Roland HPD-15 User Manual

Owner’s Manual

Thank you, and congratulations on your choice of the Roland HandSonic HPD-15.

Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” (p. 2–3) and “IMPORTANT NOTES” (p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.

* The D Beam Controller is provided under license from Interactive Light, Inc.

written permission of ROLAND CORPORATION.

For the U.K.

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

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying the terminals in your plug, proceed as follows: The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

USING THE UNIT SAFELY

BLUE: BROWN:

NEUTRAL LIVE

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

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

* Material damage refers to damage or

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

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

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

The ● symbol alerts the user to things that must be

carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the powercord plug must be unplugged from the outlet.

001

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

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002c

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

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003

• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page.

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004

• Never use or store the unit in places that are:

• Subject to temperature extremes (e.g., direct

sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

• Damp (e.g., baths, washrooms, on wet floors);

or are

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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005

• This unit should be used only with a rack or stand that is recommended by Roland.

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006

• When using the unit with a rack or stand recommended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

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008c

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

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009

• Do not excessively twist or bend the power cord, nor place heavy objects on it. Doing so can damage the cord, producing severed elements and short circuits. Damaged cords are fire and shock hazards!

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010

• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

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011

• Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft drinks, etc.) to penetrate the unit.

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012c

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

• The AC adaptor or the power-supply cord has

been damaged; or

• Objects have fallen into, or liquid has been

spilled onto the unit; or

• The unit has been exposed to rain (or otherwise

has become wet); or

• The unit does not appear to operate normally or

exhibits a marked change in performance.

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013

• In households with small children, an adult should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.

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014

• Protect the unit from strong impact.

(Do not drop it!)

101b

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

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102d

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

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103b

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

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104

• Try to prevent cords and cables from becoming entangled. Also, all cords and cables should be placed so they are out of the reach of children.

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106

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

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107d

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

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108b

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

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109b

• Before cleaning the unit, turn off the power and unplug the AC adaptor from the outlet (p. 13).

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110b

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

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015

• Do not force the unit’s power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

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016

• Before using the unit in a foreign country, consult with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the "Information" page.

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IMPORTANT NOTES

291a

In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:

Power Supply

301

• Do not use this unit on the same power circuit with any

device that will generate line noise (such as an electric motor or variable lighting system).

302

• The AC adaptor will begin to generate heat after long

hours of consecutive use. This is normal, and is not a cause for concern.

307

• Before connecting this unit to other devices, turn off the

power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.

Placement

351

• Using the unit near power amplifiers (or other equipment

containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of interference.

352

• This device may interfere with radio and television

reception. Do not use this device in the vicinity of such receivers.

354a

• Do not expose the unit to direct sunlight, place it near

devices that radiate heat, leave it inside an enclosed vehicle, or otherwise subject it to temperature extremes. Excessive heat can deform or discolor the unit.

355

• To avoid possible breakdown, do not use the unit in a wet

area, such as an area exposed to rain or other moisture.

Maintenance

401a

• For everyday cleaning wipe the unit with a soft, dry cloth

or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.

402

• Never use benzine, thinners, alcohol or solvents of any

kind, to avoid the possibility of discoloration and/or deformation.

Additional Precautions

551

• Please be aware that the contents of memory can be irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer).

552

• Unfortunately, it may be impossible to restore the contents of data that was stored in the unit’s memory or another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.

553

• Use a reasonable amount of care when using the unit’s buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.

554

• Never strike or apply strong pressure to the display.

556

• When connecting / disconnecting all cables, grasp the connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.

558a

• To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

558d

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

559a

• When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

561

• Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

562

• Use a cable from Roland to make the connection. If using some other make of connection cable, please note the following precautions.

• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For information on cable specifications, contact the manufacturer of the cable.

• Do not strike pads extremely strong. Be careful to prevent your fingers or hands from injury.

IMPORTANT NOTES ...............................................................................4

Features...................................................................................................8

How To Use This Manual........................................................................9

About the Symbols in This Manual.............................................................................................. 9

Panel Descriptions................................................................................10

Front Panel.................................................................................................................................................10

Rear Panel.................................................................................................................................................. 11

Attaching the HPD-15 to the Stand .....................................................12

Chapter 1 Quick Start ...........................................................................13

Turning On/Off the Power.....................................................................................................................13

Listening to the Demo Song....................................................................................................................14

Performing................................................................................................................................................. 15

Hit the pads.................................................................................................................................... 15

Slide Your Finger on the Ribbons............................................................................................... 15

Pass Your Hand over the D Beam ..............................................................................................16

Sustaining the Sound (ROLL/HOLD Button)..........................................................................16

Playing Various Sounds............................................................................................................... 17

Controlling Pad Sounds...............................................................................................................17

Playing a Scale...............................................................................................................................18

Using Knobs to Modify the Tone (Realtime Modify) .............................................................. 19

Adding Effects Such as Reverb or Distortion (Multi-Effects)............................................................20

Turning Multi-Effects On/Off ....................................................................................................20

Changing Sounds to Play (Patch Select) ...............................................................................................21

Changing Patches with the Dial..................................................................................................22

Changing Patches with the Panel Switches............................................................................... 22

Changing Patches with the Pads (Pad Patch Select)................................................................ 23

Changing the Settings of a Patch (EZ Edit) ..........................................................................................24

Playing Back a Preset Pattern ................................................................................................................. 26

Changing the Tempo....................................................................................................................27

System Settings.........................................................................................................................................28

Adjusting the Display for Best Visibility (LCD Contrast).......................................................28

Adjusting the D Beam Sensitivity...............................................................................................29

If the Sound or Operation Is not as You Expect................................................................................... 30

Rapidly Selecting Parameters or Values...............................................................................................31

Key Repeat Function..................................................................................................................... 31

Turbo Repeat Function.................................................................................................................31

Skip Function................................................................................................................................. 32

Try to Play the Conga .............................................................................................................................. 34

Conga - Basic Rhythm .................................................................................................................. 34

Chapter 2 Modifying a Patch................................................................35

Basic procedure in Edit Mode ................................................................................................................35

Adjusting Sounds.....................................................................................................................................36

Adding Cyclic Change to the Tone........................................................................................................ 38

Effect Settings............................................................................................................................................39

Adjusting the Reverb Settings.....................................................................................................39

Adjusting the Multi-Effect Settings............................................................................................40

Controlling the Tone................................................................................................................................ 52

Using a Pad to Start a Pattern................................................................................................................. 54

Set the Volume of the Entire Patch ........................................................................................................ 54

Settings for Other Functions...................................................................................................................54

Limiting the Resonance................................................................................................................ 54

Contents

Adjusting the Sensitivity of the Pads.........................................................................................54

Specifying the Roll Speed ............................................................................................................55

Setting for MIDI Transmission...............................................................................................................55

Naming a Patch.........................................................................................................................................55

Saving Your Settings (Write) .................................................................................................................. 56

Duplicating Settings (Copy)....................................................................................................................56

Basic Procedure for Copy.............................................................................................................56

Copying a Pad Set (Pad Set Copy)..............................................................................................57

Copying Pad/D Beam/Ribbon Settings (Pad Copy)...............................................................57

Copying Pad/D Beam/Ribbon Settings to All Pads (Pad Copy to All)...............................57

Exchanging Patch Settings (Patch Exchange) ........................................................................... 57

Copying a Value to All Pads................................................................................................................... 58

Using Realtime Modify to Adjust Values.............................................................................................58

Chapter 3 Recording Your Performance (Sequencer).......................59

Basic Settings for Recording ...................................................................................................................59

Settings for the Pattern.................................................................................................................60

Settings for the Click, and others................................................................................................ 61

Settings for the Recording (Set in the Recording Stand-by mode) ........................................ 62

Rehearsal Function........................................................................................................................ 62

Basic Settings for Playing Back...............................................................................................................63

Pause...............................................................................................................................................63

Fast-Forward and Rewind...........................................................................................................63

Synchronizing with an External MIDI device (MIDI Sync).................................................... 63

Changing the Settings of Pattern............................................................................................................63

Saving the Changed Settings.......................................................................................................63

Editing a Pattern....................................................................................................................................... 64

Basic Settings for Editing ............................................................................................................. 64

Copying a Pattern .........................................................................................................................64

Erasing Parts..................................................................................................................................64

Connecting Two Patterns............................................................................................................. 64

Deleting a Pattern.......................................................................................................................... 64

Chapter 4 Changing Patches in the Desired Sequence ....................65

Creating a Patch Chain (Chain Edit) .....................................................................................................65

Specifying the Last Step of the Patch Chain.............................................................................. 65

Inserting a Chain Step .................................................................................................................. 66

Deleting a Chain Step...................................................................................................................66

Playing with a Patch Chain (Chain Play).............................................................................................. 66

Chapter 5 Settings for the Entire HPD-15...........................................67

Settings for basic operation.....................................................................................................................67

Settings for the Basic Operation..................................................................................................68

Settings for the Controllers.......................................................................................................... 69

Turning On/Off the D Beam.......................................................................................................69

Turning On/Off the Ribbons ......................................................................................................69

Setting the Pad Sensitivity ........................................................................................................... 70

Using the Foot Switches to Control the Tone / Sequencer ................................................................ 71

Settings for the Foot Switches .....................................................................................................71

Using the Pedal to Control the Hi-Hat / Tone.....................................................................................72

Settings for the Pedal.................................................................................................................... 72

Using the External Pads/Kick Trigger Unit to Trigger a Sound....................................................... 73

Settings for the External Pads / Kick Trigger Unit.................................................................. 73

More Detailed Settings for the External Pads / Kick Trigger Unit........................................ 74

Setting the Sound of the External Pads / Kick Trigger Unit .................................................. 75

MIDI Settings ............................................................................................................................................ 75

Restoring Settings to Their Default Values (Factory Reset)...............................................................75

Contents

Chapter 6 Connecting MIDI Devices ...................................................76

Using the HPD-15 to Play External Instruments.................................................................................76

Setting for MIDI Transmission....................................................................................................76

Setting the MIDI Channels...........................................................................................................77

Using the HPD-15 As a Sound Module.................................................................................................78

Setting the MIDI Channel for a Part...........................................................................................78

Using with the Roland SPD-20 (SOFT THRU).....................................................................................79

Using a Sequencer or a Computer to Record/Play Back the Performance on the HPD-15 .......... 79

Cutting the Connection Between the Sound Generator and the Pad Controller

(Local Control)...............................................................................................................................80

Saving Data to an External MIDI Instrument.......................................................................................80

Transmitting (Bulk Dump)..........................................................................................................80

Receiving (Bulk Load)..................................................................................................................81

Setting the Device ID....................................................................................................................82

Program Change Number List (User Patches) .........................................................................82

Troubleshooting....................................................................................83

Problems With the Overall Sound.........................................................................................................83

MIDI-related Problems............................................................................................................................ 84

Sequencer-related Problems ...................................................................................................................84

Restoring the Factory Settings............................................................85

Messages and Error Messages ...........................................................86

About MIDI.............................................................................................88

Preset Patch List...................................................................................90

Preset Pattern List ................................................................................91

Instrument List......................................................................................92

Pad Set Instrument List ...........................................................................................................................94

Backing Instrument List ..........................................................................................................................94

Effect Type List .....................................................................................95

Demo Song List.....................................................................................96

MIDI Implementation.............................................................................97

Specifications......................................................................................112

Index.....................................................................................................113

Features

• The HPD-15 is a compact and lightweight digital hand percussion unit with built-in sound generator, that you can play with your naked hands.

• A pressure-sensitive pad divided into fifteen sections allows you to play full-fledged hand percussion without any other equipment.

• 600 versatile sounds including percussion instruments from around the world with Latin, African, and Asian sounds, as well as drum sets, dance sounds, and sound effects.

• Numerous controllers including ribbons, D Beam , and realtime modify knobs allow you to create realtime changes in the sound.

• Kick trigger units and a hi-hat controller can be connected to create a space-saving drum set.

• Convenient editing functions for the percussionist include an EZ Edit function and a Guide tone (click note).

• Built-in high-quality reverb and multi-effects selected especially for percussion let you produce spacious sounds or invent creative new possibilities.

• Basic rhythm performances are built-in as preset patterns, so that you can enjoy ensemble playing or use the HPD-15 to keep time in place of a metronome.

• A convenience sequencer is provided for recording your performance in realtime — great for practicing or listening to your own playing.

• The HPD-15 can be connected to an external sound module as a MIDI controller, or used as to input drum parts for music data.

How To Use This Manual

This owner’s manual is organized as follows.

Quick Start (Chapter 1)

This section is intended for those using the HPD-15 for the first time, and explains how to use various functions in a simple way. Please read Quick Start and follow along by actually operating the HPD-15. This will help you understand most of what you need to know for basic operations.

Advanced Use (Chapter 2 – Chapter 6)

This section explains all functions of the HPD-15 and is divided into specific parts. Basic operations are covered in the Quick Start. The Advanced Use section assumes you already understand basic procedures, so if anything unclear, refer to the “Quick Start.”

Chapter 2 Modifying a Patch

This chapter explains how to modify the sounds you play, how to control the sounds, and how to use effects.

Chapter 3 Recording Your Performance (Sequencer)

This chapter explains how to record and play back your performance.

Chapter 4 Changing Patches in the Desired Sequence

This chapter explains the Patch Chain function that lets you switch patches in a desired order.

Chapter 5 Settings for the Entire HPD-15

This chapter explains settings that affect the entire HPD-15, such as screen display, control settings, and how to connect external pads, pedals, or foot switches for use with the HPD-15.

Chapter 6 Connecting MIDI Devices

This chapter explains MIDI-related functions, such as using the HPD-15 to play external sound modules, or saving data on an external device.

Appendices

If you run into problems, refer to “Troubleshooting” to make sure that the settings are correct. If an error message appears during operation, refer to “Messages and Error Messages” and take appropriate action. This section also provides information related to MIDI, backing instrument list, and the MIDI implementation charts.

About the Symbols in This Manual

Words of symbols enclosed in [square brackets] indicate panel buttons or dial. For example, [EDIT] signifies the Edit button.

The explanations in this manual include illustrations that depict what should typically be shown

y the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

Panel Descriptions

Front Panel

fig.0-01.e

VOLUME Knob

Adjusts the volume of the entire HPD-15. When this knob is turned fully counterclockwise, no sound will be output.

REALTIME MODIFY Section

Turn these knobs to modify the sound (p. 19).

D BEAM

Pass your hand to produce or control the sound (p. 16).

Sequencer Section

You can record and play back your performance (p. 59).

PATCH/VALUE Dial

Turn to select a patch or change the value.

Patch Select Section

Changes the patch (p. 22).

Ribbon (L)

Slide your finger on this ribbon to produce a sound or to control the tone (p. 15).

ROLL/HOLD Button

When this button is lit, the sound will repeat like rolls while pressing a pad (p. 16).

Pad

Strike to produce a sound or press to control the tone (p.15).

Ribbon (R)

PATCH SEL Button

Striking the pad while holding down this button changes the patch (p. 23). This button is used as the shift button of some operations, too.

Rear Panel

fig.0-02.e

TRIGGER INPUT Jack

Connect the kick trigger units, external pads, foot switches (p. 73).

FOOT SWITCH Jack

Connect the optional foot switches (BOSS FS-5U). You can use foot switches to select a patch, to control the sequencer, and so on (p. 71).

MIDI Connectors (IN, OUT/THRU)

Connect the MIDI cable when using the HPD-15 to play external instruments, using the HPD-15 as a sound module, or to save/load the setting data (p. 76).

EXP PEDAL/HH CTRL Jack

Connect an expression pedal (EV-5), a hi-hat control pedal (FD-7), or a foot switch (p. 72).

MIX IN STEREO Jack

Connect a CD/MD player or use for the expanded input at the live performance. The sound that is input to this jack will be output from the OUTPUT jacks and PHONES jack.

OUTPUT Jacks

Connect to external audio devices or amps. If using monaural sound, plug the cable into the L (MONO) jack only.

Panel Descriptions

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.

AC Adaptor Jack

Connect the include AC adaptor.

POWER Switch

Turns the power on/off.

Cord hook

PCS-31 (optional)

AC adaptor

BOSS FS-5U (optional)

PCS-31 (optional)

PHONES Jack

Connect stereo headphones. Even if headphones are connected, sound will still be output from the OUTPUT jacks.

Stereo headphones

Audio cable

Speakers with built-in amp, etc.

Stereo set, etc.

To prevent the inadvertent disruption of power to your unit (should the plug

e pulled out accidentally), and to avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as shown in the illustration.

Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/ or damage to the unit.

CD Player, etc.

Roland

For details on connecting MIDI devices, refer to

Kick trigger unit, External pad, etc.

EV-5 (optional)

FD-7 (optional)

BOSS FS-5U

(optional)

“Chapter 6 Connecting MIDI Devices” (p. 76).

Attaching the HPD-15 to the Stand

Attach the stand holder (included with the optional PDS-15) to the HPD-15.

Using the screws provided with the PDS-15, attach the holder so the unit is oriented as shown in the diagram.

fig.0-03.e

Wide

Narrow

Use the screws provided with the PDS-15. Use of other screws may result in damage to the unit.

Attach the HPD-15 to the pad stand (PDS-15).

For details on assembling the pad stand and attaching the HPD-15, refer to the owner’s manual for the pad stand.

fig.0-04.e

for playing by fingers for using the heel of your hand

(like a conga player)

If you attach only the screws to the HPD-15 without attaching the stand holder and strike the pads strongly when it is resting on the floor or table, the screw heads may contact the floor or table and scratch it.

Do not slope the stand excessively. Be careful that the stand does not lose its

alance.

Chapter 1 Quick Start

This chapter explains basic operation of the HPD-15. For details on modifying sounds and settings, refer to “Chapter 2 Modifying

a Patch” (p. 35).

Turning On/Off the Power

* Once the connections have been completed (p. 11), turn on power to your various

devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.

Chapter 1

Make sure that all volume controls on the HPD-15 and connected devices are set to “0.”

Turn on the device connected to the MIX IN Jack.

Turn on the HPD-15’s [POWER] switch.

Turn on the device connected to the OUTPUT Jacks.

Adjust the volume levels for the devices.

Before switching off the power, lower the volume on each of the devices in your system and then TURN OFF the devices in the reverse order to which they were switched on.

When turns the power on,

e careful not to shut the window of the D Beam (p.

16) until the patch name (p.

21) is displayed. The HPD15 adjusts the sensitivity of the D Beam automatically when turns the power on.

If you connect the hi-hat control pedal (FD-7, optional), do not step on the pedal until the patch name is displayed when the power is turned on. The HPD-15 will check the position of the pedal then.

This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required

efore the unit will operate normally.

Chapter 1 Quick Start

Listening to the Demo Song

Simultaneously press [SEQUENCER] and [SYSTEM].

fig.1-01

fig.1-02

HPD-15 DEMO PLAY

1.TABLECTRIC

Turn [PATCH/VALUE] or use [PATCH NUMBER ] and [PATCH NUMBER ] to select the demo song that you wish to hear.

fig.1-03

For details on the demo songs, refer to “Demo Song List” (p. 96).

Press [PLAY/STOP].

fig.1-04

Playback will begin. To stop playback, press [PLAY/STOP] once again.

Press [EXIT].

You will return to the previous screen.

No data for the music that is played will be output from MIDI OUT.

Performing

Hit the pads

The pads of the HPD-15 will produce different volume or tones depending on where or how strongly they are struck, and you can also vary the tone and duration of the sounds by continuing to press the pad after striking it or by pressing another pad.

Chapter 1 Quick Start

The pads are divided into 15 sections, which are numbered as follows.

fig.1-05

Pad Set

The pads are in sets of five. Pads A1–A5 are referred to as pad set A, pads B1–B5 as pad set B, and pads C1–C5 as pad set C.

Slide Your Finger on the Ribbons

By sliding your finger on the HPD-15 you can produce sounds or modify the tone.

fig.1-06

ribbons

located at the left and right of the

Chapter 1

If Ribbon [SOUND] is not lit, sliding your finger on the ribbon will not produce sound. Press [SOUND] to make it light.

[HOLD] is used when you control the tone by a ribbon. Refer to “Turning On/Off the Ribbons” (p.

69).

Chapter 1 Quick Start

Pass Your Hand over the D Beam

By passing your hand over the can produce sounds or modify the tone.

fig.1-07

D Beam

located at the top of the panel, you

Sustaining the Sound (ROLL/HOLD Button)

Press [ROLL/HOLD] (located at the upper left of the pads) to make it light.

fig.1-08

If D Beam [SOUND] is not lit, passing your hand over the D Beam will not produce sound. Press [SOUND] to make it light. If there is no sound even though [SOUND] is lit, adjust the sensitivity of the D Beam.

If D Beam [CONTROL] is not lit, passing your hand over the D Beam will not modify the tone. Press [CONTROL] to make it light.

Ribbons, D Beam, connected expression pedal, and connected hi-hat control pedal are called “controller.“

Press the pad.

While you press the pad, the sound will be repeated as a roll. Pressing strongly will increase the volume.

The sound of the instruments marked with “*H” in the Instrument List (p.

92) will sustain if you remove your hand from the pad.

To specify the interval at which the sound is repeated, refer to “Specifying the Roll Speed” (p. 55).

The sound of the instrument assigned to the D Beam, ribbons, external triggers, or pedal will not

e repeated.

Playing Various Sounds

Chapter 1 Quick Start

Let’s use the patch (p. 21) of

P0101 Conga

to hear various sounds from the

pads, ribbons, and D Beam.

* If the following screen is not shown, turn [PATCH/VALUE] until the following

screen appears.

fig.1-09

P01 LATIN 01 Conga

fig.1-10

Bell T ree

Bongo

(Low)

Bongo

(High)

Timbale

(Low)

Timbale

(High)

(Toe/Open)

Shaker

Conga

Maracas

(Low Open)

Conga (Bass)

Conga

Tambourine

Claves

Cowbell

Agogo

Chapter 1

If D Beam [SOUND] is not lit, passing your hand over the D Beam will not produce sound. Press [SOUND] to make it light.

If [SOUND] located above the ribbon is not lit, rubbing the ribbon will not produce sound. Press [SOUND] to make it light.

Conga

(Heel/Open)

Guiro

Controlling Pad Sounds

Let’s use the patch (p. 21) of Beam, and other pads to control the pitch of the pads.

* If the following screen is not shown, turn [PATCH/VALUE] until the following

screen appears.

fig.1-10a

P02 AFRICAN 01 TalkingDrm

While striking the pad, rub the ribbons or move your hand over the D Beam to raise the pitch.

Conga

(Open/Slap)

P0201 Talking Drm

Conga

Slide

and use the ribbons, D

If D Beam [CONTROL] is not lit, passing your hand over the D Beam will not modify the tone. Press [CONTROL] to make it light.

While striking the pad, press one of the pads A1–A5 will also raise the pitch.

Chapter 1 Quick Start

Playing a Scale

You can use the pads to play the sounds of a pitched instrument such a steel drum or marimba.

Let’s use the patch (p. 21) of

P0501 Vibraphone

to play a scale.

* If the following screen is not shown, turn [PATCH/VALUE] until the following

screen appears.

fig.1-10b

P05 ORCH 01 Vibraphone

The pads are assigned to the notes of the keyboard as follows.

fig.1-10c

Simultaneously striking pads A1–A3 (the left half of pad set A) will produce a “C” chord, and simultaneously striking A3–A5 (the right half) will produce a “G” chord.

Helpful Use of the Included Label

Using Knobs to Modify the Tone (Realtime Modify)

Chapter 1 Quick Start

The sounds of the HPD-15 have various loudness, pitch, and duration, and how the notes are sounded. By modifying the

Normally, you will adjust the parameter values to your liking before you perform. However, some of the parameters can be freely modified while you play. This is referred to as “

fig.1-11

values

of each parameters, you can vary the tone.

realtime modify

parameters

.”

that determine the

Press [SELECT] to select the parameter that you wish to modify.

The indicator at the right of the selected parameter will light.

Sound the pad (D Beam, ribbon) for the sound that you wish to modify.

* The M-FX DEPTH and LFO parameters will apply in the same way to all pads/

ribbons/D Beam.

Turn the [REALTIME MODIFY] knob.

In Edit mode (p. 35), you can also use Realtime Modify to adjust the parameter values (p. 58).

Chapter 1

Modify Lock

Hold down [SELECT], and sound the pad (D Beam, ribbon). It will be fixed to the target of modification and other pads cannot

ecome to the target. (The [SELECT] indicator will

link at this time.) To unlock, hold down [SELECT], and press [EXIT].

The selected parameter and the value being modified will be displayed, and the sound will change.

fig.1-12

RTM A1* PITCH +600

* If the multi-effects (p. 20) is off, turning the [M-FX DEPTH] knob makes no

modification.

* If the LFO Waveform (p. 38) is set to “OFF,” turning the [LFO RATE], [LFO

PITCH] and [LFO FLT/AMP] knobs makes no modification.

By repeating steps 1–3 you can create numerous variations in the sound.

* By pressing [EXIT/MODIFY CLEAR] you can cancel any value changes you made

(

Modify Clear

When you turn the knobs too fast, some noise may be heard from some tones .

Hold down [EXIT/ MODIFY CLEAR], and press [SELECT]. You can excute Modify Clear and cancel the Modify Lock at the same time.

Chapter 1 Quick Start

Adding Effects Such as Reverb or Distortion (Multi-Effects)

The HPD-15 contains a multi-effect unit that can apply various effects to the sound.

Turning Multi-Effects On/Off

Press [MULTI-EFFECTS].

fig.1-13

When the effect is on, [MULTI-EFFECTS] will light. The sound will change according to the selected type of effect.

For more on multi-effects, refer to “Adjusting the Multi-Effect Settings” (p.

40).

Changing Sounds to Play (Patch Select)

patch

contains settings for the pads, controllers, and effects. The HPD-15

contains

patches

organized into

80 User patches

that cannot be rewritten. User patches and preset patches are

10 patch groups

that you can rewrite if desired, and

160 Preset

Chapter 1 Quick Start

Names are assigned to preset patch groups.

