Data List Copyright © 2016 ROLAND CORPORATION Contents DRUM KIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Multi-Effect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34 DRUM KIT Screen. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 KIT SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 TAPE ECHO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 KIT SETTINGS 1 (page 1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 REVERSE DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 KIT SETTINGS 2 (page 2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 3TAP PAN DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 PAD CONTROL (page 3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 OD0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 PAD MIDI (page 4). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 DS0DELAY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 KIT CUSTOMIZE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 INSTRUMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 INSTRUMENT (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 MIC POSITION (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 TRANSIENT (page 3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9 SUB INST (page 4). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10 AMBIENCE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 AMBIENCE LEVEL (page 1). . . . . . . . . . . . . . . . . . . . . . . . . . . .11 ROOM (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11 REVERB (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 STEREO ENHANCER (page 4). . . . . . . . . . . . . . . . . . . . . . . . . .12 MIXER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 MIXER VOLUME (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13 PAD EQ (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 PAD COMP (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14 MULTI EFFECT (MFX) (page 4). . . . . . . . . . . . . . . . . . . . . . . . .15 MASTER COMP (page 5). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16 MASTER EQ (page 6). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 USER SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18 SAMPLE LIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 SONG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 SONG (page 1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 SONG INFO (page 2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 SET LIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20 CLICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21 TRIGGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 TRIG BASIC (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22 TRIG ADVANCED (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 TRIG MONITOR (page 3). . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26 SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 OUTPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 PAD OUTPUT (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 OTHER OUTPUT (page 2). . . . . . . . . . . . . . . . . . . . . . . . . . . . .28 OUTPUT ROUTING (page 3). . . . . . . . . . . . . . . . . . . . . . . . . . .29 USB AUDIO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30 CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32 AUTO OFF. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 INFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 2 CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 SPACE-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 OD0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 DS0CHORUS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36 PHASER A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 PHASER B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 STEP PHASER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37 REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 LONG REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 SUPER FILTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 FILTER+DRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 AUTO WAH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 OD/DS0TWAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 LOFI COMPRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 DISTORTION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 OVERDRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 SATURATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 T-SCREAM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 BIT CRUSHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 ISOLATOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 RING MODULATOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 PITCH SHIFTER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 AUTO PAN. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Drum Kit List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41 Instrument List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42 Song List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 Drum Kit Parameter Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47 Block Diagram. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48 DRUM KIT DRUM KIT Screen Parameter XSTICK Value Explanation OFF, ON Specifies whether a snare pad produces the cross-stick sound (ON) or not (OFF). If the trigger input of a pad that supports both cross-stick technique and digital connection (such as the PD-140DS) is assigned to a snare, cross-stick playing is always possible. In this case, the screen does not show the XSTICK icon. KIT SETTINGS 1. Press the [KIT] button. 1. Press the [F5] (MENU) button. The menu screen appears. 2. Use the PAGE [UP] [DOWN] buttons to access the editing screen. 3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value. 4. Press the [KIT] button to return to the DRUM KIT screen. KIT SETTINGS 1 (page 1) Parameter [F4] button Value Edits the name of the drum kit. Explanation Reference For details on how to assign a name, refer to “Renaming a Drum Kit” in the “Reference Manual” (PDF). VOLUME tab Kit Volume COLOR tab Kit Color -INF–+6.0 dB Drum kit volume 1: WHITE 2: RED 3: GREEN 4: BLUE 5: PINK 6: PURPLE 7: ORANGE 8: YELLOW 9: EMERALD 10: RAINBOW Use the [KIT] button or [R1]–[R3] knobs to specify the illumination color. OFF, ON Registers (ON)/de-registers (OFF) the drum kit in favorites. FAVORITE tab Favorite 3 DRUM KIT KIT SETTINGS 2 (page 2) Parameter Value Explanation BRUSH tab Specifies whether you’re performing with sticks (OFF) or brushes (ON). If this is “ON,” you can perform by scraping (sweeping) the brushes. Brush Switch OFF, ON * “Playing with brushes” function will be enabled in the future. The information will be announced at the Roland website. http://www.roland.com/support/ KIT TEMPO tab OFF Kit Tempo ON Tempo 20–260 Use a common tempo (p. 21) for the entire TD-50. The tempo does not change when you switch drum kits. Use the tempo that is specified by each drum kit. The click tempo and the tempo of tempo-synchronized effects can be individually specified for each drum kit. Tempo specified for each drum kit PAD CONTROL (page 3) Parameter Value Explanation -24–0–+24 Specifies the amount of pitch change that occurs according to the depth to which you press the hi-hat pedal. You can set this for each pad (head and rim separately) in semitone units. OFF, ON Turns on/off tonal changes that occur depending on your strike location or the nuances of your rim shots. You can set this for the snare (head, rim), tom (head, rim), ride (bow), and AUX (head, rim) trigger inputs. Head: Strike position Rim: Rim shot nuance Bow: Strike position INSIDE -5–DEFAULT– OUTSIDE +5 Specifies the striking area for the head or rim. “INSIDE” settings make it easier to play notes toward the inside; “OUTSIDE” settings make it easier to play toward the outside. PEDALBEND tab Pedal Bend Range POSITION tab Position Control*1 POS AREA tab Position Area*1 MUTE GRP tab MUTE SEND – (OFF), 1–8 MUTE RECEIVE Specify the mute group number. When you strike the pad of the number specified in MUTE SEND, the sound of the pad assigned to the same number in MUTE RECEIVE is muted. * Even if you specify the same number in MUTE SEND and MUTE RECEIVE for the same location (e.g., head or rim) of the same pad, muting does not occur. *1 This supports the following trigger inputs. 55 SNARE 55 TOM1–4 55 The bow (head) of RIDE 55 AUX1–4 * Depending on the pad that is connected or the instrument that is selected, there might be cases in which this has no effect. 4 DRUM KIT PAD MIDI (page 4) Parameter Value Explanation 0(C -)–127(G 9) OFF MIDI note number transmitted and received by each pad Note messages are not transmitted or received 0.1– 8.0 s Duration of the note transmitted by each pad CH1–CH16 GLOBAL MIDI channel on which each pad transmits or receives note messages or control change messages Transmitted and received on the transmit/receive channel specified in SETUP (p. 32) NOTE tab Note No. GATE tab Gate Time MIDI CH tab MIDI Channel MIDI note numbers transmitted and received by the hi-hat Item HI-HAT OPEN <BOW> HI-HAT OPEN <EDGE> HI-HAT CLOSE <BOW> HI-HAT CLOSE <EDGE> HI-HAT PEDAL Explanation MIDI note number transmitted and received by open hi-hat (bow, edge) MIDI note number transmitted and received by closed hi-hat (bow, edge) MIDI note number transmitted and received by pedal hi-hat MIDI note numbers transmitted and received by the snare Parameter SNARE <HEAD> SNARE <RIM> SNARE <BRUSH> SNARE <XSTICK> Explanation MIDI note number transmitted and received by head shot and rim shot MIDI note number transmitted and received by brush sweep MIDI note number transmitted and received by cross stick When setting multiple pads to the same note number When playing the internal sound generator of the TD-50, if an incoming note number is assigned to more than one pad, that note plays the instrument of the pad with the lowest trigger input number. If the same note number is assigned to both the head and the rim, the head instrument is sounded. MEMO An asterisk (*) appears at the right of the note number for trigger inputs that are not sounded. Example: Note number “38 (D 2)” is set for the head and rim of trigger input 2 SNARE and the head of trigger input 3 TOM 1. In this case, when note number 38 (D2) is received, the instrument assigned to the head of trigger input 2 SNARE is played. About the gate time Percussion sound modules normally produce sound only in response to “Note on” messages, and ignore “Note off” messages. However generalpurpose sound modules or samplers do receive the note-off messages that are transmitted and respond by turning off the sound. Since gate time is normally not necessary for a percussion sound module, this is set to the minimum value when the unit is shipped from the factory. If a note-off message is received while the sound module has this setting, it is received as an extremely brief note that has almost no time to be heard, and is nearly inaudible. (Alternatively, it is possible that this could be heard as an unwanted noise.) To avoid this, specify the note duration of the MIDI performance data that is produced when you strike each pad. 5 KIT CUSTOMIZE INSTRUMENT 1. Press the [INSTRUMENT] button. The INSTRUMENT screen appears. 2. Select the pad that you want to edit. 3. Use the PAGE [UP] [DOWN] buttons and function buttons to select the item that you want to edit. * The parameters that you can edit depend on the pad and instrument. 4. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value. MEMO For some parameters, you can also use the rotary knobs to edit the value. 5. Press the [KIT] button to return to the DRUM KIT screen. INSTRUMENT (page 1) Parameters that can be edited for each instrument Parameter Value Explanation INST tab Inst 001–418 (preset) U001–U500 (user sample) ADVANCED tab Pitch -4800–4800 Pitch Sweep*1 -100–100 Decay*1 Dynamic Enhancer Sw*1, *2 1–100 OFF, ON Instrument number Reference For more about instruments, refer to “Instrument List” (p. 42). Instrument pitch (units of one cent) After the sound begins, the pitch gradually rises (falls). Positive (+) values make the pitch start high and then fall; negative (-) values make the pitch start low and then rise. Larger values produce greater change. * In some cases, changing the Pitch setting by a large amount might limit the Pitch Sweep effect. Length of decay Specifies whether the sense of strong strikes is enhanced (ON) or not enhanced (OFF). *1 If a user sample is assigned to the instrument, you can’t specify Dynamic Enhancer Sw. Also, if the user sample’s Play Type (p. 18) is set to “LOOP ALT,” the Pitch Sweep and Decay have no effect. *2 For some instruments, this cannot be set. MEMO If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc. 6 KIT CUSTOMIZE KICK A Parameter Value Explanation 1.0–30.0 CLEAR, COATED, PINSTRIPE Depth of the shell Type of head INST tab Shell Depth Head Type BASIC 1 tab Tuning Muffling Beater Type BASIC 2 tab -100–100 Tuning of the head OFF, TAPE1–4, BLANKET1–3, WEIGHT1, 2 Muffling (muting) setting FELT1, 2, WOOD, PLASTIC1, 2 Type of beater Snare Buzz OFF, 1–8 Resonance to the snare Low Level Low Decay ADVANCED tab Kit Resonance -5–NORMAL–+5 -2–NORMAL–+2 Volume of low-frequency sound Decay length of low-frequency sound OFF, 1–8 Amount of resonance for the entire drum kit Value Explanation Shell Depth*1 1.0–30.0 Depth of the shell Head Type*1 BASIC 1 tab Tuning Muffling Overtone*1 BASIC 2 tab Strainer Adj. Wire Type Wire Level ADVANCED tab XStick Inst*2 CLEAR, COATED, PINSTRIPE Type of head -100–100 OFF, TAPE1–7, DONUT1, 2 -5–NORMAL–+5 Tuning of the head Muffling (muting) setting Amount of overtone components LOOSE1–3, MEDIUM1–3, TIGHT1–3 TYPE1–3 -4–NORMAL–+5 Tension of the strainer (resonating cords) Type of strainer Volume of strainer 1–5 Cross-stick sound selection Cross-stick sound volume XStick Inst Volume*2 -INF–+6.0 dB