OWNER`S MANUAL

OWNER`S MANUAL
P R O G R A M M A B L E
P E R C U S S I O N
S Y N T H E S I Z E R
OWNER'S MANUAL
PEARL MUSICAL INSTRUMENT CO.
TABLE OF CONTENTS
PRODUCT OVERVIEW
^FEATURES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
* PRECAUTIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
4 TONE UNITS-SC-40andSC-20 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
^SYSTEM OVERVIEW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3
* Method of Operation
I. Using Pads
II. Using MIDI Controller
*Optional Accessories
PRELIMINARY INFORMATION
4BASIC TERMS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
* Kit/Pad/Parameter/Value
* Bank/Group
*Test Kit
*REAR PANEL/CONNECTIONS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
*Names and Functions
* Basic Connections
*Hi-Hat Pad Connections
CFRONT PANEL/BASIC OPERATION. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
* Names and Functions
* Control Keys/Display
I. Cursor
II. Key Marks and Control Keys
III. Display
OPERATION
^ADJUSTING THE SENSITIVITY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
tBASIC OPERATIONS FOR PLAYING THE INSTRUMENT (KIT SELECTION) . . . . . . . . . . . . . . . . . . . . . . 14
4TIMBRE CHANGE/MODIFICATION (on TEST KIT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
I.
Rearranging the Kit Program (PAD COPY)
II. Preset Timbres (PRESET CALL)
III. Parameter ControKSynthesizing the Timbres) (PARAMETER/VALUE)
^PROGRAMMING METHODS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 9
^PARAMETER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 1
^RETAINING THE PROGRAMMED DATA. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
•Connection
•Operation
I. Save
II. Verify
III. Load
4MIDI
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
•Connection
•MIDI Specifications
SPECIFICATIONS
^SPECIFICATIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
^CURSOR INDICATOR POSITION, KEY OPERATION AND DISPLAY LIST . . . . . . . . . . . . . . . . . . . . . . . . 28
TERROR MESSAGE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
+ MIDI IMPLEMENTATION CHART. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
. . . . . . . . . . . . . . . . 30
^SYSTEM OVERVIEW
* Method of Operation
The SC-40 and SC-20 are the tone generating units. Please connect them to Pearl's Electronic Drum and Cymbal Pads,
MIDI equipped keyboard and sequencer, etc. to transmit the control signals.
I. Using Pads
Any Pearl Electronic Drum pad can be used without modification. You can set-up your own system with the pads.
(Regardless of pad shape, any timbre can be generated by any of the following pads. i.e. a bass drum pad can trigger
a cymbal sound, etc.)
BP-2
Bass Drum Pad
Snare Drum/Tom Tom Pad
QP-1
Quad Pad
HP-1
Hi-Hat Pad
CP-1
Cymbal Pad
CP-1B
Cymbal Boom Pad
TP-2
• The DRUM-X pads (BP-2 and TP-2) can also be connected to the SC-40 and SC-20 tone units.
*By connecting the above pads to the SC-40 and SC-20, each pad can be used as a MIDI pad.
II. Using MIDI Controller
The SC-40 and SC-20 are MIDI equipped tone generators and may be connected and controlled by MIDI controllers
(Keyboard, Sequencer, etc.), without using any pads.
* Optional Accessories
For more effective and efficient performance, the SC-40 or SC-20 can be used with the following optional accessories.
PE-8 Pad Expander Unit
Using this unit with the SC-40 or SC-20, a player can increase the number of pads to a maximum of 16,
(Turn the Tone Unit OFF, then connect the PE-8 to the SC-40 or SC-20. Next, switch the PAD MODE to "16" at the
rear panel of the Tone Unit. Lastly, turn the Tone Unit back ON.)
KS-1 Kit Selector
A compact size remote Kit Selector.
(Connect the device to the KIT SELECTOR terminal at the rear panel of the tone unit.)
MP-1 Mute Pedal
Pedal for muting the sound overall.
(Connect the device to the MUTE terminal at the rear panel of the tone unit.)
TUR-1 Tone Unit Rack
Rack for the SC-40 or SC-20 tone units. El A standard 19" rack.
Note: For hardware such as the Drum Rack, Stands, etc., please refer to Pearl's Professional Series Drum Catalog. (Pearl's acoustic
Tom Holders, TH-95, TH-80, etc., are compatible to the TP-2 Snare Drum/Tom Tom Pad and QP-1 Quad Pad.)
PRELIMINARY INFORMATION
BASIC TERMS
Since the following terms will be used many times in the coming pages, we recommend that you understand and
remember the important terms and their meanings.
KIT
* Kit/Pad/Parameter/Value
1
1
2
D
D
D
D
D
4
5
6
7
8
n
KIT . . . . . . . . . . . . .One program set
PAD . . . . . . . . . . . . .A unit of the program or a unit of the
controller
PARAMETER . . . . . .Factors synthesizing the timbre
KIT
D
D
AD
s
Bank A/Group A
Bank A/Group B
Bank B/Group A
Bank B/Group B
PAD
VALUE
WAVE
PITCH
MODULATION
10
63
0
7
D
8
?
8
PARAMETER
VALUE
HAVE
PITCH
MODULATION
VELOCITY CURVE
Both LED indicators indicate B when lit, A when off.
6
D
?.
VELOCITY CURVE
KIT NUMBER
D
1
2
3
4
5
3
PARAMETER
PAD
2
3
4
5
6
7
8
8
31
3
10
VELOCITY CURVE
A maximum of 32 kits (in the case of an 8 pad mode) can be
programmed into SC-40 and SC-20.
D
D
D
D
D
D
D
D
D
D
D
D
VALUE
Vf
TCH
DUUT1QN
* Bank/Group
1
1
RANETER
VALUE . . . . . . . . . . .Measurement of each parameter
KIT
?
D
0
?3
6
i
BANK GROUP
Bank A/Group A, Kit No.1
Bank B/Group A, Kit No.1
Bank A/Group B, Kit No.1
Bank B/Group B, Kit No.1
Eight keys (1 to 8) x two Banks (A & B) x two Groups (A & B) = 32 kits, which are the maximum programmable kits.
* Connecting the PE-8 Pad Expander Unit to use pads 9 to 1 6 by switching the PAD MODE from "8" to "16", Group A and B become
the same one group.
*Test Kit
In Addition to 32 programs (kits), one extra kit with a 16 pad connection option is provided to test timbre-synthesizing without changing
any data already programmed on the NORMAL kit. To modify the
timbres, please practice the normal key operations to change the
timbres on the TEST KIT. Before leaving the TEST KIT, please check
the timbres you modified in order to insure that you received the timbres
you desired.
While the PROTECTION switch on the rear panel is ON, only the TEST
KIT program data can be changed. (The NORMAL kit program data is
protected and can not be changed.)
