TD-7
* Roland
PERCUSSION
SOUND MODULE
1-7
OWNER'S MANUAL
VOLUME Roland T1J-7 SOUND MODULE |
e SYSTEM SEQUENCER EDT ||! voue
| 1 || |
(О) CURSOR » JUMP EXIT ENTER
Kl | | | В Ш И DIU
Ц
cHaNT—— POWER
For the UK —
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
BLUE - NEUTRAL
BROWN : LIVE
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug proceed as follows:
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the lefter L or coloured RED.
Roland T_- 7;
PERCUSSION SOUND MODULE
OWNER'S MANUAL
INTRODUCTION
Thank you for purchasing the Roland TD-7 Percussion Sound Module. The TD-7 is a superb sound
module incorporating Roland's latest technology. To take full advantage of the TD-7's capabilities,
and to ensure years of trouble-free service, please read this Owner's Manual carefully.
Copyright © 1992 by ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form
without the permission of Roland Corporation.
Important Notes
Be sure to use only the adaptor supplied with the unit.
Use of any other power adaptor could result in damage,
malfunction, or electric shock.
( Power Supply )
e When making any connections with other devices,
always turn offthe power to all equipment first; this will
help prevent damage or malfunction. ~~
@ Do not use this unit on the same power circuit with any.
device that will generate | ег noise, ‚Such as a motor ‘or
variable lighting system.
@ The power supply required for this unit is shown on its
nameplate. Ensure that the line voitage of your
installation meets this requirement.
@ Avoid damaging the power cord; do not step on it,
place heavy objects on it etc.
@ When disconnecting the AC adaptor from the outlet,
grasp the plug itself; never puli on the cord.
@ li the unit is to remain unused for a long period of time,
unplug the power cord.
( Placement )
@ Do not subject the unit to temperature extremes (e.g.
direct sunlight in an enclosed vehicle). Avoid using or
storing the unit in dusty or humid areas or areas that
are subject to high vibration levels.
@® Using the unit near power amplifiers (or other equipment
containing large transformers) may induce hum.
® This unit may interfere with radio and television
reception. Do not use this unit in the vicinity of such
receivers.
| Maintenance )
e For everyday cleaning wipe the unit with a soft, dry
cloth. (or one that has been slightly dampened with
water). To remove stubborn dirt, use a mild neutral
detergent. Afterwards, be sure to wipe the unit
- thoroughly with a.soft, dry cloth.
© Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the risk of discoloration and/or
deformation.
[ Additional Precautions )
e Protect the unit from strong impact.
@ Do not allow objects or liquids of any kind to penetrate
the unit. Inthe event of such an occurrence, discontinue
use immediately. Contact qualified service personnel
as soon as possible.
@ Never strike or apply strong pressure to the display.
® A small amount of heat will radiate from the unit, and
thus should be considered normal.
e Should a malfunction occur (or if you suspect there is
a problem) discontinue use immediately. Contact
qualified service personnel as soon as possible.
e To prevent the risk of electric shock, do not open the
unit or its AC adaptor.
( Memory Backup )
e The unit contains a battery which maintains the contents e Please be aware that the contents of memory may at
of memory while the main power is off. The expected
life of this battery is 5 years or more. However, to avoid
the unexpected loss of memory data, it is strongly
recommended that you change the battery every 5
years.
Please be aware that the actual life of the battery will
depend on the physical environment (especially
temperature) in which the unit is used. When itis time
to change the battery, consult with qualified service
personnel.
eWhen the battery becomes weak, the following
message will appear in the display:
Hot tera Trad
Press arm hoy
Piease change battery as soon as possible to avoid the
loss of memory data.
times be lost; when the unit is sent for repairs or when
by some chance a malfunction has occurred. Important
data should be stored in another MIDI device (e.g. a
sequencer), or settings written down on paper. During
repairs, due care is taken to avoid the loss of data.
However, in certain cases (such as when circuitry
related to memory itself is out of order), we regret that
it may be impossible to restore the data.
Conventions in this manual
| Name of a button ] : Represents a key or knob on the front panel of the unit.
ES: This symbol is followed by a page number where relevant information can be found.
* This symbol is followed by a cautionary note or important information.
Ey: This symbol is followed by what you should refer to.
TABLE OF CONTENTS
E important Notes
E Conventions in this manual
M Table of Contents
M Panel Descriptions
M Features |
M installing the TD-7 on a Stand
| Chapter 1 Playing the TD-7 |
1. Connections and Precautions............... 12
2. Power ON / Power OFF .................cem.... 17
3. Adjusting the LCD Contrast .................. 18
4. Playing the Demo Songs ..................... 19
5. Quick Start ( Experimenting
with various performances) ................ 20
[1] Patch Selection ...........................emmee 20
[2] Rim Shot..….…..........…..crccaressenesscererea ane 20
[3] Choke Effect ….….......…...…….…isencereiensess 22
[4] Playing Sequence Patterns .....................—.— 23
[5] Patch Editing... 24
[6] The Patch Chain ...................e.222e eee... 25
1. Basic Operation .......................e.mee.... 30
[1] Setting Parameters 30
[2] The Jump Function ………….…….…ssesessecrenees 31
[3] Main Screen........................o... ден „5 34
2. Inside the TD-7 ....... varier en ina 36
— [1] Parameters ina Patch ......... eran e 37
[2] Other Parameters …….…….….…..….………sessrescserens 38
| Chapter 3 Patch Setting
1. Setting a Patch ...................eermereeerereee. |
[1] Naming a Patch... een ..
[2] Assigning a Note Number to a Trigger Signal ....
[3] Setting Various Trigger Parameters ............
[4] Instrument Section ....................... eee .
a. Setting Sound 1 and 2 ...........................
[6] EMects ................eenacecnarenninenecnccene encarar
a. Parameters for Effect 1 ..................ee....
b. Parameters for Effect 2 ..................e.. es
[7] Hi-hat Control Pedal secs
[8] Program Change Numbers ...................e......
2. Patch Copy ...............-...ee=enemeeecree
3. Global Performance Parameters .........
| Chapter 4 Editing Instrument Sounds |
1. Instrument Parameters ......................... 78
2. Instrument Copy es 89
| Chapter 5 Phrase Sequencer |
1. How to Record Sequence Data ........... 92
2. Phrase Sequencer.…….…….…….....……..…………………. 95
[1] Recording and playback of Sequence
Patterns essen seen acnenss 96
[2] Setting Beat and Measure Number
and erasing Sequence Data ..................... 98
[3] Selecting a Performance Type ................ 100
[4] Copying Sequence Pattern ...................... 101
3. Tempo, Metronome, Available
Memory and Synchronized Playback 104
[1] Tempo Setting ..........................emes 104
[2] Setting the Metronome .......................—.. 104
[3] Available Memory ..................m.e cm... „... 105
[4] Synchronized Playback .......................... 105
| | Chapter 6 System Setting |
A De 108
[1] MIDI Messages .......................ee2eeneeniverccen 108
[2] The TD-7's MIDI Messages ...................... 111
[3] Setting MID! Parameters ................... ‚не 114
2. Setting the Interface Mode ................. 123
3. Using the Footswitch and
Sound-on-Sound eee 124
[1] How to set the Footswitch Mode ............. 124
[2] Using the Sound-on-Sound Function ...... 126
4. The Sound Setup........................e.... 129
5. Initialization ......................eeeeeeia 132
[1] Hi-hat Control Pedal initialize .................. 132
[2] All Initialize ....c.ccccov inners 133
| Chapter 7 Reference | |
1. Error Messages .................e....innvenconos .136
2. Troubleshooting 138
3. Patch LiSt...................eee....e. 20m... 141
4. Waveform List...............e........eenenveveces 144
5. Instrument List... 146
6. Initial Settings ........... vesenssssanssns esse 150
7. Blank Chart.…….…....….........…..….….….…essensences 153
M Roland Exclusive Messages .......................———... 156
WM MIDI Implementation ....................—.——ee—.... mneencas 158
M MIDI Implementation Chart .........................—.. .... 164
E How to read the MIDI implementation chart ....... 166
E Specifications ....................—-.—...—.esreseneerne eee 167
E INdex coer Dec 168
E information .............eee.._eceverrecrterre eZ 170
PANEL DESCRIPTIONS
(1) VOLUME Knob (s P. 131) (2) Display (= P. 18)
(3)DATA Dial (xs P. 18)
(4)SYSTEM button (== P. 34)
(5)PHRASE SEQUENCER button (er P. 34)
| |
|
vue Roland TD-7 es
A = —— MESSAGE |
_ Y ZA SYSTEM SEQUENCER EDIT мо! UD 7 MIDI MESSAGE
SL \ A С Indicator (= P. 108)
MIN MAX DATA 1 2 3
(O) ~~ CURSOR 7 JUMP EXIT ENTER
- | IL JU UN Vil |
PHONES DOWN UP
CHANT ——>
| | | |
(3) POWER Switch (er P. 17)
| 1
— (left Cursor button (se P. 18) (9) ENTER button = P. 19)
(E)PHONES Jack (er P. 12) (2) EXIT button (= P. 18)
| Right Cursor button (+= P. 18) — (3) JUMP button (er P. 31)
(1) [VOLUME] Knob
This knob controls the volume of the sound output through the
OUTPUT jacks and PHONES jack. =
(2) Display (LCD)
The display indicates the current operating condition or value of a
particular parameter.
(3) [DATA] Dial
Use this dial to select parameters and/or set parameter values.
(4) [SYSTEM] button
© Use this button to set parameter values which apply to the entire
system, such as those for MIDI (ss P. 108), footswitch ( 82 P. 24)
or Sound Setup (8% P. 129),
(5) [SEQUENCER] button
Use this button to set or edit the Sequence patterns of a Phrase
Sequencer (8% P. 92) tor Sync performance, etc.
(6) [EDIT] button
Use this button to set Instrument parameters or parameter values in
a Patch (1 P. 40).
* The [SYSTEM], [SEQUENCER] or [EDIT] button may be assigned a
different function depending on the Parameter Setting Display.
(7) MIDI MESSAGE Indicator
This indicator lights when MIDI messages are being received.
PHONES Jack
Connect headphones (e.g. Roland RH-120 : optional) to this jack.
The appropriate impedance of headphones is 810 150 ohms, Even
when headphones are connected, sound is output through the
OUTPUT jacks.
(9) Left Cursor button
This button moves the cursor (flashing point) in the LCD to the left.
In the Patch Play screen, the same button will serve to call the
sequence of Patches in a Patch Chain.
Right Cursor button
This button moves the cursor {lashing point) in the LCD to the right.
In the Patch Play screen, the same button will serve to call the
sequence of Patches in a Patch Chain.
(1) [JUMP] button
Use this button to jump (move) a specified screen.
(12) [EXIT] button
Use this button 10 leave (exit) the current screen.
(13) [ENTER] button
Use this button to execute (proceed with the operation/function
you have set.
[POWER] Switch
This switch turns the unit ON and OFF,
eg Cord Hook (== P. 7)
(5) AUXIN JACK (sx P. 12)
(6) Stereo OUTPUT (UR) ( Р. 12)
| (7) INDIVIDUAL Output Jacks (= P. 12)
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| | | | | |
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AC Adaptor
Jack (sr P. 12)
62 FOOT SW Jack (a P. 124) —
63 HH CONT Pedal
Input Jack (sr P. 65)
19) Trigger Input Jacks (=P. 12)
MIDi IN/OUT Connectors (ur P. 13)
(15) AUX IN Jack
Audio signals from an external unit (such as a CD plaver or cassette
deck? can be fed into this jack, mixed with the TD-T's Sounds and
output to the PHONES jack Coniy}, This allows you to play along
with recorded music using the sounds of the TH-7,
(16) OUTPUT (L/R) Jacks (STEREO Outputs)
These jacksprovidea stereo output. For monaural output; useeither
jtck (Lor К).
(17) IND 1/2 Output Jacks (INDIVIDUAL Outputs)
Each jack provides output of one user-specified Instrument sound.
(ex P. 129)
(18) 1/KICK 2/SNARE 3/HI-HAT 4/TOM 1 5/TOM2 6/
TOM 3 7/TOM 4 8/RIDE 9/CRASH (Trigger Input
Jacks)
These input jacks receive trigger signals [rom the corresponding
drm pads tup to 9 pads). The Instruments have been pre-assigned
at the factory, but vou can change the assignments as requiced.
These are stereo jacks and can receive Rim Shot and Choke Effect
signals when you are using optional PD-7 pads. You can also
connect other types of pads te.2. PD-21 : optional) to any ol these
jacks using a mono cable.
(9) (19) АС Adaptor Jack
Connect the supplied AC adaptor t to this jack.
en) Cord Hook
Loop the AC adaptor cord around this hook to prevent the adaptor
from accidental disconnection.
@ MIDI IN/OUT Connectors ©
These sockets are for connecting MIDI devices. (Es P. 12)
(22 FOOT SW (Footswitch) Jack
Connect a footswitch (FS-5U : optional) to this jack. You can assign
the desired function to the footswitch, such as Patch selector, hold
switch or recording stan switch for Sound-on-Sound (83° P. 120).
“This is a stereo jack ‘and therefore should ‘be divided into two
monaural inputs witha special cable (PCS-31 : optional) when using
wo footswitches,
@ HH CONT (Hi-hat Control) Pedal Input Jack
This jack receives control signals from the Hi-hat Control Pedal (FD-
7 optional). This is a stereo jack.
“How to use the Cord Hook
Connect the included AC adaptor to the TD-7, and then plug itinto an AC
outlet. By looping the AC adaptor cable around the Cord Hook, you can
prevent the plug from accidentally being disconnected.
To AC outlet :
Note: Please use only the included AC adaptor. Using other AC
adaptors can result in malfunctions or electric shock.
FEATURES
1. The TD-7 contains 512 percussion sounds!
E Sounds
Up to 512 Instrument sounds can be created using 230 basic percussion waveforms, Parameters involved with sound creation are Pitch, Decay, Panning,
Nuance, Brilliance, Attack Damp, Velocity, Pitch Bend, Volume and Assign Type.
The 250 waveforms include 43 kick drums, 59 snare drums, 36 toms, 8 hi-hats, 8 cymbals, plus 52 additional percussion Instruments. Also included are
11 mallet Instruments (such as vibraphone), 34 effect sounds and 5 bass sounds.
HM Sound Source
The TD-7 uses a 16-bit sound source which accurately reproduces the dynamic range and harmonic content of all the on-board sounds — depend on how
hard you play the pads (velocity),
E Instrument Section and Performance Sections
The TD-7 contains one Instrument section and three Performance sections and therefore can be used as a 4 Part mujtr-timbral sound module,
E Maximum Polyphony
The TD-7 can play up 10 14 voices at the same time, A maximum of two voices can be mixed (LAYER), at which time you can use the Velocity Switch,
Velocity Mix or Velocity Cross Fade functions.
E Dynamic Pitch Bend
The amount of pitch bend change depends on how hard you play the pads (velocity),
2. High-speed pad response is made possible by direct trigger inputs!
NM Trigger Input Jacks
The TD-7 isequipped with 9 Trigger Inputs. Using the specified padstPD-7 : optional ). 18 sounds can be controlled (since the Rim Shot signal is recognized
as well as the standard center-of-pad signal).
In the sound module section, two voices can be mixed (LAYER), allowing vou to control up to $ voices With one рай (РБ-7 : optional),
You can set MIDI Note Number, Gate Time, Velocity Curve, etc, for each trigger signal, and output it as a MIDI Note message.
mM Automatic Trigger Signal Setting Function
This function automatically sets the parameters for the trigger signal of each pad connected to the TD-7. Parameters set with this function are, Minimum
Dynamic Range, Maximum Dynamic Range, Minimum Velocity, Mask Time and Threshold Level.
MM Choke Effect
Using the specified pads (PD-7s : optional), you can create Choke effects tmuting), This may be useful for Instruments like crash eymbals,
M Hi-hat Control Pedal Jack
By connecting the specific pedal (FD-7 : optional) to this jack, you can control the sound module section: continuously control the open and closed Hi-
hat, play open and closed sounds and also control the pitch, decay or nuance of: specified sound,
3. Using the Phrase Sequencer and Sound-On-Sound, you can enjoy spon-
taneous performances!
NM Phrase Sequencer
The TD-7 is equipped with a Phrase Sequencer that allows vou to record and playback up to 16 measures of data, Tt can playback 24 Preset Patterns and
24 User Patterns (48 patterns in total).
E Performance
You can start or stop the Phrase Sequencer using à pad. You can also play a Phrase (recorded on the sequencer) at the tempo vou set by tapping on a
pad (Tap Performance).
Ш Synchronization
The Phrase Sequencer of the TD-7 can synchronize with an external MIDI device (via MIDD.
M Voice Click
You can use the sound of a Human Voice for the tempo click” tmetronome) when recording into the sequencer.
E Sound-On-Sound
You can record data into the sequencer and then play it hack immediately. The Sound-on-Sound can record up to 16 measures of data.
4. The On-board mixer and digital effects allow you to control the output at will!
E Effects
The TD-7 features two sets of effects: Reverb: Delay and Chorus Flinger. You can use two eflects at the same time.
EH AUX IN
This jack receives the audio signal from an external playback device and mixes it with the TD-7's output. The result is output through the PHONES jack.
H Audio Outputs
The audio outputs consist of a stereo pair (OUTPUT LR) and two individual outputs (IND 1 and IND 2).
5. Other Useful Functions
O With 32 Patches and 8 Patch Chains (of 16 steps) available, the TD-7 allows vou to change Patches during a performance,
© Patch settings can be recorded into the sequencer using the Bulk Dump function.
@ The screen is a 2 line, hack-lit LCD (16 characters per line). The Patch Numbers are displayed in large, easily read characters.
6 You can connect two fontswitches to the TD-7 and use them for Patch selection, sustain (hold) or Sound-On-Sound control.
E The JUMP function allows you to move lo any specified screen from any other screen.
® The TD-7 is a half-rack (11) unit easily installed in a system rack or on a drum stand (using the rack mount adaptor or stand holder).
Installing the TD-7 on a Stand
Use the supplied screws (5 x 8mm) to attach the MDS-7 (Drum Stand) to the TD-7-as shown below:
Ba TT — + Using longer screws may
; ama damage the TD-71
|
Tm in
; AT LT UT nn re. ===
Вой TT CT If you are not using the
В, — P > PE optional Rack Mount
u [ DOT Adaptor (RAD-50), attach
Pr ° o : Lo
[ 2 I Le the rubber feet supplied.
Dress AT with the TD-7 as shown
below:
7 E
PTE
Narrow — ; Wide
10
Chapter |
Playing the TD-7
1.Connection and precautions +++ 12
2.Power ON/Power OFF + 17
3.Adjusting the LCD Contrast == 18
4.Playing the Demo Songs == 19
5.Quick Start (Experimenting with various performances) 20
1. CONNECTIONS AND PRECAUTIONS
Before setting up the units, be sure the TD- and all external devices are switched off, If vou make
connections with any unit on, the speakers or other components may be damaged.
MW To play the internal sound module of the TD-7 using pads such as
COMPACT |
LIT DRUMSTAND |
2SNARE
i Ч ОХ :
\ \ 1 UT
Sed en KICK TRIGGER UNIT
та РОТ + Kick Pedal
HI-HAT
CONTROL PEDAL
i .
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AUDIO OUT Footswiteh о —
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Headphone
For a quicker setup:
Set MIDI in the System screen to “Midi In = OFF”, es p. 17
Set MIDI in the System screen to “Midi Out = OFF”, 65 P. 17
To get the most from the TD-7, use a stereo output whenever possible.
+ When using an FD-7,
execute Hi-hat Control
Pedal Initialization.
ex P. 132
+ The default settings are
as follows:
Midi In = ON
Midi Out = ON
Chapter 1 Playing the TD-7 12
Wm Using the TD-7 as a “Trigger to MIDI” converter (playing an external |
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The following setting will accelerate the conversion procedure from trigger signal to MIDI signal. The
internal sound module of the TD-7 will not sound,
Set MIDI in thé System screen to "Midi In = OFF
Set INTERFACE in the System screen 10 "MODE=TRIG-MIDI",
To get the most from the TD-
[| MIDI Sound Module
1.) MIDI Synihesizer
"еж Ро
vr P, 123
7, use a stereo output whenever possible.
* The default settings are
as follows:
Midi In = ON
INTERFACE
MODE = STANDARD
13
Chapter 1 Playing the TD-7
MN When using a sequencer (such as the Roland MC-50):
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MIDI OUT | A MIDI IN
|
{
MID! IN, | MIDI OUT
a E
— Y MIDI Sequencer
Set MIDI in the System screen to "Midi In = ON”, 65 P, 117
Ser MID! in the System screen to “Midi Out = ON" ## P. 117
Set MIDI in the System screen to “Local Ctrl = OFF”. es P, 120
Turn the sequencer’s Soft Thru function ON.
To get the most from the TD-7, use a stereo output whenever possible,
* The default settings are
as follows:
Midi In = ON
Midi Out = ON
Local Ctrl = ON
* Be sure to set the sound
setting of the perform-
ance data on the sequ-
encer to match the sound
setting on the TD-7.
ss Р. 49, 146
vi: The TD-7 contains Drum
Sets that conform to the
GM System (General
MID! System Level 1)
and the GS Format.
es PL 141
Chapter 1 Playing the TD-7
14
E When using a device with MIDI output (such as the Roland PAD-
80):
FS-5U
: R-OUTPUT-L
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МЮ! Synthesizer IR TA еее со EEE | MIDI Pad Controlier
Ser Midi in the System screen to "Midi Qut= ON" 68 PT
Set Midi in the System screen to “Midi Mix = ON". 5% P_ {17
In this wav. the MIDI signals sent [rom the external device. and those of the TD-7_ are mixed and output
through MIDI OUT,
To get the most from the TD-7, use a stereo output whenever possible.
M Note on playing the TD-7 from an external MIDI keyboard
MIDI receive channels in the TD-7 are preprogrammed (al the factory) as shown below,
Channel 10)
Channel 11
Channel 12
Channel 13
Instrument Section
Performance Section |
Performance Section 2
Performance Section 3
To play the TD-7 using a MIDI keyboard. set the transmit channel of the keyboard to 10.
If the transmit channel of the kevhoard is not set to any of the above channels, no sound will be heard.
5 P. 109
* The default settings are
as foliows:
Midi In = ON
Midi Out = ON
Midi Mix = OFF
* When the TD-7 is set to
the defaults, no sound is
output from IND 1 or IND
2 (the INDIVIDUAL
outputs).
15
Chapter 1 Playing the TD-7
EM About the Pad Setup
When possible, connectihe specified pads PD-78 : optional to the Trigger Inpur jackson the TD-
—
The Trigger Input jacks are all stereo so that two signals tthe Rim Shot signal and center-of-pac signal)
can be processed at the sume time.
Using other drum pads tconnected via mono cables) will not cause any problems. No Rim Shot sounds
will be produced, however,
PD-7
Chapter 1 Playing the TD-7 16
- 2. Power ON / Power OFF
Be sure all devices are switched off before making any connections. When you have made all the
necessary connections, switch on the devices in the following order:
1) Turn on the TD-7.
The display will respond as follows, This is the Patch Play screen forPachi | * The Patch Play screen
| will differ depending on
Patch Name © о the selected Patch.
VU À Метал
be oli FIRE 60 * When using an FD-7,
4 execute Hi-hat Control
Patch Number Program Change Number Pedal Initialization.
ww P, 132
© Switch on the external devices connected to the TD-7.
3) To power down, first switch off the external devices and then the TD-7.
e The TD-7 contains a circuit protection feature which mutes the output for a few
seconds after power up.
® When power is turned on, you should never attempt to hit the pads until after
the Patch Play screen has appeared.
17 Chapter 1 Playing the TD-7
3. Adjusting the LCD Contrast
The contrast (brightness) of the LCD can be changed. (Variable range : 110 15). “LCD” stands for Liquid
Crystal Display.
(D Press [SYSTEM] from the Patch Play screen.
CEMEAMIDIE IRE THI
Fowl DEMOLLCDE SET
e Move the cursor to LUCE? using [€] and >]. | ‘The characters at the
cursor position will flash.
® Press [ENTER].
LLE
Contrast
15
© To adjust the contrast of the LCD, change the value with the [DATA] dial.
H
6) Press [EXIT] twice to return to the Patch Play screen.
FT 8 Monste
"E PONE 65
Chapter 1 Playing the TD-7 18
4. Playing the Demo Songs
You can play any ol the demonstration songs stored in the TD-7:
D Press [SYSTEM] from the Patch Play screen.
COVE IMIDIR IFE TAO
Fatal DEMORLCOLSET
@ Move the cursor to LAE using [-] and [>].
(3) Press [ENTER].
The characters at the
cursor position will flash.
=THRT
DEMO PultiFiesta
7 —+ ENTER
4) Select a Demo Song using the [DATA] dial,
6 Press [ENTER] to start playback.
DEMO
STOP 7
MultiFiesta
-+ Ex
IT
© Press [EXIT] to stop playback.
7 Press [EXIT] twice to return to the Patch Play screen.
Song Title
Biographies of Composers
Freestyle
Music by Steven G. Fisher
Copyright © 1992,
Steven G. Fisher is currently the Percussion Product Manager for Roland Corporation US as well as an ac-
complished drummer and percussionist. Some credits include many TV commercials, film scores, as well
as albums and recordings with artists such as Maynard Ferguson, Dizzy Gilespie, T - Lavitz and the
Music by Tkuo Kakehashi
Copyright © 1992.
Roland US Temptations. His contributions to Roland Corporation include the factory preset patches for the R-8M Total
Percussion Sound Module, “90's Dance” Rhythm Style Card for the CR-80, the factory demo songs for the
R-70 Human Rhythm Composer and the Dr-660 Dr Rhythm drum machines and numerous clinics and
demonstrations.
MultiFiesta Ikuo Kakehashi majored in Percussion at Tokyo College of Music and studied under Prof. Tadahiro
Wakabayashi. He has also done extensive research on world music (especially Asian and Arabic). He is
involved as a non-border percussionist (Ethnic Music - contemporary music - electronics, pop music) in
Roland session and studio work. He also produces Computer Music Software and advises Roland on new musical
instruments,
Pages Atsushi Hoshika is a member of one of Roland's engineering teams. He performed an important role in the
Music by Atsushi Hoshika | development of the R-70, as well as the R-5 and the DR-550. He has also directed his talents toward the
Copyright O 1992, creation of demonstration songs for the R-5 and the R-8.
Roland
Warning : All rights reserved. Unauthorized use of this material is a violation of applicable laws.
19 Chapter 1 Playing the TD-7
5. Quick Start ( Experimenting with various performances )
The TD-7 contains 32 preprogrammed Patches (1-325 which can be used right away.
First, connect the specified pads (PD-7s3 and the Hi-hat Control Pedal (FD-7) to the TD-7. 897 PL 12
When all the connections are correct and secure, turn on the TD-7 8% P17
[1] Patch Selection
To change Patches (from the Patch Play screen):
switching on the TD-7 will automatically select the Patch Play screen:
Patch Name
Pi e. Ÿ. pre
POME 65
nu
LA 8
f
Patch Number
Program Change Number
Change any of the 32 Patches (numbered 1-32) using [a] and >].
You can also select Patches by rotating the [DATA] dial.
If vou have set a footswitch properly, you can change Patches using the footswitch, 28° Р. 124
periy, Y 8 $
[2] Rim Shot
All 32 Patches are set so that Rim Shots can be played from each pad.
A Rim Shotisa performance technique in which boththe actual pad and the rim of the pad are struck
simultaneously. If you only hit the rim of the pad, the proper effect will not be obtained.
Head
Select Patch 17 (August kit) as an example.
= À “Patch” is a collection
of sound settings (stored
at a numbered memory
location).
«Depending on the patch
selected, what appears
in the Patch Play screen
will be different.
* For the default value of
each Patch, refer to
15 P, 150.
* Note on playing the TD-
7 from an external MIDI
keyboard:
MIDI receive channels in
the TD-7 are prepro-
grammed (at the factory)
as shown below .
Instrument Section :
Channel 10
Performance Section 1:
Channel 11
Performance Section 2:
Channel 12
Performance Section 3:
Channel 13
To play the TD-7 using a
MIDI keyboard, set the
transmit channel of the
keyboard to 10. If the
transmit channel of the
keyboard is not set to any
of the above channels, no
sound will be heard.
Chapter 1 Playing the TD-7 20
® Snare Drum * In order to play two
Be sure a PD as connected to the 22/SNARE jack onthe rar of the TD". different sounds from
one pad, assign one Note
Now, hit the head of the pad. You should hear the > P6:Frozn.S” sound. Number to the head of
the pad (the head trigger
Next, hit the head and rim sections of the pad simultinenusty 10 ereate the Rim Shot effect. By doing signal) (es P. 41) andone
this vou should hear the -122Explo.S” sotind. to the rim (Rim Shot
trigger signal.) Then
select an Instrument for
Head Hit Rim Shot
each Note Number(s» P.
49).
# A Rim Shot is a per-
LA
formance technique in
which both the actual pad
and the rim of the pad
are struck simultane-
e Tomtom ously. If you only hit the
Be sure the PD-7s are connected to the 4/TOM1, 5/TOM2. 6/TOMS and 7/TOMA jacks on the rim ofthe pad, the proper
a i. ; . effect will not be
rearof the TD-7. Playing the head of each pad will trigger the corresponding *200:Quak1.T7 sound,
DEA Mons Rae obtained.
while playing Rim Shots wi trigger the "44-2Crsh2F7 sounds.
e Ride Cymbal
Be sure a PD-7 is connected 10 the B/RIDE jack on the rear of the TD-7. Playing the head of the pad
will trigger the "332:Ride.C” sound, while playing a Rim Shot will trigger the "332:RidBLC” sound.
e Crash Cymbal
Be sure a PD-7 is connected to the 9/CRASH jack on the rear of the TD-7. Playing the head of the
pad will trigger the -326:Crsh3.C" sound, while plaving à Rim Shot will trigger the *331:Chin2.C” sound.
AH the Patches in the TD-7 are setup to respond to Rim Shots.
21 Chapter 1 Playing the TD-7
[3] Choke Effect
All the TD-7's Patches are set so that the Choke effect can be obtained,
Select Patch 18 (Chicken Kit) as an example. &# P. 20
e Crash Cymbal
Be sure a PD-7 is connected to the 9/CRASH jack on the rear of the TD-7.
As usual, playing the head of the pad will trigger the "325: Crsh2.C” sound. However, if immediately
after striking the pad you grab hold of the rim, the sound currently being played will be muted or
choked. This is the Choke effect. The Choke effect is possible even after playing Rim Shots. * fthe Choke effect cannot
be properly obtained,
refer to Page 45 and
check the set value.
nn
@ Ride Cymbal
Be sure a PD-7 is connected to the 8/RIDE jack on the rear of the TD-7. | 13 1f you hit the pad while
Striking the head of the pad will trigger the “332:Ride.C” sound. Again, if you grab the rim of the pad grabbing hold of the rim,
after you have played it, the Choke effect is obtained. The Choke effect can also be obtained after Decay will be shortened.
playing a Rim Shot. It can be simplated the
Mute Triangle effect.
The Choke effect can be obtained in all the TD-7's Patches.
Chapter 1 Playing the TD-7 22
[4] Playing Sequence Patterns
When you select Patches 19-22, 4 Sequence Pattern will be plaved hy hitting the relevant pad, <A device that records and
There are three different Sequence Patterns: Loop. Once and Tap. plays back performance
data is called a “se-
e Loop quencer”. Sequence
Hitting a pad once wilhirigger the Seguence Pattern to play repeatedly until vou hit the same pad again. Patterns are perform-
ance patterns recorded
Select Pateh 19 (Blues kit as an example. 837 P. 20 in a sequencer.
Be sure a PD-7 is connected to the 9/CRASH, 4/TOM1 and 5/TOM2 jack onthe rear of the TD- | = To assign a Sequence
7. Trigger he CRASH sound with a Rim Shot. By doing this, the Sequence Pattern will be played Pattern Numbertoa pad,
simultancousty with the sound. To stop the Sequence Pattern, play another Rim Shot. follow the procedure on
page 41.
Select Patch 20 (Remix kiD. then trigeer the TOM and TOM2 sound with a Rim Shot. By doing this,
another Sequence Pattern will be plaved. ‘| To create a new Se-
| | | quence Pattern, follow
® Once the procedure on page
Hitting a pad will cause the corresponding Sequence Pattern to play through once. To play the Pattern 92.
again. simply hit the pacl again.
Select Patch 21 (Stroke Ki as an example.## P. 20
Hit the head of the PD-7 connected to the 4/TOM 1, 5/TOM 2, 6/TOM 3 and 7/TOM 4 jack
to play the sound. In this way, a Sequence Pattern will also be played (along with the sound).
Select Patch 22 (Junction kit), then trigger the TOM sound with a Rim Shot. By doing this, another
Sequence Pattern will be played.
e Tap
The TAP function allows you to trigger the notes in a sequence one at a time. That is, when you strike
a pad, the first note of the Sequence Pattern assigned to that pad will be played. If you strike the same
pad again, the second note in that Sequence Pattern will be played and so on. |
Select Patch 23 (Dance kit) as an exampic. 88° P, 20
Hit the head of the PD-7 connected to the 4/TOM1 and 5/TOM2 jack to play the sound. The first
note of the Sequence Pattern will be played simultaneously with the sound. 1f you keep hitting the pad,
every successive note of the sequence will be plaved.