SNARE A/CROSS STICK Parameter INST tab MEMO The “XStick Volume” can also be edited from the MIXER DRUM KIT VOLUME screen (KIT VOL tab) of the MIXER (p. 13). *1 Unavailable if the instrument group is CROSS STICK. *2 Only if the SNARE A/CROSS STICK instrument is assigned to the rim of the snare (or to the rim of a digitally connected pad that is assigned to snare) * PINSTRIPE is a registered trademark of Remo Inc., U.S.A. 7 KIT CUSTOMIZE TOM A Parameter Value Explanation 1.0–30.0 CLEAR, COATED, PINSTRIPE Depth of the shell Type of head -100–100 OFF, TAPE1–5, FELT1–4 OFF, 1–8 Tuning of the head Muffling (muting) setting Resonance to the snare Parameter INST tab Size Value Explanation 1.0–40.0 Hi-hat diameter Thickness THIN-5–STANDARD–THICK +5 Thickness of the hi-hat NORMAL, PRESS, CLOSE, HALF, OPEN Openness of the hi-hat If something other than “NORMAL” is selected, the openness of the hi-hat does not change, regardless of how you press the hi-hat pedal. INST tab Shell Depth Head Type BASIC 1 tab Tuning Muffling Snare Buzz HI-HAT BASIC 1 tab Fixed ADVANCED tab Volume of pedal hi-hat Pedal HH Volume -INF–+6.0 dB MEMO The “Pedal HH Volume” can also be edited from the MIXER DRUM KIT VOLUME screen (KIT VOL tab) of the MIXER (p. 13). MEMO The closed hi-hat position (Fixed = CLOSE) can be enabled by pressing an optional footswitch or hitting a pad switch. Please refer to “CONTROL” (p. 31). CRASH/CHINA/SPLASH/STACKED CYMBAL Parameter INST tab Size Value Explanation 1.0–40.0 Cymbal diameter Thickness THIN-5–STANDARD–THICK +5 Thickness of the cymbal BASIC 1 tab Muffling Sizzle Type Sizzle Amount OFF, TAPE1–19 OFF, RIVET, CHAIN, BEADS -3–+3 Muffling (muting) setting Type of sizzle Amount of sizzle 8 KIT CUSTOMIZE RIDE Parameter INST tab Size Value Explanation 1.0–40.0 Cymbal diameter Thickness THIN-5–STANDARD–THICK +5 Thickness of the cymbal OFF, TAPE1–19 OFF, RIVET, CHAIN, BEADS -3–+3 Muffling (muting) setting Type of sizzle Amount of sizzle LIGHT2, 1, STANDARD, HEAVY1, 2 -4–NORMAL–+5 Tonal character of the ride’s ping sound Volume of the ride’s ping sound BASIC 1 tab Muffling Sizzle Type Sizzle Amount BASIC 2 tab Ping Color*1 Ping Level*1 *1 For some instruments, these settings are not available. MIC POSITION (page 2) You can edit the mic position and volume for each instrument. * For some instruments, these settings are not available. Parameter Value Explanation MIC POS tab Mic Position OUTSIDE4–STANDARD–INSIDE4 Tonal change caused by mic position -INF–+6.0 dB -INF–+6.0 dB Volume of overhead mic Volume of room mic -5–+5 Spread of the overhead mic and room mic ELEMENT tab Overhead Room WIDTH tab Mic Width TRANSIENT (page 3) You can adjust the attack and release (transient) for each instrument. * For some instruments, these settings are not available. Parameter [F4] button Time ([R1] knob) Attack ([R2] knob) Release ([R3] knob) Gain Value OFF, TRANSIENT ON 1–10 -100–+100 -100–+100 -12.0–+6.0 dB Explanation Turns the transient effect on/off. Time over which the attack changes Adjustment of the attack Adjustment of the release Volume following transient adjustment 9 KIT CUSTOMIZE SUB INST (page 4) Parameter [F4] button SUB INST tab SUB INST Value OFF, SUB ON 001–418 (preset) U001–U500 (user sample) Explanation Turns the sub-instrument on/off. Sub-instrument number Reference For more about instruments, refer to “Instrument List” (p. 42). These parameters specify how the sub instrument will be sounded. Volume MIX Playing Dynamics The main instrument (A) and sub instrument (B) always sound together as a layer. Volume FADE1 Playing Dynamics Layer Type Volume FADE2, FADE3 Playing Dynamics The sub instrument (B) is added as a layer only if the strike is stronger than “Fade Point.” If the strike is stronger than “Fade Point,” the sub instrument (B) is added as a layer according to the strength of that strike. FADE2: At 127 or higher, the main instrument (A) and sub instrument (B) are the same volume. FADE3: At 127+32, the main instrument (A) and sub instrument (B) are the same volume (for pads that support digital connection). Volume SWITCH Playing Dynamics Fade Point 1–127+32 Sub Volume -INF–+6.0 dB Strikes weaker than “Fade Point” sound the main instrument (A), and strikes stronger than “Fade Point” switch to sound the sub instrument (B). Specifies the force of the strike at which the sub instrument begins to be sounded. If this is “1,” the sub instrument is sounded by a strike of any force. If this is “127” (“127+32” for a pad that supports digital connection), the sub instrument is sounded only by the strongest strike. * This is not available if Layer Type is “MIX.” Volume of the sub-instrument V-EDIT tab Reference For details on the parameters that can be edited, refer to “INSTRUMENT (page 1)” (p. 6). * For some instruments, these settings are not available. OTHER tab Mic Position Mic Overhead Mic Room Mic Width Transient Sw Transient Time Transient Attack Transient Release Transient Gain 10 OUTSIDE4–STANDARD–INSIDE4 -INF–+6.0 dB -INF–+6.0 dB -5–+5 OFF, TRANSIENT ON 1–10 -100–+100 -100–+100 -12.0–+6.0 dB Tonal change caused by mic position Volume of the overhead mics Volume of the room mics Spread of the overhead mics and the room mics Transient on/off Time over which the attack changes Adjustment of the attack Adjustment of the release Volume following transient adjustment KIT CUSTOMIZE AMBIENCE 1. Press the [AMBIENCE] button. The AMBIENCE screen appears. 2. Use the PAGE [UP] [DOWN] buttons to access the editing screen. 3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value. 4. Press the [KIT] button to return to the DRUM KIT screen. AMBIENCE LEVEL (page 1) Parameter [F1] button [F2] button [F3] button Room ([R1] knob) Reverb ([R2] knob) Stereo Enhancer ([R3] knob) Value ROOM OFF, ROOM ON REV OFF, REV ON ENHNC OFF, ENHNC ON -INF–+6.0 dB -INF–+6.0 dB -INF–+6.0 dB Explanation Turns the room ambience (the type and size of room) effect on/off. Turns the reverb (reverberation) effect on/off. Turns the stereo enhancer (spaciousness) effect on/off. Volume of room ambience Volume of reverb Volume of stereo enhancer Parameter Value Explanation [F4] button ROOM tab OFF, ROOM ON Turns room ambience on/off. ROOM (page 2) Type ([R1] knob) Level ([R2] knob) Room Size Room Shape Wall Type Mic Position BEACH, LIVING ROOM, BATH ROOM, STUDIO, GARAGE, LOCKER ROOM, THEATER, CAVE, GYMNASIUM, DOME STADIUM, BOOTH A, BOOTH B, STUDIO A, STUDIO B, BASEMENT, JAZZ CLUB, ROCK CLUB, BALLROOM, GATE, CONCERT HALL, SPORTS ARENA, EXPO HALL, BOTTLE, CITY, SPIRAL -INF–+6.0 dB TINY, SMALL, MEDIUM, LARGE, HUGE 0–100 CURTAIN, CLOTH, WOOD, PLASTER, CONCRETE, GLASS NEXT DOOR, LOW FLOOR, LOW, MID LOW, MID, MID HIGH, HIGH, CEILING A, CEILING B Type of room reverberation Volume of room ambience Size of the room Room shape and reverberation length Wall material Tonal change caused by mic position SEND tab Room Send Volume -INF–+6.0 dB Amount of room ambience applied to each pad If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc. 11 KIT CUSTOMIZE REVERB (page 3) Parameter Value Explanation [F4] button ROOM tab Type ([R1] knob) Level ([R2] knob) Pre Delay Time Density OFF, REV ON Turns reverb on/off. ROOM 1, 2, HALL 1, 2, PLATE -INF–+6.0 dB 0–100 mSec 0.1–10.0 Sec 0–127 Diffusion 0–127 LF Damp HF Damp Spread Tone 0–100 0–100 0–127 0–127 Type of reverb Volume of reverb Adjusts the delay time from the direct sound until the reverb sound is heard Time length of reverberation Density of reverb sound Change in the density of the reverb sound over time The higher the value, the denser the sound becomes as time elapses (The effect is more obvious for longer reverb times). Adjusts the low-frequency region of the reverb sound. Adjusts the high-frequency region of the reverb sound. Spread of the reverb sound Tonal character of reverb sound SEND tab Reverb Send Volume -INF–+6.0 dB Amount of reverb applied to each pad If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc. STEREO ENHANCER (page 4) Parameter Value Explanation [F4] button ROOM tab Width ([R1] knob) Level ([R2] knob) Color OFF, ENHNC ON Turns stereo enhancer on/off. MONO, 1–4 -INF–+6.0 dB 1–6 Spread of stereo enhancer Volume of stereo enhancer Tonal character of stereo enhancer -INF–+6.0 dB Amount of stereo enhancer applied to each pad (main instrument) If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc. -INF–+6.0 dB Amount of stereo enhancer applied to each pad (sub-instrument) If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc. MAIN SEND tab Stereo Enhancer Main Inst Send SUB SEND tab Stereo Enhancer Sub Inst Send 12 KIT CUSTOMIZE MIXER 1. Press the [MIXER] button. The MIXER screen appears. 2. Use the PAGE [UP] [DOWN] buttons to access the editing screen. 3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value. 4. Press the [KIT] button to return to the DRUM KIT screen. MIXER VOLUME (page 1) For each drum kit, you can adjust the volume of each pad and adjust the overall volume of the entire drum kit. You can also adjust how the volume responds to the striking force. Parameter Value Explanation Volume PAN tab Pan MIN VOL tab -INF–+6.0 dB Volume of each pad L30–CTR–R30 Stereo position of each pad Pad Minimum Volume*1 0–15 Pad Maximum Volume*1 -5–0 VOLUME tab Minimum volume of each pad This lets you increase the volume of the softest hits while preserving the volume of the strongest hits. This can make it easier to hear ghost notes on the snare or legato notes on the ride cymbal. Maximum volume of each pad This lets you decrease the volume of the strongest hits while preserving their nuances. You can limit the volume while preserving the nuances of the strongest hits. * This is available only for pads that support digital connection and for input from the MIDI IN connector. KIT VOL tab Kit Volume*2 Pedal HH Volume Xstick Volume -INF–+6.0 dB Drum kit volume Pedal hi-hat volume Cross-stick volume *1 Use the cursor [H] [I] buttons to choose whether you’re setting the Pad Minimum Volume or the Pad Maximum Volume. *2 You can also set “Kit Volume” in the KIT SETTINGS screen (VOLUME tab) (p. 3). MEMO If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc. 13 KIT CUSTOMIZE PAD EQ (page 2) This is a three-band equalizer that each drum kit provides for each strike location of each pad. You can disable the pad equalizer effect that is output from the DIRECT OUT jacks (p. 29). This indicates whether the pad equalizer effect is output ( jack or is not output ( ). MST: MASTER OUT jacks PHO: PHONES jacks (always output) DIR: DIRECT OUT jacks Parameter Value Explanation [F4] button Low Freq Low Gain ([R1] knob) Mid Freq OFF, EQ ON 20 Hz–1 kHz -15–+15 dB 20 Hz–16 kHz Mid Q 0.5–8.0 Mid Gain ([R2] knob) High Freq High Gain ([R3] knob) -15–+15 dB 1 kHz–16 kHz -15–+15 dB Turns pad equalizer on/off. Center frequency of the low range Amount of boost/cut for the low range Center frequency of the mid range Width of the frequency range A higher Mid Q narrows the affected area. Amount of boost/cut for the mid range Center frequency of the high range Amount of boost/cut for the high range ) from each MEMO If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc. * If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” the pad equalizer effect does not apply to the sound that is output from the DIRECT OUT jacks. * If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” and Master OUT is set to “DIRECT,” the pad equalizer effect does not apply to the sound that is output from the DIRECT OUT jacks and MASTER OUT jacks. PAD COMP (page 3) This is a compressor that each drum kit provides for each pad. The pad compressor effect can be applied only to the output from the DIRECT OUT jacks. You can also disable the pad compressor effect from being applied to the PHONES jack output (p. 29). This indicates whether the pad compressor effect is output ( jack or is not output ( ). MST: MASTER OUT jacks PHO: PHONES jacks DIR: DIRECT OUT jacks Parameter Value Explanation [F4] button OFF, COMP ON Turns pad compressor on/off. Type ([R1] knob) Threshold ([R2] knob) Gain ([R3] knob) Ratio Knee Attack Release ) from each Character of the compressor KICK 1, 2, SNARE1, 2, TOM 1, 2, CYM 1, * When you change this parameter, the pad compressor’s parameters Ratio, Knee, Attack, and 2, SOFT, HARD, LIMITER Release change to optimal settings for your selection. You can then make further adjustments to these parameters as necessary. -48–0 dB Volume level at which compression begins -24–+24 dB Output level of the compressor 1:1–100:1 Compression ratio HARD, SOFT1–3 Attack of the sound at the moment compression is applied 0–100 mSec Time from when the volume goes up the threshold level until the compressor effect applies Time from when the volume falls below the threshold level until the compressor effect no longer 10–1000 mSec applies * Pad compressor settings are made for individual pads. They cannot be made for individual strike locations (such as the head or rim). * If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” the pad compressor effect does not apply to the sound that is output from the DIRECT OUT jacks. * If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” and Master Out is set to “DIRECT,” the pad compressor effect does not apply to the sound that is output from the DIRECT OUT jacks and the MASTER OUT jacks. * If the routing setting (p. 29) PadComp to Phones is “OFF,” the pad compressor effect does not apply to the sound that is output from the PHONES jacks. 