• GROUP 1 LATIN Latin-American Percussion instruments

• GROUP 2 AFRICAN Percussion instruments of Africa and

other regions

• GROUP 3 INDIAN Percussion instruments of India and the Middle East

• GROUP 4 ASIAN Percussion instruments of Asia

• GROUP 5 ORCH Orchestral percussion instruments, and

mallet instruments (e.g., xylophone, marimba)

• GROUP 6 DRUMS Drum sets

• GROUP 7 DANCE Sounds for dance music

• GROUP 8 SFX Sound effects

• GROUP 9 OTHERS Melody instruments (e.g., bass,

synthesizer), and other sounds

• GROUP 10 LOOPS Preset patterns are assigned to pads B1– C5. You can listen and compare the preset patterns.

Chapter 1

Each patch is assigned a name ( The currently selected group number, patch number, and patch name are

displayed in the screen.

fig.1-15.e

Group Number

U: User P: Preset

Patch Name

Group Name

P01 LATIN

01 Conga

Patch Number

Patch Name

Chapter 1 Quick Start

Changing Patches with the Dial

Turn [PATCH/VALUE].

The patch will change as shown in the diagram.

fig.1-16

U0101

U0102

P1001

P0901

U0108

U0201

Changing Patches with the Panel Switches

fig.1-17

Press [USER] or [PRESET] to select either user patches or preset patches.

The selected button will light.

Use [GROUP -] and [GROUP +] to select the patch group.

The indicator of the selected patch group will light.

Use [PATCH NUMBER ] and [PATCH NUMBER ] to select the patch number within the patch group.

If you continue holding a

utton, the patch groups/ numbers will change consecutively (p. 31).

Changing Patches with the Pads (Pad Patch Select)

fig.1-18

1, 2

Chapter 1 Quick Start

A2 A4

Hold down [PATCH SEL], and strike a pad B1–C5 to select a patch group.

Hold down [PATCH SEL], and strike pad A2 or A4 to select the patch number.

Striking pad A4 will increase the patch number, and striking A2 will decrease it.

Chapter 1

Use the panel switches to change between user patches and preset patches.

* Pads B1–C5 correspond to the patch groups, and pads A2 and A4 correspond to

[PATCH NUMBER ] and [PATCH NUMBER ] respectively.

fig.1-19

GROUP

B5 C1

NUMBER

A2 A4

While you continue holding [PATCH SEL], the indicator for the selected patch group and the indicator beside the pad (B1–C5) corresponding to that group will blink.

Chapter 1 Quick Start

Changing the Settings of a Patch (EZ Edit)

The process of modifying a patch is called “editing.” The HPD-15 provides Easy (EZ) Edit mode for making basic settings, and Edit mode for making settings in more detail. This section explains EZ Edit mode.

fig.1-20

To learn how to make more detailed settings, refer to “Chapter 2 Modifying a Patch” (p. 35).

Press [EDIT].

[EDIT] will blink, and you will enter EZ Edit mode.

Strike a pad to select the pad set (p. 25) that you wish to modify. You can also select the D Beam or ribbons.

Press [ PARAMETER] or [PARAMETER ] to select the parameter that you wish to modify.

To modify the value, either turn [PATCH/VALUE] or use [PATCH NUMBER ] and [PATCH NUMBER ].

If you press [EDIT] once again, [EDIT] will light and you will be in Edit mode (p.

35).

You can make your selection rapidly by using the Key Repeat Function (p.

31) or Skip Function (p. 32).

Repeat steps 2–4 to continue editing.

When you are finished editing, press [EXIT].

You will return to normal Play mode.

The settings you edit will return to the original values when you switch patches. If you wish to keep your changes, refer to “Saving your settings (Write) / Duplicating settings (Copy)” (p. 56).

fig.1-20a.e

Chapter 1 Quick Start

"A", "B", or "C" appears when "Pad Set" is selected

Patch Number

U0101A* PAD SET Pitch +200cent

Parameter

fig.1-21.e

EZ Edit — Parameter List

PAD SET, RIBBON L, RIBBON R, D BEAM, PEDAL, TRIG 1, TRIG 2

Inst

Level Pan

Selects the instrument for Pad Set A, B, C (Ribbon, D Beam).

Pads can be selected by five sets.

Adjusts the volume. Adjusts the pan (localization) of the output sound.

Random: The pan changes randomly each time the pad is struck. Alternate: The pan alternates left and right each time the pad is struck.

appears if the Value is edited

Edit T arget (Pad Set, Ribbon, D Beam, etc.)

Chapter 1

Value

Refer to Pad Set Instrument List (p. 94)

0 – 127

L63 – R63, Random, Alternate

REVERB

MULTI-FX

PATCH LEV

ReverbSend Pitch Decay MULTI-FX/LFO

Type Depth

Type Depth FxOut V olume Fx Rev Send

MasterVolume

Adjusts the reverb depth. Adjusts the pitch of the sound. Adjusts the duration (decay time). Turns the multi-effects and LFO on/off.

If you select PadData, this will be determined by the on/off setting in Edit mode (p. 36).

Selects the type of the reverb. Adjusts the overall reverb depth.

Selects the type of the multi-effects. Adjusts the depth of the multi-effects. Adjusts the output volume of the multi-effects. Adjusts the depth of reverb applied to the

sound processed by the multi-effects. Adjusts the volume of the entire patch.

0 – 127

-2400 – +2400

-31 – +31

OFF, ON, PadData

* PadData can be selected for PAD SET.

Refer to Effect Type List (p. 95)

0 – 127

Refer to Effect Type List (p. 95)

0 – 127

PATCH NAME

* About PEDAL, TRIG 1, and TRIG 2, see p. 72–p. 73.

Give the pattern a name of up to 10 characters.

Refer to "Naming a Patch" (p. 55)

Chapter 1 Quick Start

Playing Back a Preset Pattern

fig.1-22

3, 4

2 3

1, 5

Press [SEQUENCER].

[SEQUENCER] will light, and you will enter Sequencer mode.

fig.1-22a.e

U: User P: Preset

Pattern Number

P01 001-01 =100

Current Measure

Current Beat

Tempo

4/4 Cha-Cha

Time Signature

Turn [PATCH/VALUE] to select the pattern.

Press [PLAY/STOP].

The selected pattern will play back.

Pattern Name

For more on preset patterns, refer to “Preset Pattern List” (p. 91).

To stop playback, press [PLAY/STOP] once again.

The pattern will stop playing.

Press [SEQUENCER] or [EXIT].

You will return to normal Play mode.

Changing the Tempo

fig.1-23

Chapter 1 Quick Start

Chapter 1

1, 3

Press [TEMPO].

[TEMPO] will light, current tempo is displayed in the screen.

fig.1-23a

Tempo =100

Turn [PATCH/VALUE] to change the tempo.

When you have finished making changes, press [TEMPO] once again.

[TEMPO] will go dark, and you will return to the previous screen.

The tempo can be changed either when the pattern is playing or stopped.

Chapter 1 Quick Start

System Settings

Settings that are shared by all patches are called “system settings.” Settings such as the display contrast and the D Beam sensitivity are system settings.

Adjusting the Display for Best Visibility (LCD Contrast)

fig.1-24

Press [SYSTEM].

[SYSTEM] will light, and the following screen will appear.

fig.1-25

1, 3

UTILITY LCD Contrast 5

Turn [PATCH/VALUE] to adjust the contrast of the display screen.

Increasing the value will darken the display.

When you have finished adjusting, press [SYSTEM] or [EXIT].

You will return to normal Play mode.

When you modify the system setting, the new setting is automatically saved as soon as you make the change. You do not have to operate for the storing.

Adjusting the D Beam Sensitivity

The sensitivity of the D Beam will change depending on the amount of light in the vicinity of the unit. If it does not function as you expect, adjust the sensitivity as appropriate for the brightness of your location.

fig.1-26

Chapter 1 Quick Start

The HPD-15 adjusts the sensitivity of the D Beam automatically when turns the power on.

Chapter 1

1, 42

Press [SYSTEM].

[SYSTEM] will light.

Press [PARAMETER ] to display the following screen.

fig.1-27

CONTROLLER DBEAM Sens 100

Place your hand about 20 inches (50 cm) above the D Beam, and turn [PATCH/VALUE] to adjust the sensitivity.

Move the meter at the upper right of the screen to the center line as shown in right screen. The D Beam will respond as far as the position where your hand was when you made the adjustment.

fig.1-28

CONTROLLER DBEAM Sens 100

CONTROLLER DBEAM Sens 64

You can make your selection rapidly by using the Key Repeat Function (p.

31) or Skip Function (p. 32).

The sensitivity of the D Beam will be less in a dark location. In such locations, it is a good idea to make the adjustment with your hand approximately 12 inches (30 cm) above the D Beam.

When you have finished adjusting, press [SYSTEM] or [EXIT].

You will return to normal Play mode.

For details on other system parameters, refer to “Chapter 5 Settings for the entire HPD-15” (p. 67).

Chapter 1 Quick Start

If the Sound or Operation Is not as You Expect

If, as you modify the settings, the sound or operation is no longer as you expect and you are unable to restore the correct settings, you can execute the Factory Reset operation to reset all settings to their factory condition.

fig.1-29

3 124, 5

When you execute factory reset, the edited contents will be lost.

Press [SYSTEM].

[SYSTEM] will light.

Hold down [PARAMETER ] to access the following screen.

fig.1-30

FACTORY RESET SYSTEM [WRITE]

Turn [PATCH/VALUE] to select “ALL.”

fig.1-30a

FACTORY RESET ALL [WRITE]

Press [WRITE].

The following screen will appear.

fig.1-31

You can make your selection rapidly by using the Skip function (p. 32).

It is also possible to initialize specific data, such as only the patches or only the system settings. For details, refer to “Restoring the Factory Settings” (p.

85).

Are You Sure? [WRITE/EXIT]

If you wish to execute factory reset, press [WRITE].

After the data has been initialized, the following screen will appear.

fig.1-09

P01 LATIN 01 Conga

* If you decide not to execute, press [EXIT].

Rapidly Selecting Parameters or Values

Key Repeat Function

This can also be used when selecting either parameters or values, and when selecting patch groups or patch numbers.

Chapter 1 Quick Start

Press and hold either [ PARAMETER], [PARAMETER ], [PATCH NUMBER ], [PATCH NUMBER ], [GROUP -], or [GROUP +].

The parameter, value, patch number, or group will change consecutively.

Turbo Repeat Function

This function can also be used when selecting a value or patch number.

Hold down [PATCH NUMBER ], and press [PATCH NUMBER ].

fig.1-32.e

press

The value (value or patch number) will increase rapidly.

Hold down [PATCH NUMBER ], and press

Chapter 1

When you select the instrument or adjust the pitch, you can use the Skip function (p. 32) instead of the Turbo repeat function.

while holding down

[PATCH NUMBER ].

fig.1-33.e

while holding down

The value (value or patch number) will decrease rapidly.

Turbo Function of the Dial

Hold down [PATCH SEL], and turn [PATCH/VALUE].

fig.1-33a.e

while holding down

If you are changing the value, the value will change in 10 steps.

press

turn

Chapter 1 Quick Start

Skip Function

You can rapidly select parameters or values.

Skipping Parameters

Parameters are grouped into several categories according to the content that is being edited. By using the skip function you can jump to the first parameter of the category.

Hold down [PARAMETER ], and press and release [ PARAMETER].

fig.1-34.e

while holding down

press and release

UTILITY LCD Contrast 5

The first parameter of the next category will be shown.

Hold down [ PARAMETER], and press and release [PARAMETER ].

fig.1-35.e

CONTROLLER DBEAM Sens 100

while holding down

press and release

CONTROLLER DBEAM Sens 100

The first parameter of the previous category will be shown.

UTILITY LCD Contrast 5

Skipping Values

When selecting an instrument or setting the pitch, you can make the value jump.

Instruments (sounds) are grouped into several categories. By using the skip function you can jump to the first sound in each group.

The pitch value can be changed in steps of 100 cent (one semitone).

Chapter 1 Quick Start

While pressing [PATCH NUMBER ], press and release [PATCH NUMBER ].

fig.1-36.e

press and

release

Pad Inst (p. 36) select screen

P0101A1*PAD INST L09:Conga Hi /H

Pitch adjust screen

P0101A1*PAD INST Pitch +12cent

If you are selecting instruments, the first sound in the next group will be displayed.

If you are setting the pitch, the value will increase in 100 cent steps.

while holding down

P0101A1*PAD INST F01:Shekere

P0101A1*PAD INST Pitch +100cent

Chapter 1

While pressing [PATCH NUMBER ], press and release [PATCH NUMBER ].

fig.1-37.e

while holding

down

Pad Inst (p. 36) select screen

P0101A1*PAD INST R01:Dry Hard Kik

Pitch adjust screen

P0101A1*PAD INST Pitch +783cent

If you are selecting instruments, the first sound in the previous group will be displayed.

If you are setting the pitch, the value will decrease in 100 cent steps.

press and release

P0101A1*PAD INST O01:Sleigh Bell

P0101A1*PAD INST Pitch +700cent

Chapter 1 Quick Start

Try to Play the Conga

Let’s try to play the conga using the HPD-15. Use the patch P0101 Conga.

• Open (O)

Strike the pad A5 or A4, and remove the hand immediately.

• Closed 1 (C1)

Strike the pad A5 and do not remove the hand.

• Closed 2 (C2)

While pressing the pad A1 by the left hand, strike the pad A5.

• Open Slap (OS)

Strike the edge of the pad A5 powerfully and remove the hand immediately.

• Closed Slap (CS)

While pressing the pad A1 by the left hand, strike the edge of the pad A5.

• Heel (H)

Strike the pad A1 by the heel of the left hand.

• Toe (T)

While pressing the PAD A1 by the heel of the left hand, strike the pad A2 by the toe of the same hand.

• Pitch Bend (PB)

While pressing the pad A3, strike the pad A5.

Conga - Basic Rhythm

fig.1-38.e

Pad: Technique:

A1 A2 A5 A2 A1 A2 A4 A4 A1 A2 A5 A2 A1 A2 A4 A4

HTCSTHTOO

LLRLLLRR LLRLLLRR

HTCSTHTOO

Pad: Technique:

A1 A2 A5 A4 A4 A2 A5 A5 A1 A2 A5 A4 A4 A2 A5 A5

HTCSOOTOOxH T CS O O T O O

LLRRRLRR LLRRRLRR

L: left hand R: right hand

Chapter 2 Modifying a Patch

This chapter explains Edit mode, where you can make detailed settings.

Basic procedure in Edit Mode

5. To modify the value, either turn [PATCH/VALUE] or

1. Press [EDIT] to make it blink; you will enter EZ Edit

mode.

fig.2-01

U0101A PAD SET 001:Conga

2. Once again press [EDIT] to make it light; you will enter

Edit mode.

* The parameter category will be displayed in the upper

right of the screen.

fig.2-02.e

Parameter Category

U0101A1 PAD INST L09:Conga Hi /H

3. Strike a pad to select the pad (D Beam, ribbon) that you

wish to edit.

fig.2-03.e

Pad A3 is selected

U0101A3 PAD INST L17:Conga HiBass

use [PATCH NUMBER ] and [PATCH NUMBER

fig.2-05.e

U0101A3 PAD INST Pad Level 100

6. Repeat steps 3–5 to continue editing.

7. When you are finished editing, press [EXIT] or [EDIT].

[EDIT] will go dark, and you will return to normal Play mode.

fig.2-06

U01 USER01 01* Conga

You can make your selection rapidly (p. 31). You can also use realtime modify to change the value (p. 58).

Value

Chapter 2

D Beam is selected

U0101DB PAD INST I35:Bell Tree

Ribbon (right) is selected

U0101RR PAD INST L18:Conga Slide

4. Press [ PARAMETER] or [PARAMETER ] to

select the parameter that you wish to modify.

fig.2-04.e

U0101A3 PAD INST Pad Level 100

Parameter

The settings you edit will return to the original values when you switch patches. If you wish to keep your changes, refer to “Saving Your Settings (Write) / Duplicating Settings (Copy)” (p. 56).

If you edit the settings of a user patch, you can keep your changes in the same patch by pressing [WRITE] twice.

When you change a value, an “*” will appear beside the patch number in the screen, indicating that the data is being edited. If you switch patches or perform the Write or Copy operation (p. 56), the “*” will disappear.

Chapter 2 Modifying a Patch

Adjusting Sounds

Select the sound that you wish to play by using the pads, D Beam, or ribbons. You can also adjust the pitch or duration of the sound.

* Some parameters have relation to the parameters in EZ Edit

mode. If there are problems (e.g., no sound), check the parameters in EZ Edit mode.

Parameter Category: PAD INST

fig.2-07.e

(Inst select screen)

U0101A1 PAD INST L09:Conga Hi /H

Inst NameInst Group

(Other value select screen)

U0101A1 PAD INST Pad Level 100

Parameter

(Inst) : Refer to Instrument List (p. 92)

Selects the sound (instrument.)

* You can jump to the first sound in each instrument group by

using the Skip function (p. 33).

Pad Level: 0–127

Adjusts the volume.

Pan: L63–Center–R63, Random, Alternate

Adjusts the pan (localization) of the output sound.

Random: The pan changes randomly each time the pad is struck. Alternate: The pan alternates left and right each time the pad is

struck.

Reverb Send: 0–127

Adjusts the depth of the reverberation.

Pitch: -2400–+2400cent

Adjusts the pitch.

100 cents is a semitone.

* You can change the pitch in steps of 100 cent by using the Skip

function (p. 33).

Decay: -31–+31

Adjusts the duration (decay time.)

* Some sounds do not change the duration.

Color: -31–+31

Adjusts the tone.

Value

Sweep: -31–+31

Changes the pitch.

Positive (+) values will cause the pitch to change from high to low. Negative (-) values will cause the pitch to change from low to high.

MULTI-FX/LFO: OFF, ON

Turns the multi-effects and LFO on or off.

TrigMode: Shot, Gate, Trig (Pad)

Move, MovGate, Touch, TchGate, Scrape, Scrp1wy (D Beam, Ribbon)

Selects how the sound will be played.

• Pad

Shot * : When you strike the pad, the sound will

play for the duration specified for that particular sound.

Gate * : The sound will play while you continue

pressing the pad. This is effective when you have selected a sustaining sound.

Trig: The sound will play when you strike the

pad, and will stop when you strike the pad once again. This is effective when you have selected a sustaining sound.

• D Beam, Ribbon

Move: The sound will play when you place your

hand above (or touch with your finger) and move.

MovGate: The sound will play when you place your

hand above (or touch with your finger) and move. If a sustaining sound is selected, the sound will continue playing until you stop your hand or finger.

Touch: The sound will play when you place your

hand above (or touch with your finger).

TchGate: The sound will play when you place your

hand above (or touch with your finger). If a sustaining sound is selected, it will continue playing until you move your hand or finger away.

Scrape * : The sound will play when you move your

hand or finger. This is used to play sounds such as guiro.

• only D Beam

Scrp1wy * : The sound will play continuously when

you move your hand. The sound will play for only one direction.

* Pedal can be specified the value marked with “*.”

VeloCurve: Linear, Exp1–2, Log1–2, Spline,

Loud1–2, Fix1–16

Selects how striking force will affect the volume.

Linear: This is the normal setting and most

natural correspondence between velocity and volume change.

Exp1, Exp2: Compared to Linear, a wider volume

change will occur for stronger hits.

Log1, Log2: Compared to Linear, a wider volume

change will occur for softer hits.

Loudness

Chapter 2 Modifying a Patch

Spline: Variation in striking force will produce

extreme change.

Loud1, Loud2: Variation in striking force will produce

little change, and a constant volume will be maintained.

Fix1–16: The sound will play at a fixed volume

regardless of how strongly you strike. Fix1 will produce the lowest volume, and Fix16 will produce the highest volume.

fig.2-08.e

Chapter 2

Striking force

Linear

Spline

Exp1

Loud1 Loud2 Fix1 Fix16

Edit Parameters Block Diagram

fig.2-09.e

Sound

Pad

D Beam

Ribbon

TrigMode

VeloCurve

Generator

Inst

Pad Level

Pitch

Decay

Color

Sweep

MULTI-FX/LFO

Pan

Exp2

Reverb Send

Fx Rev Send

Log1

REVERB

Log2

MasterVolume

OUTPUT

MULTI-

EFFECTS

FxOut V olume

Chapter 2 Modifying a Patch

Adding Cyclic Change to the Tone

You can use the LFO (Low Frequency Oscillator) to cyclically change the pitch, volume, etc.

* The LFO will apply to all pads / D Beam / ribbons.

Parameter Category: PAD LFO

fig.2-10

U0101 LFO Waveform Triangl

Waveform: OFF, Triangl, Sine, SawRise,

SawFall, Square, Trape, Smp&Hld, Random, Chaos

Selects the waveform of the LFO. If you select OFF, there will be no change, and the following parameters will not be displayed.

fig.2-11.e

Triangl Sine SawRise

Realtime2: PITCH, EFFECT

Selects the LFO parameter which is modified by turning the middle realtime modify knob. You can modify the PitchDepth if you select the PITCH, or the EffectDepth if you select the EFFECT.

This parameter is effective only when the bottom indicator that at the upper right of the Realtime Modify knobs is lit by pressing [SELECT].

Realtime3: FILTER, AMP

Selects the LFO parameter which is modified by turning the right realtime modify knob. You can modify the FilterDepth if you select the FILTER, or the AmpDepth if you select the AMP.

This parameter is effective only when the bottom indicator that at the upper right of the Realtime Modify knobs is lit by pressing [SELECT].

Triangle wave Sine wave Sawtooth

SawFall

Sawtooth

wave (Down)

Square

Square wave Trapezoidal wave

wave (Up)

Trape

Smp&Hld Random Chaos

Sample and

hold wave

Chaos waveRandom wave

Rate: 0–127

Adjusts the modulation rate of the LFO waveform.

PitchDepth: 0–127

Adjusts the depth of the pitch modulation.

FilterDepth: 0–127

Adjusts the depth of the modulation in tone.

AmpDepth: 0–127

Adjusts the depth of the modulation in volume.

EffectDepth: 0–127

Adjusts the depth of modulation for the effect parameter. For details on the parameter that will be modulated, refer to “Adjusting Multi-Effect Settings” (p. 40).

Chapter 2 Modifying a Patch

Effect Settings

You can add reverberation to the sound to create the sensation of playing in a hall or on stage, apply distortion to the sound, or add depth, spaciousness, and modulation.

* The effect will apply to all pads / D Beam / ribbons.

Adjusting the Reverb Settings

Reverb adds reverberation to the sound to simulate a spacious ambience.

Parameter Category: REVERB

fig.2-12

U0101 REVERB/DLY Type# Room1

Type: Refer to REVERB/DELAY Type (p. 95)

Selects the preset setting of reverb. If you wish to make even more detailed settings, adjust the

algorithm and parameters below. When you change a value, a “#” will appear beside the “Type.”

HF Damp: 200Hz–8kHz, THRU

Adjusts the currently at which the high range of the reverberation will be cut. As you lower the frequency, more of the high range will be cut, producing a softer sound. If you do not wish to cut the high range, set this to THRU.

Dly Feedback: 0–127

Adjusts the number of times that the delay sound will be repeated.

* This will be displayed only if Algo is Delay or PanDly.

fig.2-13.e

Algo: Room1–2, Stage, Plate, Hall1–2

Direct Sound

Chapter 2

Level

Reverb Sound

Time

Algo: Delay, PanDly

Direct Sound

Algo: OFF, Room1–2, Stage, Plate, Hall1–2,

Delay, PanDly

Selects the type (algorithm) of reverb. If you select OFF no reverb will be applied, and the following parameters will not be displayed.

Room1: Simulation of the reverberation in a room Room2: Brighter reverb than Room1 Stage: Simulation of on-stage reverberation Plate: Simulation of a metal plate reverb Hall1: Simulation of a larger space than Room Hall2: Brighter reverb than Hall1 Delay: Standard delay (Echo) PanDly: Delay that pans (moves) the reflection between

left and right

Level: 0–127

Adjusts the volume of the reverberation (or delay sound).

Delay Sound

Level

Time

If you change the “Type,” the algorithm of the reverb and the values of the parameters will be changed to the setting of each type.

Dly Feedback

Time: 0–127

If Algo is Room1–Hall2, this adjusts the duration of the reverberation. If Algo is Delay or PanDly, this adjusts the delay time.

Chapter 2 Modifying a Patch

Adjusting the Multi-Effect Settings

Multi-effect (M-FX) allows you to select different algorithms to obtain a variety of effects.

Parameter Category: MULTI-FX

fig.2-14

U0101 MULTI-FX Type# Hall"A"

Type: Refer to MULTI-FX Type (p. 95)

Selects the preset setting of multi-effects. If you wish to make even more detailed settings, adjust the

algorithm below and parameters on the following pages. When you change a value, a “#” will appear beside the “Type.”

Algo:

Selects the algorithm of the effect. The parameters and values will differ depending on the algorithm.

Stereo EQ: Stereo Equalizer (Modify the tone) CompLimiter: Compressor/Limiter (Make the volume

more consistent)

Enhancer: Enhancer (Add sparkle to the sound) Spectrum: Spectrum (Add character to the sound) Isolator: Isolator (Cut off a specific frequency range) DynamicFltr: Dynamic Filter (Modify the tone according

to the volume)

Sustainer: Overdrive: Overdrive (Mildly distort the sound) Distortion: Distortion (Severely distort the sound) Lo-Fi: Lo-Fi (Simulate a “low-fidelity” sound) RingModltr: Ring Modulator (Give the sound a metallic

Stereo Cho: Stereo Chorus (Add depth and

TetraChorus: Tetra Chorus (Layer chorus sounds to

Tremolo Cho: Tremolo Chorus (Cyclically modulate the

Space D: Space D (Add transparent spaciousness) Stereo Fln: Stereo Flanger (Add metallic resonance to

StepFlanger: Step Flanger (Add metallic resonance

Phaser: Phaser (Give the sound a “swooshing”

FbackPitch: Feedback Pitch Shifter (Shift the pitch)

Sustainer (Increase the duration of the sound)

character)

spaciousness to the sound)

create more spaciousness)

volume to create spaciousness)

the sound)

while shifting the pitch by steps)

character)

StereoDelay: Stereo Delay (Delay the sound) Mod Delay: Modulation Delay (Delay the sound while

modulating it)

TimeCtrlDly: Time Control Delay (Control the delay and

pitch in realtime)

3TapDlySht: 3-tap delay short (Delay the sound in three

directions)

3TapDlyLng: 3-tap delay Long 4TapDlySht: 4-tap delay short (Produce four delayed

sounds)

4TapDlyLng: 4-tap delay Long AdvanceRev: GateReverb:

The parameters of each algorithm are explained on the following pages.