23 Chapter 1 Playing the TD-7
[5] Patch Editing
The following example explains how to edit Patch 1 to change 120:Frozn.S to 132:Huge.S. First. select
Patch 17. 55 P. 20
Be sure a PD-7 is connected to the 2/SNARE jack on the rear of the TD-7.
1) Press [EDIT] from the Patch Play screen.
(EDIT IFATCHETRST
Р-СРУЮТ-СРУЮЫРЕИ
(2) Move the cursor to FHTCH using [-] and >], then press [ENTER].
CPLFITRIGIE:IFGN
MOTE POL IMOME LPR
® Move the cursor to HOTTE using [-] and [P=]. then press [ENTER].
Note Number
ACTES Amd
Inzt=l2géeFrozn.s
Change the Note number to 38 by hitting the rim of the pad connected to the 2/SNARE jack.
Or move the cursor to ENTE and select E with the [DATA] dial.
In the factory preset setting, “120:Frozn.S” is assigned to Note Number 38, Change this to *132:Huge.S”.
4) Move the cursor to the Instrument Number (1 ZE) using [-] and [>].
(6) Rotate the [DATA] dial to select *132:Huge.S”
Now, hit the pad connected to the 2/SNARE jack to confirm that “126:Frozn.5” has changed to
132:Huge.5”.
For a detailed explanation about Instrument assignment, refer to page 78.
> “Editing” is the process
whereby sound para-
meters or Patch settings
are changed.
* One of the following
screens may be shown
instead of the Sound 1
screen. If this happens,
move the cursor to the
far right on the first line in
the screen, then select
the Sound 1 screen
(Sourndi) using the
[DATA] dial.
HOTE< #20 Sound
Inat=Si2£s off.E
HOTEL aver
LIFE
HOTE< HE > IeTri1a
JURE to TRIG 7
* Two different instru-
ments can be assigned
to each Note Number,
but only one Instrument
has been pre-assigned
to Patch 17.
Chapter 1 Playing the TD-7 24
The Patch Chain function allows you to arrange the 32 Patches in any order you like. You can then
[6] The Patch Chain
select them by pressing a footswitch or using [<a] and e].
As shown in the following figure, the first Patch will be selected after the last Patch (il you advance
through a chain one Patch at a time).
CHAIN 1 CHAIN 2 CHAIN 3 er CHAIN 7 CHAIN 8 NORMAL
+ + N Ш + |
step + PPATCHIT| | [PATCH25] | [PATCH 1] [erases [PATCH 11 | [PATCH 1] | [PAYCH 3]
STEF 2 [PATCHIB) [PATCHZE] PATCH 21 [------ DAL 21 a 21 ms 21
STEP 3 Fras] MEATCRZT] rn 3] [-...... e 3] Fe 3} MAT 31
STEP 4 rare] matas Fr] A [cs + a FT al re 4]
STEP 5 o. A a SE forever Fa Sh 4 [rAaÏcH 5] mar 51;
STEP 6 [и [PATCHID | г 6] ==... [ERT 6] | [PATCH 6] | [PATCH 6)
STEP 7 (AT { rel | Fr Tf 1-00 о MAT 7} a 71 a 7]
STEP 8 [PATCHPd] | | ATEN ra 6Ё | === = = = re 6} {PATCH 6] FT 6}
STEP 9 [PATCH32) | [PATCH 7] 444m e 7] | [PATCH 7] (FATF 7]
E
STEPIS TIeavcHis] {esses [PATCHID) | [ParCHIS) | (PATCHIS]
STEPS [PATCHIE) j-ee=e.- ETE ENTE METERTE
Fach time the footswitch is pressed. the Patch Chain will advance by one number. (Using the cursor
buttons. vou can move in either direction.) The number of a step is called the Step Number. The
List Step Number of a Patch Chain is called the Step End Number. The Step End Number can vary
from 2-16. In the previous figure. the Step End Numbers of Chains 1 and 2 are 9 and 8 respectively.
You can select any one of 8 Patch Chains (CHAIN 1-8). When set to NORMAL, Patches 1to 32 can be
selected in order.
* The Patch Chain default
setting is NORMAL.
25
Chapter 1 Playing the TD-7
H Using the Patch Chain Function
1) Press [ENTER] from the Patch Play screen. NORMAL is automatically selected.
(CHAT
MCRL
ELECTO
= == ТЕР
@ Rotate the [DATA] dial to select the Chain Number (1-8). Here, select CHAIN |
CHE TH
HAIR
SELECTO
= SER
| ;
Chain Number StepEndNumber
O Press [EXIT] to return to the Patch Play screen.
Patch Jrumeer
i Fi
FE Lhd
Agua
“tr |
Chain Number Step Number
@ Change Patches using [<a] and [#] ora footswitch. Patches will be selected in the sequence
set in CHAIN 1.
The preprogrammed Patch Chain (CHAIND order is 17218 19-20-21 222 232432,
Chapter 1 Playing the TD-7
26
EM Changing the order of the Patch Chain
D As explained above, select the Patch Chain to he edited. * The Patch order in
NORMAL cannot be
@ Press [EXIT] 10 return to the Patch Play screen. edited.
BE Hoz.
BO Chal Ste |
HUBO 3ER
3) Press [-] and [>] until the Step Number you wish to edit is selected. Select Step Number
3 for our example.
ВЕ blues
Ex Chal St 2
4) Rotate the [DATA] dial to select the Patch Number vou wish to assign tothe Step Number. Here,
assign Patch Number 1 to Step Number 3.
Patch Number
y
FE 8 Pont
EE Ek SEL 2
1 1
Chain Number Step Number
Now CHAIN 1 is arranged as follows:
CHAIN 1
STEP 1 [PATCHI7
STEP 2 [PATCHI8
STEP 3 {PATCH 1 «-—- The step changed here.
STEP 4 [PATCH20
STEP 5 [PATCH21
STEP 6 [PATCH22
STEP 7 [PATCH23
STEP 8 [PATCH24
STEP 9 [PATCH32
LTC
27 Chapter 1 Playing the TD-7
28
Chapter
Basic Operation/Inside the TD-7 |
1.Basic Operation ------..... 30
2.Inside the TD-7 -------------- 36
1. Basic Operation
[1] Setting Parameters
Basically, the parameters of the TD-7 are set as follows:
s how to set the MIDI channel.
ay screen is selected. * If the display does not
show the Patch Play
Mona!” screen, press [EXIT] until
FM 2 it is selected.
3 select the System screen. A menu will be displayed.
v. For a detailed expla-
SYSTEM SEQUENCER ЕОТ nation of the System
o E. 1 en eh 2e screen, refer to page 34.
«€ CURSOR = ° 1 EXIT ENTER
| Ш ИЦ || || |
DMN an JE
EY IMITA TRATAN
FsuiDEMOILIODÉESET
(3) Move the cursor to the item you wish to select using [~<a] and [=] “The characters at the
cursor position will flash.
To change MIDI channels, move the cursor to PATENT.
* The TD-7 contains four
@ Press [ENTER]. main screens: The Edit
screen is selected by
MIDI pressing the [EDIT]
Trig Tw Ch =
feta
oy
pan,
button. The Sequence
screen is selected by
pressing the [SE-
QUENCER] button. The
System screen is
selected by pressing the
[SYSTEM] button.The
Patch Play screen is the
default, == P. 34
Chapter 2 Basic Operation/inside the TD-7 30
6) Since the cursor is positioned at TE 15 Tas CF vou can select the parameter to be edited
by rotting the [DATA] dial.
MILT
эн
À
>
i
La
Prost
Tr Ch = 1€
>
© Press [=] to move the cursor to the value field.
(7) Rotate Ihe [DATA] dial to change the value MIDI channel number ).
Now. a new MIDI channel has been sel.
To return to the previous screen, press [EXIT],
This is the basic procedure for changing parameters. The Jump Function fexplirined below) can beused
to speed up the process,
[2] The Jump Function
The Jump Function allows vou to instantly jump move) to any screen from any other screen.
E How to jump
D Press [JUMP].
[SYSTEM] [SEQUENCER] [EDIT]
+
IIPLOYINOTESRINST
TRGI FXIFDLIMIDI
ПО |
[a] [>] [ENTER] [EXIT]
(2) Press the button to which the destination screen is assigned. For example, pressing [EDIT] will
take you to the screen for editing an Instrument sound,
TIA 51+i130
Mame <LAFat.55
Changing the sound of an
Instrument ser P, 765
To cancel the Jump, press [JUMP] again.
* Set Tri T= Lh and
Inst Tr Ch to the
same channel number.
(That channel number is
generally setat 10) Tr 19
T= Chand Inst Tr
Eh have both been
factory presetto channel
10.
“if you keep pressing
[EXIT], the Patch Play
screen will ultimately be
selected.
* If you press [JUMP], and
then depress the foot-
switch, you can jump to
the footswitch display.
31 Chapter 2 Basic Operation/inside the TD-7
The destination screen for each button is pre-assigned ar the factory. You can. however, change this
assignment.
6 Destination screen selected by pressing [SYSTEM]
ie BE florist Lu
a. - Patch Play screen 8 P 17
Ra 8 Port 65 |
@ Destination screen selected by pressing [SEQUENCER]
= т ! Changing the sound assigned to the
Н OTES + = р = o Ly Fy ei 1 WANING he sOLINU ASSINEC Lo Hh
Inst=075, Tight. F
" ES PO 40
Note Numbers in the Instrument section
O Destination screen selected by pressing [EDIT]
TR HETS51-1 150
Ham <LOFat,5>
Editing the sound of an Instrument 8% р. 26
O Destination screen selected by pressing [=
TETG< T1 Hesse
Mote # = EE
Editing the Trigger parameter 82 P. 41
@ Destination screen selected by pressing [e]
Effect] = Hall
Out Leve]= 15
Editing the settings of the effects ra” В. 59
@ Destination screen selected by pressing [EXIT]
ET ; n.. + 2 ;
L F st - H 1 Ha L FEL HL. Editing the Hi-hat Control Pedal settings 657 P, 05
Gssiqon = TEIG A
@ Destination screen selected by pressing [ENTER]
MIDI
Trig Tx Ch =
Changing the MIDI parameters 8 P. Ha
фе
I
pwede
Chapter 2 Basic Operation/Inside the TD-7 32
MN Changing the Destination Screens
To change the destination screen you'll jump to
1) Select the screen vou Wish to jump to.
@ Press the key you wish to assign to the screen while holding [JUMP] down.
In the following example. [EDIT] is pressed while [JUMP] is held down
© SYSTEM SEQUENCER EDIT
CA) CER
ни 1 2 |
DATA "T
CURSOR» JUMP EXT ENTER
Ц | | UL I |
pow UP ”
X
The indication flashes and the destination screen is changed. When the new value is different from the
pre-assigned value, the display of the JUMP function changes to LS.
[SEQUENCER] [EDIT]
APLAYTHOTELD USE
EL PRPOLIMIDI
e
[<] [>] [EXIT] [ENTER]
33 Chapter 2 Basic Operation/Inside the TD-7
3. Main Screens
There are four Main Screens in the TD-7:
ne Hornstr CECITIPAOTCHETAST
E E Po e FRYE DT ~CFY EERE
Patch Play Screen Edit Screen
СЕНО FTHETEMFO E TIA IRA TAN
Sy ACA ALIOTLPME TEL | Fs PCEMORL CCORSET
Sequencer Screen [+] System Screen
These four screens represent the TD-7's four modes. Exch main screen isa menu screen where various
items are listed. Forexample, the Edirsereen containsPHTCH, IH5T P-CF ICF Y and
HFEF
[1] The Patch Play screen is used for playing data. This is the TD-7's default screen.
The Edit screen 15 for changing the values of sound parameters or altering à Patch in some way.
Pressing [EDIT] from the Patch Play screen will select the Edit screen. The menu includes the
following:
РА ТСН (Pach) You can edit data in à Patch. еж P. 40)
п” You can change the sound of an Instrument. ex P78
(Instrument) |
' id , ‘
F-CFY You can copy the data in a Patch to another Patch or exchange data
(Patch Copy) between two Patches. EN PT]
real od +
I1-CFY You can copy the sound of an Instrument to another Instrument or
(Instrument Copy) exchange data between two Instruments. ex PRY
AFF , ty : че
| You can set the Global Parameters in the Performance Section.
(Global Performance 5
y LE Р, 73
Parameters)
A “Patch” Is a collection
of sound settings (stored
at a numbered memory
location).
Editing” is the process
whereby sound para-
meters or Patch settings
are changed.
Chapter 2 Basic Operation/inside the TD-7 34
The Sequencer screen allows vou to create performance patterns in the Phrase Sequencer. | on A “sequencer” is a device
Pressing [SEQUENGER] from the Patch Play screen will select the Sequencer screen. The menu which records and plays
of this screen includes the following: back performance data.
FTTH (Pattern) You can create and play performance patterns. us p.92
TEMP
. You can determine the tempo for data playback. ww P 103
(sequence Tempo)
When the TD-7is synchronized with other MIDI devices, you can
Pi LI”
AE | NE | Co
determine whether it works as a Slave" device or a ‘Master device.
(Sync ization? -
vnchronization ее р. 105
HLH TL Theamountof memory available for storing performance data is displayed.
(Available Memory) er (1
FE THO You can determine how the metronome should sound during recording
(Metronome) and playback. ESP, 103
El The System screen allows vou to set the parameters related to the entire system of the TD-7;
such as MIDE LCD Contrast, Audio Output, Demo song playback, etc. Pressing [SYSTEM]
from the Patch Play screen will select the System screen. The menu includes the following:
MILI You can set MIDI parameters, such as MIDI channel. ES Pli4
1 ve the Inter- You can determine the operational modes of TD-7. BP 1.23
THE Anitialize) You can retrieve the factory preset data settings. Ex P1532
F 24 (Footswitch) You can determine the function of the footswitch. EF Р. 124
CEPI (Demo Songs) | You can play the demonstration songs. еж Р. 19
LIT You can adjust the LCD contrast, == Р. 18
This determines how to output signals through the rear panel output
SET (Sound Setup)
CEL jacks. ES Pp 129
35 Chapter 2 Basic Operation/inside the TD-7
2. Inside the TD-7
The TD-7 is divided into 7 sections as shown below:
4
| SEQUENCER
BLOCK
NOTE MAP BLOCK
TT T
Hi — HAT
CONTROL PEDAL — a e a
INSTRUMENT
| [INSTRUMENT
BLOCK
a — = —" e VET = = = = =
vtt Ar me er AN Mier Чей ще em
TRIGGER Чи PERFORMANCE |
BLOCK \ SECTION 1 |
a EFFECT
¡PERFORMANCE | BLOCK
\ SECTION 2 CT)
IIIIIIIIIIS [EFFECT 1,
MIDI OUT MIDI PERFORMANCE |) III
a BLOCK (___SECTION 3___ | | lErrecr 2
MIDI IN \_ J Q ———— ~
The Trigger Block converts the trigger signals (created by hitting the pads) into MIDI signals.
The Instrument Block determines the sound of an Instrument. The TD-7 contains S12 Instrument
sounds which are made from the 236 wavelorms.
The Note Map Block assigns an Instrument to each MIDI Note Number. That is, you can
determine the Instrument to be played by hitting a pad or playing a connected keyboard. The
Instrument section can provide one Note Map and the three Performance sections can provide
une Note Map each. This creates a total of four Note Maps.
The Pedal Block determines how to control the sound module with the Hi-hat Control Pedal tFD-
7).
The Effect Block processes the sound with the on-board effects (such as reverb and chorus). The
Effect section contains two independent effects processors.
The Sequencer Block records data of the Phrase Sequencer and plays it back. MIDI signals sent
fromanexternal device can be recorded via the Note Map Block. Twoeffects can be used simultaneously.
The MIDH Input / Output Block sets the parameters related to transmitting and receiving MIDI
MESSages.
«iA “Note Number” is the
numberassignedto each
key of a keyboard.
A “Sequencer” is a
device that records and
plays back performance
data.
e “MIDI stands for Musica!
Instrument Digital Inter-
face, an international
standard for communi-
cating performance infor-
mation or sound seiec-
tion messages, etc.
Chapter 2 Basic Operation/Inside the TD-7 36
[1] Parameters in a Patch
A Patch is a collection of sound settings (stored at a numbered memory location). + “Memory” is the place
(memory IC) where data
Various settings that determine how the sound should be played are stored in a Patch. A Patch is in can be stored and
wirn stored in the internal memory of the TD-7. A Patch includes. among other things. Instrument and retrieved.
effect settings. The TD-7 can store up 1o 32 different Patches. By using a footswitch while a Patch is
being played. vou can instantaneously selecta new Patch. The new Patch may have completely |
different sounds Gand effects settings) for cach pad.
( PATCH32 в
ET TL ULL №
PATCH 1 Vii
(INSTRUMENT SECTION Y |i:
‚ $
TRIGGER ) i
DT pf RM N р
{ - PAN NA TRIG 3 их a. o i
iq Le. MET . , . а 7 x !
NA em 0 ) = + => 2, ,
— 7 — ANT” +. [SOUND 1) [SOUND 1} SOUND. 13 | |: :
—— pre rrr. race НО ГОР THEE TY Ivo MES ie РАНЫ .
pat y | / TRIG 1 N EEE [AENA Y S
AS ee ear 1 AVERED HL AVERT] EL AYERED :
NA Uhre ‘тезка. tr erp Ni м
La u) HELE I CL MA iL Ju TA 3 A ory x ' 1
"J 1 SOUND] 2| |SOUND| 2| | SQUND| 2 e
UR sis, drei YT ivi AREA] a!
> tim Noursners” SANE NTN BY у
. PEDAL =
Un men {rate sil à. r a ' :
i mn И KE i VEE PERFORM ANCE SECTION ; я
tear TiN “EL "TN aaa “ 1
(PERFORMANCE SOUND 1 ivevwest}} |: !
EFFECT Dr i
er [PERFORMANCE SOUND 2 чтим) | |:
EFFECT 1 1 EFFECT 2 Y | — 21
Mare RODA MÍAS ю FHM FLANGE | [PERFORMANCE SOUND 3 messiness :
Na AN т м
As vou can see in the figure above. many different parameters can be written into a Patch. The following
explains some important Patch parameters of the TD-7,
Two different trigger signals are output depending on how you strike the PD-7s; à signal created
hy hitting the head of the pad and a Rim Shotsignal. (Remember, Rim Shot signals are created
by hitting the head and rim sections of the pad at the same time.) Up to nine PD-7s can be connected
to the TD-7, so a maximum of 18 trigger signals can be output.
Head Hit Rim Shot
Ny
A * A Rim Shot is a per-
Е formance technique in
In a Patch, you can also set the Instrument assignment that determines which Instrument should be which boththe actual pad
plaved by hitting a pad tor playing a connected keyboard). How the Instrument sounds differs in the and the rim of the pad
Instrument sectionandthe Performance section. The Instrument section assigns an Instrument are struck simultane-
to each Note Number and therefore each pad (key) will sound differently. In the Performance section, ously. if you only hit the
however, the same sound is assigned to cach pad (key). In the Performance section. one Instrument rim of the pad, the proper
sound is played with different pitches. effect will not be
obtained.
37 Chapter 2 Basic Operation/inside the TD-7
In the Instrument section, two Instruments are assigned to one pad they). These two sounds are called
Sound 1 and Sound 2. The parameter called Layer can be used to determine how these sounds
should be played. You can play two sounds simultaneously or change the rone quality depending on
how hard you play the puds (keys),
Sounds can be selected from the Sound Group called “Instrument”. The TD-7 contains 512 different
Instrument sounds.
[2] Other Parameters
The parameters that can be written into the internal memory ofthe TD-7 are: Instrument. Seguencer
and System parameters.
An Instrument sound is created by one of the 250 waveforms. You can create your own Instrument
sound by editing the parameters (such as the Pitch. Decay or Panning) of a particular waveform . The
wo Effects (Reverb, Chorus, etc.) can be used to further change the sound.
= еси
mh kh rE RE AE EE EEE EAE MRS EE AN ENE AAR EAR AREER RAE RRR NER ANN ER EE rm Nea. 1
Yara
INSTRUMENT 1 E
+ E h
+ + "
WAVEFORM 1 — 256 NAME DYNA PITCH BEND pe
- : Hal EFORM FITCH BEND TIME Por
Kick 1 — 43) | Percussion 1 — 52) FITCH POLYPHONY ona
— DECAY ASSIGN GROUP Eo
Snare 1 — 59 Mallet 1 — 11 PANNING OUTPUT LEVEL Eo
NUANCE SENDI LEVEL вез
om-Tom 1-36 Effects 1-34 BRILLIANCE SEND? LEVEL RE
Hihat 1— 8 ATTACK DAMP o
1 1 +
Cyvmbai 1- 8 ; Lo
a
The Sequencer parametersare for recording and playing back the dataofthe Phrase Sequencer.
The System parameters are related to settings of the entire system of the TD-7. such as MIDI, Output
Assign, LCD, etc.
4
TEMPO
SYNC
METRONOME
SEQUENCER à 1
PE A EEE EE EE ES
меток EE EEE
AWE RAIN AEN AAT RAL EERE EB
PATTERN 1
REC
PLAY
PATTERN TYPE
MEASURE
BEAT
QUANTIZE
SYSTEM
A
FOOTSWITCH |
MIDI
»
|
SETUP
SOUND SOUND-ON-
EEE
\ J
Chapter 2 Basic Operation/Inside the TD-7
38
Chapter
- Patch Setting
1.Setting A Patch 40
| 2 Patch Copy necaceneaonoos 71
3.Grobal Performance Parameters + 73
1. Setting a Patch
The following chapter explains how to set the parameters that can be stored in a Patch (1-32), These
parameters include those for the Patch Name, the 9 Trigger Inputs, the Instrument Section, the Hi-hat
Control Pedal, the Effects, the Performance Sections and Program Change Numbers,
ip 10 6 characters. The currently selected Patch is displayed in the Play
reen. then Press [EDIT].
“Patch Edit Instrument Edit
XECITAFPATCHE IST
A PSCPWEI-CPYEGPFM
1
Patch Copy Global Performance
Instrument Copy
e Move the cursor (using [-] and [>] 110 FHTIZH, then press [ENTER].
[FEZITRIGEIF =] Miah
HOTESFOLIHAMEE REF
O At this stage, you can change Patch Numbers by rotating the [DATA] dial.
93 Move the cursor (using [-] and [+] ) 10 HHME then press [ENTER].
Patch Number Patch Name
[FEA]
Hamme < Dane.
4) Move the cursor (using [€] and [>>] )tothe Patch Number field, then selectibe Patch Number
you wish to name using the [DATA] dial.
Move the cursor (using [<# and [We] ) to the Patch Name field and start creating the Patch
@
name.
Select the first character in the new name using the [DATA] dial.
Press [P=] to move to the next character space. Select the second character.
© Y E
Proceed in this manner until the name is complete.
Press [EXIT] three times to return to the Patch play screen.
O
"For a detailed descrip-
tion of the Patch Play
screen, see page i7.
Chapter 3 Patch Setting 40
[2] Assigning a Note Number to a Trigger Signal
The TH-Tiscquipped with 0 Trigger Input jacks. Using the specified pads (PD-7:optional). 18 Trigger | A “Trigger Signal” is an
Signals can he controlled. Each PD-" can output a Rim Shot signal Gn addition to the standard center- electric impulse gen-
of-head signal when the vim and head of the pad are plaved simultaneously. Therefore, when 9 PD- erated by hitting a pad.
“sare used. 18 Trigger Signals (2 trom cach pad are possible, The TD-7 can detect the
timing and strength
(velocity) of the Trigger
Signal via high speed
signal processing.
The following describes how to assign a MIDE Note Number to each Trigger Signal.
The symbols T1- T9 shown in the screen represent the Trigger Signals created when the head of a pad
is hit. RI - R2 represent the Trigger Signals output when vou play Rim Shots.
Assign a MIDI Note Number (35-933 to each Trigger Signal. The sound module of the TD-7 will he r À "Note Number” is the
plaved according to the assigned Note Number. The sound or pitch that corresponds to the assigned number assigned to each
Note Number will be heard depending on whether the Instrument or Performance section is being used. key on a keyboard.
in the Instrument Section, a different sound (Instrument) is assigned to each MIDE Note Number
and therefore different sounds will be heard by playing different pads. Inthe Performance section.
however, the “set sound” will be played at the pitch of the MIDI Note Number that is output from the
pad,
Plaving a pad will output the message of the set MIDI Note Number through the MIDI OUT connector “For a detailed expla-
on the rear of the unit, | | nation of how to set the
transmit channel for MIDI
messages created by
Correspoedence between Note Numbers and Names В В playing a pad, refer to
| TE ==. | : с раде 115.
КО | |
Note Name AQ = Bi — C4 ~ AB - CB
Note Number 21 — 35 = 60 = 93 -108
41 Chapter 3 Patch Setting
H Setting a Note Number
(1) Select the Patch Play screen. then press [EDIT].
e Move the cursor to PH TESH, then press [ENTER].
LEG TR IGEFRA]PRONM
ALITE EFE ERRE PR
@ At this stage, you can change Patch Numbers by rotating the [DATA] dial.
(3) Move the cursor to TE LE. then press [ENTER].
Trigger Signa, Number qe Meter
LUD TE RE
Mote + STE DEE
3
| Мо!е Мате
Note Number
Parameter Name
@ Move the cursor to TR 113€ T1 5.
[DATA] dial.
If external pads are connected, playing a pad will change the Trigger Signal Number of that pad.
The Level Meter reflects your playing strength.
65) Move the cursor using Y] and [>>]. then press [ENTER]. The Level Meterindication will
change to Velocity value, Pressing [ENTE RTalternately selects the Level meter or Velocity value
indication.
ТЕ 55
Hot e
Tis ‘EERERERER
# 7m a - L Hi >
À [ENTER]
SEE 27
# =6PID#E
TEIG
Hate
© Move the cursor to the Parameter Name, then selecta Part. # by rotating the [DATA] dial.
If vou select a different parameter here, you can set various Trigger parameters.
7 Move the cursor to the Note Number, then ser the Note Number using the [DATA] dial.
The Note Name is shown together with the Note Number.
You can change the Trigger Signal Numbers using the
* When the cursor is
positioned anywhere
except the Level Meters,
you can perform a Jump
To Note. (+ P. 48)
+ 35(B1)- 93(A6) are valid
MIDI Note Numbers
(Note Names).
Chapter 3 Patch Setting 42
[3] Setting Various Trigger Parameters
The l« Tona parameters can be set for the Trigger Signals of cach pad. You can set them in a similar
Way asin "2, Assigning à Note Number to a Trigger Signal” 1D. 41).
@ Gate Time : Gate Time (0.1- 4.0 sec)
Th
Gate
E
The Gate Time determines the actual Jengrh of time an Instrument will sound when a pad is played.
Gate Time is equivalent to the time from Note Onto Note Off when vou play a MIDI keyboard.
Г Са!е Типе — 1
Y v T Pad Hit
| > Time Y Note On
V Note OH
T
If. for example. the Gate Time set for a pad is fairly long (1 or 2 seconds). every time you strike the pad,
vou will cutoff the previous sound and trigger a new one.
Gate Time
Г“ Time TT |
у у
Y . У у T Pad Mit
| > Time Y Note On
T T V Note Of
Many drum machines and percussion sound modules cannot recognize Note Off messages. Therefore,
it is recommended that vou set the TD-7 to ignore Note Off messages.
If you set the “Note Off Receive Switch” to ON TP. 117), the TD-7 can recognize Note Off messages.
When the Gate Time (duration from Note Onto Note Off) the TD-7 receives is longer than the Gate Time
set for the internal sound module, the sound will stop even before Note Off messages are received. (Sec
figure a below). When the received Gate Time is shorter, the Note Off messages will be recognized
when received. (See figure b below.)
IN De > Time A Note On
A Note Off
Volume
A Tem A Gate Time
Ta, Time
Fig. a Fig. b
"The TD-7's default
setting is “Note Off
Receive Switch” OFF.
The Gate Time of the
intesnal sound module
canbe setwiththe Decay
of the Instrument in the
Edit screen. к Р. 83
43
Chapter 3 Patch Setting
e Cross Talk Cancel Group : CrsTIkGrp (1-4/ OFF)
TRI Tm
Се ТРЕЕ
When several pads are set close together. the vibrations caused by striking one pad may inadvertently
trigger the sounds of other pads. The Cross Talk Cancel Group™ prevents such errors,
Assign all the pads in a group (he pad played and those affected by the vibrations) the same number
(Cross Talk Cancel Group = ON), To turn off this function, set to OFF.
e Velocity Sense Curve : VelCurve (NORMAL 1/2/3/4/F1X32/64/96/127)
Tige 1178
Letur =
IE HEE SE a
Be BE EE НЕ: НН HE ВН:
LL ” -
Je ped
Pr
The Velocity Sense Curve represents the strength with which cach pad is played. When setto
“NORMAL” Aer, the volume will increase by plaving harder. There are 1 NORMAL curves. {See
figure a below.) When “FIN” CF 1) is selected. the volume will not be affected by plaving strength
tie. the volume remains constant). There arca FIX curves with different velocity values. (See figure b
below.)
AN |
Velocity Velocity FIX 197
127 4 127 |
i ;
! |
1 FIX 96 |
96 |
! |
! |
| FIX 64 '
ı 64 y
! ;
! FIX 32
32
! ;
i 1
1 1
IN L N
; 7 "MIN 5 h ot hitting the pad МАХ
MIN Strength of hitting the pad MAX trength of hitting the pa
Fig. a Fig. b
e Sequence Pattern Number : SeqPtn # (OFF / 1-48)
TEI ГЛ Не НЕ
Зе # = ed
Hitting a pad will trigger the assigned Sequence Pattern. The Sequence Pattern will also be triggered
by receiving a MIDI Note On message. When set to ZIFF | no Sequence Pauern will be played. 1-24
are User Patterns and 25-48 are Preset Patterns.
: The volume of the TD-
7'sinternal sound source
the
received velocity value.
depends upon
Chapter 3 Patch Setting
44
® Choke : Choke (ON/OFF)
TRIG: T] BEER
Choke =
The Choke effect dor eymbals, etc.) can he obtained when using PD-7 pads. The Choke eflect mutes
the sound when the rim of the pad is touched or grabbed. When itis set 1o THF Fhe Choke effect
cannot he obtained.
@ Automatic Parameter setting : Auto (MIN3—MAX3)
TES Tre TI ERE EE
Saa MIM SE. 1 me
Slowly strike a pad six times—three mes softly. three times strongly— according tothe message shown
in the display. The [following parameters (Max Dynamic Minimum Dynamics Mash Time: Threshold
Levethwill be set automatically. Tfvou continue hitting the pad. the display will change as shown below:
МЕН бам + MINE mare > MIN OÍ mora > MHS Slime:
> MES 2 more > MAR 1 ОКО!
mora > SET OL
* +. „” | *o, tu mo
TE Li. Г 1 NS
Huta: SET DK!
Nyoudo notsucceed, move the cursorusing- [El and [>]. selecta different Parameter screen with
the [DATA] dial. sefect the HLIT IS screen again, and then hit the pads.
This procedure allows you to set the maximum and minimum volume levels obtained from the pads.
That is, playing harder than the set maximum volume level will not increase the volume. Similarly.
pliving softer than the set minimum level will not decrease the volume.
«vif you hit the pad while
grabbing hold of the rim,
decay will be shortened.
it can be simulated the
Mute Triangle effect.
* If you wish to change the
maximum and minimum
levels, repeat the pro-
cedure or edit the fol-
lowing parameters (Max
Dynamic/Minimum
Dynamic/Mask Time/
Threshoid Level).
45
Chapter 3 Patch Setting
€ Max Dynamic / Minimum Dynamic : Max Dyna / Min Dyna (1 - 16)
TR Tige 11 RE НН В
Мах Dana =
TRIGIT] В
Mir Cama
E
Playing dynamics vary From player to player, and the level ef Trigger Signals vary Irom pad manufacturer | “Dynamic range” is the
to pad manulscturer. The Max Dynamic and Minimum Dynamic settings compensate for such difference between the
differences and maintain a maximum dynamic range. maximum and minimum
volume levels.
To set the Mix and Minimum Dynamics, specify the Trigger Signal level of the pads that corresponds
to the maximum and minimum values of the MIDI Velocity,
When your playing velocity is low Ge. you're playing softly) or the Trigger Signal level of the pads is
low, set the Мах and Minimum Dynamic fairly low.
Any Trigger Signal above the level set with the Max Dynamic will be regarded as Velocity 127.
Any Trigger Signal lower than the level set with the Minimum Dynamic will be regarded as the Velocity “The volume of the TD-
value set with the Minimum Velocity referred to in the following parameter, 7's internal sound
module is determined by
e Minimum Velocity : Min Velo (1- 64) the Velocity value set
here.
ТЕТ: ТР ER
М 1 F1 Lies 1 ra
You may at times wish to maintain a minimum volume level even when playing very softly. Minimum
Velocity sets this volume level.
Any Trigger Signal lower than the level set with the Min Dynamic is regarded as the Velocity value set
here. Velocity value can be set over 16 steps. The figure shown in the display represents the MIDI
velocity value.