14 KIT CUSTOMIZE Meters shown in the PAD COMP screen In the PAD COMP screen, the “input meter,” the “gain reduction meter,” and the “output meter” are displayed. Input meter The “input meter” shows the level (dB) being input to the pad compressor. Gain reduction meter The “gain reduction meter” shows the change in level (dB) produced by the pad compressor. Output meter The “output meter” shows the output level following the pad compressor. Adjust the pad compressor’s “Gain” so that the output meter does not exceed 0 dB (i.e., so that it does not clip). MULTI EFFECT (MFX) (page 4) You can use three multi-effects simultaneously for each drum kit. Parameter Value Explanation OFF, MFX1–3 ON MFX1–3 Type of multi-effect Turns on/off the multi-effect 1–3 selected by the [R1] knob. You can use three multi-effects simultaneously for each drum kit. MFX tab [F5] button MFX SEL ([R1] knob) Type ([R2] knob) Level ([R3] knob) ASSIGN tab MFX Assign SEND tab MFX Send Volume DRY+MFX tab MFX DRY+WET*1 Reference For more about multi-effects, refer to “Multi-Effect Parameters” (p. 34). -INF–+6.0 dB Volume of the effect sound for the selected multi-effect MFX1–3 Select the multi-effect 1–3 that is applied to each pad. -INF–+6.0 dB Effect send level for each pad DRY+MFX MFX ONLY The dry sound and effect sound will be output. Only the effect sound will be output. *1 MFX DRY+WET is specified for each pad. It cannot be specified for individual strike locations (such as the head or rim). If MFX DRY+WET is set to “MFX ONLY,” some multi-effect settings might cause no sound to be output. 15 KIT CUSTOMIZE MASTER COMP (page 5) This is a two-band equalizer that is provided for each drum kit. The master compressor is output from the MASTER OUT jacks and the PHONES jacks. This indicates whether the master comp effect is output ( each jack or is not output ( ). MST: MASTER OUT jacks PHO: PHONES jacks (always output) Parameter Value Explanation [F4] button OFF, COMP ON Type SINGLE SOFT COMP, SINGLE HARD COMP, SINGLE LIMITER, 2BAND SOFT COMP, 2BAND HARD COMP, 2BAND LIMITER Turns master comp on/off. Character of the compressor Split Freq SINGLE, 10–16000 Hz Threshold*1 Gain*1 Attack*1 -48–0 dB -24–+24 dB 0–100 mSec Release*1 10–1000 mSec Ratio*1 Knee*1 1:1–100:1 HARD, SOFT1–3 [F2] button*2 LO SOLO ) from * When you change this parameter, all parameters of the master compressor change to optimal settings for your selection. You can then make further adjustments to these parameters as necessary. Depending on the settings of these parameters, the resulting effect might not match the Type setting. Bandwidth of the compressor If this is “SINGLE,” the master compressor operates as a single-band compressor that is used only on the high band. Volume level at which compression begins Output level of the compressor Time from when the volume goes up the threshold level until the compressor effect applies Time from when the volume falls below the threshold level until the compressor effect no longer applies Compression ratio Attack of the sound at the moment compression is applied When this is operating as a two-band compressor, you can individually audition the low-frequency and high-frequency bands. * These settings are reset if you perform any of the following operations. [F3] button*2 HI SOLO 55 Respecify the Type parameter as single band compressor 55 Set the Split Freq parameter to “SINGLE” 55 Exit the MASTER COMP screen *1 If Split Freq is set to something other than “SINGLE,” the low band and high band can be set independently. *2 Only if Split Freq is set to something other than “SINGLE” * If the routing setting (p. 29) Master Out is “DIRECT,” the master compressor does not apply to the sound that is output from the MASTER OUT jacks. Meters shown in the MASTER COMP screen In the MASTER COMP screen, the “input meter,” the “gain reduction meter,” and the “output meter” are displayed. When Split Freq is “SINGLE” (single compressor) Input meter The “input meter” shows the level (dB) being input to the master comp. Gain reduction meter The “gain reduction meter” shows the change in level (dB) produced by the master comp. Output meter The “output meter” shows the output level following the master comp. When Split Freq is “10–16000 Hz” (2-band compressor) Input meter The “input meter” shows the level (dB) being input to the master comp. This is shown individually for the low and high bands. Gain reduction meter The “gain reduction meter” shows the change in level (dB) produced by the master comp. This is shown individually for the low and high bands. Adjust the master comp’s “Gain” so that the output meter does not exceed 0 dB (i.e., so that it does not clip). 16 Output meter The “output meter” shows the output level following the master comp. KIT CUSTOMIZE MASTER EQ (page 6) This is a four-band equalizer that is provided for each drum kit. You can adjust the equalizer’s effect (shelving and peaking) for the low frequency (LOW) and high frequency (HIGH). The master EQ is not output from the MASTER OUT jacks and PHONES jacks. This indicates whether the master EQ effect is output ( each jack or is not output ( ). MST: MASTER OUT jacks PHO: PHONES jacks (always output) Parameter Value Explanation [F4] button OFF, EQ ON Turns master EQ on/off. Type SHELV (Shelving), PEAK (MID1 and MID2: fixed to “PEAK”) Type of equalizer Q 0.5–8.0 (only when Type is set to “PEAK”) Width of the frequency range A higher Q narrows the affected area. Freq Gain 20 Hz– 1 kHz (LOW) 20 Hz–16 kHz (MID1, 2) 1 kHz–16 kHz (HIGH) -12–+12 dB ) from Center frequency Amount of boost/cut * If the routing setting (p. 29) Master Out is set to “DIRECT,” the effect of the master EQ does not apply to the sound that is output from the MASTER OUT jacks. MEMO To return to the default values, press the [F5] (DEFAULT) button. 17 USER SAMPLE SAMPLE LIST Parameter Value Explanation Renames the currently selected user sample. [F5] button Reference For details on how to assign a name, refer to “Renaming a Drum Kit” in “Reference Manual” (PDF). LIST tab Play Type Specifies how the user sample is sounded. When you strike the pad, the currently-heard sound is silenced before the new sound is heard. ONESHOT MONO Notes do not overlap. ONESHOT POLY When you strike the pad repeatedly, the sounds of the notes are heard overlapping. The user sample plays repeatedly (loop). LOOP ALT Each time you strike the pad, the sound alternately plays or stops. START/END tab Zoom ([R1] knob) – Start ([R2] knob)*1 End ([R3] knob)*1 0–07937742 257–07937999 Zooms the waveform display in or out. You can zoom-in/out on the horizontal axis by turning the [R1] knob or by holding down the [SHIFT] button and pressing the cursor [K] [J] buttons. If you hold down the [SHIFT] button and turn the [R1] knob or use the cursor [H] [I] buttons, you’ll zoom-in/out on the vertical axis. Adjusts the start point (the location at which the user sample starts playing). Adjusts the end point (the location at which the user sample stops playing). *1 You can’t set the end point earlier than the start point. You can’t set the start point and end point to the same value. For both the start point and end point, you can’t specify a value that exceeds the length of the user sample. 18 SONG SONG (page 1) Parameter Value Explanation Speed ([R3] knob) 50–150 % * When you switch songs, this returns to 100%. Depending on the type of song, this might not be available. Value Change the name of recorded data. Explanation Changes the song’s (audio file) playback speed. SONG INFO (page 2) Parameter [F4] button*1 Loop Type Song Level Click Track Level*2 Reference For details on how to assign a name, refer to “Renaming a Drum Kit” in “Reference Manual” (PDF). Specifies how the song is played back. ONE SHOT Play back only once and then stop. LOOP Play repeatedly. -INF–+6.0 [dB] Song volume -INF–+6.0 [dB] Click track volume *1 Only recorded data *2 Only if there is a click track corresponding to the song 19 SET LIST SETUP Parameter Value Explanation Renames the set list. [F4] button Reference For details on how to assign a name, refer to “Renaming a Drum Kit” in “Reference Manual” (PDF). 20 CLICK 1. Press the [CLICK] button. The CLICK screen appears. Parameter Value Explanation [F5] button OFF, ON Turns click on/off. 20–260 1–9 Tempo Number of beats per measure TEMPO tab Tempo*1 Beat*1 Rhythm – Interval of the click SOUND tab Sound Level LED Ref OTHER tab Click Pan METRONOME, CLICK, VOICE, BEEP 1, BEEP 2, TEK CLICK, STICKS, CLAVES, WOOD BLOCK, COWBELL, TRIANGLE, TAMBOURINE, MARACAS, CABASA -INF–+6.0 dB OFF, ON L30–CTR (CENTER)–R30 Sound for the click Volume of click Specifies whether the [CLICK] button blinks in time with the click (ON) or does not blink (OFF). Stereo position of the click Depth of ambience reverb Applying ambience reverb makes the click easier to hear. Amb(Reverb)Send -INF–+6.0 dB Tap Sw OFF, ON Tap Pad KICK–PREVIEW MEMO The effect specified by the ambience reverb setting is applied. This means that reverb must be turned on (p. 12). You can specify the tempo by striking the pad specified by Tap Pad or by pressing a button (Tap Tempo). Select the pad or button that can be struck or pressed to set the tap tempo. *1 This cannot be changed while playing back a drum performance data song (p. 46) or recorded data. Quiet Count settings 1. In the CLICK screen, press the [F4] (QUIET CNT) button. 2. Press the [F2] (SETUP) button. The setting screen appears. 3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value. Parameter Value Measures 2, 4, 8, 16 (Measures) Quiet Explanation Specify the length (measures) of the interval for which the click will alternate between “Sounding” and “Quiet.” Of the measures specified by “Measures,” this setting specifies the length of the measures that will be “Quiet.” RANDOM The length of the Quiet interval will randomly change each time. Specifies the length (number of measures) of the Quiet interval. 1, 2, 4 * This setting cannot be longer than half of the Measures value. 21 TRIGGER 1. Press the [TRIGGER] button. The TRIGGER screen appears. 2. Use the PAGE [UP] [DOWN] buttons to access the editing screen. 3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value. 4. Press the [KIT] button to return to the DRUM KIT screen. TRIG BASIC (page 1) Parameter Value Explanation Renames the trigger bank. [F5] button Reference For details on how to assign a name, refer to “Renaming a Drum Kit” in “Reference Manual” (PDF). BANK tab Bank No. 1–8 Trigger bank number Specifies the model of pad (trigger type) that is connected to each trigger input. * You can’t change the trigger type of a trigger input that’s assigned to a pad that supports a digital connection. Trig Type For details, refer to “Trig Type list” (p. 23). MEMO When you specify the trigger type, the trigger parameters (with the exception of certain parameters such as cross-stick cancel) are set to optimal values. These values are only general guidelines; you can make fine adjustments as appropriate according to how you attach the pad and how you use it. DIGITAL tab Assign N/A, KICK–AUX4 Specifies the trigger input to which a digitally-connected pad is assigned. A digitally connected pad for which you select “N/A” is not used; the settings of the pad connected to the TRIGGER IN jack are applied. * Even if this is assigned to “HI-HAT,” hi-hat open/close techniques cannot be performed. SENS tab Trig Type Sensitivity Rim Gain HI-HAT tab Trig Type Hi-Hat Type Offset*1, *2 This parameter is the same as the Trig Type parameter of the BANK tab. You can adjust the sensitivity of the pads to accommodate your personal playing style. Increasing this value increases the sensitivity, so that even soft strikes on the pad are sounded at 1.0–32.0 high volume. Decreasing this value decreases the sensitivity, so that even strong strikes on the pad are sounded at low volume. Adjusts the balance between the force of striking the rim or edge and the loudness of the sound. If you increase this value, even soft strikes on the rim are sounded at high volume. If you decrease 0–3.2 this value, even strong strikes on the rim are sounded at low volume. This is available for pads that support rim shots. This parameter is the same as the Trig Type parameter of the BANK tab. Type of hi-hat This is set automatically according to the parameter selected in Trig Type. Extent of opening Hi-Hat The bigger the value is, the wider the opening extent is. -100–+100 (automatically) Foot Splash Sens*2 -10–+10 Noise Cancel*1, *2 1–3 CC MAX*2, *3 90, 127 *1 Only if Trig Type is set to “VH13” or “VH12.” *2 Digitally-connected pads do not support hi-hat pedal performance. *3 Only if Trig Type is set to something other than “VH13” or “VH12” 22 Reference For details on how to adjust the offset, refer to “Reference Manual.” You can make fine adjustments to the hi-hat parameters as necessary. Amount of how easy to make the foot splash Amount of strength to cancel the bow and edge noise when you play foot close. The bigger the value is, the more difficult to have a noise excluding the foot close. Amount of control change that is transmitted in stepping the hi-hat pedal down completely. * There’s no need to change this setting if you’re performed only with the TD-50 and the pads. TRIGGER Making detailed settings for digitally-connected pads 1. Press the [TRIGGER] button. 2. Press the PAGE [UP] button to access page 1 (TRIG BASIC). 3. Press the [F2] (DIGITAL) button. 4. Press the [F5] (ADVANCED) button. The DIGITAL TRIGGER ADVANCED screen appears. 5. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value. 