center as soon as possible to have the battery replaced.

Press any button on the panel to return to the previous display.

1

2

3

4

5

87

Instrument List

Loop: After Phrase Loop plays for several measures, the volume then decreases (p. 22).

Exc No.: You cannot sound the instrument that has the same number (#).

Hold: You can use the foot switch to hold notes (p. 41).

SPD-11: Indicates one of the SPD-11's internal instruments.

DRUMS

Bass Drum (Kick)

No. Instrument b01 Dry Kick b02 Dry Medium Kick b03 Dry Hard Kick b04 Meat Kick b05 Pillow Kick b06 Jazz Kick 1 b07 Jazz Kick 2 b08 Maple Kick b09 Real Kick b10 Vintage Kick 1 b11 Vintage Kick 2 b12 26" Deep Kick b13 Medium Kick b14 Oyster Kick b15 Open Kick b16 Big Low Kick b17 Wood Beater Kick b18 Deep Kick b19 Room Kick 1 b20 Room Kick 2 b21 Reverb Kick b22 Deep Reverb Kick b23 Mondo Kick b24 Mondo Deep Kick b25 Mondo Reverb Kick b26 Solid Kick b27 Reverb Solid Kick b28 House Kick b29 Dance Kick b30 Deep Dance Kick b31 Rap Kick 1 b32 Rap Kick 2 b33 Plastic Kick 1 b34 Plastic Kick 2 b35 Gabba Kick b36 Jungle Kick b37 Electronic Kick 1 b38 Electronic Kick 2 b39 TR-808 Kick 1 b40 TR-808 Kick 2 b41 TR-808 Kick 3 b42 808 Electronic Kick b43 808 Boom Kick 1 b44 808 Boom Kick 2 b45 TR-909 Kick 1 b46 TR-909 Kick 2 b47 TR-909 Kick 3 b48 909 Hard Kick b49 TR-606 Distortion Kick b50 CR-78 Kick

Snare Drum

No. Instrument

S01 Piccolo Snare Soft

S02 Piccolo Snare Hard

S03 Piccolo Snare Rim Shot

S04 Beech Snare Soft

S05 Beech Snare Hard

S06 Beech Snare Rim Shot

S07 Acoustic Snare Soft

S08 Acoustic Snare Hard

S09 Acoustic Snare Rim Shot

S10 Steel Snare Soft

S11 Steel Snare Hard

S12 Steel Snare Rim Shot

Loop Exc No.

Hold SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

Loop Exc No.

Hold SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

88

S47 Rocker Snare

S48 Rockin' Snare

S49 Rock Light Snare

S50 Rock Rim Shot Snare

S51 Rock Splatter Snare

S52 Light Snare

S53 Big Shot Snare

S54 Hyper Snare

S55 Splatter Snare

S56 Super Light Snare

S57 Super Whack Snare

S58 Cracker Snare

S59 Cruddy Snare

S60 Dopin' Snare

S61 House Snare

S62 House Dopin' Snare

S63 Reggae Snare 1

S64 Reggae Snare 2

S65 Swing Snare

S66 90's Snare

S67 Digital Snare

S68 FX Snare

S69 Rage Snare

S70 Jungle Tiny Snare

S71 Jungle Rim Snare

S72 Electronic Snare 1

S73 Electronic Snare 2

S74 TR-808 Snare 1

S75 TR-808 Snare 2

S76 TR-909 Snare

S77 TR-707 Snare

S78 TR-606 Snare

S79 CR-78 Snare

S80 Ambient Cross Stick

S81 Hall Cross Stick

S82 Analog Cross Stick

S83 Ragga Cross Stick

S84 TR-808 Cross Stick

S85 TR-909 Cross Stick

S86 CR-78 Cross Stick

No. Instrument

S13 Loose Snare Soft

S14 Loose Snare Hard

S15 Loose Snare Rim Shot

S16 Medium Snare 1 Soft

S17 Medium Snare 1 Hard

S18 Medium Snare 1 Rim Shot

S19 Medium Snare 2 Soft

S20 Medium Snare 2 Hard

S21 Medium Snare 2 Rim Shot

S22 Concert Snare Soft

S23 Concert Snare Hard

S24 Concert Snare Rim Shot

S25 Concert Snare Roll

S26 Concert Snare Buzz

S27 Roll Snare

S28 Brass Snare Soft

S29 Brass Snare Hard

S30 Ring Snare Soft

S31 Ring Snare Hard

S32 High Piccolo Snare

S33 Medium Fat Snare

S34 TD-7 Acoustic Snare

S35 Real Snare

S36 L.A. Snare

S37 L.A. Fat Snare

S38 Fat Snare

S39 Brush Roll Snare 1

S40 Brush Roll Snare 2

S41 Brush Swish Snare

S42 Brush Slap Snare 1

S43 Brush Slap Snare 2

S44 Brush Slap Snare 3

S45 Brush Slap Snare 4

S46 Rock Snare

Loop Exc No.

Hold SPD-11

✔

Exc 1

Exc 1

Exc 1

Exc 1

Exc 1

Exc 2

Exc 2

Exc 2

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

Tom-Tom

No. Instrument t01 Big Tom 1 Soft t02 Big Tom 1 Hard t03 Big Tom 2 Soft t04 Big Tom 2 Hard t05 Studio Tom 1 Soft t06 Studio Tom 1 Hard t07 Studio Tom 2 Soft t08 Studio Tom 2 Hard t09 Jazz Tom 1 Soft t10 Jazz Tom 1 Hard t11 Jazz Tom 2 Soft t12 Jazz Tom 2 Hard t13 Vintage Tom 1 Soft t14 Vintage Tom 1 Hard t15 Vintage Tom 2 Soft t16 Vintage Tom 2 Hard t17 Double Head Tom 1 t18 Double Head Tom 2 t19 Fusion Tom 1 t20 Fusion Tom 2 t21 Real Tom 1 t22 Real Tom 2 t23 Birch Tom 1 t24 Birch Tom 2 t25 Bowl Tom 1 t26 Bowl Tom 2 t27 Room Tom 1 t28 Room Tom 2 t29 Acoustic Tom 1 t30 Acoustic Tom 2 t31 Rock Tom 1 t32 Rock Tom 2 t33 Brush Slap Tom 1 t34 Brush Slap Tom 2 t35 Electronic Tom t36 2-Tone Electronic Tom t37 Bright Electronic Tom t38 TR-808 Tom t39 TR-909 Tom t40 909 Whack Tom

Hi-Hat Cymbal

No. Instrument h01 Pop Closed Hi-Hat Inner h02 Pop Closed Hi-Hat Outer h03 Pop Open Hi-Hat Inner h04 Pop Open Hi-Hat Outer h05 Pop Pedal Hi-Hat h06 Real Closed Hi-Hat Inner h07 Real Closed Hi-Hat Outer h08 Real Open Hi-Hat Inner h09 Real Open Hi-Hat Outer h10 Real Pedal Hi-Hat h11 Brush Closed Hi-Hat h12 Brush Open Hi-Hat h13 Pure Closed Hi-Hat Inner h14 Pure Closed Hi-Hat Outer h15 Pure Half Open Hi-Hat h16 Pure Open Hi-Hat h17 Heavy Closed Hi-Hat h18 Heavy Open Hi-Hat h19 Medium Closed Hi-Hat h20 Medium Open Hi-Hat h21 Tambourine Closed Hi-Hat h22 Tambourine Open Hi-Hat h23 Wheel Closed Hi-Hat h24 Wheel Open Hi-Hat h25 Wheel Pedal Hi-Hat h26 TR-808 Closed Hi-Hat Inner h27 TR-808 Closed Hi-Hat Outer h28 TR-808 Open Hi-Hat Inner h29 TR-808 Open Hi-Hat Outer h30 TR-909 Closed Hi-Hat h31 TR-909 Open Hi-Hat h32 CR-78 Closed Hi-Hat h33 CR-78 Open Hi-Hat

Loop Exc No.

Hold SPD-11

✔

Loop Exc No.

Hold

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

Hi-Hat Cymbal for pedal control

No. Instrument Loop Exc No.

Hold

H01 Pop Hi-Hat Inner Exc 31

H02 Pop Hi-Hat Outer

H03 Real Hi-Hat Inner

H04 Real Hi-Hat Outer

H05 Brush Hi-Hat

H06 Pure Hi-Hat Inner

H07 Pure Hi-Hat Outer

H08 Heavy Hi-Hat

H09 Medium Hi-Hat

H10 Wheel Hi-Hat

H11 TR-808 Hi-Hat Inner

H12 TR-808 Hi-Hat Outer

H13 TR-909 Hi-Hat

H14 CR-78 Hi-Hat

H15 Chenchen Hi-Hat

H16 Shekere Hi-Hat

H17 Hand Cymbal Hi-Hat

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

Exc 31

SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

Crash/Ride Cymbal

No. Instrument

C01 Crash Cymbal 1

C02 Crash Cymbal 2

C03 Quick Crash Cymbal

C04 Crash Cymbal Soft

C05 Chinese Cymbal 1

C06 Chinese Cymbal 2

C07 Chinese Cymbal 3

C08 Sizzle Chinese Cymbal

C09 Splash Cymbal 1

C10 Splash Cymbal 2

C11 Pgy Crash Cymbal 1

C12 Pgy Crash Cymbal 2

C13 Pgy Chinese Cymbal

C14 Pgy Splash Cymbal

C15 Ride Cymbal 1

C16 Ride Bell Cymbal 1

C17 Ride Cymbal 2

C18 Ride Bell Cymbal 2

C19 Ride Cymbal 3

C20 Ride Bell Cymbal 3

C21 Sizzle Ride Cymbal 1

C22 Sizzle Ride Bell Cymbal 1

C23 Sizzle Ride Cymbal 2

C24 Sizzle Ride Bell Cymbal 2

C25 Sizzle Ride Cymbal 3

C26 Sizzle Ride Bell Cymbal 3

C27 Pgy Ride Cymbal 1

C28 Pgy Ride Cymbal 2

C29 Brush Crash Cymbal

C30 Brush Sizzle Crash Cymbal

C31 Brush Ride Cymbal

C32 Brush Sizzle Ride Cymbal

C33 Hand Cymbals

C34 Mallet Cymbal

C35 TR-808 Cymbal

C36 TR-606 Cymbal

Loop Exc No.

Hold SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

PERCUSSION

Latin Percussion (Cuban, Brazilian)

No. Instrument Loop Exc No.