MID! Velocity A,
127 — — — == ——
r
‚
И |
и”,
/ | > Minimum Velocity : 1
| Minimum Dynamic : 1
|
Velocity Curve
Max Dynamic : 16
Minimum Velocity
|
|
НО |
A т
Minimum Dynamic Max Dynamic
> Input Trigger Signal Level
Chapter 3 Patch Setting 46
® Mask Time : Mask Time (0-124ms)
E
ack
This parameter should he set for pads that tend о стене double triggers. such as the kick pedal.
Even when more than one Trigger Signal is created within the set time, the Latter signal will be ignored.
- ya в. 4 г) . . . "A ;
in the figure below. Trigger Signals (D and 6 will cause the sound to be played. while signal (2) will
not. The time can be set in 4 msec steps.
Trigger Signal
©
NA NA me
N ho
|| U | UU
: Mask Time
FA
.
O
Oo
- = - =] = ч
3
@® Threshold Level ;: Threshold (1-16)
ТЕТО 1 "EEE EEE
Tk'éegs ho das ТЕ
When the level of the Trigger Signal sent from a pad is lower than the set threshold level. no sound is
heard. Using this feature, vou can prevent the vibrations from the pad being played from generating
Trigger Signals in adjacent pads, In the figure below, Trigger Signal @ will cause the sound to he played
while signals @ and @ will not.
nh. AA. Spm by sbi mb Me NAAA TER wes mm We A dw dr
Threshold Level
| A | A / NA » Time
I V-
"+ A"Double trigger” occurs
when two (or more)
Trigger Signals are
generated when only one
was intended.
47
Chapter 3 Patch Setting
[Useful Functions for setting Trigger Parameters]
The following explains "Jump To Note” and Preview kay”. These functions will speedup the process
of sound editing and monitoring when vou set the Trigger Parameters.
H Jump To Note
When you are setting Trigger parameters, you can use the Jump To Note function to change the + When the cursor is
Instrument assigned to a Note Number. Using this function, vou can quickly select the Note screen tas positioned at Level Meter
vou need not retrieve the Basic screen by pressing [EXIT] (or Velocity Value), Jump
To Note cannot be used.
1) Select the Trigger Parameter setting screen, then press [ENTER].
The display responds with Hi Go ELE?
Erre dou Se Y
JUMF Lo HÜTE #
(2) Press [ENTER] w select the screen for assigning an Instrument to a Note Number,
To cancel the jump To Note mode, press [EXIT].
E Preview Key
When vou are in the Trigger Parameter setting screen, [1]([SYSTEM]). [2]([SEQUENCER])
and [BJ([EDIT]) will become Preview Keys. That is, even if no pad or MIDI device is connected to the
TD-7, pressing these keys willtriggerthe TD-7'ssounds, [((SYSTEM)) triggersa softsound Celocity
value 32), [2]((SEQUENCER]). a medium level sound (velocity value 04), and [3)(TEDIT]). a
loud sound (velocity value 127).
Chapter 3 Patch Setting 48
[4] Instrument Section
The Instrument Section allows vou to assign an Instrument to cach Note Number. That is. cach
Trigger Signal «ill play à différent Insteument. If vou wish to assign a different sound wo each pad, use
the Instrument Section.
Pad Note Number INSTRUMENT SECTION
Trigger ee Sound | Sound 2
| INSTRUMENT 1 INSTRUMENT 2
| ONSTRUMEN! 3 INSTRUMENT 4
LT CONSTROIENUT 5 INSTRUMENT 6
INSTRUMENT 7 INSTRUMENT 8
INSTRUMENT 9 INSTRUMENT 10
| INSTRUMENT 11 INSTRUMENT 12
INSTRUMENT 13 ! INSTRUMENT 14
| INSTRUMENT 15 ! INSTRUMENT 16
INSTRUMENT 17 | INSTRUMENT 18
INSTRUMENT 19 © INSTRUMENT 20 —
4
+ '
INSTRUMENT 115 1 INSTRUMENT 116 |
| INSTRUMENT 117 | INSTRUMENT 118 |
a. Setting Sounds 1 and 2
You can assign two different Instruments to one Note Number to create various mixing effects, This is
called “Layer”. The two Instruments are called Sound 1 and Sound 2.
A different F1 20 Ft can be set for both Sound tand Sound 2. The pitch is variable in semi-tone (100
cent} steps. from —SOD T6 +4800 Cents.
E Setting the Instrument and Pitch
D Select the Patch Play screen. then press [EDIT].
@ Move the cursor to FH TH. then press [ENTER].
LFAZITREIGEF =F Fi
NOTE TROL RRE ERE
O At this stage, you can change Patch Numbers by rotating the [DATA] dial.
«i The instrument Section
is similar to the “Drum
Part” (or Rhythm Part) in
a MIDI multi-timbral
sound module. It is also
similar in that a different
soundis heard from each
key on a MIDI keyboard.
For a detailed expia-
nation of setting Layers,
refer to page 52.
1 A“Cent” is a unit of pitch.
1 cent is 1/100th of a
semi-tone.
49
Chapter 3 Patch Setting
6) Move the cursor to HITE. then press [ENTER].
Select Sound, Layer or Jump
Note Number
AOTE< 56 Sound
Гл = Га, К
Instrument Group
instrument Name
Instrument Number
Select Instrument or Pitch
Move the cursor to the Note Number, then selecta Note Number using the [DATA] dial. If vou press
[ENTER] here. the screen shows the Note Name instead of Note Number. Pressing [ENTER] again
will retrieve the Note Number display.
Note Name
Hotel >Sourdi
In=tL=07 51 Ti90ht.E
+ One of the following
screens may be shown
instead of the Sound 1
screen. If this happens,
move the cursor to the
far right on the first line in
the screen, then select
the Sound 1 screen
(Зент Е) using the
[DATA] dial.
MOTE BZ Sou
Irnst=037: Huds, E
me” =
HOTES HTA Layer
OFF
HOTE< Hé >1rTrig
JUMP to TRIG 7
Chapter 3 Patch Setting
50
@ Select the Instrument to be assigned by rotating the [DATA] dial
When vou move the cursor with [4 and [7], Note Number Sound 1, Inst, 875
F 13th andk will flash. To change the values, move the cursor to the relevant position, then rotate
the [DATA] dial.
Depending on the cursor position. different parameters can be edited.
"bl TU = : - .
HSE cs The Note Number can be edited.
So, You can setthe following parameters by moving the cursor to this position and rotating
the [DATA] dial.
sound | cido You can adjust the settings for Sound 1.
Sound 2 ЗРЯ You can adjust the settings for Sound 2.
Laver L&E : You can adjust the settings {or Laver, «0 P. 52
Jump To Trigger JETrig ; Youcan jump to the screen for setting Trigger
Pirameters. ri Р. 55
[rt You can select the desired Instrument. You can change the pitch of the Instrument by
selecting Pitch using the [DATA] dial. The variable range of the pitch is -4800 - +4800
cents. The pitch can be changed in semi-tone (100 cents) steps.
MOTTE #56 our
math = di
a т . . - -
са Рона recrue You can select an Instrument with the corresponding number, from 1-512,
Th... You can select an Instrument with the corresponding name.
Fe ec, You can select an Instrument with the corresponding group name.
® Hitting a pad will automatically select the MID! Note Number assigned to the
Trigger signal of that pad.
e As the TD-7 receives the MIDI Note messages, the received MIDI Note
Number will be automaticaliy selected.
e |f you select ini: in step Y, you can set the parameters for Sound 2.
"The name and the group
name of the Instrument
canbe set easily. « P. 82
> Be sure to setthe receive
and transmit MID! chan-
nelstothe same number.
51
Chapter 3 Patch Setting
b. Layer
Layer allows vou to play two different Instruments, Sound 1 and Sound 2 simultancously. IF Laver is x When the Layer function
set to FF only Sound | will be played, is being used, two
sounds are played by
There are five types of Lavers: one Note ON message.
Although the TD-7 can
Velocity Mix 1-ю) Мера Мах play up to 14 notes at
The two sounds assigned to a pad are mixed in different proportions depending on how hard you play, once, this number will be
With a low setting value Gay 1 or 25 only Sound 1s heard when vou play very soitiy, Both sounds are reduced when using the
heard when vou play ata moderate or high level. Ata higher setting vtlue Cor 8), Sound 2 1s mixed Layer function. If this
with Sound 1 only when*vou play very hard, The overall output levehis determined by how hard vou causes problems for you,
play the pad. set the Layer parameter
of some Instruments to
Sound | Sound 2 A OFF.
w A =
= i И
= Je > НЕ К MIX
> Ha) CL ä
"FH
VELOCITY
Velocity Switch 11-9 Malo Zu 1
With this Laver setting. only one sound is heard ata time. The sound that is heard is determined by how
hard vou play the pads. At a low setting value €1 for example). only Sound 1 is heard when vou play
softly. Atthe same setting, only Sound 2 is heard when vou play at moderate orhigh levels. ff you change
the setting to 8. for example, Sound 2 is heard only it vou play the pads very hard.
Sound 1 Sound 2
+ > p= SWI
EE
VELOCITY 1 < > 8
VOLUME
Velocity Switch 2 (1-5) Melo ia 2
With this Layer setting, as with the Velocity Switch setting, only one of the two sounds is heard at a time
However, here the overall volume output is fixed and is not affected by vour playing strength, Thats,
playing strength determines which sound is heard, not the volume level. When à smaller value is sel
(say Lor 2), only Sound 1s heard when vou play softly. Ata higher setting (7 or 8), Sound 2 is heard
only when you play very hard. Keep in mind that the actual volume level heard will be constant
regardless of how hard you pliy—plaving strength determines the sound heard, not the output volume,
Sound 1 Sound 2 4
; _ | | È
SWZ
VOLUME
VELOCITY
Chapter 3 Patch Setting 52
Velocity Crossfade 1 (1-8 ida ic Cross 1
With tis Laver setting, the twa sounds are mixed in different proportions depending on how hard you
play. When lover vilue (Por 2vis set. only Sound 1s heard when vou play very softly, As vou play
alittle harder, Sound | becomes softer Cuntil E disappears altogether while Sound 2 becomes louder
andlouder, When vou choose a higher setting value (7 or 8), Sound 1 increases in volume as vou play
harder. Ata moderate playing level Sound | stants to become softer and Sound 2 kick in. The overall
volume of the Livered sound will change depending on how hard vou play.
Sound 2
CROSS
VOLUME
VELOCITY
Velocity Crossfade 2 (1-5) Llalo Cross $
The volume balance of the two sounds changes in relation to your pliving strength. With a middle
setting (say Lor 3), plaving softiy will restitin Sound 1 bemg much Jouderthan Sound 2. As youincrease
vour pliving strength, Sounds Land 2 will be heard in about equal proportions. If vou play very hard,
Sound 2 becomes much fouder than Sound В.
Sound 1 Sound 2
CROSS?
VOLUME
mo =>
VELOCITY
E Setting the Layer Parameters
1) Select the Patch Play screen, then press [EDIT]. "Patch Play Screen
e) Move the cursor to FHT UH then press [ENTER] ex P17
+ One of the following
CREZITREIGEF =F FE screens may be shown
FOTEE FDL HAMEL FF instead of the Layer
screen. If this happens,
® !f you rotate the [DATA] dial here, you can change Patch Numbers.
(3) Move the cursor to HO TE using [<a] and [>=]. then press [ENTER].
4) Select a Laver screen using the [DATA] dial. 6" P. 50
© Move the cursor to the Laver Type field, then select the Laver Type using the [DATA] dial.
move the cursor to the
far right on the first line in
the screen, then select
the Layer screen
(Laver 1) using the
va 8 = dt
ALTE SEAL cLadertr
me
hier
НО
silo Мах [DATA] dial.
4 4 HOTE #92 Sound
Layer Type Value Inst=5541 Fede, FP
HATE HF SON
E If vou wish to change the Note Number, move the cursor Lo the Note Number field using [a] and Inst=162:Rel _
mat=1621 Rocker. 5
[>] chen rotate the [DATA] dial.
©) Move the cursor 1o the value field. then set the value with the [DATA] dial HOTE #22 Tetria
JUNE to TEIG 7
53 Chapter 3 Patch Setting
[Useful Functions for Editing the Instrument Section]
The following explains the “Jump To Instrument”, “Jump to Trigger” and “Preview” functions. These
functions speed up the process of editing sounds, checking the Trigger Signals and monitoring in the
Instrument Section.
E Jump To Instrument
When you are assigning Instruments to Sounds Land 2, vou can use this function to edit the sounds by
changing the parameters (such as Decay). Using this function. vou can quickly select the sound editing
screen (without having to retrieve the Basic screen by pressing [EXIT].
From the Sound 17 Sound 2 Instrument setting screens, or the Pitch setting screen:
O Press [ENTER].
The screen responds with Hive 404 SUPE
ны
aR
Неее You зы >
JUIF to IMST
@) Press [ENTER] again to select the sound editing screen for an Instrument. Begin editing.
To cancel the Jump To Instrument mode, press [EXIT].
Chapter 3 Patch Setting 54
MN Jump To Trigger
in the Instrument Section, vou assign an Instrument to a Note Number. However, you cannot tell which
pad should be hit for the desired Instrument unless you watch the Trigger Parameter screen (P. 42).
Using the Jumpto Trigger function, you can instantaneously move tothe Trigger Parameter screen from
the Instrument Section screen.
D Select the Patch Play screen, then press [EDIT]. + Patch Play screen
es P.17
@ Move the cursor to PATCH Using [-] and [=>]. then press [ENTER].
CRECITRIGEIFASIPON
ALTER FDLPARMEERR
O |! you move the cursor to the ML. Number using [€] and [+]. you can change the Note.
number using the [DATA] dial.
3) Move the cursor to ALTE using [<a] and [>>]. then press [ENTER].
(4) Select JET 17 using the [DATA] dial. e P. 50
NOTE ES Те Теа
JUMP Lo TRIGO Y
(5) Press [ENTER]
The screen responds withHi us SUPE
6) Press [ENTER] again to select the Trigger Parameter screen. If you wish to cancel the Jump To
Trigger mode, press [EXIT] instead of [ENTER].
If the Note Number currently selected is not assigned to any Trigger, the following message appears.
The previous display is then recalled.
Hot. ass:l19ned |
M Preview Key
When the Instrument Section screen is selected, the 1 [SYSTEM]. 2 [SEQUENCER] and 3
[EDIT] buttons will work as Preview Keys. That is, even If no pad or MIDI device is connected to the
TD-7, pressing these keys will trigger the TD-7's sounds. 1 [SYSTEM] triggers a soft sound (velocity
value 32), 2 [SEQUENCER]. a medium level sound (velocity value 64). and 3 [EDIT], a loud
sound (velocity value 127).
55 Chapter 3 Patch Setting
[5] Performance Sections
(па Performance Section. one Instrument sound is assigned to all the pads, with each pad plaving a
different pitch. With this arrangement vou can play melodies. Also, using a MIDE kevboard, you can
play melodies roma Performance Section. Thatis, a Performance section is similar toa Standard Part” | In some sound modules,
ina MIDI mult-timbral sound module. The TD-T contains three Performance Sections and therclore can a “Standard Part” is
be used as a Apart, muli-imbral sound module, called a “Normal Part”.
Pad Note Number PERFORMANCE PERFORMANCE PERFORMANCE |
SECTION 1 SECTION 2 SECTION 3 vi For a detailed expla-
Trigger 35
TES nation of parameter
‚ > 36 ,
| x settings in the Per-
* formance Sections, refer
=
uz INSTRUMENT | | INSTRUMENT | | INSTRUMENT to page 73.
2 3
— 43
- e .
7
2. — MEE
— | 93 __
E Sound Settings in the Performance Sections
There are three Performance Sections CPFMI, PEM, PEMBD inthe TD-7. You can assign anv one of the
512 Instruments to each Performance Section. t+ Parameters related to the
entire Performance
D Select the Patch Play screen, then press [EDIT]. Section should be set in
Global Performance
2) Move the cursor to PH TECH (using [-] and {>}. then press [ENTER] Parameter (page 73 ).
LEG 1TRIGERAR Po
LITE PELE ARIME PR
@ If you wish to change Patch Numbers, rotate the [DATA] dial.
Chapter 3 Patch Setting 56
® Sound Setting in Performance Section 1
3) Move the cursor oF (using [él and [2] 5 ihen press [ENTER].
ae haf ре | pr ть pe 1 Le
БОР ОРВЫ ОНО
on E v0 E
НЕ fil voue re mid y : wi my а hot
| Instrument Group
Instrument Name
Instrument Number
Performance Section
4) Select the Instrument to be assigned using the [DATA] dial.
et
К а $ ow .
Move the cursor to FEET. SE TE or ÉS and change the value iF vou wish,
6 Sound Setting in Performance Section 2
6) Move thecursortoF FTL (with [<a] and De] ihen change io PF PLA withthe [DATA]
dial.
Lam] ЕЙ ЧН
НЕМ ат,
® Move the cursor with [<a] and [=] then edit the value with the [DATA] dial.
€ Sound Setting in Performance Section 3
oq . Ы ~ . TT.
7 Fo select the Instrumento be assigned to Performance Section 3, select FETES in sep O.
rea EH
FFHS=4311 Par i1, PA
“Ce
0" a
* Depending on the patch
selected, what appears
in the screen will be
different. The left screen
will be shown, when you
select the Patch 25
(Standard kit).
57
Chapter 3 Patch Setting
[Useful Functions for Editing a Performance Section]
The following explains “Jump To Instrument” and “Preview Keys”. These functions speed up the
process of editing the sound in a Performance Section.
E Jump To Instrument
When you are assigning an Instrument to a Performance Section, you can use the Jump To Instrument
function for editing sounds by changing parameters (such as Decay). Using this function, you can
instantaneously move to the Sound Editing screen.
Select the Instrument Setting screen for a Performance Section and then:
D Press [ENTER].
The screen will respond wih fire vou sure 7
Нее You supe Y
JLIME Lo INT
2) Press [ENTER] again to select the screen for Instrument editing, then edit the Instrument.
To leave che mode, press [EXIT].
E Preview Keys
When vou are in the Performance Section screen, the 1 [SYSTEM], 2 [SEQUENCER] and 3
[EDIT] buttons work as Preview Keys. That is, even if no pad or MIDI device is connected to the TD-
7, pressing these keys will trigger the TD-7's sounds. 1 [SYSTEM] triggers a soft sound (velocity
value 32), 2 [SEQUENCER]. a medium level sound (velocity value 04), and 3 [EDIT]. a loud
sound (velocity value 127).
Chapter 3 Patch Setting 58
[6] Effects
The TD-7 includes two Fffects, Effect 1 und Effect2. Using these Effects, you canenhance the TD- | + No effects will be
“sounds, Tis possible to apply two Effects to one Instrument ar the same time. obtained when using the
individual Qutputs.
Four different effects are provided in Effects land 2. These are the Effect Types : Please read “Sound
Setup” on page 129
© Reverb simulates the reverberation (sound reflections) in a large enclosed space (a concert hall carefully.
for example). This creates rich and natural sounds. You can change the quality of reverb sound (with
Reverb Type). the size of the space (with Reverb Time) and the level of the reverberation sound (with
Output Level),
e Delay creates an Echo like effect by delaving the sound output. You can set different delay times
for the right and left channels (when using a stereo output),
e Chorus is an effect hat makes the sound fatter and warmer. ftcan also create distortion or vibrato
effects by changing the volume and pitch of the sound. You can adjust the speed of the modulation
(with Rate) and the depth twith Depth),
@ Fianger is an effect that makes the sound fatter and brighter. making it even more unusual than
with Chorus.
Effect Types Available for Effect 1
Type Effect Description
Reverb HALL This setting simulates the reverberation in à large space like a concert
hall.
ROOM This setting simulates the reverberation in a smaller space.
PLATE This setting creates a Plate Echo effect: a bright, metallic sound. A “Plate Echo” is a device
Delay DELAY | This setting generates discreet reflections, like those of an echo, that creates its effect
from the vibrations of a
suspended metal plate.
Effect Types Available for Effect 2
Type Effect Description
CHORUS This effect makes sounds fatter and warmer.
FLANGER This effect makes sounds fatter and brighter—more unusual than those of the Chorus
effect.
59 Chapter 3 Patch Setting
Ш Selecting an Effect Type and Setting Parameters
(D Select the Putch Play screen. then press [EDIT].
(2) Move the cursor lo FPRTEH men press [ENTER].
[FEZ ITRIGEF FEN
MOTE § PLL E HEME BF
© If you wish to change Patch Numbers, rotate the [DATA] dial.
3 Move the cursor to FG, then press [ENTER].
Effect 1 or Effect 2
| es Type
Edd ect = Hall
th Leve]= ic
| Parameter Value
Effect Parameter
Move the cursor to the Effect 12 field. then select ET
Move the cursor to the Effect Parameter field. then select the Effect Parameter for
о ео © ©
reci wihihe [DATA] dial.
Move the cursor to the Effect Type field. then select the Effect Type for EF Fæcti,
o
Move the cursor to the parameter value field, then set the value with the [DATA] dial.
Chapter 3 Patch Setting 60
© To set Effect 2, select +
fects in step @
Effect Type of Effect 2
pe "a "a H um, - * 3
Reto PE gan
... 3 EF "sew ae! e" бете es" Y mt e.
ue we Н wa Ч ". e
MIE. Levis Les
Parameter for Effect 2
EEES
Parameter Value
(Раре 00).
- a
-
Г
Panning
EEE
м
OLUME Outputs
or PB
-
- =
-
aw ll tal
Send! Level
(OFF Chorus -Flangar ;
И
©
Individual
Output +
O O
И: O—
Send? Laval
*- 7 *
INSTRUMENT
PARAMETER
er PBA
Keen рн ото еочо- *
quee circa
“
N
A : : :
: Sound : “ Output :
: Setup © : Level :
SYSTEM PATCH
PARAMETER PARAMETER
vr P1729 7 PA? .6A
©
Individuat
Output 2
61
Chapter 3 Patch Setting
There are many Effects Parameters. cach of which can be edited in step O-7 (page oth),
a. Parameters for Effect 1
Effect 1 includes Reverb and Delay,
e Output Level : Out Level! (0 - 15)
Effect] = Ha
Forcada | оны
1
This parameter adjusts the volume of the effect sound. This is the equivalent of the Effect Return Level
of a mixer. Higher values will increase the volume of the effect sound. When set to zero, no effect sound
Is output.
@ Reverb Time : Rv Time (0-5) (Available only for Reverb)
Hal
i
Mm
ie
+
is
Fa
+
ed
{
И ==
pr
Ti
|
This is the reverberation decay time. Higher values will make the reverberation time longer, simulating
larger spaces.
e Pre Low Pass Filter : Pre LPF (0 - 15)
Etfecti Hall
Fee LFF 17
Thisis the low-pass filter for cutting the higher frequencies of the direct sound fed into the Effect, You
can control the cutolf frequency of the low-pass filter by changing the values for the Pre Low Pass Filter,
Higher values will lower the cutoff frequency, creating a warmer sound.
# Available parameters
differ depending on
which Effect Type
(Reverb or Delay) is
selected.
* It INDIVIDUAL 1 or OFF
is selected (for Send 1)
in “Sound Setup” (page
129), Effect 1 (Reverb,
Delay) cannot be used.
Chapter 3 Patch Setting 62
e Delay Right Time/Delay Left Time :
(Available only for Delay)
RightTime / Left Time (2 - 450ms)
Er Te i +. 1 = Dir
ВОР ГОР т . as “
EFFacthi = Delay
dt Times de
This setting determines the delay time for each channel Gin 2ms steps).
e Feedback : Feedback (0-15) (Available only for Delay)
EFFectí = Pre
Feedback =
НН
LIL
не РН
This parameter determines the amount of delay sound to be returned 1o the Effect input. Higher values
will increase the number of delay repeats.
Chapier 3 Patch Setting
b. Parameters for Effect 2
Effect 2 includes Chorus and Flanger,
e Output Level: Out Level (0-15)
EFFecto Cora
CE. Lee dos im
This parameter adjusts the volume of the effect sound. This is equivalent to the Elfect Return Level of
a mixer. Higher values will increase the volume of the effect sound. When set to 0, no effect sound is
Output.
e Rate : Rate (0 -31)
Effects =Uhorus
ate = Al
This parameter adjusts the Chorus or Flanger modulation speed. Higher values increase the speed.
e Depth : Depth (0 - 15)
Effects: =Chorgs
Let = 15
This parameter adjusts the Chorus modulation depth. Higher values increase modulation depth.
© Feedback : Feedback (0 - 15) (Available only for the Flanger)
=F 1 mde
15
Effects
Fesdback =
This parameter sets the amount of Flanger feedback. Higher values accentuate the Flanging efect.
e Delay Time : DelayTime (1 - 30ms) (Available only for the Flanger)
Effects =F lante
lay Time= Zips
т. iti
This parameter adjusts the delay time of the effect sound. Higher values will increase the delay time.
\ 5 )
A longer delay time will automatically lower the center frequency of the Hanging effect, while a shorter
delay time will ruise it.
* Available parameters
differ depending on
which Effect
(Chorus or Flanger) is
Type
selected.
* If INDIVIDUAL 2 or OFF
is selected (for Send 2)
in “Sound Setup” (page
129), Effect 2 (Chorus,
Flanger) cannot be used.
ii In some devices, “Feed-
back" is called “Reso-
nance”.
« In some devices, “Delay
Time" is called “Manual”.
Chapter 3 Patch Setting 64
[7] Hi-hat Control Pedal * When using an FD-7,
execute Hi-hat Control
Pedal initialization.
ri P, 132
The TD-7 allows vou to control sound parameters using the FD-7 Hi-hat Control Pedal. For example,
vou can modify the Decav. Pitch and Nuance of a sound using an FD-T.
The Control Mode (Patch Number 1 to 230 of the Pedal has been set to Hi-hat Tat the factory, allowing
vou to control both the Open and Closed Hi-hat sounds.
By assigning Note Number to the Pedal. vou can play the desired Instruments by pressing the Pedal.
The Decay is controtled by how far vou press the Pedal. You can also use the Pedal to trigger Sequence
Patterns.
E How to Set the Pedal Parameters
1) Select the Patch Play screen, then press [EDIT].
@ Move the cursor to FHTLH. then press [ENTER],
O if you wish to change Patch Numbers, rotate the [DATA] dial.
©) Move the cursor to FL2L.. then press [ENTER]
[RZ IH Hat REDE
Gssion = TKIG 3
|
Parameter Value field
@ Move the cursor to the parameter name field and select the parameter you wish to edit with the
[DATA] dial.
© Move the cursor to the value Field. then set the value with the [DATA] dial.
FD-7
65 Chapter 3 Patch Setting
Pedal Parameters include the following;
® Control Mode : CtriMode
[FEE IHiHat FECHL
CtelMades HiHatr
The Control Mode determines how the Hi-hat Control Pedal works or what sound parameter will be
controlled.
If the Control Mode is setto FF, the sound will not be affected by any pedal action. MIDI Control
Change messages will not be output either.
Hi-hat 1: HiHztl
Both Layer and Decay of the two Instruments (assigned toone Note Number in the Instrument Section)
can be controlled at the same time. Depending on how far vou depress the Hi-hat Control Pedal, the
volume balance of the two Instruments changes, thus changing the decay.
For example, if Open Hi-hat is assigned to Sound 1 and Closed Hi-hat to Sound 2 of a particular Note
Number, selecting Hi-hat mode 1 will automatically choose Hi-hat sounds from Open to Closed in
sequence (crossfade), thereby creating a realistic Hi-hat performance.
Hi-hat 2 : HIHat.:
The Instruments assigned to two Note Numbers in the Instrument Section can be switched by using
the Hi-hat Pedal.
If you depress the Hi-hat Control Pedal a little and hit the pad, the sound selected with “Assign” will be
played. If you depress the Hi-hat Control Pedal farther and hit the pad. the sound of the Note Number
which is 4 numbers lessthan the Note Number selected in “Assign” will be played. For instance, if Note
Number 4Gis assigned to the Trigeer Signal selected in “Assign”, Note Number 42 will be played instead,
£ 8 8
e In the HiHat.1 or HiHat.: mode, the TD-7 can be played simply by
pressing the Hi-hat Control Pedal even without hitting the Pads. You can
select what sound to be played by assigning the Note Number that corre-
sponds to the Instrument you wish to play. == P. 68
@® Generally speaking, when using FD-7, select the HiHat.1 mode for
playing the TD-7's internal sound source and select the HiHat. mode for
playing an external sound module.
*
a
m
“.
How far you depress the
Hi-hat Control Pedal is
output as a MIDI Control
Change message.
we P.i21
When HiHat1 is se-
lected, the Layering of
Sounds 1 and 2 assigned
to the Note Number
cannot be controlled by
Velocity.
‘For a detailed expla-
nation of Note Numbers
assigned to Trigger
Signals, see page 41.
‘For a detailed expla-
nation of “Assign”, refer
to page 41.
HiHatZ may be ef-
fectively used when
Open Hi-hat and Closed
Hi-hat are assigned to
two different Note Num-
bers.
eHiHat.: may be useful
when you need two MIDI
Notes, Open Hi-hat and
Closed Hi-hat.
Chapter 3 Patch Setting
66
Pitch: Fitch
The Pitch of a sound can be controlled by how far vou depress the Hi-hat Control Pedal.
FL TERA variable range of the pitchyis wide. The farther vou depress the pedal. the higher the
pitch will become,
ir Tr © . . . .. . ,
PITCH+EFL Variable range of the pitch is narrow. The farther you depress the pedal. the higher
the pitch will become.
г = > . . , . .
PITCH=-El Variable range of the pitch is wide. The farther vou depress the pedal, the lower the
pitch will become.
FIL THM Variable range of the pitchvis narrow. The farther you depress the pedal, the lower the
pitch will become.
Decay : Lec 3"
The Decay Time can he controlled by how far vou depress the Hi-hat Control Pedal.
EE o - me . . "xs -
PECAR BE variable range for the Decay Time is wide. The farther you depress the pedal. the
longer the Decay Time becomes.
. e EI a - - “. .
PECHY +A Variable range for the Decay Time is narrow. The farther you depress the pedal. the
longer the Decay Time becomes.
E ALA po - : “ но olf
DE CHY Variable range Tor the Decay Time is wide. The farther you depress the pedal, the
shorter the Decay Time becomes.
CECEY =H: variable range for the Decay Time is narrow. The Farther vou depress the pedal. the -
shorter the Decay Time becomes,
NUANCE : Hare
The nuance of a sound can be controlled by the Hi-hat Control Pedal. .
The farther you depress the pedal, the higher the Nuance value becomes.
OFF .LIFF
The sound will not be affected by depressing the Hi-hat Control Pedal and MIDI Control Change
messages will not he output.
i: Refer to Pitch on page
83.
v+- Refer to Decay on page
83.
+ Referto Nuance on page
84.
% You can control the Nu-
ance value only for the
sounds marked with "0"
at the Nuance section in
"Waveform List”. (+ P.
144)
67
Chapter 3 Patch Setting
Oe Assign : Assign
(TRIG1 - 9/ALL)
LF
a
SalHiHat FEDRL
455196
"т
ыя
3
TRIG :
The sound of the Trigger Signal selected here can be controlled by the Hi-hat Control Pedal (Control
Mode: HiHAat. +
can be controlled simul
trolled. To control all ff
e Pedal Curve : P
EF P.60). À Trigger Signal is divided into T and *R”, but both Trigger Signals
4 u t ma wee .
taneously . For example if TRIE 5 is selected, T3 and R3 are both con-
ve Trigger Signals, select HLL.
diCurve (1 - 4)
En
vias ta
LH
JMiHat РЕН.
Palla
}
pe
MIDI Control Change messages will he output in response to how Far you depress the Hi-hat Control
pedal. You can select one of four Pedal Curves that determine how the Control Change value will
change.
Control Change Value
Depth of depressing the pedal
e Note Number : Note # (35 - 93/OFF)
[Fao IH
Nota +
iHat FEDRL
dels HE
You can play an Instrument just by depressing the Hi-hat Control Pedal. Select the Note Number to
which the Instrument you wish to play is assigned. When it is set to FF no sound is heard.
Chapter 3 Patch Setting
68
oe tt À |.
Mate Time dE
This parameter sets the Gate Time of the Hi-hat Control Pedal sound. This is equivalent to how long
e Gate Time : GateTime (0.1 - 4.0 sec)
[FEE IHiIHat FEDH
Ihe key on a keyboard is held down (from Note ON 10 Note OFF).
e Velocity Sense Curve : VelCurve (NORMAL 1/2/3/4/F1X32/64/96/127)
ГРН Нат PEDAL
Les] FI Dr
MIDI Note messages can be generated just by depressing the Hi-hat Control Pedal. Here you can select
how the velocity value should change according to how hard you depress the pedal. The value changes
Г Pm ES
are the same as for the Trigger Parimeters. 657 P, 44,
® Sequence Pattern Number : SeqPtn # (1-48/0OFF)
п Eto E
CRETIHiHat PEDAL
me, ea Eta e ven E
LesFtn # = =
You can trigger a Sequence Patiem by depressing the Hi-hat Control Pedal. Here you can select the
Sequence Pattern Number to be played. 1-24 are User Patterns and 25-48 are Preset Patterns. When
the parameter is set to LIFE no pattern data is played.
69
Chapter 3 Patch Setting
[8] Program Change Numbers
Changing Patches on the TD-7 will send MIDI Program Change messages to any connected MIDI | + OFF/1-128 are valid
device, Receiving Program Change messages on the TD-7 will change Patches. Program Change Num-
However, when FF is selected, no messages will be sent or received. You can assign a Program bers.