6. Press the [F4] (EXIT) button to return to the DIGITAL TRIGGER IN screen. * The parameters that can be set differ depending on the type of pad. Parameter Value Position Adjust 1–10 XStick Detect Sens OFF, 1–5 Choke Sens OFF, 1–5 Bell Gain 0–3.2 Explanation Adjusts how the tonal character is affected by strike position. Lower values adjust toward the center, and higher values adjust toward the circumference. Adjusts how easy it is to use cross-stick playing technique. If this is “OFF,” cross-stick technique is unavailable. Adjusts the sensitivity of choking technique. If this is “OFF,” choking technique is unavailable. Adjusts the balance between the force of a strike on the bell (bell shot technique) and the loudness of the sound. With higher values of this setting, a high volume can be produced even by a soft strike on the bell. Trig Type list Bell shot Head KDA22 KD140 KD120 KD85 KD9 KD8 KD7 KT10 – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – PD128 ( – ( ( – PD125X ( – ( ( – RT-30H PD125 ( – ( ( – Trig Type KD-A22 KD-140 KD-120 KD-85 KD-9 KD-8 KD-7 KT-10 PD-128S, PD-128 PD-125XS, PD-125X PD-125 Positional sensing Choke play Rim Rim shot Used modes PD-108 PD108 PD-105X PD105X PD-105 PD105 PD-85 PD85 PDX-100 PDX100 PDX-8 PDX8 PDX-6 PDX6 PD-8 PD8 VH-13 VH13 VH-12 VH12 VH-11 VH11 CY-15R CY15R CY-14C CY14C CY-13R CY13R CY-12C CY12C CY-12R/C CY12R/C ( – ( – ( – ( – – ( – – ( – – – – – – ( – ( – ( – ( – ( ( – ( – ( ( – ( ( ( ( ( ( ( – ( ( ( – ( – ( ( ( – – – – – – – – – – ( ( ( ( ( ( – – – – Used modes Trig Type Rim shot ( Bell shot Positional sensing Choke play Rim Head ( CY-8 CY8 – – CY5 ( – CY-5 – – – ( BT-1 BT1 BT1 SENS*1 – – – – – – – – – – PAD1 ( – – – ( Generic pads PAD2 ( – – – – PAD3 ( – – – ( RT-30K RT30K – – – RT30HR – ( – RT-30HR – – – – – – – – – – – – – – – – RT-10S RT10S – – – ( RT-10T RT10T – RT-10K RT30H SN*2 RT30H TM*3 RT10K – – – – – – – – *1When using the BT-1, it is possible to further increase the sensitivity for soft strikes, but this increases the possibility of unwanted triggering by vibration from the surroundings. *2 Select this if you attach an RT-30H to the snare. *3 Select this if you attach an RT-30H to a tom. ( ( ( ( ( ( ( ( 23 TRIGGER Trigger inputs and playing methods corresponding chart Positional sensing/rim shot nuance Rim shot/cross stick * Use a dual-trigger type pad. Trigger Input KICK SNARE TOM 1–4 HI-HAT CRASH 1, 2 RIDE AUX 1–4 Rim Shot Rubber Pad – ( Mesh Pad – ( ( ( ( Trigger Input KICK Positional Sensing (Head) – ( TOM 1–4 ( Rim Shot Nuance – ( – HI-HAT CRASH 1, 2 – – ( – – Cross Stick SNARE – ( – – RIDE ( – – AUX 1–4 ( – ( – ( ( – ( ( MEMO – 55 Brush sweep can be used only SNARE. 55 Each playing method can be used with the instruments corresponding to it. 55 Bell shots are possible only for “RIDE.” 55 Cross-stick is possible only for “SNARE.” TRIG ADVANCED (page 2) Parameter Value Explanation THRESHOLD tab Trig Type Threshold This is the same parameter as Trig Type (p. 22) in the BANK tab. 0–31 Minimum sensitivity of the pad This setting allows a trigger signal to be received only when the pad is above a determined force level (velocity). This can be used to prevent a pad from sounding because of vibrations from other pads. In the following example, B will sound but A and C will not sound. Check this and adjust accordingly. Repeat this process until you get the perfect setting for your playing style. Threshold Volume change in response to pad strike strength Volume The standard setting. This produces the most natural correspondence between playing dynamics and volume change. LINEAR LINEAR Playing dynamics Volume Volume EXP1, EXP2 EXP1 Playing dynamics EXP1 EXP2 Volume Curve EXP2 Playing dynamics Volume LOG1, LOG2 LOG1 Compared to “LINEAR,” strong dynamics produce a greater change. Playing dynamics LOG1 LOG2 LOG2 Playing dynamics Compared to “LINEAR,” a soft playing produces a greater change. Volume Extreme changes are made in response to playing dynamics. SPLINE SPLINE Playing dynamics Volume Volume LOUD1, LOUD2 Playing dynamics LOUD1 LOUD1 LOUD2 LOUD2 24 Playing dynamics Very little dynamic response, making it easy to maintain strong volume levels. If you’re using a drum trigger as an external pad, these settings will produce reliable triggering. TRIGGER Parameter Value Explanation OFF, 1–5 This setting lets you prevent a drum from being triggered unwantedly by a strike on a drum to which no drum trigger is attached, or by sound or vibration from the surroundings (noise cancellation). This noise cancel function can be used if you use a stereo cable to connect an “RT-30K” or “RT-30HR” drum trigger to the following TRIGGER IN jacks and specify the Trig Type. Supported TRIGGER IN jacks 55 KICK 55 SNARE 55 TOM1–4 55 AUX1–4 * The “RT-30H” does not support the noise cancel function. THRESHOLD tab RIM tab Trig Type This is the same parameter as Trig Type (p. 22) in the BANK tab. If the rim sound is heard when you strike the head strongly, increase this value. If the head sound is heard when you play an open rim shot, decrease this value. If the head sound is heard when you softly play a rim shot, decrease this value. Head/Rim Adjust*2 0–80 XStick Threshold*2 0–127 SCAN tab Trig Type Scan Time MEMO If the rim shot sound is heard when you play a head shot, or if a head shot sound is heard when you play a rim shot, make small changes to the Head/Rim Adjust values while you continue trying out the results. Extreme changes to the values will cause the wrong sound to be heard when you strike the pad, for example producing the rim shot sound when you play a head shot. For a pad that is connected to a TRIGGER IN jack, this specifies the force at which to switch between the cross stick sound and open rim shot sound. High Setting this to a higher value makes it easier to get cross stick sounds. When set to “0,” playing a cross stick produces the open rim shot sound. Rim Shot For a digitally connected pad that allows cross stick technique, Sound playing a cross stick with a strike that is stronger than the value of this setting produces the open rim shot sound. Cross Stick Sound Playing Low * For a pad that is connected to a TRIGGER IN jack, be aware that if Soft Hard dynamics this value is raised excessively, the cross stick sound will also be XStick Threshold heard when you play an open rim shot. Volume ExtNoiseCancel*1 This is the same parameter as Trig Type (p. 22) in the BANK tab. Trigger signal detection time Since the rise time of the trigger signal waveform may differ slightly depending on the characteristics of each pad or acoustic drum trigger (drum pickup), you may notice that identical hits (velocity) may produce sound at different volumes. If this occurs, you can adjust the “Scan Time” so that your way of playing can be detected more precisely. 0–4.0 ms Scan Time Time While repeatedly hitting the pad at a constant force, gradually raise the Scan Time value from 0 msec, until the resulting volume stabilizes at the loudest level. At this setting, try both soft and loud strikes, and make sure that the volume changes appropriately. Mask Time 0–64 ms * As the value is set higher, the time it takes for the sound to be played increases. Set this to the lowest value possible. Double triggering prevention Mask Time When playing a kick trigger the beater can bounce back and hit the head a second time immediately after the intended note—with acoustic drums sometimes the beater stays against the head—this causes a single hit to “double trigger” (two sounds instead of one). Time The Mask Time setting helps to prevent this. Once a pad has been hit, any additional trigger signals occurring within the specified “Mask Time” will be ignored. Sound not produced Adjust the “Mask Time” value while playing the pad. When using a kick trigger, try to let the beater bounce back and hit the head very quickly, then raise the “Mask Time” value until there are no more sounds made by the beater rebound. MEMO Retrigger Cancel 1–16 If two or more sounds are being produced when you strike the head just once, then adjust Retrigger Cancel. Detecting trigger signal attenuation Important if you are using acoustic drum triggers. Such triggers can produce altered waveforms, which may also cause inadvertent sounding at Point A in the following figure (Retrigger). Time This occurs in particular at the decaying edge of the waveform. Retrigger Cancel detects such distortion in and prevents retriggering from occurring. While repeatedly striking the pad, raise the “Retrigger Cancel” value until retriggering no longer occurs. Although setting this to a high value prevents retriggering, it then becomes easy for sounds to be omitted when the drums played fast (roll etc.). Set this to the lowest value possible while still ensuring that there is no retriggering. MEMO You can also eliminate this problem of retriggering with the Mask Time setting. Mask Time does not 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. 25 TRIGGER Parameter Value POSITION tab Trig Type Position Detect*2 Head Rim Explanation This is the same parameter as Trig Type (p. 22) in the BANK tab. Positional sensing on/off If you turn strike position detection on, you’ll be able to produce tonal change by varying the strike position on the head or by changing the nuance of your rim shots. OFF, ON Turns head strike position detection on/off OFF, ON Turns rim strike position detection on/off *1 Only when Trig Type is set to “RT30K” or “RT30HR” *2 For some Trig Type settings, this cannot be specified. MEMO To return to the default values, press the [F5] (DEFAULT) button. The following parameters do not return to their default values when you change the Trig Type or press the [F5] (DEFAULT) button. 55 Hi-hat parameters 55 Offset 55 Foot Splash Sens 55 Noise Cancel 55 CC MAX 55 XStick Threshold 55 XTalk Cancel Rate TRIG MONITOR (page 3) Parameter Value Explanation XTALK tab Strength of crosstalk cancellation XTalk Cancel Rate 0–80 Reference For details on how to make these settings, refer to “Reference Manual.” 26 SETUP 1. Press the [SETUP] button. The SETUP MENU screen appears. 2. Use the PAGE [UP] [DOWN] buttons and the function buttons to select the setup menu that you want to edit. Setup menu Explanation Page OUTPUT Specifies the output destination of the sounds. p. 27 USB AUDIO Makes USB audio settings. p. 30 OPTION Makes settings for the [PREVIEW] button, the MIX IN jacks, and the display. p. 30 CONTROL Assigns functions to the footswitch and pads. p. 31 MIDI Makes MIDI settings. p. 32 AUTO OFF Makes AUTO OFF settings. p. 33 INFO Displays information about the TD-50 itself, such as the program version. p. 33 Returns the TD-50 to its factory settings. FACTORY RESET – Reference For details on the factory reset operation, refer to “Reference Manual” (PDF). 3. Edit the settings of the menu that you selected. Reference For details on operations in the setup menu, refer to “Reference Manual” (PDF). OUTPUT PAD OUTPUT (page 1) Parameter Value Explanation PHONES (MASTER OFF), PHONES+MASTER LR Specifies each pad’s output from the PHONES jacks and the MASTER OUT jacks (when Master Out (p. 29) is “NORMAL”). OFF, 1, 2, 1+2, 3, 4, 3+4, 5, 6, 5+6, 7, 8, 7+8, MASTER DIRECT L, MASTER DIRECT R, MASTER DIRECT L+R Specifies each pad’s output from the DIRECT OUT 1–8 jacks and the MASTER OUT jacks (when Master Out (p. 29) is “DIRECT”). MASTER tab PAD OUTPUT ASSIGN MASTER DIRECT tab PAD OUTPUT ASSIGN DIRECT MONITOR tab Monitor the output volume of each jack. MEMO To return to the default values, press the [F4] (DEFAULT) button. 27 SETUP OTHER OUTPUT (page 2) Parameter Value Explanation PHONES (MASTER OFF), PHONES+MASTER LR Specifies how ambience and MFX are output from the PHONES jacks and the MASTER OUT jacks (when Master Out (p. 29) is “NORMAL”). OFF, 1, 2, 1+2, 3, 4, 3+4, 5, 6, 5+6, 7, 8, 7+8, MASTER DIRECT L, MASTER DIRECT R, MASTER DIRECT L+R Specifies how ambience and MFX are output from the DIRECT OUT1–8 jacks and the MASTER OUT jacks (when Master Out (p. 29) is “DIRECT”). MASTER tab OTHER OUTPUT ASSIGN MASTER DIRECT tab OTHER OUTPUT ASSIGN DIRECT MONITOR tab Monitor the output volume of each jack. MEMO To return to the default values, press the [F4] (DEFAULT) button. 28 SETUP OUTPUT ROUTING (page 3) Parameter Value Explanation ROUTING tab Fader to Direct*1 OFF, ON PadEq/Comp to Direct*1 OFF, ON PadComp to Phones OFF, ON Master Out*1 NORMAL, DIRECT Specifies whether the fader values are applied to the output from the DIRECT OUT jacks (ON) or are not applied (OFF). If this is “OFF,” the output from the DIRECT OUT jacks is not affected by the panel faders. If the OUTPUT ROUTING Master Out is “DIRECT,” and Fader to Direct is “OFF,” the output from the MASTER OUT jacks is also unaffected by the panel faders. Regardless of the Fader to Direct setting, the output from the PHONES jacks is always affected by the panel faders. This means that the faders at hand can be used to adjust the balance of the sound monitored by the performer, independently of the balance adjusted by the PA. Specifies whether the pad equalizer (p. 14) and pad compressor (p. 14) effects are applied (ON) or are not applied (OFF) to the sound that is output from the DIRECT OUT jacks. If this is “OFF,” the pad equalizer and pad compressor are bypassed for the output of the DIRECT OUT jacks. If the OUTPUT ROUTING Master Out is “DIRECT,” and PadEq/Comp to Direct is “OFF,” the output from the MASTER OUT jacks also bypasses the pad equalizer and pad compressor. Specifies whether the pad compressor (p. 14) is applied (ON) or is not applied (OFF) to the sound that is output from the PHONES jacks. If this is “OFF,” the pad compressor does not affect the output from the PHONES jacks. For example, this lets you use the pad compressor to reduce the dynamic range for the drum monitor or PA, but hear the full dynamics in the monitor headphones while you perform. Selects whether the output of the MASTER OUT jacks is the same signal as the DIRECT OUT jacks (DIRECT) or not (NORMAL). If this is “DIRECT,” the output of the MASTER OUT jacks is not affected by the master compressor and master EQ, allowing you to use the MASTER OUT jacks as DIRECT OUT jacks (the setting of the [MASTER] knob does apply). This setting also applies to the USB audio output to your computer. LO CUT tab LoCut Frequency 20–200 Hz DirectOut*2 OFF, ON MasterOut*2 OFF, ON PhonesOut OFF, ON Cuts the frequency region below the specified frequency (low cut). This setting is common to all output jacks. Specifies whether low cut is applied (ON) or is not applied (OFF) to the sound that is output from the DIRECT OUT jacks. Specifies whether low cut is applied (ON) or is not applied (OFF) to the sound that is output from the MASTER OUT jacks. Specifies whether low cut is applied (ON) or is not applied (OFF) to the sound that is output from the PHONES jacks. ATT tab Direct Out Att*2 -12, -6, 0db Lowers the volume of the DIRECT OUT jacks (attenuator). This lets you decrease the volume if the output of the TD-50 is too high, causing distortion on the device that receives these signals. This applies to all DIRECT OUT jacks. If Master Out is set to “DIRECT,” this also applies to the output from the MASTER OUT jacks. *1 This also applies to the TD-50’s sound that is output via USB audio. *2 Low cut and attenuator do not apply to the TD-50’s sound that is output via USB audio. MEMO To return to the default values, press the [F4] (DEFAULT) button. 