WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
CAUTION
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
DO NOT REMOVE COVER (OR BACK).
NO USER-SERVICEABLE PARTS INSIDE.
The lightning flash with arrowhead symbol, within an
equilateral triangle, is intended to aler t the user to the
presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is
intended to alert the user to the presence of important
operating and maintenance (servicing) instructions in the
literature accompanying the product.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS
SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any of the ventilation openings. Install in
accordance with the manufacturers instructions.
8. Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two
blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug
does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched
particularly at plugs, convenience receptacles, and the
point where they exit from the apparatus.
11. Only use attachments/accessories specified
by the manufacturer.
12. Unplug this apparatus during lightning storms or when
unused for long periods of time.
13. Refer all servicing to qualified service personnel. Servicing
is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid
has been spilled or objects have fallen into the apparatus,
the apparatus has been exposed to rain or moisture, does
not operate normally, or has been dropped.
For the U.K.
WARNING:
IMPORTANT:
As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying
the terminals in your plug, proceed as follows:
The wire which is coloured GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.
THIS APPARATUS MUST BE EARTHED
THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
GREEN-AND-YELLOW: EARTH, BLUE: NEUTRAL, BROWN: LIVE
Owner’s Manual
How to obtain a PDF of the owner’s manual
PDF les of the owner’s manual and supplementary material for this product can be obtained from the Roland website.
• TD-30 Owner’s Manual (this document)
• Data List (such as the preset drum kit list, drum instruments list, and the preset pattern list)
Data List is not included with the product; you may download them as necessary.
Visit the following URL, choose “owner’s manuals,” and search for the model name “TD-30.”
http://www.roland.com/support/en/
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY”
(p. 4), and “IMPORTANT NOTES” (p. 6). These sections provide important information concerning the proper operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s Manual
should be read in its entirety. The manual should be saved and kept on hand as a convenient reference.
Copyright © 2012 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND
CORPORATION.
USING THE UNIT SAFELY
001-50
WARNING
Make sure that the power cord is grounded
Connect mains plug of this model
to a mains socket outlet with a
protective earthing connection.
002a
Do not disassemble or modify by yourself
Do not open or perform any internal
modications on the unit.
003
Do not repair or replace parts by yourself
Do not attempt to repair the unit,
or replace parts within it (except
when this manual provides specic
instructions directing you to do so).
Refer all servicing to your retailer,
the nearest Roland Service Center, or
an authorized Roland distributor, as
listed on the “Information” page.
004
Do not use or store in the following types of
locations
• Subject to temperature extremes
(e.g., direct sunlight in an enclosed
vehicle, near a heating duct, on top
of heat-generating equipment);
or are
• Damp (e.g., baths, washrooms, on
wet oors); or are
• Exposed to steam or smoke; or are
• Subject to salt exposure; or are
• Humid; or are
• Exposed to rain; or are
• Dusty or sandy; or are
• Subject to high levels of vibration
and shakiness.
007
WARNING
Do not place in an unstable location
Make sure you always have the
unit placed so it is level and sure
to remain stable. Never place it on
stands that could wobble, or on
inclined surfaces.
008e
Use only the included power cord
Use only the attached power-supply
cord. Also, the included power cord
must not be used with any other
device.
008f
Connect the power cord to an outlet of the
correct voltage
The unit should be connected
to a power supply only of the
type described in the operating
instructions, or as marked on the
bottom of unit.
009
Do not bend the power cord or place heavy
objects on it
Do not excessively twist or bend the
power cord, nor place heavy objects
on it. Doing so can damage the cord,
producing severed elements and
short circuits. Damaged cords are re
and shock hazards!
010
Avoid extended use at high volume
This unit, either alone or in
combination with an amplier and
headphones or speakers, may be
capable of producing sound levels
that could cause permanent hearing
loss. Do not operate for a long period
of time at a high volume level, or
at a level that is uncomfortable. If
you experience any hearing loss
or ringing in the ears, you should
immediately stop using the unit, and
consult an audiologist.
011
WARNING
Don’t allow foreign objects or liquids to enter
unit; never place containers with liquid on
unit
Do not place containers containing
liquid on this product. Never allow
foreign objects (e.g., ammable
objects, coins, wires) or liquids
(e.g., water or juice) to enter this
product. Doing so may cause short
circuits, faulty operation, or other
malfunctions.
012a
Turn o the unit if an abnormality or
malfunction occurs
Immediately turn the unit o,
remove the power cord from the
outlet, and request servicing by
your retailer, the nearest Roland
Service Center, or an authorized
Roland distributor, as listed on the
“Information” page when:
• The power-supply cord or the plug
has been damaged; or
• If smoke or unusual odor occurs; or
• Objects have fallen into, or liquid
has been spilled onto the unit; or
• The unit has been exposed to rain
(or otherwise has become wet); or
• The unit does not appear to
operate normally or exhibits a
marked change in performance.
013
Adults must provide supervision in places
where children are present
When using the unit in locations
where children are present, be
careful so no mishandling of the
unit can take place. An adult should
always be on hand to provide
supervision and guidance.
4
USING THE UNIT SAFELY
014
WARNING
Do not drop or subject to strong impact
Protect the unit from strong impact.
(Do not drop it!)
015
Do not share an outlet with an unreasonable
number of other devices
Do not force the unit’s powersupply cord to share an outlet with
an unreasonable number of other
devices. Be especially careful when
using extension cords—the total
power used by all devices you have
connected to the extension cord’s
outlet must never exceed the power
rating (watts/amperes) for the
extension cord. Excessive loads can
cause the insulation on the cord to
heat up and eventually melt through.
016
Do not use overseas
Before using the unit in a foreign
country, consult with your retailer,
the nearest Roland Service Center, or
an authorized Roland distributor, as
listed on the “Information” page.