Hold

L01 R-8 Bongo High

L02 R-8 Bongo Low

L03 Bongo High

L04 Bongo Low 1

L05 Bongo Low 2

L06 R-8 Conga High Mute

L07 R-8 Conga High Open

L08 R-8 Conga Low Open

L09 Conga High Mute

L10 Conga High Slap

L11 Conga High Open

L12 Conga Low Open 1

L13 Conga Low Open 2

L14 Cowbell 1

L15 Cowbell 2

L16 Cowbell 3

L17 Cowbell 4

L18 Cowbell 5

SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

89

1

2

3

4

5

No. Instrument

L19 Claves 1

L20 Claves 2

L21 Guiro Short

L22 Guiro Long

L23 Maracas

L24 Shaker 1

L25 Shaker 2

L26 Shaker 3

L27 Tambourine 1

L28 Tambourine 2

L29 Timbale High

L30 Timbale High Rim Shot

L31 Timbale Low

L32 Timbale Paila

L33 Vibra Slap

L34 Agogo 1 High

L35 Agogo 1 Low

L36 Agogo 2 High

L37 Agogo 2 Low

L38 Agogo 3

L39 Cabasa

L40 TD-10 Cuica Mute 1

L41 TD-10 Cuica Mute 2

L42 TD-10 Cuica Open

L43 Cuica Mute 1

L44 Cuica Mute 2

L45 Cuica Open

L46 Pandeiro 1 Mute

L47 Pandeiro 1 Slap

L48 Pandeiro 1 Open

L49 Pandeiro 2 Mute

L50 Pandeiro 2 Slap

L51 Pandeiro 2 Open

L52 Pandeiro 3

L53 R-8 Surdo Rim

L54 R-8 Surdo Mute

L55 R-8 Surdo Open

L56 Surdo Mute

L57 Surdo Open

L58 Tamborim 1 Mute

L59 Tamborim 1 Slap

L60 Tamborim 1 Open

L61 Tamborim 2 Open

L62 TD-10 Samba Whistle Short

L63 TD-10 Samba Whistle Long

L64 Samba Whistle Short

L65 Samba Whistle Long

L66 Caxixi

L67 Berimbau Mute

L68 Berimbau Open

L69 Berimbau Up

L70 Berimbau Down

L71 Caixa Mute

L72 Caixa Open Soft

L73 Caixa Open Hard

L74 Caixa Roll

L75 Rain Stick

L76 Samba Bateria

L77 Samba Loop

L78 Shaker Loop

Indian Percussion

No. Instrument i01 Sarna Bell i02 Baya 1 Slide i03 Baya 1 Gin i04 Baya 1 Ka i05 Baya 1 Ge i06 Baya 2 Ge i07 Tabla 1 Na i08 Tabla 1 Tin i09 Tabla 1 Tun i10 Tabla 1 Ti i11 Tabla 2 Te i12 Tabla 2 Na 1 i13 Tabla 2 Na 2 i14 Tabla 2 Tun i15 Pot Drum 1 Low i16 Pot Drum 1 High i17 Pot Drum 1 Accent i18 Pot Drum 2 Mute i19 Pot Drum 2 Long

90

Loop Exc No.

Hold

Exc 3

Exc 3

SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

Exc 4

Exc 4

Exc 4

Exc 5

Exc 5

Exc 5

Exc 6

Exc 6

Exc 6

Exc 7

Exc 7

Exc 7

Exc 8

Exc 8

Exc 9

Exc 9

Exc 10

Exc 10

Exc 11

Exc 11

Exc 12

Exc 12

Exc 12

Exc 12

✔

✔

Loop

Loop

Exc 30

Exc 30

✔

✔

Loop Exc No.

Hold SPD-11

Exc 13

Exc 13

Exc 13

Exc 13

Exc 13

Exc 14

Exc 14

Exc 14

Exc 14

Exc 14

Exc 14

Exc 14

Exc 14

Exc 32

Exc 32

✔

✔

✔

✔

✔

Exc 33

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

No. Instrument i20 Pot Drum 2 Short i21 Dholak Ga i22 Dholak Ta i23 Dholak Tun i24 Dholak Na i25 Madal Da i26 Madal Din i27 Madal Ta i28 Khole i29 Dhol 1 i30 Dhol 2 i31 Dhol 3 i32 Dhol 4 i33 Tabla Baya Loop

Loop Exc No.

Hold

Exc 33

SPD-11

Exc 34

Exc 34

Exc 34

Exc 35

Exc 35

Loop

Exc 15

Exc 15

Exc 16

Exc 16

Exc 30

✔

African/Middle Eastern/Australian/Other Percussion

No. Instrument Loop Exc No.

Hold SPD-11

< Africa >

F01 Shekere

F02 Djembe 1 Center

F03 Djembe 1 Rim

F04 Djembe 2

F05 Djembe 3

F06 Djembe 4

F07 Talking Drum 1 Down

F08 Talking Drum 1 Up

F09 Talking Drum 2

F10 Afro Drum Open 1

F11 Afro Drum Open 2

F12 Afro Drum Flam

F13 Afro Drum Rattle

F14 Metal Castanets

Exc 17

Exc 17

✔

✔

✔

✔

✔

< Middle East >

F15 Bell Tree

F16 Sagat Closed

F17 Sagat Open

F18 Darbuka 1 Dom

F19 Darbuka 1 Tak

F20 Darbuka 2

F21 Doira Dun

F22 Doira Tik

F23 Doholla Dom

F24 Doholla Sak

F25 Doholla Tak

F26 Doholla Roll

F27 Doholla Stop

F28 Rek Dom

F29 Rek Tek

F30 Rek Open

F31 Rek Trill

F32 Bendir

F33 Dawul

< Australia >

F34 Clapstick

F35 Boomerang

< Other >

F36 Bloom Bell

< Africa >

F37 Afro Loop

Loop

Exc 18

Exc 18

Exc 19

Exc 19

Exc 30

✔

✔

✔

Japanese/Korean/Chinese/Southeast Asian Percussion

No. Instrument Loop Exc No.

Hold SPD-11

< Japan >

J01 Biwa

J02 Atarigane

J03 Hyoshigi

J04 Ohkawa

J05 Tsuzumi 1 High

J06 Tsuzumi 1 Low

J07 Tsuzumi 2

J08 Shime Taiko 1

J09 Shime Taiko 2

J10 Matsuri Taiko

J11 Matsuri Taiko Rim

J12 Taiko 1

J13 Taiko 2

J14 Taiko Rim

J15 Matsuri

✔

✔

✔

✔

✔

No. Instrument

J16 Yyoo Dude

< Korea >

J17 Buk

J18 Buk Rim

J19 Jang-Gu

J20 Jing Mute

J21 Jing Soft

J22 Jing Hard

J23 Gengari Mute

J24 Gengari Soft

J25 Gengari Hard

< China >

J26 Ban Gu 1

J27 Ban Gu 2

J28 Ban Gu 3

J29 Gu Roll

J30 Gu High

J31 Tang Gu Mute

J32 Tang Gu

J33 Hu Yin Luo Mute

J34 Hu Yin Luo

J35 Nao Bo

J36 Xiao Bo

J37 Small Tam-Tam

J38 Large Tam-Tam

J39 Large Gong

J40 Small Gong

J41 Tiny Gong

J42 Bend Gong

< Southeast Asia >

J43 Finger Cymbal

J44 Rama Cymbal

J45 Chenchen Closed

J46 Chenchen Open

J47 Bali Cymbal Closed

J48 Bali Cymbal Open

J49 Thai Gong

J50 Jaws Harp Open

J51 Jaws Harp Wow

Loop Exc No.

Hold SPD-11

Exc 28

Exc 28

Exc 28

Exc 29

Exc 29

Exc 29

Exc 20

Exc 20

Exc 21

Exc 21

Exc 22

Exc 22

Exc 23

Exc 23

Exc 24

Exc 24

Exc 25

Exc 25

✔

✔

Orchestral Percussion

No. Instrument Loop Exc No.

Hold o01 Sleigh Bell o02 Tree Chimes

Exc 26

Exc 26 o03 Triangle Mute o04 Triangle Open o05 Castanets o06 Castanets with Hall Ambience o07 Wood Block o08 Slapstick o09 Concert Bass Drum Mute o10 Concert Bass Drum Open o11 Timpani 1 Soft o12 Timpani 1 Hard o13 Timpani 2 o14 Timpani Bend o15 Church Bell o16 Percussion Hit 1 o17 Percussion Hit 2 o18 Percussion Hit 3 o19 Orchestra Hit Major 1 o20 Orchestra Hit Major 2 o21 Orchestra Hit Diminish 1 o22 Orchestra Hit Diminish 2 o23 Orchestra Hit 1 o24 Orchestra Hit 2

Exc 27

Exc 27

✔

SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

Melodic Percussion/Melodic Instruments

No. Instrument Loop Exc No.

Hold SPD-11

M01 Glockenspiel

✔

M02 Vibraphone

✔ ✔

M03 Xylophone

✔

M04 Marimba 1

✔

M05 Marimba 2

M06 Bass Marimba

✔

M07 Celesta

M08 Tubular Bells 1

M09 Tubular Bells 2

✔

✔

No. Instrument

< Central America >

M10 Steel Drum 1

M11 Steel Drum 2

< India >

M12 Sitar

M13 Sitar Gliss

M14 Santoor Upper

M15 Santoor Lower

M16 Tambura

M17 Tambura Drone

< Middle East >

M18 Hammer Dulcimer Upper

M19 Hammer Dulcimer Lower

< Africa >

M20 Kalimba

M21 Log Drum

M22 Balaphone

M23 Afro Zither

< China >

M24 Yang Qin

< Southeast Asia >

M25 Bonang

M26 Gender

M27 Saron

M28 Angklung

< Melodic Instruments >

M29 Gamelan 1

M30 Gamelan 2

M31 Glass

M32 Iron Hammer

M33 Bamboo

M34 Drip

M35 Synth Strings 1

M36 Synth Strings 2

M37 Brass Hit 1 Short

M38 Brass Hit 1 Long

M39 Brass Hit 2 Short

M40 Brass Hit 2 Long

M41 Brass Hit 3 Short

M42 Brass Hit 3 Long

M43 Brass Fall

M44 Choir Soprano

M45 Choir Alto

M46 Choir Bass

M47 Choir Unison 1

M48 Choir Unison 2

M49 Choir 5th 1

M50 Choir 5th 2

M51 Choir 4th 1

M52 Choir 4th 2

M53 Acoustic Bass

M54 Fingered Bass

M55 Picked Bass

M56 Slap Bass

M57 Funky Bass

M58 TB-303 Bass

M59 SH-101 Bass

Loop Exc No.

Hold SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

Analog Percussion (CR-78, TR-808, etc.)

No. Instrument Loop Exc No.

Hold SPD-11

A01 DR-55 Claves

✔

A02 CR-78 Cowbell

✔

A03 CR-78 Metallic Beat

A04 CR-78 Guiro

✔

✔

A05 CR-78 Tambourine

✔

A06 CR-78 Maracas

✔

A07 CR-78 Bongo

A08 CR-78 Claves

A09 TR-707 Cowbell

A10 TR-727 Agogo

A11 TR-808 Conga

A12 TR-808 Claves

A13 TR-808 Maracas

A14 TR-808 Cowbell

A15 TR-808 Hand Clap

A16 TR-909 Hand Clap

✔

✔

✔

✔

✔

1

2

3

4

5

91

SOUND EFFECTS

Dance Sounds

No. Instrument d01 Hand Clap 1 d02 Hand Clap 2 d03 Little Clap d04 Hip Clap d05 Afro Clap d06 Scratch Push d07 Scratch Pull d08 Scratch Stereo d09 DR-550 Scratch Push d10 DR-550 Scratch Pull d11 Scratch Bass Drum Push d12 Scratch Bass Drum Pull d13 Scratch Snare d14 Jungle Hat d15 Jungle Cymbal d16 Dance Shaker d17 Tape Rewind d18 Vinyl Stop d19 High-Q 1 d20 High-Q 2 d21 Beam High-Q d22 Air Blip d23 Techno Snap d24 Organ Chord d25 Distortion Guitar d26 Auh Voice d27 Techno Chord d28 Techno Scene d29 Synth Hit d30 Distortion Hit d31 Thin Beef d32 Techno Hit d33 Tao Hit d34 Philly Hit d35 Analog Bird d36 Retro UFO d37 Metal Sweep d38 Bounce d39 Distortion Swish d40 PCM Press d41 Jungle Roll Kick d42 Jungle Roll Snare d43 Techno Loop

Loop Exc No.