29 SETUP USB AUDIO Parameter Input Gain Volume Select Input MAIN, SUB Output Gain Value Explanation Adjusts the input level This setting is common to Input MAIN and SUB. Specifies the knob that adjusts the input volume of USB audio (Input MAIN, SUB). OFF The volume is not adjusted by a knob. SONG The [SONG] knob adjusts the volume. CLICK The [CLICK] knob adjusts the volume. Adjusts the output level -24–+24 dB This setting is common to all outputs. Switches between the TD-50’s dedicated USB driver and the driver provided by your operating system. -36–+12 dB MEMO Driver Mode The setting takes effect when the TD-50 is powered off and on again. Use the driver provided by the operating system. GENERIC Operation is limited to USB MIDI. VENDOR Use the TD-50’s dedicated driver provided by Roland. USB MIDI and USB audio can be used. OPTION Parameter Value Explanation PREVIEW tab Specifies how the sound is played when the [PREVIEW] button is pressed. FIXED Preview Mode DRUM KIT The sound is heard at a fixed volume regardless of how strongly the button is pressed. The velocity changes depending on how strongly the button is pressed. The velocity changes in the range of 1–127 according to the pad that is connected. For a digitally connected pad, the velocity changes in the range of 1–127+32. Velocity when Preview Mode is set to “FIXED” Velocity 1–127+32 MIX IN tab The MIX IN jack can be used not only as a stereo input but also as mono input x2. For example, if the click sound is being played through the L-channel of the MIX IN jack and the backing through the R-channel, set Mode to “MONO” so that the click and backing are both heard from the center. This setting is common to the front panel and rear panel MIX IN jacks. Selects the jack(s) to use as an input. L+R Use both channels Input L ONLY Use only the left channel R ONLY Use only the right channel STEREO Use as stereo input Mode MONO Use as monaural x 2 Gain 0, +6, +12 dB Adjusts the input level LCD tab Contrast 1–16 Display contrast Brightness 1–16 Display brightness GUIDE tab Specifies whether the guide is shown (ON) or not shown (OFF) on the screen when switching pages. Guide Display Sw 30 OFF, ON SETUP CONTROL Parameter Value Explanation FOOT SW tab Assigns a function to a footswitch (separately sold: BOSS FS-5U, FS-6) connected to the TD-50. Connecting an FS-5U Stereo 1/4” phone type 1/4” phone type x 2 RING TIP POLARITY switch SW 1 Foot Switch 1 Func(SW1), Foot Switch 2 Func(SW2) See below SW 2 * If you use a mono cable to connect a single FS-5U, it will operate as SW 2. * The FS-5L cannot be used. Connecting an FS-6 Stereo 1/4” phone type Stereo 1/4” phone type MODE/POLARITY switch SW 1 SW 2 PAD CTRL tab Aux3 Head Func, Aux3 Rim Func Aux4 Head Func, Aux4 Rim Func See below Assigns functions to a pad connected to TRIGGER IN jack 13/AUX3. You can assign separate functions to the head and to the rim. Assigns functions to a pad connected to TRIGGER IN jack 14/AUX4. You can assign separate functions to the head and to the rim. Functions that you can assign to a footswitch or pad Value Explanation Value Explanation OFF No function is assigned. KIT# INC KIT# DEC SETLIST# INC SETLIST# DEC SONG# INC SONG# DEC SONG PLAY SONG STOP SONG TOP SONG PLAY/STOP Calls up the previous kit. Calls up the next kit. Calls up the previous set list. Calls up the next set list. Calls up the previous song. Calls up the next song. Play the song. Stop the song. Return to the beginning of the song. Play/stop the song. SONG AB REPEAT MFX 1 ON/OFF MFX 2 ON/OFF MFX 3 ON/OFF Specifies A-B repeat. Turns on/off the multi-effect 1. Turns on/off the multi-effect 2. Turns on/off the multi-effect 3. Switches between sounding or not sounding the cross-stick sound. Switches between setting the hi-hat Fixed (p. 8) to “CLOSE” or not. Stops the currently-sounding drum performance sound or user sample playback. XSTICK ON/OFF*1 FIXED HH ON/OFF ALL SOUND OFF *1 If the trigger input (p. 22) of a digitally-connected pad (such as the PD-140DS) is assigned to snare, “XSTICK ON/OFF” has no effect. 31 SETUP MIDI Parameter Value Explanation BASIC tab MIDI Tx/Rx Sw MIDI Channel Program Change Tx Program Change Rx Soft Thru MIDI In Soft Thru USB MIDI In Local Control Device ID Transmit Edit Data Receive Exclusive CONTROL tab HH Pedal CC Snare CC Ride CC TOMs/AUXs CC OFF, ON Turns the transmitting and receiving MIDI messages on/off. 1–16Ch Transmit and receive channel. OFF, ON Turns program change transmission on/off OFF, ON Turns program change reception on/off This allows performance data from a MIDI device connected to the TD-50’s MIDI IN connector to be transmitted to another MIDI device connected to the MIDI OUT connector or to a computer connected to the USB COMPUTER port. Performance data received from the TD-50’s MIDI IN connector will not be sent to the MIDI OUT OFF connector or the USB COMPUTER port. Performance data received from the TD-50’s MIDI IN connector will be sent to the MIDI OUT ON (MIDI OUT) connector. Performance data received from the device connected to the TD-50’s MIDI IN connector will be sent ON (USB MIDI) to the USB COMPUTER port. Performance data received from the device connected to the TD-50’s MIDI IN connector will be sent ON (MIDI+USB) to the MIDI OUT connector and the USB COMPUTER port. Performance data from a computer connected to the TD-50’s USB COMPUTER port can be transmitted to a MIDI device connected to the MIDI OUT connector. Performance data received via the TD-50’s USB COMPUTER port is not transmitted to the MIDI OUT OFF connector. Performance data received via the TD-50’s USB COMPUTER port is transmitted to the MIDI OUT ON (MIDI OUT) connector. Turns on/off the connection between the performance data from the pads and the TD-50’s sound generator section OFF, ON Normally you’ll leave this “ON.” If this is “OFF,” the performance data from the pads is not connected to the TD-50’s sound generator section. Device ID setting 17–32 The setting described here is necessary only when you wish to transmit separate data to two or more TD-50 units at the same time. Do not change this setting in any other case. Specifies whether changes in the TD-50’s settings are transmitted as system exclusive messages OFF, ON (ON) or not transmitted (OFF). OFF, ON Specifies whether system exclusive messages are received (ON) or not received (OFF). OFF, 1, 2, 4, 11, 16, 17, 18, 19 HH Note# Border 0–127 Hi-Reso Velocity OFF, ON Cymbal Choke Shot OFF, ON Control change used for transmitting/receiving the depth to which the hi-hat pedal pressed Control change used for transmitting/receiving the strike position of the snare Control change used for transmitting/receiving the strike position of the ride Control change used for transmitting/receiving the strike position of the tom 1–4 and AUX 1–4 This number specifies the pedal position at which to switch from open hi-hat to closed hi-hat. * There’s no need to change this setting if you’re performed and recording only with the TD-50 and the pads. Disables CC#88 (high resolution velocity prefix). If this is disabled, the maximum velocity handled by the TD-50 is limited to 127. Velocity is also limited to 127 for strikes on digitally-connected pads and for input via the MIDI IN connector. Switches support for the performance technique of striking a pad while choking it. If this is “ON,” striking a pad while choking it immediately mutes the sound after it begins. If this is “OFF,” the sound is not muted immediately even if you strike a pad while choking it. SYNC tab Sync Mode Clock Source Sync Out Specifies the synchronization signal according to which the TD-50 operates. Choose this setting if you’re using the TD-50 by itself without synchronizing it to another device, or INTERNAL if you want another device to operate in synchronization with the TD-50. The TD-50 operates as a slave device. Choose this setting if you want the TD-50 to operate EXTERNAL according to synchronization messages that it receives from another device. When Sync Mode is “EXTERNAL,” this specifies whether the TD-50 synchronizes to synchronization MIDI, USB MIDI messages from the MIDI IN connector (MIDI) or to synchronization messages from the USB COMPUTER port (USB MIDI). Specifies whether MIDI synchronization messages are transmitted to another device (ON) or not OFF, ON transmitted (OFF). PROG CHG tab MIDI Program Change 32 1–127 You can freely specify the correspondence between drum kits and the program change numbers that are transmitted and received. SETUP Using the Local Control setting If you’re using a DAW with the performance data from the pads and TD-50’s sound generator section, you should turn the Local Control “OFF.” Here’s why. We need to connect these sections in the following order: the performance data from the pads0 a DAW0the TD-50’s sound generator section. Since the performance data from the pads and TD-50’s sound generator section are connected internally, Pad such a connection order would normally be impossible. However, if the Local Control is “OFF,” the performance data from the pads and TD-50’s sound generator section will be independent, allowing you to use a DAW as shown here in the illustration. DAW TD-50 Local Control: OFF Sound generator section Specifying the HH Note# Border The note number transmitted when you strike the hi-hat will change depending on the amount of pressure on the hi-hat pedal. At the factory default value (127), the closed hi-hat note number will be transmitted only if the hi-hat pad is played with the pedal completely depressed. If you want this note number to be transmitted when the pedal is slightly raised, set this to a value such as “90.” * In some cases, changing the hi-hat note number border setting might cause a song to play back differently than when it was recorded. AUTO OFF Parameter Value Auto Off Specifies whether the unit will turn off automatically after a certain time has elapsed. If you don’t want the unit to turn off automatically, choose “OFF” setting OFF The power does not turn off automatically. When four hours have elapsed without any pad being struck or any operation being performed, the 4 HOURS unit will turn off automatically. Explanation INFO Parameter Value Explanation PROGRAM tab Program Version SAMPLE tab Program version Imported Sample Number of imported user samples Memory Remain SD CARD tab Backup All 1 Kit Rec Data DIGITAL tab Remaining amount for user samples in user memory Pad Indicates a pad that is digitally connected to the TD-50. Program Version Indicates the program version of a pad that is digitally connected to the TD-50. Backup data saved on the SD card (all settings) Kit backup data saved on the SD card Number of recorded data saved on the SD card 33 Multi-Effect Parameters The multi-effects feature 30 different kinds of effects. Some of the effects consist of two or more different effects connected in series. Effect type Page DELAY TAPE ECHO REVERSE DELAY 3TAP PAN DELAY p. 35 p. 35 p. 35 p. 35 OD0DELAY p. 36 DS0DELAY CHORUS SPACE-D p. 36 OD0CHORUS p. 36 DS0CHORUS PHASER A PHASER B STEP PHASER FLANGER REVERB LONG REVERB SUPER FILTER FILTER+DRIVE AUTO WAH p. 36 OD/DS0TWAH LOFI COMPRESS DISTORTION OVERDRIVE SATURATOR T-SCREAM BIT CRUSHER ISOLATOR RING MODULATOR PITCH SHIFTER AUTO PAN p. 39 p. 36 p. 36 p. 37 p. 37 p. 37 p. 37 p. 38 p. 38 p. 38 p. 38 p. 39 p. 39 p. 39 p. 39 p. 39 p. 40 p. 40 p. 40 p. 40 p. 40 p. 40 About note values Some effect parameters (such as Rate or Delay Time) can be set by using note values. Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet Thirty-second note Sixteenth-note triplet Dotted thirty-second note Sixteenth note Eighth-note triplet Dotted sixteenth note Eighth note Quarter-note triplet Dotted eighth note Quarter note Half-note triplet Dotted quarter note Half note Whole-note triplet Dotted half note Whole note Double-note triplet Dotted whole note Double note NOTE If you set the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length. There is an upper limit for the delay time so if it is set as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specified when setting the delay time as a numerical value. 34 Multi-Effect Parameters DELAY REVERSE DELAY This is a stereo delay. Parameter Value Explanation Specifies whether the delay time value of the left/right delay sounds is specified as a note value (ON) or not (OFF). Delay time from the original sound Delay Left, Right 1–1300 ms, note until the left/right delay sound is Time heard Phase Left, Right NORMAL, INVERSE Phase of the delay sound Selects the way in which delay sound is fed back into the effect NORMAL: The left/right delay sounds Feedback Mode NORMAL, CROSS are fed back without modification. CROSS: The left/right delay sounds are alternately exchanged when fed back. Adjusts the amount of the delay sound that’s fed back into the effect. Feedback -98–+98 % Negative “-” settings will invert the phase. Adjusts the frequency above which sound fed back to the effect is 200–8000 HF Damp filtered out. If you don’t want to filter Hz, BYPASS out any high frequencies, set this parameter to BYPASS. Low Gain -15–+15 dB Gain of the low frequency range High Gain -15–+15 dB Gain of the high frequency range Level 0–127 Output Level Tempo Sync Left, OFF, ON Right TAPE ECHO Mode Repeat Rate Intensity Parameter Value Threshold 0–127 Tempo Sync Rev OFF, ON Rev Delay Time 1–1300 ms, note Rev Delay Feedback -98–+98 % Rev Delay HF Damp 200–8000 Hz, BYPASS Rev Delay Pan L64–63R Rev Delay Level 0–127 Tempo Sync Delay 1–3 OFF, ON Delay 1–3 Time 1–1300 ms, note Delay 3 Feedback -98–+98 % A virtual tape echo that produces a realistic tape delay sound. This simulates the tape echo section of a Roland RE-201 Space Echo. Parameter This is a reverse delay that adds a reversed and delayed sound to the input sound. A tap delay is connected immediately after the reverse delay. Value Explanation Combination of playback heads to use Select from three different heads S, M, L, S+M, S+L, with different delay times S: Short M+L, S+M+L M: Middle L: Long Tape speed 0–127 Increasing this value will shorten the spacing of the delayed sounds. 