Change Number to each Patch.
1) Select the Patch Play screen, then press [EDIT].
e Move the cursor to PRE EH, then press [ENTER].
© If you wish to change Patch Numbers, rotate the [DATA] dial.
93) Move the cursor to PEEP then press [ENTER].
[F251 PEM CHANGE
FEM Humber= 122
4) Move the cursor to the value field, then set the value with the [DATA] dial.
You can set à Program Number by specifying.a number from 1-128, or by using the group. bank. and
number (GBN) method. When a keyboard is connected to the TD-7, the GBN method will be more
practical.
When vou use the GBN method, specify the group, hank and then number. Forexample, it vou specify
“A-5-3”, Program Change 35 will be transmitted.
< Group B > < Group À >
Number Number
1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
9 10 11 12 13 14 15 16
17 18 19 20 21 22 23 24
25 26 27 28 29 30 31 32
33 34 35 36 37 38 39 40
41 42 43 44 45 46 47 48
49 50 51 52 53 54 55 56
57 58 59 60 61 62 63 64
E5 66 67 68 69 70 71 72
73 74 75 76 77 78 73 80
81 82 83 84 85 86 87 88
89 90 91 92 93 94 95 96
97 98 99 100 191 102 103 104
105 106 107 108 109 110 111 112
113 114 115 116 117 118 119 120
121 122 123 124 125 126 127 128
Bank
0 A OO nn A ON —
Bank
EM =~ Oth DN —+
6 Move the cursor to FEM Huber,
® Select the method, Program Number or GBN, with the [DATA] dial.
[PTE] Foi CHANGE
РОМ GEH =Е-е-б
Number
Group Bank
©) Move the cursor to the value field(s), then set the valuets) with the [DATA] dial.
Chapter 3 Patch Setting 70
2. Patch Copy
The TD-7 allows vou to copy a Patch to a different location (Patch number). The Patch Copy function
may be effectively used when vou want to create two (or more) variations of a basic sound,
Four different types of copying are available:
e Patch Copy : COPY ..... This copies the entire Patch to a different Patch number (location).
Tres Ia
FETCH СОР
G=F3Z —+ [=257
Source Patch Number Destination Patch Number
another.
PATCH EXCHRFISE
Pobil e Pob
| 1
Patch to be exchanged.
e Patch Trigger Copy : TRIG COPY ..... This copies Trigger Parameter data (P. 43) ina
Patch to a different Patch.
FATCH TEIG CORY
Sekil o —+ boya
e Patch Pedal Copy : PDL COPY ..... This copies Pedal Parameter data (P. 66) in a
Patch to a different Patch.
FLL CORY
FATCH
S=F31 —+ [D=257
«>: Factory Preset Patches
F1-F32 have been
copied to User Patches
1-32 at the factory.
71
Chapter 3 Patch Setting
E Patch Copy Procedure
(1) Select the Patch Play screen, then press [EDIT].
(2) Move the cursor 10 FF then press [ENTER].
COPY y
FHTLH DEIR
emp A me op EE
uba "ems
Patch Number
Select Factory Preset or User Patches
G) Movethe cursorto Copy Type using [+] and D>].ihenselecr AIF EALHAMEE, | + When youhave selected
TRIE COPY, or FLL COFY using the [DATA] dial. CORY. TRIG CORY.
ог РВС COPY, you can
&) Move the cursor, then select F (Factory Preset Patches) or LE (User Paches). select a Factory Preset
Patch (F1-F32) ora User
6) Move the cursor tothe Source Patch Number field, select the Patch number withthe [DATA] dial. Patch (U1-U32) as the
source Patch. Only a
If you wish to restore all User Patch ditt to Factory Presets, select F EH 1 using the [DATA] dial, User Patch can be used
as a destination.
© Move the cursor to he Destination Patch Number field, and select the destination Patch number,
with the [DATA] dial.
+ When you have selected
EXCHANGE, only User
Patches (1-32) can be
(7) Press [ENTER] assigned to Ph.
The screen will respond wih HF 2 vol sure
* y
„^
* IfyouselectFFH1 ! step
Press [ENTER] to copy. 5), the destination Patch
To cancel Patch Copy, press [EXIT]. Number is selected
LIFALII, (You cannot
select the destination
Patch Number).
Chapter 3 Patch Setting 72
3. Global Performance Parameters
The Iollowing describes the Global Performance Parameters in the three Performance Sections.
M How to Set the Global Performance Parameters
(D Select the Patch Play screen, then press [EDIT].
0) Move the cursor to PF PL then press [ENTER].
Performance Section Number
РЕМ Section = |
Loa Hot
| Parameter Value
Parameter Name
(3) Move the cursor, then select the Performance Section Number (1-3) where vou wish to set the
Global Parameters using [DATA] dial.
& Move the cursorto the parameter name field. then select the parameter vou wish to edit.
(6) Move the cursor to the parameter value field: then set the value with the [DATA] dial. 2
For a detailed expla-
nation of sound settings
in the Performance Sec-
tions, refer to page 56.
73
Chapter 3 Patch Setting
Global Performance Parameters include:
e Key Range Low Note / High Note : Low Note / Hi Note (35(B 1) - 93(A 6))
РЕМ Section = 1
Lata Hote= e 1
| Note Name
Note Number
| Note Name
Note Number
This parameter determines the range of Note Numbers that each Performance Section can receive. Any
Note message between the Key Range Low (the lowest note) and the Key Range Hi Che highest note)
can be received. For example, if you set the receive channels of the Performance Sections to the same
number and divide the sound range of each section with the Key Range, vou can play different
Instruments in different sound ranges.
МАТ ТТ Я И
< She le
Not Sound | Sound Not Sound
Key Range Low Key Range High
@ Control Change Mode : Ctrl Mode (OFF/Decay/Pitch/Nuance)
РЕМ Sect
Chl Mods
ion = 1
== OFF
Select the parameter (Decay/Pitch/Nuance) to be controlled by MIDI Control Change messages. The
Control Change Number on that occasion is the number set with the "Control Change" in the System
Parameters. (55°P, 121) If you do not wish to control any parameter, set it to UFF.
@ Level : Leve! (0 - 15)
РЕМ Section = 1
Level = 15
This parameter sets the volume of cach Performance Section. Higher values will increase the volume.
When set to 0, no sound will be heard.
4 If Key Range Low and
Key Range Hi are set to
the same Note Number,
only that Note Number
will be received. Then it
will be sound.
+ You cannot set Key
Range Low to a higher
value than Key Range
Hi, or vice versa.
“1f you set the MIDI
channel of the Trigger
Section andthe Perform-
ance Sectionto the same
number, you can control
the parameter you have
selected here with the
Hi-hat Control Pedal.
* Control Change Mes-
sages can be used only
1 type in TD-7. lt is
selected in “System”
(page 121).
Chapter 3 Patch Setting 74
B Key Follow Parameters
Global Perlormance Parameters also include Key Follow Parameters,
hey Follow Parameters canbe used to change the source Parameters (Pitch Decay Nuance, Pandas you
more away from the selected Reference Note Number, Forexample, you can decrease the Decay Time
aradualiv as vou play farther away from the selected Reference note, if vou have set the Key Follow 10
Decay,
Kev Follow Parameters can be set for each Performance Section,
® Key Follow Reference Note Number : Kfw Note (35 : B | - 93 : A 6)
This parameter determines the basic tor Reference) Note Number, Usually it is set 1o Note Number 60.
РЕМ Section = |
КОРЫ. :
Note Number
@ Key Follow Pitch : Kfw Pitch (-990 - +990)
This parameter sets the pitch for each Note Number in one cent steps. When set to +100, you can play
using equal lemperament.
FEM mection = 1
E MORET EPG _;
e Key Follow Nuance : Kfw Nuance (-2 - +2)
РЕМ Section = 1
FO aidan
@ Key Follow Pan : Kiw Pan (-2 - +2)
РЕМ =
e ESC
Etu Far
"
=.
10 == 1
«> À “Cent” is a unit of pitch.
One cent is 1/100th of a
semi-tone.
“Equal Temperament” is
the 12-tone tuning sys-
temused throughout the
Western world.
75
Chapter 3 Patch Setting
About Key Follow Parameters
The value set for cach Kev Follow parameter is added to (or subtracted from the source value
as the Note Number increases tor decreases) from the Reference Note Number vou have set, The
higher the Key Follow value, the more the value changes the further vou get from the Reference
Note,
! ! | Li
increase .. |
A > и
<< | LL
oe Lee”
Te Le +” Value (Key Follow)
—_ i Вр -
Parameters ll 7
Val ues re an ram mur сн pp — = mu — um e - ра we — =
NL Te won
Lo Tee -” Value (Key Follow)
rn 0° 7 Ts
— ! Ta
NY Lee” 7 Ps
decrease ” — Reference Note Number _—_—_
When a Kev Follow Parameter is set to à positive {+} value, the source value will increase as the
Note Numbers increase. However, when it is sel 10 a negative (-) value, the source value will
decrease as the Note Numbers increase. For example, when set to +175 the value of the
parameter will increase by 1 when the Note numberincreases hy 8. Whenitissetto=2 the value
decreases by 2 when the Note Number increases by one. If vou do not wish to cise any change
in 4 source parameter, set this parameter 10 E17,
Chapter 3 Patch Setting 76
HET Cl
Editing Instrument Sounds
1.Instrument Parameters ............ 78
2.Instrument Copy -............. 89
HE
1. Instrument Parameters
Patch Setting (page 40) allows vou to change the pitch of an Instrument tin semitone steps) assigned
to a Note Number. However, if vou wish further modification. such as making the snare sound softer.
you should edit the Instrument Parameters. Doing so allows you to easily create the sounds you desire,
rument Parameters
ST (using [-] and 1). then press [ENTER].
Note Number
Sound in the Instrument Section
„| Instrument Number
Terol La
Наме _ = LHF at. ms + Depending on the patch
selected, what appears
@ Select the Instrument Number vou wish to edit using the [DATA] dial. | ;
ee 4 Co in the screen will be
Move the cursor to the Trigger. Note Number of Sound, you can also select the Instrument
different. The left screen
Number,
will be shown, when you
select the Patch 25
O if the selected Instrument has only been assigned to the Performance
(Standard kt).
Section, the screen will respond with:
Performance Section Number is shown
saunas +0
+1
Hare I Jar
e
=
Le 5
В?
O |f the selected Instrument has not been assigned to either the Instrument or
Performance Section, the screen will respond with:
serrana
Hare ТЫ РО
@ Move the cursor to the parameter name field, then select a Parameter using the [DATA] dial.
Instrument Number
TZaMEIE+S 11138
Fi Lab = +
4
|
Parameter Name Parameter Value
ute
6) Move the cursor to the parameter value field. then set the value using the [DATA] dial.
Chapter 4 Editing Instrument Sounds 78
Ш How to view the Instrument Parameter Screen
e When the ll =::2F cir parameter has been selected, move the cursor to the
Number and Extension, then change the value with the [DATA] dial.
Tr=HETS451+1155
Waveform = 25.5
|
Extension
Number
E |f you move the cursor to the Note Number and press [ENTER], the Note
Number indication will change to Note Name. Pressing [ENTER] will
alternately select Note Number and Note Name.
Note Number
Le
E
> HER 1+ 1106
Hama “LHF at.
[ENTER] ; - - [ENTER)
Note Name
Z4n0 Z+51+1138
Hams <LAFat
® if an Instrument is used in more than one place (Trigger/Note Number/Sound
1/Sound 2 or Performance Section) a (*) mark will appear to the right of the
Instrument Number.
A mark is shown
Tod 1 + 1260
Hama Reg]. Tr
79 Chapter 4 Editing Instrument Sounds
If so, you can monitor what Pads (or Note Numbers) the Instrument is assigned to.
Move the cursor tothe Instrument Numbert 1 5 12), then press [ENTER] Pressing [ENTER] will
select the following displays in sequence:
FLASH AL J1 24
Hare ‚РР. Ее
[ENTER]
TIME
Hame НЕ, Ел
ENTER]
HS Prod
Hare OFF. E=
[ENTER]
ТЭН ОНИ
Hame ПЕР, Е
[ENTER]
РЕНН Лана
Нагие OFF. E*
@ If you hit a pad while the Instrument Parameter setting screen is displayed, it
will change to the screen of the pad you hit. For example, even it the Trigger
Signal “T5” screen is currently displayed, hitting the “T2” pad will select the
“T2" screen. Similarly, if the MIDI Note message of a certain Note Number is
received, the corresponding Note Number screen will be displayed.
TEMG Л рт
Harçe свел, Го
"ел.
stot"
Ta
Hams
sHwzessisil
¿LAFAL. 52
e If you depress the Hi-hat Control Pedal while the Instrument Parameter
setting screen is displayed, it will change to the screen assigned to the Pedal.
TRES 1 +1 1056
Hames 7 LHF at.
Рая +51 213049
Hare Aca, HS
Chapter 4 Editing Instrument Sounds 80
E Jump Function
The Jump function allows you to instantaneously move from the Instrument Parameter screen to the
Trigger Parameter Pedal Parameter/ Instrument Section/Performance Section screen.
D Move the cursor to the parameter you wish to jump to.
D ©
v v
Mare
TIE +11
“LHF at.
rm
N a
$
=
=
".
Mal
-
When the cursor is positioned at @. you can move to the Trigger Parameter or Pedal Parameter screen.
With the cursor al position O). you can more to the Instrument Section or Performance Section screen.
(2) When the cursor is positioned at @, press [ENTER].
TA
IJUMF to TEI
mor
E
When the cursor is positioned at O), press [ENTER].
T2+#H#235—51—11
JF Lo SOURED
—
1
3 Press [ENTER] agsin to jump,
To cancel the Jump mode. press [EXIT].
81
Chapter 4 Editing Instrument Sounds
The following parameters can be set for each of the TD-T's 512 Instrument sounds.
e Instrument Name ; Name
TZ4H4#Z242 141135
Наме —— <LAFat.S>
Each Instrument can be named using up to 6 characters; 5 letters and one extension. You should put
a+." (full-stop) between the 5 letters and the extension. The extension is a character that represents the
category of the Instrument.
® Waveform : Waveform
Tea IRsS1+1 138
Waveform = 25.5
Select the waveform that the Instrument is made from. There are 256 different waveforms. ## P, 144
Hl bk - А. Ко... Waveforms for Kick Drums.
Ei 1 mo. ca, fs Waveforms for Snare Drums.
Hl. T - = Era | oo Waveforms for Tom-Toms.
Hi.H - 83.H.... Waveforms for Hi-hat Cymbals.
НТ. - НБ. Со. Waveforms for Ride/Crash Cymbals.
Ai. F - S2.F Waveforms for Percussion sounds.
НТ. М - 11... Waveforms for Mallet Instruments.
H1.E - Я. Е 1... Waveforms for Effect Sounds.
41.5 - HI. Bo. Waveforms for Bass Guitars.
Chapter 4 Editing Instrument Sounds 82
e Pitch : Pitch (-4800 — +4800 cents; in 10 cent steps)
TEESE 1A
Fitch
ey
mad F3
= +76
This parameter adjusts the pitch of the Instrument. The value can be changed in 10 cent steps. Higher
values raise the pitch.
® Decay : Decay (-31 — +31)
T2:H4I0:51-i138
*.
wl bd
Chee md
Ii
= — 31
This parameter adjusts the Decay Time of the Instrument. Higher values increase the Decay Time.
Waveform
MA aa ‚
\/ || \/ \/ \ y Time
|]
|
Level
#
Decay
® Panning : Pan (L7 - C - R7/AND)
Tr HE 1 +1 135
Рай
= Er
This parameter sets the panning (stereo positioning) of the Instrument. 15 positions are available.
When set to RND, stereo positioning will change every sounds.
Right Speaker
с
(Center)
* For some Instruments,
the pitch cannot be
changed beyond a
certain point.
83
Chapter 4 Editing Instrument Sounds
@ Nuance : Nuance (-7 - +7)
TZ+H4324+531+1 138
Husrce = +
“= For Instruments Nuance marked with “O” in the “Waveform List” (page 144 ), the sound wilt be subtly
altered by the Nuance setting.
With drum type sounds, the harmonic content will be emphasized by lower Nuance values, simulating
the sounds created by striking a drum near the rim (a). When the Nuance parameter is set to a higher
value, the sound will simulate that of a drum being struck in the center of the head (b).
With cymbal type sounds, lower Nuance values will simulate the sounds created by striking a cymbal
near the edge (a), while higher values will simulate the sounds of a cymbal being struck near the center
(b). |
-7 « > +7
With mallet type sounds, lower Nuance values will simulate the sounds created by playing the | <*Mallet” are special sticks
Instrument with a hard (wood or rubber) mallet, shile higher values will simulate the sounds created used for playing vibra-
by playing the Instrument with a soft (wool or felt) mallet. phones, marimbas, eic.
Chapter 4 Editing Instrument Sounds 84
e Brilliance : Brilliance (0 - 15)
Tea iii
Er ill Landes
BAM
e
15
This parameter emphasizes the harmonic content of a sound. When set to a higher value, the higher
Ireguencies will be emphasized. When serio 0, they are not emphasized at all.
@ Attack Damp : AttackDamp (0 - 15)
HE. Tack Campes
TE HFRI 5141 1.5
1
This parameter changes the attack of the sound. Higher values soften the attack.
Level A
decrease
Attack Damp Value
increase
e Dynamic Pitch Bend : DynaPtBend (-7 - +7)
Tr HE 1-1
Drama Berno=
„че в,
Tas
e ET
=
This parameter determines the amount of pitch change (pitch bend range) caused by hitting the pads.
The pitch increases when Dynamic Pitch Bend is set to a positive value, but decreases when the value
is negative. Higher values will cause more drastic pitch change. When setto0, the pitch does not change
at all.
85
Chapter 4 Editing Instrument. Sounds
e Dynamic Pitch Bend Time : Bend Time (0 - 31)
“Ta
TE+MH#IE+S1 +1155
Bernd Time = al
Bend Time sets the duration of the Dynamic Pitch Bend. Higher values increase the Bend Time.
® Polyphony : (Poly / Mono)
THESE LA LEG
Folwehorne = Рота
This selects either Poly or Mono mode for playing one Instrument.
Poly
In the poly mode, the sounds of one Instrument overlap with one another. For example, if you play a
ride cymbal sound, which has a long decay, the decay of individual strokes overlap with one another,
creating a realistic effect.
Volume
~~ > Time
==
Sounds are mixed
MONO
In the mono mode, the sound of an Instrument is cutoff whenever another sound is played.
Volume
> > Time
—
Sounds are not mixed
Chapter 4 Editing instrument Sounds 86
® Assign Group : AsignGroup (Exc1 - 31/0OFF)
TExM#EIE+51+1 135
На Ir lnour=Eecal
The Instruments assigned to the same Assign Group cannot play at the same time. Forexample, when
you are playing an acoustic drum set, the open Hi-hat and closed Hi-hat sounds cannot occur
simultaneously, That is, you can assign Instruments that do not normally sound together to the same
Assign Group.
Instruments that should be assigned to the same Assign Group are: Short Whistle and Long Whistle,
Short Guiro and Long Guiro, Mute Cuica and Open Cuica, Mute Triangle and Open Triangle, Mute Surdo
and Open Surco, Mute Pandiero and Open Pandiero. etc.
If you wish to play an Instrument al the same time with the others, set the Assign Group to OFF.
DA
Exc1 Exc1 Exc?
Volum
N -
> > Time
dt
Sounds are not mixed Sounds are mixed
87 Chapter 4 Editing Instrument Sounds
e Output Level : Out Level (0 - 15)
T2—H#
gt
Se
ен | =
e "7
3
15
This parameter sets the volume of an Instrument output through the Stereo Outs. Higher values increase
the volume. At 0, no sound is output.
® Send 1 Level : SendiLevel (0 - 15)
T=#H#
el
al +11
Lene] =
Ta
17
This parameter sets the level of an Instrument signal sent to Effect 1 and Individual Output 1. Higher
values increase the signal level. At0, no signal is output.
eSend 2 Level : Send2Level (0 - 15)
TH
Send:
Al]
Цене | =
я TT
17
values increase the signal level. At 0, no signal is output.
x Signals to be sent to
Send 1 should be se-
lected from:
D Input to Effect 1
@ Output from Indi-
viduai Output 1
Either can be selected in
‘Sound Setup. ex P. 129
x Signals to be sent to
Send 2 should be se-
lected from;
D Input to Effect 2
® Output from Indi-
vidual 2
Either can be selected in
Sound Setup. s+ P, 129
Chapter 4 Editing Instrument Sounds
88
2. Instrument Copy
The Instrument Copy function allows vou to copy the data (Parameter settings) of an Instrument oa |
different Instrument. If you wish to edit an Instrument. but also retain the original data. vou can first
copy it to a different place before editing.
There are two wavs Lo copy an Instrument:
® Copy : COPY ..... Thisfunction copies all the data of an Instrument toanother Instrument Num-
her.
IHSTEUMENT COPY
SSFS11 -+ D=5127
The destination Instrument Number
The source instrument Number
e Exchange : EXCHANGE ..... This function exchanges all the data of one Instrument with that
of another Instrument.
INST ESCHAHGE
Ти Рени
to 1
Instrument Numbers to be exchanged
89 Chapter 4 Editing Instrument Sounds
M instrument Copy Procedure
D Select the Patch Play screen, then press [EDIT].
CEDITSFATCHEIHST
F-CPY EI -CRY GFF
(2) Move the cursor to 1-E-F"Y. hen press [ENTER].
Select COPY or EXCHANGE
INSTELIMENT LLP
S=FE11 -+ Cl:
| Instrument Number
Select Preset or User Instruments
® Move the cursor to “COPY or EXCHANGE”, then select either with the [DATA] dial.
(4) Move the cursor, then select F (Factory Preset Instruments) or LE (User Instruments)
Move the cursor to the source number field, then select the source Instrument Number with the
[DATA] dial.
If you wish to restore all User Instrument data to Factory Presets, select FrHL 1 usingthe [DATA]
dial.
© Move the cursor to the destination number field, then select the destination Instrument Number
with the [DATA] dial.
@ Press [ENTER].
The screen responds with Нее vou sure
*
A
Press [ENTER] to copy.
To cancel copying, press [EXIT].
*
*
When you have selected
COPY, you can select a
Factory Preset instru-
ment (F1-F512) or User
Instruments (U1-U512)
asthe source Instrument.
Only a User instrument
can be used as a
destination.
When you have selected
ESCHAHISE, only User
Instruments can be
assigned to I=.
If you select FeH1l in
step ©, the destination
Instru-ment Number is
selected; UrH11. (You
cannot select the desti-
nation Instrument Num-
ber).
Chapter 4 Editing Instrument Sounds
90
Chapter
Phrase Sequencer
1.How to Record Sequence Data .............. 92
- 2.Phrase Sequencer .............. 95
3.Tempo, Metronome, Available Memory and Synchonized Playback ........... 103
1. How to Record Sequence Data
The TD-7's recording method is Loup Recording in Real-time. That is, as vou play. new data is added
to your sequence which is playing over and over again. Youll find it very easy!
Before beginning, specify the Sequence Pattern Number and the number of measures vou are going to
e Pattern Number and the number of
en, then press [SEQUENCER]. « Patch Play Screen
ver men. a 17
SEG) PTHITEMPO
LEHE EAU
(2) Using [-] and [>], move the cursor to P TH and then press [ENTER].
[PTH RECFLAY
CLERRI TYPERCOPY
(3) Move the cursor to LE HF, then press [ENTER].
Sequence Pattern Number
CL ЕНЕ FTH L El 1 № + Please note that press-
Clear All= UE 7 ing [ENTER] in this
screen will erase the
(4) Using the [DATA] dial, specify the Sequence Pattern Number to he recorded, sequence data.
* Sequence Pattern Num-
bers 25 - 48 are Preset
Patterns and cannot be
used for recording.
Chapter 5 The Phrase Sequencer 92
6) MovethecursortoL Lear НЕТ hensdealle sz u2 using the [DATA] dial. Move
the cursorto the Measure Number, change the value tothe desired number with the [DATA] dial
and then press [ENTER].
CLERF PTACIÓN] №
ues 3
t
Pa ET = =
Number of measures
[ENTER]
Нее yv sra 7
Measure = от
Ш © The display responds with Are vou sure Pf you wish to enter the new value, press
[ENTER] Press [EXIT] 10 cancel.
mM Begin recording:
— (1) Press [ENTER] to select screen @ in the previous procedure,
| [РТН REC-FLAY
| CLERELD TYRE CORY
‘ - ® Move the Cursor to REC"FLAY. then press [ENTER].
ВЕ ‘Sequence Pattern Number for recording
Measure number
Tempo
Quantize
y
FTHMGI—G12 1268016
GREC BFLAYEREZET
Return to the first measure
Start playback
Start recording
‘lt any data exists in the
Sequence Pattern you
have selected, it will be
played back here,
«+ If you change the meas-
=
ure number or beat
previously set, ? will be
displayed to the right of
the new value.
vif screen © does not
appear when you press
[ENTER], follow steps ©
and @) in the previous
procedure “BE Specifying
the Sequence Pattern
Number and the number
of measures”.
93 Chapter 5 The Phrase Sequencer
3) Move the cursor to 2 FF, then set the tempo with the [DATA] dial,
(4) Move the cursor to u. arıt. 122, then set the Quantize value wich the [DATA] dial.
6) Press [1] C [SYSTEM] ) to select the record stand-by mode.
RECCGI-G11 /=126
U=éd GEFASEESTOF
The LED of the [SEQUENCER] button flashes at the current tempo. Play the pads (or a keyboard)
in time with the flashing LED or the unit's metronome. What you play will be recorded in real-time.
During Loop recording, the measures in your sequence (or Loop) will play over and over again. For
example, if you are recording a two bar sequence, those two bars will be played repeatedly. During
recording, what you play is immediately added to what you played previously. In this way, you can
build up your sequence until it's complete,
© When you finish, press [3] ([EDITI) to stop recording.
To playback the sequence data, press [2] (SEQUENCER).
You can also play back the sequence data by playing the pads. The parameters for this function are
shown on page 44.
When the TD-7 receives a MIDI Note On message from an external device, it starts playing back the
sequence data. The Note On message is sent on the MIDI channel set in the Trigger (Trigger Transmit
Channel). rs Р. 115
You can start playing a seguence pattern by pressing the Hi-hat Control Pedal (FD-7:option). How to
set the sequence Pattern to be played is explained on page 69.
>“Quantize” means cor-
recting timing inaccuracy
in performance.
* To change tempo or
quantize values during
recording, move the
cursor to the relevant
parameter, then change
the value using the
[DATA] dial. However,
when the Sync Mode
(sx P. 105) is set to
MIDI, you cannot
change tempo values. In
this mode, the display will
showd =rmid andthe TD-
7 starts recording only
when it receives MIDI
timing clocks from an
external MIDI device.
Chapter 5 The Phrase Sequencer 94
2. Phrase Sequencer
The TD-7 is equipped with a sequencer that allows you to create original rhythms and bass patterns.
The Sequencer is the unit that records pad (or keyboard) performance data and plays it back. The
Sequencer can also be synchronized to another MIDI device.
e The TD-7 contains 24 different Preset Patterns and can store up to 24 User
Patterns. Original Sequence Patterns are stored in User Patterns; the
contents of the Preset Patterns cannot be changed.
e Pattern Numbers 1 - 24 are User Patterns, and Pattern Numbers 25 - 48 are
Preset Patterns.
The TD-7's four Sections can be played. The four sections are: the Instrument Section,
Performance Section 1, Performance Section 2 and Performance Section 3.
Each of the 4 Sections is assigned îts own MIDI channel. Therefore, what can be recorded/played hack
must be data that uses one of these same 4 channels, and it will be recorded/played back as belonging
to the Section that is assigned the same channel as the channel the performance data traveled on. This
is true whetheritis performance data generated by hitting the pads, or that arriving over MIDU IN. However,
The MIDI channel is not recorded in the Phrase Sequencer. Sequence data is distinguished by the
section name.
mstunLMENTS
и Y
SEQUENCE MIDI INSTRUMENT
PATTERN | (CHANNEL) SECTION
1
A r
—MBI PERFORMANCE ]
USER | (crane) A INSTURUMENT
PHRASE CHANNEL) SECTION 1 |
o 24 (Goer) PERFORMANCE
25 | [MD A nsTuRUMENT
о | (CHANNEL) SECTION2
PRESET |
. r
MIDI Y PERFORMANCE
48 | SECTION 3 A NSTURUMENT
MIDI OUT
MIDIIM | À J
@ Oniy Note On and Control Change (of the Hi-hat Control Pedal), messages
are recorded in the Phrase Sequencer. No other messages are recorded.
Thatis, only the data set with the “SYSTEM” parameters (= P.121) is recorded.
@® Though the MIDI channel is not recorded in the Phrase Sequencer, sequence
data can be distinguished by the section name. MIDI messages are output
to external devices on the MIDI channel set in the Instrument or Performance
section. For example, if channel 2 is set in Performance section 1, sequence
data of Performance section 1 will be tranmitted on channel 2.
* The amount of data that
can be recorded in the
TD-7's sequencer is
limited. Thatis, when you
have created Sequence
Pattemswithalotofdata,
| you may not have room
tor 24 different patterns.
Check the amount of
memory remaining using
Available Memory (+ P.
105)
rFor a detailed expla-
nation about MIDI chan-
nel settings, referto page
115, 116.
x The Phrase Sequencer
does not record Note Off
messages (s= P. 111).
When the sequencer is
playing back data, a Note
Off message is output
immediately after a Note
On.
95 Chapter 5 The Phrase Sequencer
[1] Recording and playback of Sequence Patterns
Ta record or play back Sequence Patterns, select F TH in the Sequencer screen. vt Sequencer Screen
a P.34.
[secs PTHITEMPO| >
SYHCHAVAILIMETRO
— WhenF Tis selected, the following menu will be displayed. Thisis ca led the Pattern Creating
Screen. |
ETH REC-FLAY
CLEAR TWEE CORY
To record or play back, select EEC-FLHY in the Pattern Creating screen.
Sequence Pattern Number
Measure number in the Sequence Pattern
Tempo Quantize
FTHEL-G1J LZR GLE
ПРЕС EPLAVERESET
| Return to the first measure —
Start playback MC
Start recording
Pressing [1] (ISYSTEMD will select the record stand-by mode.
Pressing [2] USEQUENCERD will start playback.
Pressing [3) (EDIT) will reser to the first measure of data.
Move the cursor to the appropriate parameter, then change the value with the [DATA] dial. |
@ Sequence Pattern Number (1-24) . ~~ | * For recording, Preset
Select the Pattern Number to be recorded or played, 14 ОЕ X E В 1 Patterns (25 - 48) cannot
| о “be used.
@ Measure Number (1-16) | |
This indicates the measure number in a Sequence Pattern. You can select the measure number from
which 10 start recording or playback.
e Tempo (24 - 260 bpm)
This sets the tempo of the sequencer.
Chapter 5 The Phrase Sequencer 96
® Quantize (1/8, 1/12, 1/16, 1/24, 1/32, 1/48, 1/64, HIGH(1/96)) « ~~
The quantize function corrects timing inaccuracies that occur during recording. For instance. if you sel
Molle all the sixteenth notes in vour sequence will fall precisely on the sixteenth note divisions
in cach measure. [Notes of longer duration will fall on their respective divisions as well] Normally, this
setting should reflect the smallest note value in your sequence. When sel o HT EH. no quantization
will be applied to what vou play.
Example:1/16 resolution
Resolution » Л Л __ »
,
Actual note date ; Л Л : À de — DB E
Quantize at sixteenth + N _ > | I A
note resolution a # reel
Note date after N N _ \
quantization # # ——@
E To edit the recorded data
If you wish, you can erase your work and re-record the sequence. You can also erase individual
Instruments or Note Numbers instead of re-recording the entire sequence.
REC [B1-311d=126
ТЕ BERASEESTOF
In the above recording screen, pressing [2] (SEQUENCERD will cause EFHSE to flash.
If you play a pad (or a note on the keyboard) while ERASE is flashing, the sequence data of the
Instrument assigned to the relevant Pad (or Note Number) will be erased.
If vou press [2] (SEQUENCER)) again while ERFISE is flashing, the sequencer will return to the
record mode.
97 Chapter 5 The Phrase Sequencer
[2] SettingBeatand Number of Measure and Erasing Sequence Data
(1) Inthe Sequencer screen, move the cursor to F TH and then press [ENTER].
This will select the Pattern Creating screen.
HTH REC FLHY
CLEARER TWRPERCORY
(2) Move the cursor to CLEAR, then press [ENTER].
Sequence Pattern Number to be edited a .
° | Whether sequence data exists or not.
E FTHL23) E
Fr Alis de 7
Î
Name of the function to be used
LEH
lea
PI!
=
® Move the cursor using [€] and [>], then set the Sequence Pattern Number to be edited and
the function to be used.
The following functions are available:
Clear All Erases the entire Sequence Pattern.
Measure Sets the number of measures in the Sequence Pattern (1 - 16),
Beat Sets the heat of the Sequence Pattern (2/4, 3/4. 4/4, 5/4, 6/4, 7/4.)
“+ Sequencer Screen
ex P.34
if data exists in the
Sequence Pattern Num-
ber, E is displayed. if no
data exists, В is dis-
played.