Hold

Loop

Exc 30

✔

SPD-11

✔

✔

✔

✔

✔

✔

✔

Artificial Sound Effects

No. Instrument

E01 Burt

Loop Exc No.

Hold

E02 Boing 1

E03 Boing 2

E04 Onkey

E05 Tom Noise

E06 Lazer

E07 Feedback Wave

E08 Atmosphere

E09 Bend Synth

E10 Toy Gun

E11 Eddy

E12 R-8 Spark

E13 Rattle

E14 Anvil

E15 Chop

E16 Metal 1

E17 Metal 2

E18 Metal Cross Stick

E19 Crash 1

E20 Crash 2

E21 Explosion

E22 Shot 1

E23 Shot 2

E24 Shot 3

E25 Shot 4

E26 Stick Hit

E27 Noise Accent 1

E28 Noise Accent 2

E29 Noise Accent 3

E30 Noise Accent 4

E31 Random Noise 1

E32 Random Noise 2

SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

92

No. Instrument

E33 Random Noise 3

E34 Random Noise 4

E35 Slide

E36 Uut?

E37 Drop

E38 Emergency

E39 Woody 1

E40 Woody 2

E41 Monster Drum

E42 Can Drum

E43 Wah Guitar Down 1

E44 Wah Guitar Up 1

E45 Wah Guitar Down 2

E46 Wah Guitar Up 2

Loop Exc No.

Hold SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

Natural Sounds, Human Voice

No. Instrument n01 Telephone 1

Loop Exc No.

Hold n02 Telephone 2 n03 Doorbell n04 Dog Bark n05 Bird n06 Car Door n07 Car Stop n08 Horn n09 Punch n10 Glass Crash n11 Door Close n12 Metallic Lid n13 Machine Gun n14 Pistol n15 Siren n16 Drum Major Whistle n17 Afro Feet n18 Afro Stomp n19 Thunder n20 Stream n21 Snaps n22 Human Whistle n23 Oww!

n24 Woa!

n25 Ooh!

n26 Chiki!

n27 Hey!

n28 Ou!

n29 Ou! Up n30 Scream n31 Voice Loop

Loop

Exc 30

✔

SPD-11

✔

Ambience, Reversed Sounds

No. Instrument Loop Exc No.

Hold r01 Kick Ambience r02 Snare Ambience r03 Tom Ambience r04 Concert Ambience r05 Reverse Bend Gong r06 Reverse Analog Bird r07 Reverse Laser r08 Reverse Boing r09 Reverse Bend Synth r10 Reverse High-Q r11 Reverse Beat r12 Reverse Sitar Gliss r13 Reverse Yyoo Dude r14 Reverse Ambience r15 Reverse Clap r16 Reverse Cymbal r17 Reverse Kick r18 Reverse Shot r19 Reverse Snare r20 Reverse Tom

SPD-11

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

✔

Forces Phrase Loop Instrument to stop (MUTE)

No. Instrument Loop Exc No.

Hold SPD-11

Mut Phrase Loop Mute Exc 30

No sound

No. Instrument oFF Off

Loop Exc No.

Hold SPD-11

Patch List

No.

Patch Name Description

1 Drums & Shaker *

2 Latin Set *

3 Orchestral

4 Groove *

5 Amazon *

6 Brushes *

7 Delay

8 Dance Chord

9 Indian *

10 Tex-Mex

11 Standard 1

12 Standard 2

13 Big Rock

14 Jazz

15 Funk

16 Power

17 Rock

18 Electronic

19 Vintage Hex

20 TR-909

21 TR-808

22 CR-78/TR-808

23 Dance Scratch

24 Dance Mix *

25 Techno

26 Techno Beat

27 Techno Hit *

28 Hip Hop

29 Jungle *

30 Drums & Synth

31 Bongo & Conga

32 Timbales *

Demo Kit

Demo Kit

Demo Kit

Demo Kit

Demo Kit

Demo Kit

Demo Kit

Demo Kit

Demo Kit

Demo Kit

Acoustic Drum Kit

Acoustic Drum Kit

Acoustic Drum Kit

Acoustic Drum Kit

Acoustic Drum Kit

Acoustic Drum Kit

Acoustic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Electronic Drum Kit

Cuban Percussion

Cuban Percussion

33 Cabasa & Cuica

34 Berimbau *

35 Samba *

36 Tabla Baya

Brazilian Percussion

Brazilian Percussion

Brazilian Percussion

Indian Percussion

37 Pot Drums

38 Madal & Dholak *

Indian Percussion

Indian Percussion

39 Sitar * Indian Stringed Instrument

40 Santoor Indian

41 Tambura

42 African *

Indian Stringed Instrument

African Percussion

43 Kalimba African

44 Balaphone

45 Darbuka

46 Doholla

47 Hammer Dulcimer

African Percussion

Percussion

Percussion

Struck Stringed Instrument

48 Japanese

49 Korean

50 Chinese

Japanese Percussion

Korean Percussion

Chinese Percussion

MEMO

Patches marked with an asterisk “

*

” are made using phrase-loop Instruments.

No.

Patch Name Description

51 Yang Qin

52 Southeast Asian

53 Gamelan

54 Timpani

Chinese Struck Stringed Instrument

Southeast Asian Percussion

Southeast Asian Percussion

Orchestral Percussion

55 Chimes & Bells

56 Orchestra Hits

Orchestral Percussion

Orchestral Percussion

57 Marimba Melodic

58 Bass Marimba Melodic Percussion

59 Celesta Melodic

60 Vibraphone

61 Xylophone

Melodic Percussion

Melodic Percussion

62 Tubular Bells

63 Steel Drum

64 Melodic Gong

65 Oriental

Melodic Percussion

Melodic Percussion

Melodic Sound

Melodic Sound

66 Choir

67 Choir & Bass

68 Strings & Bass

69 Brass

70 Melodic 1

71 Melodic 2

72 Melodic 3

73 Melodic 4

Melodic Sound

Melodic Sound

Melodic Sound

Melodic Sound

Melodic Sound

Melodic Sound

Melodic Sound

Melodic Sound

74 Whole Tone

75 One Shot Delay

76 Chorus + Delay

77 Flanger + Reverb

78 Metal Head

79 Chorus Chord

80 Wack-O

81 Flying

82 Crime Scene

83 Holler

84 Voices *

85 Loop Menu *

86 Reversed Sounds

87 Ambience

88 Deep (Full Set)

89 Recording (Full Set)

90 Vintage (Full Set)

91 Jazz (Full Set)

Full Set Kit

Full Set Kit

92 Jazz Brushes (Full Set) Full Set Kit

93 Analog (Full Set) Full Set Kit

94 Kit Copy

95 Kit Copy

96 for Patch Expand 1

97 for Patch Expand 2

98 for Patch Expand 3

99 for Patch Expand 4

Melodic Sound

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Sound Effects

Full Set Kit

Full Set Kit

1

2

3

4

5

93

Parameter List

GROUP

SOUND

MIDI

SYSTEM

PARAMETER

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

PGM CHG

FX/PEDAL

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

PDL LEVEL

PDL CC #

BASIC CH

BULK DUMP

PATCH EXPAND

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

TRIG CURVE

GROUP

ADVANCED

TRIGGER

PARAMETER

PARAMETER

SCAN TIME [x 0.1ms]

RETRIGGER CANCEL

MASK TIME [ms]

CROSSTALK CANCEL

RIM SENS (PD-120)

VALUE (DISPLAY)

b01–b50, S01–S86, t01–t40, h01–h33, H01–H17, C01–C36,

L01–L78, i01–i33, F01–F37, J01–J51, o01–o24, M01–M59,

A01–A16, d01–d43, E01–E46, n01–n31, r01–r20, Mut, oFF

0–15

-24–24

-31–31

L7–L1, Ctr, r1–r7, rnd

Lnr, EP1–EP4, SP1, SP2, SF1–SF4, Hd1–Hd4, CSt

0–15

1–16, oFF, P1–P16, S-S, C-S, toP

0–127, oFF

01–40, ALt

L7–L1, Ctr, r1–r7, rnd, oFF

Lnr, EP1–EP4, SP1, SP2, SF1–SF4, Hd1–Hd4, CSt

1–15

1–128, oFF

1–25

1–32

0–15

HH, EFS, U07, U12, U24, d05, d12, d24

0–15 oFF, 1, 4, 10, 11, 16, 17, 64

1–16

ALL, 1–99 oFF, on

1–16

0–15

Pd5, Pd7, Pd9, 100, 120, P1, P2, Kd7, K1, K2, KiK, Snr, toM, FLr

-2, -1, 0, 1, 2

PAGE

22

28

28

28

54

55

56

67

75

69

43

44

45

47

24

25

61

62

23

23

23

23

63

63

64

64

65

VALUE (DISPLAY)

00–30

1–16

00–64 oFF, 30, 40, 50, 60, 70, 80 oFF, 1–15

PAGE

51

52

52

53

53

Trigger Type Internal Parameters (Advanced Trigger Parameters)

Refer to the chart for the Advanced Trigger Parameter values, which are set automatically when the

Trigger Type is set.

ADVANCED

TRIGGER

PARAMETER

SCAN TIME [x 0.1ms]

RETRIGGER CANCEL

MASK TIME [ms]

CROSSTALK CANCEL

for DRUM PAD

Pd5 Pd7 Pd9 100

15

1

00

1

00

1

00

1

12

50

---

12

40

---

12

40

---

12

30

---

RIM SENSITIVITY

Pd5:

Pd7:

PD-5

PD-7

Pd9: PD-9

100:

120:

P1:

PD-100

PD-120

PAD 1

120

10

1

12

30

9

P2:

Kd7:

K1:

PAD 2

KD-7

KICK PAD 1

P1

10

1

12

50

---

P2

20

1

12

50

---

Kd7

00

7

12 oFF

---

K1

10

7

28 oFF

---

K2

20

7

28 oFF

---

K2:

KiK:

Snr:

KICK PAD 2

KICK

SNARE

for DRUM TRIGGER

KiK Snr toM FLr

10

7

10

5

10

7

20

9

28

40

28

40

28

40

28

30

--------toM:

FLr:

TOM TOM

FLOOR TOM

94

Blank Parameter Chart

PATCH PARAMETER

PATCH No.

