Roland TD-27KV Data List

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Data List

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).

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

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).

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).

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).

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.

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

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

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

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

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

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

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

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).

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.

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.

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.

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.

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

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

DRUM KIT

KIT EDIT OTHER

You can make settings such as renaming a drum kit that you’ve customized, or changing the color of the controller illumination for each drum kit.

KIT NAME

Edit the name of the currently selected drum kit.

Reference

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

Explanation

[F3] button (INSERT) [F4] button (DELETE)

Insert a space at the cursor location.

Delete the character at the cursor location.

KIT TEMPO

Specify that a tempo is automatically set when you select a drum kit.

Parameter Value Explanation

Use a common tempo (p. 25) for the entire TD-27. The tempo does not change when you switch drum kits.

Individually specify a tempo for each drum kit. When you select a drum kit whose Kit Tempo setting is “ON,” the tempo of that drum kit is applied

to the current tempo.

Kit Tempo

Tempo

OFF

20–260 Tempo specied for each drum kit

DRUM KIT

KIT MIDI

Specify the MIDI messages that are transmitted and received by a pad when a MIDI device is connected to this unit.

Parameter Value Explanation

[F1] button (NOTE tab)

Note No.

[F2] button (GATE tab)

Gate Time

[F3] button (MIDI CH tab)

MIDI Channel

MIDI note numbers transmitted and received by the hi-hat

Item Explanation HI-HAT OPEN <BOW> HI-HAT OPEN <EDGE> HI-HAT CLOSE <BOW> HI-HAT CLOSE <EDGE> HI-HAT PEDAL

0 (C -)–127 (G 9) MIDI note number transmitted and received by each pad

OFF Note messages are not transmitted or received

0.1– 8.0 s Duration of the note transmitted by each pad

CH1–CH16 MIDI channel used to transmit or receive note messages for each pad

GLOBAL Transmitted and received on the transmit/receive channel specied in SYSTEM (p. 38).

MIDI note number transmitted and received by open hi-hat (bow, edge)

MIDI note number transmitted and received by closed hi-hat (bow, edge)

MIDI note number transmitted and received by pedal hi-hat

MIDI note numbers transmitted and received by the snare

Parameter Explanation SNARE <HEAD> SNARE <RIM> SNARE <BRUSH> SNARE <XSTICK>

MIDI note number transmitted and received by head shot and rim shot

MIDI note number transmitted and received by brush sweep

MIDI note number transmitted and received by cross stick

When setting multiple pads to the same note number

When playing the internal sound generator of the TD-27, if an incoming note number is assigned to more than one pad, that note plays the instrument of the pad with the lowest trigger input number. If the same note number is assigned to both the head and the rim, the head instrument is sounded.

MEMO

An asterisk “*” appears at the right of the note number for trigger inputs that are not sounded. Example) Note number “38 (D 2)” is set for the head and rim of trigger input SNARE and the head of trigger input TOM 1. In this case, when note number 38 (D2) is

received, the instrument assigned to the head of trigger input SNARE is played.

About the gate time

Percussion sound modules normally produce sound only in response to “Note on” messages, and ignore “Note o” messages. However general-purpose sound modules or samplers do receive the note-o messages that are transmitted and respond by turning o the sound.

Since gate time is normally not necessary for a percussion sound module, this is set to the minimum value when the unit is shipped from the factory. If a note-o message is received while the sound module has this setting, it is received as an extremely brief note that has almost no time to be heard, and is nearly inaudible. (Alternatively, it is possible that this could be heard as an unwanted noise.) To avoid this, specify the note duration of the MIDI performance data that is produced when you strike each pad.

* If the same note number is sounded again in an overlapping manner, a note-o is transmitted before transmitting note-on, even if it is within the

gate time.

MUTE GROUP

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

Parameter Value Explanation

MUTE SEND

– (OFF), 1–8

MUTE RECEIVE

Specify the mute group number. When you strike the pad of the number specied in MUTE SEND, the sound of the pad assigned to

the same number in MUTE RECEIVE is muted.

* Even 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, muting does not occur.

POSITION

Specify how the sound is aected by the position at which you strike a pad.

DRUM KIT

Parameter Value Explanation

[F1] button (POSITION tab)

Turns on/o tonal changes that occur depending on your strike location or the nuances of your rim shots.

You can set this for the snare (head, rim), tom (head, rim), hi-hat (when using the VH-14D), ride

Position Control *1

OFF, ON

(bow), and AUX (head, rim) trigger inputs. Head: Strike position Rim: Rim shot nuance Bow: Strike position, left-right detection ( VH-14D only) Edge: left-right detection ( VH-14D only)

[F2] button (POS AREA tab)

Position Area *1

*1: This supports the following trigger inputs.

5 SNARE

5 TOM1–3

5 HI-HAT (only when a VH-14D is assigned to the hi-hat trigger input)

5 The bow (head) of RIDE

5 AUX1–3

* Depending on the pad that is connected or the instrument that is selected, there might be cases in which this has no eect.

* The does not make the hi-hat sound change.

INSIDE -5–DEFAULT– OUTSIDE +5

Species the striking area for the head or rim. “INSIDE” settings make it easier to play notes toward the inside; “OUTSIDE” settings make it easier to

play toward the outside.

DRUM KIT

PEDAL BEND

Parameter Value Explanation

Species the amount of pitch change that occurs according to the depth to which you press the

Pedal Bend Range

-24–0–+24

hi-hat pedal. You can set this for each pad (head and rim separately) in semitone units.

BRUSH SW

Parameter Value Explanation

Brush Switch

OFF, ON

Species whether you’re performing with sticks (OFF) or brushes (ON). If this is “ON,” you can perform by scraping (sweeping) the brushes.

KIT COLOR

Parameter Value Explanation

1: WHITE 2: RED 3: GREEN 4: BLUE

Kit Color

5: PINK 6: PURPLE 7: ORANGE 8: YELLOW 9: EMERALD 10: RAINBOW

For each drum kit, you can change the illumination color of the [DRUM KIT] button and sound modify knobs.

USER SAMPLE

Audio les that you created on your computer can be imported from an SD card into the TD-27, 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.

USER SAMPLE LIST

Here’s how to view a list of all user samples that have been imported. You can audition the sound, specify looping, and edit the name.

Parameter Value Explanation

[F1] button (LIST tab)

Species how the user sample is sounded.

ONESHOT MONO

Play Type

Gain [F3] button (DELETE)

[F4] button (NAME)

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

LOOP ALT

-12–+12 [dB] Volume of user samples

Deletes the currently selected user sample.

Renames the currently selected user sample.

Reference

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

[F2] button (START/END tab)

Zoom

Start *1 End *1

*1: You can’t set the end point earlier than the start point.

You can’t set the start point and end point to the same value. For both the start point and end point, you can’t specify a value that exceeds the length of the user sample.

0–07937742 Adjusts the start point (the location at which the user sample starts playing).

257–07937999 Adjusts the end point (the location at which the user sample stops playing).

–

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

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

Zooms the waveform display in or out.

MEMO

You can zoom-in/out on the horizontal axis by holding down the [ENTER] button and pressing the cursor [ ] [ ] buttons.

You can zoom-in/out on the vertical axis by holding down the [ENTER] button and pressing the

] [ ] buttons.

cursor [

SONG

You can perform along with the playback of a “song” such as an internal song of this unit, an audio le saved on an SD card, or performance data recorded on an SD card.

Parameter Value Explanation

SONG

Speed

SETUP

Parameter Value Explanation

Loop Type

Song Level

Click Track Level

Select a song.

& Refer to“Song List” (p. 56).

50–150%

Species how the song is played back.

ONE SHOT Play back only once and then stop.

LOOP Play repeatedly.

-INF–+6.0 [dB] Changes the volume of the song relative to the drum performance.

-INF–+6.0 [dB]

Changes the song’s (audio le) playback speed.

* When you switch songs, this returns to 100%. Depending on the type of song, this might not be

available.

Changes the volume of the click track relative to the song (This is shown only if the song has a compatible click track).

CLICK

You can sound a click and practice drumming at a steady tempo.

Parameter Value Explanation

[F2] button (TEMPO tab)

Tempo *1 Beat *1 Rhythm

[F3] button (SETUP tab)

Beat *1 Rhythm Type

Sound

Pan Level LED Reference

[F4] button (TAP tab)

Tap Sw

Tap Pad

*1: This cannot be changed while playing back a drum performance data song (p. 56) or recorded data.

20–260 Tempo

1–9 Number of beats per measure

–

1–9 Number of beats per measure

–

METRONOME, CLICK, VOICE, BEEP 1, BEEP 2, TEK CLICK, STICKS, CLAVES, WOOD BLOCK, COWBELL, AGOGO, TRIANGLE, TAMBOURINE, MARACAS, CABASA

L30–CTR (CENTER) –R30 Stereo position of the click

-INF–+6.0dB Volume of click

OFF, ON Species whether the [CLICK] button blinks in time with the click (ON) or does not blink (OFF).

OFF, ON

KICK–AUX3 (RIM) Select the pad or button that can be struck or pressed to set the tap tempo.

Interval of the click

Sound for the click

You can specify the tempo by striking the pad specied by Tap Pad or by pressing a button (Tap Tempo).

COACH

This unit provides practice modes called “Coach Mode” which are designed to make your practicing as eective as possible.

This provides three menus: “TIME CHECK,” “QUIET COUNT,” and “WARM UPS.” These help you improve your speed control, accuracy, and endurance. You can also change to settings that are appropriate for your level of performing skill.

TIME CHECK

This lets you practice drumming in accurate time along with the click.

Parameter Value Explanation

[F1] button (T.CHECK tab)

Tempo

[F2] button (SETUP tab)

Score

Grade

Display 1 Display 2

Gauge

20–260 Tempo

Species whether the score will be shown in the screen.

OFF

ON (4, 8, 16, 32meas)

Species the strictness of scoring.

EASY Normal

HARD Timing will be checked more strictly.

In the screen, select the pad for which a timing graph will be shown.

LEFT BEHIND The left side of the timing graph is shown as BEHIND (late).

LEFT AHEAD The left side of the timing graph is shown as AHEAD (early).

Your performance will not be scored. Only the timing will be checked.

The score will be shown in the screen. You can also specify the number of measures you’ll practice before being scored.

QUIET COUNT

This lets you practice keeping the tempo with your body. For the rst few measures, the click is heard at the specied volume, but for the next few measures the click is not heard. This cycle of several measures will continue until you stop it.

Parameter Value Explanation

[F1] button (Q.COUNT tab)

Tempo

[F2] button (SETUP tab)

Measures

Quiet

20–260 Tempo

2, 4, 8, 16 (Measures)

Of the measures specied by “Measures,” this setting species the length of the measures that will be “Quiet.”

RANDOM The length of the Quiet interval will randomly change each time.

1, 2, 4

Specify the length (measures) of the interval for which the click will alternate between “Sounding” and “Quiet.”

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

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

COACH

WARM UPS

In this mode you’ll successively practice steps 1–3, be graded on your performance at each step, and then receive a nal evaluation.

You can choose one of three courses (5/10/15 minutes), ranging from easy to dicult. You can also adjust the tempo according to your level of skill.

Parameter Value Explanation

[F1] button (W.UP tab)

Tempo

[F2] button (SETUP tab)

Duration

Grade

Max Tempo

20–260 Tempo

Species the time.

5 MINS

10 MINS

15 MINS

Species the strictness of scoring.

EASY

HARD

Species the upper tempo limit during step 2: Auto Up/Down.

Time required: 5 minutes (Change-Up: 2 minutes, Time Check: 3 minutes)

Time required: 10 minutes (Change-Up: 3 minutes, Auto Up/Down: 3 minutes, Time Check: 4 minutes)

Time required: 15 minutes (Change-Up: 5 minutes, Auto Up/Down: 5 minutes, Time Check: 5 minutes)

Normal

Timing will be checked more strictly.

SYSTEM

Settings that are common to the entire unit, such as functions related to backing up the TD-27’s settings and the power supply settings, are called “system” settings.

BLUETOOTH

Here’s how to turn on/o this unit’s Bluetooth function, or initiate pairing. You can also make settings for using this unit connected with a smartphone app, or for pairing with a smartphone in a location where there are multiple TD-27 units.

Parameter Value Explanation

[F5] button (OFF, ON)

[F2] button (SETUP)

Bluetooth MIDI

Device ID

OFF, ON Turns this unit's Bluetooth functionality on/o.

OFF, ON

OFF, 1–99

Turns this unit's Bluetooth MIDI functionality on/o. If this is on, you can connect this unit with a Bluetooth MIDI compatible app on your smartphone etc.

If you are pairing with your smartphone in a location where there are multiple TD-27 units, you can assign an ID to each unit. 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) “TD-27 AUDIO 1” “TD-27 MIDI 1” etc.

* If you change the Device ID, the new setting takes eect when you press [F5] (SAVE) button to

save the setting.