023
Do not use a CD-ROM in an audio CD player or
DVD player
DO NOT play a CD-ROM disc on a
conventional audio CD player. The
resulting sound may be of a level
that could cause permanent hearing
loss. Damage to speakers or other
system components may result.
101a
CAUTION
Place in a well ventilated location
The unit should be located so that
its location or position does not
interfere with its proper ventilation.
102b
Grasp the plug when connecting or
disconnecting the power cord
Always grasp only the plug on the
power-supply cord when plugging
into, or unplugging from, an outlet
or this unit.
103a
Periodically clean the power cord’s plug
At regular intervals, you should
unplug the power plug and clean
it by using a dry cloth to wipe all
dust and other accumulations away
from its prongs. Also, disconnect the
power plug from the power outlet
whenever the unit is to remain
unused for an extended period of
time. Any accumulation of dust
between the power plug and the
power outlet can result in poor
insulation and lead to re.
104
Manage cables for safety
Try to prevent cords and cables from
becoming entangled. Also, all cords
and cables should be placed so they
are out of the reach of children.
106
Avoid climbing on top of the unit, or placing
heavy objects on it
Never climb on top of, nor place
heavy objects on the unit.
107b
Do not connect or disconnect the power cord
with wet hands
Never handle the power cord or
its plugs with wet hands when
plugging into, or unplugging from,
an outlet or this unit.
108a
Disconnect everything before moving the unit
Before moving the unit, disconnect
the power plug from the outlet,
and pull out all cords from external
devices.
109a
Unplug the power cord from the outlet before
cleaning
Before cleaning the unit, turn it o
and unplug the power cord from the
outlet (p. 25).
110a
If there is a possibility of lightning strike,
disconnect the power cord from the outlet
Whenever you suspect the possibility
of lightning in your area, pull the
plug on the power cord out of the
outlet.
118d
CAUTION
Keep small items out of the reach of children
To prevent accidental ingestion
of the parts listed below, always
keep them out of the reach of small
children.
• Removable Parts
Screws (p. 36)
AppendicesExpansionSettingsPerformanceSetupOverview
5
IMPORTANT NOTES
355b
Power Supply
301
• Do not connect this unit to same electrical
outlet that is being used by an electrical
appliance that is controlled by an
inverter or a motor (such as a refrigerator,
washing machine, microwave oven, or
air conditioner). Depending on the way
in which the electrical appliance is used,
power supply noise may cause this unit
to malfunction or may produce audible
noise. If it is not practical to use a separate
electrical outlet, connect a power supply
noise lter between this unit and the
electrical outlet.
307
• To prevent malfunction and equipment
failure, always make sure to turn o the
power on all your equipment before you
make any connections.
308
• Although the LCD and LEDs are switched
o when the unit is turned o, this
does not mean that the unit has been
completely disconnected from the source
of power. If you need to turn o the power
completely, rst turn o the unit’s switch,
then unplug the power cord from the
power outlet. For this reason, the outlet
into which you choose to connect the
power cord’s plug should be one that is
within easy reach and readily accessible.
309
• With the factory settings, the TD-30 will
automatically be switched o 4 hours
after you stop playing or operating the
unit. If you don’t want the unit to turn o
automatically, change the “AUTO OFF”
setting to “OFF” as described on p. 124.
Placement
351
• Using the unit near power ampliers (or
other equipment containing large power
transformers) may induce hum. To alleviate
the problem, change the orientation of
this unit; or move it farther away from the
source of interference.
352a
• This device may interfere with radio and
television reception. Do not use this device
in the vicinity of such receivers.
352b
• Noise may be produced if wireless
communications devices, such as cell
phones, are operated in the vicinity of
this unit. Such noise could occur when
receiving or initiating a call, or while
conversing. Should you experience such
problems, you should relocate such
wireless devices so they are at a greater
distance from this unit, or switch them o.
354a
• Do not expose the unit to direct sunlight,
place it near devices that radiate heat,
leave it inside an enclosed vehicle, or
otherwise subject it to temperature
extremes. Excessive heat can deform or
discolor the unit.
• When moved from one location to
another where the temperature and/or
humidity is very dierent, water droplets
(condensation) may form inside the unit.
Damage or malfunction may result if you
attempt to use the unit in this condition.
Therefore, before using the unit, you must
allow it to stand for several hours, until the
condensation has completely evaporated.
360
• Depending on the material and
temperature of the surface on which you
place the unit, its rubber feet may discolor
or mar the surface.
You can place a piece of felt or cloth
under the rubber feet to prevent this from
happening. If you do so, please make
sure that the unit will not slip or move
accidentally.
361
• Do not put anything that contains
water on this unit. Also, avoid the use of
insecticides, perfumes, alcohol, nail polish,
spray cans, etc., near the unit. Swiftly wipe
away any liquid that spills on the unit using
a dry, soft cloth.
Maintenance
401a
• For everyday cleaning wipe the unit with a
soft, dry cloth or one that has been slightly
dampened with water. To remove stubborn
dirt, use a cloth impregnated with a mild,
non-abrasive detergent. Afterwards, be
sure to wipe the unit thoroughly with a
soft, dry cloth.
402
• Never use benzine, thinners, alcohol
or solvents of any kind, to avoid the
possibility of discoloration and/or
deformation.
Repairs and Data
452
• Please be aware that all data contained
in the unit’s memory may be lost when
the unit is sent for repairs. Important data
should always be backed up USB ash
drives, or written down on paper (when
possible). During repairs, due care is
taken to avoid the loss of data. However,
in certain cases (such as when circuitry
related to memory itself is out of order),
we regret that it may not be possible to
restore the data, and Roland assumes no
liability concerning such loss of data.
Additional Precautions
551
• Please be aware that the contents of
memory can be irretrievably lost as a
result of a malfunction, or the improper
operation of the unit. To protect yourself
against the risk of loosing important data,
we recommend that you periodically save
a backup copy of important data you have
stored in the unit’s memory on USB ash
drives.
