Roland TAIKO-1 Reference Manual

© 2021 Roland Corporation

01

Contents

Assembly ...................................... 4

: Checking the Parts ............................. 4

: Assembly ..................................... 4

: Attaching a Strap .............................. 5

: Disassembly................................... 5

: Setting up the Floor Stands . . . . . . . . . . . . . . . . . . . . . 6

: Setting up on a Three-Pillar Stand ............... 6

Panel Descriptions ............................ 8

: Top Panel ..................................... 8

Performance Techniques .......................... 8

: Rear Panel

(Connecting Your Equipment)

............... 9

Getting Ready ................................. 10

: Installing the Batteries ......................... 10

: Turning the Power On/O ...................... 10

: Basic Operations............................... 11

: Setting the Optimum Sound for the Output

Destination

(Output Mode)

........................ 11

Kits ............................................. 12

Memory........................................ 12

Playing......................................... 13

(Kit)

: Selecting a Sound

: Playing Along with a Song ...................... 13

Using the MIX IN Jack ............................. 13

Using a Bluetooth Device .......................... 13

: Using the Lesson Function

Sounding the Ji-uchi

Using the Metronome

Recording

Practicing

(Rec)

.................................. 14

(Practice)

.......................... 13

(Lesson)

............... 13

(Ji-uchi)

........................ 13

(Metronome)

.................... 14

................................ 15

Editing Sounds and Other Settings for Kits

(Kit Edit)

.......................................... 16

: Setting an Instrument

Parameters Specic to Each Instrument............... 17

: Conguring the Eects

Applying an Equalizer for Each Pad

Applying a Compressor to Each Pad

Applying Ambience to the Entire Kit

Applying MFX to Each Pad

: Setting the Kit Level
: Mute Group

(Mute Group)

(Instrument)

(Eects)

(MFX)

(Kit Level)

......................... 20

................ 16

................... 18

(Pad EQ)

............ 18

(Pad Comp)

(Ambience)

.......... 18

......... 19

..................... 19

.................... 20

: Setting How the Nuance Changes According to

Where You Strike the Pad

(Kit Pad Control)

........... 20

: Controlling the Sounds Using a Connected Pedal

(Pedal Control)

: Controlling from an External MIDI Device

Setting the Note Number for Each Pad

Setting the MIDI Channel for Each Pad

Setting the Gate Time for Each Pad

: Naming a Kit
: Giving a Kit a Kanji Name
: Copying a Kit
: Recalling Kits Successively

Selecting a Set List

Creating a Set List

.................................... 21

(Kit MIDI)

(Note Number)

(Channel)

(Gate Time)

(Kit Name)

(Kit Copy)

.......................... 22

(Kit Kanji Name)

.......................... 23

(Set List)

............... 23

(from Selecting Banks to Selecting Kits)

(from Creating a List to Saving to a Bank)

..... 21

......... 22

........... 22

........... 22

...... 23

..... 24

Importing and Playing Audio Files

(User Sample)

: Importing an Audio File
: Previewing User Samples
: Editing a User Sample
: Renaming a User Sample
: Deleting a User Sample
: Renumbering User Samples to Eliminate Blanks

(Renumber)

: Optimizing the User Sample Area
: Deleting All User Samples

..................................... 25

(Import)

.................. 25

(Preview)

(Edit)

(Rename)

(Delete)

................ 25

...................... 26

................ 26

.................. 26

...................................... 27

(Delete All)

(Optimize)

. . . . . . . . . . . . . . 27

....... 27

. 21

2

Contents

Conguring the Trigger Settings ............. 28

: Setting the Sensitivity and Other Parameters for

Each Pad

Checking the Velocity and Other Settings of the Pads
You Strike

: Conguring the Other Pad Not to Sound

(Xtalk Cancel)

: Specifying the Pads to Use
: Preventing the Currently Edited Pad from

Changing

(Pad Settings)

............................ 28

...................................... 29

..................................... 29

(Trigger Lock)

(Active Pad)

........................... 30

............. 29

Using the Bluetooth® Functionality .......... 31

: Using the TAIKO-1 to Hear Music Played from a

Mobile Device ................................. 31

Registering a Mobile Device

Conguring the Bluetooth Function

Connecting an Already-Paired Mobile Device .......... 32

Playing Music from a Mobile Device.................. 32

Checking the Bluetooth Status

: Resetting the Bluetooth Pairing Settings

Backing up to USB Flash Drive

(Pairing)

.................. 31

(Setup)

............ 31

(Bluetooth Status)

.......... 32

(USB Memory)

(Reset)

... 32

... 33

Troubleshooting .............................. 41

Appendix ...................................... 42

: Adjusting the Head Tension..................... 42

: Kit List ........................................ 43

: Instrument List ................................ 43

: MFX List ...................................... 45

: Ji-uchi List..................................... 52

: Ji-uchi Instrument List.......................... 52

: Metronome Sounds ............................ 53

: Allowable Characters........................... 53

: Allowable Kanji Characters ..................... 53

Main Specications ........................... 54

MIDI-Related Settings......................... 55

: Note Numbers for Each Pad

(Defaults)

: MIDI Output Specications ..................... 55

: High-Resolution Velocity Prex

: Program Change Messages ..................... 55

............. 55

(Controller Number 88)

55

: Backing up the Settings
: Loading Backup Data
: Deleting Backup Files

(Save Backup)

(Load Backup)

(Delete Backup)

: Initialized a USB Flash Drive

(USB Memory Format)

.............. 33

................ 34

.............. 35

Making Overall Settings for the TAIKO-1

(Others)

.......................................... 36

: Conguring the OUTPUT/PHONES Jack

(Output Settings)

.................................. 36

: Conguring the Pedal Jacks and Shortcut

Settings

(Control Settings)

: MIDI-Related Settings
: Conguring the Master Equalizer
: Conguring the Master Compressor

.......................... 36

(Global MIDI)

................ 38

(Master EQ)

(Master Comp)

: Setting the Screen and AUTO OFF Function

(LCD/Auto O)

.................................... 39

: Viewing Information for This Instrument

(Version Info)

: Returning to the Factory Settings

..................................... 39

(Factory Reset)

....... 38

TAIKO-1 Audio Signal Flow ................... 56

.... 35

.. 39

.... 40

3

Assembly

Checking the Parts

1 2

5

8 9 10

Part name Quantity

Rods (with pad attachment screws) 8

1

Pads 2

2

Sound module 1

3

Rubber ring (for securing the sound module) 4

4

Trigger cables (0.2 m) 2

5

Trigger cables (1.0 m) (*1) 2

6

AC adaptor + power cord 1

7

Drum key 1

8

Hex wrench (*2) 1

9

Cable clamps 3

10

6

r

Assembly

3

4

7

If necessary, spread out a blanket or similar material to prevent the
TAIKO-1 or oor from being scratched during assembly.

1. Attach the rods to the pad

1

1-1. Place the pad (
1-2. One at a time, insert the rods (

pad.

MEMO

The rods should be facing diagonally when correctly inserted.

1-3. Use the drum key

until they no longer turn.
The appropriate tightness is approximately when the bolt head is no

longer visible.

) so that the surface with holes in it faces upward.

2

to tighten the bolts of the rods (1 eight locations)

8

eight locations) into the holes of the

1

1

r

2

*1 Use the trigger cable (1.0 m) when playing the taiko while not on your shoulder.

&

“Setting up the Floor Stands” (p. 6)

*2 The hex wrench is used to adjust the tension of the heads.

&

“Adjusting the Head Tension” (p. 42)

Watch a video that explains TAIKO-1 assembly.

Access the following URL on your
computer or smartphone.

http://roland.cm/taiko_qs

Protrusions on
the pad

2

1-4. Place the other pad (

upward.

1-5. Turn over the pad to which the rods are attached, position the pads so

that the projections of the two pads are aligned, and then consecutively
insert the rods into the holes of the other pad one by one.

1-6. While making sure that the rods are inserted in the holes of the pad, use

the drum key
they no longer turn.

) so that the surface with holes in it is facing

2

to tighten the bolts of the rods (1 eight locations) until

8

4

Assembly

2. Attaching the sound module

* When attaching the sound module, take care that you are not injured by

an rubber ring.

2-1. Attach an rubber ring (

module (
Gently pull the rubber ring to t it into the groove.

2. Pull gently

2-2. Loop the rubber ring over the hooks of the rods that are located opposite

the protrusions on the pads (four locations).

Protrusions on the pad

) (four locations).

3

Rubber ring

1. Fit into this groove

) to each of the four corners of the sound

4

Protrusions on the pad

(opposite side)

Mounting order

Attaching a Strap

You can attach a commercially available taiko strap and play this
instrument.

To attach a strap, wrap it around the tip of the rod as shown in the
illustration (two locations).

Wrap in a gure-eight, and then tie.

2

1

1

Attach the strap to these two locations.

NOTE

If the wrapping is insucient, the strap might be displaced or
disconnected. Fasten it securely to prevent the instrument from
dropping.

Disassembly

Hooks

Sound module

Hooks

3. Attaching the trigger cables

Mounting order

Rubber ring

4

1. Detach the sound module

1-1. Disconnect all connection cables such as the AC

adaptor and trigger cables.

1-2. One by one, pull and detach each rubber ring

that is attached to the rod hooks (four locations),
and detach the sound module.

This is easier if you remove the rubber rings rst.

2. Loosen all bolts for the rods of the pad 1

2-1. Use the drum key to loosen the

bolts until you can see their
heads from the side.

Do not remove them from the
rods; leave them attached.

Loosen all eight bolts of the
rods.

3. Pull the rods out of the pad

3-1. Taking care not to apply excessive force

to the connector section, pull out the rod
perpendicularly from the pad.

Gap

3-1. Connect the trigger cables (0.2 m) (

pads.

3-2. Connect the other end of each cable to the TRIG IN 1/2 jacks of the sound

module.

) to the TRIG OUT jacks of the two

5

4. Disassemble the pad 2 in the same way

4-1. Loosen the bolts of the other pad in the same way, and pull out the rods.

5

Assembly

Setting up the Floor Stands

What you’ll need besides the TAIKO-1 and stand

5 String (0.5 m) × 4
5 Thick cloth/fabric (used for cushioning) × 3

1. Remove the pads and sound module of the TAIKO-1.

&

“Disassembly” (p. 5)

6. Turn the assembled unit over.

7. Connect the pad and sound module with the included

trigger cable (1.0 m).

Pad: TRIG OUT jack
TAIKO-1: TRIG IN 1 jack (or TRIG IN 2 jack)

Set all Xtalk Cancel parameters to “0.”

&

“Conguring the Other Pad Not to Sound (Xtalk Cancel)”

(p. 29)

Depending on the stand and how you strike the TAIKO-1, you may
get a better drumming feel by adjusting the parameters.

&

“Conguring the Trigger Settings” (p. 28)

MEMO

You can line up two sets of
pads that you have respectively
attached to the oor stands, for
two people to play. In this case,
connect the TRIG OUT jack of the
second pad to the TRIG IN 2 jack (or
the TRIG IN 1 jack) of the TAIKO-1.

Place the sound module on the
oor for use.

Disassembly

To disassemble the units, use the reverse process you used when
assembling them.

* The rods and rings are not used here.

2. Wrap the cloths or fabric around the stand (three

places).

3. Turn the pad over and thread the strings through

the holes where the rods are usually mounted (four
places).

* Make sure to thread the string

through the holes at the
specied places. If you thread
the strings through other places,
this could damage the sensor.

4. Flip the stand upside down that you wrapped with

cloths or fabric in step 1, and place it on the pad that
you turned over.

Position the pad so that the protrusion faces towards you.

5. Tie the strings into knots (four places).

Where to knot the
strings (four places)

Setting up on a Three-Pillar Stand

What you’ll need besides the TAIKO-1 and stand

5 String (1 m) × 3

1. Disconnect all connection cables such as the AC

adaptor and trigger cables.

2. Remove the sound module of the TAIKO-1.

Leave the rubber rings on the sound module.

Protrusions on the pad

6

3. Thread the string through the belt on each pillar of

the three-pillar stand, and tie a string into a loop
(three places).

4. Hook the string loops onto the rods of the TAIKO-1, as

shown in the illustration.

Assembly

Caution when replacing the head

(do not insert your hand or ngers)

Do not insert your hand or ngers into the area indicated by the
arrow in the illustration. Doing so might cause injury or damage.

Frame

Head

Gap

Gap

The rubber components of the head and rim are consumable
parts whose performance will decline with use over time.

If the head becomes torn, or if the surface of the head sags even
when the head tension is correctly adjusted, replace the head.

If the rubber of the rim is damaged, contact the retailer from
whom you purchased the product, or the nearest Roland Service
Center.

&

“Adjusting the Head Tension” (p. 42)

Place the pad so the protrusions on the pad face towards you.
Each string loop should hook onto two rods.

5. Attach the sound module.

Attach the sound module so that it is a little to the right from the
center, making the buttons easier to operate.

View from the front (player’s side)

Handling caution

Do not touch the screws of the
projections, since doing so might
cause the heads to loosen.

Specifying the pads to use

With the TAIKO-1, you can use both pads; but if you want to use
only one pad, you can enable just one. This helps prevent the
lower surface from operating unintentionally.

&

“Specifying the Pads to Use (Active Pad)” (p. 29)

(about the screws)

(Active Pad)

Connect the pad and sound module with the included trigger
cable (0.2 m).

Pad: TRIG OUT jack
TAIKO-1: TRIG IN 1 jack

(Do not connect the sound module to the lower pad.)

Disassembly

To disassemble the units, use the reverse process you used when
assembling them.

7

Panel Descriptions

Head Rim

1

2

1

Top

1

Pad 1 (head 1/rim 1)

Pad 1 (PAD1) is the pad that is attached to
the upper surface and connected to the TRIG IN 1 jack.

The mesh area is called the “head (PAD1H),” and the rubber area is
called the “rim (PAD1R).”

2

Pad 2 (head 2/rim 2)

Pad 2 (PAD2) is the pad that is attached to the lower surface and
connected to the TRIG IN 2 jack.

The mesh area is called the “head (PAD2H),” and the rubber area is
called the “rim (PAD2R).”

Bottom

2

Performance Techniques

About the “bachi” (sticks) to use

You can use bachi (sticks) made of either magnolia tree

wood or maple.

Using maple sticks

When using maple sticks, the mesh head (surface) and the

rubber on the rim (edge) wears out more quickly.

Wear and tear on the sticks

The sticks may tend out wear out after playing on the mesh (heads) for some time.

Caution on using chipped/broken sticks

Do not use chipped or broken sticks, as doing so may damage the surface of the heads.

* When playing the TAIKO-1, do not strike any location other than the surface or rim of the pad (including

the rods or the sound module). Failure to observe this causes malfunctions or damage to the instrument.

Head

Strike the head.
The nuances of the tone change

according to the location of the head
that you strike.

NOTE

If you strongly strike the mesh area between the surface and
the rim (the gray area in the illustration), the “bachi” (sticks)
will strike the material on the rear of the head, and the sensor
will not work correctly. Since this will also damage the parts,
take care not to perform so strongly that you strike the
material on the rear.

MEMO

5 This instrument does not support playing the head and rim of the same pad

simultaneously (including open rim shots).

5 This instrument does not support playing the rim of pad 1 and of pad 2

simultaneously.

* Depending on how the pads are set up, it is possible to simultaneously strike the rim of pad

1 and of pad 2.

&

“Setting up the Floor Stands” (p. 6)

Rim

Do not strike the projection
of the rim.

Doing so will damage the

“bachi” (sticks) and will also

cause malfunctions and
faulty operation.

Strike the rim.
You hear a sound other than that

produced by the head.

Top

Bottom

Top Panel

1

3

2

4

5

1

Display

Shows various information according to the operation.

2

[H] [I] buttons

Move the cursor. The currently selected item is highlighted.

3

F1 (left) button, F2 (right) button

The function of these buttons changes depending on what is
shown in the display.

4

] (TOMOE) button

[

Regardless of the screen that is shown, pressing this button takes
you back to the top screen and selects a favorite kit (with the
factory settings).

You can change the function of this button.

&

“Conguring the Pedal Jacks and Shortcut Settings (Control

Settings)” (p. 36)

5

[+] [-] buttons

Selects a kit or modies a value.

6

[L] button

Turns the power on/o.

7

[ ] [ ] buttons

Raises or lowers the volume. When you press a button, the current
volume is shown (the previous screen reappears after several
seconds).

6

7

8

Panel Descriptions

Rear Panel

* To prevent malfunction and equipment failure, always turn down the volume, and turn o all the units before making any connections.

E

TRIG IN 2 jack

A

OUTPUT jack

(Connecting Your Equipment)

F

DC IN jack

Connect the included AC adaptor to
this jack.

’

to AC outlet

Pad 2 Pad 1

AC adaptor

Cord hook

G

Batteries

&

“Installing the Batteries” (p. 10)

J

USB COMPUTER port

K

USB MEMORY port

D

TRIG IN 1 jack

B

FOOT SW jack

A

OUTPUT jack (mono)

Outputs the sound. Connect this to your
amplied speaker or mixer.

As necessary, use the cable clamp to tie the cable
to the rod.

B

FOOT SW jack

You can connect a footswitch (BOSS FS-5U, FS­6; sold separately) and use it to control various parameters.