PATCH NAME

PAD BANK

LAYER

FX ON/OFF

INTERNAL PAD

A

ON

ON

B

OFF

OFF

FX/PEDAL

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

PDL LEVEL

PDL CC #

PAD 1 PAD 2 PAD 3 PAD 4 PAD 5 PAD 6 PAD 7 PAD 8

BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B

SOUND

MIDI

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

PGM CHG

EXTERNAL PAD

HEAD 1 RIM 1 HEAD 2 RIM 2 HEAD 3 RIM 3 HEAD 4 RIM 4

BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B

SOUND

MIDI

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

PGM CHG

TRIGGER PARAMETER

TRIG 1 TRIG 2 TRIG 3 TRIG 4 INTERNAL PAD

BASIC

ADVANCED

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

TRIG CURVE

SCAN TIME

RETRIGGER CANCEL

MASK TIME

CROSSTALK CANCEL

RIM SENSITIVITY (PD-120)

1

2

3

4

5

95

Roland Exclusive Message

fig.

1. Data Format for Exclusive Messages

Roland’s MIDI implementation uses the following data format for all

Exclusive messages (type IV):

Byte Description

F0H

41H

DEV

MDL

CMD

[BODY]

F7H

Exclusive Status

Manufacturer ID (Roland)

Device ID

Model ID

Command ID

Main data

End of exclusive

•MIDI status: F0H, F7H

An Exclusive message must be flanked by a pair of status codes, starting with a Manufacturer ID immediately after F0H (MIDI version 1.0).

•Manufacturer ID: 41H

The Manufacturer ID identifies the manufacturer of a MIDI instrument that sends an Exclusive message. Value 41H represents Roland’s Manufacturer ID.

•One-way transfer procedure (See Section 3 for details.)

This procedure is suited to the transfer of a small amount of data. It sends out an Exclusive message completely independent of the receiving device's status.

Connection Diagram

Device A

MIDI OUT

MIDI IN

1

2

Device B

MIDI IN

MIDI OUT

Connection at point 2 is essential for “Request data” procedures.

(See Section 3.)

•Handshake-transfer procedure (This device does not use this procedure)

This procedure initiates a predetermined transfer sequence (handshaking) across the interface before data transfer takes place. Handshaking ensures that reliability and transfer speed are high enough to handle a large amount of data.

Connection Diagram

Device A

MIDI OUT

MIDI IN

1

2

Device B

MIDI IN

MIDI OUT

•Device ID: DEV

The Device ID contains a unique value that identifies individual devices in the implementation of several MIDI instruments. It is usually set to

00H–0FH, a value smaller by one than that of a basic channel, but value

00H–1FH may be used for a device with several basic channels.

•Model ID: MDL

The Model ID contains a value that identifies one model from another.

Different models, however, may share an identical Model ID if they handle similar data.

The Model ID format may contain 00H in one or more places to provide an extended data field. The following are examples of valid Model IDs, each representing a unique model:

01H

02H

03H

00H, 01H

00H, 02H

00H, 00H, 01H

•Command ID: CMD

The Command ID indicates the function of an Exclusive message. The

Command ID format may contain 00H in one or more places to provide an extended data field. The following are examples of valid Command IDs, each representing a unique function:

01H

02H

03H

00H, 01H

00H, 02H

00H, 00H, 01H

•Main data: BODY

This field contains a message to be exchanged across an interface. The exact data size and content will vary with the Model ID and Command ID.

2. Address-mapped Data Transfer

Address mapping is a technique for transferring messages conforming to the data format given in Section 1. It assigns a series of memory-resident records—waveform and tone data, switch status, and parameters, for example, to specific locations in a machine-dependent address space, thereby allowing access to data residing at the address a message specifies.

Address-mapped data transfer is therefore independent of models and data categories. This technique allows use of two different transfer procedures: one-way transfer and handshake transfer.

Connection at points 1 and 2 is essential.

Notes on the above procedures

* There are separate Command IDs for different transfer procedures.

* Devices A and B cannot exchange data unless they use the same transfer procedure, share identical Device ID and Model ID, and are ready for communication.

3. One-way Transfer Procedure

This procedure sends out data until it has all been sent and is used when the messages are so short that answerbacks need not be checked.

For longer messages, however, the receiving device must acquire each message in time with the transfer sequence, which inserts 20 milliseconds intervals.

Types of Messages

Message Command ID

Request data 1

Data set 1

RQ1 (11H)

DT1 (12H)

•Request data #1: RQ1 (11H)

This message is sent out when there is a need to acquire data from a device at the other end of the interface. It contains data for the address and size that specify designation and length, respectively, of data required.

On receiving an RQ1 message, the remote device checks its memory for the data address and size that satisfy the request.

If it finds them and is ready for communication, the device will transmit a

“Data set 1 (DT1)” message, which contains the requested data. Otherwise, the device won't send out anything.

Byte Description

F0H

41H

DEV

Exclusive Status

Manufacturer ID (Roland)

Device ID

MDL

11H aaH

|

| ssH

|

| sum

F7H

Model ID

Command ID

Address MSB

|

|

LSB

Size MSB

|

|

LSB

Check sum

End of exclusive

96

fig.

* The size of the requested data does not indicate the number of bytes that will make up a DT1 message, but represents the address fields where the requested data resides.

* Some models are subject to limitations in data format used for a single transaction.

Requested data, for example, may have a limit in length or must be divided into predetermined address fields before it is exchanged across the interface.

* The same number of bytes comprises address and size data, which, however, vary with the Model ID.

* The error-checking process uses a checksum that provides a bit pattern where the last 7 bits are zero when values for an address, size, and that checksum are summed.

•Data set 1: DT1 (12H)

This message corresponds to the actual data transfer process.

Because every byte in the data is assigned a unique address, a DT1 message can convey the starting address of one or more bits of data as well as a series of data formatted in an address-dependent order.

The MIDI standards inhibit non real-time messages from interrupting an

Exclusive one. This fact is inconvenient for devices that support a “soft-thru” function. To maintain compatibility with such devices, Roland has limited the DT1 to 256 bytes so that an excessively long message is sent out in separate ‘segments’.

Byte Description

F0H Exclusive Status

|

|

41H

DEV

MDL

12H aaH ddH

|

| sum

F7H

Manufacturer ID (Roland)

Device ID

Model ID

Command ID

Address MSB

|

|

LSB

Data MSB

|

|

LSB

Check sum

End of exclusive

* A DT1 message is capable of providing only the valid data among those specified by an RQ1 message.

* Some models are subject to limitations in data format used for a single transaction.

Requested data, for example, may have a limit in length or must be divided into predetermined address fields before it is exchanged across the interface.

* The number of bytes comprising address data varies from one Model ID to another.

* The error-checking process uses a checksum that provides a bit pattern where the last 7 bits are zero when values for an address, size, and that checksum are summed.

•Example of Message Transactions

•Device A sending data to Device B

Transfer of a DT1 message is all that takes place.

Device A Device B

[Data set 1]

* More than 20m sec time interval.

[Data set 1]

[Data set 1]

•Device B requesting data from Device A

Device B sends an RQ1 message to Device A.

Checking the message, Device A sends a DT1 message back to Device B.

Device A Device B

[Request data]

[Data set 1]

* More than 20m sec time interval.

[Data set 1]

[Data set 1]

97

1

2

3

4

5

MIDI Implementation

TOTAL PERCUSSION PAD

Model SPD-20

1.TRANSMITTED DATA

[Channel Voice Message]

(1) Note off

Status Second

9nH kkH n = MIDI Channel: kk = Note number:

Third

00H

0H–FH (ch.1–ch.16)

00H–7FH (0–127)

(2) Note on

Status

9nH n = MIDI Channel: kk = Note number: vv = Velocity:

Second kkH

Third vvH

0H–FH (ch.1–ch.16)

00H–7FH (0–127)

01H–7FH (1–127)

The SPD-20 transmits through the MIDI Channels set to each Pad’s Transmit Channel (TX

CH). However, there is no transmission if the Transmit Channel is set to P1–P16, S-S, C-S, or toP.

When the Gate Time is set to 01–40, after Note On is transmitted, Note Off is transmitted after the set time has elapsed. However, if a new sound is produced by the same Pad before Note Off is transmitted, then Note Off is transmitted at that time.

With Gate Time set to ALt, Note On and Note Off messages are alternately transmitted when you strike the Pad. However, when switching Patches,

When the Layer function is on, settings for both Bank A and Bank B are transmitted.

(3) Polyphonic Key Pressure

Status Second

AnH kkH n = MIDI Channel: kk = Note number: vv = Value:

Third vvH

0H–FH (ch.1–ch.16)

00H–127H (0–127)

00H, 7FH (0, 127)

These are transmitted via the MIDI Channel that is set to each Pad’s Transmit Channel.

However, if the Transmit Channel is set to P1–P16, S-S, C-S, or toP, the settings are not transmitted.

This message is transmitted with value 7FH when grab the rim of the pad or value 00H when release the rim. Note number to be transferred is content of the head/rim of grabbed pad.

When the “SOUND” is set from “H**”, the note number of the head, rim, note number of head minus 2, note number of head minus 4, note number of rim minus 2, note number of rim minus 4 are transferred.

When the “LAYER” is set at “ON”, the note number of “BANK A” and “BANK B” are transmitted.

(4) Control Change

Modulation Depth (Controller number 1)

Status

BnH

Second

01H

Third vvH

Foot Control (Controller number 4)

Status

BnH

Second

04H

Third vvH

Expression (Controller number 11)

Status

BnH

Second

0BH

Third vvH

General purpose controller 1 (Controller number 16)

Status

BnH

Second

10H

Third vvH

General purpose controller 2 (Controller number 17)

Status

BnH

Second

11H n = MIDI channel: vv = Parameter Value:

Third vvH

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

98

Date: Dec. 4 1997

Version: 1.00

This transmits the Hi-Hat Controller position message as one of the Control Messages set in PDL CC#.

When the Footswitch function is set as a hold pedal, then if the pedal is pressed, 7FH is transmitted; when the pedal is released, 00H is transmitted.

It is transmitted via the MIDI Channel set to the Basic Channel.

Hold1 (Controller number 64)

Status

BnH

Second

40H n = MIDI channel: vv = Parameter Value:

Third vvH

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

This transmits the Hi-Hat Controller position message as one of the Control Messages set in PDL CC#.

It is transmitted via the MIDI Channel set to the Basic Channel.

Panpot (Controller number 10)

Status

BnH

Second

0AH n = MIDI channel: vv = Panpot:

Third vvH

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

This transmits the Hi-Hat Controller position message as one of the Control Messages set in PDL CC#.

It is transmitted via the MIDI Channel set to the Basic Channel.

These are transmitted via the MIDI Channel that is set to each Pad’s Transmit Channel.

However, if the Transmit Channel is set to P1–P16, S-S, C-S, or toP, the settings are not transmitted.

When the Pad is struck, the Panpot value corresponding to the MIDI PAN set to the Pad is transmitted.

The Panpot message is not transmitted when the Transmit Channel and the Panpot value of a Pad that is tapped are the same as those of the most recently tapped Pad.