SYSTEM

TRIGGER

Here’s how to make trigger settings so that the signals from the pads can be accurately processed by the TD-27.

You’ll need to make these settings if you purchase a drum sound module by itself, or if you add pads to your drum set or connect pads other than those that came with your drum set.

TRIGGER BANK

You can specify the type of pad (trigger type) used by each trigger input of the trigger bank.

Parameter Value Explanation

Bank No.

Trig Type

[F1] button (PARAM)

1–8 Trigger bank number

Species the model of pad (trigger type) that is connected to each trigger input.

* You can’t change the trigger type of a trigger input that’s assigned to a pad that supports a

digital connection.

Refer to “Trig Type list” (p. 30).

This parameter is the same as the TRIGGER PARAM (p. 32).

MEMO

When you specify the trigger type, the trigger parameters (with the exception of certain parameters such as cross-stick cancel) are set to optimal values. These values are only general guidelines; you can make ne adjustments as appropriate according to how you attach the pad and how you use it.

SYSTEM

Trig Type list

Used Pad Trig Type

KD-A22 KD-200 KD-140 KD-120 KD-85 KD-10 KD-9 KD-8 KD-7 KT-10 KT- 9 PDA120 PDA100 PDA140F PD-128 PD-125X PD-125 PD-108 PD-105X PD-105 PD-85 PDX-100 PDX-12 PDX-8 PDX-6 PD-8 VH-13 VH-12

KDA22 – – – – –

KD200 – – – – –

KD140 – – – – –

KD120 – – – – –

KD85 – – – – –

KD10 – – – – –

KD9 – – – – –

KD8 – – – – –

KD7 – – – – –

KT10 – – – – –

KT9 – – – – –

PDA120

PDA100

PDA140F

PD128

PD125X

PD125

PD108

PD105X

PD105

PD85

PDX100

PDX12

PDX8

PDX6

PD8

VH13

VH12

Rim shot

Positional

Bell

sensing

shot

Head Rim

(

– –

(

– –

(

– –

(

–

(

–

(

–

(

–

(

–

(

–

(

–

(

–

(

– – – –

(

– – – –

(

– – – –

(

– – –

(

– – –

(

– – –

( (

Choke play

(

–

(

–

(

–

(

Used Pad Trig Type

VH-11 VH-10 CY-16R-T CY-15R CY-14C-T CY-14C CY-13R CY-12C CY-12R/C CY- 8 CY- 5

BT-1

Generic pads

RT-30K RT-30HR

RT-30H

RT-10K RT-10S RT-10T

*1: When using the BT-1, it is possible to further increase the sensitivity for soft strikes,

but this increases the possibility of unwanted triggering by vibration from the

surroundings. *2: Select this if you attach an RT-30H to the snare. *3: Select this if you attach an RT-30H to a tom.

VH11

VH10

CY16RT

CY15R

CY14CT

CY14C

CY13R

CY12C

CY12R/C

CY8

CY5

BT1 – – – – –

BT1 SENS *1 – – – – –

PAD1

PAD2

PAD3

RT30K – – – – –

RT30HR

RT30H SN *2 – – – – –

RT30H TM *3 – – – – –

RT10K – – – – –

RT10S

RT10T – – – – –

Rim shot

(

( ( (

(

( ( (

(

( ( (

(

( (

(

Positional

Bell

sensing

shot

Head Rim

– – –

–

(

–

– – –

– – – –

– – –

– – – –

–

(

–

(

–

Choke play

(

Trigger inputs and playing methods corresponding chart

Rim shot/cross stick

* Use a dual-trigger type pad.

Trigger Input

KICK SNARE TOM 1–3 HI-HAT CRASH 1, 2 RIDE AUX 1–3

Rubber Pad Mesh Pad

Rim Shot

– – –

( ( (

( (

(

( (

– –

Cross Stick

–

Positional sensing/rim shot nuance

Trigger Input

KICK SNARE TOM 1–3 HI-HAT CRASH 1, 2 RIDE AUX 1–3

*1: Head and rim positional sensing is enabled when you assign the VH-14D to “HI-

HAT” and strike the VH-14D.

MEMO

5 Brush sweep can be used only SNARE.

5 Each playing method can be used with the instruments corresponding to it.

5 Bell shots are possible only for “RIDE.”

5 Cross-stick is possible only for “SNARE.”

Positional Sensing

(Head)

– –

( (

– *1 – *1

– –

(

( (

Rim Shot Nuance

–

SYSTEM

DIGITAL TRIGGER IN

The rst time that you connect a pad that supports digital connection to a DIGITAL TRIGGER IN port, you’ll follow the screens that appear, and specify the trigger input to which the connected pad is assigned.

Parameter Value Explanation

Pad

Assign

[F5] button (ADVANCED)

–

Position Adjust

Position Adjust LR XStick Detect Sens Choke Sens

Bell Gain

Refer to “Trig Type list” (p. 30). Selects the pad that is used.

Refer to “Trigger inputs and playing methods corresponding chart” (p. 30).

Here you can make detailed settings for a pad that supports digital connection.

* The parameters that can be set dier depending on the type of pad.

1–10

OFF, 1–5 Adjusts how easy it is to use cross-stick playing technique. If this is “OFF,” cross-stick technique is unavailable.

OFF, 1–5 Adjusts the sensitivity of choking technique. If this is “OFF,” choking technique is unavailable.

0–3.2

Species the trigger input to which a digitally-connected pad is assigned.

Adjusts how the tonal character is aected by strike position. Lower values adjust toward the center, and higher values adjust toward the circumference.

Adjusts the balance between the force of a strike on the bell (bell shot technique) and the loudness of the sound. With higher values of this setting, a high volume can be produced even by a soft strike on the bell.

SYSTEM

LINEAR

EXP2EXP1

LOG2LOG1

SPLINE

LOUD2LOUD1

TRIGGER PARAMETER

Because the following settings are automatically set to the appropriate values for each pad when you specify the trigger type, there is normally no need for you to edit them.

You can edit these settings if you want to make ner adjustments, or if you want to use an acoustic drum trigger.

Parameter Value Explanation

Trig Type

Sensitivity

Rim Gain

Threshold

Curve

Refer to “Trig Type list” (p. 30).

1.0–32.0

0–3.2

0–31

Volume change in response to pad strike strength

LINEAR

EXP1, EXP2

LOG1, LOG2

Species the model of pad (trigger type) that is connected to each trigger input.

You can adjust the sensitivity of the pads to accommodate your personal playing style. Increasing this value increases the sensitivity, so that even soft strikes on the pad are sounded at high volume.

Decreasing this value decreases the sensitivity, so that even strong strikes on the pad are sounded at low volume.

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 are sounded at high volume. If you decrease this value, even

strong strikes on the rim are sounded at low volume. This is available for pads that support a digital connection and rim shots.

Minimum sensitivity of the pad This setting allows a trigger signal to be received only when the pad is

above a determined force level (velocity). This can be used to prevent a pad from sounding because of vibrations from other pads. In the following example, B will sound but A and C will not sound.

Check this and adjust accordingly. Repeat this process until you get the perfect setting for your playing style.

Volume

The standard setting. This produces the most natural

Playing dynamics

Volume Volume

Playing dynamics

Volume Volume

Playing dynamics

Volume

Playing dynamics

correspondence between playing dynamics and volume change.

Compared to “LINEAR,” strong dynamics produce a greater change.

Compared to “LINEAR,” a soft playing produces a greater change.

Threshold

Head/Rim Adjust *1

SPLINE

Playing dynamics

Volume Volume

LOUD1, LOUD2

This setting species how easy it is to play a head shot or rim shot. If the rim sound is heard when you strike the head strongly, increase this value. If the head sound is heard when you

play an open rim shot, decrease this value. If the head sound is heard when you softly play a rim shot, decrease this value.

0–80

MEMO

If the rim shot sound is heard when you play a head shot, or if a head shot sound is heard when you play a rim shot, make small changes to the Head/Rim Adjust values while you continue trying out the results. Extreme changes to the values will cause the wrong sound to be heard when you strike the pad, for example producing the rim shot sound when you play a head shot.

Playing dynamics

Extreme changes are made in response to playing dynamics.

Very little dynamic response, making it easy to maintain strong volume levels. If you’re using a drum trigger as an external pad, these settings will produce reliable triggering.

Parameter Value Explanation

Trigger signal detection time Since the rise time of the trigger signal waveform may dier slightly depending on the

characteristics of each pad or acoustic drum trigger (drum pickup), you may notice that identical hits (velocity) may produce sound at dierent volumes. If this occurs, you

Scan Time

Mask Time

0–4.0ms

0–64ms

can adjust the “Scan Time” so that your way of playing can be detected more precisely. While repeatedly hitting the pad at a constant force, gradually raise the Scan Time

value from 0 msec, until the resulting volume stabilizes at the loudest level. At this setting, try both soft and loud strikes, and make sure that the volume changes appropriately.

* As the value is set higher, the time it takes for the sound to be played increases. Set this to the lowest value possible.

Double triggering prevention When playing a kick trigger, the beater can bounce back and hit the head

a second time immediately after the intended note—with acoustic drums sometimes the beater stays against the head—this causes a single hit to “double trigger” (two sounds instead of one). The Mask Time setting helps to prevent this. Once a pad has been hit, any additional trigger signals occurring within the specied “Mask Time” will be ignored.

Adjust the “Mask Time” value while playing the pad. When using a kick trigger, try to let the beater bounce back and hit the head very quickly, then raise the “Mask Time” value until there are no more sounds made by the beater rebound.

Increasing this value makes it more likely that a note played in rapid succession will 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, then adjust Retrigger Cancel.

Detecting trigger signal attenuation When you strike a snare drum etc. to which a commercially available drum trigger

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

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

While repeatedly striking the pad, raise the “Retrigger Cancel” value until

Retrigger Cancel

1–16

retriggering no longer occurs. Although setting this to a high value prevents retriggering, it then becomes easy for sounds to be omitted when the

drums played fast (roll etc.). 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 need not trigger a sound.

Position Head *1

Position Rim *1

XStick Threshold *1

ExtNoiseCancel

*1: For some Trig Type settings, this cannot be specied.

OFF, ON

0–127

OFF, 1–5

Turns head strike position detection on/o If strike position detection is on, nuances of the strike position on the head will vary the tone.

Turns rim strike position detection on/o If strike position detection is on, nuances of the rim shot will vary the tone.

For a pad that is connected to a TRIGGER IN jack, this species the force at which to switch between the cross stick sound and open rim shot sound.

Setting this to a higher value makes it easier to get cross stick sounds. When set to “0,” playing a cross stick produces the open rim shot sound.

For a digitally connected pad that allows cross stick technique, playing a cross stick with a strike that is stronger than the value of this setting produces the open rim shot sound.

* For a pad that is connected to a TRIGGER IN jack, be aware that if this value

is raised excessively, the cross stick sound will also be heard when you play an open rim shot.

This setting lets you prevent a drum from being triggered unwantedly by a strike on a drum to which no drum trigger is attached, or by sound or vibration from the surroundings (noise cancellation).

This noise cancel function can be used if you use a stereo cable to connect an “RT-30K” or “RT-30HR” drum trigger to the following TRIGGER IN jacks and specify the Trig Type.

Supported TRIGGER IN jacks

5 SNARE 5 TOM1–3 5 AUX1–3

* The “RT-30H” does not support the noise cancel function.

High

Low

Volume

Scan Time

Mask Time

Sound not produced

Cross Stick Sound

XStick Threshold

SYSTEM

Rim Shot Sound

HardSoft

Time

Playing dynamics

* The following parameters do not return to their default values when you change the Trig Type or press the [F5] (DEFAULT) button.

5 Hi-hat parameters

– Oset

– Foot Splash Sens

– Noise Cancel

– CC MAX

5 XStick Threshold

5 XTalk Cancel Rate

SYSTEM

HI-HAT

If you are using a hi-hat, adjust the oset on the TD-27.

This is necessary in order to correctly detect open/close operations and pedal movement.

Parameter Value Explanation Trig Type

Hi-Hat Type

Oset *1, *2

Foot Splash Sens *2

Noise Cancel *1, *2

Pressure Sens *2, *4

CC MAX *2, *3

*1: Only if Trig Type is set to “VH12”, “VH13”, or “VH14D.” *2: Digitally-connected pads aside from the VH-14D do not support hi-hat pedal playing. *3: Only if Trig Type is set to something other than “VH12”, “VH13”, or “VH14D.” *4: Only if Trig Type is set to “VH14D.”

Refer to “Trig Type list” (p. 30). Species the model of pad (trigger type) that is connected to each trigger input.

Type of hi-hat This is set automatically according to the parameter selected in Trig Type.

Extent of opening Hi-Hat The bigger the value is, the wider the opening extent is.

-100–+100 (automatically)

-10–+10 Amount of how easy to make the foot splash

1–3

1–5

90, 127

Reference

For details on how to adjust the oset, refer to “Reference Manual” (PDF). You can make ne adjustments to the hi-hat parameters as necessary.