PAD
PROGRAM
(NORMAL)
PAD
PROGRAM
(TEST)
[BANK A/GROUP A]
KIT 1
KIT 2
KIT 3
KIT 4
KIT 5
KIT 6
KIT 7
KIT 8
[BANK A/GROUP B)
KIT 1
KIT 2
KIT 3
KIT 4
KIT 5
KIT 6
KIT 7
KIT 8
[BANK B/GROUP A]
KIT 1
KIT 2
KIT 3
KIT 4
KIT 5
KIT 6
KIT 7
KIT 8
[BANK B/GROUP B]
KIT 1
KIT 2
KIT 3
KIT 4
KIT 5
KIT 6
KIT 7
KIT 8
[TEST
[TEST
GROUP A]
GROUP B]
REAR PANEL/CONNECTIONS
* Names and Functions
CASSETTE
PROTECTION
MIDI
KIT SELECTOR
MIXED OUT
PAD EXPANDER
SEPARATE OUT
PAD 1,2
PAD MODE
PEDAL
PAD INPUT
CASSETTE (See Retaining the Programmed Data)
For retaining the programmed data using a cassette tape recorder.
IN . . . . . . . . For loading data, connect the SC-40's or SC-20's IN input to the OUTPUT terminal of a cassette
tape recorder.
OUT. . . . . . . For retaining data, connect the tone unit's OUT outputs to the INPUT terminal of a cassette tape
recorder.
HI:
For the Line level inputs
LOW : For the Mic level inputs
MIXED OUT (See Connections)
R, L . . . . . . . Stereo out to two amplifiers, mixer, etc.
Use the "R" output jack for the mono out.
• While the SEPARATE OUT terminal is used (plugged in) to send out the desired signal(s), this signal(s), which the "OUT CH." number
is assigned by the parameter, cannot be sent out of the MIXED OUT.
* While the stereo out is applied, each channel's sound signal can be panned from left to right by assigning the "OUT CH." parameter
numbers from 0 to 7.
LEVEL (VARI/FIX) . . .This switch is effective for controlling the VOLUME on the front panel. If the level is
switched to VARI, you can control the volume of the output by the VOLUME control
knob. If switched to FIX, the volume is fixed and not changeable. Whether the LEVEL is
switched to VARI or FIX, the headphone volume control is always effective.
SEPARATE OUT (See Connections)
The output signals can be sent out separately from the SEPARATE OUT by using the parameter of the "OUT CH."
to assign the numbers.
* Each pad can be assigned to an individual "OUT CH." number. Plural pads can also be assigned to a single "OUT CH." number.
•While the SEPARATE OUT terminal is used (plugged in) to send out the desired signal(s), this signal(s), which the "OUT CH."
number is assigned by the parameter, can not be sent out of the MIXED OUT.
PEDAL (See Optional Accessories and Hi-Hat Pad Connections)
Terminals for using the optional HI-HAT and MUTE pedals.
MUTE. . . . . . For the MUTE pedal and is designed to mute the sound signal overall.
HI HAT. . . . . For the HI-HAT pad. Open/Close performance can be done by plugging into this terminal and PAD
INPUT 1 .
MIDI (See MIDI)
Terminal to connect a MIDI instrument.
KIT SELECTOR (See Optional Accessories)
Terminal for using the Optional KIT SELECTOR. By connecting the KIT SELECTOR to this terminal, programmed
kits can be selected by remote control.
PAD EXPANDER (See Optional Accessories)
Terminal for using the optional PAD EXPANDER. By connecting the Pad Expander unit to the SC-40 or SC-20, a
maximum of 1 6 pads can be used.
PROTECTION (See Operation)
The Protection switch protects all the 32 programs from being changed and/or erased due to mistakes or accidents
while it is "ON". Before the kit and pad programmings can be changed, the switch must be turned OFF. If not, any
programming changes will not be carried out.
PAD MODE (See Optional Accessories)
Whenever using the Pad Expander unit, please switch the SC-40's or SC-20's AC power OFF first. Then switch the
PAD MODE from 8 to 16 or 16 to 8. Lastly, switch the AC power back ON. If the PAD MODE is switched while the
AC power is ON, the desired mode selection will not be carried out.
PAD 1 , 2 (See Hi-Hat Pad Connection)
When using the PAD INPUT 1 and 2 for the Open/Closed Hi-Hat sounds, please switch to MONO.
When using the PAD INPUT 1 and HIHAT (input) for the Open/Closed Hi-Hat sound, please switch to NORM.
PAD INPUT (See Connections and Hi-Hat Pad Connection)
Input terminal for all pads. For Hi-Hat sounds, you may use PAD INPUT 1 (switching PAD 1 , 2 to NORM and connecting to HIHAT) or PAD INPUT 1 and 2 (switching PAD 1 , 2 to MONO).
* Basic Connections
Connect each pad to the PAD INPUT, the AC cord's plug to the AC outlet and the MIXED OUT R (mono out) to an
amplifier or mixer input.
SAMPLE: PAD INPUT ALLOCATION FOR A DRUM KIT
PAD
PAD INPUT
Hi-Hat Pad
1
HP-1
2
CP-1
Cymbal Pad (Crash)
3
CP-1
Cymbal Pad (Ride)
4
TP-2
Snare Drum Pad
5
BP-2
Bass Drum Pad
6
TP-2
Tom Tom Pad (1)
7
TP-2
Tom Tom Pad (2)
8
TP-2
Tom Tom Pad (3)
You can use the above set-up as a drum kit to play KIT programs (Bank A/Group A) for the drum sounds. (Changing the programs, other KIT programs can be used for drum sounds.)
Upon shipping from the factory, the "KITS" of the SC-40 and SC-20 are programmed (users can easily change) as
follows:
Bank A/Group A = Drum Kit
Bank A/Group B = Preset (Bank A ) Drum/Cymbal sounds
Bank B/Group A = Percussion sounds
Bank B/Group B = Preset (Bank B) Percussion sounds
(See FACTORY PROGRAMMED KIT LIST and FACTORY PRESET TIMBRE LIST)
7
(Stereo Out)
Connect the MIXED OUT L and R to two (2) amplifiers or mixer. Each sound signal can be panned by
assigning the "OUT CH." number. (See Parameter)
(Separate Out)
Connect each SEPARATE OUT jack to each line
input jack of a mixer. The output signals can be sent
out separately from the SEPARATE OUT by using
the parameter of the "OUT CH." to assign the
number.
* Each pad can be assigned to an individual "OUT CH." number. Plural pads can also be assigned to a single "OUT CH." number.
* While the Separate Out terminal is used (plugged in) to send out the desired signal(s), the signal(s), which the OUT CH. number is
assigned by the parameter, can not be sent out of the MIXED OUTPUT.
* Hi-Hat Pad Connections
There are two (2) ways to connect the Hi-Hat Pad to obtain the Hi-Hat sounds.
1 . Using PAD 1 program only.
Pad 1 program's TONE timbre and ATTACK one are selected for the Open and Closed sounds by open and close
foot pedaling.
