Roland TD-27KV Data List

Data List

© 2020 Roland Corporation

Contents

DRUM KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

DRUM KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

SET LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

KIT EDIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

INSTRUMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Parameters Common to Each Instrument . . . . . . . . . . . . . . . . . . . . 4

Parameters Specic to Each Instrument . . . . . . . . . . . . . . . . . . . . . 5

SUB INSTRUMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

TRANSIENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

OVERHEAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

SEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

ROOM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Parameters Common to ROOM and REVERB . . . . . . . . . . . . . . . . . 13

Parameters Specic to ROOM and REVERB . . . . . . . . . . . . . . . . . . . 13

MULTI EFFECT (MFX) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

PAD VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

PAD EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

PAD COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MASTER COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

KIT EDIT OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

KIT NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

KIT TEMPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

KIT MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

MUTE GROUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

POSITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

PEDAL BEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

BRUSH SW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

KIT COLOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Multi-Eect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

TAPE ECHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

REVERSE DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

3TAP PAN DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

OD0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

DS0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

SPACE-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

OD0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

DS0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

PHASER A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

PHASER B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

STEP PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

LONG REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

SUPER FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

FILTER+DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

OD/DS0TWAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

LOFI COMPRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

DISTORTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

OVERDRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

SATURATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

T-SCREAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

BIT CRUSHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

ISOLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

RING MODULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

AUTO PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

USER SAMPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

USER SAMPLE LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

CLICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

COACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

TIME CHECK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

QUIET COUNT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

WARM UPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

SYSTEM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

BLUETOOTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

TRIGGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

TRIGGER BANK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

DIGITAL TRIGGER IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

TRIGGER PARAMETER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

HI-HAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

TRIGGER XTALK MONITOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

USB AUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

AUTO OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

INFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Drum Kit List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Instrument List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Song List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Drum Kit Parameter Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

About the “Data List”

This document explains the settings that are remembered even when this unit's power is turned o and on again.

Reference

For an explanation of how to operate this unit, refer to “Reference Manual” (PDF).

2

DRUM KIT

DRUM KIT

Here you can make settings for a drum kit.

Parameter Value Explanation

DRUM KIT

[F3] button (XSTICK)

SET LIST

Here you can specify and edit a set list.

Select a drum kit.

& Refer to “Drum Kit List” (p. 49).

OFF, ON

Species whether sounding (ON) and not sounding (OFF) the cross-stick sound from the snare pad.

* If the trigger input of a pad that supports both cross-stick technique and digital connection (such as

the PD-140DS) is assigned to a snare, cross-stick playing is always possible. In this case, the screen does
not show the [F3] (XSTICK) button.

Parameter Value Explanation
[F1] button (CSET LIST)
[F2] button (SET LISTA)

[F3] button (XSTICK)

Select a set list.

OFF, ON

Species whether sounding (ON) and not sounding (OFF) the cross-stick sound from the snare pad.

* If the trigger input of a pad that supports both cross-stick technique and digital connection (such as

the PD-140DS) is assigned to a snare, cross-stick playing is always possible. In this case, the screen does
not show the [F3] (XSTICK) button.

SETUP

Here you can edit a set list.

SETUP screen

Item Explanation
[F1] button (MOVE LIST=)
[F2] button (MOVE LIST?)

[F4] button (NAME)

[F5] button (STEP EDIT)

Changes the order of the set list at the cursor position.

Renames the set list.

Reference

For details on how to assign a name, refer to “Renaming a Drum Kit” in “Reference Manual” (PDF).

Moves to the SET LIST STEP EDIT screen. Edits the steps of the set list at the cursor position.

MEMO

Press the [F4] (DELETE) button to delete the drum kit at the cursor location, and press the [F5] (INSERT) button to insert the same drum kit at
the cursor location.

SET LIST STEP EDIT screen

3

KIT EDIT

INSTRUMENT

Here you can make detailed settings for an instrument.