Amount of strength to cancel the bow and edge noise when you play foot close. The bigger the value is, the more dicult to have a noise excluding the foot close.

Adjusts how the sound of the closed hi-hat changes according to how hard you press down on the pedal (the pressure used) while the pedal is closed.

Larger values make the sound change more easily when you press down softly.

Value of control change that is transmitted in stepping the hi-hat pedal down completely.

* There’s no need to change this setting if you’re performed only with the TD-27 and the pads.

SYSTEM

TRIGGER XTALK MONITOR

If two pads are attached to the same stand, the vibration from one struck pad may cause the other pad to sound without your intention. This is called “crosstalk.” Crosstalk cancellation is a setting that prevents this type of crosstalk.

Parameter Value Explanation

Strength of crosstalk cancellation

XTalk Cancel Rate

0–80

Reference

For details on how to make these settings, refer to “Reference Manual” (PDF).

SYSTEM

OUTPUT

Here’s how to assign the audio outputs from the MASTER OUT jacks, DIRECT OUT jacks, and PHONES jack.

Parameter Value Explanation

[F1] button (PAD MAS tab)

PAD OUTPUT ASSIGN MASTER

[F2] button (PAD DIR tab)

PAD OUTPUT ASSIGN DIRECT

[F3] button (OTHER MAS tab)

OTHER OUTPUT ASSIGN MASTER

[F4] button (OTHER DIR tab)

OTHER OUTPUT ASSIGN DIRECT

PHONES (MASTER OFF), PHONES+MASTER LR

OFF, 1, 2, 1+2, MASTER DIRECT L, MASTER DIRECT R, MASTER DIRECT L+R

PHONES (MASTER OFF), PHONES+MASTER LR

OFF, 1, 2, 1+2, 3, 4, 3+4, 5, 6, 5+6, 7, 8, 7+8, MASTER DIRECT L, MASTER DIRECT R, MASTER DIRECT L+R

Species each pad’s output from the PHONES jack and the MASTER OUT jacks (when Master Out (p. 36) is “NORMAL”).

Species each pad’s output from the DIRECT OUT1, 2 jacks and the MASTER OUT jacks (when Master Out (p. 36) is “DIRECT ”).

Species how ROOM and MFX are output from the PHONES jack and the MASTER OUT jacks (when Master Out (p. 36) is “NORMAL”).

Species how ROOM and MFX are output from the DIRECT OUT1, 2 jacks and the MASTER OUT jacks (when Master Out (p. 36) is “DIRECT ”).

OUTPUT ROUTING

Here’s how to make settings for output routing to the MASTER OUT jacks, DIRECT OUT jacks, and PHONES jack.

Parameter Value Explanation

[F1] button (ROUTING tab)

Species whether the pad equalizer (p. 15) and pad compressor (p. 16) eects are applied (ON) or are not applied (OFF) to the sound that is output from the DIRECT OUT jacks.

PadEq/Comp to Direct*1

PadComp to Phones

Master Out*1

[F2] button (LO CUT tab)

LoCut Frequency

DirectOut*2

MasterOut*2

PhonesOut

OFF, ON

NORMAL, DIRECT

20–200 Hz

OFF, ON

If this is “OFF,” the pad equalizer and pad compressor are bypassed for the output of the DIRECT OUT jacks.

If the OUTPUT ROUTING Master Out is “DIRECT,” and PadEq/Comp to Direct is “OFF,” the output from the MASTER OUT jacks also bypasses the pad equalizer and pad compressor.

Species whether the pad compressor (p. 16) is applied (ON) or is not applied (OFF) to the sound that is output from the PHONES jack.

If this is “OFF,” the pad compressor does not aect the output from the PHONES jack. For example, this lets you use the pad compressor to reduce the dynamic range for the drum

monitor or PA, but hear the full dynamics in the monitor headphones while you perform.

Selects whether the output of the MASTER OUT jacks is the same signal as the DIRECT OUT jacks (DIRECT) or not (NORMAL).

If this is “DIRECT,” the output of the MASTER OUT jacks is not aected by the master compressor and master EQ, allowing you to use the MASTER OUT jacks as DIRECT OUT jacks (the setting of the [MASTER] knob does apply).

This setting also applies to the USB audio output to your computer.

Cuts the frequency region below the specied frequency (low cut). This setting is common to all output jacks.

Species whether low cut is applied (ON) or is not applied (OFF) to the sound that is output from the DIRECT OUT jacks.

Species whether low cut is applied (ON) or is not applied (OFF) to the sound that is output from the MASTER OUT jacks.

Species whether low cut is applied (ON) or is not applied (OFF) to the sound that is output from the PHONES jack.

SYSTEM

Parameter Value Explanation

[F3] button (GAIN tab)

Adjusts the volume (gain) of the DIRECT OUT jacks. If the audio output of the TD-27 is too loud, causing the receiving device to distort, use this to lower

Direct Out Gain *2

Master Out Gain *2

Phones Out Gain

*1: This also applies to theTD-27’s sound that is output via USB audio. *2: These eects do not apply to the TD-27’s sound that is output via USB audio.

-12–+12dB

the volume. This applies to all DIRECT OUT jacks. If the Master Direct Sw is set to “DIRECT,” the eect also applies to the output from the MASTER OUT

jacks. *Note that raising the volume excessively might cause distortion.

Adjusts the volume (gain) from the MASTER OUT jacks. If the audio output of the TD-27 is too loud, causing the receiving device to distort, use this to lower

the volume.

* Note that raising the volume excessively might cause distortion.

Adjusts the volume (gain) from the PHONES jack. Adjust the audio output from the PHONES jack to the appropriate volume.

* Note that raising the volume excessively might cause distortion.

USB AUDIO

You can specify the output destination of the USB audio that is output from the TD-27’s USB COMPUTER port, and record it using DAW software etc. on your computer. You can also assign the USB audio input that is received at the USB COMPUTER port, and use the TD-27 to hear audio that’s played back from your computer.

Parameter Value Explanation

Input Gain

Output Gain

-36–+12dB

-24–+24dB

Switches between the TD-27’s dedicated USB driver and the driver provided by your operating system.

Adjusts the input level This setting is common to Input MAIN and SUB.

Adjusts the output level This setting is common to all outputs.

MEMO

Driver Mode

The setting takes eect when the TD-27 is powered o and on again.

GENERIC

VENDOR

Use the driver provided by the operating system. Operation is limited to USB MIDI.

Use the TD-27’s dedicated driver provided by Roland. USB MIDI and USB audio can be used.

SYSTEM

MIDI

Here you can make settings that specify how MIDI messages are transmitted to or received from a MIDI device connected to this unit.

Parameter Value Explanation

[F1] button (BASIC tab)

MIDI Tx/Rx Sw MIDI Channel Program Change Tx Program Change Rx

Soft Thru MIDI In

Soft Thru USB MIDI In

Local Control

Device ID

Transmit Edit Data

Receive Exclusive

[F2] button (CONTROL tab)

HH Pedal CC Snare CC Ride CC TOMs/AUXs CC

Hi-Hat CC

Hi-Hat LR CC

HH Note# Border

Hi-Reso Velocity

Cymbal Choke Shot

[F3] button (SYNC tab)

Sync Mode

Clock Source

Sync Out

OFF, ON Turns the transmitting and receiving MIDI messages on/o.

1–16Ch Transmit and receive channel.

OFF, ON Turns program change transmission on/o

OFF, ON Turns program change reception on/o

This allows performance data from a MIDI device connected to the TD-27’s MIDI IN connector to be transmitted to another MIDI device connected to the MIDI OUT connector or to a computer connected to the USB COMPUTER port.

OFF

ON (MIDI OUT)

ON (USB MIDI)

ON (MIDI+USB)

Performance data from a computer connected to the TD-27’s USB COMPUTER port can be transmitted to a MIDI device connected to the MIDI OUT connector.

OFF

ON (MIDI OUT)

OFF, ON

17–32

OFF, ON

OFF, ON Species whether system exclusive messages are received (ON) or not received (OFF).

OFF, 1, 2, 4, 11, 16, 17, 18, 19, 80, 81, 82, 83

0–127

OFF, ON

Species the synchronization signal according to which the TD-27 operates.

INTERNAL

EXTERNAL

MIDI, USB MIDI

OFF, ON

Performance data received from the TD-27’s MIDI IN connector will not be sent to the MIDI OUT connector or the USB COMPUTER port.

Performance data received from the TD-27’s MIDI IN connector will be sent to the MIDI OUT connector.

Performance data received from the device connected to the TD-27’s MIDI IN connector will be sent to the USB COMPUTER port.

Performance data received from the device connected to the TD-27’s MIDI IN connector will be sent to the MIDI OUT connector and the USB COMPUTER port.

Performance data received via the TD-27’s USB COMPUTER port is not transmitted to the MIDI OUT connector.

Performance data received via the TD-27’s USB COMPUTER port is transmitted to the MIDI OUT connector.

Turns on/o the connection between the performance data from the pads and the TD-27’s sound generator section

Normally you’ll leave this “ON.” If this is “OFF,” the performance data from the pads is not connected to the TD-27’s sound generator section.

Device ID setting The setting described here is necessary only when you wish to transmit separate data to two or

more TD-27 units at the same time. Do not change this setting in any other case.

Species whether changes in the TD-27’s settings are transmitted as system exclusive messages (ON) or not transmitted (OFF).

Control change used for transmitting/receiving the depth to which the hi-hat pedal pressed

Control change used for transmitting/receiving the strike position of the snare

Control change used for transmitting/receiving the strike position of the ride

Control change used for transmitting/receiving the strike position of the tom 1–3 and AUX 1–3

Control change used for transmitting/receiving the hi-hat strike position (from center to front) when connected to the VH-14D

Control change used for transmitting/receiving the hi-hat strike position (left-right) when connected to the VH-14D

This number species the pedal position at which to switch from open hi-hat to closed hi-hat.

* There’s no need to change this setting if you’re performing and recording only with the TD-27

and the pads.

Disables CC#88 (high resolution velocity prex). If this is disabled, the maximum velocity handled by the TD-27 is limited to 127. Velocity is also

limited to 127 for strikes on digitally-connected pads and for input via the MIDI IN connector.

Switches support for the performance technique of striking a pad while choking it. If this is “ON,” striking a pad while choking it immediately mutes the sound after it begins. If this is

“OFF,” the sound is not muted immediately even if you strike a pad while choking it.

Choose this setting if you’re using the TD-27 by itself without synchronizing it to another device, or if you want another device to operate in synchronization with the TD-27.

The TD-27 operates as a slave device. Choose this setting if you want the TD-27 to operate according to synchronization messages that it receives from another device.

When Sync Mode is “EXTERNAL,” this species whether the TD-27 synchronizes to synchronization messages from the MIDI IN connector (MIDI) or to synchronization messages from the USB COMPUTER port (USB MIDI).

Species whether MIDI synchronization messages are transmitted to another device (ON) or not transmitted (OFF).

Using the Local Control setting

SYSTEM

If you’re using a DAW software with the performance data from the pads and TD-27’s sound generator section, you should turn the Local Control “OFF.”

We need to connect these sections in the following order:

the performance data from the pads0a DAW software0TD-27’s sound generator section.

Since the performance data from the pads and TD-27’s sound generator section are connected internally, such a connection order would normally be impossible. However, if the Local Control is “OFF,” the performance data from the pads and TD-27’s sound generator section will be independent, allowing you to use a DAW software as shown here in the illustration.

Pad

DAW

TD-27

Local Control: OFF

Sound generator section

Specifying the HH Note# Border

The note number transmitted when you strike the hi-hat will change depending on the amount of pressure on the hi-hat pedal.

At the factory default value (127), the closed hi-hat note number will be transmitted only if the hi-hat pad is played with the pedal completely depressed. If you want this note number to be transmitted when the pedal is slightly raised, set this to a value such as “90.”

* In some cases, changing the hi-hat note number border setting might cause a song to play back dierently than when it was recorded.

SYSTEM

OPTION

Here you can make settings such as the MIX IN jack’s input level and the display contrast, and assign functions to the footswitches and pads.

Parameter Value Explanation

[F1] button (MIX IN tab)

Gain

[F2] button (LCD tab)

LCD Contrast LCD Brightness

[F3] button (CTRL tab)

0, +6, +12dB Adjusts the audio input to the MIX IN jack and the Bluetooth audio input

1–16 Display contrast

1–16 Display brightness

Assigns a function to a footswitch (separately sold: BOSS FS-5U, FS-6) connected to the TD-27.

Connecting an FS-5U

Stereo 1/4” phone type

1/4” phone type x 2

Foot Switch 1 Func (SW1), Foot Switch 2 Func (SW2)

Aux3 Head Func, Aux3 Rim Func

[F4] button (MODIFY tab)

Sound Modify Close Speed

Refer to “Functions that you can assign to a footswitch or pad.”

DEFAULT, FAST

RING

TIP

Polarity switch

SW2SW1

* If you use a mono cable to connect a single FS-5U, it will operate as SW2.