2. Using PAD 1 and PAD 2 programs.
Closed sound of PAD 1 program and the Open sound of PAD 2 program are selected by pedaling.
^Connections^*
In case of 1 .
1 . Connect the PAD INPUT 1 of the SC-40/SC-20 to the PAD 1 terminal of the Hi-Hat Pad.
2. Connect the PEDAL HIHAT input of the SC-40/SC-20 to the PAD 2/HH PEDAL of the Hi-Hat pad.
3. Slide the switch on the Hi-Hat pad to "HH PEDAL".
4. Slide the "PAD 1 , 2" switch of the SC-40/SC-20 to "NORM".
In case of 2.
1 . Connect the PAD INPUT 1 of the SC-40/SC-20 to the PAD 1 terminal of the Hi-Hat pad.
2. Connect the PAD INPUT 2 of the SC-40/SC-20 to the PAD 2/HH PEDAL of the Hi-Hat pad.
3. Slide the switch on the Hi-Hat pad to "PAD 2".
4. Slide the "PAD 1 , 2 " switch of the SC-40/SC-20 to "MONO".
8
FRONT PANEL/BASIC OPERATION
* Names and Functions
SENSE (See Adjusting the Sensitivity)
Each knob adjusts the trigger sensitivity of each pad.
DISPLAY (See Control Keys/Display)
The finish of the programming operation or operating state is displayed.
CONTROL KEYS (See Control Keys/Display)
Key marks are placed after the display words in order to show which key is depressed.
VOLUME
The volume knob controls the master signal level for the MIXED OUT and HEADPHONE. By switching the MIXED
OUT LEVEL to FIX, the volume control knob will only be effective for the HEADPHONE while the MIXED OUT
LEVEL will be fixed.
PHONE
Terminal for the headphone monitor.
POWER
AC power switch.
* Control Keys/Display
By pressing the CURSOR key, you can move the LED indicator to the word where the desired operation should be
carried out. The key marks are printed right after the words and instruct you as to which control key should be pressed.
I. Cursor
^CURSOR
The LED indicator can move up, down, left or right by pressing the CURSOR keys (blue colored). Press the key for
short durations and the CURSOR indicator moves step by step. Press the key for a long duration, the CURSOR moves
quickly.
<CURSOR indicator's Moving Scope>
* The CURSOR indicator's moving scope is separated into
plural blocks. Each block is partly blockaded by a vertical line, leaving a through gate, and has a functional
character. The CURSOR indicator can only move to
other blocks through the gate and does not jump over
to other blocks without passing through the gate.
• While the PROTECTION switch is ON and the LED is
lit-up red at PROTECTION in the front display, the LED
indicator can jump over NORMAL and CASSETTE.
9
HOME
By pressing the HOME key (blue colored), the CURSOR indicator moves back to the KIT section instantly from
wherever it is.
II. Key Marks and Control Keys
NUMBER
While the CURSOR indicator is moved to such words as KIT, PAD PROGRAM, PRESET CALL, and PAD COPY, a
number can be selected by pressing the NUMBER key. Two (2) figures simultaneously can be displayed by LED's in
the "PRESET/KIT PAD" column, for example, one in the left hand column and another in the right. After the initial
two figures are lit-up, by pressing the NUMBER key again the right figure is shifted to the left hand column and the
newly pressed number is displayed in the right column.
» While the CURSOR indicator is in the PARAMETER block (except in the MIDI section), the NUMBER keys can be used as manual
trigger keys. The volume of sound increases in proportion to the Key Number from 1 to 8.
VALUE, BANK/GROUP
<When the CURSOR indicator is located in the PARAMETER block>
The value of a parameter is measured by pressing the VALUE keys. Press the key for short durations, the value
changes step by step. By pressing the key for long dulation, the value changes rapidly and continuously.
<When the CURSOR indicator is located at KIT, PAD PROGRAM, CASSETTE, PRESET CALL or PAD COPY>
Bank and Group are changed from A to B or from B to A whenever the BANK key
or GROUP key
is pressed.
•TEST KIT of PAD PROGRAM has no BANK. PRESET CALL is a call for 128 factory preset timbres (un-changeable by users) but
has no GROUP.
<When the CURSOR indicator is located at MIDI REC.>
Channel assignment of the OMNI OFF mode is enabled. A Channel Number can be selected by pressing either
or
key.
ENTRY
PRESET CALL, PAD COPY, LOAD, SAVE and VERIFY are carried out by pressing the ENTRY key. The MIDI
REC. mode (Omni On or Off) is also selected by this key.
10
III. Display
Trigger Check Area
The input trigger level is displayed by the TRIG. LEVEL LED and the stroked pad numbers are indicated by the lighting
of the TRIG. PAD LED. The trigger sensitivity for each pad may be adjusted as desired (See Adjusting the Sensitivity).
KIT
By pressing the NUMBER keys (1 to 8), the desired Kit is selected. This is a starting point of operations.
Location of the
CURSOR indicator
KIT
Operation
To select
number.
the
desired
Display
Kit
The selected Kit (Bank & Group) is
displayed.
PAD PROGRAM
This is an area to modify and/or change timbres. You can select pads at this area and can copy timbres via PRESET
CALL or PAD COPY to them. If necessary, you can modify the copied timbres by parameter operations.
Location of the
CURSOR indicator
PAD PROGRAM
TEST
Operation
To test the timbre modification in the Test Kit.
Display
The letter "t" is displayed.
The pad number of which you are
going to modify is selected by
pressing the desired NUMBER key.
PAD PROGRAM
NORMAL
Modify the timbres by selecting the desired pad numbers.
Next, move the CURSOR indicator to the right.
11
Kit number is the number that is
assigned at KIT position.
Via PRESET CALL and/or PAD COPY, you can copy and program timbres to the pads which are selected at PAD
PROGRAM.
Location of the
CURSOR indicator
PRESET CALL
Operation
Display
To call back one of the 128
factory preset timbres and to
copy it, if so desired, into the
designated Kit Pad. Call and
The preset Number is displayed
with numbers ( 1 1 to 88) and Bank
(A or B).
copy are carried out by press-
ing the ENTRY key.
PAD COPY
To copy the programmed
timbre data of other KIT
PAD programs into the designated KIT PAD. The numbers
of the programmed KIT, PAD,
BANK and GROUP from
which you are going to copy
can be selected and copying
is carried out by pressing
the ENTRY key.
First off, press the NUMBER key
to select the desired KIT number
which is displayed in the right
hand column. Secondly, press the
NUMBER key to select the desired
PAD number which is displayed in
the right hand column. The KIT
number is automatically shifted to
the left hand column.
»When using the PRESET CALL and PAD COPY, only the value of the 16 parameters (from WAVE to A/T BALANCE) are copied
and not the values of the 6 parameters (from LEVEL to VELOCITY CURVE).
Next, move the CURSOR indicator to the right.
If you wish to modify the Timbre, please move the Cursor indicator to the desired parameter first, then assign the
value.