Chapter 5 The Phrase Sequencer 98
E To erase Sequence Data
@ seeaClear All using the [DATA] dial, then press [ENTER].
The screen responds with Hire vou sure
The selected Sequence Pattern is played so that vou can hear it one more time.
6) Press [ENTER] again to erase the Sequence Pattern,
To leave this mode, press [EXIT].
If no data exists in the Sequence Pattern you have selected, the following screen will appear:
When no sequence data exists
“LEFF FIM[2231] 0
Clear HIL= ORY
En
When the sequence data is erased, the measure number and beat set in the following section will he
the new values. [The factory default setting for Measure number is “2”, and the default for Beat is “4/
+)
Ш То set Measure Number and Beat
A) seeafteasure orEeat, using he [DATA] dial.
CLERR FTHLZZ] E
Measure = 17
CLERE PTHLZZ] e
Feat = 44
5) Move the cursor using [<#] and [#1]. then set the value with the [DATA] dial.
When the preprogrammed measure number or beat value is edited, = will appear to the right ofthe
value,
CLERE IRE] Es
Mess lit”
Ih
© Press [ENTER]. The screen responds wih Are sou sure
The selected Sequence Pattern is played so that you can hear it one more time.
7 Press [ENTER] to enter the value. To cancel the procedure, press [EXIT].
* Ifyou have shortenedthe
number of measures or
the beat, the extra data
is erased. If you have
made themionger, allthe
previous data will be
retained.
99
Chapter 5 The Phrase Sequencer
[3] Selecting a Performance Type
The Sequencer contains several different Performance Types:
Set to À , the level of Sequence Pattern is determined depend on how hard vou play the pad.
Set to B. sequence Pattern will play the recorded level regardless of the strength you play the pad.
Loop A Loop B........... Hitting a pad will start playback. The pattern will play repeatedly until you hi
he pac again.
Опсе А Опсе В ........... Hitting a pad will start playback. The Sequence Pattern will be played once.
Hitting the same pad again while the Sequence Pattern is playing will re-
trigger the pattern from the beginning,
Tap! A - Таря А он... Sequence data advances one step every time a pad is hit. When set to TAP 2
Tapl B-Tap4 B - TAP 4. hitting the padaftera certain “interval” will reset the Sequence Pattern,
playing it from the beginning. The “interval” is longer when the Tap number
is higher (2 - 4).
@® You can control a Sequencer Pattern by playing a note on an external
+ All Sequence Patterns
are created with the
“Loop” recording meth-
od. In the Playback
mode, however, data is
played with the selected
Performance Type.
« You cannot play “Loop”
Sequence Patterns and
“Once” Sequence Pat-
terns at the same time.
‘However, both Se-
‘quence Patterns set at
"Once (Loop)" and
“Tap1~4" can be played
simultaneously.
MIDI keyboard (in the same way as hitting a pad). To do so, play the key
(Note Number) assigned to the pad (ex P. 42).
M How to set the Sequencer Performance Type
(1) Inthe Sequencer screen. move the cursor to F TH und then press [ENTER].
The Pattern Creating Screen is selected.
HTH REC. FLA
CLERRE TYFEICOPY
@ Move the cursor to TPE. then press [ENTER]. ВЕ
Sequence Pattern Number to be played
PATTERN:
Fir Tare =Loor À
Performance Type
ВЕ ® - Move the cursor using [€] and [»], then select the Sequence Pattern Number to be played
- using the [DATA] dial.
| 4) Movethecursor using [-«] and [>], then selectthe Performance Type using the [DATA] dial.
or Sequencer Screen
"5 P. 34
Chapter 5 The Phrase Sequencer 100
[4] Copying Sequence Pattern
You can copy a Sequencer Pattern to a different Sequence Pattern Number, If you wish to edit the
Pattern without losing the original data, copy it to à different Sequence Pattern number before editing
it. The copy function also allows you to shift the pitch of data (in semi-tone steps) to make transposition
casier,
You can use one of two copying methods:
€ COPY .... Thismethod copies sequence data while changing the pitch at the same time (Gf desired).
may be effectively used for changing the key of melodic sequence data (hass
sequences, forexample). 24 levels from -1210+1 2. are available. Asettingof +12 raises |
the pitch by T octave. ALO, the pitch of data is unchanged.
FTH TEAMS CORY
Ssid +6 + Des
"Destination Sequence Pattern Number
a The amount of pitch shift
Source Sequence Pattern Number
6 EXCHANGE ..... This method exchanges data of one Sequence Pattern with that of another.
FATTERM ESCHANGE
|PTHIS ++ FTH2Z27
— Sequence Pattern Numbers to be exchanged
101 Chapter 5 The Phrase Sequencer
E Procedure for copying Sequence Pattern
D Move the cursor to PTE, then press [ENTER]. « Sequencer Screen
The Pattern Creating Screen is selected, vr P, 34
FTH REL FLHY
LLEBRE TYFEICOFY
© Move the cursor to CLIFY, then press [ENTER].
COPY or EXCHANGE
РТН TRAHS COPY
Sald +6 = D=227
| \
3 Move the cursor to LF then select COPY or EXCHAMIGE using the [DATA] dial. | ж When COF* is selected,
| | Sequence Patterns 1 -
(4) Move the cursor using [-] und [№] then set the Pattern Number and Pitch using the [DAT A] 48 are available as
dial. | source patterns, while
only User Patterns 1-24
5) Press [ENTER]. are available as
The screen responds with Hr vou sure 7 destination patterns.
e The Sequence Pattern that is flashing in the screen is played back. x When EXCHANGE is
; selected, only User
© Press [ENTER] to copy. Patterns 1 - 24 are
Press [EXIT] to cancel. available as both source
and destination patterns.
Chapter 5 The Phrase Sequencer 102
3. Tempo, Metronome, Available Memory and Synchronized Playback
[1] Tempo Setting
(1) nthe Sequencer screen, move the cursor (0 TEMPO and then press [ENTER].
The screen changes to the Pattern Creating screen.
SECUEMCER
Tempo d = Zi
@ Set the tempo by rotating the [DATA] dial.
[2] Setting the Metronome
This determines how the metronome should sound during recording or playback.
D In the Sequencer screen. move the cursor to PIE T ESLÍ and then press [ENTER].
ME TROHOME
Mode = Emptd
Parameter Value
Parameter Name
@ Select a parameter by rotating the [DATA] dial.
(3) Move the cursor using [a] and [>]. then set the value with the [DATA] dial.
à Tempo” is the speed at
which performance data
is played. The value
shown in the screen
represents the number
of quarter notes played
in one minute.
& Sequencer Screen
= Р. 34
* When the Sync Mode is
setto1T[I, youcan not
change tempo values. in
this mode, the display will
show 4 =mi:d.
* The TD-7 can play 14
notes at once — in-
cluding the metronome
sound.
103
Chapter 5 The Phrase Sequencer
“Metronome parameters are:
© Interval (1/4, 1/8, 1/12) В
This parameter sets the interval (heat) for the metronome. When the TYPE is set tol. 1 1104 thefirst
note of the measure will sound higher in pitch. When setto Hr ica, the voice changes depending
on the metronome setting,
e Mode (OFF/Rec/Empty/Play)
This parameter determines how the metronome should be played:
Off. LFF No metronome sound is heard.
Recording: Fei. | The metronome is heard during recording.
Empty: Eme tf. | The metronome is heard only when no performance data exists in the
PA )
selected Sequence Pattern.
Play: F laa | The metronome is heard during recording and playback. This mode may,
therefore, be used for practice. For instance, you could make a blank
Sequence Pattern (with no data), then play it back by playing the pads. By
doing so, only the metronome will be heard. You can then practice playing
along with the metronome,
@ Count in (OFF/1, 2) | |
A metronome "count-in” occurs before recording begins Gifter the Record button {1h is pressed). When
setto {FF recording starts immediately when the Record button is pressed. When set to Lord,
recording begins after a one or two measure count-in.
e Type (Click/Voice/CowBI/WdBIk/80Mrc)
This parameter determines which sound - click, human voice, cowbell, woodblock, or TR-808 mara-
cas - will be heard during the metronome count-in,
e Level (1 - 16)
This parameter sets the volume of the metronome. Higher values increase the volume.
Chapter5 The Phrase Sequencer 104
[3] Available Memory
The TD- stores sequence performance data in internal memory. The capacity of the Memory 1G is
limited. and the TD-T can indicate howe much memory is still available (Available Memory). When
Hao, - . . x
A is shown, no further recording is possible.
fi
1) In the Sequencer screen, move the cursor to HUE TL and then press [ENTER].
PE FEY
Huai lable = oO
Available Memory
[4] Synchronized Playback
The TD-7's Phrase Sequencer can synchronize to an external MIDI device.
. 1 2
1) In the Sequencer screen, move the cursor to = HE and then press [ENTER].
SEGUEMCER
cars = TMTERMHL
Synchronized Playback Mode
@ Select a Synchronized Playback Mode using the [DATA] dial.
IHTERMAL
MIDI
An external MIDI device synchronizes to the TD-7's MIDI clock signals.
The TD-7 synchronizes го an external device's MIDI clock signals.
When set to LTH TERME the TD-7 sends MIDI Timing Clocks (F8) through MIDI OUT, but does
not send Start (FA), Continue (FB) or Stop (FC signals.
When ser to FT ET the TD-7 does not send MIDI Timing Clocks (F8) through MIDI OUT. The TD-
7 receives Timing Clocks from an external MIDI device through MIDI IN and plays back the
performance data accordingly. Playing the puds Cor heyboard) or receiving MIDI Note ON will star
plavback. Start (FAI, Continue (FB) or Stop (FC) signals will be ignored.
": Sequencer Screen
vy PP, 34
* When set to MILI, you
can not change tempo
values. In this mode, the
display will show d=
mid.
105 Chapter 5 The Phrase Sequencer
106
Chapter
System Setting
1.MIDI ............ 108
2.Setting the interface Mode ............ 123
3.Using the Footswitch and Sound-on-Sound ............ 124
“A.The Sound setup rere 129
5.initialization ............ 132
System parameters include those related to the entire system of the TD-7, such as MIDI, Footswitches,
Sound-on-Sound, Effects Output, Individual Output. Initialization, etc.
1. MIDI
MIDI (pronounced middy) stands for Musical Instrument Digital Interface. MIDE is «world-wide
standard that allows musical instruments and computers to exchange musical data. Most electronic
musical instruments sold today are MIDE compatible. MIDE compatible devices have MIDI connectors
which are used to physically link instruments Cusing special cables). MIDE does not transmit the sound
messages” in digital form that tell the receiving instrument © “do
as MIDI messages.
From a MIDI device
To a MIDI device
MIDI IN : This connector receives MIDI messages from an external MIDI device,
MIDI OUT : This connector transmits outgoing MIDI messages to other devices.
MIDI THRU : MIDI messages received at MIDI TN are re-transmitted by the MIDI THRU connector. CThis | & Technically speaking,
connector does not transmit messages that originate inside the unit itself.) any number of MIDI
devices can be con-
@ The TD-7 does not feature the MID! THRU connector. nected using MIDI THRU
| connectors. The practical
limit, however, is 5 units.
This is because delay or
deterioration of the MIDI
signals will occur as the
signal path becomes
longer and longer.
Chapter 6 System Setting 108
E MIDI Channels
MIDI allows vou to transmit and receive many different MIDI messages using only one cable. This is
made possible because MIDI includes 16 different channels.
MIDI channels are casy to understand it we use the analogy of television broadcasting, Many television
programs are broadcast from many TV stations and your TV antenna receives them all.
By setting vour television to :ispecific channel, vou can watch only the desired program. The same idea
apphies to MIDI channels. The master (transmitting} device is somewhat like the broadcast station, and
the slave (receiving) device is like a television receiver. The MIDI messages carried by the MIDI cable
are like the programs that are transmitted from the broadcast stations.
TV messages from various TV station are sent
TV sn |
[sm]
Select the channel of the
we
MIDI performance information is transmitted from the master device lo the slave w hen the MID!
channels on bath devices match (i.e; are set to the same number). When the MIDI channels are set as
follows. only sound module B will respond when the keyboard is played € sound me ule A does по!
respond). This happens because only sound module B is set to the same channel number as the
keyboard, while that of sound module A is set lo а different number.
MIDI UT DE CADA, + AMELIE | MI IN pa THRU
Transmit channel: 10 | Receive. channel ; 11
pres) Dee Sound Mod A
воз вв емо on nacida Por
TV station you wish to watch.
MIDI Keyboard
The TD-7 can recognize MIDI messages of more than vne channel at a time, it has four channels for
the Performance Parts (sections) and one for Program Changes (a channel for receiving and transmitting
Patch Control)sæ P. 116
Because the TD-7 can recognize MIDI messages on four channels at once, it can be used as a 4-part
multi-timbral sound module. That is, by setting different channels for the Instrument Section and
Performance Sections (1, 2 and 3). you can create Multi-part performances using MIDI data.
HUIT Receive channel : + MID! IN A
— 5 00 Sond Module = = В 57)
109
Chapter 6 System Setting
The Instrument Section of the TD-7 isequivalent tothe Drum Part ina MIDI multi-timbral sound
module. In this section, different sounds will be played by corresponding Note Numbers. You can
assign à drum voice or a percussion sound to each Note Number. Channel 10 is frequently set for this
section.
A Performance Section in the TD-7 is equivalent to a Standard Part in a MIDI multi-timbral
sound module, A Performance Section is used for playing melody or bass parts. Here, Note Numbers
control onlythe pitchofa sound. The TD-7 hasthree Performance Sections and one Instrument Section,
and therefore allows you to play four parts simultaneously: melody. chords, bass and drums.
The Trigger Transmit Section converts operation information of the Pad, Footswitch and Pedal
into MIDI messages then transmits them to the Instrument Section and Performance Sections. MIDI
messages sent from the Trigger Transmit Section are used for recording data into the Phrase Sequencer
or transmitted through MIDI OUT.
TD-7 MIDI Flow diagram
r \ INSTRUMENT |
О
PEDAL SECTION
8 —— \
ET “| TRIGGER |» PERFORMANCE
FOOTSWITCH TRANSMIT SECTION 1
SECTION .
© — J PERFORMANCE
SECTION 2
6) <
MIDI OUT PERFORMANCE |
63 R SECTION 3
PHRASE
SEQUENCER
in some models, the
“Drum Part” may be
called the “Rhythm Part”.
a
“in some models, a
“Standard Part” may be
called a “Normal Part”.
* The TD-7 can play 14
notes atonce (Maximum
If the
number of notes used
Polyphony).
exceeds 14, some
sounds willbe cut off and
the performance cannot
be properly recreated.
Chapter 6 System Setting 110
[2] The TD-7's MIDI Messages
MIDI includes many different messages tor conveying various performance aspects. MIDI messages are
divided into Channel messages and System messages. Channel messages «re sent via the individual
MIDI channels. while System messages can be received regardless of the channel settings.
MN Channel Messages
Channel messages include performance controlling information: for instance, "which pad is hit and
how hard”. How a device will respond to received MIDI messages (how it should sound) is determined
by the specifications of that device. Therefore, if the receiving device does not feature the function
required by the message sent from the transmitter, nothing may happen.
e Note Messages
Note messages include information related to striking the pads. as shown below. These messages,
therefore, are equivalent to Note On messages from a keyboard.
Note Number : | The number assigned to each trigger signal. (The number assigned to each key
on à keyboard.)
Note ON : This type of message is generated when a pad is hit tor a key ona keyboard is
pressed).
Note OFF This type of message is generated when the Gate Time (length of a note) has
clapsed after a pad is hit Cor when the key on à keyboard is released).
Velocity : The strength with which a pad tor key) is played.
Note Numbers 0 - 127 represent the notes on a keyboard. Note number 60 is Middte C (Ca).
Correspoedence between Note Numbers and Names
| { | { | {
Note Name AQ = Bi — C4 - AG - C8
Note Number 21 = 35 — 60 - 93 -108
111 Chapter 6 System Setting
e Pitch Bend Change
When a Pitch Bend Change message is received. the pitch will change.
e Aftertouch
Aftertouchis a function which allows youto alter sounds hy applving pressure tothe keys ofa keyboard
after the notes have been played. Aftertouchincludes two kinds of messages: polvphonic key pressure
messages, Which send information for euch key played, and channel key pressure messages, which
sends information for the entire channel.
The TD-7 sends polyphonic key pressure messages when the rim of a pad is held and released.
When receiving polyphonic key pressure messages from external MIDI devices, the TD-7 will respond
as if you were holding the rim of a pad.
e Program Change
Generally, Program Change messages are used for changing sounds, 1- 128 are valid Program Change | «+ How the Patch Numbers
Numbers. in the TD-7 correspond
to Program Change
The TD-7 allows you to change Patches using Program Change messages. Numbers is explained on
page 70.
@ Controi Change
Control Change messages control several functions, such as modulation. pan, ete. Functions are
specified by Control Numbers,
The TD-7 system can send Hi-hat Control Pedal information using Control Change messages.
The TD-7 can send Hold messages when the Footswitch mode is set 1o mode 2, (e# P. 124)
Chapter 6 System Setting 112
E System Messages
System Messages can be sent no matter how the MIDI channels are set, System messages include
exclusive messages, messages for synchronization. ete
e Realtime Messages
These messages are used for synchronization. The TD-7 can transmit and receive MIDI timing clocks.
86 Active Sensing
Active sensing messages monitor the integrity of MIDE connections. Once the TD-7 receives Active
sensing messages via MIDI IN, it will automatically look for further messages. In this mode, if the TD-
7 does not receive any MIDE messages or Active sensing messages (or other MIDI messages) within
300msec (TH-71, it will judge that the MIDI cable is disconnected or damaged. The unit will cut off all
sounds and take exactly the same action as when receiving Reset All Controllers messages. Active When the TD-7 receives
Sensing messages will no longer be monitored. The TD-7 can also trinsmit Active sensing messages. a Reset All Controllers
message, it will reset
® Exclusive Messages some of the parameters
Exclusive messages are unique to à particular Tanc manufacturer (e.g. Patch data). Fora detailed
Exclusive messages are unique to a particular modeland manufacturer Ce.g. Patch data). Fora detailec to the power ON values,
Xplination. see MID YMementation UP. 158) |
explination. see MIDI Implementation O. 15 e.g. pitch bend, after-
touch, etc. For a detailed
About MID! Implementation Chart explanation about the
MIDI has made it possible for a wide variety of devices to exchange information. but itis notalways Reset All Controllers
tre that all types of MIDE messages can be exchanged between all types of devices, Forexample, message, seepage 159.
if vou use a synthesizer as a master device to control a digital piano, the pitch bender (the lever
or wheel that modifies the pitch) of the synthesizer will have no effect on the sound of the piano,
The important thing to keep in mind when using MIDI is that the slave device must be able 10
understand” what the master is saving”. In other words, the MIDI messages must be common to
both master and stave.
To help vou quickly determine what types of MIDI messages can be exchanged between master
and shave, the Operation Manual of each MIDI device includes a MIDI Implementation chart (P.
164). By looking at this chart. vou can quickly see whit messages the device is able to transmit and
receive. The left side of the chart lists the names of a variety of MIDI messages. and the
Transmission and Reception columns use “o” and "x" marks to indicate whether or not each of
these messages can be transmitted or received. This means that a specific MIDE message can be
exchanged only if there is an “0” in hoth the Transmission column of the master and the Reception
column of the slave device. MIDI implementation charts are standardized, so vou can fold the
charts from two manuals together to see at à glance how the two devices will communicate.
For 4 detailed explanation of the TD-7s MIDI implementation, refer to page 158.
113 Chapter 6 System Setting
[3] Setting MIDI Parameters
The following describes how to set the MIDI parameters (such as transmit receive channels, channel
message transmit receive switches, etc).
EM How to set MID! Parameters
1) Select the Patch Play screen, then press [SYSTEM]. The System Screen menu will appear.
MIDI
MIDI interface
Initialize
MÍ
ET
CSPEIMIDIE IFE
Fais DEMONLCDES
| Sound Setup
LCD Contrast
Demo Song
Footswitch
2) Move the cursor to FT TD I then press [ENTER].
MIL
Tri Tx Ch = il
| Parameter Value
Name
3) Select the parameter to be edited using the [DATA] dial.
@ Move the cursor using [+] and [PB], then set the value of the parameter using the [DATA]
du.
"1 Patch Play Screen
ts PL, 17
Chapter 6 System Setting 114
MIDE Parameters include the following:
® Trigger Transmit Channel : Trig Tx Ch {1 - 16)
MID
Tri Tx
of
Li =
нь
per,
„ей а
Set the channel to match that set in the Instrument or Performance Sections. Hitting a pad will play the
sound oËthe section that is setto the same channel number as the Trigger Transmit Channel. When the
channel is setto a different number, the internal sound source of the TD-7 will not play,
Note messages are sent via MIDI OUT on the channel ser here. Messages created using the Hi-hat
Control Pedal and Footswitch will also be sent on the same channel.
For drum performances, vou may set the Trigger Transmit Channel and the Instrument Section Transmit
and Receive Channel (explained in the following section) to 10.
@® Instrument Section Transmit and Receive Channel : Inst Tr Ch (1 - 16)
e.
À
por]
3
"e
»
E
avala
3
+
mi
verge
Tr Ch = 1
+
To play the TD-7s internal sound source, set this channel to the same number as the Trigger Transmit
Channel. To play the TD-7 using another MIDI device, set this to the same number as the transmit
channel of that device.
The Instrument section's sequence data (recorded in the Phrase Sequencer) is output through MIDI
OUT on the channel set here.
er T= inthe LCD represents
the Transmitter.
* When Midi Out is set to
OFF, no messages are
transmitted.
re Tr inthe LCD represents
the Transceiver.
115
Chapter 6 System Setting
® Performance Section Transmit and Receive Channel : PFM1 Tr Ch /
PFM2 Tr Ch / PFM3 Tr Ch (OFF/1 - 16)
MID]
РЕМЕ Te Ch
11
fl
MIDI
РЕМ Тео СВО 12
MIDI
FFHZ Te Ch = 12
To play the internal sound source by hitting the pads, set this channel to the same number as the Trigger
Transmit Channel. To play the TD-7 using another MIDI device, setitto the same number as the transmit
channel of that device, At OFF the Performance Section not sounds.
The Performance section's sequence data (recorded in the Phrase Sequencer) is output through MIDI
OUT on the channel set here.
e Patch Control Transmit and Receive Channel : Ctrl Tr Ch (1 - 16)
MILI
Ctrl Tr Ch =
jrs
ar,
ind
To change Patches, use Program Change messages. When the TD-7 receives a Program Change | + When Prg Chg Rx is set
message on the channel set here, the corresponding Patch will be selected. On the other hand, when to OFF. the TD-7 does
you change Patches onthe TD-7 using panel controls, the corresponding Program Change message will not respond to Program
he sent to the external device on the channel set here. Change messages
uu ‚ (Patches do not change).
@ Device ID : Device ID (1 - 32)
MIT ': The relationship be-
egies I = iv tween Patch Numbers
and Program Change
. es roles : Numbers is shown on
This sets the Device ID for Roland Exclusive messages. Exclusive messages can be sent or received. no
. . age 70.
matter what channel is currently selected, as long as the Device IDs of two devices are the same. pag
Chapter 6 System Setting 116
® Midi In Switch : Midi In (ON/OFF)
MIE
Mic
rr
poto ff
in = Li
When itis set to OFF. no MIDI messages are recognized. To control the TD-7 via MIDI, set it to ON.
E Midi Out Switch : Midi Out (ON/OFF)
MIDI
Midi Out = DM
When this parameter is set to OFF, no MIDE messages are transmitted. To send MIDI messages from
the TD-7. he sure to serit to ON,
e Midi Mix Switch : Midi Mix (ON/OFF)
MIDI
Midi Mix =
НЕЕ
When set1o ON, a copy of the messages received through MIDE IN will be sent from MIDI OUT. This
is called Soft Thru. Messages generated by the TD-7 will be mixed with the received messages and then
sent through MIDI OUT. When set to OFF. the Soft Thru effect does not function.
MIDI OUT MIDI IN
MIDI BLOCK
® Note Off Receive Switch : NoteOff Rx (ON / OFF)
MIDI
Motels Ea =
LIFE
When this parameter is set to OFF, Note Off messages are not recognized. When Note Of messages are
received, the sound currently being played will be cut off. Normally, this parameter should be set to
OFF,
* Buik Dump data is
transmitted regardless of
the Midi Out Switch
setting.
cok inthe LCD represents
the Receiver.
117
Chapter 6 System Setting
® Aftertouch Transmit and Receive Switch : Aftertouch (ON/OFF)
ЧЕ
fie
мере
пе = LI
Ta
When this parameter is set to ON, the TD-7 sends Polyphonic Key Pressure messages when the rim of
aPD-7 pad isheld and released. When the TD-7 receives Polyphonic Key Pressure messages, the sound
currently being played will be suddenly cut off. When setto OFF, the TD-7 does not send or recognize
Polyphonic Key Pressure messages.
e System Exclusive Receive Switch : Sys Exc Rx (ON/OFF)
MIDI
mds Exec Em = 1H
Whenthis parameteris set to ON. the TD-7 canreceive Exclusive data. Set itto ON otransfer Bulk Dump
data from another TD-7 orto change Patch data. When set to OFF, Exclusive messages will be ignored.
@ Program Change Transmit Switch : Prg Chg Tx (ON/OFF)
Program Change Receive Switch : Prg Chg Rx (ON/OFF)
MILI
Fra Che Tx = OM
MIDI
Peg Che REx = UH
Set both parameters to ON to send or receive Program Change messages.
e Hold Receive Switch : Hold Rx (ON/OFF)
MILI
Hola Ву =
LFF
When set to ON, Hold messages in Control Changes (Control Number 0:4) will be recognized. The TD-
7 can control the decay time of an Instrument by changing the value of the Control Change. When OFF,
the TD-7 ignores Hold messages.
r+ Tx inthe LCD represents
the Transmitter.
Fx inthe LCD represents
the Receiver.
Chapter 6 System Setting 118
® Pan Receive Switch : Pan Rx (ON/OFF)
=
mi
Li se, pue o mm PRE. ES
Fa Fête = UF
МТ
+
When set to ON, Pan messages in Control Changes (Control Number 10) are recognized. When set to
OFF, the TH-7 ignores Pan messages.
® Volume Receive Switch : Volume Rx (ON/OFF)
Janse
alume Ree = OFF
When sel to ON. the TD-7 recognizes the Main Volume (Control Number 7} in Control Change
messages. That is, the volume of the section Ghat is set to the same MIDI channel number) can be
controlled via MIDI. When set tp OFF. the TD-7 ignores Volume messages.
© instrument Section Level : Inst Level (0 - 15)
Я
ir
It
ai
» lei
4...
LH
| = 1
in
E
This parameter sets the tevelofthe Instrument Section. tt can therefore be used for adjusting the volume
balance with the Performance Sections. AE, no sound is output.
119
Chapter 6 System Setting
® Local Control : Local Ctrl (ON/OFF)
MILT
On the TD-7. the MIDI channels of the Trigger Block und Sound Block are set to the same number
(connected) so that the internal sound source can be played. “Local Control” (ON OFF) determines
whether the Trigger Block and Sound Module Block are connected or not. When "Loc! Control” is not
set to LFF the Sequencer Block and Sound Block are disconnected.
When ON, the Sound Module Block is active, and the internal sound source can be plaved using the
pads or pedals. When OFF, no sound is produced.
Normally, set this to ON
Regardless of the setting, the internal sound source is plived by messages received via MIDI IN, and
performance information of the pads and pedals is sent through MIDE OUT.
MIDI OUT MIDI IN
>
о o o ©
ое
a
Local Control
ON
SOUND BLOCK |
SEQUENCER
| TRIGGER BLOCK BLOCK |
(ii
TD—7
Set the Local Control to OFF in the foilowing situations:
To connect a MIDI device (sequencer, personal computer, ete.) that usually works in the Soft Thru
mode, set the “Local Control” to OFF.
A MIDI device that usually works in the Soft Thru mode will return the MIDI messages sent trom the
TD-7. If “Local Control” is ON, the messages generated in the Trigger Block, and those that have been
returned from the external device, will cause problems,
MIDI IN MIDI IN
ony QUT
A Local Control
Soft Thru
x When Midi Out and Midi
In are OFF, no MIDI
messages will be sent or
received. es P. 117
mun JC
| Other MID! Device
| racer BLOCK | ame |
TD—7
Chapter 6 System Setting 120
® Pitch Bend : Pitch Bend (OFF/1 - 12)
MIL
Fitch Berd = OFF
This parameter sets the maximum amount of pitch change caused by received Pitch Bend messages in
semi-tone. Higher values will cause a greater pitch change. When serto OFF, the TD-7 willignore Pitch
Bend messages,
e Control Change : Ctrl Chg (FOOT/MODU/HOLD/GNL1/GNL2)
MILI
Chel LF =P
The TD-7 transmits Control Change messages that describe how the Hi-hat Control Pedal (FD-7)is being
used:
FOUT | Control Number 4 (Foot Controller) is transmitied.
PHT | Control Number 1 (Modulation) is transmitted.
HELL E | Control Number 64 (Hold) is transmitted.
HLL | Control Number 16 (General Purpose Controller 1) is transmitted.
MAL | Control Number 17 (General Purpose Controller 2) is transmitted,
For example if FLT is selected. the TD-T transmits a Control Change value that indicates how far
the Hi-hat Control Pedal has been pressed.
If the TD-7 receives the Control Change messages set above, it will respond as if the Hi-hat Control Pedal
were being used,
When OPEL is selected. à Hi-hat performance can be simulated by playing a keyboard. Play the key
seltothe Note Number that is assigned to the Hi-hat Control Pedal (P. 68) and use the Modulation Wheel
on the keyboard. By doing so. vou can obtain an effect similar to that when using the Hi-hat Control
Pedal.
For a detailed expla-
nation about howthe TD-
7 responds when the Hi-
hat Control Pedal is used,
refer to page 65.
* Control Change mes-
sages that the TD-7 can
transmit and receive are
limited to one of those
shown above.
121
Chapter 6 System Setting
® Bulk Dump : Bulk Dump
A Bulk Dump’ is the transferring of Patch or Phrase Sequencer data to an external device tei HD!
OUT) This makes it possible to trunsfer the TD-7> data toa sequencer or personal computer. IF you
wish to sertvo TD-7s to exactly the same settings. you cin do so simply by a bulk-dumpolidara from
one fo the other.
When you select ELLE CM de screen will respond with:
MICH
Huile Dome = HILL
Data to be transferred
After selecting EU LE Eume, follow the procedure after step @ on page 114.
@ Move the cursor using I<] and [>] then select one of the data types 10 be transferred using the
[DATA] dial.
FLL | All the TD-7's data will be transferred tapproximately 81 kbyie),
РСН | Patch dara (P. 37) is transferred Capproximately 52 kbyte).
IMS | Instrument data (P. 78 ) is transferred Cipproximately 18 kbyte).
SEL | Data in the Phrase Sequencer (P. 92 ) is transferred. Gpproximately 13 kbyte).
Eu 1 ay yy ge * . . - .
sm | System (P, 35), Global Performance Parameters (P. 73 ). and Patch Chain (P. 25) data is
transmitted (approximately 0.5 kbyte).
—
6) Press [ENTER].
The screen responds with HE 0 SUPE,
© Press [ENTER].
The screen displays the message Hit sem LE,
When the Bulk Dump is complete, the screen will display the message Come Leta,
O When the transmitting device starts transferring data, the display of the TD-7 responds with
Feceiving Suskx
+ The amount of Bulk
Dump data is large. Be
sure to check the
available memory in the
receiving MIDI device
before you proceed. ii
there is insufficient
memory space in the
receiving device, the
transfer of data cannot
take place.
« Setthe System Exclusive
Receive Switch on the
receiving device to ON.
if it is set to OFF, the unit
will not receive the Bulk
Dump data.
ex Р. 118
* Do nothit the Pad or play
the Sequencer while the
TD-7 is receiving data.
Chapter 6 System Setting 122
The TD-7 provides a choice of 3 aperatianal modes, These «re the Standard, Trigger MIDI Interface. and | At the factory default
MIDE Sound Module modes. Ordinarily, the unit can be left set at the Standard mode, settings, the unit is set to
use the Standard mode.
EM How to Set the interface Mode
1) From the Patch Play screen, press [SYSTEM]. and confirm that vou have the System screen's | > Patch Play screen
menu in View, up. 17
CoN IMIDIE IRE LH
Fai DEFI LEPE
e) Using [-] [>]. move the cursor to TF then press [ENTER].
IHTERFHCE Standard Mode
MODE= STHNDRED
3 By moving the [DAT AJ dial. vou can select betwcenthe screens shown below, thus makingyour
choice for the mode.
JA TEE
| Hi ERFALE cm MIDI Sound Module Mode
МОРЕ МЕРЕ
INTERFACE
Trigger MIDI Interface Mode
a a re ë
MUDE= TRIG- MIC
The various modes and the functions they provide arcas follows:
Standard Mode : > THACHRE
Ordinarily. the unit can be left set to this made. When you strike the pads, the internal sound sources
will produce sound. At the same time, MIDE messages that arrive from an external unit will also result
in the production of sound. However, while in this mode, priority is given to the pads” trigger signals
and the sounds they produce,
MIDI Sound Module Mode : MIDI -SOUMD
When set to this mode, sound will not he produced when the pads are struck. However, sound will be
produced with respect to alt MIDI Note On messages that are received. Since the TD-7 does not perform
the conversion of trigger signalsto MIDI messages inthis mode, there is an increase in the speed at which
it produces the notes after they have arrived as MIDE messages. This mode can be conveniently used
—
!
when you wish to use the TD-7 as a MIDI sound module.