552
• Unfortunately, it may be impossible
to restore the contents of data that
was stored in the unit’s memory or
USB ash drives once it has been lost.
Roland Corporation assumes no liability
concerning such loss of data.
553
• Use a reasonable amount of care when
using the unit’s buttons, sliders, or other
controls; and when using its jacks and
connectors. Rough handling can lead to
malfunctions.
554
• Never strike or apply strong pressure to
the display.
556
• When disconnecting all cables, grasp the
connector itself—never pull on the cable.
This way you will avoid causing shorts, or
damage to the cable’s internal elements.
557
• A small amount of heat will radiate from
the unit during normal operation.
558a
• To avoid disturbing others nearby, try
to keep the unit’s volume at reasonable
levels. You may prefer to use headphones,
so you do not need to be concerned about
those around you.
558d
• This instrument is designed to minimize
the extraneous sounds produced when it’s
played. However, since sound vibrations
can be transmitted through oors and
walls to a greater degree than expected,
take care not to allow these sounds to
become a nuisance others nearby.
559a
• When you need to transport the unit,
package it in the box (including padding)
that it came in, if possible. Otherwise, you
will need to use equivalent packaging
materials.
562
• Some connection cables contain resistors.
Do not use cables that incorporate
resistors for connecting to this unit. The
use of such cables can cause the sound
level to be extremely low, or impossible
to hear. For information on cable
specications, contact the manufacturer
of the cable.
6
IMPORTANT NOTES
Using External Memories
704
• Carefully insert the USB ash drives all the
way in—until it is rmly in place.
USB ash drive
705
• Never touch the terminals of the USB ash
drives. Also, avoid getting the terminals
dirty.
708
• USB ash drives are constructed using
precision components; handle the
memories carefully, paying particular note
to the following.
• To prevent damage to the memories
from static electricity, be sure to
discharge any static electricity from
your own body before handling the
memories.
• Do not touch or allow metal to come into
contact with the contact portion of the
memories.
• Do not bend, drop, or subject memories
to strong shock or vibration.
• Do not keep memories in direct sunlight,
in closed vehicles, or other such
locations.
• Do not allow memories to become wet.
• Do not disassemble or modify the
memories.
Handling CDs
801
• Avoid touching or scratching the shiny
underside (encoded surface) of the disc.
Damaged or dirty CD discs may not be
read properly. Keep your discs clean using
a commercially available CD cleaner.
Copyrights
C-01
• Recording, duplication, distribution,
sale, lease, performance, or broadcast of
copyrighted material (musical works, visual
works, broadcasts, live performances,
etc.) belonging to a third party in part or
in whole without the permission of the
copyright owner is forbidden by law.
• Do not use this product for purposes that
could infringe on a copyright held by a
third party. We assume no responsibility
whatsoever with regard to any
infringements of third-party copyrights
arising through your use of this product.
C-03
• The copyright of content in this product
(the sound waveform data, style data,
accompaniment patterns, phrase data,
audio loops and image data) is reserved by
Roland Corporation.
• Purchasers of this product are permitted
to utilize said content for the creating,
performing, recording and distributing
original musical works.
• Purchasers of this product are NOT
permitted to extract said content in
original or modied form, for the purpose
of distributing recorded medium of said
content or making them available on a
computer network.
Licenses/Trademarks
MMP
• MMP (Moore Microprocessor Portfolio)
refers to a patent portfolio concerned
with microprocessor architecture, which
was developed by Technology Properties
Limited (TPL). Roland has licensed this
technology from the TPL Group.
MP3
• MPEG Layer-3 audio compression
technology is licensed from Fraunhofer IIS
Corporation and THOMSON Multimedia
Corporation.
ASIO
• ASIO is a trademark of Steinberg Media
Technologies GmbH.
TM
• Roland, SuperNATURAL, and V-Drums are
either registered trademarks or trademarks
of Roland Corporation in the United States
and/or other countries.
T-01
• Company names and product names
appearing in this document are registered
trademarks or trademarks of their
respective owners.
AppendicesExpansionSettingsPerformanceSetupOverview
7
Contents
USING THE UNIT SAFELY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
IMPORTANT NOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Overview 11
Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Overview of the TD-30 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15
How the Sound Generator is Organized . . . . . . . . . . . . . 15
About Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Rewritable Memory . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Non-Rewritable Memory . . . . . . . . . . . . . . . . . . . . . 16
Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Various Performance Techniques . . . . . . . . . . . . . . . . . . . 19
Pad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Hi-Hat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Cymbal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Panel Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Top Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Rear Panel (Connecting Your Equipment) . . . . . . . . . . . 24
Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Changing a Value . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Choosing a Pad to Edit. . . . . . . . . . . . . . . . . . . . . . . . 27
Using The Group Faders
(GROUP FADERS/[FADER] button) . . . . . . . . . . . . . 28
Turning the Click On/O . . . . . . . . . . . . . . . . . . . . . . 28
Changing the Tempo ([TEMPO] button) . . . . . . . 28
Assigning a Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
About the Screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30
Purpose-Oriented Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Setup 35
Mounting the TD-30 on the Stand . . . . . . . . . . . . . . . . . . . . . 36
Connecting the Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Turning the TD-30 On/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Turning the TD-30 On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Adjusting the Hi-Hat and Mesh Pads . . . . . . . . . . . . . . . . . . 40