&

“Conguring the Pedal Jacks and Shortcut Settings (Control

Settings)” (p. 36)

Factory settings:

You can use FOOT SW 1/2 to step forward or backward through the kits, one

at a time.

C

EXP PEDAL 1/2 jacks

You can connect an expression pedal (EV-5, sold separately) and
use it to control various parameters.

&

“Conguring the Pedal Jacks and Shortcut Settings (Control

Settings)” (p. 36)

Factory settings:

You can use EXP PEDAL 1 to control the overall volume.

You can use EXP PEDAL 2 to control the volume of the “ji-uchi” (base beat).

* Use only the specied expression pedal. Connecting any other expression

pedals may cause the unit to malfunction or become damaged.

D

TRIG IN 1 jack

Use the included trigger cable to connect the TRIG OUT jack of pad
1 to the TRIG IN 1 jack.

E

TRIG IN 2 jack

Use the included trigger cable to connect the TRIG OUT jack of pad
2 to the TRIG IN 2 jack.

C

EXP PEDAL 1/2 jacks

Cable clamps

H

PHONES jack

F

DC IN jack

Connect the included AC adaptor to this jack.

* Use the cord hook to secure the cord of the AC adaptor as shown in the

illustration.

G

Batteries

&

“Installing the Batteries” (p. 10)

H

PHONES jack

Connect your headphones here. Use a stereo mini plug for this
connection.

* Even if headphones are connected, sound is still output from the OUTPUT

jack.

I

MIX IN jack

Connect an external audio device.
Use a stereo mini plug for this connection.

J

USB COMPUTER port

Connect your computer to the TAIKO-1’s USB port via USB cable.

* Do not use a micro USB cable that is designed only for charging a device.

Cables used for charging only cannot transmit data.

K

USB MEMORY port

You can connect a USB ash drive here.

&

“Backing up to USB Flash Drive (USB Memory)” (p. 33)

* Never turn o the power or remove the USB ash drive while the message

“Processing...” is displayed.

I

MIX IN jack

Connect an audio device
here.

9

Getting Ready

Installing the Batteries

As an alternative to using the AC adaptor, you can use commercially
available AA-size rechargeable Ni-MH batteries.

* When an AC adaptor is used, the unit is powered by the AC adaptor even

if batteries are installed.

* When turning the unit over, be careful so as to protect the buttons from

damage. Also, handle the unit carefully; do not drop it.

1. Remove the battery cover.

1-1. Remove the thumbscrew from the battery cover.
1-2. Slide the battery cover forward and remove it.

Battery cover

Thumbscrew

2. Insert the batteries into the battery case in the

correct orientation.

3. Close the battery cover.

* Handling batteries improperly may cause the risk of explosion or uid

leakage. Make sure to carefully observe all of the items related to
batteries that are listed in “USING THE UNIT SAFELY” and “IMPORTANT

NOTES” (found in the leaet “USING THE UNIT SAFELY” and the Owner’s

Manual).

Remaining battery indication

When the remaining battery power runs low, a battery low icon
( ) appears in the upper right of the display. When this appears,
install fresh batteries as soon as possible.

If you continue to use the instrument in this state, the “Battery Low!”
message appears, and nally the TAIKO-1 stops functioning entirely.

Turning the Power On/O

* Before turning the unit on/o, always be sure to turn down the volume

on all connected devices. Even with the volume turned down, you might
hear some sound when switching the instrument on/o. This is normal
and does not indicate a malfunction.

Turning the power on

[L] button

[ ] [ ] buttons

1. Turn on the equipment in this order: TAIKO-1 (press

the [L] button) 0 connected devices.

2. Use the [ ] [ ] buttons to adjust the volume.

MEMO

Hold down the [ ] button and press the [ ] button to make the
value increase quickly. Hold down the [ ] button and press the

[ ] button to make the value decrease quickly.

* The power to this instrument turns o automatically after a certain

amount of time has passed since it was played or operated (Auto O
function).

If you do not want the power to turn o automatically, disengage
the Auto O function.

&

“Setting the Screen and AUTO OFF Function (LCD/Auto O )”

(p. 39)

5 To restore power, turn the power on again.

Turning the power o

1. Turn o the equipment in this order: connected

devices 0 TAIKO-1 (long-press the [L] button).

10

Getting Ready

Basic Operations

Function settings

These buttons execute the functions shown in the lower part of the
display.

The functions vary for each screen.

* In the Owner’s Manual, these buttons are described as “function” and

(button): for example, “MENU” (F2 button).

Moving the cursor

(F1/F2 buttons)

F2 buttonF1 button

([H] [I] buttons)

Changing a value ([+] [–] buttons)

[+] [-] buttons

Use the [+] [–] buttons to change the value that is highlighted by the
cursor.

MEMO

If you hold down the [+] button and press the [–] button, the value
increases quickly. If you hold down the [–] button and press the [+]
button, the value decreases quickly.

TOMOE boost

(speed up)

[H] [I] buttons

The cursor is a highlighted area onscreen that shows the setting you
can change. If there are multiple items to set onscreen, use the [H] [I]
buttons to move the cursor to the item you want to change.

MEMO

Press the [I] button while holding down the [H] button to make the
cursor move up quickly, and press the [H] button while holding down
the [I] button to make the cursor move down quickly.

Editing a value

If you hold down the [ ] (TOMOE) button and press the [+] or

[–] button, the value changes at ultra-high speed.

Moving the cursor

If you hold down the [ ] (TOMOE) button and press the [H] or

[I] buttons, the value changes at ultra-high speed.

Changing the volume

If you hold down the [ ] (TOMOE) button and press the [ ]
or [ ] button, the volume changes at ultra-high speed.

Setting the Optimum Sound for the Output
Destination

&

“Conguring the OUTPUT/PHONES Jack (Output Settings)”

(p. 36)

(Output Mode)

11

Kits

Layer ALayer A

Layer BLayer B

Layer ALayer A

Layer BLayer B

Layer ALayer A

Layer BLayer B

Layer ALayer A

Layer BLayer B

The sounds that play when you strike the pads of this instrument are called “instruments.” The set
of instruments allocated to each pad is called a “kit.” The kits are congured as shown below.

MEMO

When you change the settings for a kit, the changes are saved automatically.

Kit

Kits 1–100

Surface/head

(PAD1H)

Pad 1

Edge/rim

(PAD1R)

Surface/head

(PAD2H)

Pad 2

Edge/rim

(PAD2R)

Kit

Volume, pan, pad compressor, pad equalizer, how
each layer is sounded, etc.

Volume, pan, pad compressor, pad equalizer, how
each layer is sounded, etc.

Volume, pan, pad compressor, pad equalizer, how
each layer is sounded, etc.

Volume, pan, pad compressor, pad equalizer, how
each layer is sounded, etc.

Instrument

Overall kit settings

Eect, kit name, MIDI settings, etc.

Memory

The settings for kits, triggers and so on are saved in what is called

“memory.”

TAIKO-1

LOAD

SAVE

USB memory

Backups

Kits

User samples

COPY

User memory

Kits

Set list
Trigger settings
System settings

User samples

Ji-uchi settings

Preset memory

Kits

Trigger settings

Set list

System settings

Ji-uchi settings

Preset memory

This is where the factory default settings are stored.
You can copy the preset memory data to user memory and restore the

unit to factory settings.

User memory

The settings used when editing or playing this instrument are stored
here.

You can load or copy data from a USB ash drive or from preset
memory (p. 33).

MEMO

5 Data saved to USB ash drive can be loaded or copied into user memory. For

details, refer to “Loading Backup Data (Load Backup)” (p. 34).

USB ash drive folder architecture

IMPORT folder

If there are audio les that you want to import as user samples, save them in this

folder.

Roland folder

The TAIKO-1’s backup data is saved here.

TAIKO-1 folder

Backup folder

Backup data is saved here.

Kit folder

Kit backup data is saved here.

USB ash drive (32 GB max.)

The settings saved in user memory are stored as a single set on the
USB ash drive, and up to 99 sets can be saved (backed up).

You can also save up to 999 kits aside from the backups.

12

Playing

Selecting a Sound

The TAIKO-1 assigns separate sounds to the head and rim of the two
pads. These four sounds are collectively called a “k it .”

There are 50 preset kits. By switching kits, you can perform using a
variety of dierent sounds.

(Kit)

1. Press “BACK” (F1 button) several times to access the top

screen.

2. Use the [+] [–] buttons to select the kit.

About the top screen

This is the basic screen of the TAIKO-1, which appears when you turn
on the power.

Kit number

Kit name

If a Japanese (kanji) name is specied for
the kit, the kanji name is also shown.

MEMO

You can edit the sounds of the kit.
For details, refer to “Editing Sounds and Other Settings for Kits (Kit

Edit)” (p. 16).

Trigger indicator

The strength at which you strike the head or rim is shown in six levels.

Function

Displays if functions are assigned to

the F1 and F2 buttons.

Using the Lesson Function

You can sound a “ji-uchi” (base beat) or metronome, and practice along
with this to improve your rhythmic accuracy, or record and play back
your performance.

(Lesson)

Sounding the Ji-uchi (Ji-uchi)

The TAIKO-1 can sound a ji-uchi, which is like a metronome. By
performing along with the ji-uchi, you can practice the basics and
improve your performance skill.

What is ji-uchi?

Ji-uchi is the basic rhythm of the song.
The ji-uchi is struck like a metronome, and the song is played in

time with it.
Since the ji-uchi also plays a role in determining the expression

or tempo of the song (corresponding to the conductor of an
orchestra), it is an extremely important part.

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

3. Use the [

press “SELECT” (F2 button).

The setting screen appears.

H

] [I] buttons to select “Lesson,” and then

H

] [I] buttons to select “Ji-uchi,” and then

Playing Along with a Song

Using the MIX IN Jack

You can perform along with a song that’s playing back on the external
device, if the output from that device is input via the MIX IN jack.

* To adjust the playback volume, adjust the volume on your mobile device.

Using a Bluetooth Device

If an external device is connected via Bluetooth, you can play along
with a song playing back on the external device.

&

“Using the Bluetooth® Functionality” (p. 31)

Parameter

[H] [I] buttons

Ji-uchi Volume 0–31, MAX Sets the volume of the ji-uchi.

Track

Tempo 20–260 Sets the tempo.

Velocity 1–32 Sets the strength of the sound.

* The tempo and velocity can be set for each track.

Value

[+] [-] buttons

&

“Ji-uchi List”

(p. 52)

Explanation

Selects the ji-uchi pattern.

4. Press “PLAY p” (F2 button).

You can also switch to another screen while the ji-uchi plays.

5. Press “STOP q” (F2 button).

If a screen other than the ji-uchi setting screen is shown, access the
ji-uchi setting screen and then press “STOP q” (F2 button).

6. Press “BACK” (F1 button) several times to return to the

top screen.

MEMO

You can use MIDI to make the instrument play that sounds the ji­uchi. For details, refer to “Ji-uchi Instrument List” (p. 52).

13

Playing

Using the Metronome

(Metronome)

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

3. Use the [

then press “SELECT” (F2 button).

The setting screen appears.

Parameter

[H] [I] buttons

Tempo 20–260

Beat 1–9

Rhythm Type

Sound

Pan L30–CTR–R30

Metronome Volume 0–31, MAX

H

] [I] buttons to select “Lesson,” and then

H

] [I] buttons to select “Metronome,” and

Value

[+] [-] buttons

ˇ–˜

&

“Metronome

Sounds” (p. 53)

Explanation

Sets the tempo of the
metronome.

Sets the time signature (the
number of beats per measure).

Sets the interval of the
metronome.

Adjusts the metronome’s sound.

Sets the stereo position of the
metronome.

Sets the volume of the
metronome.

4. Press “START p” (F2 button).

5. Press “STOP q” (F2 button).

6. Press the F1 button several times to return to the top

screen.

Recording

Here’s how to record your performance and play it back repeatedly.

(Rec)

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

3. Use the [

“SELECT” (F2 button).

The STANDBY screen appears.

H

] [I] buttons to select “Lesson,” and then

H

] [I] buttons to select “Rec,” and then press

4. Press “START” (F2 button) to start recording.

The screen switches to “RECORDING...,” and recording starts.

5. Press “STOP” (F1 button) to stop recording.

The PLAYBACK screen appears.

LOOP: Turn this on if

you want to play back
repeatedly. Turn this o
if you want to play back
only once.

6. Press “PLAY p” (F2 button) to play back.

To stop, press “STOP ” (F2 button).

7. When you are nished, press “BACK” (F1 button).

A conrmation message appears.
If you decide to cancel, press “CANCEL” (F1 button).

NOTE

When you exit the REC (PLAYBACK) screen, the recorded content is
lost.

8. Press the [+] button to exit the PLAYBACK screen.

The STANDBY screen appears.

9. Press the F1 button several times to return to the top

screen.

14

Playing

Practicing

(Practice)

This lets you practice keeping the tempo with your body.
For the rst few measures, the click plays at the specied volume, but

for the next several measures the click is muted. This cycle of several
measures continues until you stop it.

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

3. Use the [

press “SELECT”

The setting screen appears.

Parameter

[H] [I] buttons

Measures 2, 4, 8, 16

Quiet

Metronome Volume 0–31, MAX

H

] [I] buttons to select “Lesson,” and then

H

] [I] buttons to select “Practice,” and then

(F2 button).

Value

[+] [-] buttons

RANDOM

1, 2, 4

Explanation

Specify the length (measures) of
the interval for which the click
alternates between “sounding”
and “quiet.”

The length of the “Quiet” interval
randomly changes each time.

Species the length (number of
measures) of the “Quiet” interval.

This setting cannot be longer
than half of the “Measures” value.

Sets the volume of the
metronome.

4. Press “START” (F2 button) to start practice.

5. Strike the pad in time with the metronome.

The metronome plays during the rst several measures. When you
reach the last measure during which the metronome plays, the
screen indicates “Ready..”

When the metronome stops sounding, the screen indication
changes to “Quiet.” Continue striking the pads during this time.

After the Quiet region, the proportion of your strikes that were
played at an accurate tempo are shown as a percentage value.

6. Press “STOP” (F1 button) to nish practicing.

7. Press the F1 button several times to return to the top

screen.

15

Layer ALayer A

Layer BLayer B

Layer ALayer A

Layer BLayer B

Editing Sounds and Other Settings for Kits

(Kit Edit)

Kits and instruments

On the TAIKO-1, the sounds that play when you strike the pads
are called “instruments” (INST). The set of instruments allocated
to each pad is called a “ k it.”

Surface/head

Pad

Edge/rim

Selecting a pad to congure

To edit the settings for a pad, strike that pad to select it.
rim of a pad, strike the rim.

Preventing the currently edited pad from changing

(Trigger Lock)

If you want to audition your performance sounds while you edit
the instruments, you can specify that the currently edited pad
does not change even if you strike another pad.

&

“Preventing the Currently Edited Pad from Changing (Trigger

Lock)” (p. 30)

* The pad remains locked even if you use MIDI messages to switch

pads.

MEMO

By assigning “Trig Lock” to the assignable buttons (p. 30),
you can use buttons such as [ ] (TOMOE) to switch this on/
o.

To select the

Saving your settings

Since the TAIKO-1 automatically saves the values that you
change, there’s no need to perform a specic operation to save
your settings.

Settings are also saved when you turn o the power.

Setting an Instrument

(Instrument)

This shows how to assign dierent sounds to the head or rim.
You can assign two sounds to an “instrument,” which can also be

played as a layer (layers A/B).

1. On the KIT EDIT screen, select “Instrument” and press

“SELECT” (F2 button).

The INSTRUMENT screen appears.

Layer A

Layer B

Set the “SW” (switch) to “ON ” to display the category and name, and to select the sound.

Category

Pad name

Sound Name

Layer B ON/OFF

2. Strike to select the pad that you want to set.

3. Press “EDIT” (F2 button) for more detailed settings.

The INST EDIT (LAYER A) screen appears.

This shows how to edit the sounds of a kit.

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

The KIT EDIT screen appears.

3. Use the [

press “SELECT” (F2 button).

Setting an Instrument (Instrument) page 16

Conguring the Eects (Eects) page 18

Setting the Kit Level (Kit Level) page 20

Mute Group (Mute Group) page 20

Setting How the Nuance Changes According to Where You Strike the Pad (Kit Pad Control)

Controlling the Sounds Using a Connected Pedal (Pedal Control) page 21

Controlling from an External MIDI Device (Kit MIDI) page 21

Naming a Kit (Kit Name) page 22

Giving a Kit a Kanji Name (Kit Kanji Name) page 22

H

] [I] buttons to select “Kit Edit,” and then

H

] [I] buttons to select the item, and then

page 20

Here we make the settings for layer A.

4. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Pad PAD1H–PAD2R Selects the pad to set.

Level

“Parameters
Specic to Each
Instrument”

Pitch -2400–2400

Decay 1–100 Sets the length of the sound’s decay.

Dynamic Enhnc
Sw

Transient Sw OFF, ON

Transient Time 1–10

Transient Attack -100–+100

Value

[+] [-] buttons

-INF, -60.0–+6.0

(in units of 0.5)

[dB]

&

“Parameters Specic to Each Instrument” (p. 17)

OFF, ON

Explanation

Sets the volume of the instrument.