Parameters Common to Each Instrument

Parameter Value Explanation

[F1] button (INST tab)

Inst

[F2] button (EDIT tab)

Pad Pitch

Pad Pitch Sweep *1

Pad Decay *1

Dynamic Enhancer Sw *1

*1: If a user sample is assigned to the instrument, you can’t specify Dynamic Enhancer Sw. Also, if the user sample’s Play Type (p. 23) is set to “LOOP ALT,” the Pad Pitch Sweep and

Pad Decay have no eect.

001–728 (preset)
U001–U500 (user sample)

-4800–4800 Instrument pitch (units of one cent)

-100–100

1–100 Length of decay

OFF, NORMAL, WIDE

Instrument number

& Refer to “Instrument List” (p. 50).

After the sound begins, the pitch gradually rises (falls).
Positive (+) values make the pitch start high and then fall; negative (-) values make the pitch start

low and then rise.
Larger values produce greater change.

* In some cases, changing the Pad Pitch setting by a large amount might limit the Pad Pitch Sweep

eect.

Species whether the sense of strong strikes is enhanced (NORMAL, WIDE) or not enhanced (OFF).
The WIDE setting supports performance with higher velocities (this is ideal when used with pads
that support a digital connection).

4

Parameters Specic to Each Instrument

KICK

Parameter Value Explanation

[F1] button (INST tab)

Tuning of the head

Tuning

Muing

[F2] button (EDIT tab)

Shell Depth
Head Type
Beater Type
Snare Buzz
Low Level
Low Decay
Kit Resonance

-100–100

OFF, TAPE1–4, BLANKET1–3, WEIGHT1, 2

1.0–30.0 Depth of the shell

CLEAR, COATED, PINSTRIPE Type of head

FELT1, 2, WOOD, PLASTIC1, 2 Type of beater

OFF, 1–8 Resonance to the snare

-5–NORMAL–+5 Volume of low-frequency sound

-2–NORMAL–+2 Decay length of low-frequency sound

OFF, 1–8 Amount of resonance for the entire drum kit

MEMO

You can also change the value of this setting by using the [TUNING] knob.

Muing (muting) setting

MEMO

You can also change the value of this setting by using the [MUFFLING] knob.

KIT EDIT

SNARE/CROSS STICK/SNARE BRUSH

Parameter Value Explanation

[F1] button (INST tab)

Tuning of the head

Tuning

Muing

[F2] button (EDIT tab)

Shell Depth *1
Head Type *1
Overtone *1, *2, *4

Strainer Adj. *2

Wire Level *2
XStick Inst *3

XStick Inst Volume *3

*1: Unavailable if the instrument group is CROSS STICK.
*2: Unavailable if the instrument group is SNARE BRUSH.
*3: This is shown only if the SNARE/CROSS STICK instrument is assigned to the rim of the snare (or to the rim of a digitally connected pad that is assigned to snare)
*4: For some instruments, this cannot be set.

* PINSTRIPE is a registered trademark of Remo Inc., U.S.A.

-100–100

OFF, TAPE1–7, DONUT1, 2

1.0–30.0 Depth of the shell

CLEAR, COATED, PINSTRIPE Type of head

-5–NORMAL–+5 Amount of overtone components

LOOSE1–3, MEDIUM1–3, TIGHT1–3 Tension of the strainer (resonating cords)

-4–NORMAL–+5 Volume of strainer

1–16 Cross-stick sound selection

-INF–+6.0dB

MEMO

You can also change the value of this setting by using the [TUNING] knob.

Muing (muting) setting

MEMO

You can also change the value of this setting by using the [MUFFLING] knob.

Cross-stick sound volume

MEMO

The “XStick Volume” can also be edited from the KIT VOLUME screen (KIT VOL tab) (p. 15).

5

KIT EDIT

TOM/TOM BRUSH

Parameter Value Explanation

[F1] button (INST tab)

Tuning of the head

Tuning

Muing

-100–100

OFF, TAPE1–5, FELT1–4

MEMO

You can also change the value of this setting by using the [TUNING] knob.

Muing (muting) setting

MEMO

You can also change the value of this setting by using the [MUFFLING] knob.