Trigger MIDI Interface Mode : TRIG-MIDI
Since the TD-7 is capable of transmitting MIDI messages that correspond with the trigger signals that {| * Note that while in the
are generated by the pads, it can be thought of as a device which converts trigger signals to MIDI signals. Trigger MIDI Interface
Such a device is called a Trigger MIDI Interface. Mode, the TD-7's internal
This mode should be selected when vou wish to use the unit as a Trigger MIDI Interface. when sound sources will no
connected with a MIDI sound generating unit such as a sampler, While in this mode, the TD-7's internal longer generate any
sound sources are deactivated. so the speed at which trigger signals are converted to MIDI signals sound.
increases. As a result, the MIDI sound generating unit can produce the sound much faster, with a
minimum of delay occurring after the instant a pad is struck.
However. the TD-T's intemal sound sources will not sound.
123 Chapter 6 System Setting
3. Using the Footswitch and Sound-on-Sound
The TD-7 is equipped with a jack for connection of footswitches. This sterco jack allows connection
of two footswitches when using a special cable (PCS-3Loptional). Use BOSS FS- SU footswitches
(optional).
The footswitch side of the connection cable has two monaural plugs. The footswitch connected to the
plug with the white line is Footswitch and the other is Footswitch 2.
Footswitch 1
White ne FS-5U
|."
pus
— PCS-31
FOOT Sw
>
Red ind
Footswitch 2
When a DP-2 footswitch (optional) is connected to the Foatswiteh fuck, Footswitch 2 wilthave no ceflect.
[1] How to set the Footswitch Mode
1) Select the Patch Play screen, then press [SYSTEM] to select the System screen menu.
De aM ID IE IRE IMI
Fs DEMOELCDE SET
@ Move the cursor to F S10. then press [ENTER].
Foot Sw = Made 1
FEILIF FLA
(3) Select one of the three modes using the [DATA] dial.
Fonds 1 Mode This mode allows vou 16 change Patches using the
footswitches.
Mode 2 Mode 2 This mode allows you to use the footswitches to sustain
sounds and change Patches,
= OF = Sound-on-sound Mode | This mode allows vou 10 use the Sound-on-Sound
function.
Chapter 6 System Setting 124
e Mode 1
A КЕ T,
KILIF
Mods 1
НОННА
—
I Ar
fl —
ты жа
When Erede 1 is selected. the two footswitches are set to Mode 1,
Mode 1 isfor changing Patches withthe footswitches, Pressing footswiteh 1 increasesthe Patch Number
while footswitch 2 decreases it. Ifyou depress and hold down either footswitch. the Patch Numbers
will change continuously.
In Mode 1. the footswitches function in the same way as the [-] and [>] buttons in the Patch Play
screen. Footswitch 1 corresponds to the [>] burton. while Footswitch 2 corresponds to the [<]
bution,
© Mode 2
Frot. Si =
LU DOH
Мене ©
EH [e
Whenflode CA ds selected, the two footswilches are set to Mode 2,
In Mode 2. footswitch 1 changes Parches and footswitch 2 sustains the sound.
Each time you press footswitch 1 the Patch Number will increase. Pressing footswitch 1 twice quickly
will decrease the number, 1 vou depress and hold footswitch 1. the Patch Numbers will increase
continuously.
Ifyou depress and hold footswitch 2 while vou play. the currently selected sound will be sustained. This
is called the Hold effect.
+ When Made | is
selected, the Sound-on-
Sound function cannot
be used. To use that
func-tion, select = on
=
1
=
tv Patch Play Screen ‘# Р.
17
* When Mods 2 15
selected, the Sound-on-
Sound function cannot be
used. To use that func-
tion, select = on =.
* To use the Hold function,
set the Hold Receive
Switch (P. 118) to ON. If
it is OFF, the Hold effect
cannot be obtained.
When Modes 2 is
selected, pressing
footswitch 2 will send a
Hold message (Control
Number 64).
125
Chapter 6 System Setting
[2] Using the Sound-on-Sound Function
Sound-on-Sound is a function that allows vou to record the phrase currently being played and then play
it hack immediately. 1tuses the Loop Recording method than allows vou to record sounds as many times
as you like thy layering them), Because loutswitches can be used for quick recording and playback
during real-time performances, one person can play several parts at once.
mM How to use Sound-on-Sound
D Select the Patch Play screen, then press [SYSTEM].
MIDI
© Trigger MIDI interface
| Initialize
CSYSOMIDTETFEIHT
Feul DEMCELCDI SET
| Sound Setup
LCD Contrast
Demo Song
Footswitch
@ Move the cursor to F £41, then press [ENTER].
Foot Sy = Made 1
#1LF р
3 Select 5 Of 7 using the [DATA] dial.
Foot Shi = = on 5
#1SECLUR-DL #7REC
« Patch Play screen
das Р. 17
Chapter 6 System Setting 126
@ Press footswitch 2. and the TD 15 ready for recording performance information. This is the
record stand-by mode.
65) Play a pad to stant recording. then play the phrase vou wish to record. When vou have finished
plaving, press footswiteh 2to stop recording. The recorded data will be immediately played back.
(6) Pressing footswitch 2 during plavback will start recording again. You can record (Loop Record)
over the existing data as many times as you wish,
7 Pressing footswitch while a phrase is being played back for recorded) will stop playback Cor
recording). erasing the previously recorded phrase,
HW Setting the Interval and Quantize
Mer step E above. follow this procedure:
a Press [ENTER].
5 Move the cursor to the 1ribet{a1 value, then set the value with the [DATA] dial.
7 у —— ==. во —
FTEs =i =m APO с:
intepugi= 1-18
Value
Parameter
© Move the cursor to Lota wal then select HUT. 1 Te using the [DATA] dial.
=
fed IF
„” = .
Mi
TI
H
Pta $
7 Move the cursor to the ESLLSPTE 1 Z value (resolution). then set the value with the [DATA]
dial.
* The Sound-on-Sound
function cannot record a
long phrase (refer to
page 128).
* Pressing footswitch 1
(while the phrase is
stopped) will change the
Patch Number. Each
time youpress footswitch
1 the Patch Number will
increase; twice quickly
will decrease the
number.
* The Sound-on-Sound
and Phrase Sequencer
(P. 92) data are recorded
in the common memory
area. If the Phrase Se-
quencer data istoo large,
the Sound-on-Sound
-data cannotbe recorded.
if this hap-pens, check
the available memory
with the Availabie
Memory function (P. 105)
and reduce the amount
of data you want to
record.
127
Chapter 6 System Setting
The following explains the Internal and Quantize. + Ifthe interval is too long,
the phrase cannot be
e Interval (1/4, 1/8, 1/12, OFF) recorded.
This parameter sets the playback tempo of Sound-on-Sound data. You start recording by depressing
footswitch 2 then hitting a pad. The time interval between these two events determines the basic tempo.
You can select 174. 1/8, 1/12 or OFF. The timing value you selecthere is setas the beat of the selected | + When OFF is selected,
the basic tempo is not
note.
set and no quantization
14 A quarter note J is applied.
1-3 An eighth note J
m. de
1-12 | Quarter note triplets des
LIFE No quantization
e Quantize [1/8, 1/12, 1/16, 1/24, 1/32, 1/48, 1/64, HIGH (1/96)]
The quantize function corrects timing inaccuracies that occur during recording. Forinstance, if you sct
it (resolution) to 1 1 & all the sixteenth notes in your sequence will fall precisely on the sixteenth note
divisions in each measure. [Notes of longer duration will fall on their respective divisions as well |
Normally, this setting should reflect the smallest note value in your sequence. When set to HIGH,
no quantization will be applied to what you play.
Example:1/16 resolution
Resolution Л » A) >
Actual note date Л
Quantize at sixteenth
> <—
Yor Yor
note resolution > #
Note date after A A
quantization # #
[] Recorded data
The maximum length of data that can be recorded when using Sound-on-Sound is 112 beats (with the
quarter note setting). That is, 28 measures in 4/4, or 37 measures in 3/4.
The Sound-on-Sound and Phrase Sequencer (P. 92) data are recorded in the common memory area, #
the Phrase Sequencer data is too large, the Sound-on-Sound data cannot be recorded. If this happens,
check the available memory area with the Available Memory function (P. 105) and reduce the amount
of data you want to record.
Chapter 6 System Setting 128
4. The Sound Setup
The TH-7's Instruments can he assigned 10 one of the three outputs: Stereo Output. Send 1 or Send 2.
(ES). NS) The Send | signal can be sent to either Effect 1 or Individual Output 1. Similarly, the Send 2
signal can be sent to either Effect 2 or Tndividuad Output 2. The setting of the Sound Setup determines
which of the Effect or Individual Output will be used. The setting of the Sound Setup is common to all
the Instruments. For example, selecting Effect 1 will send all the Instruments to the Effect | output and
ho signal is output from Individual Output 1. 62 P. 13]
R - OUTPUT - — INDIV - 1
| Individual Output 1
Stereo Outputs Individual Output 2
M How to set the Sound Setup
O Select the Patch Play screen, then press [SYSTEM].
MIDI
Trigger MIDI Interface
Initialize
CSYSOMIDIBIFIIHI
Faui DEMOPLODISET
| Sound Setup
LCD Contrast
Demo Song
Footswitch
0) Move the cursor to E. T. then press [ENTER].
Setting Send 1
Y
meno) + EFFECT |
serais = [MDI г
Setting of Send 2
":-Patch Play Screen
x P,17
129
Chapter 6 System Setting
(3) Select Send 1 using the [DATA] dial.
Send
EFFECT 1 | Allinstruments assigned to Send 1 are sentto Effect 1. mixed. and then output
through the Stereo Outputs.
IMDIL! 1 All Instruments assigned to Send 1 are output through Individual Output 1.
OFF All Instruments assigned to Send 1 are muted.
@ Move the cursor to the lower line using [+] and [>]. hen set Send 2 (Zed) using the
[DATA] dial.
Send2
EFFECT_Z | All Instruments assigned to Send 2 are sent to Effect 2, mixed, and then output
through the Stereo Outputs.
THD IU 2 All Instruments assigned to Send 2 are output through Individual Output 2
OFF All Instruments assigned to Send 2 are muted.
Chapter 6 System Setting
130
E Audio Output and Effects
Levels for three parameters can be set for the TD-Ts Instruments, + P. 68
Output Level Send | Level Send 2 Level
The Sound Setup determines the output mode of Send 1 and Send 2.
The signal of Send | can be selected as either:
(D Input to Effect Reverb Delay)
(2) Output from Individual Output |
The signal of Send 2 can be selected as either:
(D Input to Effect 2 (Chorus Flinger)
(2) Output from Individual Output 2
VOLUME Outputs
cr PH
individual
Output 1
©
individual
Output 2
INSTRUMENT Send? Leval : Nerve raat Vasseur
PARAMETER в SYSTEM PATCH
Le P.88 Y PARAMETER PARAMETER
=> Р.129 => Р.Б2.64
® What is set in Send 1 and Send 2 is common to all the Instruments, that is, if
you select “Output through Individual Output 1”, Effect 1 cannot be used.
Therefore, itis not possible to “apply reverb to a certain Instrument and output
a different Instrument through Individual Output 1”.
e If you wish to output a specific Instrument through an Individual Output, set
the Send Levels of the other instruments to zero.
e The level of the Stereo Out for each Instrument can be set with the Output
Level (P. 87) of each Instrument.
® The Send Level (P. 88) of each Instrument works as an Individual Output
Level, when Individual (I HE TL!) is selected in the Sound Setup. If, however,
Effect (EFFECT) is selected, it works as an Effect Send Level.
131 Chapter 6 System Setting
5. Initialization
The TD-7 features two types of initialization: one is initializing all the parameters 1o the factory preset
values (P. 150) and the other is optimizing the Hi-hat Control Pedal function to the most appropriate
value.
[1] Hi-hat Control Pedal Initialize
This function allows vou to set the FD-7 Hi-hat Control Pedal (optional) for the best possible
performance results. Once you have initiulized the TD-7 forthe FD-7. the values will be retained even
after you switched off the TD-7.
1) Connect the FD-7 Hi-hat Control Pedal to the Hi-hat Control Jack (HH CONT) on the TD-7.
Do not depress the Hi-hat Control Pedal.
©) Select the Patch Play screen, then press [SYSTEM].
ENS AMIDTIE IFT IMI
Few DEMOELCDE SET
®) Move the cursor to THTI using [-) and. [>], then press [ENTER].
INITIALIZE HiHat
HiHat IHIT7 = 14
1
The value to be set
Pressing [ENTER] will execute the Initialization procedure, setting the Hi-hat parameters to the most
appropriate values. If you wish to change values, more the cursor to the value field, then rotate the
[DATA] dial.
Chapter 6 System Setting 132
[2] All Initialize
The All Initialize function returns alt he data in the TD-7 to the factory presets. This will automatically
erase any previous data in the internal memory of the TD-7. So. il vou wish to retain the original data.
save it onto another MIDI device using the Bulk Dump function (83° P. 122) or make a memo as to the
seltings,
1) Select the Patch Play screen. then press [SYSTEM].
(2) Move the cursor to INT using [<a] and (+). then press
[ENTER]
IMITIHLIZE Hikhat
HiHat IHIT = 14
(3) Movethe cursortoHittät using [-] and [>>]. then select ALL by rotaing the [DATA] dial.
IMITIBLIZE HLL
TL- HLL IMIT 7
4) Press [ENTER]. and the screen will respond with Are vou sure”
* Copying factory preset
5) Press TENTER] again. andthe All Initialize willbe performed,
To cancel the All Initialize, press [EXIT] instead of [ENTER],
data into the User
Patches, Instruments
® If you wish to reset only the Patch data, copy the factory preset Patch data and Sequence Patterns
into the User area using the Patch Copy function (P. 71). will automatically over-
| write (replace) any data
® If you wish to reset only the Instrument data, copy the factory preset data into stored there.
the User area using the instrument Copy function (P. 89).
133 Chapter 6 System Setting
134
Chapter
- Reference
1.Error Messages | cnnrnenananas 136
2, Troubleshooting .............. 138
3.Patch List .............. 141
4 Waveform List .............. 144
5.instrument List ............. 146
6.initial Setting .............. 150
7.Blank Chart .............. 153
1. Error Messages
When any operational error or problem occurs, the screen will display an error message. If this happens, refer to the following section for
help.
The unit received an excessive amount of MIDI data from an external MIDI device.
= Reduce the. amount.of MIDI data transmitted from the external MIDI device. Alternatively, send data over a longer interval so that the
“amount of data sent each time will be reduced.
Pressing any button on the panel of the unit will retneve the previous screen.
Het sensing err
Fresas an key
A connecting MID] cable may be damaged or disconnected.
= Check the MIDI cable and all connection.
Pressing any button on the panel of the unit will retrieve the previous screen.
=u4p error
an key
rt TT
Fi
in 2e
ir
The unit could not receive Exclusive data properly.
= Check the MIDI cable and data to be transmitted, then send the data again.
Pressing any button on the panel of the unit will retreive the previous screen.
LC-0LT abnormal
Frezz arg ked
The signal fed into the Trigger Input section is of abnormally high voltage. Be sure to use pads with the proper output voltage.
Pressing any button on the panel of the unit will retrieve the previous screen.
If the previous screen cannot be retrieved , contact your local Roland Service Center.
In addition, if you hit the pads when power is tumed on, this error messagge could appear in the display. In this case, turn the power on
again.
Invalid imeut
This message appears when the same number has been assigned to the source and the destination number in Patch Copy/Pattern
Copy/Instrument Copy, etc.
wp Select differrent numbers for source and destination.
The previous screen will be recalled in several seconds.
136
FL Meporta full
No more sequence pattems can be written into memory.
=> |f you wish to continue to record, erase some unnecessary sequence patterns.
The previous screen will be recalled in several seconds.
ЕЕ Pattern
—
You are trying to erase a Sequence Pattern in which no data exists.
= Select a Sequence Pattern that contains data.
The previous screen will be recalled in several seconds.
Ll om di pm pe me i pm
fl Bt. Paid i r ji Te paria i i cl
The Trigger Transmit Channel ( = P. 115) is not set to the same number as the Instrument Section's Transmit and Receive channel
(=7 P.115),or the Performance Section's Transmit and Receive channel (7 P.116). Therefore, you cannot select an Instrument.
= Set the Trigger Transmit Channel to the same number as the Instrument Section’s Transmit and Receive channel or the Performance
Section’s Transmit and Receive channel.
The previous screen will be recalled in several seconds.
batheru ow
rasa ara key
The battery that supports the backup system of the internal memory is nearly exhausted.
= AH data stored in the internal memory may be lost. Have the local Roland Service Center replace the battery as soon as possible.
The internal data of the TD - 7 is damaged.
> Data cannot be restored unless it is initialized. Foliow this Initialization procedure:
(D Press [ENTER].
a
"+
-
E
FH
iii
Y
LI
Jin
*
„*
-
нЕ
ро
E ra
НЙ
Ч
T
Е
(O) Pressing [ENTER] again will recall the Patch Play screen.
* The above initialization procedure will set all the data in the TD - 7 to the factory preset values.
137
2. Troubleshooting
instrument
- @ No sound is heard.
Make sure that the TD - 7 is connected securely and correctly to the amplifier.
= Connect the TD - 7 to the amplifier securely and correctly.
Make sure that the signal is not output to Individual Output 1 or 2.
=» Connect the amplifier to Individual Output Jack 1 or 2.
Make sure that the Instrument's Output Level 1s not set to zero.
“> Set the Output Level to an appropriate level, (£7 P. 87)
Make sure the Midi In Switch in the Systern screen is not set to OFF.
=p Set the Midi In Switch to ON.(£7 P.116)
Make sure that the Local Control Switch in the System screen is not set to OFF.
=» Set the Local Control Switch to ON. (== P.120)
Make sure that the Trigger Interface Mode in the System screen is not set to the Trigger MIDI Interface Mode or MIDI Sound Module
mode.
=> If so, change it to the Standard mode.( =r P. 123)
If you are going to play the Instrument Section, make sure that the Instrument Section Transmit and Receive channel is set to the same
number as the Trigger Transmit channel. Or make sure that Instrument Section Level is not set to 0.
=» Set the Instrument Section Transmit and Receive channel to the same number as the Trigger Transmit channel. (=> Р. 115)
“> Set the Instrument Section Level to an appropriate level. (7 P. 119)
If you are going to play a Performance Section, make sure that the Performance Section Transmit and Receive channel is ser to the same
number as the Trigger Transmit channel. Or make sure that the Global Performance Level is not set to 0.
=» Set the Performance Section Transmit and Receive channel to the same number as the Trigger Transmit channel. (> P. 116)
=» Set the Global Performance's Leve! to an appropriate level.( 7 P. 74)
@ The sound level is too low.
Check if the volume of the amplifier is set too low.
=> If so, raise the volume of the amplifier.
Check if the volume of the TD - 7 15 set too fow.
=» If so, raise the volume of the TD - 7.
O The sound of an Instrument is strange.
Check if the Instrument Parameters are set properly.
= [f not, set the Instrument Parameters properly. (=r P. 78)
@ Playing a pad with the Choke function set to ON will produce the sound with a short decay.
Check if a pad other than a PD - 7 is connected to a Trigger Input Jack.
=» [f so, set the Choke function to OFF. (=r P. 45)
138
O The volume doesn't change with different playing dynamics.
Check if the Velocity Sense Curve is set to Fix.
= !f so, change the Velocity Sense Curve to Normal. (= P.44)
The volume you expect cannot be obtained if the Max Dynamic and Minimum Dynamic are set improperly.
= Change the settings of the Max Dynamic and Minimum Dynamic. (= P.46)
@ When you play the pads quickly in sequence, some pads do not sound.
Check if the Mask Time is set too long.
=> If so, lower the Mask Time value. (= P. 47)
@ No sound is produced if you play softly.
Check if the Threshold Level is set too high.
> | so, lower the Threshold Level.
@ Effect 1 (or Effect 2) does not work.
Check if the OFF or INDIV_1 (or INDIVID_2) is set in the Sound Setup.
=+ If so, change the settings of the Sound Setup.(=7 P. 129)
Phrase Sequencer
@ No sound is produced even by playing back a Sequence Pattern.
Check if you are playing back a blank Sequence Pattern (where no data exists).
=» |f 50, select a Sequence Pattern where data 15 recorded.
Check if you are playing back a Sequence Pattern where only the Control Change messages are recorded.
= |f so, select a different Sequence Pattern.
O Indicators flash in the Patch Play screen.
Check if you are playing back a blank Sequence Pattern (where no data exists). E
= !f so, stop playback by playing the pad that caused the blank Sequence Pattern to play or by moving to the Pattern Play | in the Sequencer
screen.
@ None of the Pattern Numbers 25 — 48 can be selected in the Sequence Pattern creation mode.
«=» Remember that Pattern Numbers 25 — 48 are preset patterns and therefore cannot be recorded. (<= P. 96)
@ The Tempo cannot be edited while a Sequence Pattern is being recorded.
Check if the Sync Mode is set to MIDI.
> If so, change it to INTERNAL. (=7 P. 105)
@ When you start the Phrase Sequencer via MIDI, a pattern different from what is selected is played.
Check if the same Note Number is assigned to more than one Trigger Signal. When the same number is assigned to more than one Trigger
Signal, one Sequence Pattern Number is selected in the priority sequence of TRIGI, RIMI, TRIG2, RIM2 ..... RIM9 and PEDAL.
= If so, change the Note Numbers. (=> Р. 42)
139
System
@ The sound is cut when the TD - 7 is played in the Multi - timbral mode.
Check if the number of voices used exceeds the maximum of 14.
= {f so, lower the number of voices to be played simultaneously.
@ Patches on the unit are not changed even when it receives Program Change messages.
Check if the Program Change Receive Switch in the System screen is set to OFF.
=$ |f so, set the Program Change Receive Switch to ON. (= Р. 118)
O The unit does not receive System Exclusive Messages.
Check if the System Exclusive Switch is set to OFF.
= !f so, change the System Exclusive Switch to ON. (== P. 118)
@ Bulk dump data cannot be transferred completely.
Check if the amount of available memory in the receiving MIDI device is sufficient.
=> Be sure that there is sufficient memory available in the receiving MIDI device.
@ Sound - on - sound recording is not possible.
Check if there is sufficient memory available. (7 P. 127)
> [f not, erase some unnecessary data, then repeat the recording. (=r P.105)
Determine if the interval between pressing footswitch 2 and hitting a pad was too long.
=+ If so, repeat recording using a shorter interval.
O The screen on the TD - 7 is difficult to read.
Check if the LCD Contrast is set properly.
=> |f not, change the LCD Contrast so that you can read the screen easily.
@ You cannot hold(sustain) a sound.
When “CtriMode” in the Pedal Parameters ( = P.67) or Global Performance Parameters ( =r P.74) is set to “Decay”. the Hold function
cannot be obtained in that section.
@ You cannot play back the Hi-hat Control Pedal information recorded in the Phrase Sequencer.
When the System Parameter is set to “Ctrl Chg = HOLD” (+ P.121) and “Hold Rx = OFF” (= P.118), the Hi-hat Control Pedal operation
information is converted to Hold messages, and therefore cannot be sent to the intemal sound source.
= Set the “Ctrl Chg” to a status other than “HOLD”, or set it to “Hold Rx = ON”.
@ Unexpected sounds are heard when you play the TD-7 with an external MID! sequencer.
Check if the TD-7's Phrase Sequencer is playing.
= Set the Sequence Pattern Number set at the Trigger signal to “OFF”. (=~ P.44)
O The sensitivity of pads seems weak, and appropriate sound is difficult to obtain.
Did you hit the pads immediately after turning the power on?
=» When power is turned on, you should never attempt to hit the pads until after the Patch Play screen ( =r P.17) has appeared. If you hit the
pads when power is tumed on, a “DC-VOLT abnormal” error messagge could appear in the display. In this case, tum the power on again.
@ On occasion, no sound is heard when a pad is struck; or, the tempo slows down when the Phrase Sequencer is
playing back something.
Check if other devices are sending System Exclusive data to the TD-7.
> Do not hit the Pads or play the Sequencer while the TD-7 is receiving System Exclusive data.
@ The setting for the Threshold Level, a Trigger parameter, tends to get altered.
If set to use the Automatic Parameter Setting ( «7 P.45), the Threshold Level for pads which are not hit is set automatically. This is an
intelligent feature which is designed to eliminate the crosstalk that might occur between pads. If you wish to have the Threshold Level at a
different setting, follow the procedure on page 42, 47 to make the setting again.
140
3.Patch List
Factory Preset Patch Data
Patch | Change | Display Patch Nam Control Remark
Number Change play Pa ame Contro emar
1 65 Monstr Monster kit HiHat1 | Tom1-4: Rim sound is the same as Head sound
2 66 RokSid Rock Solid kit HiHat1 1
3 67 DryDrs Dry Drums kit HiHat1 1
4 68 Reverb Reverb Drums kit | HiHat1 1
5 69 90's 90's kit HiHat1 1
6 70 Rave Rave kit — HiHat1 1
7 71 Jnkyrd Junkyard kit HiHat1 1
8 72 X fade Crossfade kit HiHat1 1
9 73 Dopey Dopey kit HiHat1 1
10 74 Oldies Oldies kit HiHat1 т
11 75 House House kit HiHat1 1
12 76 Rocker Rocker kit HiHat1 1
13 77 Funk Funk kit HiHat1 1
14 78 Robo Robo kit HiHat1 |
15 79 Latin Latin kit HiHat1
16 80 Nashvl Nashville kit HiHat1 a:
17 81 August August kit HiHat1 |
18 82 Chickn Chicken kit HiHat1
19 83 Blues Blues kit HiHat1 {Crash Rim: Seq. pattern 34
20 84 Remix Remix kit — HiHat1 | TomiRim : Seg. pat. 31 Tom2Rim : Sea. pat. 32
21 85 Stroke Stroke Kit HiHat1 |Tom1-4 Rim: Seq. pattern 45-48
22 Junction kit HiHat1 | Tom1Rim : Seq. pat. 44 CrashRim : Seq. pat. 30
23 nce’ |" Dance Кн +. - | HiHat1 | Tom1Head: Seq. pat. 25 Tom2Head : Seq. pat. 28
24 cus | Percussion kit: | Pitch-W | SnareHeadRim, HihatHeadRim : Seq. pattern 43
25 Standard kit HiHat2 [GM System. GS Format.
26 Room kit HiHat2 GS Format.
27 17 Power Power kit HiHat2 1
28 25 Electr Electronic kit HiHat2 1
29 26 TR-808 TR-808 kit HiHat2 1
30 33 Jazz Jazz kit HiHat2 1
31 41 Brush Brush kit HiHat2 | т
32 49 Orches Orchestra kit OFF | t RideHead : Seq. pat. 25 RideRim : Sea. pat. 27
*
f : same as above |
* Patches 25 are to be played with the GM Score (Drum Part).
* Patches 25-32 are to be played with the GS music data (Drum Part).
* To play the TD-7 with an FD-7, change the Hi-hat Control Pedal Mode of Patches 25-31
from HiHat2 to HiHat!. (P.66)
141
Patch No. Patch Name
Phrase Sequence Pattern (Factory preset)
| layed recommended
No. Contents Type ection T instrument
-
-
—
-
—_
р
ча
142
Standard kit (Patch 25 ) Note Map
Trigger — Instrument (Sound1)
143
4. Wavform List
No. | Display | Nuance Wavform Name No. | Display | Nuance Wavform Name
1 C oustic maple kic 25 | O
3 O boing solid kick (OO | LA snare
4 O bright kick a , O L.A. fat snare
5 O commercial acoustic kick 69 26.5 | © light maple snare
6 O commercial bright kick 70 27.5 O light snare 1
7 O commercial kick 71 28.5 O light snare 2
8 O deep kick 72 29.5 O loose snare
g O deep room kick 73 30.5 O maple rock snare
10 O dry kick = 74| 31.5 O noise snare
11 O easy kick 75 32.5 O pandiero snare
12 O easy pillow kick 76 | 335 O power snare
13 O flop kick 77 34.S O radio snare
14 O hard kick 78 35.5 O rocker snare
15 O high Q 808 kick - 79 | 36.5 O rockin' snare
16 O hybrid kick 80 | 37.5 O ‘rock light snare
17 O light reverb kick 81 38.5 O rock power snare
18 O mondo reverb kick 82 39.5 O rock rim shot snare
19 O. mondo kick 83 40.5 O real snare 1
20 O mondo deep kick 84 | 41.5 O real snare 2
21 O: | maple pillow kick 85 | 425 O reggae snare 1
22 O maple reverb kick 86 | 43.5 O reggae snare 2
23 O pillow kick 87 44.5 O ring snare
24 O punch kick 88 | 45.5 O ring maple snare
25 O rap kick 89 46.5 O rock snare 1
26 O. 1 real kick 90 47.5 O rock snare 2
27 O reverb kick 91 48.5 e, super combo snare
28 O room kick 1 92 49.5 O super light snare
29 O room kick 2 - 93 | 50S | O super whack snare
30 O smash kick 94 51.5 O tight snare
31 O solid kick 95 52.5 O TR - 808 snare
32 O surdo acoustic kick 96 53.5 O TR - 809 snare
33 O synthesizer kick 97 | 54.5 O -90's snare
34 O tight kick 98 | 55.5 O 909 light snare
35 35.K O timpani pillow kick 99 56.5 x Ambient side stick
36 36.K O tom kick 100] 57.5 X ‘maple side stick
37 37.K O TR - 808 kick _ 101] 58.5 X metal side stick
38 38.K O TR - 909 kick 102 59.5 x TR - 808 side stick
39 39.K O reverb solid kick 103 | O1.T O acoustic tom 1
40 40.K © verby kick 104) 02.7 O acoustic tom 2
41 41 .K O TR - 909 acoustic kick 105] 03.7 O ambo tom 1
42 42.K O TR - 909 commercial kick 106 | 04.T O ambo tom 2
43 43.K O TR - 909 hard kick 107] O5.T O boosh tom 1
44 01.S O acoustic rim shot snare 108| 06.T O boosh tom 2
45 02.5 O acoustic snare | 1091 07.T O ‘brush tom 1
46 03.5 O attack snare 110{ 08.7 O brush tom 2
47 | 04.5 O big shot snare 111] 09.7 O dry tom 1
48 05.5 x brush roll snare 1 112] 10.T O dry tom 2
49 06.5 O brush roli snare 2 113] 11.T O double head tom 1
50 07.S e brush slap snare 1 i14] 12.7 O double head tom 2
51 08.S O brush slap snare 2 115] 13.T O electronic tom 1
52 09.5 © brush slap snare 3 116 | 14.7 O electronic tom 2
53 10.5 © brush swish snare 1171 15.T e electronic tom 3
54 11.5 O combo snare 1181 16.T °С) electronic tom 4
55 125 O cracker snare 1191 17.T O light tom 1
56 135 O dance snare 120} 18.1 O light tom 2
57 14.5 O double ring snare 121 19.T O real tom 1
58 15.5 O dopin' snare 1221 20.T O real tom 2
59 16.5 O fat snare 123 | 21.T O real tom 3
60 17.5 O | hard snare 124| 227 O real tom 4
61 18.5 O house snare 1 125] 23.7 O rim tom 1
62 19.8 O house snare 2 126 | 24.7 O rim tom 2
63 20.5 O house snare 3 127 | 25.T O ring tom 1
64 21.5 O house dopin' snare 128| 26.T O ring tom 2
144
No. | Display | Nuance Wavform Name No. | Display | Nuance Wavform Name
12971 27.7 e, rock tom 1 193] 39.Р O taiko
130{ 28.T O rock tom 2 194 | 40.P O 1 tompani
131 29.T O rock tom 3 185] 41.P O tim tim
132] 30T O rock tom 4 1961 42.P O woody
133} 31.T O room tom 1 1971 43.P X DR - 55 claves
134| 32.7 O room tom 2 198] 44.P x CR - 78 cowbell
135} 33.7 O room tom 3 1991 45.P x CR - 78 metallic beat
136 | 34.T O roomt om 4 200] 46.P X CR - 78 tambourine
1371 35.7 O surdo tom 201 | 47.P x CR - 78 maracas
138] 36.7 O TR - 808 tom 202| 48.P O TR - 808 conga
139/ O1.H O pop closed hi - hat 203 | 49.P X TR - 808 claves
140 1 02.H O pop open hi - hat 204] 50.P x TR - 808 maracas
141 03.H x pop pedal closed hi - hat 205] 51.P X TR - 808 hand clap
142} 04.H O acoustic closed hi - hat 206) 52.Р x TR - 808 cowbell
143 | 05.H O acoustic open hi - hat | 207| 01.M O glockenspiel
1441 06.H X acoustic pedal closed hi - hat 2081 02M O kalimba
145 | 07.H O TR - 808 closed hi - hat 2091 03.M O marimba lower
146 | 08.H O TA - 808 open hi - hat 2101 04.M O marimba upper
147 | 01.C x crash cymbal 1 211| O5. M O steel drum
148 | 02.C x crash cymbal 2 2121 06.M O vibraphone lower
143 | 03.C X splash cymbal 213 | 07.M O vibraphone upper
150 | 04.C x chinese cymbal 214| 08.M O xylophone
151 | 05.C X hand cymbals 215] 09M O gamelan 1
1521 06.C O ride cymbal 216] 10M O gamelan 2
153 | 07.C O ride bell cymbal 217 | 11.M O gamelan 3
154| 08.C O brush ride cymbal 2181 01.Е X scratch push
1551 O1,P X cowbell 2191 02.Е X scratch pull
156! 02.P X tambourine 2201 03.Е X high Q
157] 03.Р X castanets 2211 04.E x snaps
158| 04.P O concert bass drum 222| 05.E X hoo!