Sets the pitch of the instrument (in units of
one cent).

* Semitone = 100 cents

Sets whether to use emphasize when you
play the instrument strongly (ON) or not
(OFF).

* This cannot be specied for user samples.

Turn this on to boost or suppress the attack
or release portions of the instrument (the
transients).

* This cannot be specied for user samples.

Adjusts the time over which the attack
changes.

Adjusts the attack.
Use this to emphasize or de-emphasize the

attack portion of the sound.

16

Editing Sounds and Other Settings for Kits (Kit Edit)

Parameter

[H] [I] buttons

Transient Release -100–+100

Transient Gain -12–+6 [dB]

Value

[+] [-] buttons

Explanation

Adjusts the release.
Use this to emphasize or de-emphasize the

release portion of the sound.

Adjusts the volume after transient
adjustment,

5. Press “LAYER B” (F2 button).

The INST EDIT (LAYER B) screen appears.

Now we make the settings for layer B.

6. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

* The parameters are the same as for layer A.

7. Press “COMMON” (F2 button).

The INST EDIT (COMMON) screen appears.

Here we congure the instrument overall (the settings common to
layer A/B).

8. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Pad PAD1H–PAD2R Selects the pad to set.

Layer Type

Fade Point

Pan L30–R30 Adjusts the stereo position of each pad.

Fixed Value

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

These parameters set how layer A/B sound.

MIX

FADE1

FADE2, FADE3

SWITCH

1–127, 127+1–
127+32

1–127, 127+1 –
127+32, OFF

Explanation

Layers A and B are always played together
as a layer.

When you strike the pad at the “Fade Point”
level or harder, layer B also plays together
as a layer.

When you strike the pad at the “Fade Point”
level or harder, the sound of layer B is
added in as a layer, according to how hard
you play.

FADE2: The volume of layers A and B are

the same when the Fade Point is 127 or
greater.

FADE3: The volume of layers A and B are

the same when the Fade Point is 127 + 32.

Switches between layers according to how
hard you play. Layer A plays when you strike
the pad at a level weaker than the “Fade

Point;” and layer B plays when you strike the

pad at a level stronger than the “Fade Point.”

If you set the strength at which layer B plays
to “1,” layer B always plays regardless of how
hard you strike the pad.

If you set this to “127 + 32” (or “127” when

“HI-Reso Velocity” is “OFF”), layer B only

sounds when you strike the pad the
hardest.

* This is not available when the Layer Type is

“MIX.”

This produces a sound at a xed velocity,
regardless of how hard you strike the pad.
This is useful when playing the phrases
assigned to the user samples at a xed
volume.

Parameter

[H] [I] buttons

Min Volume 0–15

Max Volume -5–0

Value

[+] [-] buttons

Explanation

Adjusts the minimum volume of each pad.
This brings up the volume of the softest

hits while maintaining the volume on the
strongest hits. Use this to make softer
strikes like ghost notes easier to hear.

Adjusts the maximum volume of each pad.
This lets you decrease the volume of

the strongest hits while preserving their
nuances.

* This is enabled only when “HI-Reso Velocity”

(p. 38) is on.

9. Press the F1 button several times to return to the top

screen.

Parameters Specic to Each Instrument

Some instruments have parameters that are particularly used for
editing that instrument.

Type 1

Parameter

[H] [I] buttons

Tuning -100–100 Adjusts the tuning of the head.

Muing 0–10

Shell Depth -2–+2 Adjusts the depth of the shell.

Stick Type

Low Level -5–+5

Type 2

Parameter

[H] [I] buttons

Tuning -100–100 Adjusts the tuning of the head.

Muing 0–10

MEMO

Refer to “Instrument List” (p. 43) for which particular parameters
(patterns) correspond to which instrument.

Value

[+] [-] buttons

Soft,
Standard, Hard

Value

[+] [-] buttons

Explanation

Adjusts the muing (how much the sound is
muted).

Selects the stick hardness.

Adjusts the sound level of the lower
frequencies.

Explanation

Adjusts the muing (how much the sound is
muted).

17

Editing Sounds and Other Settings for Kits (Kit Edit)

Conguring the Eects

(Eects)

Here are the settings for the kit and instrument eects.

1. On the KIT EDIT screen, select “Eects” and then press

“SELECT” (F2 button).

The EFFECTS screen appears.

2. Use the [

H

] [I] buttons to select the item, and then

press “SELECT” (F2 button).

Applying an Equalizer for Each Pad (Pad EQ) page 18

Applying a Compressor to Each Pad (Pad Comp) page 18

Applying Ambience to the Entire Kit (Ambience) page 19

Applying MFX to Each Pad (MFX) page 19

Applying an Equalizer for Each Pad

Here’s how to apply a three-band equalizer (EQ) to each pad.

(Pad EQ)

1. On the EFFECTS screen, select “Pad EQ” and then

press “SELECT” (F2 button).

The PAD EQ screen appears.

Applying a Compressor to Each Pad

(Pad Comp)

Here’s how to use a compressor (Comp) for each pad.

1. On the EFFECTS screen, select “Pad Comp” and then

press “SELECT” (F2 button).

The PAD COMP screen appears.

2. Strike to select the pad that you want to set.

3. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Pad PAD1H–PAD2R Selects the pad to set.

Comp Sw OFF, ON Turns the pad compressor on/o.

Threshold -48–0 [dB]

Gain

Ratio

Attack 0.1, 1–100 [ms]

Release 10–1000 [ms]

Knee HARD, SOFT1–3

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

-24.0–+24.0 [dB]
(in units of 0.5)

1:1, 2:1, 3:1, 4:1,
8:1, 16:1, 32:1,
100:1

Explanation

Sets the volume level at which compression
starts.

Sets the compressor output level.

Sets the compression ratio.

Sets how long it takes before compression
is applied.

Sets how long it takes before the
compression returns to normal.

Sets the attack of the sound at the moment
compression is applied.

2. Strike to select the pad that you want to set.

3. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Pad PAD1H–PAD2R Selects the pad to set.

EQ Sw OFF, ON Turns the pad equalizer on/o.

Low Freq 20–1k [Hz] Sets the center frequency.

Low Gain -15–+15 [dB] Sets the amount of boost/cut.

Mid Freq 20–16k [Hz] Sets the center frequency.

Mid Q 0.5–8.0

Mid Gain -15–+15 [dB] Sets the amount of boost/cut.

High Freq 1k–16k [Hz] Sets the center frequency.

High Gain -15–+15 [dB] Sets the amount of boost/cut.

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

Explanation

Sets the bandwidth of the frequency region.
Higher values make the bandwidth

narrower.

4. Press the F1 button several times to return to the top

screen.

4. Press the F1 button several times to return to the top

screen.

18

Editing Sounds and Other Settings for Kits (Kit Edit)

Applying Ambience to the Entire Kit

(Ambience)

Here’s how to apply ambience to a kit.

1. On the EFFECTS screen, select “Ambience” and then

press “SELECT” (F2 button).

The AMBIENCE screen appears.

2. Strike to select the pad that you want to set.

3. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Ambience Sw OFF, ON Turns the ambience on/o.

Level

Type TYPE 1–5 Sets the type of reverberation.

Width 0–9 Adjusts the ambience spread.

Low Gain -15–+15 [dB]

High Gain -15–+15 [dB]

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

-INF, -60.0–+12.0

[dB] (in units

of 0.5)

Explanation

Adjusts the reverberation volume.

Adjusts the boost/cut of the low frequency
range.

Adjusts the boost/cut of the high frequency
range.

Applying MFX to Each Pad

(MFX)

Here’s how to apply a multi-eect (MFX) to each pad.

1. On the EFFECTS screen, select “MFX” and then press

“SELECT” (F2 button).

The MFX screen appears.

2. Strike to select the pad that you want to set.

3. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Pad PAD1H–PAD2R Selects the pad to set.

MFX Assign

Send Level

Wet Only Sw

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

OFF,
MFX1–3

-INF, -60.0–+6.0

[dB] (in units of

0.5)

Wet Only Only the eect sound is output.

Dry+Wet

Explanation

Selects the multi-eect that is applied for
each pad.

Adjusts the amount of eect applied for
each pad.

The dry sound and eect sound are both
output.

4. Press “AMB SEND” (F2 button).

The AMBIENCE SEND screen appears.

5. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

PAD1H

PAD1R

PAD2H

PAD2R

Value

[+] [-] buttons

-INF,

-60.0–+6.0 [dB] (in
units of 0.5)

Explanation

These parameters adjust how much
ambience is applied to each pad.

6. Press the F1 button several times to return to the top

screen.

4. Press “MFX1” (F2 button) to edit the MFX.

Use the F1 and F2 button to select MFX1–3.

MFX1 screen

5. Use the [

F2

F1

MFX2 screen MFX3 screen

H

] [I] buttons to select the item, and then

F2

F1

use the [+] [-] buttons to change the setting.

The eect changes when you change the TYPE.

&

For details on the MFX parameters, refer to “MFX List” (p. 45).

6. Press the F1 button several times to return to the top

screen.

19

Editing Sounds and Other Settings for Kits (Kit Edit)

Setting the Kit Level

(Kit Level)

Sets the volume of the kit.

1. On the KIT EDIT screen, select “Kit Level” and then

press “SELECT” (F2 button).

The KIT LEVEL screen appears.

2. Use the [+] [–] buttons to edit the value.

Parameter

Level

Value

[+] [-] buttons

-INF,

-60.0–+6.0 [dB] (in
units of 0.5)

Explanation

Here’s how to set the volume of the kit.

3. Press the F1 button several times to return to the top

screen.

Mute Group

Mute group settings let you specify that when you strike a pad, other
pads in the same mute group are muted (silenced).

This is useful for sounds that sustain such as gongs or chappa (hand
cymbals), so that you can mute their sound when hitting another pad
and so forth.

(Mute Group)

Setting How the Nuance Changes According to
Where You Strike the Pad

1. On the KIT EDIT screen, select “Kit Pad Control” and

then press “SELECT” (F2 button).

The KIT PAD CONTROL screen appears.

2. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

PAD1 Rim Detect

PAD2 Rim Detect

PAD1 Pos Detect

PAD2 Pos Detect

PAD1 Pos Area

PAD2 Pos Area

3. Press the F1 button several times to return to the top

screen.

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

OFF, ON Sets whether the rim is detected.

OFF, ON

-5–+5

(Kit Pad Control)

Explanation

Sets whether to change the sound (ON) or
not (OFF) according to where you strike the
pad (head).

Sets the strike point area for the head.
Higher positive values widen the striking

area further outwards from the center.

1. On the KIT EDIT screen, select “Mute Group” and then

press “SELECT” (F2 button).

The MUTE GROUP screen appears.

2. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

PAD1H Send

PAD1H Receive

PAD1R Send

PAD1R Receive

PAD2H Send

PAD2H Receive

PAD2R Send

PAD2R Receive

Value

[+] [-] buttons

OFF,
GRP 1–4

Explanation

These parameters specify the mute group
number.

When you strike the pad of the number
specied in Send, the sound of the pad
assigned to the same number in Receive
is muted.

* The pad is not be muted if you specify the

same number in MUTE Send and MUTE
Receive for the same location (e.g., head or
rim) of the same pad.

3. Press the F1 button several times to return to the top

screen.

20

Editing Sounds and Other Settings for Kits (Kit Edit)

Controlling the Sounds Using a Connected Pedal

(Pedal Control)

1. On the KIT EDIT screen, select “Pedal Control” and

then press “SELECT” (F2 button).

The PEDAL CONTROL screen appears.

2. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Pad PAD1H–PAD2R Selects the pad to set.

Pitch Ctrl Range -24–24

Decay Ctrl Sw OFF, ON

Level Ctrl Sw OFF, ON

To set whether the connected pedal controls the pitch, decay or
level, congure the settings in “Conguring the Pedal Jacks and

Shortcut Settings (Control Settings)” (p. 36).

3. Press the F1 button several times to return to the top

screen.

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

Explanation

Sets the amount that the pitch changes
according to how far down you press the
connected pedal.

Set this to “ON ” to control the decay with
the connected pedal, and “OFF” if you don’t
want to control the decay with the pedal.

Set this to “ON ” to control the level with
the connected pedal, and “OFF” if you don’t
want to control the level with the pedal.

Controlling from an External MIDI Device

(Kit MIDI)

1. On the KIT EDIT screen, select “Kit MIDI” and then

press “SELECT” (F2 button).

The KIT MIDI screen appears.

The KIT MIDI screen contains the following settings.

Setting the Note Number for Each Pad (Note Number) page 21

Setting the MIDI Channel for Each Pad (Channel) page 22

Setting the Gate Time for Each Pad (Gate Time) page 22

2. Use the [

H

] [I] buttons to select the item, and then

press “SELECT” (F2 button).

Setting the Note Number for Each Pad

This shows how to set the note numbers for each pad.

(Note Number)

1. On the KIT MIDI screen, select “Note Number” and

then press “SELECT” (F2 button).

The KIT MIDI NOTE NUMBER screen appears.

2. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

PAD1H

PAD1R

PAD2H

PAD2R

Value

[+] [-] buttons

0 (C-)–
127 (G9), OFF

Explanation

0 (C-)–127 (G9): Sets the MIDI note number

transmitted and received by each pad.

OFF: Note messages are not transmitted

or received.

3. Press the F1 button several times to return to the top

screen.

21

Editing Sounds and Other Settings for Kits (Kit Edit)

Setting the MIDI Channel for Each Pad

(Channel)

This shows how to set the MIDI channels for each pad.

1. On the KIT MIDI screen, select “Channel” and then

press “SELECT” (F2 button).

The KIT MIDI CHANNEL screen appears.

2. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

PAD1H

PAD1R

PAD2H

PAD2R

Value

[+] [-] buttons

GLOBAL
CH1–CH16

Explanation

GLOBAL: The pad transmits/receives MIDI

messages on the channel specied in the
Global MIDI settings.

CH1–CH16: Sets the MIDI channel used to

transmit/receive note and control change
messages for each pad.

3. Press the F1 button several times to return to the top

screen.

Setting the Gate Time for Each Pad

This shows how to set the gate time for each pad.

(Gate Time)

1. On the KIT MIDI screen, select “Gate Time” and then

press “SELECT” (F2 button).

The KIT MIDI GATE TIME screen appears.

Naming a Kit

(Kit Name)

Here’s how to name a kit.

1. On the KIT EDIT screen, select “Kit Name” and then

press “SELECT” (F2 button).

The KIT NAME screen appears.

Kit name (select the character to edit)

Use the [H] and [I] buttons to move the cursor.

Select the character to input

This changes when you switch to a dierent character type.
The character at the cursor position changes.
Use the [+] [–] buttons to edit.

Switch the character type

This switches the character type you are inputting.
The cursor moves to the beginning of the capital letters, lowercase letters or

numbers each time you press the F2 button.

& “Allowable Characters” (p. 53)

2. Edit the name.

Controller Explanation

[H] [I] buttons

[+] [-] buttons Edits the character.

“AAaA1”

(F2 button)

Move the cursor to the character that you want to change.

Moves the cursor to the beginning of the capital letters,
lowercase letters or numbers.

3. Press the F1 button several times to return to the top

screen.

Giving a Kit a Kanji Name

Here’s how to set the kanji name for a kit.

(Kit Kanji Name)

1. On the KIT EDIT screen, select “Kit Kanji Name” and

then press “SELECT” (F2 button).

The KIT KANJI NAME screen appears.

Kanji name (select the character to edit)

Use the [H] and [I] buttons to move the cursor.

2. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

PAD1H

PAD1R

PAD2H

PAD2R

Value

[+] [-] buttons

0.1–8.0 [s]

Explanation

Sets the duration of the notes transmitted
by each pad.

3. Press the F1 button several times to return to the top

screen.

Select the kanji character to input

The character at the cursor position changes.
Use the [+] [–] buttons to edit.

& “Allowable Kanji Characters” (p. 53)

2. Edit the name.

Controller Explanation

[H] [I] buttons

[+] [-] buttons Edits the character.

Move the cursor to the character that you want to change.

3. Press the F1 button several times to return to the top

screen.

22

Editing Sounds and Other Settings for Kits (Kit Edit)

Copying a Kit

(Kit Copy)

1. On the top screen, press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

The Copy Src screen appears.

H

] [I] buttons to select “Kit Copy,” and then

3. Select the location of the copy source kit, and then

press “SELECT” (F2 button).

Items

[H] [I] buttons

User

Preset

Explanation

Copies from user memory.
You can swap (exchange) the copy source and copy destination

kits, but only if the copy source is in the User memory.

Copies preset memory kits. Choose this if you want to return to
the factory-default kit settings.

4. Select the copy source kit number for the “Src ,” and

the copy destination kit number for the “Dest.”

The kit’s name is shown when you select a kit number.

Copy source

(kit location shown in parentheses)

Recalling Kits Successively

(Set List)

You can specify the order in which kits are recalled in 64 steps (steps
1–64). This is called a “set list.” You can create up to 16 set lists (banks
A–P).

You can create a set list for the order in which you use kits in a live
performance, and instantly recall the kit to use next.