[F2] button (EDIT tab)

Shell Depth
Head Type
Snare Buzz

1.0–30.0 Depth of the shell

CLEAR, COATED, PINSTRIPE Type of head

OFF, 1–8 Resonance to the snare

HI-HAT/HI-HAT PROC/HI-HAT ELEC

Parameter Value Explanation

[F1] button (INST tab)

Hi-hat diameter

Size

Fixed

1.0–40.0

NORMAL, PRESS, CLOSE, HALF, OPEN

MEMO

You can also change the value of this setting by using the [TUNING] knob.

Openness of the hi-hat
If something other than “NORMAL” is selected, the openness of the hi-hat does not change,

regardless of how much you press the hi-hat pedal.

MEMO

You can also change the value of this setting by using the [MUFFLING] knob.

[F2] button (EDIT tab)

Thickness

Pedal HH Volume

MEMO

The closed hi-hat position (Fixed = CLOSE) can be enabled by pressing an optional footswitch or hitting a pad switch. Please refer to “OPTION” (p. 40).

THIN-5–STANDARD–THICK +5 Thickness of the hi-hat

Volume of pedal hi-hat

-INF–+6.0dB

MEMO

The “Pedal HH Volume” can also be edited from the KIT VOLUME screen (KIT VOL tab) (p. 15).

6

CRASH/CHINA/SPLASH/STACKED CYMBAL

Parameter Value Explanation

[F1] button (INST tab)

Cymbal diameter

Size

Muing

1.0–40.0

OFF, TAPE1–19

MEMO

You can also change the value of this setting by using the [TUNING] knob.

Muing (muting) setting

MEMO

You can also change the value of this setting by using the [MUFFLING] knob.

[F2] button (EDIT tab)

Thickness
Sizzle Type
Sizzle Amount

THIN-5–STANDARD–THICK +5 Thickness of the hi-hat

OFF, RIVET, CHAIN, BEADS Type of sizzle

-3–+3 Amount of sizzle

RIDE

KIT EDIT

Parameter Value Explanation

[F1] button (INST tab)

Cymbal diameter

Size

Muing

1.0–40.0

OFF, TAPE1–19

MEMO

You can also change the value of this setting by using the [TUNING] knob.

Muing (muting) setting

MEMO

You can also change the value of this setting by using the [MUFFLING] knob.

[F2] button (EDIT tab)

Thickness
Sizzle Type
Sizzle Amount
Ping Color *1
Ping Level *1

*1: For some instruments, this cannot be set.

THIN-5–STANDARD–THICK +5 Thickness of the cymbal

OFF, RIVET, CHAIN, BEADS Type of sizzle

-3–+3 Amount of sizzle

LIGHT2, 1, STANDARD, HEAVY1, 2 Tonal character of the ride’s ping sound

-4–NORMAL–+5 Volume of the ride’s ping sound

Other Instrument Groups / USER SAMPLE

Parameter Value Explanation

[F1] button (INST tab)

Instrument pitch

Pitch

Decay

-100–+100

1–100

MEMO

You can also change the value of this setting by using the [TUNING] knob.

Length of decay

MEMO

You can also change the value of this setting by using the [MUFFLING] knob.

7

KIT EDIT

SUB INSTRUMENT

You can layer the main instrument with a sub instrument so that they are heard together. You can also switch between two instruments according
to the force of your strike, or vary the balance between them.

Parameter Value Explanation
[F1] button (OFF, SUB ON)

[F2] button (SUB INST tab)

SUB INST

Layer Type

Fade Point

Sub Volume

[F3] button (EDIT tab)

– For details on the parameters that can be edited, refer to “INSTRUMENT” (p. 4).

OFF, SUB ON Turns the sub-instrument on/o.

001–728 (preset)
U001–U500 (user sample)

These parameters specify how the sub instrument will be sounded.

MIX

FADE1

FADE2, FADE3

SWITCH

1–127+32

-INF–+6.0dB Volume of the sub-instrument

Sub-instrument number

& Refer to “Instrument List” (p. 50).