* The FS-5L cannot be used.

Connecting an FS-6

Stereo 1/4” phone

type

Stereo 1/4” phone

type

MODE/POLARITY switch

SW1

SW2

Assigns functions to a pad connected to TRIGGER IN jack/AUX3. You can assign separate functions to the head and to the rim.

Selects the time until the window that appears when you turn a sound modify knob closes automatically. The window closes more quickly with the FAST setting.

Functions that you can assign to a footswitch or pad

Value Explanation

OFF No function is assigned.

KIT# INC Calls up the next kit.

KIT# DEC Calls up the previous kit.

SETLIST# INC Calls up the next set list.

SETLIST# DEC Calls up the previous set list.

SONG# INC Calls up the next song.

SONG# DEC Calls up the previous song.

SONG PLAY Play the song.

SONG STOP Stop the song.

SONG TOP Return to the beginning of the song.

*1: If the trigger input (p. 31) of a digitally-connected pad (such as the PD-140DS) is assigned to snare, “XSTICK ON/OFF” has no eect.

Value Explanation

SONG PLAY/STOP Play/stop the song.

SONG AB REPEAT Species A-B repeat.

MFX 1 ON/OFF Turns on/o the multi-eect 1.

MFX 2 ON/OFF Turns on/o the multi-eect 2.

MFX 3 ON/OFF Turns on/o the multi-eect 3.

XSTICK ON/OFF *1

FIXED HH ON/OFF Switches between setting the hi-hat Fixed (p. 6) to “CLOSE” or not.

ALL SOUND OFF

Switches between sounding or not sounding the cross-stick sound.

Stops the currently-sounding drum performance sound or user sample playback.

AUTO OFF

Parameter Value Explanation

Species whether the unit will turn o automatically after a certain time has elapsed. If you don’t want the unit to turn o automatically, choose “OFF” setting.

Auto O

OFF The power does not turn o automatically.

4 HOURS

When four hours have elapsed without any pad being struck or any operation being performed, the unit will turn o automatically.

INFO

Displays information about the TD-27 itself, such as the program version.

SYSTEM

Parameter Explanation

[F1] button (PROGRAM tab)

Program Version

[F2] button (SAMPLE tab)

Imported Sample Memory Remain

[F3] button (SD CARD tab)

Backup All 1 Kit

[F4] button (DIGITAL tab)

Pad Program Version

Displays the program version.

Displays the number of imported user samples.

Displays the remaining amount for user samples in user memory.

Displays the backup data saved on the SD card (all settings).

Displays the kit backup data saved on the SD card.

Indicates a pad that is digitally connected to the TD-27.

Indicates the program version of a pad that is digitally connected to the TD-27.

Multi-Eect Parameters

The multi-eects feature 30 dierent kinds of eects. Some of the eects consist of two or more dierent eects connected in series.

Eect type Page

DELAY TAPE ECHO REVERSE DELAY 3TAP PAN DELAY OD0DELAY DS0DELAY CHORUS SPACE-D OD0CHORUS DS0CHORUS PHASER A PHASER B STEP PHASER FLANGER REVERB LONG REVERB SUPER FILTER FILTER+DRIVE AUTO WAH OD/DS0TWAH LOFI COMPRESS DISTORTION OVERDRIVE SATURATOR T-SCREAM BIT CRUSHER ISOLATOR RING MODULATOR PITCH SHIFTER AUTO PAN

p. 43

p. 44

p. 45

p. 46

p. 47

p. 48

About note values

Some eect parameters (such as Rate or Delay Time) can be set by using note values.

Sixty-fourth-note triplet Sixty-fourth note Thirty-second-note triplet Thirty-second note

Sixteenth-note triplet Dotted thirty-second note Sixteenth note Eighth-note triplet

Dotted sixteenth note Eighth note Quarter-note triplet Dotted eighth note

Quarter note Half-note triplet Dotted quarter note Half note

Whole-note triplet Dotted half note Whole note Double-note triplet

Dotted whole note Double note

NOTE

If you set the delay time as a note value, slowing down the tempo will not change the delay time beyond a certain length. There is an upper limit for the delay time so if it is set as a note value and you slow down the tempo until this upper limit is reached, the delay time cannot change any further. This upper limit is the maximum value that can be specied when setting the delay time as a numerical value.

Multi-Eect Parameters

DELAY

This is a stereo delay.

Parameter Value Explanation

Tempo Sync Left, Right

Delay Left, Right Time

Phase Left, Right

Feedback Mode

Feedback

HF Damp

Low Gain High Gain Level

OFF, ON

1–1300msec, note

NORMAL, INVERSE Phase of the delay sound

NORMAL, CROSS

-98–+98%

200–8000 Hz, BYPASS

-15–+15dB Gain of the low frequency range

-15–+15dB Gain of the high frequency range

0–127 Output Level

Species 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

Selects the way in which delay sound is fed back into the eect

NORMAL: The left/right delay sounds are fed back without modication.

CROSS: The left/right delay sounds are alternately exchanged when fed back.

Adjusts the amount of the delay sound that’s fed back into the eect.

Negative “-” settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you don’t want to lter out any high frequencies, set this parameter to BYPASS.

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

Combination of playback heads to use Select from three dierent heads with dierent

Mode

Repeat Rate

Intensity

Bass

Treble

Head S Pan Head M Pan Head L Pan

Tape Distortion

W/F Rate

W/F Depth

Level

S, M, L, S+M, S+L, M+L, S+M+L

0–127

0–127 Amount of delay repeats

-15–+15dB

L64–R63

0–5

0–127

0–127 Depth of wow/utter

0–127 Output level

delay times

S: Short M: Middle L: Long

Tape speed Increasing this value will shorten the spacing

of the delayed sounds.

Boost/cut for the lower range of the echo sound

Boost/cut for the upper range of the echo sound

Independent stereo location for the short, middle, and long playback heads

Amount of tape-dependent distortion to be added

This simulates the slight tonal changes that can be detected by signal-analysis equipment. Increasing this value will increase the distortion.

Speed of wow/utter (complex variation in pitch caused by tape wear and rotational irregularity)

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

Tempo Sync Rev

Rev Delay Time

Rev Delay Feedback

Rev Delay HF Damp

Rev Delay Pan 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

Low Gain High Gain Level

0–127

OFF, ON

1–1300msec, note

-98–+98%

200–8000Hz, BYPASS

L64–R63 Stereo location of the reverse delay sound

0–127 Volume of the reverse delay sound

OFF, ON

1–1300msec, note

-98–+98%

200–8000Hz, BYPASS

L64–R63 Stereo location of the tap delay sounds

0–127 Volume of the tap delay sounds

-15–+15dB Gain of the low frequency range

-15–+15dB Gain of the high frequency range

0–127 Output Level

Volume at which the reverse delay will begin to be applied

Species 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 to be returned to the input of the reverse delay.

(negative values invert the phase)

Frequency at which the high-frequency content of the reverse-delayed sound will be cut (BYPASS: no cut)

Species 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 to be returned to the input of the tap delay (negative values invert the phase)

Frequency at which the high frequency content of the tap delay sound will be cut (BYPASS: no cut)

3TAP PAN DELAY

Produces three delay sounds; center, left and right.

Parameter Value Explanation

Tempo Sync Left, Right, Center

Delay Left, Right, Center Time

Center Feedback

HF Damp

Left, Right, Center Level

Low Gain High Gain Level

OFF, ON

1–2600msec, note

-98–+98%

200–8000Hz, BYPASS

0–127 Volume of each delay

-15–+15dB Gain of the low frequency range

-15–+15dB Gain of the high frequency range

0–127 Output Level

Species whether the delay time value of the left/right/center delay sound is specied as a note value (ON) or not (OFF).

Adjusts the time until the delay sound is heard.

Adjusts the amount of the delay sound that’s fed back into the eect. Negative “-” settings invert the phase.

Adjusts the frequency above which sound fed back to the eect is ltered out. If you do not want to lter out any high frequencies, set this parameter to BYPASS.

Multi-Eect Parameters

DELAY

SPACE-D

Parameter Value Explanation

Overdrive Drive

Overdrive Pan

Tempo Sync

Delay Time

Delay Feedback

Delay HF Damp

Delay Balance

Level

DELAY

0–127

L64–R63 Stereo location of the overdrive sound

OFF, ON

1–2600msec, note

-98–+98%

200–8000Hz, BYPASS

D100:0W– D0:100W

0–127 Output Level

Degree of distortion Also changes the volume.

Species 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 “-” settings will invert the phase.

Adjusts the frequency above which sound fed back to the eect will be cut. If you do not want to cut the high frequencies, set this parameter to BYPASS.

Adjusts the volume balance between the sound that is sent through the delay (W) and the sound that is not sent through the delay (D).

The parameters are essentially the same as in “OD0DELAY” with the exception of the following two.

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

CHORUS

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

Parameter Value Explanation

Type of lter OFF: no lter is used

Filter Type

Cuto Freq

Pre Delay

Tempo Sync

Rate

Depth Phase Low Gain High Gain Level

OFF, LPF, HPF

200–8000Hz

0.0–100.0ms

OFF, ON

0.05–10.00Hz, note

0–127 Depth of modulation

0–180deg Spatial spread of the sound

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

LPF: cuts the frequency range above the Cuto Freq

HPF: cuts the frequency range below the Cuto Freq

Species the frequency at which the lter cuts a specic frequency region

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

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Frequency of modulation

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

Tempo Sync

Rate

Depth Phase Low Gain High Gain Level

0.0–100.0ms

OFF, ON

0.05–10.00Hz, note

0–127 Depth of modulation

0–180deg Spatial spread of the sound

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

CHORUS

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

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Frequency of modulation

Parameter Value Explanation

Overdrive Drive

Overdrive Pan Chorus Pre

Delay

Tempo Sync

Rate

Chorus Depth

Chorus Balance

Level

CHORUS

0–127

L64–R63 Stereo location of the overdrive sound

0.0–100.0ms

OFF, ON

0.05–10.00Hz, note

0–127 Depth of modulation

D100:0W– D0:100W

0–127 Output Level

Degree of distortion Also changes the volume.

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

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Frequency of modulation

Adjusts the volume balance between the sound that is sent through the chorus (W) and the sound that is not sent through the chorus (D).

The parameters are essentially the same as in “OD0CHORUS” with the exception of the following two.

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

Multi-Eect Parameters

PHASER A

A phase-shifted sound is added to the original sound and modulated.

Parameter Value Explanation

Mode

Manual

Tempo Sync

Rate

Depth

Polarity

Resonance

Cross Feedback

Low Gain High Gain Level

4-STAGE, 8-STAGE, 12-STAGE

0–127

OFF, ON

0.05–10.00Hz, note

0–127 Depth of modulation

INVERSE, SYNCHRO

0–127 Amount of feedback

-98–+98%

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

Number of stages in the phaser

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

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Frequency of modulation

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative “-” settings will invert the phase.

PHASER B

This simulates a dierent analog phaser than Phaser A.

Parameter Value Explanation

Speed Depth Low Gain High Gain Level

0–100 Frequency of modulation

0–127 Depth of modulation

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

STEP PHASER

The phaser eect will be varied gradually.

Parameter Value Explanation

Mode

Manual

Tempo Sync (Rate)

Rate

Depth

Polarity

Resonance

Cross Feedback

Tempo Sync (Step Rate)

Step Rate

Low Gain High Gain Level

4-STAGE, 8-STAGE, 12-STAGE

0–127

OFF, ON

0.05–10.00Hz, note

0–127 Depth of modulation

INVERSE, SYNCHRO

0–127 Amount of feedback

-98–+98%

OFF, ON

0.10–20.00Hz, note

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

Number of stages in the phaser

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

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Frequency of modulation

Selects whether the left and right phase of the modulation will be the same or the opposite.

INVERSE: The left and right phase will be opposite. When using a mono source, this spreads the sound.

SYNCHRO: The left and right phase will be the same. Select this when inputting a stereo source.

Adjusts the proportion of the phaser sound that is fed back into the eect. Negative “-” settings will invert the phase.

Species 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 LFO has the same phase for left and right.) It 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

Type of lter OFF: no lter is used

Filter Type

Cuto Freq

Pre Delay

Tempo Sync

Rate

Depth Phase

Feedback

Low Gain High Gain Level

OFF, LPF, HPF

200–8000Hz

0.0–100.0ms

OFF, ON

0.05–10.00Hz, note

0–127 Depth of modulation

0–180deg Spatial spread of the sound

-98–+98%

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

LPF: cuts the frequency range above the Cuto Freq

HPF: cuts the frequency range below the Cuto Freq

Species the 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.

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Frequency of modulation

Adjusts the proportion of the anger sound that is fed back into the eect. Negative “-” settings will invert the phase.

Multi-Eect Parameters

SAW1 SAW2

REVERB

Adds reverberation to the direct sound, simulating an acoustic space.