Set list

Bank A

Set list

Bank B

Set list

Bank P

STEP 1

Kit 7

STEP 1

Kit 1

STEP 1

Kit 3

STEP 2

Kit 13

STEP 2

Kit 14

STEP 2

Kit 8

STEP 64

Kit 23

STEP 64

Kit 5

STEP 64

Kit 11

1. On the top screen, press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

The SET LIST screen appears.

H

] [I] buttons to select “Set List,” and then

Kit number

Upper row: copy source
Lower row: copy destination

Copy destination

User memory

Controller Explanation

[H] [I] buttons

[+] [-] buttons Selects the kit number.

Switches between the copy source (Src) and destination (Dest).

5. To execute, press “EXECUTE” (F2 button).

A conrmation message appears.

6. To execute, press the [+] button.

To cancel, press the F1 button several times to return to the top
screen.

Selecting a Set List

(from Selecting Banks to Selecting Kits)

1. On the SET LIST screen, press “BANKLIST” (F2 button).

The BANK SELECT screen appears.

2. Use the [

press “BACK”

H

] [I] buttons to select the bank, and then

(F1 button).

The display returns to the SET LIST screen.

3. Use the [+] [–] buttons to change the kit.

The kits change according to the set list order.
Play this instrument with the SET LIST screen shown when you

want to use a set list.

23

Editing Sounds and Other Settings for Kits (Kit Edit)

Creating a Set List

(from Creating a List to Saving to a Bank)

1. On the SET LIST screen, press “BANKLIST” (F2 button).

The BANK SELECT screen appears.

2. Use the [

press “EDIT” (F2 button).

The BANK EDIT screen appears.

3. Use the [

press “SELECT” (F2 button).

Parameter

[H] [I] buttons

Kit List Creates a set list.

Name Sets the name of the set list.

H

] [I] buttons to select the bank, and then

H

] [I] buttons to select the item, and then

Explanation

Naming a Set List

(Name)

Sets the name of the set list.

1. On the BANK EDIT screen, select “NAME” and then

press “SELECT” (F2 button).

The BANK NAME screen appears.

Bank name (select the character
to edit)

Use the [H] and [I] buttons to move the cursor.

Select the character to input

This changes when you switch to a dierent character type.

The character at the cursor position changes.

Use the [+] [–] buttons to edit.

&

“Allowable Characters” (p. 53)

Switch the character type

This switches the character type you are inputting.
The cursor moves to the beginning of the capital letters, lowercase letters or numbers each time

you press the F2 button.

1. Edit the name.

Controller Explanation

[H] [I] buttons

[+] [-] buttons Edits the character.

“AAaA1”

(F2 button)

Move the cursor to the character that you want to change.

Moves the cursor to the beginning of the capital letters,
lowercase letters or numbers.

Creating a set list

(Kit List)

Kits are registered in order, beginning with “#01.”

1. On the BANK EDIT screen, select “Kit List” and then

press “SELECT” (F2 button).

The BANK KIT LIST screen appears.

2. Use the [

H

] [I] buttons to move the cursor to “-- ADD

KIT --” and use the [+] [-] buttons to select a kit.

When you select a kit, the display moves to the next number, listed
as “-- ADD KIT --.”

Repeat this as many times necessary to register the kits.

MEMO

To delete a kit, select the kit and press “DELETE” (F2 button).

3. When you’ve nished registering kits, press “BACK”

(F1 button) to return to the previous screen.

24

Importing and Playing Audio Files

(User Sample)

Audio les that you created on your computer can be imported from a
USB ash drive and played as instruments (User Sample function).

You can edit the sound of a user sample or apply eects to it in the
same way as other instruments.

Audio les that can be loaded

WAV le

Format (extension) WAV (.wav)

Sampling frequency 44.1 kHz

Bit rate 16- or 24-bit

Length Maximum of 180 seconds

* File names or folder names that contain 15 characters or more do not

display correctly. Also, le/folder names with double-byte characters are
not supported.

1. Press “MENU” (F2 button).

2. Use the [

then press “SELECT” (F2 button).

The USER SAMPLE screen appears.

H

] [I] buttons to select “User Sample,” and

Importing an Audio File

Here’s how to import an audio le into this instrument as a user
sample.

(Import)

1. On your computer or similar device, copy the audio

le you want to import into the TAIKO-1 to the

“IMPORT” folder of your USB ash drive.

2. Insert the USB ash drive into the USB MEMORY port

of the TAIKO-1.

3. On the USER SAMPLE screen, select “Import” and then

press “SELECT” (F2 button).

The SAMPLE IMPORT screen appears.

4. Use the [

import, and press “SELECT” (F2 button).

H

] [I] buttons to select the audio le to

3. Use the [

press “SELECT” (F2 button).

Importing an Audio File (Import) page 25

Previewing User Samples (Preview) page 25

Editing a User Sample (Edit) page 26

Renaming a User Sample (Rename) page 26

Deleting a User Sample (Delete) page 26

Renumbering User Samples to Eliminate Blanks (Renumber) page 27

Optimizing the User Sample Area (Optimize) page 27

Deleting All User Samples (Delete All) page 27

H

] [I] buttons to select the item, and then

5. Use the [

and then press “EXECUTE” (F2 button).

Select an import destination that does not already contain an
imported user sample.

After the data is imported and the message “Completed!” appears,
the display returns to the USER SAMPLE screen.

H

] [I] buttons to select the save destination,

6. Press the F1 button several times to return to the top

screen.

Previewing User Samples

(Preview)

1. On the USER SAMPLE screen, select “Preview” and

then press “SELECT” (F2 button).

The SAMPLE PREVIEW screen (list of user samples) appears.

2. Use the [

and press “PREVIEW” (F2 button).

H

] and [I] buttons to select a user sample,

3. Press the F1 button several times to return to the top

screen.

25

Importing and Playing Audio Files (User Sample)

Editing a User Sample

(Edit)

1. On the USER SAMPLE screen, select “Edit” and then

press “SELECT” (F2 button).

The SAMPLE EDIT screen (list of user samples) appears.

2. Use the [

and press “EDIT” (F2 button).

The SAMPLE EDIT screen (edit screen) appears.

Parameter

[H] [I] buttons

Play Type

Sample Gain -12–+12 [dB] Adjusts the user sample volume.

Oset 0.0– [ms]

H

] and [I] buttons to select a user sample,

Value

[+] [-] buttons

MONO

POLY

LOOP ALT

Explanation

When you strike the pad, the currently­heard sound is silenced before the new
sound is heard. Notes do not overlap.

When you strike the pad repeatedly, the
sounds of the notes are heard overlapping.

The user sample plays repeatedly (loop).
Each time you strike the pad, the sound

alternately plays or stops.

Sets the time at which playback begins,
after the user sample starts.

Renaming a User Sample

Here’s how to rename a user sample.

(Rename)

1. On the USER SAMPLE screen, select “Rename” and

then press “SELECT” (F2 button).

The SAMPLE RENAME screen (list of user samples) appears.

2. Use the [

H

] and [I] buttons to select a user sample,

and press “RENAME” (F2 button).

The SAMPLE RENAME screen appears.

Sample name (select the character to edit)

Use the [H] and [I] buttons to move the cursor.

Select the character to input

This changes when you switch to a dierent
character type.

The character at the cursor position changes.
Use the [+] [–] buttons to edit.

Switch the character type

This switches the character type you are inputting.

The cursor moves to the beginning of the capital letters, lowercase letters or
numbers each time you press the F2 button.

& “Allowable Characters” (p. 53)

3. Edit the name.

4. Press the F1 button several times to return to the top

screen.

Deleting a User Sample

Here’s how to delete a user sample.

(Delete)

MEMO

You can press “PREVIEW” (F2 button) to listen to the user sample
you’re editing.

3. Press the F1 button several times to return to the top

screen.

1. On the USER SAMPLE screen, select “Delete” and then

press “SELECT” (F2 button).

The SAMPLE DELETE screen (list of user samples) appears.

2. Use the [

H

] and [I] buttons to select a user sample,

and press “Delete” (F2 button).

A conrmation message appears.

If you decide to cancel, press “CANCEL” (F1 button).

3. To execute, press the [+] button.

4. Press the F1 button several times to return to the top

screen.

26

Importing and Playing Audio Files (User Sample)

Renumbering User Samples to Eliminate Blanks

(Renumber)

After repeatedly importing and deleting user samples, the numbers
may get out of series.

This function lets you reorganize the user samples so that they are in
series, eliminating the blanks. The user sample assignments for kits are
also updated so that they sound correct.

NOTE

If you executed RENUMBER, and then load previously-saved backup
data or kit backup data (not including user samples), the user samples
assigned to the kit are no longer correctly reproduced.

1. On the USER SAMPLE screen, select “Renumber” and

then press “SELECT” (F2 button).

A conrmation message appears.

If you decide to cancel, press “CANCEL” (F1 button).

2. To execute, press the [+] button.

3. Press the F1 button several times to return to the top

screen.

Deleting All User Samples

This function deletes all user samples in the user memory.

NOTE

All user samples used in kits are also deleted. Pads to which a user
sample is assigned no longer produce sound.

(Delete All)

1. On the USER SAMPLE screen, select “Delete All” and

then press “SELECT” (F2 button).

A conrmation message appears.

If you decide to cancel, press “CANCEL” (F1 button).

2. To execute, press the [+] button.

3. Press the F1 button several times to return to the top

screen.

Optimizing the User Sample Area

If you repeatedly import and delete user samples, the user sample area
might become fragmented, reducing the number of user samples that
can be loaded.

This function optimizes the area so that user samples can be loaded.

NOTE

5 Be sure to back up your data before executing this function (p. 33).
5 This process might take more than an hour in some cases (depending on the

number and size of the user samples).

5 Never turn o the power while this operation is in progress. If you turn o the

power, your user samples might be lost.

5 In some cases, optimizing may not be eective.

(Optimize)

1. On the USER SAMPLE screen, select “Optimize” and

then press “SELECT” (F2 button).

A conrmation message appears.

If you decide to cancel, press “CANCEL” (F1 button).

2. To execute, press the [+] button.

27

Conguring the Trigger Settings

Here’s how to congure the trigger settings so that the signals from
the pads are accurately processed by the sound module.

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

The TRIGGER screen appears.

3. Use the [

press “SELECT” (F2 button).

Setting the Sensitivity and Other Parameters for Each Pad (Pad Settings) page 28

Checking the Velocity and Other Settings of the Pads You Strike page 29

Conguring the Other Pad Not to Sound (Xtalk Cancel) page 29

Specifying the Pads to Use (Active Pad) page 29

Preventing the Currently Edited Pad from Changing (Trigger Lock) page 30

H

] [I] buttons to select “Trigger,” and then

H

] [I] buttons to select the item, and then

Setting the Sensitivity and Other Parameters for
Each Pad

(Pad Settings)

Parameter

[H] [I] buttons

Rim Gain 0–3.2

Threshold 0–31

Value

[+] [-] buttons

Explanation

Adjusts the balance between the force of
striking the rim or edge and the loudness
of the sound.

If you increase this value, even soft strikes
on the rim play at high volume. If you
decrease this value, even strong strikes on
the rim play at low volume.

Adjusts the minimum sensitivity of the
pads.

This setting allows a trigger signal to be
received only when a pad is struck above a
determined force level (velocity). This can
be used to prevent a pad from sounding
due to vibrations from other pads. In the
following example, the B signal sounds, but
A and C do not sound.

Threshold

Check this by gradually increasing the value
while playing the pad. If a soft strike on the
pad fails to make a sound, slightly lower
this value. Repeat this to obtain the ideal
setting.

This detects trigger signal attenuation.
When you strike a pad once, there might be

cases in which the waveform is misshapen,
causing another trigger to unintendedly
occur (retriggering) at point “A” in the
following illustration.

1. On the TRIGGER screen, select “Pad Settings” and

press “SELECT” (F2 button).

The PAD SETTINGS screen appears.

2. Strike to select the pad that you want to set.

Parameter

[H] [I] buttons

Pad PAD1, PAD2 Selects the pad to set.

Sensitivity 1–32

Curve

Value

[+] [-] buttons

Adjusts how the volume changes in response to how hard you
strike the pad.

LINEAR

EXP1, EXP2

LOG1, LOG2

SPLINE

LOUD1, LOUD2

Explanation

Use this to adjust the sensitivity of the
pads, as well as the balance between how
hard you strike the pads and the volume of
sound that is produced.

Increasing this value increases the
sensitivity, so that even soft strikes on the
pad play loudly. Decreasing this value
decreases the sensitivity, so that even
strong strikes on the pad play softly.

This is the standard setting. This produces
the most natural correspondence between
playing dynamics and volume change.

Compared to “LINEAR,” playing strongly
produces a greater change in volume.

Compared to “LINEAR,” playing softly
produces a greater change in volume.

Extreme changes are made in response to
your playing dynamics.

Very little dynamic response, making it
easy to maintain strong volume levels.
These settings produce reliable triggering
when you’re using a trigger, or in similar
situations.

Retrigger Cancel 1–16

Mask Time 0–64 [ms]

Amplitude

Time

This occurs in particular at the decaying
edge of the waveform. Retrigger Cancel
detects such distortion and prevents
retriggering from occurring.

While repeatedly striking the pad, raise the

“Retrigger Cancel” value until retriggering

no longer occurs.
Although setting this to a high value

prevents retriggering, it then becomes easy
for sounds to be omitted when the pad is
repeatedly struck quickly. Set this to the
lowest value possible while still ensuring
that there is no retriggering.

MEMO

You can also eliminate this problem of
retriggering with the Mask Time setting.
Mask Time does not detect trigger signals if
they occur within the specied amount of
time after the previous trigger signal was
received.

Retrigger Cancel detects the attenuation
of the trigger signal level, and triggers the
sound after internally determining which
trigger signals were actually generated
when the head was struck, while weeding
out the other false trigger signals that
should not trigger a sound.

Set this to prevent double triggering.
Double triggering (two notes play when

you only wanted a single note to sound)
may occur due to the mesh tension or the
sticks (bachi) you use.

The Mask Time setting helps to prevent this.
Once a pad is hit, any additional trigger
signals occurring within the specied Mask
Time are ignored.

Adjust the Mask Time value while playing
the pad.

Increasing this value makes it more likely
that notes played in rapid succession are
to drop out. Set this to as low a value as
possible.

MEMO

If two or more sounds are being produced
when you strike the head just once, adjust
Retrigger Cancel.

28

Conguring the Trigger Settings

Parameter

[H] [I] buttons

Pos Detect OFF, ON

Pos Adjust -10–+10

Touch Mute

Mute Sens

Value

[+] [-] buttons

OFF,
Sensor L,
Sensor UP,
Sensor R

-5–-1, Default,
+1–+5

Explanation

Turns positional sensing (which detects
where the pad was struck) on/o.

Adjusts how the tonal character is aected
by where you strike the pad.

Lower values adjust toward the center,
and higher values adjust toward the
circumference.

Selects the location that enables the touch
mute function.

Sensor UP

Sensor L Sensor R

$

Protrusion goes in front

The touch mute feature lets you mute
a pad’s sound (on the head/rim) after it
plays, by touching the area just above the
specied sensor. This is useful for stopping
sounds that have a long decay.

Adjusts the touch mute sensitivity.

Checking the Velocity and Other Settings of the Pads You Strike

Conguring the Other Pad Not to Sound

(Xtalk Cancel)

On the TAIKO-1, the other pad may play unintentionally due to the
vibrations from the pad you strike. This is called “crosstalk.” Crosstalk
cancellation is a setting that prevents this type of crosstalk.

1. On the TRIGGER screen, select “Xtalk Cancel” and

press “SELECT” (F2 button).

The XTALK CANCEL screen appears.

Parameter

[H] [I] buttons

PAD1H

PAD1R

PAD2H

PAD2R

2. Press the F1 button several times to return to the top

screen.

Specifying the Pads to Use

Value

[+] [-] buttons

0–32

Explanation

If crosstalk occurs when you play a pad,
raise the value for that pad.

* When crosstalk occurs on PAD1H when you

strike PAD2H, this cannot be improved simply
by raising the value on PAD1H. Instead, raise
the value for the pad you strike (PAD2H). If
crosstalk is still not improved when you raise
that value, set the value for the rim to be
higher than that of the head.

(Active Pad)

1. On the PAD SETTINGS screen, press “MONITOR” (F2

button)

.

The TRIGGER MONITOR screen appears.

Velocity Strike point

History clear

2. Strike the pads to check their velocity and other

settings.

3. Press the F1 button several times to return to the top

screen.

With the TAIKO-1, you can use both pads; but if you want to use only
one pad, you can enable just one. This helps prevent the lower surface
from operating unintentionally.

1. On the TRIGGER screen, select “Active Pad” and press

“SELECT” (F2 button).

The ACTIVE PAD screen appears.

Parameter

[H] [I] buttons

PAD1
PAD2

Value

[+] [-] buttons

ON Enables the pad.

OFF Disables the pad.

Explanation

2. Press the F1 button several times to return to the top

screen.

29

Conguring the Trigger Settings

Preventing the Currently Edited Pad from Changing

(Trigger Lock)

If you want to audition your performance sounds while you edit the
instruments, you can specify that the currently edited pad does not
change even if you strike another pad.

1. On the TRIGGER screen, select “Trigger Lock” and

press “SELECT” (F2 button).

The TRIGGER LOCK screen appears.