0–127 Bass -15–+15 dB Treble -15–+15 dB Head S Pan Head M Pan Head L Pan L64–R63 L64–R63 L64–R63 Tape Distortion 0–5 W/F Rate 0–127 W/F Depth Level 0–127 0–127 Amount of delay repeats Boost/cut for the lower range of the echo sound Boost/cut for the upper range of the echo sound Delay HF Damp Delay 1 Pan, Delay 2 Pan Delay 1 Level, Delay 2 Level Low Gain High Gain Level 200–8000 Hz, BYPASS L64–63R Explanation Volume at which the reverse delay will begin to be applied Specifies whether the delay time value of the reverse delay is specified as a note value (ON) or not (OFF). Delay time from when sound is input into the reverse delay until the delay sound is heard Proportion of the delay sound that is to be returned to the input of the reverse delay. Negative “-” settings will invert the phase. Frequency at which the highfrequency content of the reverse-delayed sound will be cut (BYPASS: no cut) Stereo location of the reverse delay sound Volume of the reverse delay sound Specifies whether the delay time value of the tap delay is specified as a note value (ON) or not (OFF). Delay time from when sound is input into the tap delay until the delay sound is heard Proportion of the delay sound that is to be returned to the input of the tap delay (negative values invert the phase) Frequency at which the high frequency content of the tap delay sound will be cut (BYPASS: no cut) Stereo location of the tap delay sounds 0–127 Volume of the tap delay sounds -15–+15 dB -15–+15 dB 0–127 Gain of the low frequency range Gain of the high frequency range Output Level 3TAP PAN DELAY Produces three delay sounds; center, left and right. Parameter Value Independent stereo location for the short, middle, and long playback heads Tempo Sync Left, OFF, ON Right, Center Amount of tape-dependent distortion to be added This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion. Speed of wow/flutter (complex variation in pitch caused by tape wear and rotational irregularity) Depth of wow/flutter Output level Delay Left, Right, 1–2600 ms, note Center Time Center Feedback -98–+98 % HF Damp Left, Right, Center Level Low Gain High Gain Level 200–8000 Hz, BYPASS Explanation Specifies whether the delay time value of the left/right/center delay sound is specified as a note value (ON) or not (OFF). Adjusts the time until the delay sound is heard. Adjusts the amount of the delay sound that’s fed back into the effect. Negative “-” settings invert the phase. Adjusts the frequency above which sound fed back to the effect is filtered out. If you do not want to filter out any high frequencies, set this parameter to BYPASS. 0–127 Volume of each delay -15–+15 dB -15–+15 dB 0–127 Gain of the low frequency range Gain of the high frequency range Output Level 35 Multi-Effect Parameters OD0DELAY Parameter SPACE-D Value Overdrive Drive 0–127 Overdrive Pan L64–63R Tempo Sync OFF, ON Delay Time 1–2600 ms, note Delay Feedback -98–+98 % Delay HF Damp 200–8000 Hz, BYPASS Delay Balance D100:0W– D0:100W Level 0–127 Explanation Degree of distortion Also changes the volume. Stereo location of the overdrive sound Specifies whether the delay time value of the delay is specified as a note value (ON) or not (OFF). Adjusts the delay time from the direct sound until the delay sound is heard. Adjusts the proportion of the delay sound that is fed back into the effect. Negative “-” settings will invert the phase. Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS. Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D). Output Level DS0DELAY The parameters are essentially the same as in “OD0DELAY” with the exception of the following two. Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan CHORUS 36 Parameter Value Pre Delay 0.0–100.0 ms Tempo Sync OFF, ON Rate Depth Phase Low Gain High Gain Level Value Parameter Value Overdrive Drive 0–127 Overdrive Pan L64–63R Chorus Pre Delay 0.0–100.0 ms Tempo Sync Chorus Depth Filter Type OFF, LPF, HPF Cutoff Freq 200–8000 Hz Pre Delay 0.0–100.0 ms Tempo Sync OFF, ON Rate 0.05–10.00 Hz, note Frequency of modulation Depth Phase Low Gain High Gain Level 0–127 0–180 deg -15–+15 dB -15–+15 dB 0–127 Depth of modulation Spatial spread of the sound Gain of the low range Gain of the high range Output Level OFF, ON 0.05–10.00 Hz, note 0–127 Chorus Balance D100:0W– D0:100W Level 0–127 Explanation Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from the direct sound until the chorus sound is heard. Specifies whether the modulation rate is specified as a note value (ON) or not (OFF). 0.05–10.00 Hz, note 0–127 0–180 deg -15–+15 dB -15–+15 dB 0–127 Explanation Adjusts the delay time from the direct sound until the chorus sound is heard. Specifies whether the modulation rate is specified as a note value (ON) or not (OFF). Frequency of modulation Depth of modulation Spatial spread of the sound Gain of the low range Gain of the high range Output Level OD0CHORUS Rate This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound. Parameter This is a multiple chorus that applies two-phase modulation in stereo. It gives no impression of modulation, but produces a transparent chorus effect. Explanation Degree of distortion Also changes the volume. Stereo location of the overdrive sound Adjusts the delay time from the direct sound until the chorus sound is heard. Specifies whether the modulation rate is specified as a note value (ON) or not (OFF). Frequency of modulation Depth of modulation Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D). Output Level DS0CHORUS The parameters are essentially the same as in “OD0CHORUS” with the exception of the following two. Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan Multi-Effect Parameters PHASER A STEP PHASER A phase-shifted sound is added to the original sound and modulated. Parameter Value Explanation Low Gain High Gain 4-STAGE, 8-STAGE, Number of stages in the phaser 12-STAGE Adjusts the basic frequency from 0–127 which the sound will be modulated. Specifies whether the modulation OFF, ON rate is specified as a note value (ON) or not (OFF). 0.05–10.00 Hz, Frequency of modulation note 0–127 Depth of modulation Selects whether the left and right phase of the modulation will be the same or the opposite. INVERSE: The left and right phase INVERSE, will be opposite. When using a mono SYNCHRO source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source. 0–127 Amount of feedback Adjusts the proportion of the phaser sound that is fed back into the effect. -98–+98 % Negative “-” settings will invert the phase. -15–+15 dB Gain of the low range -15–+15 dB Gain of the high range Level 0–127 Mode Manual Tempo Sync Rate Depth Polarity Resonance Cross Feedback Output Level The phaser effect will be varied gradually. Parameter Mode Manual Tempo Sync (Rate) Rate Depth Polarity Resonance Cross Feedback Tempo Sync (Step Rate) Step Rate Low Gain High Gain Level PHASER B Value Explanation 4-STAGE, 8-STAGE, Number of stages in the phaser 12-STAGE Adjusts the basic frequency from 0–127 which the sound will be modulated. Specifies whether the modulation OFF, ON rate is specified as a note value (ON) or not (OFF). 0.05–10.00 Hz, Frequency of modulation note 0–127 Depth of modulation Selects whether the left and right phase of the modulation will be the same or the opposite. INVERSE: The left and right phase INVERSE, will be opposite. When using a mono SYNCHRO source, this spreads the sound. SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source. 0–127 Amount of feedback Adjusts the proportion of the phaser sound that is fed back into the effect. -98–+98 % Negative “-” settings will invert the phase. Specifies whether the modulation OFF, ON rate of the phaser effect is specified as a note value (ON) or not (OFF). 0.10–20.00 Hz, Rate of the step-wise change in the note phaser effect -15–+15 dB Gain of the low range -15–+15 dB Gain of the high range 0–127 Output Level This simulates a different analog phaser than Phaser A. Parameter Value Explanation Speed Depth Low Gain High Gain Level 0–100 0–127 -15–+15 dB -15–+15 dB 0–127 Frequency of modulation Depth of modulation Gain of the low range Gain of the high range Output Level FLANGER This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound. Parameter Value Filter Type OFF, LPF, HPF Cutoff Freq 200–8000 Hz Pre Delay 0.0–100.0 ms Tempo Sync OFF, ON Depth Phase 0.05–10.00 Hz, note 0–127 0–180 deg Feedback -98–+98 % Low Gain High Gain Level -15–+15 dB -15–+15 dB 0–127 Rate Explanation Type of filter OFF: no filter is used LPF: cuts the frequency range above the Cutoff Freq HPF: cuts the frequency range below the Cutoff Freq Basic frequency of the filter Adjusts the delay time from when the direct sound begins until the flanger sound is heard. Specifies whether the modulation rate is specified as a note value (ON) or not (OFF). Frequency of modulation Depth of modulation Spatial spread of the sound Adjusts the proportion of the flanger sound that is fed back into the effect. Negative “-” settings will invert the phase. Gain of the low range Gain of the high range Output Level 37 Multi-Effect Parameters REVERB SUPER FILTER Adds reverberation to the direct sound, simulating an acoustic space. This is a filter with an extremely sharp slope. The cutoff frequency can be varied cyclically Parameter Value Explanation Parameter Type ROOM1, ROOM2, STAGE1, STAGE2, HALL1, HALL2 Type of reverb Pre Delay 0.0–100 msec Time 0–127 HF Damp 200–8000 Hz, BYPASS Low Gain High Gain Level -15–+15 dB -15–+15 dB 0–127 Adjusts the delay time from the direct sound until the reverb sound is heard. Time length of reverberation Adjusts the frequency above which the reverberant sound will be cut (BYPASS: no cut). Gain of the low range Gain of the high range Output Level LONG REVERB This is a very rich sounding reverb with a choice of character. 38 Parameter Value Explanation Depth Time 0–127 0–127 Pre LPF 16–15000 Hz, BYPASS Pre HPF BYPASS, 16–15000 Hz Depth of the effect Time length of reverberation Frequency of the filter that cuts the high-frequency content of the input sound (BYPASS: no cut) Frequency of the filter that cuts the low-frequency content of the input sound (BYPASS: no cut) Frequency of the filter that boosts/ cuts a specific frequency region of the input sound Amount of boost/cut produced by the filter at the specified frequency region of the input sound Bandwidth of the filter that boosts or cuts the specified frequency region of the input sound Frequency at which the highfrequency content of the resonant sound will be cut (BYPASS: no cut) Frequency at which the lowfrequency content of the resonant sound will be cut (BYPASS: no cut) Type of reverb Center frequency of the low region Gain of the low range Center frequency of the high region Gain of the high range Output Level Peaking Freq 200–8000 Hz Peaking Gain -15–+15 dB Peaking Q 0.5–8.0 HF Damp 16–15000 Hz, BYPASS LF Damp BYPASS, 16–15000 Hz Character EQ Low Freq EQ Low Gain EQ High Freq EQ High Gain Level 1–6 200–400 Hz -15–+15 dB 2000–8000 Hz -15–+15 dB 0–127 Value Explanation Filter type Frequency range that will pass through each filter LPF Frequencies below the cutoff Frequencies in the region of the Filter Type BPF cutoff HPF Frequencies above the cutoff Frequencies other than the region of NOTCH the cutoff Amount of attenuation per octave -12 dB Gentle Filter Slope -24 dB Steep -36 dB Extremely steep Cutoff frequency of the filter Filter Cutoff 0–127 Increasing this value will raise the cutoff frequency. Filter resonance level Filter Resonance 0–127 Increasing this value will emphasize the region near the cutoff frequency. Filter Gain 0–+12 dB Amount of boost for the filter output Modulation Sw OFF, ON On/off switch for cyclic change How the cutoff frequency will be modulated TRI Triangle wave SQR Square wave SIN Sine wave Sawtooth wave (upward) Modulation Wave SAW1 SAW2 Sawtooth wave (downward) SAW1 Tempo Sync OFF, ON Depth 0.05–10.00 Hz, note 0–127 Attack 0–127 Level 0–127 Rate SAW2 Specifies whether the modulation rate is specified as a note value (ON) or not (OFF). Rate of modulation Depth of modulation Speed at which the cutoff frequency will change This is effective if Modulation Wave is SQR, SAW1, or SAW2. Output Level FILTER+DRIVE This is a low-pass filter equipped with overdrive. It cuts the upper range and adds distortion. Parameter Value Cutoff 0–127 Resonance 0–127 Drive Level 0–127 0–127 Explanation Cutoff frequency of the filter Increasing this value will raise the cutoff frequency. Filter resonance level Increasing this value will emphasize the region near the cutoff frequency. Amount of distortion Output Level Multi-Effect Parameters AUTO WAH LOFI COMPRESS Cyclically controls a filter to create cyclic change in timbre. Parameter Filter Type Manual Peak Sens Polarity Tempo Sync Rate Depth Phase Low Gain High Gain Level Value Explanation Type of filter LPF: The wah effect will be applied over a wide frequency range. LPF, BPF BPF: The wah effect will be applied over a narrow frequency range. Adjusts the center frequency at 0–127 which the effect is applied. Width of the frequency region at which the wah effect is applied 0–127 Increasing this value will make the frequency region narrower. Adjusts the sensitivity with which the 0–127 filter is controlled. Direction in which the filter will move UP: Move toward a higher frequency UP, DOWN DOWN: Move toward a lower frequency Specifies whether the modulation OFF, ON rate is specified as a note value (ON) or not (OFF). 