Making Hi-hat Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Adjusting Mesh Head Tension . . . . . . . . . . . . . . . . . . . . . . 41
Listening to the Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . . 42
Changing the Drum Kit Used . . . . . . . . . . . . . . . . . . . . . . . 43
Performance 45
Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Selecting a Drum Kit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Selecting a Drum Kit from the List (LIST). . . . . . . 46
Making Settings for Drum Kit (FUNC) . . . . . . . . . . . . . . . 47
Adjusting the Volume (VOLUME) . . . . . . . . . . . . . . 47
Assigning a Tempo for Each Kit (TEMPO) . . . . . . 47
Playing Brushes (BRUSH). . . . . . . . . . . . . . . . . . . . . . 48
Turning the Pad Pattern Function On/O
(PAD PTN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Viewing the Output Level (MONITOR) . . . . . . . . . 48
Naming a Drum Kit (NAME) . . . . . . . . . . . . . . . . . . . . . . . . . 48
Playing Cross Stick (XSTICK). . . . . . . . . . . . . . . . . . . . . . . . . 49
Copying a Drum Kit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Copying Fifty Drum Kits at a Time . . . . . . . . . . . . . 50
Copying TD-20/TD-20X Drum Kits . . . . . . . . . . . . . 50
Specifying the Order in Which Drum Kits will be
Recalled (CHAIN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Creating a Drum Kit Chain . . . . . . . . . . . . . . . . . . . . 51
Naming a Drum Kit Chain (NAME) . . . . . . . . . . . . . 52
Using a Drum Kit Chain . . . . . . . . . . . . . . . . . . . . . . . 52
Copying a Drum Kit Chain . . . . . . . . . . . . . . . . . . . . 52
Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Selecting an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
Selecting an Instrument from the List (LIST) . . . 54
Choosing a Pad to Edit. . . . . . . . . . . . . . . . . . . . . . . . 55
Lock the Pad You Are Editing (Trigger Lock) . . . 55
Editing an Instrument’s Settings (EDIT) . . . . . . . . . . . . . . 56
Editing Acoustic Drum Sounds (V-EDIT) . . . . . . . 56
Editing Other Instruments . . . . . . . . . . . . . . . . . . . . 56
Editing Procedure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Using the Pads to Control the Pattern or Sound
(CONTROL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Playing a Pattern by Striking a Pad
(Pad Pattern) (PATTERN) . . . . . . . . . . . . . . . . . . . . . . 60
Using the Hi-Hat Pedal to Change an
Instrument’s Pitch (PDLBEND) . . . . . . . . . . . . . . . . . 61
Enabling/Disabling Tonal Change Controlled
by Strike Position or Rim Shot Nuance (POSI) . . 61
Making MIDI Settings for Each Pad (MIDI) . . . . . 61
Setting an instrument to the Default Values
(DEFAULT ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Copying an Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Copying a Set of Multiple Instruments . . . . . . . . 64
Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Setting the Volume and Pan of Each Pad . . . . . . . . . . . . 65
Copying Mixer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
8
Contents
Eects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Turning Eects On/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Adjusting Volume Change and Tone
(PAD COMPRESSOR/PAD EQ) . . . . . . . . . . . . . . . . . . . . . . . . 68
Adjusting the Volume Change (COMP) . . . . . . . . 68
Adjusting the Tone (EQ) . . . . . . . . . . . . . . . . . . . . . . 69
Simulating the Acoustics of a Performing Location
(AMBIENCE SECTION) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Editing the Ambience (EDIT) . . . . . . . . . . . . . . . . . . 70
Auditioning the Ambience Eect (AMB ONLY) . 71
Applying Eects to the Sound (MULTI EFFECTS) . . . . . 71
Editing the Multi-Eect . . . . . . . . . . . . . . . . . . . . . . . 71
Auditioning the Multi-Eects (MFX ONLY) . . . . . 72
Multi-Eects Parameters . . . . . . . . . . . . . . . . . . . . . . 72
Adjusting the Overall Sound
(MASTER COMPRESSOR/MASTER EQ) . . . . . . . . . . . . . . . 78
Editing the Master Comp/Master EQ Settings . . 78
Copying Eect Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Specifying the Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Setting the Tempo by Hitting a Pad (TAP) . . . . . . 81
Viewing the Tempo as a Blinking Button . . . . . . . 82
Sounding a Click . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Making Click Settings (CLICK) . . . . . . . . . . . . . . . . . 82
Synchronizing with an External MIDI Device (SYNC) . 84
Song Player . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Connecting USB Flash Drive . . . . . . . . . . . . . . . . . . . . . . . . 85
Playing an Audio File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Selecting an Audio File from a List (LIST) . . . . . . 86
Playback Settings (FUNC) . . . . . . . . . . . . . . . . . . . . . 87
Changing the Playback Speed (SPEED) . . . . . . . . 87
Repeatedly Playing a Specic Region (A-B) . . . . 87
Viewing Information About the Audio File . . . . . . . . . . 88
Pattern Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Basic Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Choosing a Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Selecting a Pattern from the List . . . . . . . . . . . . . . 90
Playing Back a Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
Making Settings for Each Part (PART) . . . . . . . . . . . . . . . . 91
Muting a Specic Part (MUTE) . . . . . . . . . . . . . . . . . 92
Specifying the Instruments for the Backing
Parts (BACKING) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Tuning Settings for the Backing Parts
(Master Tuning) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Percussion Part Settings (PERC) . . . . . . . . . . . . . . . 93
Setting the Volume and Pan of Each Part
(MIXER) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Applying Reverb/Chorus to the Backing Parts
(REV/CHO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Making Settings for a User Pattern (FUNC) . . . . . . . . . . 97
Specifying the Number of Measures, Time
Signature, and Tempo (SETUP) . . . . . . . . . . . . . . . . 97
Specifying the Playback Type (TYPE) . . . . . . . . . . 98
Naming a Pattern (NAME) . . . . . . . . . . . . . . . . . . . . . 98
Recording a Pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Checking the Tones and Phrases During
Recording (Rehearsal) . . . . . . . . . . . . . . . . . . . . . . . 101