Parameter

Lock OFF, ON

Value

[+] [-] buttons

Explanation

Prevents the currently edited pad from
changing when struck.

* The pad remains locked even if you use MIDI

messages to switch pads.

2. Press the F1 button several times to return to the top

screen.

Use the assignable button to switch this on/o.

&

For details, refer to “Conguring the Pedal Jacks and Shortcut

Settings (Control Settings)” (p. 36).

30

Using the Bluetooth® Functionality

1. Press “MENU” (F2 button).

The MENU screen appears.

2. Use the [

H

] [I] buttons to select “Bluetooth,” and then

press “SELECT” (F2 button).

The BLUETOOTH screen appears.

3. Use the [

H

] [I] buttons to select the item, and then

press “SELECT” (F2 button).

Checking the Bluetooth Status (Bluetooth Status) page 32

Conguring the Bluetooth Function (Setup) page 31

Resetting the Bluetooth Pairing Settings (Reset) page 32

Using the TAIKO-1 to Hear Music Played from a Mobile Device

Registering a Mobile Device

“Pairing” is the procedure by which the mobile device that you want

to use is registered on this instrument (the two devices recognize each
other).

Make settings so that music data saved on the mobile device can be
played wirelessly via this instrument.

MEMO

5 Once a mobile device has been paired with this instrument, there is no need

to perform pairing again. If you want to connect this instrument with a mobile
device that has already been paired, refer to “Connecting an Already-Paired

Mobile Device” (p. 32).

5 Pairing is required again if you execute a factory reset (p. 40).
5 The following explanation is only one example. For details, refer to the owner’s

manual of your mobile device.

(Pairing)

Conguring the Bluetooth Function

(Setup)

1. Press “MENU” (F2 button).

The MENU screen appears.

2. Use the [

H

] [I] buttons to select “Bluetooth,” and then

press “SELECT” (F2 button).

The BLUETOOTH screen appears.

3. Use the [

H

] [I] buttons to select

“Setup,” and then press “SELECT” (F2 button).

4. Use the [

H

] [I] buttons to select “Bluetooth ,” and

then use the [+] [–] buttons to turn it “ON.”

If this is already “ON,” proceed to the next step.

5. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Bluetooth MIDI

Device ID

Value

[+] [-] buttons

ON

OFF With the factory settings, this is o.

OFF With the factory settings, this is o.

1–99

Explanation

If this is on, you can connect this instrument
with a Bluetooth MIDI compatible app on
your smartphone etc.

If you are pairing with your smartphone in
a location where there is more than one
of this instrument, you can assign an ID to
each one.

When you specify a device ID, the specied
number is added to the end of the device
name that is shown on your smartphone.

(Example; “TAIKO-1 AUDIO 1” “TAIKO-1 MIDI

1 ,” etc.)

6. Press the F1 button several times to return to the top

screen.

1. Place the mobile device that you want to connect

nearby this instrument.

2. Press “MENU” (F2 button).

The MENU screen appears.

3. Use the [

H

] [I] buttons to select “Bluetooth,” and then

press “SELECT” (F2 button).

The Bluetooth screen appears.

4. Use the [

H

] [I] buttons to select

“Setup,” and then press “SELECT” (F2 button).

5. Use the [

H

] [I] buttons to select “Bluetooth ,” and

then use the [+] [–] buttons to turn it “ON.”

If this is already “ON,” proceed to the next step.

6. Press “PAIRING” (F2 button).

The display indicates “Now Pairing...,” and this instrument waits for a
response from the mobile device.

7. Turn on the Bluetooth function of the mobile device.

8. Tap “TAIKO-1 Audio,” shown on the Bluetooth device

screen of your mobile device.

This instrument is paired with the mobile device. When pairing
succeeds, “TAIKO-1 Audio” is added to the list of “Paired Devices” on
your mobile device.

The TAIKO-1 screen indicates “Connected (Audio).”

9. Press the F1 button several times to return to the top

screen.

31

Using the Bluetooth® Functionality

Connecting an Already-Paired Mobile Device

1. Turn on the Bluetooth function of the mobile device.

MEMO

5 If you were unable to establish a connection using the procedure above, tap

“TAIKO-1 Audio” that is displayed in the Bluetooth device screen of the mobile

device.

5 To disconnect, either turn this instrument’s Bluetooth Audio function “OFF”

(“MENU” 0 “Bluetooth” 0 “Setup” 0 turn “Bluetooth
mobile device’s Bluetooth function o.

” OFF) or turn the

Playing Music from a Mobile Device

1. Connect your mobile device via Bluetooth.

2. On the mobile device, use a music app to play back

music.

The sound is heard from the TAIKO-1.

* To adjust the playback volume, adjust the volume on your mobile device.

Checking the Bluetooth Status

1. Press “MENU” (F2 button).

The MENU screen appears.

2. Use the [

press “SELECT” (F2 button).

The Bluetooth screen appears.

3. Use the [

and then press “SELECT” (F2 button).

The BLUETOOTH STATUS screen appears.

H

] [I] buttons to select “Bluetooth,” and then

H

] [I] buttons to select “Bluetooth Status,”

(Bluetooth Status)

Resetting the Bluetooth Pairing Settings

(Reset)

1. Press “MENU” (F2 button).

The MENU screen appears.

2. Use the [

press “SELECT” (F2 button).

The Bluetooth screen appears.

3. Use the [

press “SELECT” (F2 button).

A conrmation message appears.

If you decide to cancel, press “CANCEL” (F1 button).

H

] [I] buttons to select “Bluetooth,” and then

H

] [I] buttons to select “Reset,” and then

4. Press “EXECUTE” (F2 button).

5. Press the F1 button several times to return to the top

screen.

4. Press the F1 button several times to return to the top

screen.

32

Backing up to USB Flash Drive

(USB Memory)

Settings stored in this instrument can be saved or loaded to/from a
USB ash drive.

1. Insert the USB ash drive into the USB MEMORY port

of the TAIKO-1.

2. Press “MENU” (F2 button).

3. Use the [

then press “SELECT” (F2 button).

The USB MEMORY screen appears.

4. Use the [

press “SELECT” (F2 button).

Backing up the Settings (Save Backup) page 33

Loading Backup Data (Load Backup) page 34

Deleting Backup Files (Delete Backup) page 35

Initialized a USB Flash Drive (USB Memory Format) page 35

Backing up the Settings

Here’s how to back up the settings to a USB ash drive.

H

] [I] buttons to select “USB Memory,” and

H

] [I] buttons to select the item, and then

(Save Backup)

NOTE

If you don’t back up user samples, and you then delete user
samples or renumber them, the kit is not reproduced correctly
even if you load the backup.

3. Use the [+] [–] buttons to select the save destination.

Save destination: Bank 01–99

4. Press “NEXT” (F2 button).

“

- Backup Name -

” appears.

5. Give the backup le a name and then press

“EXECUTE” (F2 button).

* If the backup has already been saved, a message is shown to conrm

overwriting the le.
If you decide to cancel, press “CANCEL” (F1 button).
To execute, press the [+] button.

6. Press the F1 button several times to return to the top

screen.

Saving the Kit Backup Data

(SAVE BACKUP 1 KIT)

2. On the SAVE BACKUP screen, select “1 Kit” and then

press “SELECT” (F2 button).

“

- Src (Internal) -

Kit name

” appears.

Kit number

1. On the USB MEMORY screen, select “Save Backup”

and then press “SELECT” (F2 button).

The SAVE BACKUP screen appears.

Parameter

[H] [I] buttons

All Backs up all settings (backup data).

1 Kit Backs up only one kit (kit backup data).

Saving the Backup Data

Explanation

(SAVE BACKUP ALL)

2. On the SAVE BACKUP screen, select “All” and then

press “SELECT” (F2 button).

“

- Dest (USB memory) -

Backup lename

When you select the bank number in which data is
saved, the corresponding lename is shown.

” appears.

Bank number

With User Sample

When user samples are included in the backup
data, a check box labeled “With User Sample” is
shown below the kit number to save.

3. Use the [+] [–] buttons to select the kit to back up, and

then press “NEXT” (F2 button).

“

- Dest (USB memory) -

” appears.

4. Use the [+] [–] buttons to select the save destination.

Save destination: Bank 01–999

When you select the number in which data is saved, the
corresponding lename is shown.

5. Press “EXECUTE” (F2 button).

* If the backup has already been saved, a message is shown to conrm

overwriting the le.

If you decide to cancel, press “CANCEL” (F1 button).
To execute, press the [+] button.

6. Press the F1 button several times to return to the top

screen.

With User Sample

When user samples are imported into the sound
module, a check box labeled “With User Sample” is
shown below the bank number.

MEMO

If you back up user samples as well, it may take several minutes to
save the data depending on the size of the user samples.

33

Backing up to USB Flash Drive (USB Memory)

Loading Backup Data

This imports the backup data from a USB ash drive.

(Load Backup)

1. On the USB MEMORY screen, select “Load Backup”

and then press “SELECT” (F2 button).

The LOAD BACKUP screen appears.

Parameter

[H] [I] buttons

All All settings (backup data) are loaded.

1 Kit Only one kit (kit backup data) is loaded.

Loading All Kits

Explanation

(LOAD BACKUP ALL)

2. On the LOAD BACKUP screen, select “All” and then

press “SELECT” (F2 button).

“

- Src (USB memory) -

Backup lename

When you select the bank number in which data is
saved, the corresponding lename is shown.

” appears.

Loading Only One Kit

(LOAD BACKUP 1 KIT)

2. On the LOAD BACKUP screen, select “1 Kit” and then

press “SELECT” (F2 button).

“

- Src (USB memory) -

Kit name

When you select the bank number in which data is
saved, the kit name is shown.

With User Sample

When user samples are included in the kit backup
data, a check box labeled “With User Sample” is
shown below the kit number to save.

” appears.

Bank number

3. Use the [+] [–] buttons to select the kit to load, and

then press “NEXT” (F2 button).

“

- Dest (Internal) -

” appears.

4. Use the [+] [–] buttons to select the load destination.

A conrmation message appears.
If you decide to cancel, press “CANCEL” (F1 button).

5. To execute, press the [+] button.

Bank number

With User Sample

When user samples are included in the backup
data, a check box labeled “With User Sample” is
shown below the bank number to save.

MEMO

5 When you load user samples, the user samples included in the backup data are

overwritten onto the user samples in user memory.

5 Depending on the size of the user samples, it might take ten minutes or more to

load the data.

3. Use the [+] [–] buttons to select the data to load, and

then press “EXECUTE” (F2 button).

A conrmation message appears.
If you decide to cancel, press “CANCEL” (F1 button).

4. To execute, press the [+] button.

5. Press the F1 button several times to return to the top

screen.

34

Backing up to USB Flash Drive (USB Memory)

Deleting Backup Files

Here’s how to delete unneeded backup data (including user samples)
from the USB ash drive.

(Delete Backup)

1. On the USB MEMORY screen, select “Delete Backup”

and then press “SELECT” (F2 button).

The DELETE BACKUP screen appears.

Parameter

[H] [I] buttons

All All settings (backup data) are deleted.

1 Kit Only one kit (kit backup data) is deleted.

Deleting All Kits

Explanation

(DELETE BACKUP ALL)

2. On the DELETE BACKUP screen, select “All” and then

press “SELECT” (F2 button).

3. Use the [+] [–] buttons to select the data to delete.

When you select the number in which data is saved, the
corresponding lename is shown.

4. Press “EXECUTE” (F2 button).

A conrmation message appears.
If you decide to cancel, press “CANCEL” (F1 button).

5. To execute, press the [+] button.

6. Press the F1 button several times to return to the top

screen.

Initialized a USB Flash Drive

Here’s how to format a USB ash drive.

* When using a USB ash drive for the rst time, you must format it using

this instrument.

NOTE

5 If the le system of the USB ash drive is not currently FAT (FAT16) or FAT32,

you may not be able to correctly format it on the TAIKO-1. In this case, use your
computer to change the le system of the drive to FAT (FAT16) or FAT32 before
initializing it on the TAIKO-1.

5 When you format a USB ash drive, all data on the USB ash drive is erased.

(USB Memory Format)

1. On the USB MEMORY screen, select “USB Memory

Format” and then press “SELECT” (F2 button).

A conrmation message appears.

If you decide to cancel, press “CANCEL” (F1 button).

2. To execute, press the [+] button.

Deleting One Kit

(DELETE BACKUP 1 KIT)

2. On the DELETE BACKUP screen, select “1 Kit” and then

press “SELECT” (F2 button).

3. Use the [+] [–] buttons to select the kit to delete.

When you select the number to which a kit is saved, the backup
lename is shown.

4. Press “EXECUTE” (F2 button).

A conrmation message appears.
If you decide to cancel, press “CANCEL” (F1 button).

5. To execute, press the [+] button.

6. Press the F1 button several times to return to the top

screen.

35

Making Overall Settings for the TAIKO-1

(Others)

This section shows you how to congure the overall settings for
the TAIKO-1, including the settings for the OUTPUT/PHONES jack,
footswitch and more.

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

The OTHERS screen appears.

3. Use the [

press “SELECT” (F2 button).

Conguring the OUTPUT/PHONES Jack (Output Settings) page 36

Conguring the Pedal Jacks and Shortcut Settings (Control Settings) page 36

MIDI-Related Settings (Global MIDI) page 38

Conguring the Master Equalizer (Master EQ) page 38

Conguring the Master Compressor (Master Comp) page 39

Setting the Screen and AUTO OFF Function (LCD/Auto O) page 39

Viewing Information for This Instrument (Version Info) page 39

Returning to the Factory Settings (Factory Reset) page 40

H

] [I] buttons to select “Others,” and then

H

] [I] buttons to select the item, and then

Conguring the OUTPUT/PHONES Jack

(Output Settings)

Conguring the Pedal Jacks and Shortcut Settings

(Control Settings)

You can assign functions such as kit switching or set list switching
to a footswitch (BOSS FS-5U, FS-6; sold separately) connected to the
TAIKO-1, and assign functions such as pitch, volume, or ji-uchi tempo
to an expression pedal (EV-5; sold separately).

You can also change the function (shortcut) of the [
button.

1. On the OTHERS screen, select “Control Settings” and

press “SELECT” (F2 button).

The CONTROL SETTINGS screen appears.

2. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

Explanation

You can assign functions to a footswitch
(BOSS FS-5U, FS-6; sold separately)
connected to this instrument.

Connecting an FS-5U

Stereo 1/4” phone type

1/4” phone type × 2

] (TOMOE)

1. On the OTHERS screen, select “Output Settings” and

press “SELECT” (F2 button).

The OUTPUT SETTINGS screen appears.

2. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Output Mode Phones, Speaker

Output Gain -12–+12 [dB]

Low Cut Sw OFF, ON Set this to “ON ” to cut the low frequencies.

Low Cut Freq 20–200 [Hz]

Value

[+] [-] buttons

Explanation

Congures the optimum sound to match
the output destination.

* When this is set to “Speaker,” the Ambience

always remains o.

Adjusts the output level.

* This is settings is common to all outputs, aside

from Bluetooth audio.

When “Low Cut Sw” is ON, use this
parameter to set the low-range frequencies
to cut.

3. Press the F1 button several times to return to the top

screen.

Foot Sw1

Foot Sw2

Refer to “Func tions

that can be
assigned to the
footswitch” (p.

37).

TIPRING

SW1 SW2

Polarity switch

* If you use a mono cable to connect a single

FS-5U, it operates as SW2.

* The FS-5L cannot be used.

Connecting an FS-6

Stereo 1/4” phone type

Stereo 1/4” phone type

SW1

SW2

Polarity switch

36

Pedal1

Pedal2

Refer to “Func tions

that Can Be
Assigned to the
Pedals” (p. 37).

You can assign the functions to an
expression pedal (EV-5) or pedals
connected to this instrument.

Making Overall Settings for the TAIKO-1 (Others)

Parameter

[H] [I] buttons

TOMOE

TOMOE+F1

TOMOE+F2

Favorite Kit KIT 1–KIT 100

Value

[+] [-] buttons

Refer to “Func tions

that Can Be
Assigned to the
Assignable Button”

(p. 37).

Explanation

You can assign functions to the [
button, and to the [ ] (TOMOE) button
plus the F1/F2 buttons (assignable button).

Sets the kit to be recalled when the
assignable button is set to FAV KIT.

] (TOMOE)

3. Press the F1 button several times to return to the top

screen.

Functions that can be assigned to the footswitch

(Foot Sw1/Foot Sw2)

Value Explanation

OFF No function is assigned.

KIT# Inc Calls up the next kit.

KIT# Dec Calls up the previous kit.

Ji-uchi# Inc Calls up the next ji-uchi.

Ji-uchi# Dec Calls up the previous ji-uchi.

p

Ji-uchi

q

Ji-uchi

Ji-uchi p/

MFX1 On/O Turns the multi-eect 1 on/o.

MFX2 On/O Turns the multi-eect 2 on/o.

MFX3 On/O Turns the multi-eect 3 on/o.

All SoundO Stops the sounds of the taiko and ji-uchi that are playing.

q

Plays the ji-uchi.

Stops the ji-uchi.

Plays/stops the ji-uchi.

Functions that Can Be Assigned to the Assignable Button

(TOMOE/TOMOE+F1/TOMOE+F2)

Value Explanation

OFF No function is assigned.