0.05–10.00 Hz, note Frequency of modulation 0–127 Depth of modulation Adjusts the degree of phase shift of 0–180 deg the left and right sounds when the wah effect is applied. -15–+15 dB Gain of the low range -15–+15 dB Gain of the high range 0–127 Output Level OD/DS0TWAH Parameter Value Explanation Drive Switch OFF, ON OVERDRIVE, DISTORTION Turns overdrive/distortion on/off Drive Type Type of distortion Degree of distortion Drive 0–127 Also changes the volume. Tone 0–127 Sound quality of the Overdrive effect Amp Switch OFF, ON Turns the Amp Simulator on/off. Type of guitar amp SMALL: small amp SMALL, BUILT-IN, Amp Type BUILT-IN: single-unit type amp 2-STACK, 3-STACK 2-STACK: large double stack amp 3-STACK: large triple stack amp Touch Wah Switch OFF, ON Wah on/off Type of filter LPF: Produces a wah effect in a broad Touch Wah Mode LPF, BPF frequency range. BPF: Produces a wah effect in a narrow frequency range. Direction in which the filter will move Touch Wah UP: Move toward a higher frequency DOWN, UP Polarity DOWN: Move toward a lower frequency Sensitivity with which the filter is Touch Wah Sens 0–127 modified Center frequency at which the wah Touch Wah 0–127 Manual effect is applied Width of the frequency region at which the wah effect is applied Touch Wah Peak 0–127 Increasing this value will make the frequency region narrower. Volume balance of the sound that Touch Wah D100:0W– passes through the wah (W) and the Balance D0:100W unprocessed sound (D) Low Gain -15–+15 dB Gain of the low range High Gain -15–+15 dB Gain of the high range Level 0–127 Output Level This is an effect that intentionally degrades the tone character for creative purposes. Parameter Value Pre Filter Type 1–6 LoFi Type 1–9 Post Filter Type OFF, LPF, HPF Post Filter Cutoff Low Gain High Gain Level 200–8000 Hz -15–+15 dB -15–+15 dB 0–127 Explanation Selects the type of filter applied to the sound before it passes through the Lo-Fi effect. 1: Compressor off 2–6: Compressor on Degrades the tone character. The tone character grows poorer as this value is increased. Selects the type of filter applied to the sound after it passes through the Lo-Fi effect. OFF: no filter is used LPF: cuts the frequency range above the Cutoff HPF: cuts the frequency range below the Cutoff Basic frequency of the Post Filter Gain of the low range Gain of the high range Output Level DISTORTION This is a distortion effect that provides heavy distortion. Parameter Value Drive 0–127 Tone Amp Sw Amp Type Low Gain High Gain Pan Level Explanation Degree of distortion Also changes the volume. 0–127 Sound quality of the Overdrive effect OFF, ON Turns the Amp Simulator on/off. Type of guitar amp SMALL: small amp SMALL, BUILT-IN, BUILT-IN: single-unit type amp 2-STACK, 3-STACK 2-STACK: large double stack amp 3-STACK: large triple stack amp -15–+15 dB Gain of the low range -15–+15 dB Gain of the high range L64–63R Stereo location of the output sound 0–127 Output Level OVERDRIVE This is an overdrive that provides heavy distortion. The parameters are the same as for “DISTORTION.” SATURATOR A saturator which distorts the sound is connected in parallel with a compressor, producing a rougher tonal character and boosting the loudness. This also cuts the low-frequency region of the input audio. Parameter Value Explanation Saturator Gain Saturator Drive Saturator Level Comp Depth Comp Level Hi Gain Level 0–127 0–127 0–127 0–127 0–127 -12–+6 dB 0–127 Input volume to the saturator Degree of distortion Output volume of the saturator Amount of compression Output volume of the compressor Gain of the high range Output Level 39 Multi-Effect Parameters T-SCREAM RING MODULATOR This models the analog overdrive of the past. It adds a nice amount of overtones without dirtying the sound. Parameter Value Distortion 0–127 Tone Level 0–127 0–127 Explanation Degree of distortion Also changes the volume. Sound quality of the Overdrive effect Output Level BIT CRUSHER This is an effect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the effect. Parameter Value Frequency 0–127 Sens 0–127 Polarity UP, DOWN Low Gain High Gain Level -15–+15 dB -15–+15 dB 0–127 This creates a lo-fi sound. Parameter Value Explanation Sample Rate Bit Down Filter Low Gain High Gain Level 0–127 0–18 0–127 -15–+15 dB -15–+15 dB 0–127 Adjusts the sample rate. Adjusts the bit depth. Adjusts the filter depth. Gain of the low range Gain of the high range Output Level ISOLATOR This is an equalizer which cuts the volume greatly, allowing you to add a special effect to the sound by cutting the volume in varying ranges. Parameter Value Boost/Cut Low Boost/Cut Mid -60–+4 dB Boost/Cut High Anti Phase Low Sw OFF, ON Anti Phase Low Level 0–127 Anti Phase Mid Sw Anti Phase Mid Level Low Boost Sw OFF, ON 0–127 OFF, ON Low Boost Level 0–127 Level 0–127 Explanation These boost and cut each of the High, Middle, and Low frequency ranges At -60 dB, the sound becomes inaudible. 0 dB is equivalent to the input level of the sound. Turns the Anti-Phase function on/off for the Low frequency ranges When turned on, the counterchannel of stereo sound is inverted and added to the signal. Adjusts the level settings for the Low frequency ranges Adjusting this level for certain frequencies allows you to lend emphasis to specific parts (This is effective only for stereo source.). Settings of the Anti-Phase function for the Middle frequency ranges The parameters are the same as for the Low frequency ranges. Turns Low Booster on/off This emphasizes the bottom to create a heavy bass sound. Increasing this value gives you a heavier low end Adjusts the frequency at which modulation is applied. Adjusts the amount of frequency modulation applied. Direction in which the frequency modulation will move UP: Towards higher frequencies DOWN: Towards lower frequencies Gain of the low range Gain of the high range Output Level PITCH SHIFTER A stereo pitch shifter. Parameter Value Coarse -24–+12 semi Fine -100–+100 cent Tempo Sync OFF, ON Delay Time 1–1300 ms, note Feedback -98–+98 % Low Gain High Gain Level -15–+15 dB -15–+15 dB 0–127 Explanation Adjusts the pitch of the pitch shifted sound in semitone steps. Adjusts the pitch of the pitch shifted sound in 2-cent steps. Specifies whether the delay time value of the delay is specified as a note value (ON) or not (OFF). Adjusts the delay time from the direct sound until the pitch shifted sound is heard. Adjusts the proportion of the pitch shifted sound that is fed back into the effect. Negative “-” settings will invert the phase. Gain of the low range Gain of the high range Output Level AUTO PAN Cyclically modulates the stereo location of the sound. Parameter Value Mod Wave Modulation wave TRI: Triangle wave SQR: Square wave TRI, SQR, SIN, SIN: Sine wave SAW1, SAW2, TRP SAW1: Sawtooth wave (upward) SAW2: Sawtooth wave (downward) TRP: Trapezoidal wave SAW1 R * Depending on the Isolator and filter settings this effect may be hard to distinguish. Output Level L Tempo Sync Rate Depth Low Gain High Gain Level 40 Explanation OFF, ON 0.05–10.00 Hz, note 0–127 -15–+15 dB -15–+15 dB 0–127 Explanation SAW2 R L Specifies whether the rate of modulation applied to the effect is specified as a note value (ON) or not (OFF). Frequency of the change Depth to which the effect is applied Gain of the low range Gain of the high range Output Level Drum Kit List No. Drum kit name Sub name No. Drum kit name 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 65 66 67 68 69 Jarrah Ply Rock Legend STUDIO B WalnutPopper Power Metal Rootsy Funk BubingaBoom FAT+808 Perc Tribe Beatnik STUDIO A Stainless Second Line Heavy Prog Blues Club JarrahFunk MuterBeat Loop-U-Lator Cosmic Pop Trash Noiser Drum Booth BigBeat Rock Waxy Jazz GroovePopper Hard Rock Moon Walk Bubinga Hybrid DnB Funky Fat TrashElectro Studio Phasin’ Rock Round Badge 80’s Studio ShallowShell Roots Reggae RingingTones Warm Groove Jazz Hop ExtremeMetal Verb Ballad DownUnder 60/70’s Hit Dance Beats House=909 Ana Hybrid Short Tail Unplugged +Latin Perc Laboratory User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit Hardwood Studio"LiveRoom" Med/Stone Wall Compact Kit 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 User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit User Kit RnB,HipHop Style Pedal:Pitch Bend Processed Hybrid Large/Hi Celling 70’s Vintage New Orleans Contemporary Ring Modulator w/ Super Saw Med/Cloth Wall Bebop Style 80’s/90’s Tape Echo w/ 80’sBeechS Overdrive 2nd Hi-Hat LiveRoom Session Sub name 60’s Vintage Deep Shell Toms w/ ProtoChinaCym w/ Timbales No Muffling Compact Kit Lo-Fi Compress w/ Percussion West Coast Old School 2nd Hi-Hat Flanger&Phaser Melodic Toms Cajon CompactKit w/ Tambourine HH Sound Textures 41 Instrument List No. Instrument name Instrument group 0 OFF OFF Remarks No. Instrument name Instrument group 62 Hip Snare SNARE PROC 1 Jarrah Ply K KICK A *M1 *T 63 Garage Snare SNARE PROC 2 MapleWlnutChrryK KICK A *M1 *T 64 Radio Snare SNARE PROC 3 Birch 18" K KICK A *M1 *T 65 Voice Snare SNARE PROC 4 Bubinga 9Ply K KICK A *M1 *T 66 Voice CrossStick SNARE PROC 5 60sRoundBdge20"K KICK A *M1 *T 67 Analog Snare 1 SNARE ELEC 6 70s Maple 24" K KICK A *M1 *T 68 Analog Snare 2 SNARE ELEC 7 70sStainless24"K KICK A *M1 *T 69 CR-78 Snare SNARE ELEC 8 Tight Kick 1 KICK PROC 70 TR-808 Snare 1 SNARE ELEC 9 Tight Kick 2 KICK PROC 71 TR-808 Snare 2 SNARE ELEC 10 Tight Kick 3 KICK PROC 72 TR-909 Snare SNARE ELEC 11 Impact Kick KICK PROC 73 TR-909 S w/ Clap SNARE ELEC 12 Hybrid Kick KICK PROC 74 TR-606 Snare SNARE ELEC 13 Tronic Kick KICK PROC 75 TR-707 Snare SNARE ELEC 14 Electro Knock K KICK PROC 76 DR-110 Snare SNARE ELEC 15 Minimal House K KICK PROC 77 CR-78 Rim SNARE ELEC 16 Early House Kick KICK PROC 78 TR-808 Rim SNARE ELEC 17 BreakBeats Kick1 KICK PROC 79 TR-909 Rim SNARE ELEC 18 BreakBeats Kick2 KICK PROC 80 Jarrah Ply 8" TOM A 19 DnB Kick 1 KICK PROC 81 Jarrah Ply 8" R TOM A 20 DnB Kick 2 KICK PROC 82 Jarrah Ply 10" TOM A 21 Nu Hip Kick KICK PROC 83 Jarrah Ply 10" R TOM A 22 Lo-Fi Kick KICK PROC 84 Jarrah Ply 12" TOM A 23 Hi Jumper Kick KICK PROC 85 Jarrah Ply 12" R TOM A 24 Lo Jumper Kick KICK PROC 86 Jarrah Ply 14" TOM A 25 Dance Kick KICK PROC 87 Jarrah Ply 14" R TOM A 26 Dancer Kick KICK PROC 88 Jarrah Ply 16" TOM A 27 Voice Kick 1 KICK PROC 89 Jarrah Ply 16" R TOM A 28 Voice Kick 2 KICK PROC 90 Bubinga 9Ply 10" TOM A 29 Analog Kick 1 KICK ELEC 91 Bubinga9Ply10" R TOM A 30 Analog Kick 2 KICK ELEC 92 Bubinga 9Ply 12" TOM A 31 Analog Kick 3 KICK ELEC 93 Bubinga9Ply12" R TOM A 32 CR-78 Kick KICK ELEC 94 Bubinga 9Ply 14" TOM A 33 TR-606 Kick KICK ELEC 95 Bubinga9Ply14" R TOM A 34 TR-808 Kick 1 KICK ELEC 96 Bubinga 9Ply 16" TOM A 35 TR-808 Kick 2 KICK ELEC 97 Bubinga9Ply16" R TOM A 36 TR-808 Kick Long KICK ELEC 98 60sRoundBadge13" TOM A 37 TR-909 Kick 1 KICK ELEC 99 60sRoundBdge13"R TOM A 38 TR-909 Kick 2 KICK ELEC 100 60sRoundBadge16" TOM A 39 TR-909 Kick 3 KICK ELEC 101 60sRoundBdge16"R TOM A 40 DR-110 Kick KICK ELEC 102 70sStainless 12" TOM A 41 R-8 Kick KICK ELEC 103 70sStainless12"R TOM A 42 Jarrah Ply S SNARE A *P *M1 *X *T *D 104 70sStainless 13" TOM A 43 Jarrah Ply SR SNARE A *P *M1 *X *T *D 105 70sStainless13"R TOM A 44 MapleOilFinish S SNARE A *P *M1 *X *T *D 106 70sStainless 16" TOM A 45 MapleOilFinishSR SNARE A *P *M1 *X *T *D 107 70sStainless16"R TOM A 46 80sBeech 12Ply S SNARE A *P *M1 *X *T *D 108 70sStainless 18" TOM A 47 80sBeech12Ply SR SNARE A *P *M1 *X *T *D 109 70sStainless18"R TOM A 48 Steel TubeLugs S SNARE A *P *M1 *X *T *D 110 Gong Drum 20" TOM A 49 SteelTubeLugs SR SNARE A *P *M1 *X *T *D 111 Analog Tom1 T1 TOM ELEC 50 WalnutPopper12"S SNARE A *P *M1 *X *T *D 112 Analog Tom1 T2 TOM ELEC 51 WalnutPoper12"SR SNARE A *P *M1 *X *T *D 113 Analog Tom1 T3 TOM ELEC 52 Jarrah Ply X CROSS STICK *M1 *X *T 114 Analog Tom1 T4 TOM ELEC 53 MapleOilFinish X CROSS STICK *M1 *X *T 115 Analog Tom2 T1 TOM ELEC 54 80sBeech 12Ply X CROSS STICK *M1 *X *T 116 Analog Tom2 T2 TOM ELEC 55 Steel TubeLugs X CROSS STICK *M1 *X *T 117 Analog Tom2 T3 TOM ELEC 56 WalnutPopper12"X CROSS STICK *M1 *X *T 118 Analog Tom2 T4 TOM ELEC 57 OldSchool Snare SNARE PROC 119 TR-808 Tom T1 TOM ELEC 58 DnB Snare SNARE PROC 120 TR-808 Tom T2 TOM ELEC 59 Dub Step Snare SNARE PROC 121 TR-808 Tom T3 TOM ELEC 60 Disto Slap Snare SNARE PROC 122 TR-808 Tom T4 TOM ELEC 61 House Low Snare SNARE PROC 123 TR-909 Tom T1 TOM ELEC 42 Remarks *P *P *P *P *P *P *P *P *P *P *P *P *P *P *P *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T *M1 *T Instrument List No. Instrument name Instrument group No. Instrument name Instrument group 124 TR-909 Tom T2 TOM ELEC Remarks 186 10"Ch+8"Ch St STACKED CYMBAL *M2 *T 125 TR-909 Tom T3 TOM ELEC 187 10"Ch+8"Ch StE STACKED CYMBAL *M2 *T 126 TR-909 Tom T4 TOM ELEC 188 10"HH+8"Ch+Sp St STACKED CYMBAL *M2 *T 127 Trad Lathed HH HI-HAT *M2 *T 189 10"HH+8"Ch+SpStE STACKED CYMBAL *M2 *T 128 Trad Lathed HHE HI-HAT *M2 *T 190 18"ChCr+12"ChSt STACKED CYMBAL *M2 *T 129 Dark&Warm HH HI-HAT *M2 *T 191 18"ChCr+12"ChStE STACKED CYMBAL *M2 *T 130 Dark&Warm HHE HI-HAT *M2 *T 192 18"Ch+12"Ch St STACKED CYMBAL *M2 *T 131 Club Hi-Hat HI-HAT PROC 193 18"Ch+12"Ch StE STACKED CYMBAL *M2 *T 132 Sharp Hi-Hat HI-HAT PROC 194 18"Cr+12"Ch St STACKED CYMBAL *M2 *T 133 Hip Hi-Hat HI-HAT PROC 195 18"Cr+12"Ch StE STACKED CYMBAL *M2 *T 134 House Hi-Hat HI-HAT PROC 196 18"Ch+11"TrashSt STACKED CYMBAL *M2 *T 135 DnB Hi-Hat HI-HAT PROC 197 18"Ch+11"TrshStE STACKED CYMBAL *M2 *T 136 LowStep Hi-Hat HI-HAT PROC 198 Accent Cymbal CYMBAL OTHERS 137 Voice Hi-Hat HI-HAT PROC 199 Chime Cymbal CYMBAL OTHERS 138 Spoke Hi-Hat HI-HAT PROC 200 Cross Cymbal 1 