Location of the
CURSOR indicator
PARAMETER
Operation
Display
To modify the timbre, move
the
CURSOR
indicator
to
The value of the selected parameter
is displayed.
the desired parameter.
CASSETTE Area
In this area, timbre data save and load are done.
Location of the
CURSOR indicator
CASSETTE
Operation
Display
To retain the programmed
data on a cassette and to
verify it. Saving and loading
of the data is carried out by
A and B of Bank and Group.
The letter "C" is displayed in the
right hand column.
Next, move the CURSOR indicator to the right.
12
The undermentioned shows how to save, verify and load the programmed data.
Location of the
CURSOR indicator
LOAD
Operation
Display
To load the programmed data
saved on the cassette tape
back into the Tone Unit.
Loading is carried out by
pressing the ENTRY key.
By pressing the ENTRY key, the
letter "L" is displayed.
PRESET/KIT'PAD
After loading the data is completed,
the word "End" is displayed.
If something goes wrong with the
data loading, an error massage is
displayed (See Error Massage).
SAVE
To retain the programmed
data on the cassette tape.
Retaining the data is carried
out by pressing the ENTRY
key.
By pressing the ENTRY key, the
letter "S" and value "00" are displayed. After flickering, value "00"
changes to "47". Then the value
"47" changes back to "00". After
loading the data is completed, the
word "End" is displayed.
VERIFY
To verify whether the programmed data is retained
onto the cassette tape. Verifying is carried out by pressing
the ENTRY key.
By pressing the ENTRY key, the
letter "v" is displayed. If nothing
wrong occurred with the retaining
of the data, the word "End" is
displayed.
PRESET/KIT PAD
If something went wrong with the
retaining of the data, an error
message is displayed. (See Error
Message)
MIDI Recognition Mode/Channel Assignment
Location of the
CURSOR indicator
MIDI REC.
13
Operation
To select the MIDI Recognition Mode (Omni On or Off).
By pressing the ENTRY key,
either the Omni On or Off
is selected by turns. In the
case of Omni Off, channel
assignment is done by pressing the VALUE key.
Display
While the Omni On is selected, the
word "on" is displayed. While the
Omni Off is selected, the letters
"cH" and Channel Number are displayed in the VALUE column.
OPERATION
On the panels of SC-40 and SO-20, there are many keys, knobs, terminals, switches etc. It is not always necessary to use
them all. First, please master the"Basic Operations for Playing thelnstrument(Kit Selection)". With such Basic Operations,
you can enjoy the percussion sounds of the factory KIT/PAD programs.
ADJUSTING THE SENSITIVITY
Please be sure to adjust the sensitivity of each pad after it is connected to either the SC-40 or SC-20.
1 . In order to check the TRIG. PAD LED indicators on the front display panel, strike each pad separately. The indicator
of the struck pad will light up.
2. To check the TRIG. LEVEL display, strike each pad hard and soft. Turn the sensitivity knob so that the far left end
of the TRIG. LEVEL'S indicators lights up when each pad is struck softly, and all four indicators light up when each
pad is struck softly, and all four indicators light up when each pad is struck hard. If all four indicators are lit-up
when each pad is struck softly, turn the sensitivity knob counter-clockwise. If all four indicators are not lit-up when
the pad is struck hard, turn the knob clockwise.
0 K
Soft
Hard
Soft
Hard
Soft
Hard
BASIC OPERATIONS FOR PLAYING
THE INSTRUMENT (KIT SELECTION)
1. Move the CURSOR indicator to "KIT", then
select the desired factory programmed kit (or the
re-programmed kit henceforth) by pressing the
correct NUMBER, BANK and GROUP keys.
* By pressing the "HOME" key, the CURSOR indicator
will automatically and instantly move back to "KIT"
from any location on the front display panel.
14
TIMBRE CHANGE/MODIFICATION(onTEST KIT)
The TEST KIT is provided for you to check whether or not the timbres and programs are modified as desired, before
actually changing any of the 32 factory preset programs.
I. Rearranging the Kit Program (PAD COPY)
The desired KIT PAD timbres can be copied to any pad in any kit instantly. By such copying, a kit can be reprogrammed
easily. The following is an example of how to program a "KIT" on the TEST KIT.
1 . Move the CURSOR indicator to TEST of the PAD
PROGRAM.
2. Select the PAD number 1 by pressing the NUMBER
key 1.
3. Move the CURSOR indicator to PAD COPY.
4. Select the KIT and PAD number with the desired
timbre to be copied to PAD 1, by pressing the
correct NUMBER, BANK and GROUP keys.
5. Press the ENTRY key and copying is carried out
instantly. Without pressing the ENTRY key, the
copying will never be carried out.
*The values of the 16 parameters (governing the synthesizing of the timbre) from WAVE to A/T BALANCE are
the only parameters (not the remaining 6 parameters
from LEVEL to VELOCITY CURVE) that can be
copied.
15
6. After completing the copying, move the CURSOR
indicator back to TEST of the PAD PROGRAM.
7. Next, by pressing the NUMBER key, select PAD 2
and then please follow the same operation to copy
the data.
8. For Pads 3, 4, 5, 6, 7 and 8, please copy the data by following the entire previously mentioned procedure.
* By moving the CURSOR indicator to LEVEL and assigning a value, you can adjust the output level of each pad in order to achieve a
fine balance of the sound between all the pads.
* By moving the CURSOR indicator to PITCH and assigning a value, you can also adjust the pitch of each pad.
II. Preset Timbres (PRESET CALL)
128 factory preset timbres are stored in both the SC-40 and SC-20. Any of the preset timbres can be copied to KIT
PAD instantly in a very similar operation as done for PAD COPY.
The following is an example of how to program a "KIT" by copying the factory Preset Timbres on TEST KIT.
1 . Move the CURSOR indicator to TEST of the PAD
PROGRAM.
2. Select the PAD number 1 by pressing the NUMBER
key 1.
3. Move the CURSOR indicator to PRESET CALL.
4. Referring to the FACTORY PRESET TIMBRE
LIST, first choose the timbre number, then display it by pressing the correct NUMBER and
BANK (A or B) keys.
16
5. Press the ENTRY key and copying is carried out
instantly. Without pressing the ENTRY key, the
copying will never be carried out.
6. After completing the copying, move the CURSOR
indicator back to TEST of the PAD PROGRAM.
7. Next, by pressing the NUMBER key, select PAD 2
and then please follow the same operation to copy
the data.
8. For Pads 3, 4, 5, 6, 7 and 8, please copy the data by following the entire previously mentioned procedure.
* Using the two preceding methods, you can choose to copy the timbre either from PAD COPY or PRESET CALL to any pad.
« By moving the CURSOR indicator to LEVEL and assigning a value, you can adjust the output level of each pad in order to achieve a
fine balance of sound between all the pads.
* By moving the CURSOR indicator to PITCH and assigning a value, you can also adjust the pitch of each pad.