Fav Kit Displays the top screen and recalls the kit set in Favorite Kit.

Kit The top screen appears.

q

Ji-uchi p/

Metronome Plays/stops the metronome.

Button Lock

Trig Lock

All SoundO Stops all sounds that are currently playing.

Plays/stops the ji-uchi.

Disables the button operations.
(except for the assignable button).

Enables/disables the feature that prevents the currently edited pad
from changing when struck.

* When MFX 1/2/3 are switched on/o, the parameters that switch the

MFX on/o do not change even with the pedal on/o operations. For this
reason, the on/o indication on the display may not be in sync with the
actual operation. This is reset when switching to a dierent kit.

Functions assigned to the pedals

Value Explanation

OFF No function is assigned.

Pitch Controls the taiko’s pitch.

Decay Controls how quickly the sound decays.

Inst Level Controls the volume of the instrument.

MFX1 Level Controls the volume of multi-eect 1.

MFX2 Level Controls the volume of multi-eect 2.

MFX3 Level Controls the volume of multi-eect 3.

Master Vol Controls the overall volume of the TAIKO-1.

Ji-uchi Tempo Controls the tempo of the ji-uchi.

Ji-uchi Vel Controls the velocity of the ji-uchi.

Ji-uchi Vol Controls the volume of the ji-uchi.

MEMO

(Pedal1/Pedal2)

5 When using a setting other than Pitch or Decay, the pedal state is prioritized

over the parameter settings when you switch to a dierent kit (when a pedal is
connected).

5 To control the Pitch, Decay and Inst Level, you must enable/disable them for each

kit, in addition to making the settings here. For details, refer to “Controlling the

Sounds Using a Connected Pedal (Pedal Control)” (p. 21).

37

Making Overall Settings for the TAIKO-1 (Others)

MIDI-Related Settings

(Global MIDI)

1. On the OTHERS screen, select “Global MIDI” and press

“SELECT” (F2 button).

The GLOBAL MIDI screen appears.

2. Use the [

H

] [I] buttons to select the item, and then

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

MIDI Tx/Rx Sw OFF, ON

MIDI Channel CH1–16 Sets the transmit/receive channel.

PAD1 Pos CC

PAD2 Pos CC

Pitch Ctrl CC

HI-Reso Velocity OFF, ON

Prog Change Tx OFF, ON

Prog Change Rx OFF, ON

Local Control OFF, ON

Value

[+] [-] buttons

OFF, 1, 2, 4, 11, 16,
17, 18, 19

Explanation

Turns the transmitting/receiving of MIDI
messages on/o.

Sets the controller number used for
transmitting/receiving the strike point of
pad 1.

Sets the controller number used for
transmitting/receiving the strike point of
pad 2.

When the Pedal setting is “Pitch,” this
sets the controller number used for
transmitting/receiving the expression pedal
depth values (how deeply you press the
pedal).

Sets CC#88 (high resolution velocity prex)
to enabled (ON) or disabled (OFF).

If this is disabled, the maximum velocities
supported by this instrument are limited
to 127.

Sets whether program change messages
are sent (on/o).

Sets whether program change messages
are received (on/o).

Sets whether to transmit the performance
data from the pads to the sound module
of this instrument (ON to transmit, OFF to
disable).

This should normally be set to “ON.” When
this is “OFF,” the performance data from
the pads is disconnected from the sound
module.

3. Press the F1 button several times to return to the top

screen.

Conguring the Master Equalizer

(Master EQ)

A four-band compressor is provided for each kit.
You can adjust the equalizer’s eect (shelving and peaking) for the low

frequencies (LOW) and high frequencies (HIGH).
The sound to which master EQ is applied is output from the OUTPUT

jack and PHONES jack.

5 You can use four bands (LOW/MID1/MID2/HIGH) of boost/cut to adjust the sound.
5 This is also useful for compensating for sound quality issues when using the

master compressor.

1. On the OTHERS screen, select “Master EQ” and press

“SELECT” (F2 button).

The MASTER EQ screen appears.

2. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

EQ Sw OFF, ON Turns the master EQ on/o.

Low Type

Low Freq 20–1k [Hz] Sets the center frequency.

Low Q

Low Gain -12–+12 [dB]

Mid1 Freq 20–16k [Hz] Sets the center frequency.

Mid1 Q 0.5–8.0

Mid1 Gain -12–+12 [dB] Sets the amount of boost/cut for Mid1.

Mid2 Freq 20–16k [Hz] Sets the center frequency.

Mid2 Q 0.5–8.0

Mid2 Gain -12–+12 [dB] Sets the amount of boost/cut for Mid2.

High Type

High Freq 1k–16k [dB] Sets the center frequency.

High Q

High Gain -12–+12 [dB]

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

(Shelving),

SHELV
PEAK

0.5–8.0

(only when Type is set to

“PEAK”)

SHELV

(Shelving),

PEAK

0.5–8.0

(only when Type is set to

“PEAK”)

Explanation

Selects how the equalizer eect works.

Sets the bandwidth of the frequency region.
Higher values make the bandwidth

narrower.

Sets the amount of boost/cut for the low­frequency region.

Sets the bandwidth of the frequency region.
Higher values make the bandwidth

narrower.

Sets the bandwidth of the frequency region.
Higher values make the bandwidth

narrower.

Selects how the equalizer eect works.

Sets the bandwidth of the frequency region.
Higher values make the bandwidth

narrower.

Sets the amount of boost/cut for the high­frequency region.

38

3. Press the F1 button several times to return to the top

screen.

Making Overall Settings for the TAIKO-1 (Others)

Conguring the Master Compressor

(Master Comp)

This is a two-band compressor that is provided for each kit.
The sound to which the master compressor is applied is output from

the OUTPUT jack and the PHONES jack.

5 Use this eect to raise the overall loudness by compressing brief peaks in the

sound. The compressor lets the sound project better, without being buried in the
mix by the other instruments.

5 The compressor-limiter lets you increase the recording level while limiting the

excessive level input to the recording device.

5 The limiter makes the sound less likely to distort if you’re using a small monitor

amp, by limiting peaks in the sound.

1. On the OTHERS screen, select “Master Comp” and

press “SELECT” (F2 button).

The MASTER COMP screen appears.

2. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

Comp Sw OFF, ON Turns the master comp on/o.

Split Freq

Gain *1 -24–+24 [dB] Sets the compressor output level.

Threshold *1 -48–0 [dB]

Ratio *1 1:1–100:1 Sets the compression ratio.

Knee *1 HARD, SOFT1–3

Attack *1 0.1–100 [ms]

Release *1 10–1000 [ms]

* 1 If Split Freq is set to something other than “SINGLE,” the low range and

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

SINGLE,
10–16000 [Hz]

high range can be set independently.

Explanation

When the compressor bandwidth is

“SINGLE,” this eect operates as a single-

band compressor only on the high range.

Sets the volume level at which compression
starts.

Sets the attack of the sound at the moment
compression is applied.

Sets how long it takes before compression
is applied.

Sets how long it takes before the
compression returns to normal.

Setting the Screen and AUTO OFF Function

(LCD/Auto O)

You can adjust the brightness of the screen, and make other system
settings.

1. On the OTHERS screen, select “LCD/Auto O” and

press “SELECT” (F2 button).

The LCD/AUTO OFF screen appears.

2. Use the [

use the [+] [-] buttons to change the setting.

Parameter

[H] [I] buttons

LCD Contrast 1–16 Display contrast

LCD Backlight 1–16 Display brightness

Auto O

3. Press the F1 button several times to return to the top

screen.

Viewing Information for This Instrument

This shows information related to the TAIKO-1 itself, such as the
program version.

1. On the OTHERS screen, select “Version Info” and press

“SELECT” (F2 button).

The VERSION INFO screen appears.

H

] [I] buttons to select the item, and then

Value

[+] [-] buttons

OFF The power does not turn o automatically.

4 HOURS

10 MINUTES

Explanation

When four hours have elapsed without any
pad being struck or any operation being
performed, the unit turns o automatically.

When 10 minutes have elapsed without any
pad being struck or any operation being
performed, the unit turns o automatically.

(Version Info)

2. Press the F1 button several times to return to the top

screen.

2. Press the F1 button several times to return to the top

screen.

39

Making Overall Settings for the TAIKO-1 (Others)

Returning to the Factory Settings

Here’s how the settings that you edited and saved on the TAIKO-1 can
be returned to their factory-set condition.

* When you execute this operation, all saved settings including the sound

parameters are lost.

* User samples are not reset. To reset them, execute “Deleting All User

Samples (Delete All)” (p. 27).

(Factory Reset)

1. Press “MENU” (F2 button).

2. Use the [

press “SELECT” (F2 button).

3. Use the [

then press “SELECT” (F2 button).

A conrmation message appears.

If you decide to cancel, press “CANCEL” (F1 button).

H

] [I] buttons to select “Others,” and then

H

] [I] buttons to select “Factory Reset,” and

4. To execute, press the [+] button.

40

Troubleshooting

Problem Items to Check Action Page

Troubles with sound

Is the product correctly connected to the external devices? Check the connections. p. 9

No sound / Insucient volume

A specic pad does not sound

USB ash drive is connected but
not recognized; or data is not
visible

Can’t import audio les

Can’t communicate with a
computer

No sound

Could the instrument’s volume be lowered? Use the [

Could the volume of the connected amplied speaker be lowered? Adjust the volume of the connected amplied speakers. –

Could the volume be lowered on the smartphone or other device
that’s connected to the MIX IN jack or via Bluetooth?

Could the MIDI “Local Control” be “OFF”? Normally, this should be set to “ON.” p. 38

Are the cables correctly connected to each pad and pedal? Check the connections. p. 5

Could the instrument be “OFF”? Assign an instrument. p. 16

Could the pad’s volume be lowered?
Could the kit’s volume be lowered?

Could user samples have been deleted?

Could the Active Pad be “OFF”? Turn Active Pad “ON.” p. 29

Troubles with USB ash drives

Is the USB ash drive formatted correctly? Format the USB ash drive on this instrument. p. 35

Is the audio le format correct? Check the audio le format, le name, and le name extension. p. 25

Is the audio le in the correct location? Check the location of the audio le. p. 12

Could a large number of audio les be in the folder? Keep the number of audio les in a folder to 200 or fewer. –

Troubles with USB

Is the USB cable connected correctly? Check the connections. p. 9

Troubles with MIDI

Is the USB cable connected correctly? Check the connections. p. 9

Is the MIDI channel set correctly?

Has the note number been set properly? Set the pad’s “NOTE NO.” p. 21

Adjust this on your smartphone. –

Adjust the pad’s volume.
Adjust the kit’s volume.

If you delete the user sample that’s assigned to a pad, it no longer
produces sound.

Either load the user sample once again, or assign a dierent
instrument.

Set the MIDI channels of the product and external MIDI device to
the same setting.

] [ ] buttons to adjust. p. 8

p. 16
p. 20

p. 25
p. 16

p. 38

Problems with Bluetooth functionality

Problem Items to Check Action Page

Turn this instrument’s Bluetooth function “ON.”

“TAIKO-1” is not shown on your
smartphone

Can’t connect to Bluetooth
audio.

Can’t connect to Bluetooth MIDI

A paired smartphone does not
connect

Could this instrument’s Bluetooth function be “OFF”?

If your smartphone’s Bluetooth device list shows “TAIKO-1 AUDIO”

If your smartphone’s Bluetooth device list does not show “TAIKO-1

AUDIO”

For the Bluetooth MIDI function, execute pairing not via the Bluetooth settings of your smartphone, but by selecting the settings

“TAIKO-1MIDI” setting in your Bluetooth MIDI-compatible app (such as GarageBand). Even if your smartphone’s Bluetooth device list shows
“TAIKO-1 MIDI,” do not tap it. If you tapped it by mistake, cancel “TAIKO-1 MIDI,” turn the Bluetooth function o and then on, and make the

connection again.

If connection occurs but is immediately severed, turning the smartphone’s Bluetooth function o and then on again might make
connection succeed.

“MENU” (F2)0”Bluetooth”0”Setup”0 ON

Bluetooth audio function:
When you initiate pairing ([F2] button), the device name “TAIKO-1

AUDIO” appears on your smartphone.

In your smartphone’s settings, temporarily remove the registration
of the “TAIKO-1 AUDIO” Bluetooth device, turn the Bluetooth
function o and then on again, and execute pairing once again.

In your smartphone’s settings, turn the Bluetooth function o and
then on again, and then initiate pairing from the TAIKO-1 to pair it
once again.

p. 31

–

–

–

–

41

Appendix

Adjusting the Head Tension

1. Use the included hex wrench to loosen the locking

screw (counterclockwise). Use caution, as operating
the tension adjustment screw without loosening the
locking screw may damage the instrument.

Counterclockwise:

loosen the screw.

2. Use the included hex wrench to adjust the tension.

Clockwise:

Increases the tension.

3. Tighten the locking screw (clockwise) to secure the

tension adjustment screw.

Clockwise:

Tighten.

Counterclockwise:

Decreases the tension.

* Adjust the tension without letting the tension adjustment screw come

out.

* If the tension is too loose, this may make the strike points harder to

detect. Increase the tension if the playing feel is not quite right.

* If there is no gap between the protrusions on the pad, the tension cannot

be increased any further. Do not overtighten the parts—this may damage
them.

Gap between the protrusions on the pad

42

Appendix

Kit List

Kit Number

(Program Number)