Parameter Value Explanation

ROOM1, ROOM2,

Type

Pre Delay

Time

HF Damp

Low Gain

High Gain

Level

STAGE1, STAGE2, HALL1, HALL2

0.0–100msec

0–127 Time length of reverberation

200–8000Hz, BYPASS

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

Type of reverb

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

Adjusts the frequency above which the reverberant sound will be cut (BYPASS: no cut).

LONG REVERB

This is a very rich sounding reverb with a choice of character.

Parameter Value Explanation

Depth Time

Pre LPF

Pre HPF

Peaking Freq

Peaking Gain

Peaking Q

HF Damp

LF Damp

Character EQ Low Freq EQ Low Gain

EQ High Freq

EQ High Gain Level

0–127 Depth of the eect

0–127 Time length of reverberation

16–15000Hz, BYPASS

BYPASS, 16–15000Hz

200–8000Hz

-15–+15dB

0.5–8.0

16–15000Hz, BYPASS

BYPASS, 16–15000Hz

1–6 Type of reverb

200–400Hz Center frequency of the low range

-15–+15dB Gain of the low range

2000–8000Hz Center frequency of the high range

-15–+15dB Gain of the high range

0–127 Output Level

Frequency of the lter that cuts the highfrequency content of the input sound (BYPASS: no cut)

Frequency of the lter that cuts the lowfrequency content of the input sound (BYPASS: no cut)

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

Frequency at which the high-frequency content of the resonant sound will be cut (BYPASS: no cut)

Frequency at which the low-frequency content of the resonant sound will be cut (BYPASS: no cut)

SUPER FILTER

This is a lter with an extremely sharp slope. The cuto frequency can be varied cyclically.

Parameter Value Explanation

Filter type Frequency range that will pass through each lter

LPF Frequencies below the cuto

Filter Type

Filter Slope

Filter Cuto

Filter Resonance

Filter Gain Modulation

Modulation Wave

Tempo Sync

Rate

Depth

Attack

Level

BPF Frequencies in the region of the cuto

HPF Frequencies above the cuto

NOTCH

Amount of attenuation per octave

-12dB Gentle

-24dB Steep

-36dB Extremely steep

0–127

0–+12dB Amount of boost for the lter output

OFF, ON On/o switch for cyclic change

How the cuto frequency will be modulated

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1 Sawtooth wave (upward)

SAW2 Sawtooth wave (downward)

OFF, ON

0.05–10.00 Hz, note

0–127 Depth of modulation

0–127

0–127 Output Level

Frequencies other than the region of the cuto

Cuto frequency of the lter Increasing this value will raise the cuto

frequency.

Filter resonance level Increasing this value will emphasize the

region near the cuto frequency.

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Rate of modulation

Speed at which the cuto frequency will change

This is eective if Modulation Wave is SQR, SAW1, or SAW2.

FILTER+DRIVE

This is a low-pass lter equipped with overdrive. It cuts the upper range and adds distortion.

Parameter Value Explanation

Cuto

Resonance

Drive Level

0–127

0–127 Amount of distortion

0–127 Output Level

Cuto frequency of the lter Increasing this value will raise the cuto

frequency.

Filter resonance level Increasing this value will emphasize the

region near the cuto frequency.

Multi-Eect Parameters

AUTO WAH

Cyclically controls a lter to create cyclic change in timbre.

Parameter Value Explanation

Type of lter

Filter Type

Manual

Peak

Sens

Polarity

Tempo Sync

Rate

Depth

Phase

Low Gain High Gain Level

OD/DS

LPF, BPF

0–127

UP, DOWN

OFF, ON

0.05–10.00Hz, note

0–127 Depth of modulation

0–180deg

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

TWAH

Parameter Value Explanation

Drive Switch

Drive Type

Drive

Tone Amp Switch

Amp Type

Touch Wah Switch

Touch Wah Mode

Touch Wah Polarity

Touch Wah Sens

Touch Wah Manual

Touch Wah Peak

Touch Wah Balance

Low Gain High Gain Level

OFF, ON Turns overdrive/distortion on/o

OVERDRIVE, DISTORTION

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN, 2-STACK, 3-STACK

OFF, ON Wah on/o

LPF, BPF

DOWN, UP

0–127 Sensitivity with which the lter is modied

0–127

D100:0W– D0:100W

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

LPF: The wah eect will be applied over a wide frequency range.

BPF: The wah eect will be applied over a narrow frequency range.

Adjusts the center frequency at which the eect is applied.

Width of the frequency region at which the wah eect is applied Increasing this value will make the frequency region narrower.

Adjusts the sensitivity with which the lter is controlled.

Direction in which the lter will move

UP: Move toward a higher frequency DOWN: Move toward a lower frequency

Species whether the modulation rate is specied as a note value (ON) or not (OFF).

Frequency of modulation

Adjusts the degree of phase shift of the left and right sounds when the wah eect is applied.

Type of distortion

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple stack amp

Type of lter LPF: Produces a wah eect in a broad

frequency range. BPF: Produces a wah eect in a narrow

frequency range.

Direction in which the lter will move

UP: Move toward a higher frequency DOWN: Move toward a lower frequency

Center frequency at which the wah eect is applied

Width of the frequency region at which the wah eect is applied Increasing this value will make 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 intentionally degrades the tone character for creative purposes.

Parameter Value Explanation

Selects the type of lter applied to the sound

Pre Filter Type

LoFi Type

Post Filter Type

Post Filter Cuto

Low Gain High Gain Level

1–6

1–9

OFF, LPF, HPF

200–8000Hz Basic frequency of the Post Filter

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

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: no lter is used LPF: cuts the frequency range above the

Cuto HPF: cuts the frequency range below the

Cuto

DISTORTION

Produces a more intense distortion than Overdrive.

Parameter Value Explanation

Drive

Tone Amp Sw

Amp Type

Low Gain High Gain Pan Level

0–127

0–127 Sound quality of the Overdrive eect

OFF, ON Turns the Amp Simulator on/o.

SMALL, BUILT-IN, 2-STACK, 3-STACK

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

L64–R63 Stereo location of the output sound

0–127 Output Level

Degree of distortion Also changes the volume.

Type of guitar amp

SMALL: small amp BUILT-IN: single-unit type amp 2-STACK: large double stack amp 3-STACK: large triple 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.

Parameter Value Explanation

Saturator Gain Saturator

Drive Saturator

Level

Comp Depth

0–127 Input volume to the saturator

0–127 Degree of distortion

0–127 Output volume of the saturator

0–127 Amount of compression

Multi-Eect Parameters

Parameter Value Explanation

Comp Level

Hi Gain Level

0–127 Output volume of the compressor

-12–+6dB Gain of the high range

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

Tone Level

0–127

0–127 Sound quality of the Overdrive eect

0–127 Output Level

Degree of distortion Also changes the volume.

BIT CRUSHER

This creates a lo- sound.

Parameter Value Explanation

Sample Rate Bit Down Filter Low Gain High Gain Level

0–127 Adjusts the sample rate.

0–18 Adjusts the bit depth.

0–127 Adjusts the lter depth.

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

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

Low Boost Level

Level

-60–+4dB

OFF, ON

0–127

OFF, ON

0–127

OFF, ON

0–127

0–127 Output Level

These boost and cut each of the High, Middle, and Low frequency ranges

At -60 dB, the sound 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 Low frequency ranges

Adjusting this level for certain frequencies allows you to lend emphasis to specic parts (This is eective only for stereo source.).

Settings of the Anti-Phase function for the Middle frequency ranges

The parameters are the same as for the Low frequency ranges.

Turns Low Booster on/o This emphasizes the bottom to create a

heavy bass sound.

Increasing this value gives you a heavier low end

* Depending on the Isolator and lter

settings this eect may be hard to distinguish.

RING MODULATOR

This is an eect that applies amplitude modulation (AM) to the input signal, producing bell-like sounds. You can also change the modulation frequency in response to changes in the volume of the sound sent into the eect.

Parameter Value Explanation

Frequency

Sens

Polarity

Low Gain High Gain Level

0–127

UP, DOWN

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

Adjusts the frequency at which modulation is applied.

Adjusts the amount of frequency modulation applied.

Direction in which the frequency modulation will move

UP: Towards higher frequencies DOWN: Towards lower frequencies

PITCH SHIFTER

A stereo pitch shifter.

Parameter Value Explanation

Coarse

Fine

Tempo Sync

Delay Time

Feedback

Low Gain High Gain Level

-24–+12 semi

-100–+100 cent

OFF, ON

1–1300msec, note

-98–+98%

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

Adjusts the pitch of the pitch shifted sound in semitone steps.

Adjusts the pitch of the pitch shifted sound in 2-cent steps.

Species 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 “-” settings will invert the phase.

AUTO PAN

Cyclically modulates the stereo location of the sound.

Parameter Value Explanation

Modulation wave

TRI: Triangle wave SQR: Square wave SIN: Sine wave SAW1: Sawtooth wave (upward) SAW2: Sawtooth wave (downward) TRP: Trapezoidal wave

Species 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

Mod Wave

Tempo Sync

Rate

Depth Low Gain High Gain Level

TRI, SQR, SIN, SAW1, SAW2, TRP

SAW1 SAW2

R R

L L

OFF, ON

0.05–10.00Hz, note

0–127 Depth to which the eect is applied

-15–+15dB Gain of the low range

-15–+15dB Gain of the high range

0–127 Output Level

Drum Kit List

No. Drum kit name Sub name

Studio A warm

Solid

NY Bop

Funk 5.0” Snare

Overtones

Pop Recording Studio

Rocky Road 70’s Rock live

ShallowShell

KICK vs SNR w/ Mute Group

Studio B

Funk Rock

Compact+ 2nd Hi-Hat

Punk Rock

Piccolo 4.0” Snare

Wood&Steel 6.5” Snare

HEAVY

Tight Funk

Solid Rock

DropForged

Wide Open

Heavy Rock

Indie Rock

Hard Rock

Smashed!

Brit Rock 70’s

Beech Wood

BubingaSharp

Solid Maple

Premium Wood

Pop Rock

Studio C

Lounge Vibes w/ Percussion

HandsOnSkins Pedal:Pitch Bend

Rootsy Funk

Old Heads Dry 70’s

Tight & Dry

Short Tail Jazz

Jazz Danzz Power Jazz Bass

HipHop Vinyl Tom3Rim:LP Noise

RnB&Trapped

Roots Reggae Rims:Delay FX

UK Dub Rims:Delay FX

Ultra DnB BreakBeat Hybrid

Kick Bonkers

House Clappin’

Transient Attack & Release

Clap Pop 2nd Hi-Hat

80’s Pop Electro Toms

Punchy Pop

Tight Pop

Crunch Beat Melodic Toms

Electro Hip

ElectroDrums

808 Stereo

909 Edgy

All Rounder 60’s

Progressive Modern

Metal Progressive

Metal Master Live Stage

Custom Wood w/ Steel S

Fusion Alternative

No. Drum kit name Sub name

Arena Rock 2nd Hi-Hat

Ambient Beat Rims:Delay FX

Echo Rock

DrySound

User Kit

100

* This drum kit list is supported starting with program version 1.10.