The Panpot value

MIDI PAN

L7

L6

L5

L4

L3

L2

L1

Ctr

R1

R2

R3

R4

R5

R6

R7 rnd

27

36

45

54 vv

0

9

18

64

73

82

91

100

109

118

127 one of upper value

(5) Program Change

Status Second

CnH ppH n = MIDI channel: pp = Program number:

0H–FH (ch.1–ch.16)

00H–7FH (prog.1–prog.128)

With the Transmit Channel set to 1–16, when you switch Patches, the Transmit Channel and Program Changes set to each of the Pads in Banks A and B are transmitted.

With the Transmit Channel set to P1–P16, when you strike Pads, the Transmit Channel and

Program Changes set to each of the Pads in Banks A and B are transmitted.

[System Exclusive Message]

Status

F0H:

F7H:

System Exclusive

EOX (End Of Exclusive)

With the SPD-20, the System Exclusive Message can be used to transmit Bulk Dump of patch data, instrument data, system data, chain data and sequence data.

For details refer to “3. Exclusive Communications” and “Roland Exclusive Message.”

[System Common Message]

(1) Song Position Pointer

Status

F2H

Second

00H

Third

00H

When “toP” is selected as the Transmit Channel, messages are transmitted when the Pad is struck.

[System Realtime Message]

(1) Start

Status

FAH

When “S-S” is selected as the Transmit Channel, messages are transmitted when the Pad is struck. Afterwards, striking the Pad alternately transmits Stop and Start messages.

(2) Continue

Status

FBH

When “C-S” is selected as the Transmit Channel, messages are transmitted when the Pad is struck. Afterwards, striking the Pad alternately transmits Stop and Continue messages.

(3) Stop

Status

FCH

When “S-S” or “C-S” is selected as the Transmit Channel, striking the Pad after transmitting Start or Continue messages transmits.

(4) Active Sensing

Status

FEH

Normal transmission takes approximately 240 ms.

2.RECEIVED DATA

[Channel Voice Message]

(1) Note On

Status Second

9nH kkH n = MIDI channel: kk = Note number: vv = Velocity:

Third vvH

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

01H–7FH (1–127)

The SPD-20 receives Note on messages on the basic channel. If the received Note number is assigned to any pad, the instrument which is assigned to that pad will sound. If there are two (or more) pads which are assigned the same Note number, the instrument priority is given to the lower (lowest) pad number. When the Layer is set at “ON”, the note number of

“BANK B” is ignored.

(2) Polyphonic Key Pressure

Status Second

AnH kkH n = MIDI channel: kk = Note number: vv = Value:

Third vvH

0H–FH (ch.1–ch.16)

00H–7FH (0–127)

00H–7FH (0–127)

The SPD-20 receives the message on the basic channel. If the value is greater than or equal to 40H(64), the decay of the instrument whitch corresponds to the Note number is made shorter.

(3) Control Change

Modulation Depth (Controller number 1)

Status

BnH

Second

01H

Third vvH

Foot Control (Controller number 4)

Status

BnH

Second

04H

Third vvH

Panpot (Controller number 10)

Status

BnH

Second

0AH

Third vvH

Expression (Controller number 11)

Status

BnH

Second

0BH

Third vvH

General purpose controller 1 (Controller number 16)

Status

BnH

Second

10H

Third vvH

General purpose controller 2 (Controller number 17)

Status

BnH

Second

11H n = MIDI channel: vv = Parameter Value:

Third vvH

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

Any one of the Control Messages set in PDL CC# is received as a Hi-Hat Control pedal

Position Message. The result of receiving the message depends on the parameter of “PDL

CTRL”. The SPD-20 receives the message on the basic channel.

Hold1 (Controller number 64)

Status Second

BnH 40H n = MIDI channel: vv = Parameter Value:

Third vvH

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

Any one of the Control Messages set in PDL CC# is received as a Hi-Hat Control pedal

Position Message. Effects are determined in the PDL CTRL settings. When Hold is selected for the PDL CC# setting, with vv = 40H–7FH, Hold is turned on, and when vv = 00H–3FH,

Hold is turned off. This is received via the channel set to the Basic Channel.

(4) Program Change

Status

CnH

Second ppH n = MIDI channel: pp = Program number:

0H–0FH (ch.1–ch.16)

00H–62H (0–98)

The SPD-20 receives the message on the basic channel. The program change number 0-98 correspond to the patch number 1–99.

1

2

3

4

[Channel Mode Message]

(1) Reset All Controllers

Status

BnH

Second

79H n = MIDI channel:

Third

00H

0H–FH (ch.1–ch.16)

The SPD-20 receives the message on the basic channel. The SPD-20 initializes the controller on receiving this message.

Modulation Depth

Foot Controller

Panpot

Expression

General Purpose Controller 1

General Purpose Controller 2

Hold 1

0

0

0

0

0

0

0

5

[System Real Time Message]

(1) Active Sensing

Status

FEH

Whenever the SPD-20 receives this message, it monitors the interval of the coming data. If the subsequent message has not arrived within 300ms after the previous data, it process as though it has received Reset All Controllers and stops monitoring receiving interval.

99

[System Exclusive Message]

Status

F0H: System Exclusive

F7H: EOX (End Of Exclusive)

When using Exclusive Messages with the SPD-20, you can bulk dump Patch data, System data, and Chain data.

For details refer to “Roland Exclusive Message” and paragraph “3. Exclusive

Communications.”

3.Exclusive Communications

[General]

SPD-20 can do one-way communications to send and receive parameters for sequence and setup.

Model ID included in the exclusive message should be 00H 0DH. The device ID code should be BASIC CH of System. Note that the actual value that set in the device ID field is smaller by one than the value set at parameter BASIC CH of System.

[One Way Communications]

Request data RQ1 11H

aaH aaH ssH ssH ssH ssH sum

F7H

Byte

F0H

41H

DEV

00H 0DH

11H aaH aaH

Description

Exclusive status

Manufacturer’s ID (Roland)

Device ID (00H–0FH)

Model ID (SPD-20)

Command ID (RQ1)

Address MSB

Address

Address

Address LSB size MSB size size size LSB

Checksum

EOX (End of Exclusive)

Data set DT1 12H

aaH aaH ddH

.

.

sum

F7H

Byte

F0H

41H

DEV

00H 0DH

12H aaH aaH

Description

Exclusive status

Manufacturer’s ID (Roland)

Device ID (00H–0FH)

Model ID (SPD-20)

Command ID (DT1)

Address MSB

Address

Address

Address LSB data

Checksum

EOX (End of Exclusive)

[Transmission]

The SPD-20 transmit exclusive messages only when MIDI Bulk dump is performed by panel operation on menu of System function.

[Receive]

When the SPD-20 is using One Way Communication, parameters are received when Bulk

Dump is not executed.

The SPD-20 can receive SPD-11 Patch parameter System Exclusive messages. When this is done, the SOUND INST Sound parameter is shifted and saved to the SPD-20 Instrument

Number having the same tone as the one received from the SPD-11.

4.Parameter address map

Addresses are shown in every 7-bit hexadecimal.

+ ——————————————————————————— +

| Address | MSB | | | LSB |

|—————+—————+—————+—————+————— |

| Binary | 0aaa aaaa | 0bbb bbbb | 0ccc cccc | 0ddd dddd |

| 7-bit hex. | AA | BB | CC | DD |

+ ——————————————————————————— +

08

09

0A

0B

04

05

06

07

0C

[Parameter base addresses]

Start

Address

00 00 00 00

|

01 00 00 00

|

02 00 00 00

Description

Patch parameters

|

System parameters

|

Chain setup

*4-1

*4-2

*4-3

Table 4-1 Patch parameters

* p: Patch No. (0–98), t: Pad No. (1–32)

The correspondence of the “t” value to internal and external pads is as follows.

00H (1):

|

07H (8):

BANK A INTERNAL PAD1

|

BANK A INTERNAL PAD8

08H (9):

|

0BH (12):

0CH (13):

|

0FH (16):

10H (17):

|

17H (24):

18H (25):

|

1BH (28):

BANK A EXTERNAL HEAD1

|

BANK A EXTERNAL HEAD4

BANK A EXTERNAL RIM1

|

BANK A EXTERNAL RIM4

BANK B INTERNAL PAD1

|

BANK B INTERNAL PAD8

BANK B EXTERNAL HEAD1

|

BANK B EXTERNAL HEAD4

1CH (29):

|

1FH (32):

Offset

Address pp 00 00

Description

BANK A/B

00 01 LAYER

00 02 FX ON/OFF

00 03

00 04

00 05

00 06

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

BANK B EXTERNAL RIM1

|

BANK B EXTERNAL RIM4

0–1

0–1

0–1

0–24

0–31

0–15

0–7

(0: A, 1: B)

(0: OFF, 1: ON)

(0: OFF, 1: ON)

(0: HH, 1: EFS, 2: U07, 3: U12, 4: U24,

5: d05, 6: d12, 7: d24)

00 07

00 08 tt 00 tt 01 tt 02 tt 03 tt 04 tt 05 tt 06 tt 07 tt 08

PDL LEVEL 0–15

PDL CC# 0–7

SOUND INST Upper 3bits

SOUND INST Lower 7bits

SOUND LEVEL 0–15

SOUND PITCH

SOUND DECAY

0–48

-31–+31

SOUND PAN

SOUND CURVE

SOUND FX SEND

MIDI TX CH

0–15

0–15

0–15

0–35

0–701 (700: Mut, 701: oFF)

Lower 7bits of 2’s complement

(0–14: L7–R7, 15: RND) tt 09 MIDI NOTE # tt 0A MIDI NOTE # tt 0B MIDI GT TIME tt 0C MIDI PAN tt 0D MIDI CURVE tt 0E MIDI SENS tt 0F MIDI PGM CHG tt 10 MIDI PGM CHG

0–127

0–1

1–41

0–16

0–15

0–14

0–127

0–1

(16: OFF, 17–32: P1–P16, 33: S-S,

34: C-S, 35: toP)

(1: OFF)

(41: ALt)

(0–14: L7–R7, 15: RND, 16: OFF)

(1: OFF)

Table 4-2 System parameters

Offset

Address

00

01

02

Description

PATCH EXPAND

TRIG SENS (INTERNAL)

TRIG THRESHOLD (INTERNAL)

0–1

0–15

0–15

03 EPAD1 Trig Type 0–13

(0: OFF, 1: ON)

( 0: Pd5, 1: Pd7, 2: Pd9, 3: 100,

4: 120, 5: P1, 6: P2, 7: Kd7,

8: K1, 9: K2, 10: KiK, 11:Snr,

12: toM, 13: FLr)

EPAD1 Trig Sens

EPAD1 Trig Threshold

EPAD1 Trig Curve

EPAD1 Scan Time

EPAD1 Retrigger Cance

EPAD1 Mask Time

EPAD1 Crosstalk Cancel

EPAD1 Rim Sens

EPAD2 Trig Type

0–15

0–15

0–4

0–30

0–15

0–16

0–6

0–15

0–13 (0: Pd5, 1: Pd7, 2: Pd9, 3: 100,

4: 120, 5: P1, 6: P2, 7: Kd7,

8: K1, 9: K2, 10: KiK, 11:Snr,

12: toM, 13: FLr)

0D

0E

0F

10

11

12

EPAD2 Trig Sens

EPAD2 Trig Threshold

EPAD2 Trig Curve

EPAD2 Scan Time

EPAD2 Retrigger Cancel

EPAD2 Mask Time

0–15

0–15

0–4

0–30

0–15

0–16

100

13

14

15

16

17

18

19

1A

1B

1C

1D

1E

1F

20

21

22

23

24

EPAD2 Crosstalk Cancel

EPAD2 Rim Sens

EPAD3 Trig Type

EPAD3 Trig Sens

EPAD3 Trig Threshold

EPAD3 Trig Curve

EPAD3 Scan Time

EPAD3 Retrigger Cancel

EPAD3 Mask Time

EPAD3 Crosstalk Cancel

EPAD4 Trig Type

EPAD4 Trig Sens

EPAD4 Trig Threshold

EPAD4 Trig Curve

EPAD4 Scan Time

EPAD4 Retrigger Cancel

EPAD4 Mask Time

EPAD4 Crosstalk Cancel

0–6

0–15

0–13

0–15

0–15

0–4

0–30

0–15

0–16

0–6

0–13

0–15

0–15

0–4

0–30

0–15

0–16

0–6

Table 4-3 Chain setup

If you want to send Data Request to the SPD-20 in this area, set the address and the size as follows.