III. Parameter Control <Synthesizing the Timbres> (PARAMETER/VALUE)
The timbres of the SC-40 and SC-20 are synthesized from the PARAMETERS in their corresponding values and then
programmed.
Operations of "PAD COPY" and "PRESET CALL" are the basic operations to call back and copy the programmed data.
If the copied timbre are not to your liking, you may modify them by changing the necessary parameter's value.
The following is an example of how to program a "KIT" on the TEST KIT by synthesizing the timbres from various
parameters.
1 . Move the CURSOR indicator to TEST of the PAD
PROGRAM.
2. Select the PAD number 1 by pressing the NUMBER
key 1.
17
PEARL
3. Move the CURSOR indicator to PRESET CALL or
PAD COPY.
4. Referring to the FACTORY PRESET TIMBRE
LIST or FACTORY PROGRAMMED KIT LIST,
first choose the Timbre number or Kit Pad
numbers, respectively, then display them by pressing the correct NUMBER, BANK (PadCopy/Preset
Call) and GROUP (Pad Copy) keys. Press the
ENTRY key and copying is carried out instantly.
Without pressing the ENTRY key, the copying will
never be carried out.
* The values of 1 6 parameters (governing the synthesizing
of the timbre) from WAVE to A/T BALANCE are the
only parameters (not the remaining 6 parameters from
LEVEL to VELOCITY CURVE) that can be copied.
5. Move the CURSOR indicator to the desired
PARAMETER you are going to modify. (See Parameter)
6. Press the VALUE keys to increase or decrease the
value of the parameter as desired.
7. Move the CURSOR indicator to the next PARAMETER and change the value as desired.
8. In the same operation as preceding, change the values of the remaining parameters in order to synthesize the timbres
as desired.
9. After completing the synthesizing, move the
CURSOR indicator to TEST of PAD PROGRAM.
10. Next, by pressing the NUMBER key, select PAD
2 and then please follow the same operation to
synthesize the timbre for PAD 2.
1 1 . For Pads 3, 4, 5, 6, 7 and 8, please synthesize the timbres by following the entire previously mentioned procedure
to complete the Kit.
* While the CURSOR indicator is in the PARAMETER block and if the AC power is switched OFF during the synthesizing of timbre
and before the CURSOR indicator is returned to KIT or PAD PROGRAM, the new timbre will not be memorized.
18
PROGRAMMING METHODS
Note: Please make certain to write your TEST KIT's data in order to program a KIT PAD.
1. Please select the KIT number (together with using
the BANK and GROUP) of the programmed data
you wish to reprogram.
2. Switch OFF the PROTECTION on the rear panel.
When switched, the corresponding Red LED light
in the front display panel will go off.
3. Move the CURSOR indicator to NORMAL of the
PAD PROGRAM and select PAD 1 by pressing the
correct NUMBER key. You can choose to either
modify the timbres copied via PAD COPY or
PRESET CALL or synthesize timbres by operating
the Parameters.
4. Move the CURSOR indicator to PRESET CALL or
PAD COPY.
5. Refering to the FACTORY PRESET TIMBRE
LIST or FACTORY PROGRAMMED KIT LIST,
first choose the Timbre Number or Kit Pad
numbers, respectively, then display them by pressing the correct NUMBER, BANK (Pad Copy/Preset
Call) and GROUP (Pad Copy) keys, if so desired.
Press the ENTRY key and the copying is carried
out instantly. Without pressing the ENTRY key,
the copying of either the PRESET CALL or PAD
COPY will never be carried out.
*The values of the 1 6 parameters (governing the synthesizing of the timbre) from WAVE to A/T BALANCE are the only parameters
(not the remaining 6 parameters from LEVEL to VELOCITY CURVE) that can be copied.
19
6. Move the CURSOR indicator to the desired
PARAMETER you are going to modify. (See
Parameter)
7. Press the VALUE keys to increase or decrease the
value of the parameter desired.
8. Move the CURSOR indicator to the next PARAMETER and change the value as desired.
9. In the same operation as preceding, change the values of the remaining Parameters in order to synthesize the timbres
as desired.
10. After completing the synthesizing, move the
CURSOR indicator to NORMAL of the PAD
PROGRAM.
1 1 . Next, by pressing the NUMBER key, select PAD
2 and then please follow the same operation to
synthesize the timbre for PAD 2.
1 2 . For Pads 3, 4, 5, 6, 7 and 8, please synthesize the timbre by following the entire previously mentioned procedure
to complete the Kit.
•While the CURSOR indicator is in the PARAMETER block and if the AC power is switched OFF during the synthesizing of timbre
and before the CURSOR indicator is returned to KIT or PAD PROGRAM, the new timbres will not be memorized.
» After finishing the reprogramming, please switch on the PROTECTION in order to protect all programs from being modified and/or
erased by accidents or mistakes. While the PROTECTION is ON, the Red LED in the front display panel is lit.
20
PARAMETER
Parameters are the factors from which the timbres are synthesized. The value of each of the parameters is assigned by
the VALUE keys and the maximum parameter value is printed on the display panel.
(Block Diagram)
Parameters for the source to be processed in the TONE and ATTACK blocks.
WAVE —————————— The fundamental timbre is generated from the wave form. The wave form is selected by this
parameter and 32 basic wave forms are in the SC-40 and SC-20. A variety of percussion
timbre are accurately synthesized from the wave forms. (See the WAVE FORM LIST)
PITCH —————————— Pitch is assigned by the value keys and is variable from 0 to 63 every quarter note.
MODULATION ————— The pitch is modulated in depth by noise and the value of the depth is assigned by the value
keys. When the modulation is set at "0", depth is out of modulation control.
NOISE——————————- Level of noise to be mixed with the wave is assigned by the value keys.
BEND ENV.——————— Bend Envelope is selected.
0 ... Whether the pad is struck hard or soft, the pitch is bent down to the assigned pitch
from the given depth higher than the said pitch.
1 ... The harder the pad is struck, the higher the pitch starts and subsequently bent down.
2 ... Pitch is bent up in the assigned depth from the assigned pitch.
3 . . . Pitch is bent up from the assigned pitch in proportion to how hard the pad is struck
and bent down to the assigned pitch in proportion to the value of the Decay of the
TONE parameters.
Pitch
Assigned Pitch
Time
BEND DEPTH —————— Bend depth is assigned. It's value is variable from 0 to 1 5 . As the value increases, the depth
increases correspondingly.
BEND SPEED —————— Bend speed is assigned. It's value is variable from 0 to 3 1 . As the value increases, the speed
increases correspondingly.
Parameters of the sustain part of timbre.
FILTER FREQ.—————The cut-off frequency of the TONE circuit filter is assigned. The band pass filter consists
of the low pass and high pass filters.
21
FILTER ENV.—————
— Cut off frequency of the low pass and/or high pass filters is modified by a pattern with the
filter envelope. Pattern is selected.
0
1
2
3
Env. Depth
Level
Frequency
ENV. DEPTH —————— The depth of the filter envelope is controlled and as the depth increases, its value increases
correspondingly.