Editing a Pattern (EDIT) . . . . . . . . . . . . . . . . . . . . . . . . . . . .101
Copying a Pattern (COPY) . . . . . . . . . . . . . . . . . . . . 102
Connecting Two Patterns (APPEND) . . . . . . . . . . 103
Erasing a Pattern (ERASE) . . . . . . . . . . . . . . . . . . . .103
Deleting a Pattern (DELETE) . . . . . . . . . . . . . . . . . .104
Saving a Pattern (USB MEM) . . . . . . . . . . . . . . . . . . . . . . . 105
Saving Patterns on a USB Flash Drive (SAVE) . . 105
Loading a Pattern from a USB Flash Drive
(LOAD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Deleting a Pattern from a USB Flash Drive
(DELETE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106
Settings 107
Backing Up the Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108
Data saved in USB ash drive . . . . . . . . . . . . . . . .108
Backing Up All Data to a USB Flash Drive (SAVE) . . . .109
Loading Backup Data from a USB Flash Drive
(LOAD) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
Importing Kit Data from TD-20/TD-20X Backup
Data (IMPORT) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
Deleting Backup Data from a USB Flash Drive
(DELETE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111
Backing Up a Drum Kit to a USB Flash Drive
(KITSAVE) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Loading Kit Data from a USB Flash Drive (KITLOAD) .112
Checking the State of a USB Flash Drive (INFO) . . . . . 113
Formatting a USB Flash Drive (FORMAT) . . . . . . . . . . . . 113
Overall Settings for the TD-30 (SETUP) . . . . . . . . . . . . . . .114
Output Assignments (OUTPUT) . . . . . . . . . . . . . . . . . . . .115
Output Destination Setting Examples . . . . . . . .116
Assigning a Function to a Footswitch or Pad
(CONTROL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117
Assigning a Function to a Footswitch
(FOOT SW) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Assigning a Function to a Pad (PAD SW) . . . . . .118
Other Settings (OPTION) . . . . . . . . . . . . . . . . . . . . . . . . . . . 120
Specifying the Preview Velocity (PREVIEW) . . .120
Making the Master Comp/EQ Settings
Identical for All Kits (COMP/EQ) . . . . . . . . . . . . . . 120
Using the MIX IN Jacks as Two Monaural
Inputs (MIX IN) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
Adjusting the Display Contrast (LCD) . . . . . . . . .121
Restoring the Factory Settings (F RESET) . . . . . . . . . . .122
AppendicesExpansionSettingsPerformanceSetupOverview
9
Contents
Playing a Kit from the USB Flash Drive Without
Loading It (Kit Selection) (KIT SEL) . . . . . . . . . . . . . . . . . . 123
Copying the Drum Kit Chosen in Kit Selection
Digital Audio Level (GAIN) . . . . . . . . . . . . . . . . . . . . . . . . .124
Auto O Function (AUTOOFF) . . . . . . . . . . . . . . . . . . . . . .124
Viewing the Remaining Memory and the Program
Version (INFO) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125
Trigger Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126
Selecting the Pad Type (BANK) . . . . . . . . . . . . . . . . . . . . .126
Trigger Inputs and Playing Methods
Corresponding Chart . . . . . . . . . . . . . . . . . . . . . . . .127
Pad Sensitivity Settings (SENS) . . . . . . . . . . . . . . . . . . . . . 127
Adjusting the Pad Sensitivity (Sensitivity) . . . .127
Adjusting the Rim/Edge Dynamic Response
(Rim Gain) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Hi-Hat Settings (HI-HAT) . . . . . . . . . . . . . . . . . . . . . . . . . . .128
Settings for the VH-13/VH-12 . . . . . . . . . . . . . . . . 128
Settings for the VH-11 . . . . . . . . . . . . . . . . . . . . . . .129
Settings for the FD-8 . . . . . . . . . . . . . . . . . . . . . . . .130
Viewing Trigger Information for Each Pad
(MONITOR) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
Eliminate Crosstalk Between Pads
(Crosstalk Cancellation) (XTALK) . . . . . . . . . . . . .131
Advanced Trigger Parameters (ADVANCE) . . . . . . . . . . 132
Making Advanced Settings for a Pad (THRE) . .133
Making Advanced Settings for Rim Shots (RIM)
Making Advanced Settings for Trigger Signal
Detection (SCAN) . . . . . . . . . . . . . . . . . . . . . . . . . . . .134
Making Advanced Settings for Strike Position
Detection (POSI) . . . . . . . . . . . . . . . . . . . . . . . . . . . .136
Naming a Trigger Bank (NAME) . . . . . . . . . . . . . .136
Copying a Trigger Bank . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
.123
. 134
Appendices 145
Visual Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .146
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
Error Message List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .149
Note Number (Factory Settings) . . . . . . . . . . . . . . . . . . . . .150
Main Specications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .152
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .154
Expansion 139
Connecting to your Computer via USB . . . . . . . . . . . . . . .140
Installing the USB Driver . . . . . . . . . . . . . . . . . . . . . . . . . . . 140
Connecting the TD-30 to the Computer . . . . . . . . . . . .140
MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .141
About MIDI Connectors . . . . . . . . . . . . . . . . . . . . . .141
MIDI Channel Settings (MIDI CH) . . . . . . . . . . . . . . . . . . . 141
MIDI Channel Settings for the Entire TD-30 (GLOBAL) .
Using the TD-30 as a USB MIDI Interface
(Soft Thru) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .142
Recording the Pad Performance on an
External Sequencer (Local Control) . . . . . . . . . . .142
Setting the Device ID . . . . . . . . . . . . . . . . . . . . . . . .143
MIDI Message Settings for Detailed Performance
Expression (CTRL) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Specifying the Drum Kits Recalled by Program
Changes (PROG) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
10
142
Overview
Main Features
The TD-30 is the most advanced drum & percussion sound module in the world.
Newly Developed V-Drums SuperNATURAL Sound Engine
Roland takes digital drums to a new height with the implementation of its exclusive SuperNATURAL concept. The best
electronic drums in the world just got better.
Improved dynamics and sensitivity make every nuance of playing drums feel even more natural, no matter what your musical
style might be.
Playing feel and sound
The TD-30 features vastly improved trigger response, dynamics, and
positional sensing. The result is an even more obvious and natural reaction
between the player and the sound.