Refer to the Roland website for the latest information.

https://www.roland.com/support/

Instrument List

No. Instrument name Instrument group Remarks

OFF OFF

Vintage24”SolidK KICK *L

HardWood Solid K KICK *L

Bubinga K KICK *L

Vintage 20” K KICK *L

Walnut Solid K KICK *L

Birch 18” K KICK *L

Stainless 24” K KICK *L

Hard Wood K KICK *L

Walnut Cherry K KICK *L

Vintage 24” K KICK *L

Plastic Beater K KICK

Close Mic K KICK

Wooden Beater K KICK

Solid K KICK

Deep Shell K KICK

Maple 18” K KICK

O Mic K KICK

Solid 20” K KICK

Open 24” K KICK

Open 18” K KICK

Beech K KICK

Soft Beater K KICK

Maple K KICK

Birch K KICK

Resonance K KICK

Plugged Kick 1 KICK PROC

Plugged Kick 2 KICK PROC

Plugged Kick 3 KICK PROC

Tight Kick 1 KICK PROC

Tight Kick 2 KICK PROC

Tight Kick 3 KICK PROC

Impact Kick KICK PROC

Hybrid Kick KICK PROC

Tronic Kick KICK PROC

Hip Hop Kick 1 KICK PROC

Hip Hop Kick 2 KICK PROC

Nu Hip Kick KICK PROC

Minimal House K KICK PROC

Early House Kick KICK PROC

House Kick KICK PROC

BreakBeats Kick1 KICK PROC

BreakBeats Kick2 KICK PROC

DnB Kick 1 KICK PROC

DnB Kick 2 KICK PROC

DnB Kick 3 KICK PROC

DnB Kick 4 KICK PROC

Lo-Fi Kick KICK PROC

Hi Jumper Kick KICK PROC

Lo Jumper Kick KICK PROC

Enhance Kick KICK PROC

Low Kick KICK PROC

Jungle Kick KICK PROC

Dance Kick KICK PROC

Dancer Kick KICK PROC

ScratchPhat Kick KICK PROC

Mellbourne Kick KICK PROC

Big Step Kick KICK PROC

Big Deep Kick KICK PROC

Dirty Kick KICK PROC

Buzz Kick KICK PROC

TR Beef Kick KICK PROC

Electro Knock K KICK PROC

RetroFuture Kick KICK PROC

No. Instrument name Instrument group Remarks

Hard Style Kick1 KICK PROC

Hard Style Kick2 KICK PROC

Voice Kick 1 KICK PROC

Voice Kick 2 KICK PROC

Processed Kick 1 KICK PROC

Processed Kick 2 KICK PROC

Processed Kick 3 KICK PROC

Processed Kick 4 KICK PROC

Processed Kick 5 KICK PROC

Processed Kick 6 KICK PROC

Processed Kick 7 KICK PROC

Processed Kick 8 KICK PROC

Analog Kick 1 KICK ELEC

Analog Kick 2 KICK ELEC

Analog Kick 3 KICK ELEC

CR-78 Kick KICK ELEC

TR-606 Kick KICK ELEC

TR-707 Kick KICK ELEC

TR-808 Kick 1 KICK ELEC

TR-808 Kick 2 KICK ELEC

TR-808 Kick Long KICK ELEC

TR-909 Kick 1 KICK ELEC

TR-909 Kick 2 KICK ELEC

TR-909 Kick 3 KICK ELEC

TR-909 Kick 4 KICK ELEC

Soft 808 Kick 1 KICK ELEC

Soft 808 Kick 2 KICK ELEC

Hard 808 Kick 1 KICK ELEC

Hard 808 Kick 2 KICK ELEC

Hard 909 Kick KICK ELEC

DR-110 Kick KICK ELEC

R-8 Kick KICK ELEC

Synth Kick KICK ELEC

TR-Synth Kick 1 KICK ELEC

TR-Synth Kick 2 KICK ELEC

TR-Synth Kick 3 KICK ELEC

Steel Fat S SNARE *P *X *O

100

Steel Fat SR SNARE *P *X *O

101

Walnut Solid S SNARE *P *X *O

102

Walnut Solid SR SNARE *P *X *O

103

Hard Wood Fat S SNARE *P *X *O

104

Hard Wood Fat SR SNARE *P *X *O

105

Maple Open S SNARE *P *X *O

106

Maple Open SR SNARE *P *X *O

107

Beech Fat S SNARE *P *X *O

108

Beech Fat SR SNARE *P *X *O

109

HardWood Open S SNARE *P *X *O

110

HardWood Open SR SNARE *P *X *O

111

Walnut Light S SNARE *P *X *O

112

Walnut Light SR SNARE *P *X *O

113

Steel Open S SNARE *P *X *O

114

Steel Open SR SNARE *P *X *O

115

Mahogany S SNARE *P *X

116

Mahogany SR SNARE *P *X

117

Aluminium S SNARE *P *X

118

Aluminium SR SNARE *P *X

119

Maple S SNARE *P *X

120

Maple SR SNARE *P *X

121

Steel S SNARE *P *X

122

Steel SR SNARE *P *X

123

Brass S SNARE *P *X

124

Brass SR SNARE *P *X

125

Maple Piccolo S SNARE *P *X

126

Maple Piccolo SR SNARE *P *X

127

Hard Wood X CROSS STICK

128

Instrument List

No. Instrument name Instrument group Remarks

Maple X CROSS STICK

129

Beech X CROSS STICK

130

Steel X CROSS STICK

131

Walnut X CROSS STICK

132

Mahogany X CROSS STICK

133

Plugged X 1 CROSS STICK

134

Plugged X 2 CROSS STICK

135

Plugged X 3 CROSS STICK

136

Tight Buzz X CROSS STICK

137

Voice X CROSS STICK

138

Plugged Snare 1 SNARE PROC

139

Plugged Snare 2 SNARE PROC

140

Plugged Snare 3 SNARE PROC

141

Plugged Snare 4 SNARE PROC

142

Plugged Snare 5 SNARE PROC

143

Plugged Snare 6 SNARE PROC

144

Plugged Snare 7 SNARE PROC

145

House Snare SNARE PROC

146

House Low Snare SNARE PROC

147

Garage Snare SNARE PROC

148

Hip Hop Snare SNARE PROC

149

Hip Snare SNARE PROC

150

Hop Snare SNARE PROC

151

Radio Snare SNARE PROC

152

DnB Snare 1 SNARE PROC

153

DnB Snare 2 SNARE PROC

154

DnB Snare 3 SNARE PROC

155

Dub Snare 1 SNARE PROC

156

Dub Snare 2 SNARE PROC

157

Dub Step Snare SNARE PROC

158

Disto Slap Snare SNARE PROC

159

Old School Snare SNARE PROC

160

RetroDance Snare SNARE PROC

161

Fat Snare SNARE PROC

162

Fat Box Snare SNARE PROC

163

R-Box Lectro S SNARE PROC

164

ShortFbk Snare 1 SNARE PROC

165

ShortFbk Snare 2 SNARE PROC

166

Laser Snare SNARE PROC

167

Echo Snare 1 SNARE PROC

168

Echo Snare 2 SNARE PROC

169

Gate Snare SNARE PROC

170

OD Break Snare SNARE PROC

171

OD Jungle Snare SNARE PROC

172

Flange Snare SNARE PROC

173

106 Snare SNARE PROC

174

Tight-o-Gate S SNARE PROC

175

Stereofyer Snare SNARE PROC

176

R-Bright Snare SNARE PROC

177

Rimection S SNARE PROC

178

DnBark Snare SNARE PROC

179

Clap Slap Snare SNARE PROC

180

Slap Snare SNARE PROC

181

Ambient Snap S SNARE PROC

182

Low&Mid Shaper S SNARE PROC

183

Soprano Ring S SNARE PROC

184

LoFi FX Snare SNARE PROC

185

Voice Snare SNARE PROC

186

Short Buzz Snare SNARE PROC

187

Electro Snare SNARE PROC

188

Processed Snare1 SNARE PROC

189

Processed Snare2 SNARE PROC

190

Processed Snare3 SNARE PROC

191

Processed Snare4 SNARE PROC

192

Analog Snare 1 SNARE ELEC

193

No. Instrument name Instrument group Remarks

Analog Snare 2 SNARE ELEC

194

CR-78 Snare SNARE ELEC

195

TR-606 Snare SNARE ELEC

196

TR-707 Snare 1 SNARE ELEC

197

TR-707 Snare 2 SNARE ELEC

198

TR-808 Snare 1 SNARE ELEC

199

TR-808 Snare 2 SNARE ELEC

200

TR-909 Snare 1 SNARE ELEC

201

TR-909 Snare 2 SNARE ELEC

202

TR-909 S w/ Clap SNARE ELEC

203

DR-110 Snare SNARE ELEC

204

CR-78 Rim SNARE ELEC

205

TR-808 Rim SNARE ELEC

206

TR-909 Rim SNARE ELEC

207

Hard Wood 8” TOM

208

Hard Wood 8” R TOM *P

209

Hard Wood 10” TOM

210

Hard Wood 10” R TOM *P

211

Hard Wood 12” TOM

212

Hard Wood 12” R TOM *P

213

Hard Wood 14” TOM

214

Hard Wood 14” R TOM *P

215

Hard Wood 16” TOM

216

Hard Wood 16” R TOM *P

217

Bubinga 10” TOM

218

Bubinga 10” R TOM *P

219

Bubinga 12” TOM

220

Bubinga 12” R TOM *P

221

Bubinga 14” TOM

222

Bubinga 14” R TOM *P

223

Bubinga 16” TOM

224

Bubinga 16” R TOM *P

225

Vintage 13” TOM

226

Vintage 13” R TOM *P

227

Vintage 16” TOM

228

Vintage 16” R TOM *P

229

Stainless 12” TOM

230

Stainless 12” R TOM *P

231

Stainless 13” TOM

232

Stainless 13” R TOM *P

233

Stainless 16” TOM

234

Stainless 16” R TOM *P

235

Stainless 18” TOM

236

Stainless 18” R TOM *P

237

Gong Drum 20” TOM

238

Beech 10” TOM

239

Beech 10” R TO M *P

240

Beech 12” TOM

241

Beech 12” R TO M *P

242

Beech 13” TOM

243

Beech 13” R TO M *P

244

Beech 16” TOM

245

Beech 16” R TO M *P

246

Maple 10” TOM

247

Maple 10” R TOM *P

248

Maple 12” TOM

249

Maple 12” R TOM *P

250

Maple 13” TOM

251

Maple 13” R TOM *P

252

Maple 16” TOM

253

Maple 16” R TOM *P

254

Birch 12” TOM

255

Birch 12” R TOM *P

256

Birch 14” TOM

257

Birch 14” R TOM *P

258

Instrument List

No. Instrument name Instrument group Remarks

Birch 16” TOM

259

Birch 16” R TOM *P

260

Birch 18” TOM

261

Birch 18” R TOM *P

262

Shallow 10” TOM

263

Shallow 10” R TOM *P

264

Shallow 12” TOM

265

Shallow 12” R TOM *P

266

Shallow 13” TOM

267

Shallow 13” R TOM *P

268

Shallow 16” TOM

269

Shallow 16” R TOM *P

270

Plugged Tom 1 T1 TOM PROC

271

Plugged Tom 1 T2 TOM PROC

272

Plugged Tom 1 T3 TOM PROC

273

Plugged Tom 1 T4 TOM PROC

274

Plugged Tom 2 T1 TOM PROC

275

Plugged Tom 2 T2 TOM PROC

276

Plugged Tom 2 T3 TOM PROC

277

Plugged Tom 3 T1 TOM PROC

278

Plugged Tom 3 T2 TOM PROC

279

Plugged Tom 3 T3 TOM PROC

280

Plugged Tom 4 T1 TOM PROC

281

Plugged Tom 4 T2 TOM PROC

282

Plugged Tom 5 T1 TOM PROC

283

Plugged Tom 5 T2 TOM PROC

284

Plugged Tom 6 T1 TOM PROC

285

Plugged Tom 6 T2 TOM PROC

286

Analog Tom 1 T1 TOM ELEC

287

Analog Tom 1 T2 TOM ELEC

288

Analog Tom 1 T3 TOM ELEC

289

Analog Tom 1 T4 TOM ELEC

290

Analog Tom 2 T1 TOM ELEC

291

Analog Tom 2 T2 TOM ELEC

292

Analog Tom 2 T3 TOM ELEC

293

Analog Tom 2 T4 TOM ELEC

294

Analog Tom 3 T1 TOM ELEC

295

Analog Tom 3 T2 TOM ELEC

296

Analog Tom 3 T3 TOM ELEC

297

Analog Tom 3 T4 TOM ELEC

298

Analog Tom 4 T1 TOM ELEC

299

Analog Tom 4 T2 TOM ELEC

300

Analog Tom 4 T3 TOM ELEC

301

TR-707 Tom T1 TOM ELEC

302

TR-707 Tom T2 TOM ELEC

303

TR-707 Tom T3 TOM ELEC

304

TR-808 Tom 1 T1 TOM ELEC

305

TR-808 Tom 1 T2 TOM ELEC

306

TR-808 Tom 1 T3 TOM ELEC

307

TR-808 Tom 1 T4 TOM ELEC

308

TR-808 Tom 2 T1 TOM ELEC