ENV. SPEED——————The speed of the filter envelope is controllable and as the speed increases, its value increases
correspondingly.
DECAY——————————The decay of the TONE signal is controllable and as the length of the decay increases, its
value increases correspondingly.
Parameters of the Attack part of timbre.
FILTER FREQ.————— Cut-off frequency is controllable.
FILTER WIDTH————Bandwidth is controllable.
DECAY——————————The signal decay of the ATTACK circuit is controllable. And as the length of the decay
increases, its value increases correspondingly.
A / T BALANCE————The ratio of the signal level of the ATTACK portion of the timbre vs. the TONE portion is
controllable and as the attack level increases, its value increases correspondingly.
LEVEL—————————— The output level for each pad is controllable.
OUT CH.————————— When using the Separate Outs, the output channel can be assigned to each pad. Using the
Stereo Out, allows you to pan each output signal, if so desired.
All signals are monitored in stereo by using a set of headphones, but please make sure that
all signals are not panned to one side. When using the Mono Out, please assign all pads to
channels 3 or 4.
(See MIDI)
CH. No—————————— A MIDI out channel can be assigned, and a different channel can be assigned to each pad.
NOTE No———————— When using either for the MIDI IN or OUT, a note number can be assigned.
PAD CONN.——————— The MIDI out mode can be selected.
0 . . . Only internal Tone Generator (SC-40 or SC-20) is triggered.
1 . . . Only MIDI OUT is available.
2 ... Both internal Tone Generator (SC-40 or SC-20) and MIDI OUT are available.
VELOCITY CURVE——The MIDI velocity translation can be selected in both the MIDI OUT and IN.
0 ... Linear
1 ... Logarithm
2 . . . Exponential
_
Out
In
22
RETAINING THE PROGRAMMED DATA
In the SC-40 and SC-20, the programmed data is put into the following four blocks:
1st Block . . . . . . . . . .Bank A/Group A
2nd Block . . . . . . . . .Bank A/Group B
3rd Block . . . . . . . . .Bank B/Group A
4th Block . . . . . . . . .Bank B/Group B
Any and all blocks of data can be transferred and retained on a cassette tape and then, in turn, be loaded into the SC-40
or SC-20.
* Data Cassette Tape (DT-10)
The factory preset and programmed data in the previous four blocks are stored in that order on the DT-10 Data Cassette Tape.
* Connection
Connect the CASSETTE terminals on the rear panel of the SC-40 or SC-20 to a cassette tape recorder (See Diagram
below).
* Operation
I. Save
1 . First connect the SC-40 or SC-20 to a Cassette Tape Recorder. Then turn both devices' AC power ON.
2. Switch the PROTECTION OFF and the Red LED
indicator lamp in the front display panel goes off.
3. Move the CURSOR indicator to CASSETTE. The
letter "C" is then displayed.
4. By pressing the respective BANK and GROUP
keys, select the Bank (A or B) and Group (A or B)
you desire.
5. Move the CURSOR indicator to SAVE.
6. Put the Cassette Tape Recorder on Recording.
23
7. After the leader tape section passes by the recording head of the tape recorder, please press the
ENTRY key. The letter "S" and Value "00" are
then displayed. After flickering about 1 4 seconds,
the value "00" changes to "47" and then value
"47" counts down to "00" in about 25 seconds.
After the SAVE is finished, the word "End" is
displayed.
*By following the above operations, the retaining of the data is completed but to make sure, please check it with the following
VERIFY operation.
II. Verify
1 . Rewind the cassette tape.
2. Move the CURSOR indicator to VERIFY.
3. Put the cassette tape recorder on play.
4. Immediately after the LEADER TONE starts,
press the SC-40 or SC-20's ENTRY key. The letter
"v" is then displayed.
5. After comparing the data and checking it to see
that it has been correctly retained, the word
"End" is then displayed. If something should go
wrong, an ERROR message will be displayed in
the PRESET/KIT PAD and VALUE column. In
that case, please refer to the Error Message section
to correct the problem, and then start the retaining
of the data from the beginning again. (See Error
Message)
24
III. Load
1 . First connect the SC-40 or SC-20 to a cassette tape recorder. Then turn both devices' AC power ON.
2. Rewind the cassette tape.
3. Switch the PROTECTION OFF and the Red LED
indicator lamp in the front display panel goes off.
4. Move the CURSOR indicator to CASSETTE. The
letter "C" is then displayed.
5. By pressing the respective BANK and GROUP
keys, select the Bank (A or B) and Group (A or B)
in terms of block of sounds you desire to load
back.
6. Move the CURSOR indicator to LOAD.
7. Put the cassette tape recorder on Play.
8. Immediately after the LEADER TONE starts,
press the SC-40 or SC-20's ENTRY key. The letter
"L" is then displayed.
9. After the loading is finished, the word "End" is
displayed. If something should go wrong, an
ERROR message will be displayed in the PRESET/
KIT PAD and VALUE column. In that case, please
refer to the Error Message section to correct the
problem, and then start the loading of the data
from beginning again. (See Error Message)
25
MIDI
The SC-40 and SC-20 are MIDI equipped instruments and may be connected to other MIDI equipped instruments.
By connecting the MIDI terminals of the SC-40 or SC-20 to MIDI terminals of other MIDI equipped instrument(s), the
other MIDI equipped instrument's sound module can be played by Pearl's Electronic Drum Pads via the SC-40/SC-20
or the SC-40/SC-20 can be played by a MIDI controller such as a Keyboard, Sequencer, etc.
* Connection
1 . To play another MIDI equipped instrument from a Pearl pad.
*The time difference between Note-On and Note-Off MIDI signals transmitted from either SC-40 or SC-20 is extremely short in
duration. Depending on the instrument used and its resulting signal timbre, the signal may not be voiced well. In order to correctly
trigger another MIDI equipped instrument's sound, please make certain to assign the instrument's timbre which has a quick attack
and long release time.
2. To play the SC-40 or SC-20 from a MIDI controller.
*MIDI Specifications
MIDI REC. (MIDI Recognition Mode)
The MIDI Recognition Mode (Omni On or Off) is selectable. Whenever the AC power is switched ON, the Omni On
mode is automatically selected. By pressing the ENTRY key, either Omni On or Off can be selected. In the Omni Off
mode, the MIDI signals of assigned channels are received in total (not for each pad).
Program Change
The MIDI Program change can be controlled by the Kit Selection in the transmission and vice versa in the recognition.
» Program change information is transmitted through CH. 1 to CH. 8 (out of 1 6 channels).
CH No (Channel Number)
In the transmission, Channel Numbers can be assigned to each pad. A different MIDI sound module (or instrument)
can be assigned to each pad.
NOTE No (Note Number)
The Note Numbers of MIDI equipped instruments and controller can be assigned to each pad. Please move the
CURSOR indicator to the NOTE No. By pressing the VALUE keys, select the Note Number you desire to assign the
pad. In order to carry out the assignment, please move the CURSOR indicator anywhere from the NOTE No. position.