Other data requests specifying address or size are ignored.

Moreover, you cannot choose the address to which the data in this section is transmitted, nor can you choose the address from which it is received.

address = 02 00 00 00 size = 00 00 01 00

Address Map

Address

==========

00 00 00 00

01 00 00 00

02 00 00 00

Block Sub block Reference

=========== ========== =========

+——————-+........ +————–+........+——-+

|

|

| Patch Param. |

+——————-+.

| .

| Patch#0 | |4-1 |

+————–+........+——-+

| Patch#1 |

| .

+————–+

|

|

|

| | .

| : |

| .

+————–+

| .

| Patch#97 |

| . +————–+

|

| | . | Patch#98 |

| +————–+

+——————-+..................................... +——-+

| System setup | | 4-2 |

+——————-+..................................... +——-+

| Chain setup | | 4-3 |

+——————-+..................................... +——-+

5.Useful Information

[Decimal and Hexadecimal]

It is common to use 7-bit Hexadecimal numbers in MIDI communication.

The following is a conversion table between decimal numbers and 7-bit Hexadecimal numbers.

fig.

Decimal

Hexadecimal

Decimal

28

29

30

31

24

25

26

27

20

21

22

23

16

17

18

19

12

13

14

15

10

11

8

9

6

7

4

5

2

3

0

1

18H

19H

1AH

1BH

1CH

1DH

1EH

1FH

10H

11H

12H

13H

14H

15H

16H

17H

08H

09H

0AH

0BH

0CH

0DH

0EH

0FH

00H

01H

02H

03H

04H

05H

06H

07H

60

61

62

63

56

57

58

59

52

53

54

55

48

49

50

51

44

45

46

47

40

41

42

43

36

37

38

39

32

33

34

35

Hexadecimal

Decimal

38H

39H

3AH

3BH

3CH

3DH

3EH

3FH

30H

31H

32H

33H

34H

35H

36H

37H

28H

29H

2AH

2BH

2CH

2DH

2EH

2FH

20H

21H

22H

23H

24H

25H

26H

27H

92

93

94

95

88

89

90

91

84

85

86

87

80

81

82

83

76

77

78

79

72

73

74

75

68

69

70

71

64

65

66

67

Hexadecimal

Decimal

58H

59H

5AH

5BH

5CH

5DH

5EH

5FH

50H

51H

52H

53H

54H

55H

56H

57H

48H

49H

4AH

4BH

4CH

4DH

4EH

4FH

40H

41H

42H

43H

44H

45H

46H

47H

120

121

122

123

124

125

126

127

112

113

114

115

116

117

118

119

104

105

106

107

108

109

110

111

100

101

102

103

96

97

98

99

Hexadecimal

78H

79H

7AH

7BH

7CH

7DH

7EH

7FH

70H

71H

72H

73H

74H

75H

76H

77H

68H

69H

6AH

6BH

6CH

6DH

6EH

6FH

60H

61H

62H

63H

64H

65H

66H

67H

* To indicate a decimal number for the MIDI channel and Program number, add 1 to the

Decimal number in the table.

* The resolution of 7-bit Hexadecimal numbers is 128. Use several bytes for values which require more resolution. i.e. The number “aa bbH” in 7-bit Hexadecimal is “aa x 128 + bb” in Decimal form.

* A signed number is indicated as 00H = -64, 40H =

±

0, 7FH = +63.

So the signed number “aaH” in 7-bit Hexadecimal is “aa - 64”.

A signed number using two bytes is indicated as 00 00H = -8192, 40 00H =

±

0, 7F 7FH =

+8191.

So the signed number “aa bbH” in 7-bit Hexadecimal is “aa bbH - 40 00H = aa x 128 + bb - 64 x 128”

* The data indicated as “nibbled” is a 4-bit Hexadecimal number.

i.e. “0a 0bH” is “a x 16 + b”.

<EXAMPLE 1> Convert “5AH” in Hexadecimal to a Decimal number.

(By using the table) 5AH = 90

<EXAMPLE 2> Convert “12 34H” in 7-bit Hexadecimal to a Decimal number.

(By using the table) 12H = 18, 34H = 52

So, 18 x 128 + 52 = 2356

<EXAMPLE 3> Convert “0A 03 09 0D” in nibblized form to a Decimal number.

(By using the table) 0AH = 10, 03H = 3, 09H = 9, 0DH = 13

So, {(10 x 16 + 3) x 16 + 9} x 16 + 13 = 41885

1

[Example of actual MIDI messages]

<EXAMPLE> C9 49

”Cn” is a status of a Program change message, and “n” is a MIDI channel number.

The second byte is a Program number. 9H = 9, 49H = 73

So, this is a Program change message of MIDI channel=10, Program number = 74.

2

[Checksum of Roland System Exclusive messages]

Roland System Exclusive messages (RQ1 and DT1) have a Checksum at the end of the data

(before EOX) to be able to check for communication errors.

The Checksum results from address and data (or size) included in the message.

How to calculate Checksums (“H” indicates Hexadecimal.)

The error checking process uses a Checksum and provides a bit pattern where the last significant 7 bits are zero when values for an address, data (or size) and the Checksum are summed.

If the address is “aa bb ccH” and the data( or the size) is “dd ee ffH” aa + bb + cc + dd + ee + ff = sum sum

÷

128 = quotient—remainder

128 - remainder = checksum

<EXAMPLE 1> Set “FX TYPE” of patch2 to 10

See the “Parameter address map”

Address: 00 01 00 03H the value of FX TYPE = 10 is 09H

F0 41 09 00 0D 12 00 01 00 03 09 ?? F7

(1) (2) (3) (4) (5) address data checksum (6)

(1) Exclusive Status

(2) ID (Roland)

(4) Model ID (SPD-20)

(5) Command ID (DT1)

(3) Device ID (09H)

The Checksum is:

(6) End of Exclusive

00H + 01H + 00H + 03H + 09H = 0 + 1 + 0 + 3 + 9 = 13 (sum)

13 (sum)

÷

128 = 0 (quotient)—13 (remainder) checksum = 128 - 13 (remainder) = 115 = 73H

Therefore, the message to send is: F0 41 09 60 12 00 01 00 03 09 73 F7.

<EXAMPLE 2> Request to transfer the “MIDI CH” of Pad1 (BANK A), Patch 3.

See the “Parameter address map”

Address: 00 02 01 08H

Size: 00 00 00 01H

See the “Parameter address map”

Address: 00 01 00 03H the value of FX TYPE = 10 is 09H

F0 41 09 00 0D 11 00 02 01 08 00 00 00 01 ?? F7

(1)(2)(3) (4) (5) address data checksum (6)

(1) Exclusive Status (4) Model ID (SPD-20)

(2) ID (Roland)

(3) Device ID (09H)

(5) Command ID (RQ1)

(6) End of Exclusive

The Checksum is:

00H + 02H + 01H + 08H + 00H + 00H +00H + 01H = 0 + 2 + 1 + 8 + 0 + 0 + 0

+ 1 = 12 (sum)

12 (sum)

÷

128 = 0 (quotient)—12 (remainder) checksum = 128 - 12 (remainder) = 116 = 74H

Therefore, the message to send is: F0 41 09 60 11 00 02 01 08 00 00 00 01 74 F7.

101

3

4

5

MIDI Implementation Chart

TOTAL PERCUSSION PAD

Model SPD-20

MIDI Implementation Chart

Transmitted Recognized

Basic

Channel

Function...

Default

Changed

Off, 1–16

Off, 1–16

*1

*1

1–16

1–16

Date : Dec. 4, 1997

Version : 1.00

Remarks

Memorized

(Non-volatile)

Mode

Note

Number :

Velocity

Default

Messages

Altered

True Voice

Note ON

Note OFF

Mode 3

X

**************

Off, 0–127

**************

O 9n v = 1–127

X

9n v = 0

*2

Mode 3

X

Off, 0–127

O 9b v = 1–127

X

*2 n = Pad ch.

b = Basic ch.

After

Touch

Key's

Ch's

0, 127

X

O 0, 127

X

Pitch Bend X X

Control

Change

1 X

4 O

10

11

X

X

16

17

X

X

64 X

121 X

*3

*3

*3

*3

*3 *4

*3

*3

X

X

X

X

X

O

O

O

*3

*3

*3

*3

*3

*3

*3

Modulation

Foot

Pan

Expression

General Purpose 1

General Purpose 2

Hold 1

Reset all controllers

Program

Change

: True #

O *1

Off, 0–127

O

0–98

System Exclusive

System

Common

: Song Pos

: Song Sel

: Tune

O

X *1

X

X

O

X

X

X

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

102

System

Real Time

Aux

Message

: Clock

: Commands

: Local ON/OFF

: All Notes OFF

: Active Sense

: System Reset

Notes

X

X *1

X

X

O

X

X

X

X

X

O

X

* 1 Can be set and stored for each pad.

* 2 Common to “Transmitted” and “Recognized.”

* 3 Select one to use as the Hi-hat Control pedal.

* 4 Transmitted when Footswitch is set to “Hold pedal.”

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

O : Yes

X : No

How to Read a MIDI Implementation Chart

O: MIDI messages that can be transmitted or received

X: MIDI messages that cannot be transmitted or received

• Basic Channel

This is the range of MIDI channels on which MIDI messages can be transmitted (received). The MIDI channel setting will be retained even when the power is turned off.

NOTE

• Mode

Most keyboards today use mode 3 (omni off, poly). This means that MIDI messages will only be received on a specific MIDI channel, and will be played polyphonically.

The MIDI “mode” setting is relevant only to reception.

• Note Number

This is the range of note numbers that can be transmitted (received). Note Number 60 is middle C (C4).

• Velocity

This is the range of velocity values which can be transmitted (received) as part of each Note On or Note

Off message.

• Aftertouch

Polyphonic: aftertouch is independent for each key in the channel.

Channel: aftertouch applies equally to all keys in the channel.

• Pitch Bend

The SPD-20 does not transmit/receive this data.