309

TR-808 Tom 2 T2 TOM ELEC

310

TR-808 Tom 2 T3 TOM ELEC

311

TR-909 Tom 1 T1 TOM ELEC

312

TR-909 Tom 1 T2 TOM ELEC

313

TR-909 Tom 1 T3 TOM ELEC

314

TR-909 Tom 1 T4 TOM ELEC

315

TR-909 Tom 2 T1 TOM ELEC

316

TR-909 Tom 2 T2 TOM ELEC

317

TR-909 Tom 2 T3 TOM ELEC

318

Trad Lathed HH HI-HAT

319

Trad Lathed HHE HI-HAT

320

Dark & Warm HH HI-HAT

321

Dark & Warm HHE HI-HAT

322

Session HH HI-HAT

323

No. Instrument name Instrument group Remarks

Session HHE HI-HAT

324

Bright HH HI-HAT

325

Bright HHE HI-HAT

326

Heavy HH HI-HAT

327

Heavy HHE HI-HAT

328

Brush HH HI-HAT

329

Brush HHE HI-HAT

330

Tambourine HH HI-HAT

331

Tambourine HHE HI-HAT

332

Club Hi-Hat HI-HAT PROC

333

Sharp Hi-Hat HI-HAT PROC

334

Hip Hi-Hat HI-HAT PROC

335

House Hi-Hat HI-HAT PROC

336

DnB Hi-Hat HI-HAT PROC

337

Low Step Hi-Hat HI-HAT PROC

338

Voice Hi-Hat HI-HAT PROC

339

Spoke Hi-Hat HI-HAT PROC

340

Jingle Hi-Hat HI-HAT PROC

341

CR-78 Hi-Hat HI-HAT ELEC

342

CR-78 Metal HH HI-HAT ELEC

343

TR-808 Hi-Hat HI-HAT ELEC

344

TR-909 Hi-Hat HI-HAT ELEC

345

Trad MedThin Rd RIDE *P *PING

346

Trad MedThin RdE RIDE

347

Trad MedThin RdB RIDE *PING

348

Dry & Heavy Rd RIDE *P *PING

349

Dry & Heavy RdE RIDE

350

Dry & Heavy RdB RIDE *PING

351

Dark Rd RIDE

352

Dark RdE RIDE

353

Dark RdB RIDE

354

Bright Rd RIDE

355

Bright RdE RIDE

356

Bright RdB RIDE

357

Light Rd RIDE

358

Light RdE RIDE

359

Light RdB RIDE

360

Dry & Dark Rd RIDE

361

Dry & Dark RdE RIDE

362

Dry & Dark RdB RIDE

363

Brush Rd RIDE

364

Brush RdE RIDE

365

Brush RdB RIDE

366

Trad Thin Cr CRASH

367

Trad Thin CrE CRASH

368

Warm MedThin Cr CRASH

369

Warm MedThin CrE CRASH

370

Silvery Cr CRASH

371

Silvery CrE CRASH

372

Legacy Thin Cr CRASH

373

Legacy Thin CrE CRASH

374

Power Medium Cr CRASH

375

Power Medium CrE CRASH

376

Eight-sided Cr CRASH

377

Eight-sided CrE CRASH

378

Bright Thin Cr CRASH

379

Bright Thin CrE CRASH

380

Dark Cr CRASH

381

Dark CrE CRASH

382

Bright Cr CRASH

383

Bright CrE CRASH

384

Heavy Cr CRASH

385

Heavy CrE CRASH

386

Thin Cr CRASH

387

Thin CrE CRASH

388

Instrument List

No. Instrument name Instrument group Remarks

Brush Cr CRASH

389

Brush CrE CRASH

390

Warm & Dark Ch CHINA

391

Warm & Dark ChE CHINA

392

Dark Swish Ch CHINA

393

Dark Swish ChE CHINA

394

70s Vintage Ch CHINA

395

70s Vintage ChE CHINA

396

Mini China CHINA

397

Mini China E CHINA

398

Warm MedThin Sp SPLASH

399

Warm MedThin SpE SPLASH

400

BrightMedThin Sp SPLASH

401

BrightMedThinSpE SPLASH

402

Chinese Type Sp SPLASH

403

Chinese Type SpE SPLASH

404

12”Ch+12”Ch St STACKED CYMBAL

405

12”Ch+12”Ch StE STACKED CYMBAL

406

10”Ch+8”Ch St STACKED CYMBAL

407

10”Ch+8”Ch StE STACKED CYMBAL

408

18”Ch+11”TrashSt STACKED CYMBAL

409

18”Ch+11”TrshStE STACKED CYMBAL

410

Accent Cymbal CYMBAL OTHERS

411

Chime Cymbal CYMBAL OTHERS

412

Cross Cymbal 1 CYMBAL OTHERS

413

Cross Cymbal 2 CYMBAL OTHERS

414

Mini Cymbal CYMBAL OTHERS

415

Metal Crasher CYMBAL OTHERS

416

Pair Cymbal 1 CYMBAL OTHERS

417

Pair Cym 1 Smash CYMBAL OTHERS

418

Pair Cymbal 2 CYMBAL OTHERS

419

Pair Cym 2 Choke CYMBAL OTHERS

420

Sweep Crash CYMBAL PROC

421

Lo-Fi Crash CYMBAL PROC

422

Ambient Crash CYMBAL PROC

423

Verby Crash CYMBAL PROC

424

Phasing Crash CYMBAL PROC

425

Voice Crash CYMBAL PROC

426

Trashy Ride CYMBAL PROC

427

Phasing Ride CYMBAL PROC

428

DnB Ride CYMBAL PROC

429

Mainly Bell Ride CYMBAL PROC

430

Cosmo Bell CYMBAL PROC

431

Electra Bell CYMBAL PROC

432

Reective Bell CYMBAL PROC

433

Reverse Crash CYMBAL PROC

434

Reverse Trash CYMBAL PROC

435

Reverse Ride CYMBAL PROC

436

Fat Box CloseHH CYMBAL PROC

437

HipHop CloseHH 1 CYMBAL PROC

438

HipHop CloseHH 2 CYMBAL PROC

439

Analog Cymbal CYMBAL ELEC

440

TR-808 Cymbal CYMBAL ELEC

441

TR-606 Cymbal CYMBAL ELEC

442

Finger Cymbal 1 BELL/CHIME/GONG

443

Finger Cymbal 2 BELL/CHIME/GONG

444

Finger Cymbal 3 BELL/CHIME/GONG

445

Crotale BELL/CHIME/GONG

446

Sleigh Bells BELL/CHIME/GONG

447

Bell Tree BELL/CHIME/GONG

448

Tree Chime BELL/CHIME/GONG

449

Pin Chime BELL/CHIME/GONG

450

Tam Tam BELL/CHIME/GONG

451

No. Instrument name Instrument group Remarks

Gong BELL/CHIME/GONG

452

Bend Gong BELL/CHIME/GONG

453

Cowbell 1 BLOCK/COWBELL

454

Cowbell 1 Tip BLOCK/COWBELL

455

Cowbell 2 BLOCK/COWBELL

456

Cowbell 2 Tip BLOCK/COWBELL

457

Cowbell 3 BLOCK/COWBELL

458

Cowbell 4 BLOCK/COWBELL

459

Cowbell 5 BLOCK/COWBELL

460

Cowbell 6 BLOCK/COWBELL

461

Cowbell 7 BLOCK/COWBELL

462

Mute Cowbell BLOCK/COWBELL

463

Hi Cowbell BLOCK/COWBELL

464

Agogo Hi BLOCK/COWBELL

465

Agogo Lo BLOCK/COWBELL

466

Wood Block Hi BLOCK/COWBELL

467

Wood Block Lo BLOCK/COWBELL

468

Plastic Block Hi BLOCK/COWBELL

469

Plastic Block Lo BLOCK/COWBELL

470

Mini Block BLOCK/COWBELL

471

Temple Block Hi BLOCK/COWBELL

472

Temple Block Lo BLOCK/COWBELL

473

Bongo Hi Open PERCUSSION

474

Bongo Hi Slap PERCUSSION

475

Bongo Lo Open PERCUSSION

476

Bongo Lo Slap PERCUSSION

477

Conga Open PERCUSSION

478

Conga Slap PERCUSSION

479

Conga Bass PERCUSSION

480

Conga Gliss PERCUSSION

481

Tumba Open PERCUSSION

482

Tumba Slap PERCUSSION

483

Tumba Bass PERCUSSION

484

Tumba Gliss PERCUSSION

485

Timbale Hi Open PERCUSSION

486

Timbale Hi Rim PERCUSSION

487

Timbale Hi Paila PERCUSSION

488

Timbale Mid Open PERCUSSION

489

Timbale Mid Rim PERCUSSION

490

Timbale MidPaila PERCUSSION

491

Timbale Lo Open PERCUSSION

492

Timbale Lo Rim PERCUSSION

493

Timbale Lo Paila PERCUSSION

494

Cajon Open PERCUSSION

495

Cajon Edge PERCUSSION

496

Cajon Slap PERCUSSION

497

Cajon Bass PERCUSSION

498

Pandeiro Open PERCUSSION

499

Pandeiro Slap PERCUSSION

500

Pandeiro Bass PERCUSSION

501

Pandeiro Jingle PERCUSSION

502

Djembe Open PERCUSSION

503

Djembe Slap PERCUSSION

504

Djembe Bass PERCUSSION

505

Djembe Ears PERCUSSION

506

Pot Drum Side PERCUSSION

507

Pot Drum Bass PERCUSSION

508

Pot Drum Release PERCUSSION

509

Pot Drum Side/Mt PERCUSSION

510

Tabla Na PERCUSSION

511

Tabla Ti PERCUSSION

512

Instrument List

No. Instrument name Instrument group Remarks

Tabla Tin PERCUSSION

513

Tabla Tun PERCUSSION

514

Baya Ge PERCUSSION

515

Baya Ge Slide PERCUSSION

516

Baya Gin PERCUSSION

517

Baya Ka PERCUSSION

518

Darabuka Open PERCUSSION

519

Darabuka Slap PERCUSSION

520

Darabuka Bass PERCUSSION

521

Hira Taiko PERCUSSION

522

Hira Taiko Rim PERCUSSION

523

Nagado Taiko PERCUSSION

524

Nagado Taiko Rim PERCUSSION

525

Timpani Hi D PERCUSSION

526

Timpani Lo G PERCUSSION

527

Doumdoumba PERCUSSION

528

Doumdoumba Rim PERCUSSION

529

Repinique PERCUSSION

530

Repinique Rim PERCUSSION

531

Tamborim PERCUSSION

532

Surdo PERCUSSION

533

Bombo PERCUSSION

534

Bendir PERCUSSION

535

Tambourine 1 PERCUSSION

536

Tambourine 2 PERCUSSION

537

Tambourine 3 PERCUSSION

538

Tambourine 4 PERCUSSION

539

Triangle 1 PERCUSSION

540

Triangle 1 Mute PERCUSSION

541

Triangle 2 PERCUSSION

542

Triangle 2 Mute PERCUSSION

543

Castanets PERCUSSION

544

Clapsticks PERCUSSION

545

Claves 1 PERCUSSION

546

Claves 2 PERCUSSION

547

Afro Claves PERCUSSION

548

Guiro Slide PERCUSSION

549

Guiro Shot PERCUSSION

550

Maracas PERCUSSION

551

Metal Maracas PERCUSSION

552

Shaker 1 PERCUSSION

553

Shaker 2 PERCUSSION

554

Shaker 3 PERCUSSION

555

Caxixi PERCUSSION

556

Ganza PERCUSSION

557

Chafchas PERCUSSION

558

Afuche PERCUSSION

559

African Bracelet PERCUSSION

560

African Jingle PERCUSSION

561

Ankle Beads PERCUSSION

562

Rain Stick PERCUSSION

563

Vibra-Slap PERCUSSION

564

Ratchet PERCUSSION

565

Metal Perc 1 PERCUSSION

566

Metal Perc 2 PERCUSSION

567

Metal Perc 3 PERCUSSION

568

Flex Metal PERCUSSION

569

FlexMetal BendUp PERCUSSION

570

Waterphone Hit PERCUSSION

571

CR-78 Bongo PERCUSSION ELEC

572

CR-78 Cowbell PERCUSSION ELEC

573

No. Instrument name Instrument group Remarks

CR-78 Claves PERCUSSION ELEC

574

CR-78 Guiro PERCUSSION ELEC

575

CR-78 Maracas PERCUSSION ELEC

576

CR-78 Tambourine PERCUSSION ELEC

577

CR-78 Metal Beat PERCUSSION ELEC

578

TR-808 Conga Hi PERCUSSION ELEC

579

TR-808 Conga Mid PERCUSSION ELEC

580

TR-808 Conga Lo PERCUSSION ELEC

581

TR-808 Cowbell 1 PERCUSSION ELEC

582

TR-808 Cowbell 2 PERCUSSION ELEC

583

TR-808 Cowbell 3 PERCUSSION ELEC

584

TR-808 Claves PERCUSSION ELEC

585

TR-808 Maracas PERCUSSION ELEC

586

TR-707 Cowbell PERCUSSION ELEC

587

TR-727 Agogo PERCUSSION ELEC

588

DR-55 Claves PERCUSSION ELEC

589

Clap CLAP

590

Hand Clap CLAP

591

Single Clap CLAP

592

Flamenco Clap CLAP

593

Claps CLAP

594

Torio Clap CLAP

595

Echo Clap CLAP

596

Room Clap CLAP

597

Metal Room Clap CLAP

598

Big Hall Clap CLAP

599

Ambience Clap 1 CLAP

600