1 (0) Katsugi-1

2 (1) NagadoLarge

3 (2) Dual Shime

4 (3) Odaiko

5 (4) Uchiwa Kit

6 (5) Alternative

7 (6) SpaceDaiko

8 (7) ElecDrums1

9 (8) Echo FX

10 (9) Nu Katsugi

11 (10) Katsugi Lo

12 (11) Shishioke

13 (12) OkedoDaiko

14 (13) NagadoDaiko

15 (14) OHiraOkedo

16 (15) OHiraDaiko

17 (16) OHiraYuki

18 (17) DualNagado1

19 (18) DualNagado2

20 (19) DualShime 2

21 (20) Shime Kit

22 (21) Naga+Oke Lo

23 (22) Naga+Oke Hi

24 (23) OhayashiKit

25 (24) Okedo Kit

26 (25) Shue

27 (26) TaikoRush

28 (27) Katsugi Ens

29 (28) Nagado Ens

30 (29) Shime Ens

31 (30) Ohira Ens

32 (31) Take Ens

33 (32) Meijin

34 (33) SuperFilter

35 (34) Distortion

36 (35) Kakegoe

37 (36) Tsuzumi Kit

38 (37) Dora

39 (38) AcDrums

40 (39) ClubDrums

41 (40) ElecDrums2

42 (41) HardDrums

43 (42) Industrial

44 (43) SambaPerc

45 (44) Timpani

46 (45) DarkAmbient

47 (46) EasyKatsugi

48 (47) EasyNagado

49 (48) EasyShime

50 (49) EasyOdaiko

Kit Name Kit Kanji Name

Instrument List

No. Name of instrument sound

0 O None

1 Nagado1 Type 1

2 Nagado1 /Side Type 1

3 Nagado2 Type 1

4 Nagado2 /Side Type 1

5 Nagado3 Type 1

6 Nagado3 /Side Type 1

7 Katsugi Okedo1 Type 1

8 Katsugi1 /Rim Type 1

9 Katsugi1/Side Type 1

10 Katsugi Okedo2 Type 1

11 Katsugi2 /Rim Type 1

12 Katsugi2/Side Type 1

13 ShishiOke Type 1

14 ShishiOke /Rim Type 1

15 Okedo Type 1

16 Shime 5cho Type 1

17 Shime 5cho/Rim Type 1

18 Shime 2cho Type 1

19 ShimeNamitsuke Type 1

20 Ohira Oke Type 1

21 Ohira Type 1

22 Ohira /Side Type 1

23 Ohira /Take Type 1

24 Ohira /Yuki Type 1

25 Odaiko Type 1

26 Uchiwa Large Type 1

27 Uchiwa Middle Type 1

28 Uchiwa Small Type 1

29 Tsuzumi 1 Type 2

30 Tsuzumi 2 Type 2

31 Hyoshigi1 Type 2

32 Hyoshigi2 Type 2

33 Jangara 7sun Type 2

34 Jangara 7Open Type 2

35 Jangara 7Mute Type 2

36 Jangara 6sun Type 2

37 Jangara 6Open Type 2

38 Jangara 6Mute Type 2

39 Chappa 5sun Type 2

40 Chappa 5Open Type 2

41 Chappa 5Mute Type 2

42 Dora Gong Type 2

43 NagadoLx6 Type 1

44 NagadoLx6 2 Type 1

45 NagadoLx6/Take Type 1

46 NagadoLx6/Side Type 1

47 NagadoSx6 Type 1

48 NagadoSx6/Take Type 1

49 NagadoSx6/Side Type 1

50 Okedo x6 Type 1

51 Okedo x6 /Take Type 1

52 Okedo x6 /Side Type 1

53 Katsugi x6 Type 1

Instrument-specic
parameter

43

Appendix

No. Name of instrument sound

54 Katsugix6/Rods Type 1

55 Katsugix6/Side Type 1

56 Shime x6 5cho Type 1

57 Shime6x5ch/Rim Type 1

58 Ohira x3 Type 1

59 Ohira x3 /Edge Type 1

60 Ohira x3 /Yuki Type 1

61 Ohira x3 /Take Type 1

62 Ohira x3 /Side Type 1

63 Female /6sw None

64 Female /3sw None

65 Female Yo/Ha None

66 Fem x3 /5sw None

67 Fem x3 /4sw None

68 Fem x3 Yo/Ha None

69 Male /6sw None

70 Male /3sw None

71 Male Yo/Ha None

72 Male x5 /5sw None

73 Male x5 /4sw None

74 Male x5 Yo/Ha None

75 Ho None

76 Iyo None

77 Iyo/Ho None

78 Ms ComeOn None

79 Fs Hou! None

80 Ms One None

81 Ms Two None

82 Ms Three None

83 Ms Four None

84 Fs One None

85 Fs Two None

86 Fs Three None

87 Fs Four None

88 Snare 14” Type 1

89 Tom 10” Type 1

90 China Cym 22” Type 2

91 Mini China Cym Type 2

92 Splash Cym 10” Type 2

93 Stacked Cym12” Type 2

94 Dark Cr Type 2

95 Dark CrE Type 2

96 Cross Cymbal None

97 Verby Crash None

98 Finger Cymbal None

99 Crotale None

100 Sleigh Bells None

101 Agogo Hi None

102 Timpani Hi D None

103 Timpani Lo G None

104 Surdo None

105 Bombo None

106 Triangle Mute None

107 Afro Claves None

108 Metal Maracas None

109 Shaker None

Instrument-specic
parameter

No. Name of instrument sound

110 Ganza None

111 Chafchas None

112 Afro Bracelet None

113 Rain Stick None

114 Metal Perc None

115 Dyna Filter None

116 Mellbourne_K None

117 Atk_Bass_K None

118 Hard_Style_K None

119 808_Kick None

120 909_Kick None

121 626_DistSnare None

122 Syn_Snare1 None

123 Syn_Snare2 None

124 808_Snare None

125 909_DistSnare None

126 Syn_Tom Hi None

127 Syn_Tom Mid None

128 Syn_Tom Low None

129 909_Crash None

130 909_Ride None

131 808_Clap None

132 909_Clap None

133 909_DistClap None

134 808_Cowbell None

135 Waterphone Hit None

136 Random Noise 1 None

137 Random Noise 2 None

138 Super Low None

139 Abstract Noise None

140 Low Stomper None

141 Pink_Nz_Hit None

142 Hammer_on None

143 FullDistortion None

144 Thrilling None

145 Close_Door_FX None

146 Metal_Ring None

147 Brass_Hit None

148 Scratch1 None

149 Scratch2 None

150 Waterdrop None

151 Kick Low None

152 Sub Kick None

153 Heavy Metal None

154 Low Attack None

155 Sub Low None

156 Kick Atk None

Instrument-specic
parameter

44

Appendix

MFX List

DELAY 40

TAPE ECHO 40

REVERSE DELAY 41

3TAP PAN DELAY 41

SHELL RESONANCE 41

OD0DELAY 41

DS0DELAY 41

CHORUS 42

SPACE-D 42

OD0CHORUS 42

DS0CHORUS 42

PHASER 1 42

PHASER 3 43

STEP PHASER 43

FLANGER 43

REVERB 43

LONG REVERB 44

SUPER FILTER 44

FILTER+DRIVE 45

AUTO WAH 45

OD/DS0TWAH 45

LOFI COMPRESS 45

DISTORTION 46

OVERDRIVE 46

SATURATOR 46

T-SCREAM 46

BIT CRUSHER 46

ISOLATOR 46

PITCH SHIFTER 47

AUTO PAN 47

DELAY

This is a stereo delay.

Parameter Value Explanation

Tempo Sync
Left, Right

Delay Left,
Right Time

Phase Left,
Right

Feedback
Mode

OFF, ON

1–1300 [msec],
note

NORMAL, INVERSE

NORMAL, CROSS

Feedback -98–+98 [%]

HF Damp

200–8000
Hz, BYPASS

Sets whether the delay time value of the left/
right delay sounds is specied as a note value
(ON) or not (OFF).

Delay time from the original sound until the
left/right delay sound is heard

Phase of the left/right delay sound

NORMAL: not inverted
INVERSE: inverted

Input destination fed back into the delay
sound

NORMAL: The left/right delay sound is fed

back as-is.

CROSS: The left/right delay sounds are

alternately fed back.

The amount of delay sound fed back to the
input.

(Negative values invert the phase.)

Center frequency at which the high
frequencies of the delay sound fed back to the
input are cut

(set this to BYPASS if you do not want to cut
the frequencies)

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

TAPE ECHO

A virtual tape echo that produces a realistic tape delay sound. This
simulates the tape echo section of a Roland RE-201 Space Echo.

Parameter Value Explanation

The combination of playback heads to use.
Select from three dierent heads with dierent

Mode

Repeat Rate 0–127

Intensity 0–127 Amount of delay repeats

Bass -15–+15 [dB]

Treble -15–+15 [dB]

Head S Pan L64–R63

Head M Pan L64–R63

Head L Pan L64–R63

Tape Distortion 0–5

W/F Rate 0–127

W/F Depth 0–127 Depth of wow/utter

Level 0–127 Output level

S, M, L, S+M, S+L,
M+L, S+M+L

delay times.

S: short
M: middle
L: long

Tape speed
Increasing this value shortens the spacing of

the delayed sound.

Boost/cut for the lower range of the echo
sound

Boost/cut for the upper range of the echo
sound

Stereo position of each head for short/middle/
long playback

Amount of tape-dependent distortion to be
added.

This simulates the slight tonal changes that
can be detected by signal-analysis equipment.
Increase this value for more distortion.

Speed of wow/utter (complex variation in
pitch caused by tape wear and rotational
irregularity)

45

Appendix

REVERSE DELAY

This is a reverse delay that adds a reversed and delayed sound to the
input sound. A tap delay is connected immediately after the reverse
delay.

Parameter Value Explanation

Threshold 0–127

Tempo Sync
Rev Sw

Rev Delay
Time

Rev Delay
Feedback

Rev Delay
HFDamp

OFF, ON

1–1300 [msec],
note

-98–+98 [%]

200–8000 [Hz],
BYPASS

Rev Delay Pan L64–R63 Stereo position of the reverse delay sound

Rev Delay
Level

Tempo Sync
Delay 1–3

Delay 1–3
Time

Delay 3
Feedback

Delay HF
Damp

Delay 1 Pan,
Delay 2 Pan

Delay 1 Level,
Delay 2 Level

0–127 Volume of the reverse delay sound

OFF, ON

1–1300 [msec],
note

-98–+98 [%]

200–8000 [Hz],
BYPASS

L64–R63 Stereo position of the tap delay sounds

0–127 Volume of the tap delay sounds

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

Volume at which the reverse delay begins to
be applied

Sets whether the delay time value of the
reverse delay is specied as a note value (ON)
or not (OFF).

Delay time from when sound is input into the
reverse delay until the delay sound is heard

Proportion of the delay sound that is returned
to the input of the reverse delay (negative
values invert the phase).

Center frequency at which the high
frequencies of the reverse delay are cut

(set this to BYPASS if you do not want to cut
the frequencies)

Sets whether the delay time value of the tap
delay is specied as a note value (ON) or not
(OFF).

Delay time from when sound is input into the
tap delay until the delay sound is heard

Proportion of the delay sound that is returned
to the input of the tap delay (negative values
invert the phase)

Center frequency at which the high
frequencies of the tap delay are cut

(set this to BYPASS if you do not want to cut
the frequencies)

3TAP PAN DELAY

Produces three delay sounds; center, left and right.

Parameter Value Explanation

Tempo Sync L,
R

, C Sw

Delay L, R, C
Time

Center
Feedback

HF Damp

Left, Right,
Center Level

OFF, ON

1–2600 [msec],
note

-98–+98 [%]

200–8000 [Hz],
BYPASS

0–127 Volume of the left/center/right delay sounds

Sets whether the delay time value of the left/
right/center delay sound is specied as a note
value (ON) or not (OFF).

Time after the direct sound until the left/right/
center delay sounds are heard

The amount of delay sound fed back to the
input.

(Negative values invert the phase.)

Center frequency at which the high
frequencies of the delay sound fed back to the
input are cut

(set this to BYPASS if you do not want to cut
the frequencies)

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

SHELL RESONANCE

Adds a resonating sound to the sound of the taiko head.

Parameter Value Explanation

Type 1–5 Selects the type of resonance.

Level 0–127 Adjusts the output volume.

OD0DELAY

Parameter Value Explanation

Overdrive Drive 0–127

Overdrive Pan L64–R63 Stereo position of the overdrive sound

Tempo Sync Sw OFF, ON

Delay Time

Delay Feedback -98–+98 [%]

Delay HF Damp

Delay Balance

Level 0–127 Output level

1–2600 [msec],
note

200–8000 [Hz],
BYPASS

D100:0W–
D0:100W

The degree of distortion.
Also changes the volume.

Sets whether the delay time value of the delay
is specied as a note value (ON) or not (OFF).

Adjusts the delay time from the direct sound
until the delay sound is heard.

Adjusts the proportion of the delay sound that
is fed back into the eect. (Negative values
invert the phase.)

The frequency above which the delay sound
fed back to the input is cut. If you do not want
to cut the high frequencies, set this parameter
to BYPASS.

Volume balance between the sound that is
sent through the delay (W) and the sound that
is not sent through the delay (D)

46

DS0DELAY

The parameters are essentially the same as in “OD0DELAY,” with the
exception of the following two.

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

Appendix

CHORUS

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

Parameter Value Explanation

Filter type

OFF: Filter is not used

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 [Hz]

Pre Delay 0.0–100.0 [ms]

Tempo Sync Sw OFF, ON

Rate

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread (depth) of the chorus sound

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

0.05–10.00 [Hz],
note

LPF: High frequencies at or above the cuto

value are ltered

HPF: Low frequencies at or below the cuto

value are ltered

Center frequency at which the lter cuts a
specic frequency region

Delay time from the direct sound until the
chorus sound is heard

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Rate of modulation

SPACE-D

This is a multiple chorus that applies two-phase modulation in stereo.
It gives no impression of modulation, but produces a transparent
chorus eect.

Parameter Value Explanation

Pre Delay 0.0–100.0 [ms]

Tempo Sync OFF, ON

Rate

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread (depth) of the chorus sound

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

0.05–10.00 [Hz],
note

Delay time from the direct sound until the
chorus sound is heard

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Rate of modulation

OD0CHORUS

Parameter Value Explanation

Overdrive Drive 0–127

Overdrive Pan L64–R63 Stereo position of the overdrive sound

Chorus Pre Delay 0.0–100.0 [ms]

Tempo Sync Sw OFF, ON

Rate

Chorus Depth 0–127 Depth of modulation

Chorus Balance

Level 0–127 Output level

0.05–10.00 [Hz],
note

D100:0W–
D0:100W

The degree of distortion.
Also changes the volume.

Delay time from the direct sound until the
chorus sound is heard

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Rate of modulation

Volume balance between the sound that is
sent through the chorus (W) and the sound
that is not sent through the chorus (D).

DS0CHORUS

The parameters are essentially the same as in “OD0CHORUS” with
the exception of the following two.

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

PHASER 1

This is a stereo phaser. The phase of the original sound is shifted to
modulate the overall sound.

Parameter Value Explanation

Mode

Manual 0–127

Tempo Sync Sw OFF, ON

Rate

Depth 0–127 Depth of modulation

Polarity

Resonance 0–127 Amount of feedback

Cross Feedback -98–+98 [%]

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

4-STAGE,
8-STAGE, 12-STAGE

0.05–10.00 [Hz],
note

INVERSE,
SYNCHRO

Number of stages in the phaser

Center frequency from which the sound is
modulated

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Frequency of modulation

This sets the left/right modulation phase.

INVERSE: left/right phases inverted

When using a mono source, this gives the
sound a more spread-out feel.

SYNCHRO: left/right phases synchronized

Select this when using a stereo source.

Adjusts the proportion of the phaser sound
that is fed back into the eect. (Negative values
invert the phase.)

PHASER 3

This simulates a dierent analog phaser than the Phaser 1 eect.

Parameter Value Explanation

Speed 0–100 Frequency of modulation

Depth 0–127 Depth of modulation

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

47

Appendix

STEP PHASER

This is a stereo phaser. The phaser eect is varied gradually in steps.

Parameter Value Explanation

Mode

Manual 0–127

Rate Sync Sw OFF, ON

Rate

Depth 0–127 Depth of modulation

Polarity

Resonance 0–127 Amount of feedback

Cross Feedback -98–+98 [%]

Step Rate Sync Sw OFF, ON

Step Rate

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

4-STAGE,
8-STAGE, 12-STAGE

0.05–10.00 [Hz],
note

INVERSE,
SYNCHRO

0.10–20.00 [Hz],
note

Number of stages in the phaser

Center frequency from which the sound is
modulated

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Frequency of modulation

This sets the left/right modulation phase.

INVERSE: left/right phases inverted

When using a mono source, this gives the
sound a more spread-out feel.

SYNCHRO: left/right phases synchronized

Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound
that is fed back into the eect. (Negative values
invert the phase.)

Sets whether the modulation rate of the
phaser eect is specied as a note value (ON)
or not (OFF).

Rate of the step-wise change in the phaser
eect

FLANGER

This is a stereo anger. (The left/right phases of the LFO are
synchronized.)

The eect produces a metallic resonance that rises and falls like a jet
airplane taking o or landing. A lter is provided so that you can adjust
the timbre of the anged sound.

Parameter Value Explanation

Filter type

OFF: Filter is not used

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 [Hz]

Pre Delay 0.0–100.0 [ms]

Tempo Sync Sw OFF, ON

Rate

Depth 0–127 Depth of modulation

Phase 0–180 [deg] Spatial spread (depth) of the anger sound

Feedback -98–+98 [%]

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

0.05–10.00 [Hz],
note

LPF: High frequencies at or above the cuto

value are ltered

HPF: Low frequencies at or below the cuto

value are ltered

Center frequency at which the lter cuts a
specic frequency region

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

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Rate of modulation

Adjusts the proportion of the anger sound
that is fed back into the eect. (Negative values
invert the phase.)

REVERB

Adds reverberation to the direct sound, simulating an acoustic space.

Parameter Value Explanation

ROOM1,

Type

Pre Delay 0.0–100 [msec]

Time 0–127 Time length of reverberation

HF Damp

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

ROOM2, STAGE1,
STAGE2, HALL1,
HALL2

200–8000 [Hz],
BYPASS

Reverb type

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

Center frequency at which the high-frequency
content of the reverb sound is cut (BYPASS:
no cut)

48

Appendix

SAW1 SAW2

LONG REVERB

This is a reverb with richer reverberations.

Parameter Value Explanation

Depth 0–127 Depth of the eect

Time 0–127 Time length of reverberation

Center frequency at which the high

Pre LPF

Pre HPF

Peaking Freq 200–8000 [Hz]

Peaking Gain -15–+15 [dB]

Peaking Q 0.5–8.0

HF Damp

LF Damp

Character 1–6 Reverb type

EQ Low Freq 200–400 [Hz] Center frequency of the low range

EQ Low Gain -15–+15 [dB] Amount of low range boost/cut

EQ High Freq 2000–8000 [Hz] Center frequency of the high range

EQ High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

16–15000 [Hz],
BYPASS

BYPASS,
16–15000 [Hz]

16–15000 [Hz],
BYPASS

BYPASS,
16–15000 [Hz]

frequencies of the input sound are ltered
(set this to BYPASS if you do not want to cut

the frequencies)

Center frequency at which the low frequencies
of the input sound are ltered

(set this to BYPASS if you do not want to cut
the frequencies)

Center frequency of the lter that boosts/cuts
a specic frequency region of the input sound

Amount of boost/cut produced by the lter
at the specied frequency region of the input
sound

Bandwidth of the lter that boosts or cuts the
specied frequency region of the input sound

Center frequency at which the high-frequency
content of the reverb sound is cut (BYPASS:
no cut)

Frequency at which the low-frequency content
of the resonant sound is cut (BYPASS: no cut)

SUPER FILTER

This is a lter with an extremely sharp slope (attenuation
characteristics). The cuto frequency can be varied cyclically.

Parameter Value Explanation

Filter type
Frequency range that passes through each lter

Filter Type

Filter Slope

Filter Cuto 0–127

Filter Resonance 0–127

Filter Gain 0–+12 [dB] Amount of boost for the lter output

Modulation Sw OFF, ON On/o switch for cyclic change

Modulation Wave

LPF Frequencies at or below the cuto

BPF Frequencies in the region of the cuto

HPF Frequencies at or above the cuto

NOTCH Frequencies other than the region of the cuto

Filter slope (attenuation characteristics; amount of attenuation per
octave)

-12 [dB] Gentle

-24 [dB] Steep

-36 [dB] Extremely steep

Cuto frequency of the lter
Increasing this value raises the cuto

frequency.

Filter resonance level
Increasing this value emphasizes the region

near the cuto frequency.

These waves control how the cuto frequency changes.