In the explanation on the following pages, the value of parameters marked with “RTM” can be controlled by [M-FX DEPTH] of the Realtime Modify (p. 19).

* If you modify the MULTI-FX DEPTH in EZ Edit Mode (p.

25), the value of these parameters will be changed.

In the explanation on the following pages, the value of parameters marked with “LFO” can be controlled by the LFO. For details, refer to “Adding Cyclic Change to the Tone” (p. 38).

In the explanation on the following pages, the value of parameters marked by “Ctrl1, Ctrl2, Ctrl3” can be controlled by the pads, D Beam, and ribbons. For details, refer to the section on

CtrlTx: MFX Ctrl 1–3

Advanced Reverb (Add reverb to the sound) Gate Reverb (Sharply cut the reverberation)

in “Controlling the tone” (p. 52).

FxOut Volume:

Adjusts output volume of the multi-effects.

Fx Rev Send:

Adjusts the depth of reverb applied to the sound processed by the multi-effects.

If you change the “Type,” the algorithm of the effect and the values of the parameters will be changed to the setting of each type.

Chapter 2 Modifying a Patch

Stereo Equalizer (Stereo EQ)

This is a four-band stereo equalizer (low, mid x 2, high).

Low Freq: 100Hz, 200Hz, 400Hz

Selects the frequency of the low range.

Low EQ: -15–+15dB

Adjusts the level of the low frequency. Mid1Freq: 100Hz–12.5kHz Ctrl3 Adjusts the frequency of mid range 1.

Mid 1 Q: 0.5, 1.0, 2.0, 4.0, 8.0

Adjusts the width of the area around the Mid1Freq that will be affected by the Level setting. Higher values of Q will result in a narrower area being affected.

fig.2-15.e

Level

8.0 0.5

Frequency

Compressor/Limiter (CompLimiter)

The Compressor/Limiter compresses signals that exceed a specified volume level, smoothing out unevenness in volume and preventing distortion from occurring.

Threshold: 0–127

Adjusts the volume at which compression will begin. Ratio: 1:1–100:1, infinite:1 LFO, Ctrl1 Adjusts the compression ratio. Attack: 0–127 Ctrl2 Adjusts the attack time of an input sound. Release: 0–127 Ctrl3 Adjusts the time from when the volume falls below the

Threshold Level until compression is no longer applied.

Pan: L63–Center–R63

Adjusts the stereo location of the output sound. TotalLevel: -15–+15dB RTM Adjusts the output level.

Chapter 2

Mid 1 EQ: -15–+15dB LFO, Ctrl1 Adjusts the level for the area specified by the Mid1Freq and

Q settings.

Mid2Freq: 100Hz–12.5kHz

Adjusts the frequency of mid range 2.

Mid 2 Q: 0.5, 1.0, 2.0, 4.0, 8.0

Adjusts the width of the area around the Mid2Freq that will be affected by the Level setting. Higher values of Q will result in a narrower area being affected.

Mid 2 EQ: -15–+15dB Ctrl2 Adjusts the level for the area specified by the Mid2Freq and

Q settings.

HighFreq: 4kHz, 8kHz, 12.5kHz

Selects the frequency of the high range.

High EQ: -15–+15dB

Adjusts the level of the high frequency. TotalLevel: -15–+15dB RTM Adjusts the output level.

Chapter 2 Modifying a Patch

Enhancer

The Enhancer controls the overtone structure of the high frequencies, adding sparkle and tightness to the sound.

Sens: 0–127 LFO, Ctrl1 Adjusts the sensitivity of the enhancer. Mix: 0–127 RTM, Ctrl2 Adjusts the ratio with which the overtones generated by the

enhancer are combined with the direct sound.

Low EQ: -15–+15dB

Adjusts the level of the low frequency range. High EQ: -15–+15dB Ctrl3 Adjusts the level of the high frequency range.

Spectrum

Spectrum is a type of filter which modifies the timbre by boosting or cutting the level at specific frequencies. It is similar to an equalizer, but has 5 frequency points fixed at locations most suitable for adding character to the sound.

Isolator

The Isolator is a stronger version of an equalizer, and is able to completely cut a specific frequency range.

Low Level: 0–127 Ctrl3 Adjusts the level of the low frequency. Mid Level: 0–127 LFO, Ctrl1 Adjusts the level of the middle frequency. High Level: 0–127 Ctrl2 Adjusts the level of the high frequency.

Pan: L63–Center–R63

Adjusts the stereo location of the output sound. TotalLevel: -15–+15dB RTM Adjusts the output level.

Dynamic Filter (DynamicFltr)

The Dynamic Filter varies the tone by moving a filter according to the volume.

Band 1: -15–+15dB

Adjusts the 500 Hz level. Band 2: -15–+15dB LFO, Ctrl1 Adjusts the 1 kHz level.

Band 3: -15–+15dB

Adjusts the 1.25 kHz level. Band 4: -15–+15dB Ctrl2 Adjusts the 3.15 kHz level.

Band 5: -15–+15dB

Adjusts the 4 kHz level. Width: 1–5 Ctrl3 Simultaneously adjusts the width of the adjusted areas for all

the frequency bands.

Pan: L63–Center–R63

Adjusts the stereo location of the output sound. TotalLevel: -15–+15dB RTM Adjusts the output level.

Filter Type: LPF, BPF

Selects the type of filter.

LPF: The wah effect will be applied over a wide frequency range.

BPF: The wah effect will be applied over a narrow frequency range.

Sens: 0–127 Ctrl2 Adjusts the sensitivity with which the filter is controlled. Manual: 0–127 RTM, LFO, Ctrl1 Adjusts the center frequency from which the effect is applied. Peak: 0–127 Ctrl3 Adjusts the amount of the wah effect that will occur in the

area of the center frequency. Lower settings will cause the effect to be applied in a broad area around the center frequency. Higher settings will cause the effect to be applied in a more narrow range.

Pan: L63–Center–R63

Adjusts the stereo location of the output sound.

Chapter 2 Modifying a Patch

Sustainer

The Sustainer restrains loud levels and boosts low levels, making the sound more consistent and sustaining the sound.

Attack: 0–127 LFO, Ctrl1 Adjusts the attack time of an input sound. Sustain: 0–127 Ctrl2 Adjusts the degree of boost. Pan: L63–Center–R63 Ctrl3 Adjusts the stereo location of the output sound. TotalLevel: -15–+15dB RTM Adjusts the output level.

Overdrive

This effect creates a soft distortion similar to that produced by vacuum tube amplifiers.

Drive: 0–127 RTM, LFO, Ctrl1 Adjusts the degree of distortion. The volume will change

together with the degree of distortion.

Character: 1–4

Selects the character of distortion. Increasing the value will make more sound pressure.

Pan: L63–Center–R63 Ctrl2 Adjusts the stereo location of the output sound.

Distortion

This effect produces a more intense distortion than Overdrive.

Drive: 0–127 RTM, LFO, Ctrl1 Adjusts the degree of distortion. The volume will change

together with the degree of distortion.

Character: 1–4

Selects the character of distortion. Increasing the value will make more sound pressure.

Pan: L63–Center–R63 Ctrl2 Adjusts the stereo location of the output sound.

Chapter 2

Chapter 2 Modifying a Patch

Lo-Fi

This effect intentionally degrades the audio quality to simulate a Lo-Fi sound.

Bit Down: 0–7 Ctrl3 Lowers the audio quality. The audio quality will worsen as

this setting is increased. S-Rate Down: 32, 16, 8, 4 Ctrl2 Coarsens the output signal. The sound will become coarser

as this setting is lowered.

Low EQ: -15–+15dB

Adjusts the level of the low frequency. High EQ: -15–+15dB RTM, LFO, Ctrl1 Adjusts the level of the high frequency.

Output: Mono, Stereo

Specifies how the sound will be output. With a setting of “Mono,” the output sound will be monaural.

Ring Modulator (RingModltr)

A ring modulator add the amplitude modulation to the sound, giving a metallic character.

Frequency: 0–127 Ctrl1 Adjusts the frequency for modulation. Character: 0–127 LFO, Ctrl2 Adjusts the tone. The high-frequency range will change. Effect Level: 0–127 RTM, Ctrl3 Adjusts the output level of effect sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Stereo Chorus (Stereo Cho)

This is a stereo chorus. A filter is provided so that you can adjust the timbre of the chorus sound.

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the processed sound is heard.

Rate: 0.05–10.0Hz LFO, Ctrl1 Adjusts the rate of modulation. Depth: 0–127 Ctrl2 Adjusts the depth of modulation.

Phase: 0–180deg

Adjusts the spatial spread of the sound.

Filter Type: OFF, LPF, HPF

Selects the type of filter.

OFF: A filter will not be used. Cutoff will not be displayed.

LPF: Cut the frequency range above the cutoff frequency.

HPF: Cut the frequency range below the cutoff frequency.

Cutoff: 200–8kHz Ctrl3 Adjusts the basic frequency of the filter. Effect Level: 0–127 RTM Adjusts the output level of chorus sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Chapter 2 Modifying a Patch

Tetra Chorus (TetraChorus)

Tetra chorus uses a four-phase chorus (four layers of chorused sound) to give richness and spatial spread to the sound.

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the chorus sound is heard.

Rate: 0.05–10.0Hz LFO, Ctrl1 Adjusts the rate of modulation. Depth: 0–127 Ctrl2 Adjusts the depth of modulation.

Pre Delay Dev: 0–20

Adjusts the differences in Pre Delay between each chorus sound.

Depth Dev: -20–+20

Adjusts the difference in modulation depth between each chorus sound.

Pan Deviation: 0–20 Ctrl3 Adjusts the difference in stereo location between each chorus

sound. With a setting of 0, all chorus sounds will be in the center. Increasing the value will cause the chorus sound to be panned more expansively.

Effect Level: 0–127 RTM Adjusts the output level of chorus sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Tremolo Chorus (Tremolo Cho)

Tremolo Chorus is a chorus effect with added Tremolo (cyclic modulation of volume).

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the chorus sound is heard.

Cho Rate: 0.05–10.0Hz LFO Adjusts the modulation speed of the chorus effect.

Cho Depth: 0–127

Adjusts the modulation depth of the chorus effect. Trm Phase: 0–180deg Ctrl3 Adjusts the spread of the tremolo effect. Trm Rate: 0.05–10.0Hz Ctrl1 Adjusts the modulation speed of the tremolo effect. Trm Depth: 0–127 Ctrl2 Adjusts the modulation depth of the tremolo effect. Effect Level: 0–127 RTM Adjusts the output level of tremolo chorus sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Chapter 2

Chapter 2 Modifying a Patch

Space D

Space D is a multiple chorus that applies two-phase modulation in stereo. This is a chorus with a transparent character and minimal sense of modulation.

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the processed sound is heard.

Rate: 0.05–10.0Hz LFO, Ctrl1 Adjusts the rate of modulation. Depth: 0–127 Ctrl2 Adjusts the depth of modulation. Phase: 0–180deg Ctrl3 Adjusts the spatial spread of the sound.

Tone: -15–+15

Adjusts the tone quality. Positive (+) settings will emphasize the high range, and negative (-) settings will emphasize the low range.

Effect Level: 0–127 RTM Adjusts the output level of chorus sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Stereo Flanger (Stereo Fln)

This is a stereo flanger. (The LFO has the same phase for left and right.) It produces a metallic resonance that rises and falls like a jet airplane taking off or landing. A filter is provided so that you can adjust the timbre of the flanged sound.

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the flanger sound is heard.

Rate: 0.05–10.0Hz LFO, Ctrl1 Adjusts the rate of modulation. Depth: 0–127 Ctrl2 Adjusts the depth of modulation. Feedback: -98–+98% Ctrl3 Adjusts the amount (%) of the processed sound that is

returned (fed back) into the input. Positive (+) settings will return the sound in phase, and negative (-) settings will return the sound in reverse phase.

Phase: 0–180deg

Adjusts the spatial spread of the sound.

Filter Type: OFF, LPF, HPF

Selects the type of filter.

OFF: A filter will not be used. Cutoff will not be displayed.

LPF: Cut the frequency range above the cutoff frequency.

HPF: Cut the frequency range below the cutoff frequency.

Cutoff: 200–8kHz

Adjusts the basic frequency of the filter. Effect Level: 0–127 RTM Adjusts the output level of flanger sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Chapter 2 Modifying a Patch

Step Flanger (StepFlanger)

The Step Flanger effect is a flanger in which the flanger pitch changes in steps. The speed at which the pitch changes can also be specified in terms of a note-value of a specified tempo.

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the flanger sound is heard.

Rate: 0.05–10.0Hz Ctrl3 Adjusts the rate of modulation. Depth: 0–127 Ctrl2 Adjusts the depth of modulation.

Feedback: -98–+98%

Adjusts the amount (%) of the flanger sound that is returned (fed back) into the input. Negative (-) settings will invert the phase.

Phase: 0–180deg

Adjusts the spatial spread of the sound. Step Rate: 0.05–10.0Hz, note-value LFO, Ctrl1 Adjusts the rate (period) of pitch change. This parameter can

be set as a note-value of the tempo of the sequencer. In this case, specify the value of the desired note.

Effect Level: 0–127 RTM Adjusts the output level of flanger sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Phaser

A phaser adds a phase-shifted sound to the original sound, producing a twisting modulation that creates spaciousness and depth.

Manual: 100–8kHz

Adjusts the basic frequency from which the sound will be modulated.

Rate: 0.05–10.0Hz LFO, Ctrl3 Adjusts the frequency (period) of modulation. Depth: 0–127 Ctrl2 Adjusts the depth of modulation. Resonance: 0–127 Ctrl1 Adjusts the amount of feedback for the phaser. Mix: 0–127 RTM Adjusts the ratio with which the phase-shifted sound is

combined with the direct sound.

Pan: L63–Center–R63

Adjusts the stereo location of the output sound.

Chapter 2

Chapter 2 Modifying a Patch

R in

R out

L in

L out

Feedback

Delay

R in

R out

L in

L out

Feedback

Delay

Feedback Pitch Shifter (FbackPitch)

A Pitch Shifter shifts the pitch of the original sound. This pitch shifter allows the pitch shifted sound to be fed back into the effect.

Coarse: -24–+12semi LFO, Ctrl1 Adjusts the pitch of the pitch shifted sound in semitone steps

(-2–+1 octaves).

Fine: -100–+100cent

Makes fine adjustments to the pitch of the pitch shifted sound in 2-cent steps (-100–+100 cents). One cent is 1/100th of a semitone.

Pan: L63–Center–R63 Ctrl3 Adjusts the stereo location of the pitch shifted sound.

Pre Delay: 0.0–500ms

Adjusts the time delay from when the direct sound begins until the pitch shifted sound is heard.

Mode: 1–5

Lower settings of this parameter will result in faster response. Higher settings will result in slower response, but steadier pitch.

Feedback: -98–+98% Ctrl2 Adjusts the proportion (%) of the processed sound that is fed

back into the effect. Negative (-) settings will invert the phase.

Tone: -15–+15

Adjusts the tone quality. Positive (+) settings will emphasize the high range, and negative (-) settings will emphasize the low range.

Effect Level: 0–127 RTM Adjusts the output level of pitch shifted sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Stereo Delay (StereoDelay)

This is a stereo delay.

Delay Left: 0.0–500ms DelayRight: 0.0–500ms

Adjusts the time from the original sound until when the delay sound is heard.

Feedback: -98–+98% Ctrl1 Adjusts the proportion (%) of the delay sound that is fed back

into the effect. Negative (-) settings will invert the phase.

Fbk Mode: NORMAL, CROSS

Selects the way in which delay sound is fed back into the effect.

NORMAL: The left delay sound will be fed back into the left delay, and the right delay sound into the right delay.

fig.2-16.e

CROSS: The left delay sound will be fed back into the right delay, and the right delay sound into the left delay.

fig.2-17.e

Phase L: NORMAL, INVERSE Phase R: NORMAL, INVERSE

Selects the phase of the left/right delay sound.

NORMAL: Phase is not changed. INVERSE: Phase is inverted.

HF Damp: 200Hz–8kHz, THRU Ctrl2

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to THRU.

Tone:-15–+15

Adjusts the tone quality. Positive (+) settings will emphasize the high range, and negative (-) settings will emphasize the low range.

Effect Level: 0–127 RTM, LFO, Ctrl3 Adjusts the output level of delay sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Chapter 2 Modifying a Patch

Modulation Delay (Mod Delay)

This effect adds modulation to the delayed sound, producing an effect similar to a flanger.

Delay Left: 0.0–500ms DelayRight: 0.0–500ms

Adjusts the time from the original sound until when the right delay sound is heard.

Feedback: -98–+98% Ctrl2 Adjusts the proportion (%) of the delay sound that is fed back

into the effect. Negative (-) settings will invert the phase.

Fbk Mode: NORMAL, CROSS

Selects the way in which delay sound is fed back into the effect.

NORMAL: The left delay sound will be fed back into the left delay, and the right delay sound into the right delay.

fig.2-16.e

L in

Delay

Feedback

Delay

R in

CROSS: The left delay sound will be fed back into the right delay, and the right delay sound into the left delay.

fig.2-17.e

L in

Delay

Feedback

Delay

R in

Rate: 0.05–10.0Hz LFO, Ctrl1 Adjusts the rate of modulation. Depth: 0–127 Ctrl3 Adjusts the depth of modulation.

Phase: 0–180deg

Adjusts the spatial spread of the sound.

HF Damp: 200Hz–8kHz, THRU

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to THRU.

Tone:-15–+15

Adjusts the tone quality. Positive (+) settings will emphasize the high range, and negative (-) settings will emphasize the low range.

Effect Level: 0–127 RTM Adjusts the output level of delay sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

L out

R out

L out

R out

Time Control Delay (TimeCtrlDly)

This effect allows you to use pads/D Beam/ribbons to control the delay time and pitch in realtime. Lengthening the delay will lower the pitch, and shortening it will raise the pitch.

Delay: 200–1000ms LFO, Ctrl1 Adjusts the time delay from the direct sound until when each

delay sound is heard.

Acceleration: 0–15

Adjusts the time over which the delay time will change from the current setting to a newly specified setting. The rate of change for the delay time directly affects the rate of pitch change.

Feedback: -98–+98% Ctrl2 Adjusts the proportion (%) of the delay sound that is fed back

into the effect. Negative (-) settings will invert the phase.

HF Damp: 200Hz–8kHz, THRU

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to THRU.

Pan: L63–Center–R63 Ctrl3 Adjusts the stereo location of the delay sound.

Tone: -15–+15

Adjusts the tone quality. Positive (+) settings will emphasize the high range, and negative (-) settings will emphasize the low range.

Effect Level: 0–127 RTM Adjusts the output level of delay sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Chapter 2

Chapter 2 Modifying a Patch

3-Tap Delay (3TapDlySht/3TapDlyLng)

The 3-Tap Delay produces three delay sounds; center, left and right. The delay time can be specified as a note value of the tempo of the sequencer.

* There is no difference between Sht and Lng but the length of

the delay time.

Delay C: 20–600ms (Sht), 200–1000ms (Lng), note-value Delay L: 20–600ms (Sht), 200–1000ms (Lng), note-value Delay R: 20–600ms (Sht), 200–1000ms (Lng), note-value

Adjusts the time delay from the direct sound until when the delay sound is heard. This parameter can be set as a notevalue of the tempo of the sequencer. In this case, specify the value of the desired note.

Feedback: -98–+98%

Adjusts the proportion (%) of the center delay sound that is fed back into the effect. Negative (-) settings will invert the phase.

Center Level: 0–127 LFO, Ctrl1 Left Level: 0–127 Ctrl2 Right Level: 0–127 Ctrl3

Adjusts the volume of each delay sound.

HF Damp: 200Hz–8kHz, THRU

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to THRU.

Tone: -15–+15

Adjusts the tone quality. Positive (+) settings will emphasize the high range, and negative (-) settings will emphasize the low range.

Effect Level: 0–127 RTM Adjusts the output level of delay sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

4-Tap Delay (4TapDlySht/4TapDlyLng)

The 4-Tap Delay has four delays. Each of the delay time parameters can be specified as a note value of the tempo of the sequencer.

* There is no difference between Sht and Lng but the length of

the delay time.

The stereo location of each delay sound is as follows.

fig.2-18

Delay 1: 20–600ms (Sht), 200–1000ms (Lng), note-value Delay 2: 20–600ms (Sht), 200–1000ms (Lng), note-value Delay 3: 20–600ms (Sht), 200–1000ms (Lng), note-value Delay 4: 20–600ms (Sht), 200–1000ms (Lng), note-value

Adjusts the time delay from the direct sound until when each delay sound is heard. These parameters can be set as a notevalue of the tempo of the sequencer. In this case, specify the value of the desired note.

Level 1: 0–127 LFO, Ctrl1 Level 2: 0–127 Ctrl2 Level 3: 0–127 Ctrl3 Level 4: 0–127

Adjusts the volume of each delay sound.

Feedback: -98–+98%

Adjusts the proportion (%) of the delay 1 sound that is fed back into the effect. Negative (-) settings will invert the phase.

HF Damp: 200Hz–8kHz, THRU

Adjusts the frequency above which sound fed back to the effect will be cut. If you do not want to cut the high frequencies of the feedback, set this parameter to THRU.

Effect Level: 0–127 RTM Adjusts the output level of delay sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

Chapter 2 Modifying a Patch

Advanced Reverb (AdvanceRev)

The Reverb effect adds reverberation to the sound, simulating an acoustic space.

Type: ROOM1–2, STAGE, PLATE, HALL1–2

Selects the type of Reverb effect.

PreDelay: 0.0–100ms

Adjusts the time delay from when the direct sound begins until the reverb sound is heard.

Time: 0–127 Ctrl2 Adjusts the time length of reverberation. HF Damp: 200Hz–8kHz, THRU Ctrl3 Adjusts the frequency above which the reverberant sound

will be cut. As the frequency is set lower, more of the high frequencies will be cut, resulting in a softer and more muted reverberance. If you do not want the high frequencies to be cut, set this parameter to THRU.

Effect Level: 0–127 RTM, LFO, Ctrl1 Adjusts the output level of reverb sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

fig.2-19.e

Direct Sound

Gate Reverb (GateReverb)

Gate Reverb is a special type of reverb in which the reverberant sound is cut off before its natural length.

Type: NORMAL, REVERSE, SWEEP1, SWEEP2

Selects the type of reverb.

NORMAL: conventional gate reverb REVERSE: backwards reverb SWEEP1: the reverberant sound moves from right to left SWEEP2: the reverberant sound moves from left to right

PreDelay: 0.0–100ms Ctrl2

Adjusts the time delay from when the direct sound begins until the reverb sound is heard.

Gate Time: 5–500ms Ctrl3 Adjusts the time from when the reverb is heard until when it

disappears. Effect Level: 0–127 RTM, LFO, Ctrl1 Adjusts the output level of reverb sound.

Direct Level: 0–127

Adjusts the output level of direct sound.

fig.2-20.e

Direct Sound

Direct

Effect

Level

Reverb Sound

PreDelay

Gate Time

Chapter 2

Direct

Level

Effect

Level

Reverb Sound

Time

PreDelay

Chapter 2 Modifying a Patch

Controlling the Tone

By pressing on a pad or moving your hand over the D Beam or a ribbon, you can control the tone of other pads or controllers.

Parameter Category: PAD CTRL

fig.2-21

U0101A1 PAD CTRL MuteRx ON

Control Parameters Block Diagram

fig.2-22.e

Pad (D Beam, Ribbon, etc.)

Generate

Control

Trigger

CtrlTxMuteTx PitchTx

Mute Rx

Rx Self

PitchRx

Range

Sound

Ctrl Rx

Control

Ctrl Rx: OFF, ON

Specifies whether control signals other than mute, pitch, and roll will be received. If you select ON, signals from other pads or controllers will affect the tone.

* “MFX Ctrl” and LFO control signals are received even if this

parameter is set to “OFF.”

Roll Rx: OFF, ON

Specifies whether the sound will be repeated when [ROLL/ HOLD] is lit.

* The Controllers other than pads will be displayed as “---” and

cannot be set.

Rx Self: OFF, ON

Specifies whether or not the transmitted control signal will itself be received.

MuteTx: OFF, ON

Specifies transmission for mute signals. If you select ON, you will be able to cut the notes of pads or controllers.

* Mute may have no effect for some sounds.

Sound

Generate

Other Pads, D Beam, Ribbons

Trigger

Mute Rx: OFF, ON

Specifies how mute signals (to cut the note) will be received. If you select ON, signals from other pads or controllers will mute the note.

* Mute may have no effect for some sounds.

PitchRxRange: -24–OFF–+24, Rdm

Specifies how pitch control signals will be received. With positive (+) settings, pitch control signals will raise the pitch. With negative (-) settings, pitch control signals will lower the pitch. If you select Rdm, the pitch will change randomly each time a signal is received. If you select OFF, the pitch will not change even if signals are received.

PitchTx: OFF, ON

Specifies transmission for pitch control signals. If you select ON, you will be able to modify the pitch of pads or controllers.