Volume

The main instrument (A) and sub instrument (B) always sound together as
a layer.

Playing
Dynamics

Volume

The sub instrument (B) is added as a layer only if the strike is stronger than
“Fade Point.”

Playing
Dynamics

If the strike is stronger than “Fade Point,” the sub instrument (B) is added as a
layer according to the strength of that strike.

Volume

Volume

Species the force of the strike at which the sub instrument begins to be sounded.
If this is “1,” the sub instrument is sounded by a strike of any force.
If this is “127” (“127+32” for a pad that supports digital connection), the sub instrument is sounded

only by the strongest strike.

* This is not available if Layer Type is “MIX.”

FADE2:
At 127 or higher, the main instrument (A) and sub instrument (B) are the

same volume.

Playing
Dynamics

FADE3:

At 127+32, the main instrument (A) and sub instrument (B) are the same
volume (for pads that support digital connection).

Strikes weaker than “Fade Point” sound the main instrument (A), and strikes
stronger than “Fade Point” switch to sound the sub instrument (B).

Playing
Dynamics

8

TRANSIENT

Boost or suppress the attack or release portions of the instrument (Transient).

* This cannot be specied for user samples.

Parameter Value Explanation
Time
Attack
Release
Gain
[F1] button

(OFF, TRASIENT ON)

1–10 Time over which the attack changes

-100–+100 Adjustment of the attack

-100–+100 Adjustment of the release

-12.0–+6.0dB Volume following transient adjustment

OFF, TRANSIENT ON Turns the transient eect on/o.

KIT EDIT

9

KIT EDIT

OVERHEAD

Parameter Value Explanation

When you edit this parameter, all of the overhead settings (except for Level) and each pad's input
lter selection and send amount will change to the optimal settings.

To quickly obtain the sound you want, select the desired template and then edit the settings.

TEMPLATE

Level

CLEAR, WARM, DRY, MILD, BRIGHT,

OTHER1–9

-INF–+12.0dB Volume of overhead

*2

Mic Type *1 TYPE1–10 *2
Mic Width *1
[F1] button (OFF, OVHEAD ON)

*1: This can also be edited from the MIC SETTING items.
*2: These Overhead Template values (OTHER 5–OTHER 9) and Mic Type values (TYPE 5–10) are supported starting with program version 1.10.
Refer to the Roland website for the latest information. https://www.roland.com/global/support/

0–4 Distance between mics

OFF, OVHEAD ON Turns the overhead eect on/o.

* Depending on the settings of each parameter, the template name might not match the eect.

Also, if the default settings of the template do not match the current values, an “*” is shown for the
template setting.
If you attempt to change the template when the “*” is shown, a message indicates that the current
values will be discarded in order to apply the values of the template. If you want to discard the
current values and apply the values of the template, choose “OK” and press the [ENTER] button.

Type of mic

SEND

OVERHEAD SEND screen

Parameter Value Explanation

[F2] button (SEND tab)

OVERHEAD SEND
[F5] button (H & R)

-INF–+6.0dB Depth of overhead for each pad

H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).

[F3] button (ASSIGN tab)

OVERHEAD FILTER ASSIGN

[F5] button (H & R)

BYPASS, 1–4

H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).

[F4] button (FILTER tab)

Type

Q *1

Freq *2
Gain *3

*1: This can be set only when Type is LO CUT, HI CUT, or PEAKING.
*2: This cannot be set when Type is THRU.
*3: This can be set only when Type is LO SHELV, HI SHELV, or PEAKING.

THRU, LO CUT, HI CUT, LO SHELV, HI
SHELV, PEAKING

0.5–8.0

20Hz–16kHz Center frequency

-40.0–15.0dB Amount of boost/cut

10

OVERHEAD FILTER ASSIGN screen

Overhead input lter selection for each pad

BYPASS The input lter is not used; the sound is sent directly to the overheads.

1–4 The sound is sent to the specied input lter.