If the same Note Number is assigned to two (2) or more different pads in the Recognition, for example. Pad Number
8 (previously assigned) and Pad Number 2 (newly assigned), the Note Number is temporarily assigned to Pad Number
2. After that, when the AC power is switched OFF or the Kit Program is changed, the Note Number is reassigned to
larger Pad Number.
The Note Number "0" is designed to mute the MIDI signal.
PAD CONN. (Pad Connection)
By pressing the VALUE keys, you can select the other MIDI instrument and/or SC-40(20) to be played from each pad.
0 . . . .Only to trigger the internal tone generator of SC-40 or SC-20.
1 . . . .Only MIDI OUT is available.
2 . . . .Triggering of both the internal tone generator and MIDI OUT are available.
VELOCITY CURVE
The velocity translation curve pattern is selected in the MIDI OUT and IN.
<CTerminals^>
•MIDI IN
Terminal to receive the MIDI signal.
•MIDI THRU (MIDI Through)
MIDI information received from an external MIDI controller can be passed through to another external MIDI controller.
'MIDI OUT
Terminal to transmit out the MIDI signal.
27
SPECIFICATIONS
• TONE GENERATOR: DWAP (Digital Wave Analog Processing)
2 WG, 4VCF ( L P x 2 , H P x 2 ) , 4 EG
• SIMULTANEOUSLY GENERATED SOUND SIGNALS: 4 (SC-40), 2 (SC-20)
• PAD INPUT NUMBER:
8 (SC-40/20)
1 6 (SC-40/20 with PE-8 Pad Expander Unit)
• PROGRAM MEMORY: 8 pads x 32 or 1 6 pads x 1 6
• PRESET TIMBRE: 128
• FUNCTION: Pad Program (Preset Call, Pad Copy, Parameter Edit- 18 Parameters, MIDI Transmission)
Cassette Tape (Load, Save, Verify)
MIDI Recognition Channel (Omni mode ON/OFF)
• INPUT/OUTPUT: Pad Inputs 8, Pedal Inputs 2 (Hi-Hat, Mute)
Output (Separate Out 8 <0 to 7 ch>. Mixed Out R + L), Pad Expander,
Kit Selector, MIDI (In, Out, Thru), Headphone (Stereo)
• CONTROL: Control Keys 1 6 , Mode Switches 4 (Pad 1 , 2 Mode, Pad Number Mode, Output Level Fix/Vari, Protection),
Sense 8, Volume
• DIMENSION: 19"(W) x 1 7"(D) x 3-7/10"(H) or 483(W) x 420ID) x 94(H) mm, Rack Mountable (EIA-2U)
• WEIGHT: 1 5 IDS. 6 oz. or 7 k g
• ACCESSORIES: AC Cord, Connecting Cord (Output) x 1 , DIN Cord (MIDI) x 1 ,
DT-10 Data Cassette Tape x 1
CURSOR INDICATOR POSITION,
KEY OPERATION AND DISPLAY LIST
28
ERROR MESSAGE
Error
Instruction
Too low a level.
Increase the output level of the tape recorder.
The tape started at the wrong position.
Start the tape at the correct place.
(A) Too low a level.
/ r > i -i, -
.
.
. . .
Increase the
recorder.
output
level
of the
tape
(B)
Equalize the output signal to make it flat.
(A) Too low a level.
(A)
Increase
(B)
Equalize the output signal to make it flat.
(B)
Tape recorder's output signal is equalized
incorrectly.
the output level of the tape
Retaining the data is incorrect.
Retain the data correctly.
The tape data is not the same as the data stored
Retain the data correctly,
in the SC-40 or SC-20.
29
(A)
•
(B) Tape recorders output signal is equalized
incorrectly.
PROGRAMMABLE PERCUSSION SYNTHESIZER
Model SC-40, SC-20 MIDI IMPLEMENTATION CHART version: 10
Transmitted
Recognized
Remarks
Function. . .
Basic
Default
Channel
Mode
1—16
1—16
Changed
1-16
1-16
Default
Mode 1
Mode 1
OMNI ON/OFF is
Messages
X
OMNI ON/OFF
selectable on the front
Altered
* * * * * * * * * * * *
Note
•
Memorized
panel.
1-99
1-99
Number:
True voice
Velocity
Note ON
O9nHv=1-127
Note OFF
X 9nH v = 0
After
Key's
X
X
Touch
Ch's
X
X
X
X
X
X
Pitch Bender
>
0 for Muting
* * , * * * * » * „ * *
,,-,
O9nHv=1-127
;
X 9nHv=0, 8nH
Control
Change
*"
Prog
Change:
O 0—31
True #
System' Exclusive
„ „ * * , , * , « „ , *
'
Transmission via
Q-31
CH. 1 - C H . 8
X
Song Pos
X
X
SongSel
X
X
Common
Tune
X
X
System
Clock
X
X
Real Time
Commands
X
X
Aux
Local ON/OFF
X
X
All Notes OFF
X
X
Active Sence
X
X
Reset
X
X
Messages
.
O 0—127
X
System
'
Notes
Model: OMNI ON, POLY
ModeS: OMNI OFF. POLY
Mode 2: OMNI ON, MONO
Mode 4 : OMNI OFF. MONO
.., .
,».
O : Yes
X : No.
P R O G R A M M A B L E
P E R C U S S I O N
S Y N T H E S I Z E R
WAVE (Wave Form)
VALUE
0
TIMBRES
Electronic Drum, Sine Wave
1
Electronic Drum w/Attack Sounds
—— ——————————————————— —————
2
Electronic Drum w/Beat Sounds
BLOCK DIAGRAM
3
Acoustic Drum
w/MetaIlic Sounds
4
Normal Acoustic Drum
5
Acoustic Drum
6
Acoustic Drum w/lncreased Overtones
7
Snare Drum
8
Timbale
9
High Pitch Drum
w/Less Overtones
10
Ride Cymbal
11
Bell Sounding Cymbal
12
Crash Cymbal
13
Hi-Hat Cymbal
14
China Cymbal
15
Gong
16
Effect, Sine Wave
17
Vibes, Lower Pitch Notes
18
Vibes, Higher Pitch Notes
19
Xylophone, Lower Pitch Notes
20
Xylophone, Higher Pitch Notes
21
Triangle
22
Chime
23
Claves
24 • Wood Block
25
Reverberation Effect
26
Echo-Effect
27
Cowbell
28
Steel Drum
—— — — — — — — — - — — — — — — — — — — — — — — —
29
Piano, Lower Pitch Notes
30
31
Effect w/Noise, Type 1
Effect w/Noise, Type 2
July 1986
Printed in Japan
FACTORY PRESET TIMBRE LIST
No
No
No
No.
No.
No.