CtrlTx: OFF, LFO Pitch, LFO Fltr, LFO Amp,

MFX Ctrl1–3 (Pad) OFF, Level -, Level +, Decay -, Decay +,

Cutoff, Resonance, Color 1–2, RevSend -, RevSend +, LFO Rate, LFO Pitch, LFO Fltr, LFO Amp, LFO Pc&Rt, LFO Ft&Rt, LFO Am&Rt, MFX Ctrl1–3, RollSpeed, Tempo -, Tempo +, TurnTable (D Beam, Ribbon, Pedal)

Play/Stop (D Beam, Pedal)

Specifies transmission for control signals other than mute and pitch.

Level -, Level +: Modifies the volume. Decay -, Decay +: Modifies the duration (decay time.)

Chapter 2 Modifying a Patch

Cutoff: Modifies the cutoff frequency of the filter. The character

of the high-frequency range will change. Resonance: Modifies the resonance of the filter. The range near the

filter cutoff frequency will be emphasized. Color 1–2: Simultaneously changes the filter cutoff frequency and

resonance. The tonal character will change. RevSend -, RevSend +: Modifies the depth of the reverberation. LFO Rate * : Modifies the modulation rate of the LFO waveform. LFO Pitch * : Modifies the depth of the pitch modulation produced by

the LFO. LFO Fltr * : Modifies the depth of the tonal change produced by the

LFO. LFO Amp * : Modifies the depth of the volume change produced by

the LFO. LFO Pc&Rt * : Modifies the depth of the pitch modulation produced by

the LFO and the speed of modulation. LFO Ft&Rt * : Modifies the depth of the tonal change produced by the

LFO and the speed of modulation. LFO Am&Rt * : Modifies the depth of the volume change produced by

the LFO and the speed of modulation. MFX Ctrl1–3 * : Modifies the parameter value of the multi-effect. The

parameter that will be controlled will depend on the selected effect. Please refer to “Adjusting Multi-Effect Settings” (p. 40). If you select MFX Ctrl1, parameters marked by “Ctrl1” can be controlled. The same applies to MFX Ctrl2–3.

RollSpeed * : Changes the speed at which the roll will repeat. The

same effect can be obtained even if [ROLL/HOLD] is not lit.

Tempo -, Tempo +: Adjusts the tempo of the sequencer. TurnTable * : An effect will be produced as though you were manually

rotating the turntable of a record player.

Play/Stop: Controls sequencer play/stop. This is the same operation

as pressing [PLAY/STOP] on the panel.

* This cannot control sequencer start/stop in the Recording

Stand-by Mode (p. 59).

When CtrlTx is set to any value marked with a "*," the effect can be obtained even with pads (ribbons, D Beam, etc.) for which Ctrl Rx has been set to OFF.

CtrllrType: Posit, Speed

Specifies how the D Beam, ribbon, and pedal will transmit signals. If you select Posit, the transmitted signal will change according to the position at which your hand is located relative to the controller. If you select Speed, the transmitted signal will change according to the speed at which you move your hand.

* The pad will be displayed as “---” and cannot be set.

Chapter 2

Chapter 2 Modifying a Patch

Using a Pad to Start a Pattern

You can play a sequencer pattern by striking a pad (B1–B5, C1–C5).

Pads A1–A5, the D Beam, and the ribbon controllers can not play patterns.

Parameter Category: PAD PTN

fig.2-23

U0101B1 PAD PTN PTN Number U01

PTN Number:

Selects a pattern. If a pattern is not selected, this will be displayed as “OFF.”

* For pads A1–A5, the D-beam, and the ribbons, “---” will be

displayed, and a pattern cannot be selected.

If a pattern is selected, the indicator beside the pad will go red. It will blink while the pattern is playing back.

* If you change the patch while a pattern is playing back, you

can stop the pattern by pressing [PLAY/STOP].

Tempo:

Sets the tempo of the pattern. When using a pad to start a pattern, the tempo which is set to

the pattern (p. 60) is ignored.

* If you change the “PTN Number,” the tempo which is set to

the selected pattern will be set to the value of this parameter.

Level:

Adjusts the volume at which the pattern will sound.

Set the Volume of the Entire Patch

You can set the volume of the patch to adjust the volume balance between patches.

Parameter Category: PATCH LEV

fig.2-24

U0101 PATCH LEV MasterVolume 100

MasterVolume: 0–127

Settings for Other Functions

Parameter Category: FUNC

Limiting the Resonance

You can set an upper limit for the resonance of the filter.

fig.2-25

U0101 FUNC Reso Limit 100

Reso Limit: 50–126, OFF

If you select OFF, the tonal change produced by the filter will be greater, but loud sounds may be produced unexpectedly.

Adjusting the Sensitivity of the Pads

You can adjust the sensitivity of the pads as suitable for your playing style.

fig.2-26

For details on a pattern, refer to “Chapter 3 Recording Your Performance (Sequencer)” (p. 59).

U0101 FUNC PadSnsType Hand1

PadSnsType: Hand1–2, Fing1–2

If you are striking the pads with your hand, select Hand; if with your fingers, select Fing. “2” is more sensitive than “1.”

If you are using sticks to strike the pad, select Fing1 or Fing2.

Chapter 2 Modifying a Patch

Specifying the Roll Speed

You can specify the speed at which notes will be repeated when you press [ROLL/HOLD].

fig.2-27

U0101 FUNC Roll Speed 20

Roll Speed: 1.0–50, 1/2, 1/3, 1/4, 1/6, 1/8, 1/12, 1/16, 1/24, 1/32, 1/48

1–50: The selected number of notes will be repeated each

second. 1/2–1/48: The notes will be played at note value intervals relative

to the sequencer tempo (p. 27, p. 60).

Setting for MIDI Transmission

For details, refer to p. 76.

Parameter Category: PAD MIDI

Naming a Patch

Each patch can be given a name (Patch Name) of up to 10 characters.

Parameter Category: PATCH NAME

fig.2-28.e

U0101 PATCH NAME [Conga _ ]

Cursor

Use [ PARAMETER] or [PARAMETER ] to move the cursor to left or right, and turn [PATCH/VALUE] to select the desired characters.

Characters May Be Used in a Name

fig.2-29.e

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789!#$%&"’^‘_+-*/= <>()[]{},.:;?@ ¥| (Blank)

Chapter 2

Note No. : OFF, 0:C - –127:G 9

Sets the MIDI note number that each pad will transmit. If you select “OFF,” no MIDI note message will be transmitted.

Gate Time: 0.1–8.0sec

For each pad, you can specify the length of time the note will “hold” during transmission from the MIDI OUT.

Chapter 2 Modifying a Patch

Saving Your Settings (Write)

The settings you modify will be lost if you switch patches or turn off the power. If you wish to keep your changes, you must execute the write operation.

1. Press [WRITE].

fig.2-30.e

U0101*Conga

U0101 Conga

patch number is blinking

2. Turn [PATCH/VALUE] to select the write-destination

patch.

* If you wish to overwrite the data onto the currently selected

patch, simply proceed to step 3.

fig.2-31.e

current patch

U0101*Conga

U0201 TalkingDrm

write-destination patch (patch number is blinking)

* It is not possible to select a preset patch as the write-

destination.

3. Press [WRITE].

The settings will be written into the selected patch. After the data has been written, the write-destination patch will be selected.

fig.2-32

U02 USER02 01 Conga

Duplicating Settings (Copy)

Patch or pad settings can be copied to another patch, pad, or controller. You can also exchange settings between two patches.

Basic Procedure for Copy

We will explain the basic copy procedure using the example of copying patch settings (Patch Copy).

1. Press [WRITE].

2. [PARAMETER ] twice.

The following screen will appear.

fig.2-33.e

copy-source patch

U0101 Conga

PatchCpy U0101

type of copy (blinking)

3. Turn [PATCH/VALUE] to select the type of copy.

For details on the types of copy, refer to the next page.

4. Use [ PARAMETER]/[PARAMETER ] to make

the copy-source / copy-destination patch numbers blink.

5. Turn [PATCH/VALUE] to select the copy-source /

copy-destination patches.

* It is not possible to select a preset patch as the write-

destination.

6. Press [WRITE] to execute the copy.

* If you decide not to execute the copy operation, press [EXIT].

copy-destination patch number

* If you decide not to execute the write operation, press [EXIT].

For details on selecting patches, refer to “Chapter 1 Quick Start,” in the section “Changing Sounds to Play (Patch Select)” (p. 21).

Never turn the power off while a writing process. If you turned the power off, the data will be damaged.

7. Press [EXIT] to end the procedure.

You will return to the previous screen.

For details on selecting patches, refer to “Chapter 1 Quick Start,” in the section “Changing Sounds to Play (Patch Select)” (p. 21).

Never turn the power off while a copying process. If you turned the power off, the data will be damaged.

Chapter 2 Modifying a Patch

Copying a Pad Set (Pad Set Copy)

You can copy the settings of a pad set to another pad set. You can also copy to a different pad set of the same patch.

fig.2-34.e

copy-source pad set

U0101B Conga PadSetCpy U0201C

copy-destination pad set (patch number is blinking)

1. In step 3 of “Basic Procedure for Copy” (p. 56), select

PadSetCpy.

2. After selecting the patch in step 5, strike a pad to select a

pad set.

* “PAD MIDI Note No.” cannot be copied.

Copying Pad/D Beam/Ribbon Settings (Pad Copy)

Pad/D Beam/ribbon settings can be copied to another pad/ D Beam/ribbon.

fig.2-35.e

U0101A3 Conga PadCpy U0101RL

Copying Pad/D Beam/Ribbon Settings to All Pads (Pad Copy to All)

You can copy the settings of one pad/D Beam/ribbon to every pad/D Beam/ribbon.

fig.2-35a.e

copy-source pad

U0101A1 Conga PadCpToAll U0101

copy-destination patch number (blinking)

1. In step 3 of “Basic Procedure for Copy” (p. 56), select

PadCpToAll.

2. After selecting the patch in step 5, strike a pad (D Beam,

ribbon) to select it.

* “PAD MIDI Note No.” cannot be copied.

Exchanging Patch Settings (Patch Exchange)

You can exchange the settings of two patches.

fig.2-36.e

exchange-source patch

Chapter 2

copy-destineation pad (patch number is blinking) Ribbon controller (left) is chosen in this figure.

1. In step 3 of “Basic Procedure for Copy” (p. 56), select

PadCpy.

2. After selecting the patch in step 5, strike a pad (D Beam,

ribbon) to select it.

* “PAD MIDI Note No.” cannot be copied.

U0101 Conga PatchExchg U0102

exchange-destination patch number (blinking)

1. In step 3 of “Basic Procedure for Copy” (p. 56), select

PatchExchg.

Chapter 2 Modifying a Patch

Copying a Value to All Pads

1. Hold down [PATCH SEL], and press [WRITE] in Edit

mode. The displayed value of the parameter is copied to every

pad and controller.

fig.2-36a

Value - All Pad Level 100

* Following parameters can be copied only among either pads or

controllers.

PAD INST TrigMode PAD CTRL Rx Self

Mute Tx Pitch Tx Ctrl Tx

PAD PTN Number

Tempo Level

* PAD MIDI Note No. cannot be copied.

The value you copied in this procedure will return to the original values when you switch patches. If you wish to keep your changes, refer to “Saving Your Settings (Write) / Duplicating Settings (Copy)” (p. 56).

Using Realtime Modify to Adjust Values

In Edit mode, you can use realtime modify (p. 19) to adjust values.

fig.2-37

This is effective when used on parameters that have a wide range of adjustment, such as Pitch.

1. Press [SELECT] to select the parameter that you wish to

edit.

2. Strike the pad you wish to modify, to select it. You can

also select the D Beam or a ribbon.

3. Turn the [REALTIME MODIFY] knob.

The selected parameter and the modified value will be displayed, and the sound will also change.

fig.2-38.e

RTM A3* PITCH +750

parameter

value

If you wish to move to the parameter set screen, hold down [PATCH SEL] located at the upper right of the pad and turn the knob. You will jump to the selected parameter set screen.

In the case of M-FX DEPTH, you will jump to the “Type” select screen.

The values you edit in this procedure will not return to the original values by pressing [EXIT/MODIFY CLEAR].

Chapter 3 Recording Your Performance (Sequencer)

You can record your performance in the sequencer. On the HPD-15, your performance will be recorde exactly as

you play it (Realtime Recording).

The HPD-15’s sequencer consists of four parts (Percussion 1, Percussion 2, Melody 1, Melody 2). The collective performance of these four parts is called a pattern.

Preset patterns (pattern P01–P99) What the various parts should play has already been

recorded. User patterns (pattern U01–U99) These are patterns that you can record.

Basic Settings for Recording

1. Press [SEQUENCER] to make it light; you will enter the

Sequencer mode.

fig.3-01.e

Pattern Number

Current Measure

U: User P: Preset

Time Signature

2. Turn [PATCH/VALUE] to select the user pattern for

recording your performance.

fig.3-02

U01 001-01 =120 4/4 #User-001

Displayed for an unrecorded pattern

U07 001-01 =120 4/4 #User-007

Current Beat

Tempo

Pattern Name

5. Press [REC] and you will enter the Recording Stand-by Mode.

[PLAY/STOP] will blink.

fig.3-05.e

U07*001-01 =120 RecStby Perc1

Part for Recording

* If you press [REC] once again, you will return the previous

screen.

6. Press [ PARAMETER] or [PARAMETER ] to select the recording parameter in the Recording Stand-by Mode.

fig.3-06.e

U07*001-01 =120 RecMode Replace

Parameter

7. Turn [PATCH/VALUE] to make settings for the recording.

8. Press [PLAY/STOP] to start the recording. While the recording, [PLAY/STOP] will light.

* It is possible to start/stop the recording by the foot switch (p.

71), but it is not possible by the D Beam or pedal (p. 53).

9. When you are finished recording, press [PLAY/STOP] once again.

[REC] and [PLAY/STOP] will go dark, and the recording will stop.

fig.3-07

Value

Chapter 3

3. Press [ PARAMETER] or [PARAMETER ] to

select the pattern/click parameter that you wish to set.

fig.3-03.e

Parameter Category

U07 SETUP Time Sig. 4/4

Parameter

4. Turn [PATCH/VALUE] to make settings for the pattern

or click.

fig.3-04.e

appears if this pattern is edited

Value

U07* SETUP Length 8

Parameter Value

NAME[User-001 ]

Write Rec Data?

10.Naming the pattern, press [WRITE].

How to naming a pattern is the same as naming a patch. Refer to “Naming a Patch” (p. 55).

It is not possible to record to a preset pattern.

* To return to normal Play mode, Press [SEQUENCER] or

[EXIT]; [SEQUENCER] will go dark.

Chapter 3 Recording Your Performance (Sequencer)

Settings for the Pattern

fig.3-08.e

Category Parameter Value SETUP

PART

PERC1, PERC2

MELO1, MELO2

Time Sig.

Length

Tempo

PlayType

Reset Time

Quick Play

TransposeMl1 TransposeMl2

Select

(Patch) Level Reverb Send MULTI-FX/LFO

Inst Level Pan Bend Range

Reverb Send MULTI-FX/LFO PadNote

Specifying the Time Signature

Numerator: Number of beats per measure Denominator: Basic note value

* It is not possible to change after the pattern is recorded.

Specifying the Length (Number of Measures) of the Pattern

When "Replace" is selected for the RecMode (p. 62), it is not necessary to specify the Length. Recording will continue until you press [PLAY/STOP], and the number of measures recorded will automatically become the "Length" setting.

* It is not possible to change while the pattern is playing back.

Specifying the Tempo of the Pattern

When "Ext" is selected for the Seq Sync (p. 68), "MIDI" ( =MID) will appear.

Choosing a Playing Method

Loop: After the pattern is played back to the end, playback then repeats and continues until [PLAY/STOP] is pressed.

OneShot: Playback stops once the end of the pattern is reached. Tap: Each time the [PLAY/STOP] is pressed (or pad is struck; refer to p. 54),

the sounds contained in a pattern are played back one at a time in sequence. TapVelo: Tap playback with changes of the volume depending on how strongly the pad are struck.

* It is not possible to change while the pattern is playing back.

Specifying the Time to Return the Pattern to the Beginning

In Tap playback, this returns the pattern to the beginning if the set time interval elapses without the pad being hit again. If it is set to "OFF," this function will be disabled.

Ignoring a pause at the beginning of the pattern

If "ON" is selected, this starts playback of the pattern from the first note even if a pause is left at the beginning of the pattern.

Adjusting the Pitch of Melody Parts

This transposes the key of the melody parts in semitone steps.

Ml1: Melody Part 1, Ml2: Melody Part 2

Selecting the Part

* You can use the pads to sound the tone of the part in the part screen.

Selecting the Patch Played by the Part Adjusting the Volume of the Part Adjusting the Depth of Reverb Applied to the Part

(when the effect is off)

Turning the Multi-Effects On/Off for the Part

* The same type of the effect which is selected in Play mode will be selected. It is different from the type which is set in the patch selected for the Part.

Selecting the Instrument of the Part Adjusting the Volume of the Part Adjusting the Pan (Localization) of the Part Adjusting the Amount of Change in Pitch

This adjusts the amount of change in pitch with pitch bend at maximum level in semitone steps.

Adjusting the Depth of Reverb Applied to the Part

(when the effect is off)

Turning the Multi-Effects On/Off for the Part Specifying the Note of Each Pad

You can use the pads to record patterns if you have no MIDI keyboards. This parameter specifies the note of each pad in this case. Strike (Sound) the pad (D Beam, ribbon) to select it that you wish to specify the note.

Numerator: 1 – 13 Denominator: 2, 4, 8, 16

1 – 999

20 – 240, (MIDI)

Loop, OneShot, T ap , TapVelo

OFF, 0.1 – 4.0s

OFF, ON

-24 – +24

Perc1, Perc2, Melo1, Melo2

0 – 127 0 – 127 OFF, ON

1 – 54 (refer to p. 94) 0 – 127 L63 – Center – R63 0 – 24

0 – 127 OFF, ON C-1 – G9

Chapter 3 Recording Your Performance (Sequencer)

Settings for the Click, and others

fig.3-09.e

Category Parameter Value CLICK

Intrvl

Inst

Level Pan Reverb Send Adjusting the Depth of Reverb 0 – 127

Mode

PlyCountIn

Specifying the Interval

Selecting a Sound

Adjusting the Volume Adjusting the Pan (Localization)

Using the reverb makes the click more comfotable to listen to.

Turning the Click On/Off

OFF: Click doesn't sound while the playback /recording. REC Only: Click sounds while the recording. REC/PLAY: Click sounds while the playback /recording.

Adding a Count Sound Before Playback

OFF: Playback will begin without a count-in.

1/2, 1/4, 3/8, 1/8, 1/12, 1/16, 3-2 Son, 2-3 Son, 3-2 Rumba, 2-3 Rumba, 6/8 Clave

Click, Sticks, Metronome, Claves, W oodBlock, Triangle, Cowbell, Conga, TalkingDrum, Maracas, Cabasa, Cuica, Agogo, Tambourine, Snaps, 909Snare, 808Cowbell

0 – 127 L63 – Center – R63

OFF, REC Only, REC/PLAY

OFF, 1Meas, 2Meas

Chapter 3

MEMORY

PATTERN NAME

1Meas: Playback begins after a 1-measure count-in. 2Meas: Playback begins after a 2-measure count-in.

RecCountIn OFF, 1Meas, 2Meas

Available

Adding a Count Sound Before Recording

OFF: Recording will begin without a count-in. 1Meas: Recording begins after a 1-measure count-in. 2Meas: Recording begins after a 2-measure count-in.

Checking the Remaining Amount of Memory

The remaining amount of memory is displayed.

Changing the Pattern Name

How to changing the name is same as naming a patch. Refer to "Naming a Patch" (p. 55).

(only displayed)

(up to 10 characters)

Chapter 3 Recording Your Performance (Sequencer)

Settings for the Recording (Set in the Recording Stand-by mode)

fig.3-10.e

Parameter Value RecStby

RecMode

Quantize

Specifying the Part

Perc1, Perc2: Percussion Part 1, Percussion Part 2 Melo1, Melo2: Melody Part 1, Melody Part 2 Import: Select this when you will record multiple Parts simultaneously by

using an external sequencer. Each Part will receive the data from specified MIDI channel (p. 78).

* When you select Perc1, Perc2, Melo1, or Melo2, all channel data is received. You do not need to change the channel of the MIDI deveice connected to the HPD-15.

Specifying the Recording Method

Loop All: The entire pattern will be repeated, and on each pass your performance will be added, ("over-dubbed") and mixed with what you did previously.

Loop 1, Loop 2, Loop 4, Loop 8: This determines the length of the section you are recording, and 1, 2, 4 or 8 measure section will repeat.

Replace: Recording will continue until you press [PLAY/STOP]. Any previously recorded data for all Parts will be erased.

Regularizing the Timing of Performance Data When Recording

This corrects inaccuracies of timing while you record.

Perc1, Perc2, Melo1, Melo2, Import

Loop All, Loop 1, Loop 2, Loop 4, Loop 8, Replace

1/8, 1/12, 1/16, 1/24, 1/32, 1/48, 1/64, OFF

1/8–1/64: Data will be quantized to the note of the tempo of the sequencer. OFF: The pattern is recorded with the timing used in performance.

OFF: Recording starts when [PLAY/STOP] is pressed. ON: Recording starts when you start the performance on pads/D Beam/ribbons.

You can start recording by pressing [PLAY/STOP] at every screen above.

Rehearsal Function

The rehearsal function is a feature that temporarily suspends recording during recording. This allows you to practice the phrase while Loop recording is in progress.

1. Start recording.

2. Press [REC] while recording.

[REC] will blink, and the rehearsal function will be on. Performances cannot be recorded.

Using the controllers (D Beam, ribbons, pad pressure, etc.) too much will increase the consumption of memories. If you wish to reduce the data, refer to the explanation of “Data Thin” in “Settings for the Controllers” (p. 69).

OFF, ONSpecifying How to Start the RecordingHitPadStart

3. Press [REC] to resume recording.

[REC] will light and the rehearsal function will be off.

Chapter 3 Recording Your Performance (Sequencer)

Basic Settings for Playing Back

1. Press [SEQUENCER] to make it light; you will enter the

Sequencer mode.

fig.3-11.e

Pattern Number

U: User P: Preset

2. Turn [PATCH/VALUE] to select the pattern that you

wish to play back.

fig.3-12

U07 001-01 =120 4/4 User-007

3. Press [PLAY/STOP] to start playing back.

While the playing back, [PLAY/STOP] will light.

4. Press [PLAY/STOP] once again to stop playback.

[PLAY/STOP] will go dark, and the pattern returns you to the beginning of the pattern.

After step 2, if you nedd, make settings for the pattern or click. For details on making settings, refer to “Basic Settings for Recording,” in step 3–5 (p. 59).

* To return to normal Play mode, Press [SEQUENCER] or

[EXIT]; [SEQUENCER] will go dark.

U01 001-01 =120 4/4 #User-001

Pattern Name

Synchronizing with an External MIDI device (MIDI Sync)

You can play the sequencer of the HPD-15 with an external MIDI device. For details, refer to “Chapter 6 Connecting MIDI Devices” (p. 76).

Changing the Settings of Pattern

You can modify the length of the pattern, tempo, or the instrument of the part.

1. Select the pattern you wish to modify the settings.

2. Press [ PARAMETER] or [PARAMETER ] to

select the parameter.

3. Turn [PATCH/VALUE] to modify the value.

* If you wish to keep your changes, refer to next “Saving the

Changed Settings.”

Chapter 3

You can change the tempo by pressing [TEMPO] and turning [PATCH/VALUE] (p. 27).

It is not possible to change the time signature (Time Sig.) of the recorded patterns.

Pause

1. Hold down [PATCH SEL], and Press [PLAY/STOP]

during playback of a pattern. Playback will stop.

2. Press [PLAY/STOP] once again to begin playback again.

Playback begins from the beginning of the measure.

Fast-Forward and Rewind

When playback of pattern is stopped, you can do the following.

• Advance to the next measure Press [GROUP +].

• Return to the previous measure Press [GROUP -].

• Advance to the end of the pattern Hold down [PATCH SEL], and press [GROUP +].

• Return to the beginning of the pattern Hold down [PATCH SEL], and press [GROUP -].

Saving the Changed Settings

1. Press [WRITE] in Sequencer mode.

fig.3-13

U01 PTN WRITE [WRITE/EXIT]

2. Press [WRITE] once again.

The modified settings are saved.

* If you decide not to execute, press [EXIT].

You can write the modified settings to another pattern. For details, refer to “Editing a Pattern” (p. 64).

It is not possible to write the modification to a preset pattern. If you press [WRITE] at a preset pattern, copy-destination select screen will appear.

Chapter 3 Recording Your Performance (Sequencer)

Editing a Pattern

You can edit either copy/delete the patterns or erase the part.

Basic Settings for Editing

1. Press [WRITE] in Sequencer mode.

fig.3-14.e

when [WRITE] is pressed at the preset pattern

Pattern Number

U: User P: Preset

P01 PTN COPY Dst:U01 ALL

Parameters

when [WRITE] is pressed at the user pattern

U01 PTN WRITE [WRITE/EXIT]

2. Press [ PARAMETER] or [PARAMETER ] to

select the editing function or parameter.

Function

Erasing Parts

You can erase performance data from specified measures of a part or pattern. The erased position will become blank measures.

fig.3-16

U01 PTN ERASE Meas:001-999 Pc1

Meas: ALL, 001–999-001–999

ALL: This erases the data from all measures. 001–999-001–999: This erases the data from specified area.

ALL, Pc1, Pc2, Ml1, Ml2

Select the part to be erased.

ALL: All parts are erased. Pc1: Percussion Part 1 is erased. Pc2: Percussion Part 2 is erased. Ml1: Melody Part 1 is erased. Ml2: Melody Part 2 is erased.

3. Turn [PATCH/VALUE] to set the value.

4. Press [WRITE] to execute.

* If you decide not to execute, press [EXIT].

Copying a Pattern

You can copy selected part of currently selected pattern.

fig.3-15

U01 PTN COPY Dst:U01 Perc1

Dst: U01–U99

Select the copy-destination user pattern.

ALL, Perc1, Perc2, Melo1, Melo2

Select the part that you wish to copy.