Overhead input lter type
The sound sent to the overheads can be passed through a lter. You can choose from one through

four. By using a lter, you can input the kick, snare, toms, and cymbals into the overhead mics with
the low-frequency and high-frequency regions adjusted individually for each instrument.

THRU Sends the input sound directly to the overheads.

LO CUT

HI CUT

LO SHELV

HI SHELV

PEAKING

Width of the frequency range
A higher Q narrows the aected area.

OVERHEAD INPUT FILTER SETTING screen

Cuts the frequency region below the cuto frequency and sends the sound to
the overheads.

Cuts the frequency region above the cuto frequency and sends the sound to
the overheads.

Boosts or attenuates the frequency region below the cuto frequency and
sends the sound to the overheads.

Boosts or attenuates the frequency region above the cuto frequency and
sends the sound to the overheads.

Boosts or attenuates the region centered on the cuto frequency and sends
the sound to the overheads.

SETTING

MEMO

Use the cursor [

PAD SEND LEVEL/FILTER

Here you can specify how the overhead applies for each pad.

Parameter Value Explanation

Pad Filter Select

Pad Send Level
[F5] button (H & R)

] [ ] buttons to move to settings such as SEND/FILTER and LIMITER.

Overhead input lter selection for each pad

BYPASS, 1–4

-INF–+6.0dB Depth of overhead for each pad

H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).

BYPASS The input lter is not used; the sound is sent directly to the overheads.

1–4 The sound is sent to the specied input lter.

KIT EDIT

PRE LIMITER

This is a limiter/compressor applied before the sound is input to the overhead.

Parameter Value Explanation
Pre Comp Switch
Gain
Threshold
Ratio
Knee
Attack

Release

OFF, ON Turns the pre limiter on/o.

-24.0–+24.0dB Output volume of the pre limiter

-60–0dB Volume level at which compression begins

1:1–100:1 Compression ratio

HARD, SOFT1–3 Attack of the sound at the moment compression is applied

0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies

10–1000mSec

Time from when the volume falls below the threshold level until the compressor eect no longer
applies

MIC SETTING

These are the overhead mic settings.

Parameter Value Explanation
Mic Type
Mic Width
Distance
Output Width

TYPE1–4 Type of mic

0–4 Distance between mics

0–6 Distance between the mics and the performer

DEFAULT, WIDE+1–+6 Sense of space for the overhead sound

11

KIT EDIT

POST EQ

This is a three-band equalizer.

Parameter Value Explanation
Low Frequency
Low Gain
Mid Frequency
Mid Q
Mid Gain
High Frequency
High Gain

20Hz–16kHz Center frequency of the low range

-40.0–+15.0dB Amount of low-range boost/cut

20Hz–16kHz Center frequency of the middle range

0.5–8.0 Adjusts the width of the frequency band. Higher values make the width narrower.

-40.0–+15.0dB Amount of mid-range boost/cut

20Hz–16kHz Center frequency of the high range

-40.0–+15.0dB Amount of high-range boost/cut

TOTAL COMP

This is a compressor applied at the last stage of the overhead sound.

Parameter Value Explanation
Post Comp Switch
Gain
Threshold
Ratio
Knee
Attack

Release

OFF, ON Turns the total comp on/o.

-24.0–+24.0dB Output volume of the total comp

-60–0dB Volume level at which compression begins

1:1–100:1 Compression ratio

HARD, SOFT1–3 Attack of the sound at the moment compression is applied

0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies

10–1000mSec

Time from when the volume falls below the threshold level until the compressor eect no longer
applies

12

ROOM

Here you can apply either Room ambience or reverb eects to the drum kit.

Parameters Common to ROOM and REVERB

Parameter Value Explanation

[F1] button (OFF, ROOM ON)

[F2] button (ROOM tab)

Type

Level

[F3] button (SEND tab)

Room Send Volume
[F5] button (H & R)

OFF, ROOM ON Turns the room eect on/o.

ROOM, REVERB

-INF–+6.0dB Volume of reverb

-INF–+6.0dB Amount of room applied to each pad

H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).