Snare drum
A smoother transition in sound reaction between head shots and rim
shots. The snare drum perfectly responds to exactly how and where the
drummer plays. The dynamics, positional sensing, and even the transition
between full and shallow rim shots has become smoother.
Crash cymbals
Be it delicate playing, swell rolls, or powerful crash shots, the contrasts in
dynamic sound reactions are more discernable than ever.
Ride cymbal
Enhanced dynamics and positional sensing make for a wonderfully natural
feel and sound variations, be it up-tempo jazz playing or straight-on rock.
Drum sound reaction
When playing fast open rolls, ams, or ghost-style, single handed buzz rolls,
the sound remains continuous in-between each hit. And press/closed rolls
sound even smoother with the snare buzz resonance reacting in a natural
way.
Hi-hat control
When playing the hi-hat from a fully open position and slowly closing it, a
perfectly smooth transition in sound is achieved. Playing in the half-open
position or even in a slightly open position, the sound remains constant.
And the foot-closed sounds and foot splashes are easier to control.
The new V-Hi-Hat VH-13 features an improved motion sensor. Combined
with advances in trigger technology, the VH-13 provides an even more
natural response.
Smooth response for
cymbal edge rolls
Snare roll/playing position
What are SuperNATURAL Tones?
Taking advantage of Behavior Modeling Technology, SuperNATURAL is Roland’s exclusive
sound set that achieves a new level of realism and expression that were dicult to realize with
previous sound generators.
Behavior Modeling Technology
Not only physical modeling of the instruments, Roland takes it a step further by modeling the instrument’s distinctive
behavior that responds to how the performer plays, resulting in true-to-life, expressive sounds in realtime.
12
Main Features
Ambience section
How the drummer hears himself and how the drum sounds are heard within the
music have been given priority, and by taking advantage of enhanced DSP power, a
new ambience section has been created. On the front panel of the TD-30 there is a
dedicated fader for the overall ambience balance.
Overhead mic
For recording drums in the studio, placement of the overhead mics is a must to guarantee a natural presence and brightness in
the sound.
Room ambience
You can adjust the room size and the room mic position within a choice of room types that include a concert hall, studio, club,
arena, etc.
Reverb
A customized reverb has been specially created for the snare, kick, and toms, helping them to musically blend together inside
the music in an even more natural way.
Sound Creation Possibilities
Wide variety of sounds
The wide range of preset drum kits is perfect for all styles of music, whether it be
rock, jazz, hip-hop, or dance. Priority has been placed on developing sounds that
are perfectly adaptable for use in the recording studio environment or on stage.
With over 1,000 onboard sounds, whether they are acoustic drums—kicks, snares,
cymbals and percussion—or electronic drums and special eects sounds, the V-Edit
possibilities combined with the powerful onboard eects make it easy to create a
unique and personalized kit for any musical style.
Recording studio applications
The TD-30 oers sound creation potential for all aspects of drumming performance.
You can choose from a wide selection of snare drums, change the head type and
tuning, move individual microphone positions, customize the shape of the room
the drums are in, and adjust both the overhead mic and room mic positions.
Enhance your sound with the eects and create the perfect audio balance with the
individual kit mixer—all within the TD-30!
Powerful onboard eects
Each pad can have its own compressor and 3-band graphic EQ, just like in a
recording studio. New multi-eects include insertion eects like the saturator or a
anger. And, as in the studio, the nal sonic touches can be realized with a powerful
stereo compressor and a 4-band master EQ.
AppendicesExpansionSettingsPerformanceSetupOverview
13
Main Features
Convenient Functions
USB ash drive
Song player function
Audio les (WAV, MP3) can be played back from a USB ash drive.
You can perform along with the audio le playback, or use it as a backing track for your performance.
Backup function
All of the TD-30’s settings, including the 100 drum kits, can be backed up (saved) to a USB ash drive in a single operation (up
to maximum of 99 backups). You can also save drum kits individually (up to maximum of 999 kits) (p. 108).
Backup data created by the TD-20 and the TD-20X can also be imported into the TD-30 and used (p. 110).
Kit selection function
The kits saved on a USB ash drive and the TD-30’s preset kits can be played without having to copy them to a user memory
drum kit (p. 123).
USB MIDI support
If the TD-30 is connected to your computer, the MIDI data for your performance on the TD-30 can be
recorded into the computer.
14
Overview of the TD-30
How the Sound Generator is Organized
Broadly speaking, the TD-30 consists of a controller section, sound generator section, and sequencer section.
TD-30
Sound
generator
section
Playback
TRIGGER INPUT jacks
Perform
(Trigger signals)
Controller section
(Pads and pedals)
Sequencer section
Patterns
Record
Controller section
The pads and pedals on which you perform are called controllers.
When a pad is struck it outputs a “trigger signal.”
That signal is input to a TRIGGER INPUT jack on the rear panel of the TD-30, and is received by the sound generator section.
Sound generator section
This section produces the sound.
It receives trigger signals from the controllers, the onboard sequencer or an external MIDI device, and plays the instruments
accordingly.
Sequencer section
This section can record what you play on the TD-30, and then be used to play that performance back. It can transmit MIDI
messages from the MIDI OUT or USB Computer port connectors to control an external MIDI device.
AppendicesExpansionSettingsPerformanceSetupOverview
15
Overview of the TD-30
About Memory
"Memory” is the area in which settings such as kits and patterns are stored.
TD-30
Non-rewritable memory
Rewritable memory
Rewritable memory
Preset memory
Drum kits
Percussion sets
Trigger settings
Preset patterns
Rewritable Memory
User memory
The memory area in the TD-30 is rewritable.
All settings are stored as soon as you edit them.
When you load or copy data from a USB ash drive or
from preset memory, and edit the settings, they will be
stored in the user memory.
The following settings are saved in user memory.