ALL: All parts are copied. Perc1: Percussion Part 1 is copied. Perc2: Percussion Part 2 is copied. Melo1: Melody Part 1 is copied. Melo2: Melody Part 2 is copied.

Connecting Two Patterns

You can connect the currently selected pattern to the end of the selected pattern.

fig.3-17

U01 PTN APPEND Dst Pattern U01

Dst Pattern: U01–U99

Select the append-destination pattern.

Deleting a Pattern

You can delete specified measures from a pattern. Later measures are moved forward.

fig.3-18

U01 PTN DELETE Measure ALL

Meas: ALL, 001–999-001–999

ALL: This deletes all measures. 001–999-001–999: This deletes the specified measures.

It is not possible to select a preset pattern as the copy / append-destination, or execute the erase /delete at a preset pattern.

Chapter 4 Changing Patches in the Desired Sequence

This allow you to step through the patches of your choice and in the order you want. The HPD-15 lets you create and store 10 different groups of up to 32 steps each.

fig.4-01.e

32 Steps

Chain Group 1

Chain Group 2

Chain Group 10

Patch

U0107

Patch

U0504

Patch

P0802

Patch

U0306

Creating a Patch Chain (Chain Edit)

1. Press [CHAIN].

[CHAIN] will light, and you will enter Chain Play mode.

fig.4-02

U01 CHAIN 01--01 Conga

6. Turn [PATCH/VALUE] or use Pad Patch Select (p. 23) to

select the patch.

7. Repeat Steps 5–6 to continue editing.

8. Press [EDIT] or [EXIT].

[EDIT] will go dark, and you will return to Chain Play mode.

fig.4-07

U02 CHAIN 05-01 01 TalkingDrm

When you modify the setting of a patch chain, the new setting is automatically saved as soon as you make the change.If you need to return to the factory settings, refer to “Restoring the Factory Settings” (p. 85).

Specifying the Last Step of the Patch Chain

Specify one of the following as the last step in the patch chain. If you have specified patched up to step 32, you can specify it at step 33.

2. Press [EDIT].

[EDIT] will light, and you will enter Chain Edit mode.

fig.4-03

CHAIN EDIT 01-01 (EMPTY CHAIN)

3. Press [GROUP -] or [GROUP +] to select the chain group

which you wish to edit.

fig.4-04

CHAIN EDIT 05-01 (EMPTY CHAIN)

4. Turn [PATCH/VALUE] or use Pad Patch Select (p. 23) to

select the patch that will be selected first.

fig.4-05

CHAIN EDIT 05-01 U0201 TalkingDrm

5. Press [PATCH NUMBER ] to move to the next step.

fig.4-06

CHAIN EDIT 05-02

-----[LOOP]-----

It is not possible to specify a patch at step 33.

END:

When you reach the last step, the progression of steps will end.

fig.4-08.e

Chain Step

1 2 3 4 5 (6 = END)

LOOP:

If you advance a step from the last step, you will return to step 1.

fig.4-09.e

Chain Step

1 2 3 4 5 (6 = LOOP)

JUMP TO CH01–10:

If you advance a step from the last step, you will jump to step 1 of the specified chain group.

fig.4-10.e

Chain Step

1 2 3 4 5 (6 = JUMP TO CH10)

(Chain Group 10)

Chapter 4

Chapter 4 Changing Patches in the Desired Sequence

Inserting a Chain Step

This operation inserts a patch into the specified location of a chain.

fig.4-11

122345

1 23456

A maximum of 32 steps can be set in a chain. If the chain already contains 32 steps, the patch at step 32 will be deleted.

1. Press [PATCH NUMBER ] or [PATCH NUMBER

] to select the step in which the patch is to be inserted.

2. Press [PARAMETER ].

fig.4-12

01-02 InsertStep OK? [WRITE/EXIT]

Playing with a Patch Chain (Chain Play)

1. Press [CHAIN].

[CHAIN] will light, and you will enter Chain Play mode.

fig.4-15

U01 CHAIN 01-01 01 Conga

2. Press [GROUP +] or [GROUP -] to select the chain group

to be used. You can select the chain group by striking a pad B1–C5 while holding down [PATCH SEL]. Pads B1– C5 correspond to chain groups 1–10 respectively.

fig.4-16

U02 CHAIN 05-01 01 TalkingDrm

In the case of a chain group which has no patch, “--” will be displayed at the upper right of the screen.

3. Press [WRITE].

The step is inserted with the same patch, and later steps are each moved back one place.

* If you decide not to execute, press [EXIT].

4. Turn [PATCH/VALUE] to select the patch in the new step.

Deleting a Chain Step

This operation deletes an unneeded patch from a chain.

fig.4-13

123456

12345

1. Press [PATCH NUMBER ] or [PATCH NUMBER ]

to select

the step from which the patch is to be deleted.

2. Press [ PARAMETER].

fig.4-14

01-02 DeleteStep OK? [WRITE/EXIT]

3. Press [PATCH NUMBER ] or [PATCH NUMBER

] or turn [PATCH/VALUE] to call up the patches to be used in each selected step in the chain. You can call up the patches by striking a pad A2 or A4 while holding down [PATCH SEL]. Striking the pad A2 will decrease the chain step, and striking the pad A4 will increase it.

fig.4-17

U05 CHAIN 05-02 01 Vibraphone

4. When the performance is finished, press [CHAIN]; you

will return to normal Play mode. [CHAIN] will go dark.

* [EXIT/MODIFY CLEAR] operates as modify clear (p. 19),

and cannot make Chain Play mode off.

You can use foot switches to call up patch chains. For details, refer to “Settings for the Foot Switches” (p. 71).

3. Press [WRITE].

The step is deleted, and later steps are each moved forward one place.

* If you decide not to execute, press [EXIT].

Chapter 5 Settings for the Entire HPD-15

Settings that affect the entire HPD-15 are called system settings. This chapter explains how to modify the system settings (System Edit).

Settings for basic operation

1. Press [SYSTEM] to make it light; you will enter System

Edit mode.

* The upper line of the screen will show the parameter

category, and the lower line will show the parameter and

value.

fig.5-01.e

Parameter Category

UTILITY LCD Contrast 5

Parameter Value

2. Press [ PARAMETER] or [PARAMETER ] to

select the parameter that you wish to modify.

fig.5-02

CONTROLLER DBEAM Sens 100

3. Turn [PATCH/VALUE] to modify the value.

fig.5-03

CONTROLLER DBEAM Sens 64

4. Repeat steps 2–3 to continue system edit.

5. When you finished editing, press [EXIT] or [SYSTEM].

[SYSTEM] will go dark, and you will return to normal Play mode.

You can make your selection rapidly. See p. 31.

Chapter 5

When you modify the system setting, the new setting is automatically saved as soon as you make the change. You do not have to operate for the storing. If you need to return to the factory settings, refer to “Restoring the Factory Settings” (p. 85).

Chapter 5 Settings for the Entire HPD-15

Settings for the Basic Operation

fig.5-04.e

Parameter ValueCategory

UTILITY LCD Contrast

Beep Level

MasterTune

Pad Chase

Power ON

Dial Lock OFF, ON

Adjusting the Contrast of the Display

Increasing the value will darken the display.

Adjusting the Volume of the Operating Sound

When set to "0," no operating sound will be heard.

Tuning the Instruments

This adjusts the pitch of instruments marked with "*T" in the Instrument List (p. 92) and backing instruments (p. 94).

* 440.0Hz is the standard tuning.

Specifying How a Pad Will be Selected for Editing

OFF: The pad last struck in Play mode will be edited. This is convenient when you wish to compare the response with other pads. If you hold down [PATCH SEL] and strike a pad, the pad you struck will be edited.

ON: The pad you strike will be selected for editing each time.

Specifying the Patch Selected at Power-On

RESET: Patch P0101 will always be selected. LAST: The patch last-selected when the power was turned off will be selected.

Locking Patch Selection From the Dial

If this is turned "ON," turning [PATCH/VALUE] will not change the patch. This lets you prevent the patch from being accidently changed when you touch the dial during a performance.

1 – 16

0 – 15

415.3 – 466.2 (Hz)

OFF, ON

RESET, LAST

Roll Sync

Seq Sync

Synchronizing Rolls Between Pads

OFF: The roll will start when you press the pad, and will not synchronize with other pads.

ON: Rolls of other pads will synchronize to the roll of the first-pressed pad.

Synchronizing the Internal Sequencer with an External MIDI Device

Int: The HPD-15's tempo setting will be used for playback /recording. When shipped from factory, this setting is selected.

Ext: The HPD-15's sequencer will operate in accordance with tempo data (MIDI Clock) from the external device.

Remote: The HPD-15 will obey start /pause /stop messages from an external device, but will playback according to its own tempo setting.

OFF, ON

Int, Ext, Remote

Settings for the Controllers

fig.5-05.e

Parameter ValueCategory

Chapter 5 Settings for the Entire HPD-15

CONTROLLER DBEAM Sens

DBEAM T rim

Data Thin

Adjusting the Sensitivity of the D Beam

Place your hand at the height at which you want the D Beam to start to take effect (about 20 inches = 50cm), and adjust the setting so that the meter in the upper right of the screen is at the center line. When the power is turned on, this will be adjusted automatically according to the brightness of the surroundings.

Adjusting the D Beam Response

Make adjustments so that the D Beam triggers sound and outputs control data smoothly. Adjust the setting so that the meter in the upper right of the screen moves smoothly when you move your hand up or down.

Reducing the Transmitted Data

This function allows you to prevent an excessive amount of data from being transmitted from the controllers (pads, D Beam, ribbons, hi-hat control pedal, etc.) to the internal sequencer or via the MIDI OUT. This will be used if you wish to conserve sequencer memory, it will cause tonal changes to become rougher.

OFF: Data sent from the controllers is not reduced. 1: This reduce the data sent from the controllers. 2: This reduce the data sent from the controllers. This setting results in even less

data than when "1" is selected.

* When you want to make smooth changes in pitch control with Hi-Hat control Pedal, set this to "1" or "OFF."

0 – 127

1 – 5

OFF, 1, 2

Turning On/Off the D Beam

fig.5-05a

Pressing D Beam [SOUND] turns on/off the producing sound by using the D Beam.

When D Beam [SOUND] is not lit, passing your hand over the D Beam will not produce sound.

Pressing D Beam [CONTROL] turns on/off the controlling the tone by using the D Beam.

When D Beam [CONTROL] is not lit, passing your hand over the D Beam will transmit no control signals (p. 52).

You can set these settings on each patch.

When you control the tone too fast, some noise may be heard from some tones.

Turning On/Off the Ribbons

fig.5-05b

Pressing ribbon [SOUND] turns on/off the producing sound by using the ribbons.

When ribbon [SOUND] is not lit, sliding your finger on the ribbon will not produce sound.

Press ribbon [HOLD] to make it light; if you move your finger away, the control signal keeps the value which is transmitted at the location where you move it away.

You can set these settings on each patch.

When you control the tone too fast, some noise may be heard from some tones.

Chapter 5

Chapter 5 Settings for the Entire HPD-15

Setting the Pad Sensitivity

If you wish to make more detailed settings, set the following parameters.

fig.5-06.e

Parameter ValueCategory

PAD Sens

Threshold

Mask Time

Pressure Sens

Edge Level

Edge Area

Adjusting the Sensitivity

Increasing this value will raise the sensitivity and produce the larger sound even if the striking force is the same.

Setting Minimum Levels

A trigger signal to be transmitted only when the pad is struck harder than a specified force. This allows you to prevent the pad from picking up extraneous vibrations from neighboring pads. If the striking force is less than the threshold, the pad will not sound.

* To have the unit sound even when struck lightly, set the threshold as low as possible.

Preventing Double Triggering

Once a pad has been hit, any additional trigger signals occuring within the specified Mask Time will be ignored.

* Increasing this value will lose certain notes if you play very fast. Set this value as short as possible.

Adjusting Pad Pressure Sensitivity

Adjust the sensitivity of pad to pressure. Increasing the value will increase the sensitivity, so that it will be easier to transmit mute or pitch control signals.

Adjusting the Volume of the Edge Sound

Adjust the volume of the sound that is heard when you strike the edge of pads A1 or A5.

Adjusting the Edge Area

Adjust the size of the area that will trigger the edge sound of pads A1 or A5. Increasing this value will broaden the area that triggers the edge sound.

1 – 16

0 – 64ms

1 – 16

To set Sens, Threshold, Mask Time, and Pressure Sens, strike the pad that you wish to set. The selected pad number will appear in the display.

Chapter 5 Settings for the Entire HPD-15

Using the Foot Switches to Control the Tone / Sequencer

You can connect two foot switches (BOSS FS-5U, optional) to the FOOT SWITCH jack with the special cable (PCS-31, optional). See p. 11.

Settings for the Foot Switches

fig.5-07.e

Parameter ValueCategory

FOOT SW FUNCTION

SW 1, SW 2

Specifying the Function of the Foot Switch

Specify the function of the foot switches connected to the FOOT SWITCH jack.

OFF: No function is assigned to the foot switch. PATCH DOWN: In normal Play mode, this goes back to the previous patch number.

In Chain Play mode, this goes back to the previous chain step. In Sequencer Play mode, this goes back to the previous pattern number.

PATCH UP: In normal Play mode, this advances to the next patch number. In Chain Play mode, this advances to the next chain step. In Sequencer Play mode, this advances to the next pattern.

REV OFF/ON: This turns the reverb on/off. M-FX OFF/ON: This turns the multi-effects on/off. ROLL/HOLD: This turns the [ROLL/HOLD] (p. 16) on/off.

PLAY/STOP: Play/stop the sequencer. Mdfy SEL DN: Select the parameter that will be adjusted by realtime modify (p. 19).

The indicator that at the upper right of the realtime modify knobs will move from top to bottom. This is the same operation as pressing [SELECT].

Mdfy SEL UP: Select the parameter that will be adjusted by realtime modify (p. 19). The indicator that at the upper right of the realtime modify knobs will move from bottom to top; the opposite of pressing [SELECT] (Mdfy SEL DN).

OFF, PATCH DOWN, PATCH UP, REV OFF/ON, M-FX OFF/ON, ROLL/HOLD, PLAY/STOP, Mdfy SEL DN, Mdfy SEL UP

The white plug of the PCS-31 is the SW 1, and the red one is the SW 2.

If you connect one foot switch with a monaural cable, you can use it as the SW 1. It is not possible to use the SW 2 in this case.

You can use the pedal switch DP-2 (optional) as the SW 1. It is not possible to use the SW 2 in this case.

Chapter 5

Chapter 5 Settings for the Entire HPD-15

Using the Pedal to Control the Hi-Hat / Tone

You can use a expression pedal / hi-hat control pedal connected to the EXP PEDAL/HH CTRL jack to control the tone or play the hi-hat with continuous control from open to closed positions.

Settings for the Pedal

fig.5-08.e

Parameter ValueCategory

PEDAL Select

Use only the specified expression pedal (EV-5; sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.

Specifying the Pedal

Select the type of the pedal that connected to the EXP PEDAL/HH CTRL jack.

EXP PEDAL: Select this when connecting an expression pedal (EV-5: optional). HI-HAT: Select this when connecting a hi-hat control pedal (FD-7: optional). SW +, SW -: Select this when connecting a foot switch. Select either SW + or SW -

so that the sound will play when you press it.

* If you connect a foot switch, you cannot use the half-open hi-hat.

EXP PEDAL, HI-HAT, SW +, SW -

Using a Pedal to Control the Hi-Hat Continuously

1. In Edit mode, assign the instrument marked with “*F” in

the Instrument List (p. 92) to the pad which you wish to use as the hi-hat.

fig.5-08a

P0606A3*PAD INST R70:13" Hi-Hat

2. Depress the pedal connected to the EXP PEDAL/HH

CTRL jack to display the pedal setting screen, and select PEDAL(A1)–PEDAL(C5) (the pad which is assigned the hi-hat sound in step 1) to PadInst of the pedal.

fig.5-08b

P0606PL*PAD INST PEDAL(A3)

You can use the pedal to play the hi-hat with continuous control from open to closed positions and trigger the “foot close” hi-hat sound.

* PEDAL(A1)–PEDAL(C5) appear last when you select the

instruments.

If you connect the hi-hat control pedal (FD-7, optional), do not step on the pedal until the patch name is displayed when the power is turned on. The HPD-15 will check the position of the pedal then.

Chapter 5 Settings for the Entire HPD-15

Using the External Pads/Kick Trigger Unit to Trigger a Sound

You can connect two external pads (PD-7, PD-9, PD-80, PD-80R, PD-100, or PD-120; optional) or kick trigger units (KD-7, KD-80, or KD-120; optional) to the TRIGGER INPUT jack with the special cable (PCS-31, optional). See p. 11.

Settings for the External Pads / Kick Trigger Unit

fig.5-09.e

Parameter ValueCategory

TRIGGER INPUT

InputMode

T rig Type

Select Whether or Not You Will Use Rim Shots

Select whether you will connect a pad that allows rim shots to be played, or whether you will connect two pads.

HD/RM: Select this if connecting a pad that allows rim shots to be played (PD-7, PD-9, PD-80R, PD-120).

TRIGx2: Select this if connecting two pads or kick pedals.

* If two pads are connected, it will not be possible to play rim shots.

Select the Type of the Connecting Pad

PD-5, PD-7, PD-9, PD-80, PD-80R, PD-100, PD-120: Select this when connecting each pad.

P-1, P-2: Select this when connecting a pad made by another manufacturer. KD-7, KD-80, KD-120: Select this when connecting each kick trigger unit. K-1, K-2: Select this when connecting a kick pad made by another manufacturer. KICK, SNARE, TOM, FLOOR: Select this when using an acoustic drum trigger. SW +, SW -: Select this when connecting a foot switch. Select either SW + or SW -

so that the sound will play when you press it.

HD/RM, TRIGx2

PD-5, PD-7, PD-9, PD-80, PD-80R, PD-100, PD-120, P-1, P-2, KD-7, KD-80, KD-120, K-1, K-2, KICK, SNARE, TOM, FLOOR, SW +, SW -

When you connect two pads with the PCS-31, the white plug of the PCS-31 is the TRIG 1, and the red one is the TRIG 2.

To use the external pad for rim shots, connect with the PCS-

33. In this case, it is not possible to use two external pads.

When using a pad made by another manufacturer, first select “PD-7” and try playing the pad. If, with this setting, the pad striking force does not produce a stable volume, try a setting of “P-1.” A setting of “P-2” will be even more stable, but the interval from when the pad is struck until the sound is heard will be slightly (approximately 0.003 seconds) longer.

(For a kick, select “KD-7,” and if the result is not stable, try “K-1” or “K-2.”)

If you wish to make even more detailed settings, refer to the explanation in the following section “More Detailed Settings for the External Pads/Kick Trigger Units.” Normally you don’t need to adjust these parameters, but you may use them if you wish to make more accurate settings for your playing style.

Chapter 5

Chapter 5 Settings for the Entire HPD-15

More Detailed Settings for the External Pads / Kick Trigger Unit

When you are using pads made by other manufacturers, try adjusting the following parameters.

fig.5-10.e

Parameter ValueCategory

TRIGGER INPUT

Trig Sens

Curve Selecting How Striking Force Will Affect the Volume

Adjusting the Sensitivity

Increasing this value will raise the sensitivity and produce the larger sound even if the striking force is the same.

Adjusts this curve until the response feels as natural as possible. Linear: This is the normal setting and most natural correspondence

between velocity and volume change when using the PD-5/7/9/80/80R/100/120.

Exp1, Exp2: Compared to Linear, a wider volume change will occur for stronger hits. Log1, Log2: Compared to Linear, a wider volume change will occur for softer hits.

Spline: Variation in striking force will produce extreme change. Loud1, Loud2: Variation in striking force will produce little change, and a constant

volume will be maintained. When using drum triggers, these settings help maintain stable levels.

(see figure on p. 37)

1 – 16

Linear, Exp1, Exp2, Log1, Log2, Spline, Loud1, Loud2

Threshold

Scan Time

Retrig Cancel

Mask Time

X-Talk Rate

Rim Sens

Setting Minimum Levels

* To have the unit sound even when struck lightly, set the threshold as low as possible.

Adjusting the Trigger Signal Detection Time

By adjusting the amount of time between the striking of the pad and detection of that strike, you can achieve the correct detection of striking force if your pad have rather long attack times.

* To maximize the speed at which sounds are triggered, set this time as short as possible.

Cancelling Incorrect Triggering

Increasing this value will eliminate multiple soundings from single strike.

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

Preventing Double Triggering

Once a pad has been hit, any additional trigger signals occuring within the specified Mask Time will be ignored.

* Increasing this value will lose certain notes if you play very fast. Set this time as short as possible.

Preventing Vibrations from Other Pads

When two pads are mounted on the same stand, the vibration produced by hitting one pad may trigger the sound from another pad unintentionally (This is called crosstalk.) Increasing this value will prevent such problems.

* If this value is too high, then when two pads are struck simultaneously, the sound from the pad that is struck more weakly may be omitted.

* In some cases, you can prevent crosstalk between two pads you have connected by increasing the distance between the pads.

Setting Rim Sensitivity

When using a pad that can be used rim shots, you can adjust the sensitivity of the rim. Increasing this value will raise the sensitivity of the rim. With a setting of "OFF," omly the head will sound.

* Increasing the value excessively may cause the rim instrument to sound as well when the head is struck.

1 – 16

1 – 3ms

1 – 16

0 – 64ms

OFF, 20 – 80%

OFF, 1 – 15

Chapter 5 Settings for the Entire HPD-15

Setting the Sound of the External Pads / Kick Trigger Unit

The settings of the sound of the external pads or the kick trigger unit on each patch are same as the pads/D Beam/ ribbons. Refer to “Chapter 2 Modifying a Patch” (p. 35).

Some parameters are not possible to be set the external pads or kick trigger units.

MIDI Settings

Parameter Catgory: MIDI

fig.5-11

MIDI Pad CH 10

For details on MIDI Settings, refer to “Chapter 6 Connecting MIDI Devices” (p. 76).

Restoring Settings to Their Default Values (Factory Reset)

Parameter Category: FACTORY RESET

fig.5-12

FACTORY RESET SYSTEM [WRITE]

For details on factory reset, refer to “Restoring the Factory Settings” (p. 85).

Chapter 5

Chapter 6 Connecting MIDI Devices

There are many possibilities when using MIDI, such as:

Use the HPD-15 to play external instruments Use the HPD-15 as a sound module Use an external sequencer to record/play

back the performance on the HPD-15. Use an external sequencer to save/load patch

data, pattern data, etc. (Bulk dump)

For more on MIDI, refer to “About MIDI” (p. 88).

Using the HPD-15 to Play External Instruments

Make settings for using the pads, D Beam, and ribbons to play external MIDI sound modules.

By making these settings, you can simultaneously play the HPD-15 and external sound modules.

Use a MIDI cable to connect the HPD-15’s MIDI OUT connector to the MIDI IN connector of the external MIDI sound module.

fig.6-01.e

fig.6-02.e

Note Number setting display

U0101A1 PAD MIDI Note No. 60:C 4

Gate Time setting display

U0101A1 PAD MIDI Gate Time 0.1sec

You can make your selection rapidly by using the Skip Function (p. 32).

3. Strike a pad to select the pad (D Beam, ribbon) that you

wish to edit.

fig.6-03

U0101C5 PAD MIDI Note No. 73:C#5

4. Turn [PATCH/VALUE] to modify the value.

5. Repeat steps 3–4 to continue setting on each pad.

6. When you are finished editing, press [EDIT] or [EXIT].

Note No.: OFF, 0:C-1 –127:G 9

Set the MIDI note number that each pad will transmit. If you select “OFF,” no MIDI note message will be transmitted.

MIDI IN MIDI OUT

MIDI sound module

HPD-15

Setting for MIDI Transmission

1. Press [EDIT] twice, and you will enter Edit mode.

2. Press [ PARAMETER] or [PARAMETER ] to

display the MIDI setting screen.

Note Number of Each Pad (Factory Settings)

fig.6-03a.e

F#4 G#4

C#4

D#4

64:E4

60:C4

D Beam Ribbon L Ribbon R Trigger 1 Trigger 2 Pedal

67:G4

71:B4

74:D5

79:G5 59:B3 78:F#5 77:F5 57:A3 58:A#3

A#4

C#5

Chapter 6 Connecting MIDI Devices

Setting the Note Number When Connecting to the Drum Sound Module

Select the patch of P0606 Studio, specify the Note No. as below.

fig.6-03b.e

A1 A2 A3 A4 A5 B1 B2 B3 B4 B5 C1 C2 C3 C4 C5 D Beam Ribbon L Ribbon R Trigger 1 Trigger 2 Pedal

fig.6-03c

Hand Clap 2

InstrumentPad

Beech Snare Dbl Head T 1 13" Hi-Hat Dbl Head T 2 Dbl Head T 2 Hall CrosStk Pgy Crash C1 Crash Cymbal Crash Cymbal Splash Cym 1 Splash Cym 1 Ride Bell C Ride Cymbal Chinese Cym Cowbell 1 Large Gong Hand Clap 2 Cowbell 2 Dry Hard Kik Jazz Kick PEDAL(A3)

Crash

Cymbal

Pgy Crash

Hall

CrosStk

Crash

Cymbal

Splash Cym 1

Dbl Head

T 1

Beech

Snare

Note No.

Large Gong

Splash

Cym 1

Dbl Head

13"

Hi-Hat

38 45 46 43 41 37 52 49 57 55 32 53 51 33 34 84 74 56 36 35 44

Ride

Bell C

T 2

Dbl Head

T 2

TD-10 Pad

Snare Head Tom 2 Head Hi-Hat Head Tom 3 Head Tom 4 Head Cross Stick Crash 2 Rim Crash 1 Head Crash 2 Head Crash 1 Rim Aux 1 Rim Ride Rim Ride Head Aux 2 Head Aux 2 Rim Bell T ree Giro Long 1 Cowbell Kick Head Kick Rim Foot Pedal

Ride

Cymbal

Chinese

Cym Cowbell

Cowbell 2

Note No.