• Control Change

These are the Control Change numbers which can be transmitted (received), and the control functions they can have. For details refer to the MIDI Implementation.

• Program Change

The Program Numbers in the chart are the actual data values. The Patch numbers will be one number higher.

• Exclusive

Patch data can be transmitted and received as an Exclusive message.

• Common, Realtime

This MIDI message is used when the SPD-20 plays concurrently with a sequencer or rhythm machine, or when Start/Stop/Continue messages are in effect.

• Other

This category includes messages such as Active Sensing (to monitor the integrity of MIDI connections), which help keep a MIDI system running properly.

1

2

3

4

5

103

Specifications

SPD-20: Total Percussion Pad

•Pads

Built-in Pads: 8

Four external trigger inputs (dual) are provided, allowing you to connect Pads.

•Maximum Polyphony

14 voices

•Instruments

700

•Memory

Patches: 99

Patch Chains: 8

•Sound Parameters

Instrument

Level

Pitch

Decay

Pan

Curve

Effect Send Level

•Effects

Reverb

Delay

Chorus

Flanger

•Display

7 segments, 3 characters (LED)

•Connectors

Output Jacks (L [Mono], R)

Phones Jack (Stereo)

Trigger Input Jacks (Dual): 3

HH CTRL/TRIG 4 Jack (Dual)

MIDI Connectors (IN, OUT)

Foot Sw Jack (Dual)

Trigger inputs 1 and 2 accept rim shots from the PD-7, PD-9 and PD-120 while inputs 3 and 4 accept rim shots from the

PD-7 and PD-9.

•Power Supply

AC 12 V: AC Adaptor

•Current Draw

420 mA

•Dimensions

450 (W) x 350 (D) x 70 (H) mm

17-3/4 (W) x 13-13/16 (D) x 2-13/16 (H) inches

•Weight

2.8 kg

6 lbs 3 oz

(excepting AC adaptor)

•Accessories

Owner’s Manual

AC Adaptor (BOSS BRA Series)

Slit Tape

•Options

Pads (PD-120, PD-100, PD-9, PD-7, PD-5)

Kick Trigger Unit (KD-7)

Hi-Hat Control Pedal (FD-7)

Footswitch (BOSS FS-5U)

Footswitch Cable (BOSS PCS-31)

Pedal Switch (DP-2/6)

All-purpose Clamp Set (APC-33)

In the interest of product improvement, the specifications and/or appearance of this unit are subject to change without prior notice.

104

Index

A

Acoustic Drum Trigger ..............................................................................45, 48

Advanced Edit Mode .......................................................................................48

Advanced Trigger Parameter .........................................................................48

Aftertouch Messages ........................................................................................59

ALL ...............................................................................................................27, 47

All Purpose Clamp Set.....................................................................................10

ALt ......................................................................................................................63

APC-33 ...............................................................................................................10

B

BASIC CH ..........................................................................................................67

Basic Channel ....................................................................................................67

Bulk Dump ........................................................................................................75

Bulk Load...........................................................................................................76

C

Chorus ................................................................................................................81

Closed Hi-Hat ...................................................................................................54

Control Change Messages ...............................................................................59

COPY ..................................................................................................................32

Cord Hook ...........................................................................................................8

Crosstalk Cancel ...............................................................................................53

CURVE(Velocity Curve)..................................................................................24

Cymbal Choke...................................................................................................39

D

DECAY ...............................................................................................................23

Delay...................................................................................................................81

Device ID............................................................................................................78

Drum Trigger ..............................................................................................45, 48

E

Edit Mode ..........................................................................................................19

Effect Level ........................................................................................................28

Effect List ...........................................................................................................79

Effect Parameter................................................................................................28

Effect Section .....................................................................................................18

Effect Send Level...............................................................................................25

Effect Time .........................................................................................................28

Effect Type ...................................................................................................28, 79

Error Message ...................................................................................................87

Exclusive Messages ..........................................................................................59

External Pad ......................................................................................................37

F

Factory Initialized State ...................................................................................11

FD-7 ........................................................................................................36, 40, 54

Foot Close ..........................................................................................................54

Foot Open ..........................................................................................................54

Footswitch........................................................................................15, 38, 40, 41

Franger ...............................................................................................................81

FS-5U ..................................................................................................................15

Full Set Kit .........................................................................................................36

FX LEVEL...........................................................................................................28

FX SEND(Effect Send Level) ...........................................................................25

FX TIME .............................................................................................................28

G

Gate Time...........................................................................................................63

GBN System ......................................................................................................65

General MIDI System.......................................................................................71

GS Format ..........................................................................................................71

GT TIME.............................................................................................................63

H

Half Open Hi-Hat .............................................................................................54

Head ...................................................................................................................39

Hi-Hat Control Pedal .................................................................................40, 54

Hi-Hat Cymbals for Pedal Control ...............................................................22

Hold Pedal .........................................................................................................41

I

INST....................................................................................................................22

Instrument Group.............................................................................................22

Instrument List..................................................................................................88

Instruments........................................................................................................22

K

KD-7........................................................................................................36, 37, 45

Kick Pedal ..........................................................................................................37

Kick Trigger Unit ..............................................................................................37

L

Layer .............................................................................................................15, 17

LEVEL ................................................................................................................23

Local Control .....................................................................................................72

M

Mask Time .........................................................................................................52

MIDI....................................................................................................................57

MIDI Channels ..................................................................................................58

MIDI Implementation ......................................................................................98

MIDI Implementation Chart .........................................................................102

MIDI Parameter ................................................................................................61

MIDI Connector ................................................................................................57

MIDI Velocity Curve........................................................................................64

N

NOTE #...............................................................................................................62

Note Number ..............................................................................................58, 62

Note Off..............................................................................................................58

Note On..............................................................................................................58

O

Open Hi-Hat......................................................................................................54

P

Pad Bank ............................................................................................................16

Pad Section ........................................................................................................18

PAN ..............................................................................................................23, 63

Parameter List .............................................................................................20, 94

Patch ...................................................................................................................14

Patch Chain........................................................................................................33

Patch Expand.....................................................................................................69

Patch List............................................................................................................93

PD-100 ..........................................................................................................38, 45

PD-120 ........................................................................................36, 37, 38, 39, 45

PD-5 ..............................................................................................................37, 45

PD-7 ............................................................................................35, 36, 37, 39, 45

PD-9 ........................................................................................................37, 39, 45

PDL CC# ............................................................................................................56

PDL CTRL..........................................................................................................54

PDL LEVEL .......................................................................................................55

Pedal Control.....................................................................................................54

Pedal Controller Numbers ..............................................................................56

Pedal Hi-Hat......................................................................................................54

Pedal Level ........................................................................................................55

Pedal Switch ................................................................................................38, 40

Percussion Set....................................................................................................35

PGM CHG..........................................................................................................65

Phrase Loop .......................................................................................................22

PITCH.................................................................................................................23

Play Mode ..........................................................................................................19

Program Change .........................................................................................61, 65

Program Change Messages .............................................................................59

PSC-31 ................................................................................................................15

R

Receive Channel................................................................................................67

Retrigger Cancel ...............................................................................................52

Reverb.................................................................................................................81

Rim......................................................................................................................39

Rim Sensitivity ..................................................................................................53

Rim Shot.............................................................................................................39

ROM ...................................................................................................................11

S

Scan Time...........................................................................................................51

SENS ...................................................................................................................64

Slit Tape..............................................................................................................10

Soft Thru ............................................................................................................73

Sound Generator Section .................................................................................18

Sound Parameter ..............................................................................................22

Specifications...................................................................................................104

System Initialize................................................................................................11

T

The Patch used for the Patch Expand Function ...........................................70

Transmit Channel .............................................................................................61

TRIG CURVE.....................................................................................................47

TRIG SENS...................................................................................................30, 43

TRIG THRESHOLD....................................................................................31, 44

TRIG TYPE.........................................................................................................45

Trigger Curve ....................................................................................................47

Trigger Interface Section..................................................................................18

Trigger Parameter.............................................................................................42

Trigger Sensitivity ......................................................................................30, 43

Trigger Signal ....................................................................................................51

Trigger Threshold.......................................................................................31, 44

Trigger Type ......................................................................................................45

TX CH.................................................................................................................61

V

Velocity ..............................................................................................................58

Velocity Crossfade............................................................................................17

Velocity Curve ..................................................................................................24

Velocity Mix ......................................................................................................17

Velocity Sensitivity...........................................................................................64

Velocity Switch .................................................................................................17

1

2

3

4

5

105

How-To Index

Internal pad settings

• When playing the SPD-20’s pads, how to ...

Adjust the Seneitivity of the pads ..............................30, 43

Adjust the volume of each pad.........................................23

Change the decay ...............................................................23

Change the depth of the effect applied to the sound of each pad......................................................................25

Change the Instrument triggered by a pad ....................22

Change the Pan setting ......................................................23

Change the pitch.................................................................23

Change the way playing dynamics affects volume ...24, 47

Force the internal tone Phrase Loop to stop using the pads ...........................................................................22

Play two Instruments simultaneously.............................17

Prevent improper triggering of the pads ........................31

• When playing an external MIDI sound module, how to ...

Adjust pad sensitivity ........................................................64

Change sounds using Program Change messages ........65

Change the length of time that the note is sounded......63

Change the MIDI channel .................................................61

Change the Note Number .................................................62

Change the way playing dynamics affects volume.......64

Use the SPD-20 as a pad controller to play only external sound................................................................61

Use the pads to transmit Program Changes to external devices..............................................................65

Use the pads to start and stop a sequencer.....................61

Use the pads to alternately transmit Note On and

Note Off ..........................................................................63

• When using the SPD-20 as a MIDI sound module, how to ...

Make more sounds available from an external controller ...69

Set each Instrument’s note number .................................62

Set the receive channel.......................................................67

Use a Sequencer to record/playback...............................72

External pad settings

Adjust the sensitivity of an external pad ........................43

Adjusting the Trigger Signal Detection Time.................51

Prevent double triggering of an external pad ................52

Prevent improper triggering of an external pad............48

Use external pads ...............................................................35

Set minimum levels for external pads .............................44

Set the Trigger Type for external pads ............................45

Set the Dynamics Curve for external pads .....................47

Set Rim Sensitivity on the PD-120....................................53

Patch editing

Copy Patch settings to another Patch ..............................32

Set all pads to the same parameter value........................27

106

While playing

Adjust the overall volume of the SPD-20........................13

Get half-open sounds with connected FD-7 ...................54

Select Patches ......................................................................14

Select Patches in a preset order (Patch Chain) ...............33

Select Patches using footswitches ....................................15

Select Patches using Program Change messages...........65

Use choke playing technique with connected PD-7 ......39

Use dual bass drum tequniques with connected KD-7s ....37

Use rim shot with connected PD-7, PD-9, PD-120.........39

Footswitch

Use a footswitch to hold a sound of an external sound module ................................................................41

Use footswitches to select Patches ...................................15

Use a footswitch in place of the kick pedal.....................38

Use a footswitch in place of the hi-hat control pedal ....40

Hi-Hat Control Pedal

Adjust the hi-hat volume with the pedal ........................55

Control the hi-hat with the pedal.....................................54

Control the Effect Send level, pitch, etc., with the pedal......55

Transmit Control Changes to external devices with the pedal..........................................................................56

Effect

Adjust the effect depth for each Instrument assigned to the pad ........................................................................25

Adjust the overall effect depth for a Patch .....................28

Change the effect type .......................................................28

Control the effect send by using a hi-hat control pedal .......55

Taking advantage of the on-board effects.......................79

Other

Adjust the overall volume.................................................13

Attach the SPD-20’s tom stand and cymbal stand.........10

Create a custom drum kit ..................................................36

Create a custom percussion set.........................................35

Read MIDI Implementation Chart ...................................60

Read the parameter list......................................................94

Read this manual ..................................................................5

Receive Patch data stored in a sequencer .......................76

Reset all parameters to the factory settings ....................11

Reset one patch to the factory settings ............................32

Transmit Patch data as an Exclusive message................75

Turn the power off .............................................................13

Turn the power on..............................................................12

Use the cord hook.................................................................8

Move Patch data from the SPD-11 to the SPD-20 ..........77

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

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

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

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

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

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.