• Setup (p. 114)
• Drum kits (p. 46)
• Percussion sets (p. 93)
• Trigger settings (p. 126)
• Drum kit chains (p. 51)
• User patterns (p. 90)
User memory
Setup
Drum kits
Percussion sets
Trigger settings
Drum kit chains
User patterns
Non-Rewritable Memory
Preset memory
USB ash drive
Backup
Drum kit
Patterns
This is non-rewritable memory inside the TD-30.
You can copy preset memory data to user memory, and
then edit it as desired. The factory settings are stored in
preset data.
The following settings are saved in preset memory.
• Drum kits (p. 46)
• Percussion sets (p. 93)
• Trigger settings (p. 126)
• Preset patterns (p. 90)
USB ash drive
Up to 99 sets of data, with each set containing all
settings saved in user memory, can be saved (backed up)
to a USB ash drive (sold separately).
In addition to these backups, 999 drum kits and 999
patterns can also be saved to USB ash drive.
This data can be loaded or copied into the user memory,
and edited.
For details, refer to “Backing Up the Settings” (p. 108)
16
Overview of the TD-30
Drum Kit
A “drum kit” contains all the sounds assigned to the pads, the settings for each pad, eects, ambience, and all other settings for
the entire kit.
When the TD-30 is shipped, it contains 100 drum kits.
Drum kit 100
Drum kit 1
Pad settings
KICK
Head 1
Rim 1
TOM 4
Head 6
Rim 6
EDGE
Head 11
Rim 11
Ambience settings Multi-eects settings
Settings aecting the entire Drum kit
SNARE
Head 2
Rim 2
HI-HAT
Head 7
Rim 8
AUX 1
Head 12
Rim 12
TOM 1
Head 3
Rim 3
CRASH 1
Head 8
Rim 8
AUX 2
Head 13
Rim 13
TOM 2
Head 4
Rim 4
CRASH 2
Head 9
Rim 9
AUX 3
Head 14
Rim 14
TOM 3
Head 5
Rim 5
RIDE
Head 10
Rim 10
AUX 4
Head 15
Rim 15
Instrument settings
Mixer settings
Compressor settings
Equalizer settings
MEMO
When you edit a drum kit, previous settings will be overwritten.
If you want to restore a kit to its factory settings, copy the specic kit from the preset memory (p. 49), or execute the “factory
reset” (p. 122) operation to return the TD-30 to its factory-settings.
Instruments
Each sound such as a snare drum or kick drum is called an “instrument.”
An instrument is assigned to the “head” and/or the “rim” of the connected pads.
You can create your desired sound by editing each instrument’s. Using “V-EDIT” you can change the material or depth of the
drum, add sounds to the hi-hat, snare pad and snare rim. For more about “V-EDIT” refer to “What is V-EDIT?” (p. 56).
AppendicesExpansionSettingsPerformanceSetupOverview
17
Overview of the TD-30
Eects
The sound can be processed or enhanced in many ways by applying “eects.”
The TD-30 provides the following eects; some can be applied to individual pads, while others apply to the entire drum kit.
PAD COMPRESSOR/PAD EQ
A “compressor” is an eect that reduces volume peaks, by modifying the attack and release of the sound.
An “equalizer” lets you adjust specic separate frequency ranges such as high, mid, and low.
The pad compressor and pad EQ eects can be applied individually to each pad.
AMBIENCE SECTION
Ambience is an eect that simulates the acoustics of the location in which you’re performing. Parameters available include
adjusting the overhead mic position, the shape and size of the room, the wall material and reverb. Each pad has its own
ambience send level and each kit has its own ambience settings.
MULTI EFFECTS
The “multi-eect” lets you choose one of 21 dierent eects on a per-kit basis. Each sound has its own eect-send level.
MASTER COMPRESSOR/MASTER EQ
The compressor and equalizer can be used on a per-kit basis, or in a global way for the whole TD-30. (This means those
settings will apply to all kits.)
Sequencer
A “sequencer” records or plays back the MIDI information that is input to it, be it the on-board sequencer in the TD-30 or
computer software.
The TD-30’s sequencer lets you record and/or playback “patterns.”
Patterns/part
A “pattern” consists of the performance data for the six “parts” in the TD-30; drum, melody, bass, backing 1, backing 2, and
percussion.
Use patterns to create the backing track of a song for practice purposes, or you can assign them to be triggered from the pads
of the TD-30 for performance aspects.
There are already preset patterns on-board the TD-30. To record a pattern, you’ll use “realtime recording”—as you play on the
pads or with a connected external MIDI keyboard.
Patterns
Non-rewritable pattern
Preset pattern
100
1
Rewritable pattern
User pattern
200
101
Part
Backing 1Drum
Backing 2Melody
PercussionBass
18
Overview of the TD-30
Various Performance Techniques
Here we explain the techniques that you can use to play the pads, cymbals, and hi-hat that are connected to the TD-30.
MEMO
• Some pads do not support the performance techniques described below (such as detecting the strike location). For details
on the techniques supported by each pad, refer to “Selecting the Pad Type (BANK)” (p. 126).
• The available performance techniques will depend on the trigger input. Positional sensing will also depend on the trigger
input.
For details on the performance techniques and striking points supported by each trigger input, refer to “Trigger Inputs and
Playing Methods Corresponding Chart” (p. 127).
Pad
Playing method Explanation
Head shot
Rim shot
Cross stick
Playing with brushes
Tone changes depending
on strike point
Do not place your hand on
the head
Hit only the head of the pad.
For a snare drum, the tone will change naturally as you move the strike
location from the center of the head toward the rim.
Strike the head and the rim of the pad simultaneously.
A sound (rim sound) dierent than the head shot will be heard.
Only strike the rim of the pad.
Depending on the instrument assigned to the rim you can play rim shots
and/or cross stick sounds.
* For some snare sounds, the sounds cannot be dierentiated in this way.
* To play the cross stick, be sure that you only strike the rim of the pad.
Placing your hand on the head of the pad might prevent the cross stick
sound from being played properly.
With the TD-30, you can “swish” or “sweep” using brushes with the mesh
head pad connected to TRIGGER INPUT 2 (SNARE).