38 48 46 45 41 37 52 49 57 55 32 53 51 59 90 91 39 56 36 35 44

TD-8 Pad

Snare Head Tom 1 Head Hi-Hat Head Tom 2 Head Tom 3 Head Cross Stick Crash 2 Rim Crash 1 Head Crash 2 Head Crash 1 Rim Aux 2 Ride Rim Ride Head Ride Edge Tiny Gong Gong Clap Cowbell Kick 1 Kick 2 Foot Pedal

Note No.

38 45 46 43 41 37 52 49 57 55 54 53 51 59 42 58 39 56 36 35 44

GM Percussion

Acoustic Snare Low Tom Open Hi-Hat High Floor Tom Low Floor Tom Side Stick Chinese Cymbal Crash Cymbal 1 Crash Cymbal 2 Splash Cymbal Tambourine Ride Bell Ride Cymbal 1 Ride Cymbal 2 Close Hi-Hat Vibraslap Hand Clap Cowbell Bass Drum 1 Acoustic Bass Drum Pedal Hi-Hat

Gate Time: 0.1–8.0sec

For each pad, you can specify the length of time the note will “hold” during transmission from the MIDI OUT.

PDL

PEDAL(A3) Jazz KickDry Hard Kik

Do not change the note numbers in the patch that is used for the recording to the external sequencer. The pattern cannot be played back correctly if they are changed.

Gate Time settings are valid if the pad trigger mode (TrigMode) is set to “Shot.” For details on trigger mode, refer to “Adjusting Sounds” (p. 36).

Chapter 6

The settings you edit will return to the original values when you switch patches. If you wish to keep your changes, refer to “Saving Your Settings (Write) / Duplicating Settings (Copy)” (p. 56).

Setting the MIDI Channels

For setting the MIDI channel, refer to “Using the HPD-15 As a Sound Module” (p. 78). Performance on the pads is transmitted on the channel setting for the “Pad CH.”

Chapter 6 Connecting MIDI Devices

Using the HPD-15 As a Sound Module

Make settings for playing the HPD-15 as a sound module from a MIDI keyboard or other device.

Use a MIDI cable to connect the HPD-15’s MIDI IN connector to the MIDI OUT connector of an external keyboard, sequencer, etc.

fig.6-04.e

MIDI INMIDI OUT

MIDI keyboard

Setting the MIDI Channel for a Part

For each part, you can specify the channel on which the HPD-15 will receive and transmit MIDI messages.

1. Press [SYSTEM] and make it light.

2. Press [ PARAMETER] or [PARAMETER ] to

display the following screen.

fig.6-05

MIDI Pad CH 10

3. Turn [PATCH/VALUE] to specify the channel.

Pad CH: 1–16, OFF

Specify the channel on which performance data of the pad controller section (pads, D Beam, ribbons, external triggers) will be transmitted and received. Normally you will set this to channel 10.

Perc 1 CH: 1–16, OFF

Specify the channel for percussion part 1 of the internal sequencer. Normally you will set this to channel 11.

HPD-15

Perc 2 CH: 1–16, OFF

Specify the channel for percussion part 2 of the internal sequencer. Normally you will set this to channel 12.

Melo 1 CH: 1–16, OFF

Specify the channel for melody part 1 of the internal sequencer. Normally you will set this to channel 5.

Melo 2 CH: 1–16, OFF

Specify the channel for melody part 2 of the internal sequencer. Normally you will set this to channel 6.

At a setting of “1” through “16,” MIDI messages will be transmitted and received on that channel. A setting of “OFF” lets you turn off transmission and reception for that part, so that notes are not received.

* When you are finished setting, press [SYSTEM] or [EXIT].

For more on synchronization with external sequencer, refer to “Synchronizing the Internal Sequencer with an External MIDI Device” in “Settings for the Basic Operation” (p. 68).

Chapter 6 Connecting MIDI Devices

External Sequencer

MIDI IN MIDI OUT

HPD-15

MIDI INMIDI OUT

Using with the Roland SPD20 (SOFT THRU)

This section explains how you can use the Roland SPD-20 (a MIDI controller) together with the HPD-15 to play internal sounds and an external sound module.

Performance data of the HPD-15 and performance data of the SPD-20 will both be sent to the external sound module.

fig.6-06.e

To the MIDI IN of another sound module or sampler

MIDI

MIDI OUT MIDI IN

SPD-20

OUT/THRU

Using a Sequencer or a Computer to Record/Play Back the Performance on the HPD-15

HPD-15 performance data can be saved on an external sequencer or computer.

For details on the settings for the recording, refer to “Using the HPD-15 to Play External Instruments” (p. 76), for details on the settings for the playing back, refer to “Using the HPD15 As a Sound Module” (p. 78).

Use MIDI cables to connect the HPD-15’s MIDI OUT connector to the MIDI IN connector of the external sequencer, and connect the HPD-15’s MIDI IN connector to the MIDI OUT connector of the external sequencer.

fig.6-08.e

HPD-15

1. Press [SYSTEM] to make it light.

2. Press [ PARAMETER] or [PARAMETER ] to

display the following screen.

fig.6-07

MIDI Soft Thru OFF

3. Turn [PATCH/VALUE] to select ON/OFF.

4. When you are finished setting, press [SYSTEM] or

[EXIT].

Soft Thru: OFF, ON

The messages (except for System Exclusive) received at the MIDI IN will also be transmitted from the MIDI OUT/THRU connector when Soft Thru is set to “ON.”

If this setting is not used, leave it “OFF” as the trigger response of the pads will be faster.

When you make connections as shown, turn off Local Control (p. 80) and Soft Thru. For details, refer to “Cutting the Connection Between the Sound Generator and the Pad Controller (Local Control)” (p. 80).

Chapter 6

When you use an external sequencer for Loop recording, it may not be possible to completely play back the modifications of the tone controlled by realtime modify.

Chapter 6 Connecting MIDI Devices

Cutting the Connection Between the Sound Generator and the Pad Controller (Local Control)

This setting is required when you wish to record your pad performance on an external MIDI sequencer.

The performance data from the pad, rather than being sent directly to the sound module section (Local Control Off), is first sent to the external sequencer, and then on to the HPD15’s sound module.

fig.6-09.e

HPD-15

Trigger MIDI Converter

Local Control: OFF

Soft Thru: OFF

Sound Generator

MIDI OUT/THRU

MIDI IN

External Sequencer

Saving Data to an External MIDI Instrument

The data in the HPD-15 can be transmitted either singly or collectively to a sequencer (or another HPD-15). The operation of transmitting this data is called a “Bulk Dump”; receiving this data is called a “Bulk Load.”

Transmitting (Bulk Dump)

The HPD-15 transmits stored data to a sequencer. Use a MIDI cable to connect the HPD-15’s MIDI OUT

connector to the MIDI IN connector of the external sequencer or the other HPD-15.

fig.6-11.e

MIDI IN MIDI OUT

: Performance data flow route

If you make connections and record as shown, with a setting of Local On, duplicate notes will be re-transmitted to the HPD-15 and will not be played correctly. If you turn on Soft Thru (p. 79) and make connections as shown in the diagram, MIDI messages will create a loop, and the system will not play correctly. Be sure to turn off Soft Thru as well.

1. Press [SYSTEM] to make it light.

2. Press [ PARAMETER] or [PARAMETER ] to

display the following screen.

fig.6-10

MIDI LocalControl ON

3. Turn [PATCH/VALUE] to select ON/OFF.

4. When you are finished setting, press [SYSTEM] or

[EXIT].

LocalControl: OFF, ON

External Sequencer

HPD-15

1. Press [SYSTEM] to make it light.

2. Press [ PARAMETER] or [PARAMETER ] to

display the following screen.

fig.6-12.e

MIDI [WRITE] BlkDmp ALL

MIDI [WRITE] BlkDmpU0101-0101

blinking

3. Turn [PATCH/VALUE] to select the contents that you

wish to transmit.

When Local Control is set to “OFF,” the internal sound generator does not sound, even when the pad is struck.

4. Put the receiving sequencer in record mode. When you

wish to transmit to another HPD-15, put the receiving HPD-15 in play mode.

Chapter 6 Connecting MIDI Devices

Receiving (Bulk Load)

Refer to the owner’s manual of the receiving device.

5. Press [WRITE] to begin data transmitting.

* If you wish to stop transmission, press [EXIT].

BlkDmp: ALL, SYS, SEQ ALL, PATCH ALL, GROUP01–10, U0101–1008, TEMPORARY, U0101–1008-U0101–1008

ALL: Transmit all settings.

* The settings of the current patch which is not written into

memory (TEMPORARY) will not be transmitted.

SYS: Transmit system settings (p. 67). SEQ ALL: Transmit all data for the user patterns (p. 59) of the

sequencer. PATCH ALL: Transmit all user patch settings. GROUP01–10: Transmit the settings of all patches in the selected patch

group. U0101–1008: Transmit the settings of the selected user patch. TEMPORARY: Transmit the settings of the current patch. This allows

you to transmit the state of the settings before pressing [WRITE] to write them into memory.

U0101–1008-U0101–1008: Transmit the settings of the specified area of user

patches.

The HPD-15 receives data that was stored in a sequencer. Use a MIDI cable to connect the HPD-15’s MIDI IN connector

to the MIDI OUT connector of the external sequencer or the other HPD-15. Set the HPD-15 play mode.

fig.6-13.e

MIDI OUT MIDI IN

External Sequencer

HPD-15

Send the data from the external sequencer to the HPD-15. The transmitted settings are reproduced.

When data is received, the data that was previously in the HPD-15’s memory will be lost.

Never turn the power off while receiving the bulk data and writing the data into memory. If the power is turned off, the data will be lost.

Select “Int” for the “Seq Sync” in system settings (p. 68). If you select other than “Int,” the internal sequencer will begin playback and won’t receive the data.

Chapter 6

Chapter 6 Connecting MIDI Devices

Setting the Device ID

The setting described here is necessary only when you wish to transmit separate data to two or more HPD-15 units at the same time. Do not change this setting in any other case.

At the factory settings, the Device ID is set to “17.”

1. Press [SYSTEM] and make it light.

2. Press [ PARAMETER] or [PARAMETER ] to

display the following screen.

fig.6-14

MIDI Device ID 17

3. Turn [PATCH/VALUE] to change the Device ID.

4. When you are finished modifying, press [SYSTEM] or [EXIT].

DEVICE ID: 1–32 Example:

Suppose that when data was saved via bulk dump, the HPD15’s Device ID was set to “17.” When re-transmitting this data back to the HPD-15, it won’t receive if the Device ID is set to something other than “17.”

fig.6-15.e

Transmit data Device ID: 17

MIDI IN

HPD-15 Device ID: 17

MIDI IN

HPD-15 Device ID: 16

If you lose track of the Device ID setting that was used when saving data via a bulk dump, it will no longer be possible to reload the bulk data that was saved.

MIDI OUT

External Sequencer

System Exclusive is not received

Program Change Number List (User Patches)

Bank Select: 1

fig.6-16.e

Patch Number

U0101 1 U0102 U0103 U0104 U0105 U0106 U0107 U0108 8 U0201 U0202 U0203 U0204 U0205 U0206 U0207 U0208 U0301 17 U0302 U0303 19 U0304 U0305 U0306 U0307 U0308 U0401 U0402 U0403 U0404 U0405 U0406 30 U0407 U0408 32 U0501 33 U0502 34 U0503 35 U0504 36 U0505 37 U0506 38 U0507 39 U0508 40

Program

Change Number

10 11 12 13 14 15 16

20 21 22 23 24 25 26 27 28 29

2 3 4 5 6 7

Patch Number

U0601 41 U0602 42 U0603 43 U0604 44 U0605 45 U0606 46 U0607 47 U0608 48 U0701 49 U0702 50 U0703 51 U0704 52 U0705 53 U0706 54 U0707 55 U0708 56 U0801 57 U0802 58 U0803 59 U0804 60 U0805 61 U0806 62 U0807 63 U0808 64 U0901 65 U0902 66 U0903 67 U0904 68 U0905 69 U0906 70 U0907 71 U0908 72 U1001 73 U1002 74 U1003 75 U1004 76 U1005 77 U1006 78 U1007 79 U1008 80

* Program change numbers of the preset patches are written in

the Preset Patch List (p. 90).

Program

Change

Number

Troubleshooting

This chapter outlines points to check if you experience problems, and what to do about them.

Problems With the Overall Sound

Intended Sound Not Produced

Are the pad sensitivity settings correct?

Make sure that the following parameters are set to correct value.

System Settings: PAD Sens (p. 70), DBEAM Sens (p. 69) Patch Settings: PadSnsType (p. 54), TrigMode (p. 36)

The HPD-15 adjusts the sensitivity of the D Beam autmatically for the brightness of its location when the power is turned on. Do not shut the window of the D Beam until the patch name is displayed.

If you connect the hi-hat control pedal (FD-7, optional), the HPD-15 check the position of the pedal when the power is turned on. Do not step on the pedal until the patch name is displayed.

No Sound

Is “Off” selected for the Pad Inst? (p. 36)

Select a instrument other than “Off.”

Is “OFF” selected for the Local Control? (p. 80)

Select “ON.”

Is not the [SOUND] button of D Beam or ribbon light?

Press [SOUND] to make it light.

Are the cables connected to the correct jacks?

Connect the cables to the OUTPUT jacks.

The Volume Level of the Instrument Connected to OUTPUT Jacks is Too Low

Could you be using a connection cable that contains a resistor?

Use a connection cable that does not contain a resistor.

Sound Does Not Stop

Is the [ROLL/HOLD] button light? (p. 16)

Press [ROLL/HOLD] to make it dark.

Is “Gate” or “Trig” selected for the “TrigMode?” (p. 36)

Select “Shot.”

Is the window of the D Beam shut? (p. 16)

Be careful not to shut the window of the D Beam.

Has the [VOLUME] knob (p. 10) turned fully counterclockwise?

Turn the [VOLUME] knob clockwise.

Has the left realtime modify knob (p. 19) turned fully counterclockwise?

Press [SELECT] to make the upper indicator light. Then turn the left realtime modify knob ([LEVEL]) clockwise to increase the level.

Are the PAD SET Level (p. 25), Pad Level (p.

36), and MasterVolume (p. 54) in the patch lowered?

Raise the values.

Are the Effect Level, Direct Level, and FxOut Volume (p. 40) in the multi-effects lowered?

Raise the values.

Modification Does not Change the Sound

Is the selected pad correct?

The pad which is hit last becomes edit target.

Is “OFF” selected for the “Pad Chase?” (p. 68)

When “OFF” is selected, edit target does not change. Select “ON” for the Pad Chase or Strike the pad to select it while

holding down [PATCH SEL].

Is Modify Lock (p. 19) on?

When the [SELECT] indicator is blinking, there is a pad which is fixed to the target of modification. Hold down [SELECT], and press [EXIT] to unlock.

Appendices

Troubleshooting

Multi-Effects / Reverb / LFO Does not Applied

Is not the [MULTI-EFFECTS] button light? (p. 20)

Press [MULTI-EFFECTS] to make it light.

Is “OFF” selected for the REVERB Type (p. 25) or MULTI-FX/LFO (p. 25, p. 36) ?

Select a setting other than “OFF.”

Is the Reverb Send in the PAD SET or PAD (p. 25, p. 36) lowered?

Raise the values.

MIDI-related Problems

No Sound when using an external controller (sequencer, keyboard etc.)

Is the MIDI cable connected properly? (p. 78) Is the MIDI channel correct? Or is the

channelset to “OFF?”

Select the correct MIDI channel (p. 78).

Sequencer-related Problems

No Sound When [PLAY/STOP] is Pressed

Is it a blank pattern that is being played back?

Play back a pattern containing performance data.

Is “Ext” selected for the “Seq Sync?” (p. 68)

Select “Int.”

Playback Stops Immediately After Beginning

Is “Tap” or “TapVelo” selected for the pattern’s PlayType?

Select “Loop” or “OneShot” (p. 60).

“Tap” and “TapVelo” refer to the convenient playback

function in Pad Pattern (tapping the pad causes the pattern to be played back).

Bulk Dump Is Not Transmitted

Is the MIDI cable connected properly?

If you wish to save a bulk dump on an external device, connect the HPD-15’s MIDI OUT/THRU connector to the external sequencer’s MIDI IN connector (p. 80).

Has the “No reception of MIDI Exclusive Messages” setting been selected on the external MIDI device?

Refer to the owner’s manual for the external MIDI device.

Restoring the Factory Settings

You can restore patch and pad settings as well as pattern data stored in the HPD-15 to the settings in effect when the unit was shipped from the factory.

All data and settings in the restored part are lost. Follow the procedures described in “Bulk Dump” (p. 80) to save any data and settings you need to keep to an external MIDI device.

Procedure for Factory Reset

1. Press [SYSTEM].

fig.7-01

UTILITY LCD Contrast 5

2. Press [PARAMETER ] to display the following

screen.

fig.7-02

PTN ALL: Erases all user pattern (p. 59) data and restores

sequencer settings (p. 60–p. 62) to their factory presets. ALL: Restores all settings to their factory presets.

While executing factory reset, do not turn the power off. Data in the HPD-15’s memory will be corrupted.

FACTORY RESET SYSTEM [WRITE]

You can make your selection rapidly by using the Skip Function (p. 32).

3. Turn [PATCH/VALUE] to select the part that you wish

to restore.

fig.7-03

FACTORY RESET ALL [WRITE]

4. Press [WRITE] to execute factory reset.

* If you decide not to execute, press [EXIT].

FACTORY RESET:SYSTEM, CHAIN ALL, PATCH ALL, PTN ALL, ALL

SYSTEM: Restores all system settings (p. 67) to their factory

presets. CHAIN ALL: Erases all patch chain (p. 65) settings. PATCH ALL: Restores all user patch (p. 21) settings to their factory

presets.

Appendices

Messages and Error Messages

This section lists the messages (error messages) that the HPD-15 produces and explains the meaning of each message, giving you to appropriate action to take.

Error Messages

fig.7-04

System Error!

A problem has occured with the internal system. Contact your dealer or a nearby Roland service center.

fig.7-05

Memory Damaged!! Reset [WRITE]

Data in the HPD-15’s memory is corrupted. Press [WRITE] to execute factory reset

If you turned the power off when the HPD-15 is writing data into memory, the data will be damaged. Never turn the power off while the HPD-15 is executing a writing process.

fig.7-09

Max 999 Measures Aborted! [EXIT]

The maximum number of measures that can be recorded to one pattern has been exceeded; no further recording or editing that adds measures can be carried out. Press exit.

fig.7-10

PRESET PATTERN!! Select User PTN

This is a Preset pattern; it cannot be edited or recorded. Select a User pattern.

fig.7-10a

No Empty Pattern

There are no empty patterns for recording.

Delete unneeded pattern or select a recorded pattern that can be used for recording.

fig.7-11

fig.7-06

No Enough Memory Aborted! [EXIT]

Pattern recording or editing could not be carried out because there was not enough internal memory. Press [EXIT].

Try deleting patterns that are no longer needed (p. 64).

fig.7-07

Empty Pattern! Aborted!

This pattern contains no performance data; it cannot be edited.

fig.7-08

PTN Write Error!

Writing a pattern data failed.

Data Overload! [EXIT]

Pattern contained an excessive amount of data, and as a result could not be played back or recorded. Press [EXIT].

Try eliminating a part that has too much data.

fig.7-12

BULK Receive Error! [EXIT]

Reception of bulk dump failed. Press [EXIT].

Make sure that all MIDI cables are firmly connected (p. 81).

fig.7-13

Checksum Error! [EXIT]

The checksum value of a system exclusive message was incorrect. Press [EXIT].

Correct the checksum value.

Messages and Error Messages

fig.7-14

MIDI Buffer Full

A large amount of MIDI messages were received in a short time, and could not be processed completely.

Confirm that the external MIDI device is properly connected (p. 78). If the problem persists, reduce the amount of MIDI messages sent to the HPD-15.

fig.7-15

MIDI Offline!!

A MIDI cable was disconnected. (Or communication with the external MIDI device stopped for some reason.)

Make sure that MIDI cables have not been pulled out or broken.

fig.7-16

Messages

fig.7-17

Now Writing.....

KEEP POWER ON!!

The HPD-15 is writing data into memory. Do not turn the power off.

fig.7-18

Now Copying.....

KEEP POWER ON!!

The HPD-15 is copying data. Do not turn the power off.

fig.7-19

Now Exchange....

KEEP POWER ON!!

The HPD-15 is executing an exchange function. Do not turn the power off.

fig.7-23

Device ID is Different!

Due to an incorrect Device ID, the system exclusive message could not be received.

Set the correct Device ID. (p. 82)

Now Executing... KEEP POWER ON!!

The HPD-15 is executing a process. Do not turn the power off.

fig.7-20

Now Resetting... KEEP POWER ON!!

The HPD-15 is restoring the factory settings. Do not turn the power off.

fig.7-21

BULK DATA Transmitting...

Bulk data is now being transmitted.

fig.7-22

BULK Receiving.. KEEP POWER ON!!

Bulk data is now being received. Do not turn the power off.

Appendices

About MIDI

MIDI OUT MIDI IN MIDI THRU

MIDI IN

Receive channel: 1

Receive channel: 2

Sound

Module

Sound

Module

Transmit channel: 1, 2

MIDI keyboard

MIDI (Musical Instruments Digital Interface) is a standard specification that allows musical data to be exchanged between electronic musical instruments and computers. MIDI With a MIDI cable connecting MIDI devices that are equipped with MIDI connectors, you can play multiple instruments with a single keyboard, have multiple MIDI instruments perform in ensemble, program the settings to change automatically to match the performance as the song progresses, and more.

While using only pads with the HPD-15, there is no need to have any detailed knowledge of MIDI. For those who wish to use MIDI keyboards to record patterns on the HPD-15, use it as a sound module with external sequencers, or learn the HPD-15 at a more advanced level, the following explains such matters related to MIDI.

About MIDI Connectors

The HPD-15 is equipped with the two types of MIDI connectors, each which works differently.

fig.7-24

MIDI Channels and Multi-timbral Sound Sources

MIDI transmits many types of data over a single MIDI cable. This is made possible by the concept of MIDI channels which allow a device to distinguish the data that is or is not intended for it. In some ways, MIDI channels are similar to television channels. By changing the channel on a television set, you can view the programs that are being broadcast by different stations. In the same way, MIDI also allows a device to select the information intended for that device out of the variety of information that is being transmitted to it.

fig.7-25.e

The cable from the antenna carries the TV signals from many broadcast stations.

Station A

Station B

Station C

The TV is set to the channel of the station you wish to watch.

MIDI uses sixteen channels; 1 through 16. Set the receiving device so that it will receive only the channel that it needs to receive.

MIDI IN Connector

This connector receives messages from external MIDI devices (keyboards, sequencers controllers etc.) to play the HPD-15’s instruments or change its settings.

MIDI OUT/THRU Connector

The HPD-15 uses both the MIDI OUT and MIDI THRU connector are combined. The “Soft Thru” setting (p. 79) changes the function. As shipped from the factory, this is set to “Soft Thru OFF.”

Soft Thru OFF

This connector transmits MIDI messages to external MIDI devices. MIDI messages received at MIDI IN are not transmitted.

Soft Thru ON

HPD-15’s MIDI messages and MIDI messages received at MIDI IN are transmitted from this connector.

Example:

Set MIDI keyboard to send Channel 1 and Channel 2, then set sound module A to receive only Channel 1 and sound module B only Channel 2. With this setup, you can get an ensemble performance, with, for example, a guitar sound from sound module A and bass from sound module B.

fig.7-26.e

When used as a sound module, the HPD-15 can receive on up to five of the sixteen MIDI channels. Sound modules like the HPD-15 which can receive multiple MIDI channels simultaneously to play different sounds on each channel are called “multi-timbral sound modules.”

How the Internal Sequencer Operates

A sequencer is an electronic instrument used for recording and playback of performances. The HPD-15 features such a sequencer function. The HPD-15 comes with built-in performance patterns (Preset patterns) which can be used for drum practice and other purposes. You can also create your own patterns.

fig.7-27.e

External sound module

HPD-15

Internal sequencer

Percussion Part 1

MIDI keyboard

Percussion Part 2

About MIDI

Melody Part 1

Melody Part 2

Pad

Internal sound generator

For playback, the performance data that has been recorded to the sequencer is sent to the sound generator, which produces the sound. The data for each of the sequencer’s parts causes the corresponding part in the internal sound generator to be played. When performance data is recorded, the performance data from pads and MIDI keyboards is sent to the sequencer; the data recorded here is then sent to the sound module for playback.

Appendices

Preset Patch List

#: Patch Change via MIDI (Bank No.) - (Program No.)