No
No
ELECTRONIC TOM TOM
11
SHARP
ATTACK
12
WHITE NOISE
ATTACK
13
THUNDEROUS
ATTACK
14
SEATED
ATTACK
15
EXPANDED
WHITE NOISE
16
EXPANDED
OVERTONES
17
REVERBERATION
18
FUNK
ACOUSTIC TOM TOM
21
DOUBLE
HEADED
22
BRIGHT
DOUBLE HEADED
23
LOW PITCH
ROTO TOM
24
MELODIC
TOM TOM
25
HIGH PITCH
ROTO TOM
26
TIGHTENED
DOUBLE HEADED
27
DEEP MELODIC
TOM TOM
28
HIGH PITCH
SNARE DRUM
31
WOOD SHELL
32
METAL SHELL
33
REVERBERATION
EFFECTED
34
NOMAL
ELECTRONIC
35
HIGH PITCH
36
PICCOLO
37
MUTED
38
NARROW BAND
WIDTH OF NOISE
KICK DRUM
41
ELECTRONIC
1
42
SHARP ATTACK
43
REVERBERATION
44
MUFFLED
45
MUTED
46
MUTED
HIGH PITCH
47
EXPANDED
OVERTONES
48
ELECTRONIC
2
TRADITIONAL DRUM
51
TIMPANI
52
LARGE
CONCERT BASS
53
NORMAL
CONCERT BASS
54
TENOR DRUM
55
AFRICAN DRUM
t
56
MUTED
AFRICAN DRUM
57
TSUZUMI
(OPEN)
58
TSUZUMI
(CRASH)
LATIN DRUM
61
62
CONGA
(TIGHT)
63
BONGO
(OPEN)
64
BONGO
(TIGHT)
65
TIMBALE
66
TAMBOURINE
67
SURDO
68
CONGA
(GRISSAND)
CYMBAL
71
72
MEDIUM
CRASH
73
THIN CRASH
74
BELL
75
CHINA
76
SPLASH
77
LARGE GONG
78
SMALL GONG
84
OPEN
HI-HAT
85
RIDE
86
MEDIUM
RIDE
87
BELL SOUND
88
ROCK RIDE
CONGA
(OPEN)
CRASH
CYMBAL
81
THIN HI-HAT
82
ROCK HI-HAT
83
CLOSED
HI-HAT
PERCUSSION -METALLIC
11
CHIME
12
VIBE
13
GAMELAN
14
GLOCKENSPIEL
15
PIANO 1
16
PIANO 2
17
STEEL DRUM 1
18
STEEL DRUM 2
PERCUSSION-METALLIC
21
BRIGHT
COWBELL
22
DARK
COWBELL
23
AGOGO
24
TRIANGLE
25
MUTED CHIME
26
HIGH COWBELL
27
ANVIL
28
SWISH
TRIANGLE
PERCUSSION-METALLIC
31
CHOKED BELL
32
SPRINGS 1
33
STEEL SHEET
34
LARGE CHIME
35
ALARM BELL
36
ECHO BELL
37
ECHO CHIME
38
ECHO COWBELL
PERCUSSION-WOOD
41
42
ECHO
CLAVES
43
WOOD BOARD
44
AFRICAN DRUM
2
45
MARIMBA
46
XYLOPHONE
47
TEMPLE
BLOCK
48
STICK
PERCUSSION -SYNTHESIZED
51
SMASH SOUND
1
52
SMASH SOUND
2
53
COMBINATION
CONGA/BELL
54
TIRED SNARE
SOUND
55
MUTED GONG
56
COMBINATION
BONGO/BELL
57
METAL DRUM
58
COMBINATION
CONGA/BELL
BENDED TONES
61
VOW
62
WOW
63
LAUNCHING
SOUND 1
64
LAUNCHING
SOUND 2
65
COMET
66
CROW
67
PAC MAN
SOUND
68
CHIMESDECENDING
MODULATED TONES
71
TOY HAMMER
72
SUBMARINE
73
HAWK
74
SPRINGS 2
75
MANHOLE COVER
76
WOOD CLAPPER
77
STRIKING
BOTTLE
78
CONSTRUCTION
SOUND
WHITE NOISE TONES
81
DOOR KNOCK
82
THUNDER
83
SHAKING
STEEL SHEET
84
BOMB
EXPLOSION
85
HAND CLAP
86
JET
87
ROCKET
88
GUN SHOT
* In the Timbre list, A-81 (for example) means that this sound is
programmed by parametric operation(s) from the preset sound
shown in the Factory Preset Timbre List at. "Bank-A, No.81"
(Thin Hi-Hat sound).
FACTORY PROGRAMMED KIT LIST
BANK A/GROUP A (DRUM SET)
1
2
HI-HAT
CYMBAL(CRASH)
3
CYMBAL(RIOE)
BANK B/GROUP A (PERCUSSION SOUNDS)
4
SNARE DRUM
5
BASS DRUM
6
7
TOM TOM (1)
TOM TOM 12)
8
TOM TOM !3I
1
1
ACOUSTIC
A-81
A-71
A-85
A-31
A-41
A-21
2
ACOUSTIC ROCK
A-82
A-71
A-87
A-33
A-45
A-13
2
PIANO
B-16
A-11
3
GAMELAN
B-13
3
ELECTRONIC
4
ELECTRONIC ROCK
5
6
WI1E NOISE
A-81
A-71
A-73
A-34
A-41
A-81
A-72
A-75
A-34
A-45
A-12
A-82
A-72
A-88
A-35
A-45
A-16
A-82
A-75
A-73
Also,«- means that the pitch variation of the timbre in the left
hand portion of the next column is programmed into the
respective pad.
A-34
A-43
B-82
7
LATIN
A-81
A-76
B-22
A- 36
A-46
A-26
8
REGGAE
A-81
A-71
A-87
A-32
A -47
B-57
<
CHIME
4
STEEL DRUM
5
XYLOPHONE
<--
6
TIMPANI
7
CONGA/BONGO
8
ASSOF'fTEO
PEnnusaioN
B-11
3
2
4
5
6
-
7
8
<-
<-
B-17
-
B-46
A-51
A-62
A-61
(CONGA)
(CONGA)
A-64
(BONGO)
A-63
(BONGO)
A-65
(TIMBALES)
B-21
(COW BELL!
B-23
(AGOGO)
B-47
(TEMPLE BLOCK)
BANK A/GROUP B [Preset (Bank A) Drum/Cymbal Sounds]
BANK B/GROUP B [Preset (Bank B) Percussion Sounds]
In Kit 1, the timbres of Bank A's No.11 to 18. shown in the Factory Preset Timbre List, are programmed
to correspond to Pad's No.l through 8, respectively. In Kit 2. No.21 through 28 are programmed correspondingly as well as each timbre/pad for all of the remain ing kits ( # 3 — #8).
The programming of Bank B Group B's timbres, shown in the Factory Preset Timbre List, is exactly the
same as Bank A Group B's. By using these Bank A/Group B and Batik B/Group B programs, 128 factory
preset sounds can be easily checked.
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