Roland TD-50DP Digital Upgrade Pack, TD-50 Drum Module Datasheet

Roland TD-50DP Digital Upgrade Pack, TD-50 Drum Module Datasheet
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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