LATIN #

P0101 Conga 2-1 P0102 Bongo 2-2 P0103 Timbales 2-3 P0104 LatinToys 2-4 P0105 CONGAbongo 2-5 P0106 TimbaleMix 2-6 P0107 Conga II 2-7 P0108 Bongo II 2-8 P0109 TimbalesII 2-9 P0110 BONGO-BRS- 2-10 P0111 TimbalSong 2-11 P0112 Steel Drum 2-12 P0113 Pandeiro 2-13 P0114 Surdo 2-14 P0115 ESCOLA 2-15 P0116 Berimbau 2-16 P0117 PandeiroII 2-17 P0118 Surdo II 2-18 P0119 Brazil Mix 2-19 P0120 Perc Echos 2-20 P0121 SpaceConga 2-21 P0122 808 Latin 2-22

AFRICAN #

P0201 TalkingDrm 2-23 P0202 Djembe S 2-24 P0203 Djembe L 2-25 P0204 Frame Drum 2-26 P0205 Pot Drum 2-27 P0206 Kalimba 2-28 P0207 Log Drum 2-29 P0208 Balaphone 2-30 P0209 Gyilli 2-31 P0210 AfroZither 2-32 P0211 MonguDrum 2-33 P0212 AfricaToys 2-34 P0213 Gyilli&Cng 2-35 P0214 NaturePerc 2-36 P0215 GyliBalaph 2-37 P0216 TalkDrm II 2-38 P0217 PotDrum II 2-39

INDIAN #

P0301 Tabla 2-40 P0302 Dholak 2-41 P0303 Madal 2-42 P0304 Dhol 2-43 P0305 DrmOfIndia 2-44 P0306 MadalTalan 2-45 P0307 Tabla II 2-46 P0308 Tabla III 2-47 P0309 TABLATIX 2-48 P0310 Sitar 2-49 P0311 SantoorMaj 2-50 P0312 SantoorMin 2-51 P0313 Tambura 2-52 P0314 Darabukka 2-53 P0315 Rek 2-54 P0316 Doholla 2-55 P0317 Doira 2-56 P0318 Turk-Mltry 2-57

ASIAN #

P0401 JAPAN 2-58 P0402 MATSURI 2-59 P0403 CHINA 2-60 P0404 Yang Qin 2-61 P0405 Korean4Drm 2-62 P0406 Gamelan 2-63 P0407 JavaGameln 2-64 P0408 BaliGameln 2-65 P0409 Bali&Java 2-66 P0410 Gongs 2-67 P0411 Angklung 2-68 P0412 Bonang 2-69 P0413 Gender 2-70 P0414 Saron 2-71

ORCH #

P0501 Vibraphone 2-72 P0502 Glockenspl 2-73 P0503 Xylophone 2-74 P0504 Marimba 2-75 P0505 Bs Marimba 2-76 P0506 TubularBel 2-77 P0507 Timpani 2-78 P0508 Orch Hit 2-79

P0509 LightOrch 2-80 P0510 OrchPerc 2-81 P0511 Aux Perc 2-82

DRUMS #

P0601 Standard 2-83 P0602 Jazzbrush 2-84 P0603 Analog 2-85 P0604 TR-808 2-86 P0605 TR-909 2-87 P0606 Studio 2-88 P0607 Rock Stage 2-89 P0608 Swing 2-90 P0609 Brushes 2-91 P0610 Orch Set 2-92 P0611 Mexi-Set 2-93 P0612 Hi-Boy 2-94 P0613 Low&Dry 2-95 P0614 Jazz Mix 2-96 P0615 JzBrush&Bs 2-97 P0616 BluesClub 2-98 P0617 Drum&Horns 2-99 P0618 TechnoGate 2-100 P0619 FlangeDrms 2-101 P0620 JunkyDrums 2-102 P0621 Brush Box 2-103

DANCE #

P0701 Clap&Scrch 2-104 P0702 FILTERED 2-105 P0703 Trash Beat 2-106 P0704 LatinHouse 2-107 P0705 Techey 2-108 P0706 TechDance 2-109 P0707 EthniDance 2-110 P0708 Cosmo 21 2-111 P0709 Industrial 2-112 P0710 UndaGround 2-113 P0711 StreetBeat 2-114 P0712 909-2000 2-115 P0713 AlienDance 2-116 P0714 TechNow 2-117 P0715 Sweep 808 2-118 P0716 Revolution 2-119 P0717 Backbeat 2-120 P0718 AmberWater 2-121

P0719 SynthDrums 2-122 P0720 Discotica 2-123 P0721 Dance 6 2-124 P0722 Lock Out 2-125 P0723 DanceMenu1 2-126 P0724 DanceMenu2 2-127

SFX #

P0801 PsycoDrama 2-128 P0802 Forest 3-1 P0803 GrandBlue 3-2 P0804 NoiseSonic 3-3 P0805 ArpegPerc 3-4 P0806 CartoonFX 3-5 P0807 Silly FX 3-6 P0808 Rol&FiltMe 3-7 P0809 MetalMania 3-8 P0810 ChaosSoniq 3-9 P0811 SFX Menu 1 3-10 P0812 SFX Menu 2 3-11 P0813 SFX Menu 3 3-12

OTHERS #

P0901 Laserwave 3-13 P0902 Heavy Gtr 3-14 P0903 Acous Bass 3-15 P0904 SH101 Bass 3-16 P0905 Flute 3-17 P0906 Syn String 3-18 P0907 Saw Wave 3-19 P0908 Juno Rave 3-20 P0909 Fantasia 3-21 P0910 Thick Pad 3-22 P0911 Calliope 3-23 P0912 Melody-808 3-24

LOOPS #

P1001 Latin Loop 3-25 P1002 Samba Loop 3-26 P1003 AfricaLoop 3-27 P1004 IndianLoop 3-28 P1005 Asian Loop 3-29 P1006 FusionLoop 3-30 P1007 Dance Loop 3-31 P1008 Shot & Tap 3-32

Preset Pattern List

PlayType: Loop

P01 Cha-Cha P02 ChaChaLite P03 MamboBreak P04 ComparSlow P05 ComparFast P06 SonMontuno P07 Merengue P08 Latin 6/8 P09 Mozambique P10 Salsa P11 Salsa-Med P12 Guaguanco P13 6/8 Groove P14 Descarga1 P15 Descarga2 P16 Baion P17 BahiaGroov P18 Samba-Med P19 SambaSao P20 Slow Samba P21 Samba-Roda P22 SambaBasic P23 EscolaRthm P24 GyilliSong P25 PotDrumPtn P26 Djembeat P27 2Bt-Afro P28 12/8-Afro P29 Funky Afro P30 7Bt-Clay P31 4Bt-Clay P32 4BtRl-Clay P33 TurkMarch P34 BellyDance P35 Arabic10Bt P36 Arabic4Bt P37 Silkroad P38 Tabla-Med P39 Tabla-Slow P40 Bhairavi P41 Kashimir P42 Santoor P43 IndianFolk P44 DholakBeat P45 BengalRthm P46 BanglaBeat P47 Madal Seq. P48 5Bt-Indian P49 7Bt-Indian P50 4Bt-Indian P51 Spanish-12 P52 Asian-12/8

P53 MATSURISM P54 OHAYASHI 1 P55 OHAYASHI 2 P56 SamulNori1 P57 SamulNori2 P58 China-Mood P59 Polynesian P60 Javanese P61 Balinese P62 ForestSong P63 FILTERTIV P64 Sevenate P65 A.O.R. P66 AcidFusion P67 ElecFusion P68 Fusion-3/4 P69 HardFusion P70 Funk P71 JazzFunk P72 LatinJazz P73 AfroJazz P74 Reggae P75 Mambo w/b P76 Salsa w/b P77 Samba w/b P78 Carrib P79 House P80 TechnoPop P81 Locomotive P82 KiddyDisco P83 Night-Bird P84 Drops

PlayType: OneShot

P85 LatinFill1 P86 LatinFill2 P87 Cha-Fill1 P88 Cha-Fill2 P89 Cha-Fill3 P90 Ending1 P91 Ending2 P92 Ending3

PlayType: Tap

P93 SantoorTap P94 BassTap1 P95 BassTap2 P96 AcoGuitTap P97 AdlibTap P98 WahGtTap P99 CodeMenu (C, Cm, Cm7, C

maj7

, C6, C

dim

, C

7sus4

, C7)

Appendices

Instrument List

*M: Mute switching sound *P: Responds to positional sensing when assigned to pad A1 or A5. *D: The ribbons/D Beam will produce different tones depending on the direction of the movement of your hand when TirgMode is set to “Move” or “MovGate.” The

pads can switch the sound when TrigMode is set to “Gate” or “Trig.” *F: These are hi-hat sounds that can be controlled by the hi-hat control pedal (FD-7, optional). *H: The sound will sustain by pressing [ROLL/HOLD] button when TrigMode is set to “Gate” or “Trig.” *T: The pitch of these sounds can be adjusted by MasterTune in system setting.

No. Inst Remarks

LATIN

L01 Bongo Hi *M, *P L02 Bongo Hi /H *M, *P L03 Bongo Hi /T *M L04 Bongo Hi Cls L05 Bng HiHndSlp L06 Bongo Lo L07 R-8 Bongo Hi L08 R-8 Bongo Lo L09 Conga Hi /H *M, *P L10 Conga Hi /T *M L11 Conga Hi *M, *P L12 CongaHiOpSlp L13 Conga Hi Cls L14 CongaHiClSlp L15 Conga HiHeel L16 Conga Hi Toe L17 Conga HiBass L18 Conga Slide L19 Conga Lo /H *M, *P L20 Conga Lo /T *M L21 Conga Lo *M, *P L22 CongaLoOpSlp L23 Conga Lo Cls L24 CongaLoClSlp L25 Conga LoHeel L26 Conga Lo Toe L27 Conga LoBass L28 R-8 Conga Hi *M L29 R-8Cng HiCls L30 R-8 Conga Lo L31 Cowbell 1 *M L32 Cowbell 1 Mt L33 Cowbell 2 L34 Cowbell 3 L35 Claves 1 L36 Claves 2 L37 Guiro Long L38 Guiro Short L39 Guiro LngSht *M L40 Guiro 1notch L41 Maracas L42 Shaker 1 L43 Shaker 2 L44 Shaker 3 L45 Tambourine 1 L46 Tambourine 2 L47 Timbale Hi *P L48 Timbale HiRm L49 Timble+Crash L50 Timbale Lo *P L51 Timbale LoRm L52 TimblHiPaila *M L53 TmblHiPilaMt L54 TimblLoPaila *M L55 TmblLoPilaMt L56 Timbl Hi Hnd *M L57 TimblHiHndMt L58 Timbl Lo Hnd *M L59 TimblLoHndMt L60 Vibra-slap L61 Steel Drum 1 *T L62 Steel Drum 2 *T L63 Agogo 1 Hi L64 Agogo 1 Lo L65 Agogo 1 HiLo *M, *D L66 Agogo 2 Hi L67 Agogo 2 Lo L68 Agogo 2 HiLo *M, *D L69 Agogo 3 L70 Cabasa L71 Cuica 1 *M, *D

L72 Cuica 1 Open *M L73 Cuica 1 Mut1 L74 Cuica 1 Mut2 L75 Cuica 2 *M, *D L76 Cuica 2 Open *M L77 Cuica 2 Mut1 L78 Cuica 2 Mut2 L79 Pandeiro *M L80 Pandeiro Mut L81 Pandeiro Slp L82 Pandeiro Lo *M L83 Pand Lo Mut L84 Pand Lo Slp L85 R-8 Surdo *M, *P L86 R-8 Surdo Mt *P L87 R-8 Surdo Rm L88 Surdo *M, *P L89 Surdo Mute *P L90 Tamborim *M, *P L91 Tamborim Mut *P L92 Tamborim Slp L93 Tamborim 2 L94 Whistle Long L95 Whistle Shrt L96 Whstl LngSht *M, *D L97 Caxixi L98 Berimbau *M, *T L99 Berimbau Mut *T l01 Berimbau Up *T l02 Berimbau Dn *T l03 BerimbauUpDn *D, *T l04 Caixa *P l05 Caixa Rim l06 Caixa Roll l07 Rain Stick l08 RainStk Soft l09 SambaBateria l10 Space Conga *M, *P l11 SpaceCng Bas l12 E.Conga *M, *P l13 E.Conga Bass l14 DR-55 Claves l15 CR-78 Cowbel l16 CR-78 MetalB l17 CR-78 Guiro l18 CR-78 Tambrn l19 CR-78 Maracs l20 CR-78 Bongo l21 CR-78 Claves l22 TR-808 Conga l23 TR-808 Clavs l24 TR-808 Marcs l25 TR-808 Cow

AFRICAN

F01 Shekere F02 Djembe /H *M, *P F03 Djembe /T *M F04 Djembe *M, *P F05 Djembe Mute *P F06 Djembe Slap F07 Djembe Bass F08 SmallDjmb /H *M, *P F09 SmallDjmb /T *M F10 Small Djembe *M, *P F11 SmallDjmb Mt *P F12 SmallDjmbSlp F13 SmallDjmb Bs F14 TalkingDrm 1 F15 TalkingDrm 2 F16 TalkingDrm 3 F17 Afro Drum 1 F18 Afro Drum 2 F19 Afro Dr Flam

F20 Afro Dr Rttl F21 Metal Casta F22 PotDrm 1 Lo F23 PotDrm 1 Hi F24 PotDrm 1 Acc F25 PotDrm 2 *M F26 PotDrm 2 Mut F27 PotDrm 2 Lng F28 PotDrm 2 Sht F29 PotDrm 3 Slp F30 PotDrm 3 Bas *D F31 PotDrm 3 BsE F32 Kalimba *T F33 Log Drum F34 Gyilli A *T F35 Gyilli D *T F36 Gyilli G *T F37 Gyilli C *T F38 Gyilli Hi G *T F39 Gyli GlissUp *T F40 Gyli GlissDn *T F41 Gyli GlsUpDn *D, *T F42 Balaphone A *T F43 Balaphone F# *T F44 Balaphone E *T F45 Balaphone B *T F46 Balphn GlsUp *T F47 Balphn GlsDn *T F48 Balphn UpDn *D, *T F49 Balaphone 2 *T F50 Afro Zither *T F51 Afro Feet F52 Afro Stomp F53 Hand Drum *M F54 Hand Drum Bs F55 MonguDrm Hi *M, *P F56 MngDrm Hi Bs F57 MonguDrm Lo *P F58 Clapstick F59 Boomerang F60 Bamboo F61 Bloom Bell

INDIAN

I01 Sarna Bell I02 Tabla Na I03 Tabla Tin I04 Tabla Tun I05 Tabla Ti I06 Tabla TinNa *P I07 Tabla TiNa *P I08 Tabla TunTin *M I09 Tabla 2 Te I10 Baya Slide I11 Baya Gin I12 Baya Ka I13 Baya Ge I14 Baya GeKa *P I15 Dholak Ga I16 Dholak Ta I17 Dholak Tun I18 Dholak Na I19 Dholak TunNa *P I20 Madal Da I21 Madal Din I22 Madal Ta I23 Madal DinTa *P I24 Khole I25 Dhol Ga *M I26 Dhol Slide I27 Dhol Ka I28 Dhol Da I29 Sitar *T I30 Sitar Gliss *T

I31 Santoor Lowr *T I32 Santoor Uppr *T I33 Tambura *T I34 Tambura Dron *H, *T I35 Bell Tree I36 Sagat Open I37 Sagat Closed I38 Sagat OpCls *M I39 Darbuka1 Dom *P I40 Darbuka1 Tak I41 Darbuka2 I42 Doira Dun *P I43 Doira Tik I44 Doholla Dom *P I45 Doholla Sak I46 Doholla Tak I47 Doholla Roll I48 Doholla Stop I49 Dohol RolStp *M, *D I50 Rek Dom *P I51 Rek Tek I52 Rek Open I53 Rek Trill I54 Bendir I55 Dawul I56 HmrDlcmr Lwr *T I57 HmrDlcmr Upr *T

ASIAN

A01 Biwa *T A02 Atarigane A03 Hyoshigi A04 Ohkawa A05 Tsuzumi Hi A06 Tsuzumi Lo A07 Shime Taiko1 A08 Shime Taiko2 A09 MatsuriTaiko *P A10 Matsuri TkRm A11 Buk *P A12 Buk Rim A13 Jang-Gu A14 Jing *M A15 Jing Mute A16 Gengari *M A17 Gengari Mute A18 Ban Gu 1 A19 Ban Gu 2 A20 Ban Gu 3 A21 Gu Roll A22 Gu High A23 Gu Roll-Stop *M, *D A24 Tang Gu *M A25 Tang Gu Mute A26 Hu Yin Luo *M A27 HuYinLuo Mut A28 Nao Bo A29 Xiao Bo A30 Large TamTam A31 Large Gong A32 Small Gong A33 Bend Gong A34 Yang Qin *T A35 Finger Cym *M A36 Fingr Cym Mt A37 Rama Cymbal A38 Chenchen Opn A39 Chenchen Cls A40 Chenchn OpCl *M A41 Bali Cym Opn A42 Bali Cym Cls A43 BaliCym OpCl *M A44 Thai Gong A45 JawsHarp Opn

Instrument List

A46 JawsHarp Wow A47 JawsHrp OpWo *M, *D A48 Bonang *T A49 Gender *T A50 Saron *T A51 Angklung A52 Gamelan 1 *T A53 Gamelan 2 *T

ORCH

O01 Sleigh Bell O02 Tree Chimes O03 Triangle *M O04 Triangle Mut O05 Castanets O06 Wood Block O07 WdBlock HiLo *M, *D O08 Slapstick O09 Concert BsDr *M O10 Conc BsDrMut O11 Timpani *T O12 Perc Hit *T O13 Orch Hit 1 *T O14 Orch Hit 2 *T O15 DrmMaj Whstl O16 Glockenspiel *T O17 Vibraphone *T O18 Xylophone *T O19 Marimba 1 *T O20 Marimba 2 *T O21 Bass Marimba *T O22 Celesta *T O23 Tubular Bell *T O24 Glass *T O25 Iron Hammer

DRUMS

R01 Dry Hard Kik R02 Jazz Kick R03 Vintage Kick R04 26” Deep Kik R05 Wood Beatr K R06 HipHop Kick R07 Plastic Kick R08 Electronic K R09 TR-808 Kick R10 808 Boom Kik R11 TR-909 Kick R12 CR-78 Kick R13 Beech Snare *P R14 BeechS RmSht R15 Loose S Hrd *P R16 Loose S Rim R17 Concert Snr R18 Concrt S Rol R19 Concrt S Buz R20 Hi Piccolo S R21 L.A. Snare R22 Brush Snare *M R23 Brush Rol S1 R24 Brush Rol S2 R25 Brush Swsh S *P R26 Brush Slp S1 R27 Brush Slp S2 R28 House Dopn’S R29 Swing Snare R30 Quinto Snare *P R31 Electronic S R32 TR-808 Snare R33 TR-909 Snare R34 CR-78 Snare R35 Amb CrossStk R36 Hall CrosStk R37 Stick Hit R38 Sticks R39 TR-808 Stick R40 TR-909 Stick R41 CR-78 Stick R42 Metal Stick R43 Vintage Tom1 R44 Vintage Tom2 R45 Dbl Head T 1 R46 Dbl Head T 2

R47 Room Tom 1 R48 Room Tom 2 R49 Brush Slp T1 R50 Brush Slp T2 R51 Electronic T R52 2-Tone ElecT R53 Bright ElecT R54 TR-808 Tom R55 TR-909 Tom R56 909 Whack T R57 Pure CHH *P R58 PureCHH Edge R59 Pure HalfOHH R60 Pure OHH R61 Tamburn CHH R62 Tamburn OHH R63 TR-808 CHH *P R64 808 CHH Edge R65 TR-808 OHH *P R66 808 OHH Edge R67 TR-909 CHH R68 TR-909 OHH R69 Pure Hi-Hat *F R70 13” Hi-Hat *F R71 Hand Cym HH *F R72 Tambourin HH *F R73 Maracas HH *F R74 Chenchen HH *F R75 TR-808 HiHat *F R76 TR-909 HiHat *F R77 Metal 808 HH *F R78 Metal 909 HH *F R79 Crash Cymbal R80 Chinese Cym R81 Szl ChineseC R82 Splash Cym 1 R83 Splash Cym 2 R84 Pgy Crash C1 R85 Ride Cymbal R86 Ride Bell C R87 Ride X Bell R88 Sizzl Ride C R89 Sizzl Rd Bel R90 Pgy Ride Cym R91 Brush Ride C R92 Brsh Szl RdC R93 Hand Cymbals R94 Mallet Cymbl R95 TR-808 Cymbl R96 TR-606 Cymbl R97 Wheel Pedal R98 KickCymbal 1 R99 KickCymbal 2 r01 KickCymbal 3 r02 Voice Kick r03 Voice Snare r04 Voice Hi-Hat *F

DANCE

D01 TR-808 Clap D02 Hand Clap 1 D03 Hand Clap 2 D04 Hand Clap 3 D05 Afro Clap D06 Scratch Push D07 Scratch Pull D08 ScrhPushPull *D D09 Scrch Stereo D10 Scr BsDr Psh D11 Scr BsDr Pul D12 Scr Bs PshPl *D D13 Jungle Cymbl D14 Dance Shaker D15 Trash body *P D16 Trash edge D17 Trash lid D18 Trash bottom D19 High-Q 1 *D D20 High-Q 2 D21 Rev High-Q D22 Air Blip D23 Techno Snap D24 Organ Chord *H, *T D25 Dist Guitar *H, *T D26 Auh Voice *H, *T

D27 Techno Chord *H, *T D28 Techno Scene *T D29 Synth Hit D30 Distort Hit *T D31 Techno Hit *T D32 Philly Hit *T D33 Funk Hit *T D34 Funny Hit *T D35 Cuica Hit D36 Rev Cuica Ht D37 Thin Beef D38 Bounce D39 Dist Swish D40 PCM Press D41 Reverse Beat D42 Monster Drum D43 Can Drum D44 Jungle Rol K D45 Jungle Rol S

SFX

S01 Burt S02 Boing *M S03 ReverseBoing S04 Tom Noise S05 Laser *M S06 ReverseLaser S07 Toy Gun S08 Eddy S09 Congerin S10 Moment S11 Toy Chat S12 Second Tick S13 Drip S14 Click S15 Metronm Bell S16 Metronm Clk S17 R-8 Spark S18 Anvil S19 Chop S20 Metal 1 S21 Metal 2 S22 Crash S23 Shot 1 S24 Shot 2 S25 Shot 3 S26 Shot 4 S27 Noise Acc 1 S28 Noise Acc 2 S29 Noise Acc 3 S30 Noise Acc 4 S31 Random Noiz1 S32 Random Noiz2 S33 Random Noiz3 S34 Random Noiz4 S35 White Noise *H, *T S36 Pink Noise *H, *T S37 Rev Vibraslp S38 RevSitar Gls S39 Rev Bend Gng S40 Rev Voice K S41 Rev Voice S S42 Cabasa 1shot S43 Matsuri S44 Uut? S45 Drop S46 Emergency S47 Woody 1 S48 Woody 2 S49 Punch S50 Metallic Lid S51 Glass Crash S52 Door Close S53 Bomb S54 Reverse Bomb S55 Explosion S56 Thunder S57 Stream S58 Snaps S59 Foot Step S60 Human Whistl S61 Chiki! S62 Hey! S63 Voice Ahhh S64 Rev Voc Ahhh

OTHERS

T01 Ac.Piano *H, *T T02 E.Piano *H, *T T03 60’s EP *H, *T T04 Soft FM EP *H, *T T05 Clavinet *H, *T T06 Even Bar *H, *T T07 Organ *H, *T T08 Nylon Guitar *H, *T T09 Steel Guitar *H, *T T10 Jazz Guitar *H, *T T11 Clean Guitar *H, *T T12 Muted Guitar *H, *T T13 Pop Guitar *H, *T T14 Funk Guitar *H, *T T15 Overdrive Gt *H, *T T16 Heavy Guitar *H, *T T17 Muted DistGt *H, *T T18 Rock Rhythm *H, *T T19 Wah Gtr Dn 1 T20 Wah Gtr Up 1 T21 Wah Gtr Dn 2 T22 Wah Gtr Up 2 T23 Cut Gtr Dn T24 Cut Gtr Up T25 Gtr Scratch1 T26 Rev Gtr Scr1 T27 Gtr Scrach2 T28 Rev Gtr Scr2 T29 Bass Slide T30 Rev Bs Slide T31 Acoustic Bs *T T32 E.AcousticBs *T T33 Fingered Bs *T T34 Funk Bass *T T35 Pick Bass *T T36 Muted PickBs *T T37 Fretless Bs *T T38 Slap Bass *T T39 Synth Bass *T T40 TB-303 Bass *T T41 SH-101 Bass *T T42 Orch Strings *H, *T T43 Syn Strings *H, *T T44 OB Strings *H, *T T45 Brass Hit L *H, *T T46 Brass Hit S *T T47 Brass Hit LS *M, *H, *T T48 Brass Fall *T T49 Octave Brass *H, *T T50 Poly Brass *H, *T T51 Tenor Sax *H, *T T52 Flute *H, *T T53 Sine Wave *H, *T T54 Saw Wave 1 *H, *T T55 Saw Wave 2 *H, *T T56 Square Wave *H, *T T57 Buzzer *H, *T T58 Beep *H, *T T59 JU-2 Sub OSC *H, *T T60 Poly OSC *H, *T T61 Juno Rave *H, *T T62 JP Hoover *H, *T T63 Feedback Wav *H, *T T64 Atmosphere *H, *T T65 Syn Calliope *H, *T T66 Fantasia *H, *T T67 Thick Pad *H, *T T68 80’s PolySyn *H, *T T69 Off

(Pedal Only)

PEDAL(A1) : PEDAL(C5)

Appendices

Instrument List

Pad Set Instrument List

No. Name

1 Conga 2 Conga II 3 Bongo 4 Timbales 5 Paila Lo 6 Paila Hi 7 Giro&Cowbel 8 Latin Perc 1 9 Latin Perc 2

10 Latin Perc 3 11 Agogo 12 Cuica 13 Surdo 14 Pandeiro 15 Tamborim 16 Caixa 17 Berimbau 18 Space Conga 19 808 Latin A 20 808 Latin B 21 808 Latin C 22 Djembe S 23 Djembe L 24 TalkingDrum 25 TalkingDrmII 26 Pot Drum A 27 Pot Drum B 28 Pot Drum C 29 Afro Drum 30 MonguDrum 31 Balaphon 32 Gyilli 33 Tabla

No. Name

34 Dholak 35 Madal 36 Dhol 37 Darabukka 38 Rek 39 Doholla 40 Doira 41 JAPAN 42 MATSURI 43 CHINA 44 Yang Qin 45 Korean4Drm A 46 Korean4Drm B 47 Korean4Drm C 48 Gender 49 Bonang 50 Saron 51 Gamelan 52 Bali Cymbal 53 Thai Gong 54 Asian Cymbal 55 Timpani 56 Orch Hit 57 Drum Basic 1 58 Drum Basic 2 59 Brush Drum 60 Elec.Drum 61 Elec.Tom 1 62 Elec.Tom 2 63 TR-808 Drum 64 TR-909 Drum 65 CrashCymSet 66 RideCymSet

No. Name

67 Jazz Drum 68 BrushRideSet 69 Timpani&S.D. 70 OrchPerc 71 CymbalSet 72 Junk Drums 73 JunkCymbal 1 74 JunkCymbal 2 75 Brush Box 76 Claps 77 Scratches 78 Trash Beat 79 StreetRhythm 80 LatinHouseDr 81 Dance Drum 1 82 Dance Drum 2 83 Dance Drum 3 84 AnalogPerc. 85 LaserWave 86 Metal SFX 1 87 Metal SFX 2 88 Metal SFX 3 89 Industrial 1 90 Industrial 2 91 Industrial 3 92 OneShotSFX 1 93 OneShotSFX 2 94 Long SFX 1 95 Long SFX 2 96 SFX & Hit 97 Forest SFX 98 GrandBlue 1 99 GrandBlue 2

Backing Instrument List

Program Display Inst Name Change No.