Ambience Clap 2 CLAP

601

Ambience Clap 3 CLAP

602

Short Clap CLAP

603

Afro Clap CLAP

604

Laid Back Clap CLAP

605

Stereo Gater CLAP

606

Shaker Clap CLAP

607

Fat EDM Clap 1 CLAP

608

Fat EDM Clap 2 CLAP

609

Noise Clap 1 CLAP

610

Noise Clap 2 CLAP

611

White Nz Clap CLAP

612

House Clap CLAP

613

Minimal Clap CLAP

614

Hip Hop Clap CLAP

615

Gate S Clap 1 CLAP

616

Multi Clap CLAP

617

Dist Clap CLAP

618

Bongo Clap CLAP

619

TR-707 Clap CLAP

620

TR-808 Clap 1 CLAP

621

TR-808 Clap 2 CLAP

622

TR-808 Verb Clap CLAP

623

TR-909 Clap 1 CLAP

624

TR-909 Clap 2 CLAP

625

TR-909 Dist Clap CLAP

626

R8 Clap CLAP

627

DR-110 Clap CLAP

628

MC Clap CLAP

629

Finger Snap SOUND FX

630

Dry Snap SOUND FX

631

Dense Click SOUND FX

632

Room Delay Clave SOUND FX

633

Pulse SOUND FX

634

Instrument List

No. Instrument name Instrument group Remarks

High Q SOUND FX

635

Dyna Filter SOUND FX

636

Random Noise 1 SOUND FX

637

Random Noise 2 SOUND FX

638

Beep SOUND FX

639

Fat Beep SOUND FX

640

Disto Beep SOUND FX

641

Techno Beef SOUND FX

642

Space Beep SOUND FX

643

Voice Beep SOUND FX

644

Super Low SOUND FX

645

Prevision SOUND FX

646

Ejector SOUND FX

647

Echoic Shot SOUND FX

648

Super Shot SOUND FX

649

Rusty Iron SOUND FX

650

Digi Cup SOUND FX

651

Bright Slap SOUND FX

652

Abstract Noise SOUND FX

653

Industrial 1 SOUND FX

654

Industrial 2 SOUND FX

655

Junk SOUND FX

656

Electro Bell SOUND FX

657

Emergency SOUND FX

658

Discovery SOUND FX

659

Cave SOUND FX

660

Stomped Box SOUND FX

661

Low Stomper SOUND FX

662

HH FX SOUND FX

663

Sub Heart Beat SOUND FX

664

LP Noise SOUND FX

665

Afro Stomp SOUND FX

666

Disto Shaker SOUND FX

667

Synth Drum 1 SOUND FX

668

Synth Drum 2 SOUND FX

669

Synth Drum 3 SOUND FX

670

Air Horn SOUND FX

671

Kick Low Freq 1 ELEMENTS

672

Kick Low Freq 2 ELEMENTS

673

Kick Low Freq 3 ELEMENTS

674

Kick Low Freq 4 ELEMENTS

675

Sub Kick 1 ELEMENTS

676

Sub Kick 2 ELEMENTS

677

Sub Kick 3 ELEMENTS

678

Sub Kick Distort ELEMENTS

679

Sub Drop 1 ELEMENTS

680

Sub Drop 2 ELEMENTS

681

Sub Drop 3 ELEMENTS

682

Low Boom ELEMENTS

683

Dance Hi Lo ELEMENTS

684

EDM Growler Low ELEMENTS

685

Kick Tack Sub ELEMENTS

686

Kick DnBStereofy ELEMENTS

687

Attack 1 ELEMENTS

688

Attack 2 ELEMENTS

689

Attack 3 ELEMENTS

690

Attack 4 ELEMENTS

691

Attack 5 ELEMENTS

692

Attack 6 ELEMENTS

693

Snare Trap Back ELEMENTS

694

Snare Low Mid ELEMENTS

695

No. Instrument name Instrument group Remarks

Snare Shake ELEMENTS

696

Snare More Fat ELEMENTS

697

Snare Buzz 1 ELEMENTS

698

Snare Buzz 2 ELEMENTS

699

Noise 1 ELEMENTS

700

Noise 2 ELEMENTS

701

Noise 3 ELEMENTS

702

Noise 4 ELEMENTS

703

Noise 5 ELEMENTS

704

Noise 6 ELEMENTS

705

Noise 7 ELEMENTS

706

Noise 8 ELEMENTS

707

White Noise 1 ELEMENTS

708

White Noise 2 ELEMENTS

709

Sweep Noise ELEMENTS

710

Glitch Nz 1 ELEMENTS

711

Glitch Nz 2 ELEMENTS

712

Glitch Nz 3 ELEMENTS

713

Elec Tom Drop 1 ELEMENTS

714

Elec Tom Drop 2 ELEMENTS

715

Sine Wave 1kHz ELEMENTS

716

Sine Wave C ELEMENTS

717

Triangle Wave C ELEMENTS

718

Square Wave C ELEMENTS

719

SawtoothWave C 1 ELEMENTS

720

SawtoothWave C 2 ELEMENTS

721

Synth Bass C 1 ELEMENTS

722

Synth Bass C 2 ELEMENTS

723

Super Saw C ELEMENTS

724

Brush Snare SNARE BRUSH *B

725

Brush Snare Rim SNARE BRUSH

726

Brush Tom 12” TOM BRUSH

727

Brush Tom 14” TOM BRUSH

728

*L Corresponds to the instrument edit “Low level” and “Low Decay.”

*P Can get various changes of the sound in accordance with the positioning

where on the pad you hit with a stick. In rim sounds, can get such various changes of the sound in accordance with the depth of the stick on the rim.

Rim shot and cross stick can be played separately.

Corresponds to the instrument edit “Overtone.”

*PING Corresponds to the instrument edit “Ping Color” and “Ping Level.”

Brush playing is supported.

* For details on how the trigger input corresponds to your performance technique

and striking position, refer to “Trig Type list” (p. 30).

Song List

001–006: Audio data

007–009: Drum performance data

No. Song name

Rock (AUDIO)

001

Pop (AUDIO)

002

Jazz (AUDIO)

003

Funk (AUDIO)

004

Metal (AUDIO)

005

Dance (AUDIO)

006

Preview 1

007

Preview 2

008

Preview 3

009

Drum Kit Parameter Structure

Drum kit 100

Drum kit 1

Pads

KICK *1

Head

TOM 3

Head

Rim

RIDE *2

Head

Rim

Bell

SNARE

Head

Rim

HI-HAT

Head

Rim

AUX 1

Head

Rim

TOM 1

Head

Rim

CRASH 1

Head

Rim

AUX 2

Head

Rim

TOM 2

CRASH 2

AUX 3

Head

Overall settings for the entire drum kit

OVERHEAD, ROOM, MFX, MASTER COMP, MASTER EQ, PEDAL HH VOLUME, XSTICK VOLUME, HH OPEN/CLOSE BALANCE, KIT VOLUME, KIT NAME, BRUSH SWITCH, KIT TEMPO, COLOR

Head

Rim

Head

Rim

Pad settings

PAD COMP, MFX DRY+WET

Head

SUB INST ON/OFF, SUB INST LAYER TYPE, SUB INST FADE POINT, ROOM SEND VOLUME, OVERHEAD SEND VOLUME, MAIN INST VOLUME, PAN, MINIMUM/

MAXIMUM VOLUME, PAD EQ, MFX ASSIGN, MFX SEND VOLUME, PEDAL BEND, POSITION, POSITION AREA, MUTE GROUP, MIDI NOTE/GATE/CHANNEL

Instrument (main)

INST NUMBER, EDIT PARAMETER, TRANSIENT

Sub-instrument

INST NUMBER, EDIT PARAMETER, TRANSIENT, SUB VOLUME

*1: KICK does not have a rim. *2: For RIDE, the bell can be set in the same way as the head.

Rim

Same as the head

Block Diagram

U I

MI B

USB Intput Gain

INPUT

HEAD

RIM

HEAD

RIM

MIXER VOLUME

Main

INPUT

Sub

MIXER PAN

OTHER OUTPUT ASSIGN MASTER/DIRECT

USB Output Gain

KICK L KICK R SNARE L SNARE R

USB Audio

MASTER

DIRECT

(NORMAL)

MASTER

OFF

PadEq/Comp to Direct

PAD EQ

ROOM Send

INPUT FILTER

OVERHEAD

ASSIGN

Send

MFX ASSIGN

MFX Send

ROOM Send

OVERHEAD Send

MFX Send

to Pad Comp

INPUT FILTER ASSIGN

MFX ASSIGN

PAD EQ

PAD

COMP

MFX WET+DRY

(Drum Mix

for MASTER)

for PHONES)

ROOM

ROOM/REVERB

ROOM LEVEL

PAD OUTPUT ASSIGN MASTER (Each Pad)

PadComp to Phones

OFF

OTHER OUTPUT ASSIGN MASTER (RM)

OVERHEAD

(BYPASS)

FILTER 1

FILTER 2

FILTER 3

FILTER 4

MULTI EFFECT (MFX)

MFX1

MFX2

MFX3

LIMITER, MIC,

EQ, COMP

MFX1 Level

MFX2 Level

MFX3 Level

OVERHEAD LEVEL

OTHER OUTPUT ASSIGN MASTER (OH)

OTHER OUTPUT ASSIGN MASTER (MFX 1, 2, 3)

KIT Volume

PAD OUTPUT ASSIGN DIRECT (Each Pad)

OTHER OUTPUT ASSIGN DIRECT (RM)

OTHER OUTPUT ASSIGN DIRECT (OH)

OTHER OUTPUT ASSIGN DIRECT (MFX 1)

OTHER OUTPUT ASSIGN DIRECT (MFX 2)

OTHER OUTPUT ASSIGN DIRECT (MFX 3)

DiRDiL

OFF

1 2 DiL DiR

OFF

1 2 DiL DiR

OTHER OUTPUT ASSIGN MASTER/DIRECT

PHONES

OTHER OUTPUT ASSIGN MASTER (USB IN MAIN, SUB)

Master Out

OTHER OUTPUT ASSIGN DIRECT (USB IN MAIN, SUB)

NORMAL

DIRECT

OFF

1 2 DiL DiR

OFF 1 2 DiL DiR

AUX3 L AUX3 R

Output (PAD DIRECT)

SB Audio

NPUT

KICK

SNARE

HEAD

MAIN INST

SUB INST

RIM

MAIN INST

SUB INST

TOM1

TOM3

HI-HAT

Sub Volume

CRASH1

CRASH2

RIDE

AUX1

AUX3

LICK

ONG

X IN/

LUETOOTH

HEAD

RIM

HEAD

RIM

BELL

HEAD

RIM

CLICK

SOUND

SONG (AUDIO) INTERNAL/SD

SONG CLICK TRACK

Stereo, 1/4 TRS

BLUETOOTH AUDIO

USER SAMPLE PREVIEW

(from SD / Internal)

CLICK SETTING Pan, Level

Song Level

Song Click Track Level

AD CONVERTER

[BACKING]

MIX IN Gain

MASTER COMP

OTHER OUTPUT ASSIGN MASTER (SONG)

OTHER OUTPUT ASSIGN DIRECT (SONG)

OTHER OUTPUT ASSIGN MASTER (CLICK)

OTHER OUTPUT ASSIGN DIRECT (CLICK)

OTHER OUTPUT ASSIGN MASTER (MIXIN)

OTHER OUTPUT ASSIGN DIRECT (MIXIN)

MASTEREQKIT

Volume

Master Out

DIRECT

NORMAL

SONG REC/EXPORT

Card

Direct Out Gain

Master Out Gain

Phones Out Gain

Master Out DIRECT

NORMAL

USB Output Gain

Direct Out Gain

[MASTER]

[PHONES]

MASTER L MASTER R DIRECT 1 DIRECT 2

LoCut MasterOut (Sw)

(Sw) LoCut PhonesOut

Lo Cut DirectOut

USB Audio Output (MASTER, DIRECT)

DIRECT OUT

DIRECT 1

D/A

DIRECT 2

MASTER

L/MONO

D/A

1/4 TRS

PHONES

Roland TD-27KV Data List

Specifications and Main Features

Frequently Asked Questions

User Manual

DRUM KIT

DRUM KIT

SET LIST

KIT EDIT

INSTRUMENT

Parameters Common to Each Instrument

SUB INSTRUMENT

TRANSIENT

OVERHEAD

SEND

SETTING

ROOM

Parameters Common to ROOM and REVERB

MULTI EFFECT (MFX)

PAD VOLUME

PAD EQ

PAD COMP

MASTER COMP

MASTER EQ

KIT EDIT OTHER

KIT NAME

KIT TEMPO

KIT MIDI

MUTE GROUP

POSITION

PEDAL BEND

BRUSH SW

KIT COLOR

USER SAMPLE

USER SAMPLE LIST

SONG

CLICK

COACH

TIME CHECK

QUIET COUNT

WARM UPS

SYSTEM

BLUETOOTH

TRIGGER

TRIGGER BANK

DIGITAL TRIGGER IN

TRIGGER PARAMETER

HI-HAT

TRIGGER XTALK MONITOR

OUTPUT

USB AUDIO

MIDI

OPTION

AUTO OFF

INFO

DELAY

TAPE ECHO

REVERSE DELAY

3TAP PAN DELAY

SPACE-D

CHORUS

PHASER A

PHASER B

STEP PHASER

FLANGER

REVERB

LONG REVERB

SUPER FILTER

FILTER+DRIVE

AUTO WAH

LOFI COMPRESS

DISTORTION

OVERDRIVE

SATURATOR

T-SCREAM

BIT CRUSHER

ISOLATOR

RING MODULATOR

PITCH SHIFTER

AUTO PAN

Drum Kit List