Type of room reverberation
Select either room or reverb.

KIT EDIT

Parameters Specic to ROOM and REVERB

ROOM

Parameter Value Explanation

SMALL STUDIO 1–4, LARGE STUDIO

Room Type

Distance
Time

1–4, LIVE HOUSE 1–4, STAGE 1–4,
MIDDLE HALL 1–4

0–6 Sense of distance for the room's reverberation

-64–0 Reverberation time of the room

REVERB

Parameter Value Explanation

Reverb Type
Pre Delay
Time
Density

Diusion

LF Damp
HF Damp
Spread
Tone

ROOM 1, 2, HALL 1, 2, PLATE Type of reverb

0–100mSec Adjusts the delay time from the direct sound until the reverb sound is heard.

0.1–10.0Sec Time length of reverberation

0–127 Density of reverb sound

0–127

0–100 Adjusts the low-frequency region of the reverb sound.

0–100 Adjusts the high-frequency region of the reverb sound.

0–127 Spread of the reverb sound

0–127 Tonal character of reverb sound

Type of room

Change in the density of the reverb sound over time
The higher the value, the denser the sound becomes as time elapses (The eect is more obvious for

longer reverb times).

13

KIT EDIT

MULTI EFFECT (MFX)

You can choose up to three eects from 30 types, and apply these eects to the drum kit.

Parameter Value Explanation

[F1] button (TYPE tab)

Select the multi-eect that you want to edit

MEMO

Move the cursor to the MFX1–3 position in the screen, and turn the dial.

– MFX1–3

Type

Level

[F5] button (OFF, MFX1–3 ON)

Type of multi-eect

& Refer to “Multi-Eect Parameters” (p. 42).

-INF–+6.0dB Volume of the eect sound for the selected multi-eect

OFF, MFX1–3 ON Turns on/o the multi-eect selected.

[F2] button (ASSIGN tab)

MFX Assign
[F5] button (H & R)

MFX1–3 Select the multi-eect that is applied to each pad.

H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).

[F3] button (SEND tab)

MFX Send Volume
[F5] button (H & R)

-INF–+6.0dB Eect send level for each pad

H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).

[F4] button (DRY+MFX tab)

MFX DRY+WET *1

*1: MFX DRY+WET is specied for each pad. It cannot be specied for individual strike locations (such as the head or rim).

If MFX DRY+WET is set to “MFX ONLY,” some multi-eect settings might cause no sound to be output.

DRY+MFX The dry sound and eect sound will be output.

MFX ONLY Only the eect sound will be output.

14

PAD VOLUME

Adjust the volume and pan (stereo position) of each pad, and the volume of the entire drum kit.

You can also adjust how the volume responds to the impact.

Parameter Value Explanation

[F1] button (VOLUME tab)

Volume

[F2] button (PAN tab)

Pan

[F3] button (MIN VOL tab)

Pad Minimum Volume *1

Pad Maximum Volume *1

[F4] button (KIT VOL tab)

Kit Volume *2
Pedal HH Volume *2
XStick Volume *2

HH Open/Close Balance *2

*1: Use the cursor [
*2: You can also set “Kit Volume” in the DRUM KIT screen ([F5] (KIT VOL) button).

] [ ] buttons to choose whether you’re setting the Pad Minimum Volume or the Pad Maximum Volume.

-INF–+6.0dB Volume of each pad

L30–CTR–R30 Stereo position of each pad

0–15

-5–0

-INF–+6.0dB

-5–+5

Minimum volume of each pad
This lets you increase the volume of the softest hits while preserving the volume of the strongest

hits. This can make it easier to hear ghost notes on the snare or legato notes on the ride cymbal.

Maximum volume of each pad
This lets you decrease the volume of the strongest hits while preserving their nuances.

* This is available only for pads that support digital connection and for input from the MIDI IN

connector.

Drum kit volume

Pedal hi-hat volume

Cross-stick volume

Balance between open and close volume
Lower values decrease the volume of the hi-hat when played while open, relative to the volume

when played while closed. Higher values increase the volume of the hi-hat when played while
open, relative to the volume when played while closed.