159 | 05.Р O timpani 223| 06.Е X fx noise
160 | 06.Р x triangle 224) 07.Е X reverb clap
161 | 07.P x wood block 2251 08.Е O light shot
162| 08.Р O bongo high 226| 09.Е O concert ambience
163} 09.Р O bongo low 2271 10.E O crash !
164] 10.P O conga high mute 228} 11.E O dungeon
165| 11.P O conga high slap 229} 12E x glass crash
166 | 12.Р O conga high open 230| 13.E O spark |
167 | 13.P O conga low open 231 | 14.Е O reverse kick
1681 14.P O timbale high 232 | 15.E O reverse snare
169 1 15.P O timbale low 2331 16.E O reverse tom
1701 16.P x claves 234 | 17.E x reverse cymbal 1
171 17.P x vibra - siap 235} 18E x reverse cymbal 2
172| 18.P x guiro short 236} 19.E X reverse cymbal 3
173] 19.P x guiro long 237} 20E x reverse high Q
174 | 20.P x maracas 238| 21.E x reverse clap
175) 21.P X shaker 239| 22E X reverse shot
176] 22.P X cabasa 240] 23.Е X reverse beat
1771 23P X whistle short 241 | 24.Е x | reverse ambience
178] 24.P X whistle long 242] 25.E X kick ambience
179} 25.P X agogo 243| 26.Е x snare ambience
1801 26.P x cuica 244| 27.E x tom ambience
1811 27.P x pandiero mute 245] 28.Е x guitar hit
182] 28.P O pandiero open 246 | 29.F X quitar 5th
183 | 29.Р O surdo 247 | 30.E x orchestra hit
1841 30.P O can 1 248 | 31.E O melodic 1
1851 31.P O can 2 249} 32.Е O melodic 2
186 32.P O can 3 250 | 33.Е O melodic 3
187 | 33.P O can 4 2511 34.E O melodic 4
188] 34.P O ethnic 1 2521 01.8 O jazz bass
189] 35.P O ethnic 2 253! 02B O slap bass
1901 36.P O ethnic 3 254| 03.8 O acoustic bass
191 | 37.P O log drum 255| 04.8 O synthesizer bass 1
192| 38.P O metal 256| 05.8 O synthesizer bass 2
145
5. Instrument List (Initial Settings)
No Display instrument Name No Display Instrument Name
1 АсМр!.К | acoustic maple kick 65 Rubbr.K | rubber kick
2 Acous.K | acoustic Kick 66 Sine.K | sine kick
3 BoSId.K | boing solid kick 67 Smash.K | smash kick
4 Bottm.K | bottom kick 68 Soft1.K | soft kick 1
5 Brite.K | bright kick 69 Soft2.K | soft kick 2
6 Catch.K | catch kick 70 Solid.K | solid kick
7 Chop.K | chop kick n SrdAc.K | surdo acoustic kick
8 Clay.K | clay kick 72 Stone.K | stone kick
9 CmAco.K | commercial acoustic kick 73 Syn1.K | synthesizer kick 1
10 CmBrt.K | commercial bright kick 74 Syn2.K | synthesizer kick 2
11 Comrc.K | commercial kick 75 Tight.K | tight kick
12 Deep.K | deep kick 76 TmPiw.K | timpani pillow Kick
13 Dig.K | dig kick 77 Tom.K | tom kick
14 DpRom.K | deep room Kick 78 TR808.K | TR - 808 kick
15 Dry1.K | dry kick 1 79 TR909.K | ТА - 909 kick
16 Dry2.K | dry kick 2 80 Tube.K | tube kick
17 Dry3.K | dry kick 3 81 VbSid.K | reverb solid kick
18 Drya.K | dry kick 4 82 Verby.K | verby kick
19 Elec1.K | electronic kick 1 83 Wild.K | wild kick
20 Eiec2.K | electronic kick 2 84 Wood1.K | wood kick 1
21 Ez.K | easy kick | 85 Wood2.K | wood kick 2
‚22 EzPiw.K | easy pillow kick 86 808Sf.K { 808 soft kick
23 Face.K | face kick 87 909Ac.K ! 909 acoustic kick
24 Flick.K | flick kick 88 909Cm.K | 909 commercial kick
25 Floor.K | floor kick 89 909Hd.K | 909 hard kick
26 Flop.K | flop kick - 90 Acous.S | acoustic snare
27 Full.K | fuit kick 91 AcoRm.S | acoustic rim shot snare
28 Gate1.K | gate kick 1 - 92 Atak1.S | attack snare 1
29 Gate2.K | gate kick 2 93 Atak2.S | attack snare 2
30 Grit.K } grit kick 94 Atak3.S | attack share 3
31 Hard1.K | hard kick 1 95 Bambo.S | bamboo snare
32 Hard2.K | hard kick 2 96 BgSht.S | big shot share
33 Heavy.K | heavy kick - 97 Brass.S | brass snare
34 Hous1.K $ house kick 1 98 BrRi1.S | brush roll snare 1
35 Hous2.K | house Kick 99 BrRI2.S | brush roil snare 2
36 Hous3.K | house kick 3 100 BrRI3.S | brush roll snare 3
37 Huge.K | huge kick 101 BrSi1.S | brush slap snare 1
38 Hybrd.K $ hybrid kick 102 BrSi2.S | brush slap snare 2
39 HQ808.K | high Q 808 kick 103 BrSi3.S | brush slap snare 3
40 Jazz. K | jazz kick 104 BrSi4.S | brush slap snare 4
41 Lite1.K | light kick 1 105 BrSIi5.S | brush slap snare 5
42 Lite2.K 1 light kick 2 106 BrSi6.S | brush slap snare 6
43 Log.K 1 log kick 107 BrSw1.S | brush swish snare 1
44 Ltvrb.K | light reverb kick 108 BrSw2.S | brush swish snare 2
45 Machi.K | machine kick 109 Cave.S | cave snare
46 Manuf.K | manufacture kick 110 Ceram.S | ceramic share
47 MdVrb.K | mondo reverb kick 111 Chain.S | chain snare
48 Mondo.K | mondo kick 112 Ciip.S | clip snare
49 MonDp.K 1 mondo deep kick 113 Comb1.S } combo snare 1
50 MpPiw.K | maple pillow kick 114 Comb2.S | combo snare 2
51 MpVrb.K | maple reverb kick 115 Crack.S | crack snare
52 Muffi.K | muffle kick : 116 Crker.S | cracker snare
53 Muscl.K | muscle kick 117 Dance.S | dance snare
54 Pillw.K | pillow kick 118 DbiAn.S {| double ring snare
55 Pinch.K | pinch kick 119 Dk808.S | dark 808 snare
56 Punch.K | punch kick 120 Dopin.S | dopin' snare
57 Rap.K | rap kick 121 Drip.S | drip snare
58 Real.K | real kick 122 Explo.S | explosive share
59 Reso1.K | resonant kick 1 123 Fat.S | fat snare
60 Reso2.K | resonant kick 2 124 Fiber.S | fiber snare
61 Revrb.K | reverb kick 125 Freez.S | freeze snare
62 Room1.K | room kick 1 126 Frozn.S | frozen snare
63 Room2.K | room kick 2 127 Hard.S | hard snare
64 Room3.K | room kick 3 128 Hous1.S | house snare 1
146
No. | Display instrument Name No. | Display Instrument Name
129 Hous2.S | house snare 2 193 URLt.S | ultra light share
130 Hous3.S | house snare 3 194 WdAtk.5 | wood attack snare
131 HsDpn.S | house dopin’ share 195 WdSht.S | wood shot snare
132 Huge.S | huge share 196 90's.5 | 90's snare
133 Hyper.S | hyper snare 197 909Lt.S | 909 light snare
134 Kerf.S | kerf snare 198 AmbSt.S | ambient side stick
135 Kettl.S | kettle snare 199 DrySt S | dry side stick
136 LA.S | L.A. snare 200 HicSt.S | hickory side stick
137 Labo.S | labo share 201 MpiSt.S | maple side stick
138 LAFat.S | L.A. fat snare 202 MtIStS | metal side stick
139 Lite1.S | light snare 1 203 808St.S | TR - 808 side stick
140 Lite2.S | light snare 2 204 Acou1.T | acoustic tom 1
141 Lite3.S | light snare 3 205 Acou2.T | acoustic tom 2
142 Lo - FiS | lo-fi snare 206 Acou3.T | acoustic tom 3
143 Loos1.S | loose snare 1 207 Acoud.T | acoustic tom 4
144 Loos2.5 | loose snare 2 208 Ambo1.T | ambo tom 1
145 LIMoLS {light Maple snare 209 Amba2.T | ambo tom 2
146 Lt909.S | light 909 snare 210 Ambo3.T | ambo tom 3
147 Machi.S | machine snare 211 Ambo4.T | ambo tom 4
148 Megal.S | megalo share 212 Bend1.T | bend tom 1
1491 Memph.S | Memphis snare 213 Bend2.T | bend tom 2
150 Micro.S | micro snare 214 Bend3.T | bend tom 3
151 MpRck.S | maple rock snare 215 Bend4.T | bend tom 4
152 Noise.S | noise snare 216 Boos1.T | boosh tom 1
153 Nshvi.S | Nashville snare 217 Boos2.T | boosh tom 2
154 Paper.S {| paper share 218 Boos3.T | boosh tom 3
155 Paris.S | Paris share 219 Boos4.T | boosh tom 4
156 Picci.S | piccolo share 1 220 Brsh1.T | brush tom 1
157 Picc2.S | piccolo snare 2 221 Brsh2.T | brush tom 2
158 Picc3.S | piccolo snare 3 222 Brsh3.T | brush tom 3
159 Picc4.S | piccolo snare 4 223 Brsh4.T | brush tom 4
160 Power.S | power snare 224 Dry1.T | dry tom 1
161 Powtl.S | powerful snare 225 Dry2.T | dry tom 2
162 Punch.S | punch snare 226 Dry3.T | dry tom 3
163 Radio.S | radio snare 227 Dry4.T | dry tom 4
164 Rcker.S | rocker snare 228 Dubl1.T | double head tom 1
165 Rckin.S | rockin’ snare 229 Dubl2,T | double head tom 2
166 RekLt.S | rock light snare 230 Dubl3.T | double head tom 3
167 RckPw.S | rock power snare 231 Dubl4.T | double head tom 4
168 | RckRm.S | rock rim shot snare 232 Elec1.T | electronic tom 1
169 Real1.S | real snare 1 233 Elec2.T | electronic tom 2
170 Real2.S | real share 2 234 Elec3.T | electronic tom 3
171 Real3.S | real snare 3 235 Elec4.T | electronic tom 4
172 Real4.S | real snare 4 236 Fiot1.T | float tom 1
173 Real5.S | real snare 5 237 Fiot2.T | float tom 2
174 Regg1.S | reggae snare 1 238 Flot3.T | floattom 3
175 Regg2.S | reggae snare 2 239 Flot4.T | float tom 4
176 Regg3.S | reggae snare 3 240 Grnd1.T | ground tom 1
177 Regg4.S | reggae share 4 241 Grnd2.T | ground tom 2
178 Ring.S | ring snare 242 Grnd3.T | ground tom 3
179] RngMp.S | ring maple snare 243 Grnd4.T | ground tom 4
180 Rock1.S | rock snare 1 244 Lite1.T | light tom 1
181 Rock2.S | rock snare 2 245 Lite2.T | light tom 2
182| Room1.S | room snare 1 246 Lite3.T | light tom 3
183 Room2.S | room snare 2 247 Lite4.T | light tom 4
184 SprCb.S [ super combo snare 248 Mapi1.T | maple tom 1
185 SprLt.S | super light snare 249 Mapl2.T | maple tom 2
186 Sprwk.S | super whack snare 250 Mapl3.T | maple tom 3
187 Stead.S | steady snare 251 Mapl4.T | maple tom 4
188 Tight.S | tight snare 252 MBru1.T | mild brush tom 1
189 Tin.S | tin snare 253 MBru2.T | mild brush tom 2
190 Toy.S | toy snare 254 MBru3.T | mild brush tom 3
191 TR808.S | TR - 808 snare 255 MBru4.T | mid brush tom 4
192 TR909.S | TR - 909 snare 256 Milt1.T § mallet tom 1
147
No Display Instrument Name No Display Instrument Name
257 Mit2.T | mallet tom 2 321 TipPH.H | tip pedal closed hi - hat
258 MIk3,T | mallettom 3 322 808CH.H | TR - 808 closed hi - hat
259 Mit4.T | mallet tom 4 323 | 808OH.H | TR - 808 open hi - hat
260 Quak1.T $ quake tom 1 324 Crsh1.C | crash cymbal 1
261 Quak2.T | quake tom 2 325 Crsh2.C | crash cymbal 2
262 Quak3.T | quake tom 3 326 Crsh3.C | crash cymbal 3
263 Quak4.T | quake tom 4 327 Crsh4.C | crash cymbal 4
264 Real1.T | real tom 1 328 Spla1.C | splash cymbal 1
265 Real2.T | real tom 2 329 Spla2.C | splash cymbal 2
266 Real3.T | real tom 3 330 Chin1.C | chinese cymbal 1
267 Real4.T | real tom 4 331 Chin2.C | chinese cymbal 2
268 Rim1.T | rimtom1 332 Ride.C | ride cymbal
269 Rim2.T | rimtom 2 333 RIdBI.C | ride bell cymbal
270 Rim3.T | rimtom 3 334 RRide.C | rock ride cymbal
271 Rim4.T | rimtom4 335 RAdBI.C | rock ride bell cymbal
272 Ring1.T | ring tom 1 336 BrRid.C | brush ride cymbal
273 Ring2.T | ring tom 2 337 FeRid.C | feather ride cymbal
274 Ring3.T | ring tom 3 338 Hand1.C | hand cymbais 1
275 Ring4.T | ring tom 4 339 Hand2.C | hand cymbals 2
276 Rock1.T $ rock tom 1 340 CowH.P | cowbell high
277 Rock2.T | rock tom 2 341 CowL.P | cowbell iow
278 Rock3.T | rock tom 3 342 Tamb1.P | tambourine 1
279 Rock4.T | rocktom 4 343 Tamb2.P | tambourine 2
280 Roomt.T } room tom 1 344 Casti.P | castanets 1
281 Room2.T | roomtom 2 345 Cast2.P | castanets 2
282 Room3.T | room tom 3 346 | CnBDM.P | concert bass drum mute
283 Room4.T | room tom 4 347 | CnBDO.P | concert bass drum open
284 Sidet.T { side tom 1 348 Timpa.P | timpani
285 Side2.T 1 side tom 2 349 TriMt.P | triangle mute
286 Side3.T | sidetom 3 350 TriOp.P | triangle open
287 Side4.T | side tom 4 3511 WdABKH.P | wood block high
288 Surdi.T | surdo tom 1 352] WdBkL.P | wood block low
289 Surd2.T | surdo tom 2 353| BngHM.P | bongo high mute
290 Surd3.T | surdo tom 3 354| BngHO.P | bongo high open
291 Surd4.T | surdo tom 4 3551 BngLM.P | bongo low mute
292 Tank1.T | tank tom 1 356 BngLO.P | bongo low open
293 Tank2.T {| tank tom 2 357 CgHMt.P | conga high mute
294 Tank3.T | tanktom 3 358 CgHSI.P | conga high siap
295 Tank4.T | tank tom 4 359 | CgHOp.P | conga high open
296 808-1.T | TR-808tom 1 360 CgLMt.P | conga low mute
297 808-2.T | FR - 808 tom 2 361 CgLSI.P | conga low slap
298 808 -3.T | TR- 808 tom3 362] CglLOp.P $ conga low open
299 808 - 4.T | TR - 808 tom 4 363 Talk.P 1 talking drum
300 AcoCl.H | acoustic closed hi - hat inner 364 TimbH.P | timbale high
301 AcoCO.H | acoustic closed hi - hat outer 365 TimbL.P | timbale low
302 AcoOl.H | acoustic open hi - hat inner 366 Clave.P | claves
3031 AcoOO.H | acoustic open hi - hat outer 367 Vibsl.P 1 vibra - slap
304 AcoPH.H |. acoustic pedal closed hi - hat 368 GuitS.P | guiro 1 short
305 | HvyCH.H | heavy closed hi - hat 369 GuitL.P | guiro 1 long
306 HvyOH.H | heavy open hi - hat 370 Gui2S.P | guiro 2 short
307 HvyPH.H | heavy pedal closed hi - hat 371 Gui2L.P | guiro 2 long
308 LaxCH.H | lax ciosed hi - hat 372 Mracs.P | maracas
309 LaxOH.H | lax open hi - hat 373 MtShk.P | metal shaker
310 LaxPH.H | lax pedal closed hi - hat 374 Shakr.P | shaker
311 LitCH.H | light closed hi - hat 375 CabUp.P | cabasa up
312 LitOH.H } light open hi - hat 376 CabDn.P | cabasa down
313 LItPH.H | light pedal closed hi - hat 377 WhisS.P | whistle short
314 PopCH.H | pop closed hi - hat 378 WhisL.P | whistle long
315 | PopOH.H | pop open hi - hat 379 AgogH.P | agogo high
316 PopPH.H | pop pedal closed hi - hat 380 AgogL.P | agogo low
317 StiCH.H | sting closed hi - hat 381 CuiMt.P | cuica mute
318 StiOH.H | sting open hi - hat 382 CuiOp.P | cuica open
319 TipCH.H 1 tip closed hi - hat 383 PndMt.P | pandiero mute
320 TipOH.H | tip open hi - hat 384 PndOp.P | pandiero open
148
No. | Display Instrument Name No Display Instrument Name
385 LgPnd.P | large pandiero 449 Glass.E | glass crash
386 | SmPnd.P | small pandiero gun shot 1
387| SrdMt.P | surdomute __—— 1951 | gunshot2
388] SrdOp.P | surdoopen ~~. 4452 ÆE 1 gunshot3
389| Caxix.P | caxixi .E $ hammer
390 DimbH.P 1 diembe high high Q
391 DimbL.P | djembe low hoo !
392 ВейН.Р | bell high iron
393 BellL.P | bell iow 457 Knock.E } knocker
384 Can1.P | can1 458 LtSht.E | light shot
395 Can2.P | can? 459 Nois1.E j noise 1
396 Cana.P | can 3 460 Nois2.E | noise 2
397 Can4.P | can 4 461 Nois3.E | noise 3
398 Can5.P | can5 462 Pass.E | pass
399 Ethn1.P | ethnic 1 463 Phase.E | phase
400 Ethn2.P | ethnic 2 464 Pipe.E | pipe
401 Ethn3.P | ethnic 3 | 465 Rand1.E | random 1
402 Ethn4.P | ethnic 4 466 | Rand2.E | random 2
403 Ethn5.P | ethnic 5 467 Sciss.E | scissors
404 Flex.P | flex 468 ScrPs.E | scratch push
405 Metl1.P | metal 1 469 ScrPLE | scratch pull
406 Metl2.P | metal 2 470 Shut.E | shut
407 | OpenH.P | open drum high 471 Snaps.E | snaps
408 OpenL.P | open drum low 472 Sonar.E 1 sonar
409 TaikH.P | taiko high 473 Spark.E 1 spark
410 TaikL.P | taiko low 474 Spray.E | spray
411 Тетр!.Р | temple bell 475 Squas.E | squash
412 | TompH.P | tompani high 476 Stone.E | stone
413 | TompL.P | tompani tow 4771 VbCip.E | reverb clap
414 Woody.P | woody 478 Zoom.E | zoom
415 S5BIK.P | DR -55 block 1479 RevK.E | reverse kick
416 55CIv.P | DA - 55 claves 480 RevS.E | reverse snare
417 | 78Cow.P | CR -78 cowbell 481 RevT.E | reverse tom
418 78MBt.P | CR - 78 metallic beat 482| RevC1.E | reverse cymbal 1
419 | 78Tmb.P | CR -78 tambourine 483 | RevC2.E | reverse cymbal 2
420 78Mrc.P | CR -78 maracas 484 |- . RevC3.E | reverse cymbal 3 POUR
421 BOCgH.P | TR - 808 conga high 485 | RevHQ.E | reversehighQ. ... - 0
4221 80CgM.P | TR - 808 conga mid 486 |. RevCp.E | reverseclap -—
423 80CgL.P | TR -808 conga low 487 | - RevSh.E | reverse shot
424 BOCiv.P | ТВ - 808 claves 488| RevBt.E | reverse beat |
425 80Mrc.P | TR - 808 maracas 4893 | RevAm.E | reverse ambience
426 80Cip.P | TR -808 hand clap 490 1 - KAmb1.E 1 kick ambience 1
427 80Cow.P | TR - 808 cowbell 491 KAmb2.E } kick ambience 2
428 Glock.M | glockenspiel 4921 SAmb1.E | snare ambience 1
429 Kalim.M | kalimba 4931 SAmb2.E | snare ambience 2
430 MariL.M | marimba lower 494 | TAmb1.E | tom ambience 1
431 MariU.M 1 marimba upper 495] TAmb2.E | tom ambience 2
432 StiDr.M | steel drum 1496 | TAmb3.E | tom ambience 3
433 VibeL.M | vibraphone lower 4971 TAmb4.E | tom ambience 4
434 VibeU.M | vibraphone upper 498 OrHit.E | orchestra hit
435 Xylop.M | xylophone 499 GtHit.E | guitar hit
436 | CGame1.M | gamelan 1 500 Gt5Mt.E $ guitar Sth mute
437 | Сате2.М | gamelan 2 501] Gt50p.E | guitar 5th open
438) Game3.M | gamelan 3 502] LogDr.E } log drum
439 Arc.E | arc 503] Melo1.E | melodic 1
440 BigFt.E | big foot 504 | Melo2.E | melodic 2
441 BnSaw.E | bend saw 505] Melo3.E | melodic 3
4421 CnAmb.E | concert ambience 506 Melo4.E | melodic 4
443 Crsh1.E | crash 1 507 Jazz.B | jazz bass
444 Crsh2.E | crash 2 508 Slap.B | slap bass
445 Drop.E | drop 509 | Acous.B | acoustic bass
446 Dungn.E | dungeon 510 Syni.B | synthesizer bass 1
447 Emerg.E | emergency 511 Syn2.B | synthesizer bass 2
448 Flip.E | flip 5121. Off.E | off
149
6.Initial Settings
MM PATCH
Program
17 August _ Change No. 81
Out Level 10
Reverb Time 9
Pre LPF 5
Out Level 10.
Reverb Time 5
Pre LPF 8.
Out Level 10
Reverb Time 5
Pre LPF 0
Out Level 10
Time R - 200
Time L 240
Pre LPF 0
Feedback 8
Out Level 10 r
Chorus | Rate 12 et 260 (чак. T
Depth 10 ide.
oO Out Level 10
Ww Rate 12
ui] [Flanger] |Feedback 4
Depth 10
Delay Time 15
PERFOMANCE SOUND .
PFM1 508 Slap.B
PFM2 443 Vibel. M
PFM3 501 Gr50p. E
150
TRIGGER
Trigger! Note Gate Tale Velocity | Seq. Max Minimum | Minimum | Mask | Threshold
Name | No. Time Cancel Sense Pattern Choke | Dynamic] Dinamic | Velocity | Time Level
TI 36 0.1 OFF |Norm3| OFF OFF 8 1 1 52ms 8
R1 35 0.1 OFF |Norm3| OFF OFF 8 1 1 52ms 8
T2 38 0.1 OFF |Norm3| OFF OFF 11 1 1 Oms | 8
R2 40 0.1 OFF |Norm3| OFF OFF 11 1 1 —Oms | 8
T3 46 0.1 OFF | Norm4| OFF ON 11 1 1 —Oms 8
RI 93 0.1 OFF ¡Norm4! OFF ON 11 1 1 Oms 8
T4 50 0.1 OFF |Norm3| OFF | OFF 11 1 1 Oms | 8
R4 55 0.1 OFF |Norm3| OFF ON 11 1 1 Oms 8
T5 | 48 0.1 OFF | Norm3| OFF OFF 11 1 1 Oms 8
RS 39 0.1 OFF -| Norm3| OFF | OFF | 11 1 1 Oms 8
T6 45 0.1 OFF |¡Norm3! OFF OFF 11 1 1 Oms | 8
R6 56 0.1 OFF | Norm3| OFF OFF 11 1 1 Oms 8
T7 41 0.1 OFF | Norm3| OFF OFF 11 1 1 Oms | 8
R7 57 0.1 OFF | Norm3| OFF ON 11 1 1 Oms 8
T8 51 0.1 OFF | Norm3| OFF ON 11 1 1 Oms | 8
Ra 53 0.1 OFF |Norm3| OFF ON 11 1 1 Oms | 8
T9 49 0.1 OFF |Norm3| OFF ON 11 1 1 Oms | 8
R9 52 0.1 OFF |Norm3| OFF ON 11 1 1 Oms | 8
Assign
Control Mode
Pedal Curve
Note Number
TRIG3
HiHati
2
44
Gate Time
Velocity Sense Curve
Sequence Pattern Number
0.1s
Norm3
OFF
IN GROBAL PERFORMANCE
PFM1 PFM2 PFM3
Key Range Low Note 35 : B1 35 : BI 35 - B1
Hi Note 93 : A6 93 : A6 93 : A6
Contorol Change Mode OFF OFF OFF
Performance Section Level 13 13 13
Reference Note Number 60 : C4 60 : C4 60 : C4
Pitch + 100 + 100 + 100
Keyfollow | Decay + 0 +0 +0
Nuance +0 +0 +0
Pan +0 +0 +0
151
INSTRUMENT
Waveform
Nuance
Brilliance
Attack
Pitch Bend
Out Level
Send 1 Level
Waveform
Pitch
Nuance
Brilliance
Attack
Bend
Pitch Bend
Send 1 Level
2
Ш SYSTEM
Trigger Transmit Channel 10 Interface Mode
instrument Section 10 Footswitch Mode
Transmit | Performance Section 1 11 LCD
Receive | Performance Section 2 12 Sound
Channel [Performance Section 3 13 Setup
| Patch Control 10 |
Device 1D 17
MIDI IN | | ОМ
MIDI OUT ON
MIDI MIX OFF
MIDI Note Off Receive OFF
| Aftertouch Transmit Recelve ON
Switch Program Change Transmit ON
Pgogram Change Receive ON
Hold Receive OFF
Pan Receive OFF
Volume Receive OFF
Local Control ON
System Exclusive Receive ON
Instrument Section Level 15
Pitch Bend OFF
Control Change FOOT
152
7.Blank Chart
E PATCH
EFFECT ВЕ
Do Out Level
Hail Reverb Time
Pre LPF
Out Level
Room Reverb Time
Pre LPF
Out Level
Plate Reverb Time
Pre LPF
Qut Level
Time R
Delay Time L
Pre LPF
Feedback
Out Level
Chorus | Rate
Depth
Out Level
Rate
Flanger |Feedback
Depth
Delay Time
©
©
‘© :
us
mu
PERFOMANCE SOUND
PFM1
PFM2
PFM3
153
Assign Gate Time —
Control Mode Velocity Sense Cae 77
Pedal Curve Sequence Pattern Number
Note Number
NM GROBAL PERFORMANCE
PFM1 PFM2 PFM3
Low Note
Hi Note
Contorol Change Mode
Performance Section Level
Reference Note Number
Pitch
Keyfollow | Decay
Key Range
Nuance
Pan
154
Hl INSTRUMENT
Number :
Name
Waveform
Pitch
Pann
Nuance
Briiliance
Attack Da
Pitch Bend
Pitch Bend Time
n Grou
Out Level
Send 1 Level
Send 2 Level
Name
Waveform
Pitch
Nuance
Brilliance
Attack Da
Pitch Bend
Pitch Bend Time
Out Level
Send 1 Level
Send 2 Level
E SYSTEM
_Trigger Transmit Channel | Interface Mode
Instrument Section Footswitch Mode
Transmit | Performance Section 1 LCD Contrast
Receive | Performance Section 2 Sound Sendi
Channel [Performance Section 3 Setup | Send2
Patch Control
Device 1D
MIDI IN
MIDI OUT
MIDI MIX
Note Off Recelve
Aftertouch Transmit Receive
Program Change Transmit
Pgogram Change Receive
Hold Receive
Pan Receive
Volume Receive
Local Control
System Exclusive Recelve
Instrument Section Level
Pitch Bend
Control Change
MIDI
Switch
155
Roland Exclusive Messages
EM Data Format for Exclusive Messages |
Rotand's MIDI implementation uses the following data format for all
exclusive messages (type IV):
Byte Description
FOH Exclusive status
41H Manufacturer iD (Roland)
DEV Device ID
MOL Model 1D
CMD Command ID
[BODY] | Main data
F7H End of exclusive
= MIDI status: FOH F7H
An exclusive message must be flanked by a pair ef status codes, starting
with a Manufacturer 1D immediately after FOH (MIDI version 1.0).
= Manufacturer 1D: 41H
The Manufacturer 1D identifies the manufacturer of a MIDI instrument
that triggers an exclusive message. Value 41H represenis Rotand's
Manufacturer).
= DevicelD : DEV
The Device-1D contains a unique value that identifies the. individual device
in the multiple implementation of MIDI instruments. KR is usually set to
00H - OFH, a value smaller by one than that of a basic channel, but
value 00H - 1FH may be used for a device with multipic basic channels,
= Model iD: MDL
The Model-10 contains a value that uniquely identifies one model from
another, Different models, however, may share an identical Madei 1D if
they handle similar data.
The Model ID format may contain 00H in one ar more places to provide
an extended data field The following are examples of valid Model Ds,
each representing a unique modot :
01H
02H
03H
00H, 01H
00H, 02H
00H, OOH, 01H
7 CommandiD : CMD
The Command ID indicates the function of an exclusive message, The
Command ID format may contain 00H in one or more places to provide
an extended data field. The following are examples of valid Command
IDs, cach representing a unique function:
OH
02H
03H
00H, OIH
00H, 02H
001, CON, OH
= Main data : BODY
This field contains a message io be exchanged acruss an interface.
The exact data size and contents will vary with the Modei-iD and
Command ib.
E Address mapped Data Transfer
Address mapping is a technique for transferring messages conforming
to the data format given in Section 1. It assigns a series of memory:
resident records-waveform and tone dala, swilch status, and parameters,
for example-to specific locations in a machine dependent address space,
thereby afiowing access to data residing at the address a message
specifies.
Address-mapped data transfer is therefore independent of models and
data categories. This technique allows use of two different transfer
procedures : one-way transfer and handshake transfer.
= One way transfer procedure (See Section 3 for details;
This procedure is suited for the transfer of a small amount Of data.
ft sends oul an exclusive message completely independent of a receiving
device status,
Connection Diagram
Device (A) Device CB)
MIDI CUT Je AS: AN
MIDI IN peri => === 1 MIDI OUT
Connection at point 2 is essential fur "Request data” procedures. (See
Section 3.)
= Handshake transfer procedure
(This device does not cover this procedure)
This procedure iniliates a predetermined transfer sequence (handshaking)
across the interface before data transfer takes place. Handshaking ensures
that reliability and transfer speed are high enough to handle a large
amount of data.
Connection Diagram
Device (A) Device (В)
;
MIDI OUT Je MO IN
MIN IN fel 5 Mix OUT
Connection at points ! and 2 18 essential.
Notes on the above two procedures
* There are separate Command IDs for different transfer procedures.
x Devices A and B cannot exchange data unless they use the same
transfer procedure, share identical Device HD) and Model 1D, and are
ready for communication.
EN One way Transfer Procedure |
This procedure sends oul data all the way until it stops and is used
when Lhe messages are so short that answerbacks need not -be checked.
For long messages, however, the receiving device must acquire each
message in time with the transfer sequence, which inserts intervals of
at feast 20 milliseconds in between.
Types of Measages
Message Command В
Request data 1 {ROT (11H)
Data set | OTI (12H)
= Request data =1 : RQ1 (11H)
This message is sent out when there is a need to acquire data from
a device at the other end of the interface, It contains data for the address
and size that specify designation and length, respectively, of data required.
On receiving an RO! message, the remote device checks its memory for
the data address and size thal satisfy the request
If it Minds them and is ready for communication, the device will transmit
a “Data sel 1 (DTI)” message, which contains the requested data,
Otherwise, the device wilf send out nothing,
Ayte Description
FOH Exclusive status
41H Manufacturer ID (Roland)
DEV Device ID
MEL Model 1D
11H Command ID
aaH Address MSE
LSB
saH Size MSB
L58
sum Check sum
F7H End of exclusive
= Data set 1: DTI
* The size of the requested dau docs not indicate the number nf bytes
that will make up # DTH message, but represents the address fields
where the requested data resides.
* Some models are subject to limitations in data format used for a
single transaction. Requested data, for example, may have a limit
in length or must be divided into predetermined address ficids before
il is exchanged across the interface.