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

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

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

AC adaptor.

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

• 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.

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

• 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

• Dusty; or are

• Subject to high levels of vibration.

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

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable.

If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

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

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

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

• Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged.

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

• 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 allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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

2

For the U.K.

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

BLUE:

BROWN:

NEUTRAL

LIVE

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

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

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

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

Apparatus containing

Lithium batteries

For EU Countries

CAUTION

Danger of explosion if battery is incorrectly replaced.

Replace only with the same or equivalent type recommended by the manufacturer.

Discard used batteries according to the manufacturer’s instructions.

ADVARSEL!

Lithiumbatteri - Eksplosionsfare ved fejlagtig håndtering.

Udskiftning må kun ske med batteri af samme fabrikat og type.

Levér det brugte batteri tilbage til leverandøren.

VARNING

Explosionsfara vid felaktigt batteribyte.

Använd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren.

Kassera använt batteri enligt fabrikantens instruktion.

ADVARSEL

Eksplosjonsfare ved feilaktig skifte av batteri.

Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten.

Brukte batterier kasseres i henhold til fabrikantens instruks joner.

VAROITUS

Paristo voi räjähtää, jos se on virheellisesti asennettu.

Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. Hävitä käytetty paristo valmistajan ohjeiden mukaisesti.

For EU Countries

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

For the USA

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

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

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

– Reorient or relocate the receiving antenna.

– Increase the separation between the equipment and receiver.

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

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

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

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

For Canada

NOTICE

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

AVIS

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

Information

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

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICA

That Other Music Shop

(PTY) Ltd.

11 Melle St., Braamfontein,

Johannesbourg, SOUTH AFRICA

P.O.Box 32918, Braamfontein 2017

Johannesbourg, SOUTH AFRICA

TEL: (011) 403 4105

Paul Bothner (PTY) Ltd.

17 Werdmuller Centre,

Main Road, Claremont 7708

SOUTH AFRICA

P.O.BOX 23032, Claremont 7735,

SOUTH AFRICA

TEL: (021) 674 4030

ASIA

CHINA

Beijing Xinghai Musical

Instruments Co., Ltd.

6 Huangmuchang Chao Yang

District, Beijing, CHINA

TEL: (010) 6774 7491

Shanghai Xingtong Acoustics

Equipment CO.,Ltd.

5F. No.1500 Pingliang Road

New East Club Plaza, Shanghai,

CHINA

TEL: (021) 5580-0800

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

TEL: 2415 0911

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra Mahalaxmi

Flats Compound Off. Dr. Edwin

Moses Road, Mumbai-400011,

INDIA

TEL: (022) 498 3079

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA

BENTLEY MUSIC SDN BHD

140 & 142, Jalan Bukit Bintang

55100 Kuala Lumpur,MALAYSIA

TEL: (03) 2144-3333

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

SINGAPORE

Swee Lee Company

150 Sims Drive,

SINGAPORE 387381

TEL: 846-3676

CRISTOFORI MUSIC PTE

LTD

Blk 3014, Bedok Industrial Park E,

#02-2148, SINGAPORE 489980

TEL: 243 9555

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung Shan

N.Road Sec.2, Taipei, TAIWAN,

R.O.C.

TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2,

Bangkok 10100, THAILAND

TEL: (02) 2248821

VIETNAM

Saigon Music

138 Tran Quang Khai St.,

District 1

Ho Chi Minh City

VIETNAM

TEL: (08) 844-4068

AUSTRALIA/

NEW ZEALAND

AUSTRALIA

Roland Corporation

Australia Pty., Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

TEL: (02) 9982 8266

NEW ZEALAND

Roland Corporation Ltd.

32 Shaddock Street, Mount Eden,

Auckland, NEW ZEALAND

TEL: (09) 3098 715

CENTRAL/LATIN

AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

BRAZIL

Roland Brasil Ltda

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

COSTA RICA

JUAN Bansbach

Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237,

San Jose, COSTA RICA

TEL: 258-0211

CHILE

Comercial Fancy S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo ,

Edificio No.4010 San Salvador,

EL SALVADOR

TEL: 262-0788

MEXICO

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

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

MEXICO

TEL: 668-0480

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE PANAMA

TEL: 315-0101

PARAGUAY

Distribuidora De

Instrumentos Musicales

J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (021) 492-124

PERU

VIDEO Broadcast S.A.

Portinari 199 (ESQ. HALS),

San Borja, Lima 41,

REP. OF PERU

TEL: (01) 4758226

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

VENEZUELA

Musicland Digital C.A.

Av. Francisco de Miranda,

Centro Parque de Cristal, Nivel

C2 Local 20 Caracas

VENEZUELA

TEL: (212) 285-8586

EUROPE

AUSTRIA

Roland Austria GES.M.B.H.

Siemensstrasse 4, P.O. Box 74,

A-6063 RUM, AUSTRIA

TEL: (0512) 26 44 260

BELGIUM/HOLLAND/

LUXEMBOURG

Roland Benelux N. V

.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL: (014) 575811

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

TEL: (039)16 6200

FRANCE

Roland France SA

4, Rue Paul Henri SPAAK,

Parc de l'Esplanade, F 77 462 St.

Thibault, Lagny Cedex FRANCE

TEL: 01 600 73 500

FINLAND

Roland Scandinavia As,

Filial Finland

Lauttasaarentie 54 B

Fin-00201 Helsinki, FINLAND

TEL: (9) 682 4020

GERMANY

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt,

GERMANY

TEL: (040) 52 60090

GREECE

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: (061) 43-5400

HUNGARY

Intermusica Ltd

.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint, HUNGARY

TEL: (23) 511011

IRELAND

Roland Ireland

Audio House, Belmont Court,

Donnybrook, Dublin 4.

Republic of IRELAND

TEL: (01) 2603501

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 273 0074

POLAND

P. P. H. Brzostowicz

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

PORTUGAL

Tecnologias Musica e Audio,

Roland Portugal, S.A.

Cais Das Pedras, 8/9-1 Dto

4050-465 PORTO

PORTUGAL

TEL: (022) 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

RO-4200 Gheorghehi

TEL: (095) 169-5043

RUSSIA

MuTek

3-Bogatyrskaya Str. 1.k.l

107 564 Moscow, RUSSIA

TEL: (095) 169 5043

SPAIN

Roland Electronics de España, S. A.

Calle Bolivia 239, 08020

Barcelona, SPAIN

TEL: (93) 308 1000

SWEDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (08) 702 0020

SWITZERLAND

Roland (Switzerland) AG

Musitronic AG

Gerberstrasse 5, Postfach,

CH-4410 Liestal, SWITZERLAND

TEL: (061) 927-8383

UKRAINE

TIC-TAC

Mira Str. 19/108

P.O. Box 180

295400 Munkachevo, UKRAINE

TEL: (03131) 414-40

UNITED KINGDOM

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

UNITED KINGDOM

TEL: (01792) 700139

MIDDLE EAST

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue,

P.O.Box 247, Manama 304,

State of BAHRAIN

TEL: 211 005

CYPRUS

Radex Sound Equipment Ltd.

17, Diagorou Street, Nicosia,

CYPRUS

TEL: (02) 66-9426

IRAN

MOCO, INC.

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

Roberoye Cerahe Mirdamad

Tehran, IRAN

TEL: (021) 285-4169

ISRAEL

Halilit P. Greenspoon &

Sons Ltd.

8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

JORDAN

AMMAN Trading Agency

245 Prince Mohammad St.,

Amman 1118, JORDAN

TEL: (06) 464-1200

KUWAIT

Easa Husain Al-Yousifi

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

A. Chahine & Fils

Gerge Zeidan St., Chahine Bldg.,

Achrafieh, P.O.Box: 16-5857

Beirut, LEBANON

TEL: (01) 20-1441

QATAR

Al Emadi Co. (Badie Studio

& Stores)

P.O. Box 62,

Doha, QATAR

TEL: 4423-554

SAUDI ARABIA aDawliah Universal

Electronics APL

Corniche Road, Aldossary Bldg.,

1st Floor, Alkhobar,

SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Bldg. No. 47,

Khaled Ebn Al Walid St.

Damascus, SYRIA

TEL: (011) 221-1230

TURKEY

Barkat muzik aletleri ithalat ve ihracat Ltd Sti

Siraselviler Caddesi Siraselviler

Pasaji No:74/20

Taksim - Istanbul, TURKEY

TEL: (0212) 2499324

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai, U.A.E.

TEL: (04) 3360715

NORTH AMERICA

CANADA

Roland Canada Music Ltd.

(Head Office)

5480 Parkwood Way Richmond

B. C., V6V 2M4 CANADA

TEL: (0604) 270 6626

Roland Canada Music Ltd.

(Toronto Office)

Unit 2, 109 Woodbine Downs

Blvd, Etobicoke, ON

M9W 6Y1 CANADA

TEL: (0416) 213 9707

U. S. A.

Roland Corporation U.S

.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

TEL: (323) 890 3700

As of January 1, 2002 (Roland)

01453923 '02-2-AE2-61N

OWNER’S MANUAL

Thank you, and congratulations on your choice of the SPD-20

Total Percussion Pad. The SPD-20 is an electronic percussion unit that has eight pads, trigger interfaces, a high-quality digital sound generator, and on-board digital effects.

Since the SPD-20 includes a sound generator and effects in one lightweight, compact package, you can use it anywhere, anytime.

A wide variety of options (pads, pedals, drum stand, etc.) are available, allowing you to easily create a custom drum kit. By adding sequencers or samplers, you can take advantage of the possibilities of MIDI percussion.

The SPD-20 provides the flexibility and expandability that will be appreciated by every percussionist, from beginner to professional.

About the Symbols in This Manual

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

For example, [LAYER] signifies the Layer button.

Items marked by

MEMO

are supplementary explanations.

Items headed by

NOTE

explain important points concerning the operation of your SPD-20.

Items preceded by give you useful tips and information regarding the use of the SPD-20.

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

NOTES” (Owner’s manual p. 2; p. 6). These sections pro-

vide 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.

Copyright



1998 ROLAND

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