1 Ac.Piano Acoustic Piano 2 E.Piano Electric Piano 3 FM+SA EP FM+SA E.Piano 4 60’s EP 60’s E.Piano 5 St.FM EP St.FM E.Piano 6 Br.FM EP Bright FM E.Piano 7 Clav. Clavinet 8 Celesta Celesta

9 Glcknspl Glockenspiel 10 Vibraphn Vibraphone 11 Marimba Marimba 12 Xylophon Xylophone 13 Tublrbel Tubular-bells 14 Organ 1 Organ 1 15 Organ 2 Organ 2 16 Nylon Gt Nylon Guitar 17 Steel Gt Steel Guitar 18 Jazz Gt Jazz Guitar

Program Display Inst Name Change No.

19 Clean Gt Clean Guitar 20 ChorusGt Chorus Guitar 21 Muted Gt Muted Guitar 22 Pop Gt Pop Guitar 23 Funk Gt Funk Guitar 24 OvrdrvGt Overdrive Guitar 25 Heavy Gt Heavy Guitar 26 MutDstGt Muted Distortion Guitar 27 RokRhytm Rock Rhythm 28 Wah Gt Wah Guitar 29 Aco.Bass Acoustic Bass 30 El.Ac.Bs Electric Acoustic Bass 31 FingerBs Fingered Bass 32 FunkBass Funk Bass 33 PickBass Pick Bass 34 MutPikBs Muted Pick Bass 35 FrtlesBs Fretless Bass 36 SlapBass Slap Bass

Program Display Inst Name Change No.

37 Saw Bass Saw Bass 38 TB303 Bs TB303 Bass 39 SH101 Bs SH101 Bass 40 Syn.Str. Synth Strings 41 OB Str. OB Strings 42 Brass 1 Brass 1 43 Brass 2 Brass 2 44 Syn. Brs Synth Brass 45 Poly Brs Poly Brass 46 TenorSax Tenor Sax 47 Flute Flute 48 Saw Wave Saw Wave 49 Calliope Synth Calliope 50 Fantasia Fantasia 51 ThickPad Thick Pad 52 80’sPoly 80’s Poly Synth 53 Kalimba Kalimba 54 SteelDrm Steel Drums

Effect Type List

* REVERB/DELAY Type and MULTI-FX Type are common to EZ Edit mode and Edit mode.

REVERB/DELAY Type

OFF No reverb WarmRoom Room reverb featuring a milder ambiance DarkRoom Room reverb that imparts a darker mood BrightRoom Room reverb featuring a rougher, gritty feeling Club GymStage Simulates the reverberation of a gymnasium Underground Reverb that makes sounds seem to be coming from

ThinPlate Plate reverb with slow decay ThickPlate Plate reverb with rapid decay

Room reverb that lends a relaxed ambiance to the sound

under the ground

MULTI-FX Type

Low Boost Boosts the low end Low Cut Cuts the low end Mid Boost Boosts the midrange Mid Cut Cuts the midrange High Boost Boosts the high end High Cut Cuts the high end Limiter Standard limiter settings Compressor Keeps sound volume in a uniform range ComPRESSED! Creates a very bound, constricted sound Enhancer Emphasizes the high-end harmonics Radio Makes sounds as produced from a radio OnAir Creates a sound like that found in public recordings TiledRoom Sound like that produced in a tiled room Outside Produces a heard-outside-the-door kind of sound NoHighs Eliminates the high end Only Lows Leaves only the low end Only Mids Leaves only the midrange Only Highs Leaves only the high end DynamicFltr Filter’s cutoff frequency changes in response to the

Ctrl Wah The wah effect is added in response to M-FX DEPTH

Sustainer Effect appears to stretch the sound’s envelope RadioOD Light distortion from a cheap amp SmallOD Mild distortion from a small amp BigOD Mild distortion from a large-size amp LoudOD Mild distortion with more sound pressure RadioDST Strong distortion from a cheap amp SmallDST Hard distortion from a small amp BigDST Hard distortion from a large-size amp LoudDST Hard distortion with more sound pressure Lo-Fi Creates a rough, broken sound Lo-Fi(mono) Rough sound output monaurally RingModltr Gives the sound a metallic quality Bell Adds a bell-like sound Buzz Adds a bee-like buzzing quality to the sound MetalBar Adds a sound like that of a metal bar being struck Stereo Cho Standard chorus settings Glossy Cho Warm chorus sound Phasy Cho Chorus with a heavy modulation TetraChorus Chorus with great breadth Bamboo Cho Chorus with fluttering reflections TremoloCho Chorus with tremolo added Giddy Cho Spinning chorus that make the listener dizzy Sigh Cho Chorus with a slight crying sound Space D Effect that fattens the sound

volume of the strike

and CtrlTx

EmptyHall Reverberation of an unoccupied hall BigTube Reverb resembling that produced within a large tube RichAmb Reverb with rich reflections ShortDelay Single delay with short delay time MedDelay Adds a slight repeat of the sound LongDelay Effect resembling mountain echoes PanDelaySht Single delay with panned delayed sound PanDelayMed Delayed sound with added lateral breadth PanDelayLng

Stereo Fln Standard flanger settings Wind Fln Produces an effect like that of a refreshing breeze Grumble Fln Layers on the sound of a human voice Jet Fln Adds a jet-like sound effect StepFlanger Standard step-flanger settings AnalogCyber Sound like the oscillation of an analog synthesizer Phaser Standard phaser settings Rubbing Adds a grinding sound Arpeggio Sounds pitch-shifted by five semitones are layered on,

Warp Pitch rises three semitones at a time Bandit Gliss-down effect PitchShift Sounds shifted by five semitones are layered on StereoDelay The delayed sound is played at the same position as the

Doubling Doubling effect which layers the sound Booming Sound like the playing of a high-tension string is added RhythmDly1 Triple rhythmic delay RhythmDly2 Rhythmic delay differing from RhythmDly1 Mod Delay Delay with modulation CrossModDly Delay with modulation, with the sound alternately

TimeCtrlDly When CtrlTx is used to change “Time,” an effect similar

3TapDlySht Three-tap delay with short delay time 3RhythmSht Triple pattern using delay 3TapDlyLng Produces sound at center, left, and right, in that order 3RhythmLng Rhythmic delay 3TempoDly 4TapDlySht Four-tap delay with short delay time 4RhythmSht Provides an effect like the clicking of castanets 4TapDlyLng Delay sounds start on the right and move to the left 4RhythmLng Rhythmic delay 4TempoDly SoftRoom Room reverb with mild reverberation HardRoom Gritty room reverb RoomCorner Room reverb with first reflections emphasized Stage Simulates the reverb on a small stage Plate Gritty plate reverb Hall”A” Simulates the reverberation of a hall with a low ceiling Hall”B” Simulates the reverberation of a large hall Tunnel Reverberation like that in a tunnel Stadium Simulates the reverberation of a stadium GateReverb Standard gated reverb settings ReverseGate Reverse gated reverb

Delayed sound that crosses between the left and right sides

one after another

instrument

crossing between left and right

to that produced by changing an analog delay’s Time can be obtained

Three-sound delay synchronized to the sequencer’s tempo

Four-sound delay synchronized to the sequencer’s tempo

Appendices

Demo Song List

* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws. * No data for the music that is played will be output from MIDI OUT.

Profiles of Composers

Ikuo Kakehashi majored in Percussion at Tokyo College of Music and studied under Prof. Makoto Ariga and 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 session and studio work. He also produces Computer Music Software and advises Roland on new musical instruments.

Efrain Toro is one of the world’s most versatile drummer/percussionists, and his unique approach to rhythm and education is a musical revolution in the making. His career began in his native Puerto Rico. Efrain later moved to the New England Conservatory. While in Boston, he studied with Alan Dawson. He moved to Los Angeles in 1979, where he has played on countless film and TV scores. Efrain has also worked with a variety of great artists that include Stan Getz, George Benson, Los Lobos, Chicago, Placido Domingo and many others. Efrain has taught at the renowned Musician’s Institute, California Institute of the Arts and UCLA. He has authored five books for musicians and artists that explain his theories and skills on topics like rhythm, hand-finger technique, Latin styles, and odd meters.

MIDI Implementation

Model HPD-15 Version 1.00 March.23 2000

1. Receive data

■Channel Voice Messages

* The following channel voice messages are received on the channel specified as the

[SYSTEM]-(MIDI).

●Note Off

Status 2nd byte 3rd byte 8nH kkH vvH 9nH kkH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16) kk = note number: 00H - 7FH (0 - 127) vv = note off velocity: 01H - 7FH (1 - 127)

* In the melody parts, the velocity values of Note Off message are ignored. * When the Trigger Mode of the pad is set to "Shot", the pad part and the percussion parts

will ignore the velocity values of Note Off message.

* When the Trigger Mode of the pad is set to "Gate" or "Trig", the pad part and the

percussion parts will receive only the note numbers which are specified by the patch, and the same processing will be carried out as when pad is released.

* When recording, this is recorded in the sequencer data itself.

●Note On

Status 2nd byte 3rd byte 9nH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) kk = note number: 00H - 7FH (0 - 127) vv = note on velocity: 00H - 7FH (0 - 127)

* The pad part and the percussion parts will receive only the note numbers which are

specified by the patch.

* When recording, this is recorded in the sequencer data itself.

●Polyphonic Key Pressure

Status 2nd byte 3rd byte AnH kkH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) kk = note number: 00H - 7FH (0 - 127) vv = pressure: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * The pad part and the percussion parts will receive only the note numbers which are

specified by the patch. * This is used as the pad pressure data. * When recording, this is recorded in the sequencer data itself.

●Control Change

❍Bank Select (Controller number 0, 32)

Status 2nd byte 3rd byte BnH 00H mmH BnH 20H llH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = Bank number MSB: 00H - 02H (bank1: User Patch bank2, 3: Preset Patch) ll = Bank number LSB: processed as 00H

* Only the pad part and the percussion parts can be received. * Bank select processing will be suspended until a program change message is received. * Not recorded in the sequencer.

❍Modulation (Controller number 1)

Status 2nd byte 3rd byte BnH 01H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the data of the [LFO PITCH] knob. * When recording, this is recorded in the sequencer data itself.

❍Foot Control (Controller number 4)

Status 2nd byte 3rd byte BnH 04H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part the and percussion parts can be received. * This is used as the position data of the pedal connected to the EXP PEDAL/HH CTRL

jack.

* When recording, this is recorded in the sequencer data itself.

❍Data Entry (Controller number 6)

Status 2nd byte 3rd byte BnH 06H mmH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = The value of the parameter specified by RPN.

* Only the melody parts can be received. * Not recorded in the sequencer.

On the normal mode of HPD-15, RPN can be used to modify the following parameters.

RPN Data entry MSB LSB MSB LSB Explanation 00H 00H mmH --- Pitch Bend Sensitivity

mm: 00H - 18H (0 - 24 semitones) LSB: ignored (processed as 00H) specify up to 2 octaves in semitone steps

7FH 7FH --- --- RPN null

set condition where RPN is unspecified. The data entry messages after set RPN null will be ignored. (No Data entry messages are required after RPN null). Settings already made will not change. MSB,LSB of data entry: ignored

❍Volume (Controller number 7)

Status 2nd byte 3rd byte BnH 07H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* In the melody parts, it is used as the part level of the sequencer pattern data. * When recording, this is recorded in the sequencer data itself if it is received on the

melody parts. * In the percussion parts, it is used as the part level of the sequencer pattern data. * Not recorded in the sequencer if it is received on the percussion parts.

❍Pan (Controller number 10)

Status 2nd byte 3rd byte BnH 0AH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 40H - 7FH (Left - Center - Right)

* In the melody parts, it is used as the part panpot of the sequencer pattern data. * In the pad part or the percussion parts, it is used as the data of the [PAN] knob. * When recording, this is recorded in the sequencer data itself.

Appendices

MIDI Implementation

❍Expression (Controller number 11)

Status 2nd byte 3rd byte BnH 0BH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the data of the [LEVEL] knob. * When recording, this is recorded in the sequencer data itself.

❍Effect Control 1 (Controller number 12)

Status 2nd byte 3rd byte BnH 0CH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the data of the [M-FX DEPTH] knob. * When recording, this is recorded in the sequencer data itself.

❍General purpose controller 1 (Controller number 16)

Status 2nd byte 3rd byte BnH 10H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the position data of the pad A1. * When recording, this is recorded in the sequencer data itself.

❍Sound Controller 1 (Controller number 70)

Status 2nd byte 3rd byte BnH 46H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the data of the [SWEEP] knob. * When recording, this is recorded in the sequencer data itself.

❍Sound Controller 5 (Controller number 74)

Status 2nd byte 3rd byte BnH 4AH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the data of the [COLOR] knob. * When recording, this is recorded in the sequencer data itself.

❍Sound Controller 7 (Controller number 76)

Status 2nd byte 3rd byte BnH 4CH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the data of the [LFO RATE] knob. * When recording, this is recorded in the sequencer data itself.

❍General purpose controller 2 (Controller number 17)

Status 2nd byte 3rd byte BnH 11H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the position data of the pad A5. * When recording, this is recorded in the sequencer data itself.

❍Hold 1 (Controller number 64)

Status 2nd byte 3rd byte nH 40H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON

* When recording, this is recorded in the sequencer data itself.

❍Sostenuto (Controller number 66)

Status 2nd byte 3rd byte BnH 42H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON

* Only the pad part and the percussion parts can be received. * If the value is 64 and over, the Modify Lock will be done. If the value is 63 and under, the

Modify Lock will be canceled.

* When recording, this is recorded in the sequencer data itself.

❍Soft (Controller number 67)

Status 2nd byte 3rd byte BnH 43H 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* Only the pad part and the percussion parts can be received. * When this message is received, the Modify Clear will be done. * When recording, this is recorded in the sequencer data itself.

❍General purpose controller 6 (Controller number 81)

Status 2nd byte 3rd byte BnH 51H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the position data of the d beam controller. * When recording, this is recorded in the sequencer data itself.

❍General purpose controller 7 (Controller number 82)

Status 2nd byte 3rd byte BnH 52H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the position data of the ribbon controller L. * When recording, this is recorded in the sequencer data itself.

❍General purpose controller 8 (Controller number 83)

Status 2nd byte 3rd byte BnH 53H vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the position data of the ribbon controller R. * When recording, this is recorded in the sequencer data itself.

❍Effect 1(Reverb Send Level) (Controller number 91)

Status 2nd byte 3rd byte BnH 5BH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the percussion parts and the melody parts can be received. * This is used as the part reverb send level of the sequencer pattern data. * Not recorded in the sequencer.

MIDI Implementation

❍Effect 2(Tremolo Depth) (Controller number 92)

Status 2nd byte 3rd byte BnH 5CH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127)

* Only the pad part and the percussion parts can be received. * This is used as the data of the [LFO FLT/AMP] knob. * When recording, this is recorded in the sequencer data itself.

❍Effect 4(Celeste Depth) (Controller number 94)

Status 2nd byte 3rd byte BnH 5EH vvH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127) 0-63=OFF, 64-127=ON

* In the melody parts and the percussion parts, it is used as the multi effects switch of the

sequencer pattern data. * In the pad part, it is used as the data of the [MULTI EFFECTS] button. * When recording, this is recorded in the sequencer data itself if it is received on the pad

part or the percussion parts.

❍RPN MSB/LSB (Controller number 101, 100)

Status 2nd byte 3rd byte BnH 65H mmH BnH 64H llH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = upper byte of parameter number specified by RPN (MSB) ll = lower byte of parameter number specified by RPN (LSB)

* Only the channel assigned to the melody part can be received. * The value specified by RPN will not be reset even by messages such as program change

or reset all controllers. * Not recorded in the sequencer.

**RPN** The RPN (Registered Parameter Number) messages are expanded control changes,and each function of an RPN is described by the MIDI Standard. To use these messages, you must first use RPN (controller number 100 and 110, their order does not matter) to specify the parameter to be controlled, and then use Data Entry messages (controller number 6, 38) to specify the value of the specified parameter. Once an RPN parameter has been specified, all data entry messages received on that channel will modify the value of that parameter. To prevent accidents, it is recommended that you set RPN null (RPN number = 7FH 7FH) when you have finished setting the value of the desired parameter. Refer to "Examples of actual MIDI messages" <Example 4> (p. 109).

On the normal mode of HPD-15, RPN can be used to modify the following parameters. Regarding the value of each parameter, refer to Data Entry (Controller number 6).

RPN mm ll Parameter 00H 00H Pitch Bend Sensitivity 7FH 7FH RPN null

●Program Change

Status 2nd byte CnH ppH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) pp = Program number: 00H - 7FH (prog.1 - prog.128)

* The sound will change beginning with the next note-on after the program change is

received.

* Not recorded in the sequencer.

●Pitch Bend Change

Status 2nd byte 3rd byte EnH llH mmH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm,ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)

* In the melody parts, it is used as the part pitch bend change of the sequencer pattern

data. * In the pad part or the percussion parts, it is used as the data of the [PITCH] knob. * When recording, this is recorded in the sequencer data itself.

■Channel Mode Messages

●All Sounds Off (Controller number 120)

Status 2nd byte 3rd byte BnH 78H 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* When this message is received, all currently-sounding notes on the corresponding

channel will be silenced. However, the status of channel messages will not change. * Not recorded in the sequencer.

●Reset All Controllers (Controller number 121)

Status 2nd byte 3rd byte BnH 79H 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* When this message is received, the following controllers will be set to their reset values. * When recording, a control message carrying the reset value will be created and recorded.

Controller Reset value Pitch Bend Change +/-0 (center) Polyphonic Key Pressure 0 (off) Modulation 0 (off) Foot Control 0 (off) General Purpose Controller 1 0 (off) General Purpose Controller 2 0 (off) General Purpose Controller 6 0 (off) General Purpose Controller 7 0 (off) General Purpose Controller 8 0 (off) Hold 1 0 (off) RPN unset; previously set data will not change

●All Notes Off (Controller number 123)

Status 2nd byte 3rd byte BnH 7BH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* When All Notes Off is received, all notes on the corresponding channel will be turned

off. However if Hold 1 is ON, the sound will be continued until these are turned off. * In the recording mode, “Note OFF message” will be created for corresponding Note ON

message, and will be recorded.

Appendices

MIDI Implementation

●OMNI OFF (Controller number 124)

Status 2nd byte 3rd byte BnH 7CH 00H

n = MIDI channel number:0 H - FH (ch.1 - ch.16)

* The same processing will be carried out as when All Notes Off is received.

●OMNI ON (Controller number 125)

Status 2nd byte 3rd byte BnH 7DH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* The same processing will be carried out as when All Notes Off is received.

●MONO (Controller number 126)

Status 2nd byte 3rd byte BnH 7EH mmH

n = MIDI channel number: 0H - FH (ch.1 - ch.16) mm = mono number: 00H - 10H (0 - 16)

* The same processing will be carried out as when All Sound Off or All Notes Off is

received.

●POLY (Controller number 127)

Status 2nd byte 3rd byte BnH 7FH 00H

n = MIDI channel number: 0H - FH (ch.1 - ch.16)

* The same processing will be carried out as when All Sound Off or All Notes Off is

received.

■System Realtime Message

* Following System Realtime Messages cannot be recorded in recording mode.

●Timing Clock

Status F8H

* Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext".

■System Exclusive Message

* Following System Exclusive Messages cannot be recorded.

Status Data byte Status

F0H iiH, ddH, ......, eeH F7H

F0H: System Exclusive Message status ii = ID number: an ID number (manufacturer ID) to indicate the manufacturer whose

Exclusive message this is. Roland’s manufacturer ID is 41H. ID numbers 7EH and 7FH are extensions of the MIDI standard; Universal Non-realtime Messages (7EH) and Universal Realtime

Messages (7FH). dd,..., ee = data: 00H - 7FH (0 - 127) F7H: EOX (End Of Exclusive)

The System Exclusive Messages received by the normal mode of HPD-15 are; Universal Non-realtime System Exclusive Messages, Data Requests (RQ1), and Data Set (DT1).

●Universal Non-realtime System Exclusive Messages

❍Identity Request

Status Data byte Status F0H 7EH, dev, 06H, 01H F7H

Byte Explanation F0H Exclusive status 7EH ID number (universal non-realtime message) dev Device ID (dev:00H - 1FH (1 - 32) Initial value is 10H (17)) 06H, 01H Identity request F7H EOX (End Of Exclusive)

* Even if the Device ID is 7FH (Broadcast), Identity reply message will be transmitted. * When Identity Request is received, Identity reply message will be transmitted (p. 104).

●Data transmission

HPD-15 can transmit and receive the various parameters using System Exclusive messages. The exclusive message of HPD-15's data has a model ID of 00H 2EH and a device ID of 10H (17). Device ID can be changed in HPD-15.

❍Request data 1 RQ1 (11H)

This message requests the other device to send data. The Address and Size determine the type and amount of data to be sent. When a Data Request message is received, if the device is ready to transmit data and if the address and size are appropriate, the requested data will be transmitted as a "Data Set 1 (DT1)" message. If not, nothing will be transmitted.

●Start

Status FAH

* Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext" or "Remote".

●Continue

Status FBH

* Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext" or "Remote".

●Stop

Status FCH

* Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext" or "Remote".

●Active Sensing

Status FEH

* When Active Sensing is received, the unit will begin monitoring the intervals of all

further messages. While monitoring, if the interval between messages exceeds about 420 ms, the same processing will be carried out as when All Sounds Off, All Notes Off and Reset All Controllers are received, and message interval monitoring will be halted.

100

Status Data byte Status F0H 41H, dev, 00H, 2EH, 11H, aaH, bbH, F7H

ccH, ddH, ssH, ttH, uuH, vvH, sum

Byte Explanation F0H Exclusive status 41H ID number (Roland) dev Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17)) 00H 2EH Model ID (HPD-15) 11H Command ID (RQ1) aaH Address MSB: upper byte of the starting address of the requested data bbH Address 2nd: 2nd byte of the starting address of the requested data ccH Address 3rd: 3rd byte of the starting address of the requested data ddH Address LSB: lower byte of the starting address of the requested data ssH Size MSB ttH Size 2nd uuH Size 3rd vvH Size LSB sum Checksum F7H EOX (End Of Exclusive)

* The amount of data that can be transmitted at once time will depend on the type of data,

and data must be requested using a specific starting address and size. Refer to the Address and Size listed in "Parameter Dump Request" (p. 108).

* Regarding the checksum please refer to p. 109.

Roland HPD-15 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

USING THE UNIT SAFELY

IMPORTANT NOTES

Contents

Features

How To Use This Manual

Panel Descriptions

Attaching the HPD-15 to the Stand

Chapter 1 Quick Start

Chapter 2 Modifying a Patch

Basic procedure in Edit Mode

Adjusting Sounds

Adding Cyclic Change to the Tone

Effect Settings

Adjusting the Reverb Settings

Adjusting the Multi-Effect Settings

Controlling the Tone

Using a Pad to Start a Pattern

Set the Volume of the Entire Patch

Settings for Other Functions

Limiting the Resonance

Adjusting the Sensitivity of the Pads

Specifying the Roll Speed

Setting for MIDI Transmission

Naming a Patch

Saving Your Settings (Write)

Duplicating Settings (Copy)

Basic Procedure for Copy

Copying a Pad Set (Pad Set Copy)

Copying Pad/D Beam/Ribbon Settings (Pad Copy)

Copying Pad/D Beam/Ribbon Settings to All Pads (Pad Copy to All)

Exchanging Patch Settings (Patch Exchange)

Copying a Value to All Pads

Using Realtime Modify to Adjust Values

Chapter 3 Recording Your Performance (Sequencer)

Basic Settings for Recording

Settings for the Pattern

Settings for the Click, and others

Settings for the Recording (Set in the Recording Stand-by mode)

Rehearsal Function

Basic Settings for Playing Back

Synchronizing with an External MIDI device (MIDI Sync)

Changing the Settings of Pattern

Pause

Fast-Forward and Rewind

Saving the Changed Settings

Editing a Pattern

Basic Settings for Editing

Erasing Parts

Copying a Pattern

Connecting Two Patterns

Deleting a Pattern

Chapter 4 Changing Patches in the Desired Sequence

Creating a Patch Chain (Chain Edit)

Specifying the Last Step of the Patch Chain

Inserting a Chain Step

Playing with a Patch Chain (Chain Play)

Deleting a Chain Step

Chapter 5 Settings for the Entire HPD-15

Settings for basic operation

Settings for the Basic Operation

Settings for the Controllers

Turning On/Off the D Beam

Turning On/Off the Ribbons

Setting the Pad Sensitivity

Using the Foot Switches to Control the Tone / Sequencer

Settings for the Foot Switches

Using the Pedal to Control the Hi-Hat / Tone

Settings for the Pedal

Using the External Pads/Kick Trigger Unit to Trigger a Sound

Settings for the External Pads / Kick Trigger Unit

More Detailed Settings for the External Pads / Kick Trigger Unit

Setting the Sound of the External Pads / Kick Trigger Unit

MIDI Settings

Restoring Settings to Their Default Values (Factory Reset)

Chapter 6 Connecting MIDI Devices

Using the HPD-15 to Play External Instruments