KIT EDIT

PAD EQ

This is a three-band equalizer that each drum kit provides for each strike location of each pad.

You can disable the pad equalizer eect when it is output from the DIRECT OUT jacks (p. 36).

This indicates whether the pad equalizer eect is output ( ) from each jack
or is not output ( ).

MST: MASTER OUT jacks
PHO: PHONES jack (always output)
DIR: DIRECT OUT jacks

Parameter Value Explanation

Low Freq
Low Gain
Mid Freq

Mid Q

Mid Gain
High Freq
High Gain
[F1] button (OFF, EQ ON)

* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” the pad equalizer eect does not apply to the sound that is output from the DIRECT OUT jacks.

* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” and Master OUT is set to “DIRECT,” the pad equalizer eect does not apply to the sound that is output from the DIRECT

OUT jacks and MASTER OUT jacks.

20Hz–1kHz Center frequency of the low range

-15–+15dB Amount of boost/cut for the low range

20Hz–16kHz Center frequency of the mid range

0.5–8.0

-15–+15dB Amount of boost/cut for the mid range

1kHz–16kHz Center frequency of the high range

-15–+15dB Amount of boost/cut for the high range

OFF, EQ ON Turns pad equalizer on/o.

Width of the frequency range
A higher Mid Q narrows the aected area.

15

KIT EDIT

PAD COMP

This is a compressor that each drum kit provides for each pad.

The pad compressor eect can be applied only to the output from the DIRECT OUT jacks. You can also disable the pad compressor eect from
being applied to the PHONES jack output (p. 36).

This indicates whether the pad compressor eect is output ( ) from each
jack or is not output ( ).

MST: MASTER OUT jacks
PHO: PHONES jack
DIR: DIRECT OUT jacks

Parameter Value Explanation

Type

Threshold
Gain
Ratio
Knee
Attack

Release

[F1] button (OFF, COMP ON)

* Pad compressor settings are made for individual pads. They cannot be made for individual strike locations (such as the head or rim).

* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” the pad compressor eect does not apply to the sound that is output from the DIRECT OUT jacks.

* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” and Master Out is set to “DIRECT,” the pad compressor eect does not apply to the sound that is output from the

DIRECT OUT jacks and the MASTER OUT jacks.

* If the routing setting (p. 36) PadComp to Phones is “OFF,” the pad compressor eect does not apply to the sound that is output from the PHONES jack.

KICK 1, 2, SNARE1, 2, TOM 1, 2, CYM 1,
2, SOFT, HARD, LIMITER

-48–0dB Volume level at which compression begins

-24–+24dB Output level of the compressor

1:1–100:1 Compression ratio

HARD, SOFT1–3 Attack of the sound at the moment compression is applied

0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies

10–1000mSec

OFF, COMP ON Turns pad compressor on/o.

Character of the compressor

* When you change this parameter, the pad compressor’s parameters Ratio, Knee, Attack, and

Release change to optimal settings for your selection. You can then make further adjustments to
these parameters as necessary.

Time from when the volume falls below the threshold level until the compressor eect no longer
applies

Meters shown in the PAD COMP screen

In the PAD COMP screen, the “input meter,” the “gain reduction meter,” and the “output meter” are displayed.

Adjust the pad compressor’s “Gain” so that the output meter does not exceed 0 dB (i.e., so that it does not clip).

Input meter

The “input meter”
shows the level (dB)
being input to the pad
compressor.

Output meter

The “output meter ” shows the output level

following the pad compressor.

Gain reduction meter

The “gain reduction meter”
shows the change in level
(dB) produced by the pad
compressor.

16

MASTER COMP

This is a two-band equalizer that is provided for each drum kit.

The master compressor is output from the MASTER OUT jacks and the PHONES jack.

This indicates whether the master comp eect is output ( ) from each
jack or is not output ( ).