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1 Sawtooth wave (upward)

SAW2 Sawtooth wave (downward)

Tempo Sync Sw OFF, ON

Rate

Depth 0–127 Depth of modulation

Attack 0–127

Level 0–127 Output level

0.05–10.00 [Hz],
note

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Rate of modulation

Speed at which the cuto frequency changes
This is eective if the Modulation Wave is SQR,

SAW1, or SAW2.

49

Appendix

FILTER+DRIVE

This is a low-pass lter with overdrive. This cuts the upper range and
adds distortion.

Parameter Value Explanation

Cuto 0–127

Resonance 0–127

Drive 0–127 The degree of distortion.

Level 0–127 Output level

Cuto frequency of the lter
Increasing this value raises the cuto

frequency.

Filter resonance level
Increasing this value emphasizes the region

near the cuto frequency.

AUTO WAH

This eect cyclically controls a lter to create a wah eect (cyclic
changes in timbre).

Parameter Value Explanation

Filter type

Filter Type LPF, BPF

Manual 0–127 Center frequency that produces a wah eect

Peak 0–127

Sens 0–127 Sensitivity with which the lter is modied

Polarity UP, DOWN

Tempo Sync Sw OFF, ON

Rate

Depth 0–127 Depth of wah eect modulation

Phase 0–180 [deg]

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

0.05–10.00 [Hz],
note

LPF: The wah eect is heard over a wide

frequency range.

BPF: The wah eect is heard over a narrow

frequency range.

The width of the frequency region over which
the wah eect is applied.

Increasing this value makes the frequency
region narrower.

Direction in which the lter moves

UP: moves towards the high frequencies
DOWN: moves towards the low frequencies

Sets whether the modulation rate is specied
as a note value (ON) or not (OFF).

Frequency of wah eect modulation

Adjusts the degree of phase shift of the left
and right sounds when the wah eect is
applied.

OD/DS0TWAH

Parameter Value Explanation

Drive Sw OFF, ON Turns overdrive or distortion on/o.

Drive Type

Drive 0–127

Tone 0–127 Sound quality of the overdrive eect

Amb Sw OFF, ON Turns the Amp Simulator on/o.

Amp Type

Touch Wah Sw OFF, ON Turns the wah eect on/o.

Touch Wah Mode LPF, BPF

Touch Wah
Polarity

Touch Wah Sens 0–127 Sensitivity with which the lter is modied

Touch Wah
Manual

Touch Wah Peak 0–127

Touch Wah Bal

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

OVERDRIVE,
DISTORTION

SMALL,
BUILT-IN,
2-STACK, 3-STACK

DOWN, UP

0–127 Center frequency that produces a wah eect

D100:0W–
D0:100W

Distortion type

The degree of distortion. Also changes the
volume.

Guitar amp type

SMALL: small amp
BUILT-IN: built-in amp
2-STACK: Large two-stack amp
3-STACK: Large three-stack amp

Filter type

LPF: The wah eect is heard over a wide

frequency range.

BPF: The wah eect is heard over a narrow

frequency range.

Direction in which the lter moves

UP: moves towards the high frequencies
DOWN: moves towards the low frequencies

The width of the frequency region over which
the wah eect is applied.

Increasing this value makes the frequency
region narrower.

Volume balance of the sound that passes
through the wah (W) and the unprocessed
sound (D)

LOFI COMPRESS

This is an eect that lets you degrade the tone character for creative
purposes.

Parameter Value Explanation

Selects the type of lter applied to the sound

Pre Filter Type 1–6

LoFi Type 1–9

Post Filter Type OFF, LPF, HPF

PostFltr Cuto 200–8000 [Hz] Center frequency of the post lter

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

before it passes through the Lo-Fi eect.

1: Compressor o
2–6: Compressor on

Degrades the tone character. The tone
character grows poorer as this value is
increased.

Selects the type of lter applied to the sound
after it passes through the Lo-Fi eect.

OFF: Filter is not used
LPF: High frequencies at or above the cuto

value are ltered

HPF: Low frequencies at or below the cuto

value are ltered

50

Appendix

DISTORTION

Produces a more intense distortion than overdrive.

Parameter Value Explanation

Drive 0–127

Tone 0–127 Sound quality of the overdrive eect

Amp Sw OFF, ON Turns the Amp Simulator on/o.

SMALL,

Amp Type

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Pan L64–R63 Stereo position of the output sound

Level 0–127 Output level

BUILT-IN,
2-STACK,
3-STACK

The degree of distortion.
Also changes the volume.

Guitar amp type

SMALL: small amp
BUILT-IN: built-in amp
2-STACK: Large two-stack amp
3-STACK: Large three-stack amp

OVERDRIVE

This is an overdrive that provides heavy distortion. The parameters are
the same as for “DISTORTION.”

SATURATOR

A saturator which distorts the sound is connected in parallel with a
compressor, producing a rougher tonal character and boosting the
loudness. This also cuts the low-frequency region of the input audio.

ISOLATOR

This is an equalizer which cuts the volume greatly, allowing you to add
a special eect to the sound by cutting the volume in varying ranges.

Parameter Value Explanation

Boost/Cut Low

Boost/Cut Mid

Boost/Cut High

Anti Phase Low
Sw

Anti-Phase Low
Level

Anti Phase Mid
Sw

Anti Phase Mid
Level

Low Boost Sw OFF, ON

Low Boost Level 0–127

Level 0–127 Output level

-60–+4 [dB]

OFF, ON

0–127

OFF, ON

0–127

The amount of boost/cut at the high, middle,
and low frequency ranges.

At -60 dB, the sound at that frequency band
becomes inaudible. 0 dB is equivalent to the
input level of the sound.

Turns the Anti-Phase function on/o for the
low frequency ranges.

When turned on, the counter-channel of stereo
sound is inverted and added to the signal.

Adjusts the level settings for the anti-phase
low frequency ranges.

With certain level settings, you can achieve an
eect similar to extracting specic parts from
the sound (this works only with stereo input).

Anti-Phase function settings for the middle
frequency ranges.

The parameters are the same as for the low
frequency ranges.

Turns Low Booster on/o.
This emphasizes the low-end to create a heavy

bass sound.

Amount of low-end boost.
Depending on the Isolator and lter settings,

this eect may be hard to distinguish.

Parameter Value Explanation

Saturator Gain 0–127 Input volume to the saturator

Saturator Drive 0–127 The degree of distortion.

Saturator Level 0–127 Output volume of the saturator

Comp Depth 0–127 Amount of compression

Comp Level 0–127 Output volume of the compressor

Hi Gain -12–+6 [dB] Amount of high range boost/cut

Level 0–127 Output level

T-SCREAM

This models the analog overdrive of the past. It adds a nice amount of
overtones without dirtying the sound.

Parameter Value Explanation

Distortion 0–127

Tone 0–127 Sound quality of the overdrive eect

Level 0–127 Output level

The degree of distortion.
Also changes the volume.

BIT CRUSHER

This creates a lo- sound.

Parameter Value Explanation

Sample Rate 0–127 Sampling frequency

Bit Down 0–18 Bit rate

Filter 0–127 Adjusts the lter depth.

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

51

Appendix

PITCH SHIFTER

A stereo pitch shifter.

Parameter Value Explanation

Coarse -24–+12 [semi]

Fine -100–+100 [cent]

Tempo Sync Sw OFF, ON

Delay Time

Feedback -98–+98 [%]

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

1–1300 [msec],
note

Adjusts the pitch of the pitch-shifted sound in
semitones.

Adjusts the pitch of the pitch-shifted sound in
2-cent steps.

Sets whether the delay time value of the delay
is specied as a note value (ON) or not (OFF).

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

Adjusts the proportion of the pitch-shifted
sound that is fed back into the eect. (Negative
values invert the phase.)

AUTO PAN

Cyclically modulates the stereo position of the sound.

Parameter Value Explanation

These waves control how the cuto frequency
changes.

TRI: Triangle wave
SQR: Square wave
SIN: Sine wave
SAW1: Sawtooth wave (upward)
SAW2: Sawtooth wave (downward)
TRP: Trapezoidal wave

Mod Wave

TRI, SQR, SIN,
SAW1, SAW2, TRP

SAW1 SAW2

R R

Ji-uchi List

Number Name Default tempo Default velocity

1 Shime1 120 22

2 Shime2 120 20

3 Shime3A 120 20

4 Shime3B 120 20

5 Shime4 160 20

6 Naga1 120 22

7 Naga2 120 20

8 Naga3 120 20

9 Naga4 160 20

10 Side1 120 22

11 Side2 120 20

12 Side3 120 20

13 Side4 160 20

14 Oke1 120 22

15 Oke2 120 20

16 Oke3 120 20

17 Oke4 160 20

18 ODaiko1 120 22

19 ODaiko2 120 20

20 ODaiko3 120 20

21 ODaiko4 160 20

22 Ens1 120 26

Ji-uchi Instrument List

L L

Tempo Sync Sw OFF, ON

Rate

Depth 0–127 Depth to which the eect is applied

Low Gain -15–+15 [dB] Amount of low range boost/cut

High Gain -15–+15 [dB] Amount of high range boost/cut

Level 0–127 Output level

0.05–10.00 [Hz],
note

Sets whether the rate of modulation applied
to the eect is specied as a note value (ON)
or not (OFF).

Frequency of the change

Ji-uchi Note No.

Inst 1 112 (0x70) 80 (0x50) 016 Shime 5cho

Inst 2 113 (0x71) 81 (0x51) 001 Nagado1

Inst 3 114 (0x72) 82 (0x52) 007 Katsugi Okedo1

Inst 4 115 (0x73) 83 (0x53) 021 Ohira

Inst 5 116 (0x74) 86 (0x56) 043 NagadoLx6

Inst 6 117 (0x75) 87 (0x57) 005 Nagado3

Inst 7 118 (0x76) 89 (0x59) 018 Shime 2cho

Inst 8 119 (0x77) 90 (0x5A) 058 Ohira X3

Inst 9 120 (0x78) Unsupported 039 Chappa 5sun

Inst 10 121 (0x79) Unsupported 106 Triangle Mute

Inst 11 122 (0x7A) Unsupported 002 Nagado1 /Side

Inst 12 123 (0x7B) Unsupported 063 Female /6sw

Inst 13 124 (0x7C) Unsupported 069 Male /6sw

Inst 14 125 (0x7D) Unsupported 133 909_DistClap

Inst 15 126 (0x7E) Unsupported 130 909_Ride

Inst 16 127 (0x7F) Unsupported 116 Mellbourne_K

Positional sensing
CC

Instrument

* For instruments that sound using the ji-uchi function, you can transmit

MIDI note numbers from 112 and up using MIDI channel 16 (high­resolution velocity is not supported).

52

Metronome Sounds

Number Sound

1 METRONOME

2 CLICK

3 VOICE

4 BEEP 1

5 BEEP 2

6 TEK CLICK

7 STICKS

8 CLAVES

9 WOOD BLOCK

10 COWBELL

11 AGOGO

12 TRIANGLE

13 TAMBOURINE

14 MARACAS

15 CABASA

Allowable Characters

Appendix

ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789!#$%&'()+-.=@
[]^_`{}

(space)

Allowable Kanji Characters

53

Main Specications

Pads 14 inches (Head/Rim) x 2

kits 100 (Preset: 50)

Instruments more than 100

Number of User Sample: Maximum 500

User Sample Import

Set Lists 16 banks (64 steps per bank)

Eect Types more than 20 types

Bluetooth

Display Graphic LCD 128 x 64 dots

External Memory USB Flash drive (sold separately)

Connectors

Power Supply

Current Draw 500 mA (DC IN)

Battery Life for Continuous
Use

Accessories

Dimensions

Weight 4.5 kg/9 lbs 15 oz (excluding AC adaptor)

Sound Length (total): 24 minutes in mono, 12 minutes in stereo
File formats that can be loaded: WAV (44.1 kHz, 16 bits, Stereo/Mono)

* Even if the sound is stereo, the OUTPUT jack will mix L and R into mono.

Supported standards: Bluetooth Ver 4.2
Supported prole: A2DP (Audio), GATT (MIDI over Bluetooth Low Energy)
Codec: SBC (Support to the content protection of the SCMS-T method)

OUTPUT (MONO) jack: 1/4-inch phone type
PHONES jack: Stereo 1/4-inch phone type
MIX IN jack: Stereo 1/4-inch phone type
TRIG IN jacks x 2 (Original)
FOOT SW jack: 1/4-inch TRS phone type
EXP PEDAL jacks x 2: 1/4-inch TRS phone type
USB MEMORY Port
USB COMPUTER jack (MIDI) x 1: USB Mirco B type
DC IN jack

AC adaptor (DC 12 V) or Ni-MH batteries (AA, HR6) x 8

* Alkaline and Carbon-zinc batteries cannot be used.

AA rechargeable Ni-MH batteries: Maximum 5 hours

* This gure will vary depending on the actual conditions of use.

Owner’s manual
Leaet “USING THE UNIT SAFELY”
AC adaptor
Power cord
Rubber ring for securing the sound module x 4
Special connection cable(0.2 m) x 2
Special connection cable(1.0 m) x 2
Drum key
Hex wrench
Cable clamp x 3

430 (W) x 430 (D) x 521 (H) mm
16-15/16 (W) x 16-15/16 (D) x 20-9/16 (H) inches

* This document explains the specications of the product at the time that the document was issued. For the latest information, refer to the Roland website.

54

MIDI-Related Settings

Note Numbers for Each Pad

This shows how to set the note numbers for each pad.
Default settings are as follows.

Pad Note number

PAD1H 38

PAD1R 40

PAD2H 48

PAD2R 50

&

To change the note numbers, refer to “Note Numbers for Each Pad

(Defaults)” (p. 55).

(Defaults)

MIDI Output Specications

When striking the heads

1

CC: strike point data

– 0 (center)–127 (circumference)

– Control numbers used are the values set in Pad1/2 Pos CC

– Output only when positional sensing is enabled

2

CC: High-resolution velocity prex

Fixed at controller number 88

3

Note-on

4

Note-o

When striking the rim

1

CC: High-resolution velocity prex

2

Note-on

High-Resolution Velocity Prex

When a note-on is received right afterwards on the same note
channel, the pad strike velocity is expressed as follows, according to
the values of the note-on velocity and high-resolution velocity prex.

When the note-on velocity is smaller than 127 and the high-resolution
velocity prex is smaller than 64, the velocity is the same as the note­on velocity.

When the note-on velocity is smaller than 127 and the high-resolution
velocity prex is equal to or greater than 64, the velocity is expressed
as x + 0.5 with the note-on velocity as “x .”

When the note-on velocity is 127 and the high-resolution velocity
prex is considered as “ y,” the velocity is expressed as 127 + (0.5*y).

Note-on velocity

A B

1–126

127 1–127

* Velocities below the decimal point are not displayed on the TAIKO-1. Also,

velocities greater than 127 are expressed as “127 + (x - 127),” considering
the velocity as “x.”

* This is not received when HI-Reso Velocity is “OFF.”

High-resolution velocity prex

(controller number 88)

1–63

64–127

(Controller Number 88)

Velocity to output

A

Note-on velocity value

A + 0.5

(Note-on velocity value) + 0.5

A + (0.5 × B)

(Note-on velocity value) + 0.5 × (high-

resolution velocity prex value)

Program Change Messages

When a program change message is received, the kit switches to the
kit number corresponding to the program change message (0–99) + 1.

* This is only received when the channel is the same as the global channel.

3

Note-o

Touch mute

Example: when touch mute is detected on PAD1

Polyphonic key pressure (0x7F) is output (muted) for both the head
and rim of PAD1.

The next time PAD1 is struck normally, polyphonic key pressure
(0x0) is output (mute cancel) before the note-on or other event.

Others

When transmitting only note-on data to the TAIKO-1 sound module
from an external device such as a computer (no strike point data CC
before the note-on), the sound plays at strike point CC = 32.

55

TAIKO-1 Audio Signal Flow

Pan

Master

EQ

Master

Comp

Low Cut

Sw

Kit

Level

Output

Gain

Master

Volune

Metronome

Volume

MIX IN

Bluetooth

Output Mode

Speaker/Phones

OUTPUT

Mono

PHONES

Stereo

PAD 1 / PAD 2

Head

Level

Layer A

Instrument

Level

Layer B

Instrument

Rim

Ji-uchi 1 – Ji-uchi 16

Ji-uchi

JI-UCHI

Instrument

Pan

Pad

EQ

MFX

Send Level

Pad

Comp

Ambience

Send Level

Ji-uchi

Volume

MFX

Assign

MFX

Wet + Dry

MFX 1~3

Level

MFX1

MFX2

MFX3

MFX

O

Ambience

Level

Ambience

Type, etc.

56

Metronome

METRONOME

Instrument

Pan

Master

EQ

Master

Comp

Low Cut

Sw

Kit

Level

Output

Gain

Master

Volune

Metronome

Volume

MIX IN

Bluetooth

Output Mode

Speaker/Phones

OUTPUT

Mono

PHONES

Stereo

MIX IN

TAIKO-1 Audio Signal Flow

Output Mode

Speaker/Phones

Master

Comp

Master

Metronome

Volume

EQ

Pan

Kit

Level

Bluetooth

Output

Gain

Low Cut

Sw

Master

Volune

OUTPUT

Mono

PHONES

Stereo

57