CYMBAL OTHERS 139 CR-78 Hi-Hat HI-HAT ELEC 201 Cross Cymbal 2 CYMBAL OTHERS 140 TR-808 Hi-Hat HI-HAT ELEC 202 Mini Cymbal CYMBAL OTHERS 141 TR-909 Hi-Hat HI-HAT ELEC 203 Metal Crasher CYMBAL OTHERS 142 Trad MedThin Rd RIDE 143 Trad MedThin RdE 144 *M2 *T 204 Pair Cymbal 1 CYMBAL OTHERS RIDE *M2 *T 205 Pair Cym 1 Smash CYMBAL OTHERS Trad MedThin RdB RIDE *M2 *T 206 Pair Cymbal 2 CYMBAL OTHERS 145 Dry & Heavy Rd RIDE *M2 *T 207 Pair Cym 2 Choke CYMBAL OTHERS 146 Dry & Heavy RdE RIDE *M2 *T 208 Sweep Crash CYMBAL PROC 147 Dry & Heavy RdB RIDE *M2 *T 209 Lo-Fi Crash CYMBAL PROC 148 Trad Thin Cr CRASH *M2 *T 210 Ambient Crash CYMBAL PROC 149 Trad Thin CrE CRASH *M2 *T 211 Verby Crash CYMBAL PROC 150 Warm MedThin Cr CRASH *M2 *T 212 Trashy Ride CYMBAL PROC 151 Warm MedThin CrE CRASH *M2 *T 213 Phasing Ride CYMBAL PROC 152 Silvery Cr CRASH *M2 *T 214 Cosmo Bell CYMBAL PROC 153 Silvery CrE CRASH *M2 *T 215 Electra Bell CYMBAL PROC 154 Legacy Thin Cr CRASH *M2 *T 216 Reflective Bell CYMBAL PROC 155 Legacy Thin CrE CRASH *M2 *T 217 Voice Crash CYMBAL PROC 156 Power Medium Cr CRASH *M2 *T 218 Analog Cymbal CYMBAL ELEC 157 Power Medium CrE CRASH *M2 *T 219 TR-808 Cymbal CYMBAL ELEC 158 Eight-sided Cr CRASH *M2 *T 220 TR-606 Cymbal CYMBAL ELEC 159 Eight-sided CrE CRASH *M2 *T 221 Finger Cymbal BELL/CHIME/GONG 160 Bright Thin Cr CRASH *M2 *T 222 Rama Cymbal BELL/CHIME/GONG 161 Bright Thin CrE CRASH *M2 *T 223 Zil BELL/CHIME/GONG 162 Warm & Dark Ch CHINA *M2 *T 224 Crotale BELL/CHIME/GONG 163 Warm & Dark ChE CHINA *M2 *T 225 Sleigh Bells BELL/CHIME/GONG 164 Dark Swish Ch CHINA *M2 *T 226 Bell Tree BELL/CHIME/GONG 165 Dark Swish ChE CHINA *M2 *T 227 Tree Chime BELL/CHIME/GONG 166 70s BlackLogo Ch CHINA *M2 *T 228 Pin Chime BELL/CHIME/GONG 167 70sBlackLogo ChE CHINA *M2 *T 229 Tam Tam BELL/CHIME/GONG 168 Mini China CHINA *M2 *T 230 Gong BELL/CHIME/GONG 169 Mini China E CHINA *M2 *T 231 Bend Gong BELL/CHIME/GONG 170 TinyPrototype Ch CHINA *M2 *T 232 Cowbell 1 BLOCK/COWBELL 171 TinyPrototypeChE CHINA *M2 *T 233 Cowbell 1 Tip BLOCK/COWBELL 172 Warm MedThin Sp SPLASH *M2 *T 234 Cowbell 2 BLOCK/COWBELL 173 Warm MedThin SpE SPLASH *M2 *T 235 Cowbell 2 Tip BLOCK/COWBELL 174 BrightMedThin Sp SPLASH *M2 *T 236 Cowbell 3 BLOCK/COWBELL 175 BrightMedThinSpE SPLASH *M2 *T 237 Cowbell 4 BLOCK/COWBELL 176 NickelCoating Sp SPLASH *M2 *T 238 Cowbell 5 BLOCK/COWBELL 177 NickelCoatingSpE SPLASH *M2 *T 239 Cowbell 6 BLOCK/COWBELL 178 Chinese Type Sp SPLASH *M2 *T 240 Cowbell 7 BLOCK/COWBELL 179 Chinese Type SpE SPLASH *M2 *T 241 Agogo Hi BLOCK/COWBELL 180 CleanSuperThinSp SPLASH *M2 *T 242 Agogo Lo BLOCK/COWBELL 181 CleanSuprThinSpE SPLASH *M2 *T 243 Wood Block Hi BLOCK/COWBELL 182 18"Ch+18"Ch St STACKED CYMBAL *M2 *T 244 Wood Block Lo BLOCK/COWBELL 183 18"Ch+18"Ch StE STACKED CYMBAL *M2 *T 245 Plastic Block Hi BLOCK/COWBELL 184 12"Ch+12"Ch St STACKED CYMBAL *M2 *T 246 Plastic Block Lo BLOCK/COWBELL 185 12"Ch+12"Ch StE STACKED CYMBAL *M2 *T 247 Mini Block BLOCK/COWBELL *P *P Remarks 43 Instrument List No. Instrument name Instrument group No. Instrument name Instrument group 248 Temple Block Hi BLOCK/COWBELL 310 Bombo PERCUSSION 249 Temple Block Lo BLOCK/COWBELL 311 Bendir PERCUSSION 250 Bongo Hi Open PERCUSSION 312 Tambourine 1 PERCUSSION 251 Bongo Hi Slap PERCUSSION 313 Tambourine 2 PERCUSSION 252 Bongo Lo Open PERCUSSION 314 Tambourine 3 PERCUSSION 253 Bongo Lo Slap PERCUSSION 315 Triangle 1 PERCUSSION 254 Conga Open PERCUSSION 316 Triangle 1 Mute PERCUSSION 255 Conga Slap PERCUSSION 317 Triangle 2 PERCUSSION 256 Conga Bass PERCUSSION 318 Triangle 2 Mute PERCUSSION 257 Conga Gliss PERCUSSION 319 Castanets PERCUSSION 258 Tumba Open PERCUSSION 320 Clapsticks PERCUSSION 259 Tumba Slap PERCUSSION 321 Claves 1 PERCUSSION 260 Tumba Bass PERCUSSION 322 Claves 2 PERCUSSION 261 Tumba Gliss PERCUSSION 323 Afro Claves PERCUSSION 262 Timbale Hi Open PERCUSSION 324 Guiro Slide PERCUSSION 263 Timbale Hi Rim PERCUSSION 325 Guiro Shot PERCUSSION 264 Timbale Hi Paila PERCUSSION 326 Maracas PERCUSSION 265 Timbale Mid Open PERCUSSION 327 Metal Maracas PERCUSSION 266 Timbale Mid Rim PERCUSSION 328 Shaker PERCUSSION 267 Timbale MidPaila PERCUSSION 329 Caxixi PERCUSSION 268 Timbale Lo Open PERCUSSION 330 Ganza PERCUSSION 269 Timbale Lo Rim PERCUSSION 331 Chafchas PERCUSSION 270 Timbale Lo Paila PERCUSSION 332 Afuche PERCUSSION 271 Cajon Open PERCUSSION 333 African Bracelet PERCUSSION 272 Cajon Edge PERCUSSION 334 African Jingle PERCUSSION 273 Cajon Slap PERCUSSION 335 Ankle Beads PERCUSSION 274 Cajon Bass PERCUSSION 336 Rain Stick PERCUSSION 275 Pandeiro Open PERCUSSION 337 Vibra-Slap PERCUSSION 276 Pandeiro Slap PERCUSSION 338 Ratchet PERCUSSION 277 Pandeiro Bass PERCUSSION 339 Flex Metal PERCUSSION 278 Pandeiro Jingle PERCUSSION 340 FlexMetal BendUp PERCUSSION 279 Djembe Open PERCUSSION 341 Waterphone Hit PERCUSSION 280 Djembe Slap PERCUSSION 342 CR-78 Bongo PERC ELEC 281 Djembe Bass PERCUSSION 343 CR-78 Cowbell PERC ELEC 282 Djembe Ears PERCUSSION 344 CR-78 Claves PERC ELEC 283 Pot Drum Side PERCUSSION 345 CR-78 Guiro PERC ELEC 284 Pot Drum Bass PERCUSSION 346 CR-78 Maracas PERC ELEC 285 Pot Drum Release PERCUSSION 347 CR-78 Tambourine PERC ELEC 286 Pot Drum Side/Mt PERCUSSION 348 CR-78 Metal Beat PERC ELEC 287 Tabla Na PERCUSSION 349 TR-808 Conga Hi PERC ELEC 288 Tabla Ti PERCUSSION 350 TR-808 Conga Mid PERC ELEC 289 Tabla Tin PERCUSSION 351 TR-808 Conga Lo PERC ELEC 290 Tabla Tun PERCUSSION 352 TR-808 Cowbell 1 PERC ELEC 291 Baya Ge PERCUSSION 353 TR-808 Cowbell 2 PERC ELEC 292 Baya Ge Slide PERCUSSION 354 TR-808 Claves PERC ELEC 293 Baya Gin PERCUSSION 355 TR-808 Maracas PERC ELEC 294 Baya Ka PERCUSSION 356 TR-707 Cowbell PERC ELEC 295 Darabuka Open PERCUSSION 357 TR-727 Agogo PERC ELEC 296 Darabuka Slap PERCUSSION 358 DR-55 Claves PERC ELEC 297 Darabuka Bass PERCUSSION 359 Clap CLAP 298 Hira Taiko PERCUSSION 360 Claps CLAP 299 Hira Taiko Rim PERCUSSION 361 Torio Clap CLAP 300 Nagado Taiko PERCUSSION 362 Flamenco Clap CLAP 301 Nagado Taiko Rim PERCUSSION 363 Ambience Clap CLAP 302 Timpani Hi D PERCUSSION 364 House Clap CLAP 303 Timpani Lo G PERCUSSION 365 Noise Clap CLAP 304 Doumdoumba PERCUSSION 366 TR-808 Clap CLAP 305 Doumdoumba Rim PERCUSSION 367 TR-909 Clap CLAP 306 Repinique PERCUSSION 368 Finger Snap CLAP 307 Repinique Rim PERCUSSION 369 Dense Click SOUND FX 308 Tamborim PERCUSSION 370 Pulse SOUND FX 309 Surdo PERCUSSION 371 High Q SOUND FX 44 Remarks Remarks Instrument List No. Instrument name Instrument group 372 Dyna Filter SOUND FX 373 Random Noise 1 SOUND FX 374 Random Noise 2 SOUND FX 375 Beep SOUND FX 376 Fat Beep SOUND FX 377 Disto Beep SOUND FX 378 Techno Beef SOUND FX 379 Space Beep SOUND FX 380 Voice Beep SOUND FX 381 Super Low SOUND FX 382 Prevision SOUND FX 383 Ejector SOUND FX 384 Echoic Shot SOUND FX 385 Super Shot SOUND FX 386 Rusty Iron SOUND FX 387 Digi Cup SOUND FX 388 Abstract Noise SOUND FX 389 Industrial 1 SOUND FX 390 Industrial 2 SOUND FX 391 Junk SOUND FX 392 Emergency SOUND FX 393 Discovery SOUND FX 394 Cave SOUND FX 395 Stomped Box SOUND FX 396 LP Noise SOUND FX 397 Low Frequency 1 ELEMENTS 398 Low Frequency 2 ELEMENTS 399 Low Frequency 3 ELEMENTS 400 Attack 1 ELEMENTS 401 Attack 2 ELEMENTS 402 Attack 3 ELEMENTS 403 Attack 4 ELEMENTS 404 Noise 1 ELEMENTS 405 Noise 2 ELEMENTS 406 Noise 3 ELEMENTS 407 Noise 4 ELEMENTS 408 Noise 5 ELEMENTS 409 Noise 6 ELEMENTS 410 White Noise 1 ELEMENTS 411 White Noise 2 ELEMENTS 412 Sine Wave 1kHz ELEMENTS 413 Sine Wave C ELEMENTS 414 Triangle Wave C ELEMENTS 415 Square Wave C ELEMENTS 416 Sawtooth Wave1 C ELEMENTS 417 Sawtooth Wave2 C ELEMENTS 418 Super Saw C ELEMENTS *P Remarks Can get various changes of the sound in accordance with the positioning where on the pad you hit with a stick. In rim sounds, can get such various changes of the sound in accordance with the depth of the stick on the rim. *M1 Mic Position, Mic Overhead, Mic Room, and Mic Width are supported. *M2 Mic Position, Mic Overhead, and Mic Width are supported. *X Rim shot and cross stick can be played separately. *T TRANSIENT is supported. *D Dynamic Enhancer is supported. * For details on how the trigger input corresponds to your performance technique and striking position, refer to “Trig Type list” (p. 23). 45 Song List 001–007: Drum performance data 008–027: Audio data No. 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 46 Song name Drum Solo Ride Demo Kick Demo Toms Demo Preview 1 Preview 2 Preview 3 Rock 1 (AUDIO) Rock 2 (AUDIO) Rock 3 (AUDIO) Rock 4 (AUDIO) Jazz 1 (AUDIO) Jazz 2 (AUDIO) Jazz 3 (AUDIO) Jazz 4 (AUDIO) Pop 1 (AUDIO) Pop 2 (AUDIO) Pop 3 (AUDIO) Funk 1 (AUDIO) Funk 2 (AUDIO) Funk 3 (AUDIO) Funk 4 (AUDIO) Metal 1 (AUDIO) Metal 2 (AUDIO) Latin (AUDIO) Dance 1 (AUDIO) Dance 2 (AUDIO) Drum Kit Parameter Structure Drum kit 100 Drum kit 1 Pad settings Pads KICK *1 SNARE TOM 1 TOM 2 TOM 3 Head Head Head Head Head Rim Rim Rim Rim TOM 4 HI-HAT CRASH 1 CRASH 2 RIDE *2 Head Head Head Head Head Rim Rim Rim Rim Rim AUX 1 AUX 2 AUX 3 AUX 4 Head Head Head Head Rim Rim Rim Rim [AMBIENCE] (p. 11) ROOM, REVERB, STEREO ENHANCER [MIXER] (p. 3) MULTI-EFFECT, MASTER COMP, MASTER EQ, PEDAL HH VOLUME, XSTICK VOLUME Bell [MIXER] (p. 13) PAD COMP, MFX DRY + WET Head [INSTRUMENT] (p. 6) 55 SUB INST ON/OFF 55 SUB INST LAYER TYPE 55 SUB INST FADE POINT [AMBIENCE] (p. 11) 55 ROOM SEND VOLUME 55 REVERB SEND VOLUME [MIXER] (p. 13) 55 PAN 55 MINIMUM/MAXIMUM VOLUME 55 PAD EQ 55 MFX ASSIGN, SEND VOLUME [KIT] (MENU) (p. 3) 55 PEDAL BEND/POSITION/ POSITION AREA/MUTE GROUP 55 MIDI NOTE/GATE/ CHANNEL Instrument (main) [INSTRUMENT] (p. 6) 55 INST NUMBER 55 V-EDIT PARAMETER 55 MIC POSITION/ ELEMENT LEVEL/WIDTH 55 TRANSIENT [AMBIENCE] (p. 11) 55 STEREO ENHANCER SEND VOLUME [MIXER] (p. 13) 55 MAIN INST VOLUME Sub-instrument [INSTRUMENT] (p. 6) 55 INST NUMBER 55 V-EDIT PARAMETER 55 MIC POSITION/ ELEMENT LEVEL/WIDTH 55 TRANSIENT 55 SUB VOLUME [AMBIENCE] (p. 11) 55 STEREO ENHANCER SEND VOLUME [KIT] (MENU) (p. 3) KIT NAME, KIT VOLUME, COLOR, FAVORITE, BRUSH SWITCH, KIT TEMPO SWITCH/TEMPO [MIXER] (p. 13) 55 (NONE) Rim Same as the head *1 KICK does not have a rim. *2 For RIDE, the bell can be set in the same way as the head. 47 Block Diagram SETUP/USB AUDIO/ Input Gain USB Audio INPUT SETUP/USB AUDIO/ Volume Select/ Input MAIN [SONG] INPUT MAIN (USB AUDIO INPUT ROUTING) [SONG] [CLICK] INPUT SUB 1 KICK (Fader KICK) SETUP/USB AUDIO/ Volume Select/ Input SUB [CLICK] HEAD SETUP/OUTPUT ROUTING/ PadEq/Comp to Direct 2 SNARE (Fader SNARE) OFF HEAD MAIN INST MIXER VOLUME PAD COMP PAD EQ MIXER PAN OFF SETUP/OUTPUT/OUTPUT ROUTING/ Fader to Direct SETUP/OUTPUT/ PAD OUTPUT ASSIGN DIRECT ON KIT Volume Amb Room Send Amb Stereo Enhancer Main Send (Drum Mix (Drum Mix for MASTER) for PHONES) Amb Reverb Send SETUP/OUTPUT/ PAD OUTPUT ASSIGN MASTER Amb Stereo Enhancer Sub Send ON MFX ASSIGN [FADER] RIM OFF MAIN INST MIXER VOLUME PAD EQ MIXER PAN Amb Stereo Enhancer Main Send Amb Stereo Enhancer Sub Send ROOM Amb Reverb Send REVERB MFX Send STEREO ENHANCER MFX ASSIGN 7 HI-HAT (Fader HI-HAT) 8 CRASH1, 9 CRASH2 (Fader CRASH) 10 RIDE (Fader RIDE) SETUP/OUTPUT/OUTPUT ROUTING/ PadComp to Phones HEAD MFX1 RIM MFX2 HEAD MFX3 SONG OFF 1 2 3 4 5 6 7 8 DiL DiR SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER NORMAL DIRECT OFF SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT REVERB LEVEL STEREO ENHANCER LEVEL [FADER] (AMBIENCE) SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER ON SETUP/OUTPUT/ OUTPUT ROUTING/ Fader to Direct SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER MFX1 LEVEL SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT MFX2 LEVEL SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT MFX3 LEVEL SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT RIM SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER HEAD RIM SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT HEAD SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER RIM BELL SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT HEAD SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER RIM [CLICK] CLICK SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT SETUP/OUTPUT/ OUTPUT ROUTING/ Master Out 11 AUX1 14 AUX4 (Fader AUX) L R ROOM LEVEL MULTI EFFECT(MFX) 3 TOM1 6 TOM4 (Fader TOMS) PHONES AMBIENCE Amb Room Send SUB INST INSTRUMENT/ Sub Volume MASTER 1 2 3 4 5 6 7 8 DiL DiR L R OFF 1 2 3 4 5 6 7 8 DiL DiR MFX Send OFF 1 2 3 4 5 6 7 8 DiL DiR (NORMAL) OFF 1 2 3 4 5 6 7 8 DiL DiR ON MFX WET+DRY SUB INST INSTRUMENT/ Sub Volume (USB AUDIO INPUT ROUTING) MASTER DIRECT CLICK SOUND SONG/Song Level SONG (AUDIO) INTERNAL/SD SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT CLICK/Amb (Reverb) Send CLICK SETTING Pan, Level SETUP/USB AUDIO/ Output Gain (MASTER L) (MASTER R) (IN 1) (IN 2) (IN 3) (IN 4) (IN 5) (IN 6) (IN 7) (IN 8) [SONG] SONG/Song Click Track Level SONG CLICK TRACK [CLICK] Rear (Stereo, 1/4 TRS) Front (Stereo, Mini) A/D [MIX IN] MIX IN SETTING Input, Mode, Gain SETUP/OUTPUT/ SETUP/OUTPUT/ OUTPUT ROUTING/ OUTPUT ROUTING/ Lo Cut DirectOut Direct Out Att (Sw) DIRECT OUT DIRECT 1/L (BALANCED) DIRECT 2/R (BALANCED) DIRECT 3/L (BALANCED) DIRECT 4/R (BALANCED) DIRECT 5/L (BALANCED) DIRECT 6/R (BALANCED) DIRECT 7/L (BALANCED) DIRECT 8/R (BALANCED) USER SAMPLE PREVIEW (from SD/Internal) DIRECT 1–8 MASTER NORMAL SD Card MASTER EQ L/MONO (UNBALANCED) (Audio, SMF) R (UNBALANCED) (SONG Export Preview) KIT Volume NORMAL MASTER SONG EXPORT SETUP/OUTPUT/ SETUP/OUTPUT/ OUTPUT ROUTING/ OUTPUT ROUTING/ Master Out Direct Out Att DIRECT SETUP/OUTPUT/ OUTPUT ROUTING/ Master Out DIRECT MASTER COMP Pin assignment of the DIRECT OUT (BALANCED) jacks DA CONVERTER MASTER DIRECT MIX IN USB Audio Output SONG EXPORT Gain SETUP/OUTPUT/ OUTPUT ROUTING/ Lo Cut MaterOut (Sw) L (BALANCED) D/A NORMAL Pin assignment of the MASTER OUT (BALANCED) jacks R (BALANCED) [MASTER] D/A 1/4 TRS (Sw) SETUP/OUTPUT/ OUTPUT ROUTING/ Lo Cut PhonesOut [PHONES] MINI PHONES 01
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