MST: MASTER OUT jacks
PHO: PHONES jack (always output)

Parameter Value Explanation

SINGLE SOFT COMP, SINGLE HARD

Type

Split Freq

Threshold *1
Gain *1
Attack *1

Release *1

Ratio *1
Knee *1

[F1] button (OFF, MST CMP ON)

[F3] button *2

[F4] button *2

*1: If Split Freq is set to something other than “SINGLE,” the low range and high range can be set independently.
*2: You can set only if Split Freq is something other than “SINGLE.”

* If the routing setting (p. 36) Master Out is “DIRECT,” the master compressor does not apply to the sound that is output from the MASTER OUT jacks.

COMP, SINGLE LIMITER, 2BAND SOFT
COMP, 2BAND HARD COMP, 2BAND
LIMITER

SINGLE, 10–16000Hz

-48–0dB Volume level at which compression begins

-24–+24dB Output level of the compressor

0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies

10–1000mSec

1:1–100:1 Compression ratio

HARD, SOFT1–3 Attack of the sound at the moment compression is applied

OFF, MST CMP ON Turns master comp on/o.

LO SOLO

HI SOLO

Character of the compressor

* When you change this parameter, all parameters of the master compressor change to optimal

settings for your selection. You can then make further adjustments to these parameters as
necessary. Depending on the settings of these parameters, the resulting eect might not match
the Type setting.

Bandwidth of the compressor
If this is “SINGLE,” the master compressor operates as a single-band compressor that is used only on

the high range.

Time from when the volume falls below the threshold level until the compressor eect no longer
applies

When this is operating as a two-band compressor, you can individually audition the low-frequency
and high-frequency bands.

* These settings are reset if you perform any of the following operations.

5 Respecify the Type parameter as single band compressor

5 Set the Split Freq parameter to “SINGLE”

5 Exit the MASTER COMP screen

KIT EDIT

Meters shown in the MASTER COMP screen

In the MASTER COMP screen, the “input meter,” the “gain reduction meter,” and the “output meter” are displayed.

Adjust the master comp’s “Gain” so that the output meter does not exceed 0 dB (i.e., so that it does not clip).

When Split Freq is “SINGLE” (single compressor)

Input meter

The “input meter” shows the
level (dB) being input to the
master comp.

Gain reduction meter

The “gain reduction meter”
shows the change in level (dB)
produced by the master comp.

Output meter

The “output meter”
shows the output level
following the master
comp.

When Split Freq is “10–16000 Hz” (2-band compressor)

Input meter

The “input meter” shows the level
(dB) being input to the master
comp. This is shown individually
for the low and high bands.

Gain reduction meter

The “gain reduction meter”
shows the change in level (dB)
produced by the master comp.

This is shown individually for the
low and high bands.

Output meter

The “output meter”
shows the output level
following the master
comp.

17

KIT EDIT

MASTER EQ

Here you can adjust the overall tonal character of the entire drum kit. You can use four bands (LOW/MID1/MID2/HIGH) of boost/cut to adjust the
sound. This can also be used to compensate the tonal character when using the master compressor.

You can adjust the equalizer’s eect (shelving and peaking) for the low frequency (LOW) and high frequency (HIGH).

The master EQ is output from the MASTER OUT jacks and PHONES jack.

This indicates whether the master EQ eect is output ( ) from each
jack or is not output (

MST: MASTER OUT jacks
PHO: PHONES jack (always output)

Parameter Value Explanation

Type

Q

Freq

Gain
[F1] button (OFF, MST EQ ON)

* If the routing setting (p. 36) Master Out is set to “DIRECT,” the eect of the master EQ does not apply to the sound that is output from the MASTER OUT jacks.

SHELV (Shelving),
PEAK (MID1 and MID2: xed to “PEAK”)

0.5–8.0 (only when Type is set to “PEAK”)

20Hz–1kHz (LOW)
20Hz–16kHz (MID1, 2)
1kHz–16kHz (HIGH)

-12–+12dB Amount of boost/cut

OFF, MST EQ ON Turns master EQ on/o.

).

Type of equalizer

Width of the frequency range
A higher Q narrows the aected area.

Center frequency

18