* The same number of byles comprises address and size data, which,
however, vary with the Model 1D,
* The error checking process uses a checksum thal provides a hil
pattern where the feast significant 7 bits are zero when values for
an address, size, and that checksum are summed.
(12H)
This message corresponds 10 the actual data transfer process.
Because every byte in the data is assigned a unique address, a DT]
message can convey the starting address of one or more data as well
as a series of data formatted in an address dependent order.
The MIDI standards inhibit non-real time messages from interrupting an
exclusive one, This fact is inconvenient for the devices that support a
“soft through” mechanism. To maintain compatibility with such devices,
Roland has timited the ОТ to 256 brles so that an excessively long
message is set oul IN separate segments.
Byte Description
FOH Exclusive
41H Manufacturer ID (Roland)
DEV Device ID
MDL Моде!
12H Command ID
aah Address MSB
LSB
da“ Data
sum Check sum
F7H End of exclusive
* A DT] message is capable of providing only the valid data among
those specified by an RQ message.
* Same models are subject to limitations in data format used for a
single transaction. Requested data, for example, may have a hmil
in length ar must be divided into predetermined address ficids before
it is exchanged across the interface.
* The number of bytes comprising address data varies from one Mode!
HY to another.
* The error checking process uses a checksum that provides a bit
pattern where the least significant 7 hits are zero when values for
an address, size, and that checksum are summed.
= Example of Message Transactions
O Device A sending data to Device B
Transfer ef à D'TI message is all that takes place.
{Data set 1] В»
* More than 20m sec time internal
[Data set 1} e
.—
y
[Data set 1]
157
Roland Exclusive Messages
® Device B requesting data from Device A
Device BB sends an RQ! message lo Device A. Checking the
message, Device A sends a DTI message back to Device В.
[Data set 1} —# {Request datal
[Data set 1]
* More than 20m sec time internal.
[Data set 1] >
re
Ч
[Data set !]
PERCUSSION SOUND MODULE
Model TD-7
1. TRANSMITTED DATA
EM Channel Voice Message
O Note Off
Status Second Third
ani kkH 001
n= MIDI channel : ON FE (chi - ch16)
kk = Note number : 23H - SOI (35 - 93)
@ Note On
Status Second Third
nH kkH vvH
ne MIDI channel ON - FH (chat - ch.16)
KK = Note number : 23H - ADIT (35 - 93)
vv = Velocity SOME - TEI CE + 127}
The TD 7 transmis at channel of each section.
The period between a Note On and the subsequent Note Off is about 10mS
at the Phrase sequencer and is the time set to "Gate Time” of the TRIG section.
If another note is made on the TRIG section before the Note Off for the previous
note is issued, a Note Off for the previous note precedes the new Nole On.
e Polyphonic Key Pressure
Status Second Third
AnH kkil viii
n= MIDI channel :0H - FH {ch - ch if)
kk = Note number : 23H - 3DH {35 - 93!
vv = Value : 00H, 7FH (0, 127)
Transmitted if the “choke” of the TRIG parameter assigned to head. rim of
cach pad is set al ON,
This message 1s transmitted with value 7F1 when the rim of the pad is grabbed
or with value 00H when the rim is released.
Note number lo be transferred is contained in the head. rim of the grabbed
pad. When TRIG is set to the same number as Assign of the Pedal parameter
and "CiriMode” is set at HiHatt, the note number of the Hi-hat Control Pedal
can be transferred.
When "CtriMade” is set to Hillal? instead of Hilfatl, the note number of the
head, rim, and note number of head minus 4, note number ef rim minus 4 and
note number of the Hi- hal Control! Pedal are transferred.
@ Control Change
OO Modulation Depth
Status Second Third
BaH GiH vvH
CO Foot Type
Status Second Third
BaH D4H vvH
O General Purpose Controller - 1
Status Second Third
BnH 10H veH
O General Purpose Controller - 2
Status Second Third
BnH 11H vvH
n= MIDI channel :0H - ОБН (ch.t ~ ch.16)
vv = Parameter value (00H - 7FH {0 - 127)
The TD 7 transmits a value corresponding (0 the position of the Hi hat Control
Pedal by one of above control messages set at the "Ctr Chg” of the MIDI
parameter.
MIDI Implementation
158
1992
1.00
Aug. 4,
Version
Date
© Hold1
Status second Third
Bnil 40141 vel
n= MIDI channel - 01 - VFII tchi - chal
vv Parameter value : 00H Til (0 - 127)
The TD 7 transmits a value corresponding (o the position of a Hi hat Contr
Pedal hy one of the above control messages set at the "Ctrl Chg” of the MIN
parameter,
Transmit vv = 7FH when [ootswitch 2 is pressed and vv - 00M when footswitch
2 is pressed if “mode” of Footswitch mode of System is set to "Mode 2°
@ Program Change
Status Second
СаН РОН
an MIDI channel : O FH ten! ch. 16)
pp > Program number : 00H TI (prog. - prog. 128)
Transmitted if the "Prg Chg Tx” of the MID! parameter is set at ON. The TD
7 transmits this message on the channel set at "Ctrl Ch” when the patch is
changed,
BM System Exclusive Message
Status
FO : System Exclusive
F7il EOX € End Of Exclusive )
With the TD 7. the System Exclusive Messages can be used to (ransmit Hulk
Dump of patch data, instrument data, system data, chain data and sequence data.
For details refer to "3. Exclusive Communications” and "Roland Exclusive
Messages.”
System Real Time Message
® Timing clock
Status
FBH
When the syne mode is set at INTERNAL, the TD-7 always transmils timing
clocks and when the sync mode is set at MIDE, the TD 7 never transmits timing
clocks.
O Active Sensing
Sialus
FEH
Transmitted for checking MIDI connections between the TD: 7 and external
eguipiient,
2. RECOGNIZED RECEIVE DATA
21 instrument section and Performance section 1 - 3
BM Channel Voice Message
O Note Off
Status Second Third
9nH ККП 09Н
dnt ККИ vell
n= MIDI channel : O FER ich ch. 16]
kk = Note number - 2344 - SDH (35 - 93)
vy = Velocity : 0011 - 7FIR (0 - 127)
The TN-7 recéives the messages on the channel of each section.
Nate Of! messages are ignored if the "Noto! Rx” nf MIDI parameter is set
at OFF. Note Off messages are not recorded in the Phrase Sequencer.
The Velocity is always ignored.
Hl INSTRUMENT
Num : Number :
Name
Waveform
Pitch
Nuance
Brilliance
Attack Dam
Pitch Bend
Pitch Bend Time
Grou
Out Level
Send 1 Level
Send 2 Level
Name
Waveform
Pitch
Nuance
Brilliance
Attack Dam
Pitch Bend
Pitch Bend Time
n Grou
Out Level
Send 1 Level
Send 2 Level
SYSTEM
Trigger Transmit Channel interface Mode
Instrument Section Footswitch Mode
Transmit | Performance Section 1 LCD Contrast
Receive | Performance Section 2 Sound Send1
Channel [performance Section 3 Setup Send2
Patch Control
Device ID
MIDI IN
MIDI OUT
MIDI MIX
Note Off Receive
MIDI Aftertouch Transmit Receive
Program Change Transmit
Switch Pgogram Change Receive
Hoid Receive
Pan Receive
Voiume Receive
Local Control
System Exclusive Receive
instrument Section Level
Pitch Bend
Control Change
155
Roland Exclusive Messages
EM Data Format for Exclusive Messages |
Roland's MID! implementation uses the following data format for all
exclusive messages (type IV):
Byte Description
FOH Exciusive status
41H Manufacturer iD (Roland)
DEV Device ID
MDL Model 15
CMD Command ID
[BODY] | Main data
F7H End of exclusive
= MIDI status: РОН F7H
An exclusive message must be flanked by a pair of stalus codes, starting
with a Manufacturer ID immediately after FOH (MIDI version1.0).
= Manufacturer ID: 41H
The Manufacturer-1ID identifies the manufacturer of a MIDI instrument
that triggers an exclusive message. Value 41H represents Roland's
Manufacturer-ID.
= Device.ID ; DEV
The DeviceID contains a unique value Lhat identifies the individual device
in the multiple implementation of MIDI instruments. !t is usually set to
00H - OFH, a value smaller by one than that of a basic channel, but
value 001 - !FH may be used for a device with multiple basic channels.
= Model ID: MDL
The Model-1D contains a value that uniquely identifies one model from
another. Different models, however, may share an identical Modol-1D if
they handle similar data,
The Modell ID format may contain 00H in one or more places to provide
an extended data field. The following are exampies of valid Model IDs,
each sepresenling a unique model:
OH
02H
03H
00H, OH
00H, 02H
0011, QOH, 01H
= Command. ID: CMD
The Command ID indicates the function of an exclusive message. The
Command 1D format may contain OO! in one or more places ta provide
an extended data field. The following are examples of valid Command:
IDs, each representing a unique function :
OH
02H
03H
00H, OtH
00H, 02H
00H, OOH, 01H
* Main data : BODY
This field contains a message to be exchanged acruss an interface.
The exact data size and contents will vary with the Model-I and
Command 1D.
El Address mapped Data Transfer
Address mapping is a technique for transferring messages conforming
to the data format given in Section 1. It assigns a series of memory:
resident records-waveform and tone data, switch status, and parameters,
for example--to specific locations in a machine-dependent address space,
thereby allowing access to data residing at the address a message
specifies.
Address mapped data transfer is therefore independent of models and
data categories. This technique allows use of two different transfer
procedures : one-way transfer and handshake transfer.
= One way transfer procedure (See Section 3 for details.
This procedure is suited for the transfer of a small amount of data.
iL sends out an exclusive message completely independent of a receiving
device status.
Connection Diagram
Device (A) Device (B)
- MD OUT Bel AH IN
MIDE IN [E MID! QUT
Connection at point 2 is essential (or “Request data” procedures. (See
Section 3.)
= Handshake transfer procedure
(This device does not cover this procedure)
This procedure initiates a predetermined transfer sequence (handshaking)
across the interface before data transfer takes place, Handshaking ensures
that reliability and transfer speed are high enough to handle a large
amount of data.
Connection Diagram
Device (A) Device (8)
t
MIDI OUT Bed MÍO! IN
MIDI IN el > MIDI OUT
Connection at points + and 2 is essential
Notes on the above two procedures
* There are separate Command iDs for different transfer procedures.
* Devices A and DB cannol exchange data unless thor use the same
transfer procedure, share identical Device 1D and Model 1D, and are
ready for communication.
EN one way Transfer Procedure |
This procedure sends oul data all the way until it stops and is used
when the messages are so short that answerbacks need nol :be checked.
For tong messages, however, the receiving device must acquire each
message in time with the transfer sequence, which inserts intervals of
a least 20 milliseconds in between, ;
Types of Messages
Message Command iD
Request data | 1 RO! (11H)
Data set ! DTI (12H)
= Request data = 1 : RQ1 (11H)
This message is sent out when there is a need to acquire dima from
a device at the other end of the interface, I contains data for the address
and size Lhat specify designation and length, respectively, of data required.
On receiving an RQi message, the remote device checks its memory Гог
the dala address and size thal satisfy the request
if it finds them and is ready for communication, the device will transmit
a “Data set | (DT1)” message, which contains the requested data.
Otherwise, the device wii send out nothing.
Hyte Description
FOH Exclusive status
41H Manufacturer 1D (Roland)
DEV Device ID
MOL - Model 1D
11H Command 1D
aati Address MSH
1.58
ssH Size MSB
LSB
sum Check sum
F7H End of exclusive
* The size of the requested dma does not indicate the number of bytes
that will make up a DTI message, but represents the address fields
where the requested data resides.
* Some models arc subject to limilations in data format used for a
single transaction. Requested data, for example, may have a limit
in length or must be divided into predetermined address fields before
it is exchanged across the interface.
* The same number of bytes comprises address and size data, which,
however, vary with the ModetiD,
* The error checking process uses a checksum that provides a bit
pattern where the least significant 7 bits are zero when values for
an address, size, and that checksum are summed.
= Data set 1. DT1 «12H,
This message corresponds to the actual data transfer process.
Because every byte in the data is assigned a unique address, a DTI
message can convey the starting address of one or more data as well
as a series of data fermaticd in an address. dependent order.
The MEN standards inhibit nonreal time messages {rom interrupting an
exclusive one. This fact is inconvenient for the devices thal support a
"sofl through” mechanism. Te maintain compatibility with such devices,
Roland has limited the DTI to 256 bytes so that an excessively long
message is sent nul IN separate зертет 5,
Byte Description
РОН Exclusive
41H Manufacturer ID (Roland)
DEV Device ID
MOL Model HD
12H Command iD
aaH Address MSB
LSB
dde Data
sum Check sum
F7H End of exclusive
* A DTI message is capable of providing only the valid data among
those specified by an ROT message.
* Some models are subject to limitations in data format used for a
single transaction. Requested data, for example. may have a limit
in length or must be divided into predelermined address fields before
it is exchanged across the interface.
* The number of bytes comprising address data varies from one Model
ID to another.
* The error checking process uses a checksum that provides a bil
pattern where the least significant 7 bits are zero when values for
an address, size, and thal checksum are summed.
= Example of Message Transactions
E Device A sending data la Device B
Transfer of a DTi message is all that takes place.
{Data set 1] z—
* More than 20m sec time Internal.
[Data set !] т
"+"...
[Data set 1]
157
Roland Exclusive Messages
O Device BB requesting data from Device A
Device B sends an RQ! message lo Device A. Checking lhe
message, Device À sends a DTI message back to Device B.
Device (8)
[Data ser 1] -— [Request datal
{Data set 1] —
* More than 20m sec time internal.
[Data set 1) - +
[Data set 1] - >
PERCUSSION SOUND MODULE
Model TD-7
1. TRANSMITTED DATA
H Channel Voice Message
@ Note Off
Status Second Third
Inkl kkH CON
n= MIDf channel : 01) - FH (chal - ch.16)
kk = Note number : 23H - 3DH (35 - 98)
O Note On
Status Second Third
ant KKH vsll
п = MIDI channel : ON - FH (et - ch 6)
kk — Note number : 23H - SDH (35 — 93)
vv = Velociy TO1H - 7FH ti 127)
The TD-7 transmits at channel of cach section.
The period between a Note On and the subsequent Note Off is about 10mS
at the Phrase sequencer and is the time sel to "Gate Time” of the TRIG section.
If another note is made on the TRIG section before the Note Off for the previous
note is issued, a Note Off for the previous note precedes the new Note On,
€ Polyphonic Key Pressure
Status Second Third
AnH ККН УУЦ
n= MIDI channel : OH - FH {eh ch. 16)
kk - Note number : 23H - 50H (35 - 93)
vv = Value : 00H, 7FH (0, 127)
Transmitied if the "choke” of the TRIG parameter assigned to head rim of
each pad is set at ON.
This message is transmitted with value 7F1 when the rim of the pad is grabbed
or with value ООН when the rim is released
Note number lo be transferred is contained in the head/rim of the grabbed
pad. When TRIG is set to the same number as Assign of the Pedal parameter
and "CtriMode” is set at Hilatl, the note number of the Hi-hat Control Pedal
can be transferred.
When "CiriMode” is set lo Hillat2 instead of Hitlatl, the note number of the
head, rim, and note number of head minus 4, natc number of rim minus 4 and
note number of the Hi hat Control Pedal are transferred.
@ Control Change
(OO Modulation Depth
Status Second Third
BnH OlH vvH
OFoot Type
Status Second Third
Bn 04H vvH
O General Purpose Controller - 1
Status Second Third
BnH 10H vvH
O General Purpose Controller - 2
Status Second Third
Ball HH УУН
n= MIDI channel :0H - OFM (ch! — ch.16)
vv = Parameter value 00H - 7FH (0 - 127)
The TD 7 transmits a value corresponding to the position of the Hi hat Control
Pedal by one of above control messages set at the "Ctrl Chg” af the MIDI
parameter.
MIDI Implementation
158
1992
1.00
Date : Aug. 4,
Version
M) Hoid1
Status Second Third
nH AGH УМЦ
n = MIDI channel :OH - OFIL (ch. ch lon
vv Parameter value: 00H FH (0 - 127)
The TD 7 transmils a value corresponding to the position of a Hi- hat Control
Pedal by one of the above control messages set at the "Cirt Che” of (he MIDI
parameter,
Transmit vv = 7FH when fnotswiich 2 15 pressed and vv = OOH when foolswikch
2 is pressed if “mode” of Footswitch mode of System is set to "Mode 2
@ Program Change
Sialus Second
CnH ppHi
n- MIDI channel : 0H Fit {chi - ch. 16}
pp = Program number : 06H! 7FH (prog.l prog.128)
Transmitted if the "Pre Che Tx" of the MIDI parameter is set at ON. The Ti
7 transmits this message on the channel set at "Cut Ch” when the patch is
changed,
E System Exclusive Message
Status
FO
Fri
: System Exclusive
: EOX (End Of Exclusive }
With the TD-7, the System Exclusive Messages сай be used to transmit Bulk
Dump of patch data, instrument data, system data, chain data and sequence data.
For details refer to "3. Exclusive Communications” and "Roland Exclusive
Messages.”
M System Real Time Message
@ Timing clock
Status
FBH
When (hc sync mode is set at INTERNAL, the TD 7 always transmits timing
clocks and when the sync mode is set at MIDE the TD 7 never transmits timing
clocks.
@® Active Sensing
Status
FEH
Transmitted for checking MIDI connections between the TD-7 and external
equipment.
|2 RECOGNIZED RECEIVE DATA|
2.1 Instrument section and Performance section 1 3
EM Channel Voice Message
O Note Off
Status Second Third
9niH kkH 00H
Bnil kkH vvil
n- MIDI channel :0H - FH (ch! th. 16)
KK = Note number : 231 - ADH (38 - 93)
vy = Velocity : 000 ТЕР (0 127}
The TD-T receives the messages оп the channel of each section.
Note Off messages are ignored if the "NoteOff Ex” of MIDI parameter is set
al OFF, Note Off messages are not recorded in the Phrase Sequencer,
The Velocity is always ignored.
@ Note On
Salus Second Third
onli KATI vvH
A - MIDI channel OI art {ch ch. 16
Kk Note number : 2311 - SDIE (35 43)
YY VRIDCHY : OF TEE EE 127)
The TI 7 receives the message nn the channel of cach section.
Sounds the instrument assigned to the received note number of the current palch
of the Instrument section. Sounds the instrument assigned to the Performance
section in the range of Note number that is from the value of "Low Noto”
to "IH Note” set on each Performance section.
e Polyphonic Key Pressure
Status Second Third
Ani KK vivid
n- MIDI channel COL — FI ch.) — ch.t6)
KK - Nte number : 231 - SDIE (M5 - HA)
vv. Value = Cut TF1 (0 127}
If the "Aftertouch™ of the MIDI parameter is set at ON, the TD-7 recognizes
the message оп the channel of each section,
Ho the value is greater than or equal lo 401 (G4), ihe decay of the instrument
which corresponds lo the nole number is made shorter.
This message is not recorded in the Phrase Sequencer.
@ Control Change
O Volume
Status Second third
ВАН 0711 vvil
n MIDI channel ЗОН FH {chi - ch.16)
vv Volume НОНО TF 4} - 1427)
IF the "Votume Rx" of the MIDI parameter is set at ON, the TD 7 receives
the message on the channel of cach section.
O Panpot
Stalus Second Third
ВАЙ OAH vvH
n= MIDI channel : OH — ОБИ {ch} - ch.16)
vv - Panpat : 0011 - 7FH (0 127)
it the "Pan Rx” ef the MIDI parameter is set al ON, the TD-7 receives the
message on the channel of each section,
(> Expression
Stalus Second Third
nll ONE vv
n= MIDI channel OH - OH feh.i - ch.16)
vv +: Expression : 001 - 7H (0D - 127)
If the "Volume Rx" of the MIDI parameter is set at ON, the TD. 7 receives
the message on the channel of cach section.
CO Modulation Depth
Status Second Third
ni! 1 vvl!
Foot Type
Status Second Third
Bnil O4H vvH
159
(Od General Purpose Controller - 1
Status Second Third
nil 101] vvH
OGeneral Purpose Controller - 2
Stalus Second Third
Anti HH vvH
n= MIDI channel OH ~ OTH (ch.l ~ ch.if)
ум Parameter value : 00H - ТЕН (0 - 127)
Only the controfler set on "Ctrl Chg” of MIDI parameter receives the message
on the channel of cach section and is recorded in the Phrase Sequencer.
The result uf receiving Lhe message depends on the parameter of “CirIMnde”
of each section.
The value is recorded in the Phrase Sequencer as the position of the НЕ На!
Control pedal.
(Hold 1
Status Second Third
Bn 40H vvil
n= MIDI channel OH - OFH (ch! - ch,16)
vv = Parameter value : 00H - 7FH (0 — 127)
If the "Hold Rx” of the MIDI parameter is sei at ON, the TD. 7 receives Lhe
message on the channel of each section.
Нос "С Chg” of MIDI parameter is set at HOLD, the result of receiving
(he message depends on the parameter of "CtriMode” of each section
Не "Си! Спа” of MIDI parameter of each section is set at HOLD, this message
is recorded in the Phrase Sequencer as position of (he Hi- Hat Contra! Pedal.
O Pitch Bend Change
Status Second Third
En ИН mmH
n- MIDI channel : OH FIL (ch! - ch.16)
mm! + Pitch bead value : 00110011 — 40F.00H - 7FH,7FH
(-B192 - O - +8191}
If the "Pitch Bend” of the MID parameter is set at OFF, the TD-7 does not
receive the message,
Ths message is not recorded in the Phrase Sequencer.
M Channel Mode Message
O Reset All Controllers
Status Second Third
Ink 79H OUH
n= MIDI channel :0H — FH (ch. ch.16)
The TD-7 receives the message on the channel of each section.
The TI 7 initializes all the controllers upon receiving this message.
Pitch Bend Change + 0 (Center)
Panpot OFF
Volume 127
Expression 127
Но 0
The controller set on "Ctrl Che” 0
This message is nol recorded in the Phrase Sequencer.
22 Receive Messages to Control the System
M Channel Voice message
@ Program Change
Status Second
CnH ppl
if the "Prg Chg Rx" of the MIDI parameter is set at ON, the TD-7 receives
on the channel set by "Ctrl Ch” of the MIDI parameter.
This message is not recorded in the Phrase Sequencer.
BM System Real Time Messages
® Timing Clock
Status
FBH
Recognize only sync mode when set at MIDI
@ Active Sensing
Status
FEH
Whenever the TD - 7 receives this message, it monitors the interval of the incoming
data. {f the subsequent message has not arrived within 300ms after the previous
data, it processes all sections as though it has received a Reset Ail Controllers,
and mutes the sounding voices, then stops monitoring receiving interval.
E System Exclusive Message
Status
FOH : System Exclusive
F7H : EOX (End af Exclusivo)
With the TD - 7. the System Exclusive Message can be used (o transmit and reccive
parameters of sequence and setup data.
For delails refer to "Roland Exclusive Messages” and paragraph "3. Exclusive
Communications.”
Ignore System Exclusive message if parameter Sys Exc Rx = OFF of MIDI
Parameter,
System Exclusive messages are not recorded in the Phrase Sequencer,
|3 Exclusive Communications
M General
TD-7 can do one - way communications to send and receive parameters for
sequence and setup.
Model 1D included in the exclusive message should be 58iL The device ID code
should be MIDI parameter Device ID of System, Note that the actual value that
sel in the device 1D field is smaller by one than the value set at parameter
Device ID of System.
Hl One Way Communications
Request data RQI IH
Byte Description
FOH Exclusive status
41H Manufacturer ID (Roland)
DEV Device 1D (00H - tFH)
58H Model ID (TD 7)
11H Command 1D (RQ!)
aaH Address MSB
aaH Address
auH Address
aaH Address LSB
ssH size MSE
ssH size
ssH size
ssH size LSB
sum Check sum
F7H EOX (End of Exclusive)
160
Data set DT1 12H
Byte Description
Fon Exclusive status
41H Manufacturer ID (Roland)
DEV Device ID (00H - (FE)
58H Model 1D {TDD
12H Command ID (DTH
ааН Address MSH
aall Address
aaH Address
aaH Address LSB
ddii data
sum Check sum
Fill EOX {End of Exclusive)
BM Transmission
The TD-7 transmits Exclusive messages only when MID! Bulk dump is performed
by panel operation in the menu of System functions,
M Receive
TD-7 is stopped and Bulk dump is not performed.
4 Parameter address map
Addresses are shown in every 7 — bit hexadecimal.
mmm rm mem mmr me nw wr, - aaa Ae aa aaa
Address MSE LSB
Binary ' бава aaas . Obbb bbbt - Bece cece : 0ddd dadıf
- T-hit hex AA
BR Ce : bb
M Parameter base addresses
Start
Address Description
50.00.0000 Patch parameters Ml
01 00 00 00 instrument parameters 4-2
07 00 00 10 global performance parameters 44-3
07 00 00 00 system sol up +4-4
04 00 00 00 chain setup "4-5
03 00 00 60 sequence data +4-6
Table 4 - | Palch parameters
рр; Patch No.(0 - 31)
nn: Nate No.(35 - 93)
tt : TRIG No.(E: TI Z:RI - 17: T9 18: R9})
Offset
Address Description
pp 06 00 PROGRAM CHANGE No. 0 - 127
00 61 PROGRAM CHANGE No. D {{1:0FF)
05 02 Name ASCIECIert) 32 127
00 0d Name ASCH 42 - 147
00 04 Name ASCH! 32 - 127
00 05 Name ASCH] 42 - 127
00 06 Name ASCII 32 - 127
06 67 Name ASCIHI(right) 32 127
00 08 PEMI SOUND (1-512) Upper 2bits D 3
00 09 PFI SOUND (1-512) Lower 7bits 0 - 127
00 DA PFM2 SOUND (1-512) Upper 2bits 0 - 3
00 08 PEMZ SOUND (1-512) Lower 7bits 0 - 127
00 0C PFM3 SOUND (1-512) Upper 2bits 0 J
10 0D PFM3 SOUND (1-5172) Lower 7bits D - 177
00 DF Effeeti TYPE 0 3
(HALL E: NOOM 2: PLATE 3:DELAY)
68 CF Hil) out Level 0 15
00 ED Hall Kv Time & 1a
0 H Hail Pre РЕ ] 15
00 12 Room Cut Level # - fa
Ge 14 Koom Rv Tige 0 15
DO 14 Room Pre LPF i 15
GO 15 Plate dul Leve! 0 15
O 16 Plate Rv Time 3 15
00 17 Plate Pre LPF 0 - 15
00 18 Delay O Level EE
00 19 bDelayLef1 Time(1- 223) Cpperábits 0 ta
00 JA DolayEefi Time(1-725) Lower4bits 6 15
00 18 DelayRightTimo(1-225) Cpper4bits 0 13
юг DejaykightTime(1- 225) Lomer4bits O 15
O ID Delay Pre LPF 0 15
O EE Detuv Focdhack 9 13
80 1r Effect? TYPE { HO:CHORLS 1:FLANGER)
00 20 Chorus Qui hovel 0 Ra
00 21 Chorus Rate 0 31
on 22 Chorus Depth ÿ Io
CO 23 Flange Dut Level 0 ES
0 24 Flange Rate 0 al
00 25 Flange Feedback 0 15
09 26 Flange Depth 9 15
oh 27 Flange DelayTime E 31
00 28 PDIL CtriMode 5 - H
(D:OFF |:Decay- 4 2:Pecay-H 3:Decay+k
4:Decay E 5:Pitch-W 6:Pitch-N 7:PEich=3
B:Plich-X 9:Nuance 10:HHat: 11:HIRa12)
(00 29 PDL Assign 0 G(D:ALL 1-9:TRIG No.)
00 2A PDL Pad Curve 0 3
18 26 POL Sole = 35 - 9% 127(127:0FF)
00 20 PH. Gate Time 1 40
00 2D PRE VelCurve 0 7
(0-3:Norml-4 4-7 Fix32-127)
09 2E PRE SeuPin = 0 ABCOIOFF 1-48:Ptn =)
tt 09 TRIG Note = 35 93
tt Di TRIG Gate Time } 40
tt 02 TRIG CrsTikGrp 0 4(0:0FF 1-4:Group So)
tt 03 TRIG YelCurve в. 7
{0-3-Norat 4 4 7:Fix32 127)
Lt Di TRIG Max Dyna 0 15
tt 05 TRIG Min Iyna 0 15
tt 06 TRIG Min Velo 0 15
tt 07 TRIG Mask Time 0 at
tt 08 TREG Threshold 0 15
tt 09 TRIG Choke 0 1{0:0FF 1:08)
1t DA TRIG SeqPtn = 0 AR(O:0FF 1-48:Ptn =)
nn 00 Laver TYPE 6 - 3
(D:0FF 1:Vein Mix 2:Velo Swi
3:Velo Sw? 4:Yelo Crossl 3:Velo Cross?)
nn 01 Laver VALUE (1-8) 0 - 1
nn 02 Sound! Pitch (-48 - 0 - +48) 2's complement lower Tblts
508 - 00H - 30H
пп 03 Soundt Inst (1-317) Upper 2bits 0 - 3
пп 04 Sound! Inst (1-312) Lower 7bits 0 127
nn 05 Sound? Pitch (-48 - 0 - +48)
2's complement lower Thits
508 - 00H - 30H
ni 06 Sound? Inst (1-312) Upper 2bits 0 3
nn 07 Sound? Inst (1-312) lower Tbits 9 - 127
Table 4 - 2 fnsitrument parameters
OI if: Inst No.(O - 511)
Offset
Address Peseription
OL El DO Name ASCHE Jet) 32 - 177
03 Name ASCII 32 - 127
02 Name ASCH 42 77
03 Name ASCH 32 - 127
Ud Name ASCH 32 127
D5 Name ASEH (right) 65 - S0(Capital letter only)
DS Waveform No. {1-206} Upper 4bits 0 - 15
07 Waveform No. {1-236} Lower 4hits 0 - 15
08 Polyphony 0 1{0:Poly I:Mono)
09 Asigntroun 1 310:0FF 1-31 :Group No. )
161
-480) 7's complement Upper 3bits
041 - OOH - 03%
+480) 2's complement Lower Thits
00M — YEN
\ot 2's complement
QUIE IF - ЗЕЯ
oF Pan 0 15417
0E Auance {-7 - 6 - +7} Net 27s complement
: NOR - 07H - OEM
OF Brilliance 0 - EH
OA Pitch (-480 - ©
08 Mitch {480 - À
C Beeay £31 0 - 3D
-- KT, RND)
10 AttackDasp 0 15
{il Fend Time p - 3
12 DymaPtBend (-7 - 0 - ~%)} 2's complement Lower 4bits
9 - OOH - 97H
13 Send2level 0 D
MM SendiLevel & - 15
0
15 Out Level
Table 1 - 3 Global performance parameters
0g : Performance No.(0 - 2)
Offset
Address Description
Gg 00 Low Xote 35- 93
BI Hi Xote 35 - 93
62 CtrHMode G - 3
{0:0FF !:Decay-# 2:Decay-N 3:Decay+N 4:Decay+w
5:Pftech X 6:Pitch-N 7:PitchN B:Pitch1W 9:Nuance)
#3 Level 0 - 15
35 - 93
-99) 2'5 complement Upper ibit
OH - OOHÇO1H:- OO:+}
05 KfuPitch (-99 - 0 - -99) 2's complement Lower Thits
1 00H - 63H
2'5 complement Lower 4bits
094 - DOH - OTH
08 kfwiyanc 9 - 1
{0:2 1:-1 2:-172 3:-1/4 4:-1/8
04 kKfwiote
05 EfaPiteh (88 - 0 -
07 KfwDocay {-7 - 6 - <7)
5:0 6:+1/B T7:+41/4 8:+1/2 9:*1 10:22)
08 Xfx Pan 0 - 10
(0:-7 Vet 2:-1/2 3:-1/4 4:-1/8
Table 4 - 4 Syslem parameters
Offset
Address Description
00 Trig Tx Ch 0 15
01 Inst Tr Ch 0 - 15
07 PFMI Tr Ch 0 15, 127(127:0FF)
031 PENZ Tr Ch Do - 15, 1270127:0FF)
04 PFM3 Tr Ch O - 15, 127(127:0FF)
05 Ctrl Tr Ch 5 - 15
05 Ctrl Che g - 4
(0:F007 1:MODU 7:HOLD 3:0NL1 4:GNL2)
5:0 6:+1/8 7;-1/4 6:+1/2 9:+1] 10:42)
07 inst Leve! 0 - 15
08 Pitch Bend 0 - 12(0:0FF)
09 Foo! Sw 0 - 2(0:Modet 1:Mode2 2:5 on 5)
0A SET SEND! 0 - 200:0FF I:EFFECTI 2:18D11)
08 SET SEND? 0 - 2(0:0F I:EFFECT? ?:18D12)
OC Pre Che Rx 0 - IO:0FF 1:0%)
00 Pre Chg Tx 0 - (6:0FF 1:08)
0E Note0ff Rx 0 - 1(D:OFF 1:08)
OF Midi Mix D ; 1(0:0FF 1:08)
10 Midi Out D - 1(8:0FF 1:0%)
IE INTERFACE MODE & - 2
{D:STANDARD 1:MIDi-SOUND 2:TRI0-MIDI)
12 Volume Rx
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