When playing with brushes, choose the “SNARE BRUSH” instrument group
(p. 54), and turn the Brush Switch “ON” (p. 48).
* Use nylon brushes. The tips of metal brushes will catch in the mesh,
damaging the pad.
Change the nuance of the rim shot
With certain snare and tom sounds, slight changes in the way you play rim shots changes the nuance.
Playing method Explanation
Normal rim shot
(Open rim shot)
Strike the head and rim simultaneously.
AppendicesExpansionSettingsPerformanceSetupOverview
19
Overview of the TD-30
Playing method Explanation
Shallow rim shot
Hi-Hat
Playing method Explanation
Open/closed
Pressure
(VH-13/VH-12)
Simultaneously strike the head near the rim and the rim itself.
The hi-hat tone changes smoothly and continuously from
open to closed in response to how far the pedal is pressed.
You can also play the foot closed sound (playing the hi-hat
with the pedal completely pressed down) and foot splash
sound (playing the hi-hat with the pedal fully pressed and
then instantly opening it).
When you strike the hi-hat while pressing on the pedal with
the hi-hat closed, you can then change the closed tone in
response to the pressure you place on the pedal.
* The VH-11 and FD-8 do not respond to pressure.
Bow shot
Edge shot
Edge sensor
This playing method involves striking the middle area of the
top hi-hat. It corresponds to the sound of the “head-side” of
the connected trigger input.
This playing method involves striking the edge of the top
hi-hat with the shoulder of the stick. When played as shown
in the gure, the “rim-side” sound of the connected trigger
input is triggered.
* Striking directly on the edge (i.e., exactly from the side)
will not produce the correct sound. Strike as shown in the
illustration.
* Do not strike the bottom of the top hi-hat, and do not strike the bottom hi-hat. Doing so will cause malfunctions.
20
Cymbal
Playing method Explanation
Overview of the TD-30
Nuance changes depending on
the strike location
Bow shot
Edge shot
Bell shot
This is the most common playing method, playing the
middle area of the cymbal. It corresponds to the sound of
the “head-side” of the connected trigger input.
This playing method involves striking the edge with the
shoulder of the stick. When played as shown in the gure,
the “rim-side” sound of the connected input is triggered.
Edge sensor
A CY-15R used as a ride cymbal will play the rim sound of the
connected trigger input when you strike the bell area shown
in the illustration.
Strike the bell somewhat strongly with the shoulder of the
stick.
* On the CY-14C and CY-12C, bell shots are not supported
Roland logo
Choke play
Edge sensor
Choking (pinching) the cymbal’s edge with the hand
immediately after hitting the cymbal makes the sound stop.
Choke the location of the edge sensor shown in the gure. If
you choke an area where there is no sensor, the sound does
not stop.
AppendicesExpansionSettingsPerformanceSetupOverview
21
Panel Descriptions
Top Panel
1
14
13
2
3
4
Number
5
6 7
Name Explanation Page
SONG PLAYER
[USB/PTN] button Selects the audio le or pattern to play. p. 86, p. 89
[STOP] button Stops playback of the audio le or pattern. p. 86, p. 89
1
[PLAY] button Starts playback of the audio le or pattern. p. 86, p. 89
[TEMPO] button Sounds a click, or lets you make settings for the tempo and click. p. 81
TRIGGER level indicator
Number display Displays the kit number (currently selected drum kit). –
2
Display
[CHAIN] button A drum kit chain allows you to set up a customized order for playing your kits. p. 51
[TRIGGER] button For access to trigger parameters. p. 126
[SETUP] button
3
[USB MEM] button
[EXIT] button
This lights up and moves each time a trigger signal is received from a pad. It monitors
the pad connection and is helpful when customizing trigger parameters.
During normal performance, you see the kit name and other information. When
editing, relative graphics and text will appear depending on the edit mode you are in.
For access to functions that aect the TD-30 globally, such as MIDI parameters or
Output Assign function etc.
Performs operations related to USB memory, such as saving or loading data.
By pressing the [USB MEM] button while holding down the [SHIFT] button, you can
copy settings such as drum kits or instruments (p. 49, p. 63).
Press this to return to the previous screen. Repeated pressing takes you back to the
DRUM KIT screen.
12
11
10
9
8
–
p. 30
p. 114
p. 108
p. 27
22
Panel Descriptions
Number
Name Explanation Page
GROUP FADERS
Faders
4
[FADER] button Selects the sources whose volume will be adjusted by the faders. p. 28
PHONES jack
5
DRUM KIT
[AMBIENCE] button
[MULTI EFFECTS] button
[MASTER COMP] button
6
[INST] button Allows you to make settings for instruments. p. 54
[COMP/EQ] button Adjusts the volume change and tonal character of each pad. p. 68
[MIXER] button Adjusts the volume and pan of each pad. p. 65
[KIT] button Accesses the DRUM KIT screen. p. 46
[F1]–[F5] buttons
7
(Function buttons)
[–] [+] buttons
8
[PREVIEW] button
9
TRIG SELECT
[LOCK] button
10
[RIM] button
[1], [15] buttons Use the [1] and [15] buttons to select the trigger number (pad) you want to access. p. 55
[SHIFT] button
11
Dial
12
Cursor buttons [ ] [ ] [ ] [ ]
13
These faders adjust the volume of the kick, snare, hi-hat, other percussion instruments, backing instrument sounds, click, and ambience.
A pair of stereo headphones can be connected to this jack.
Sound will still be output from each output jacks even if headphones are connected.
Species the size and acoustic character of the room in which you’re playing the
drums.
Applies eects such as adding depth or spaciousness to the sound, or shifting the
pitch.
Adjusts the overall sound of the drums.
By pressing the [MASTER COMP] button while holding down the [SHIFT] button, you
can turn each eect on/o (p. 67).
These buttons change their function depending on the contents of the display.
The lower part of the display will indicate the function of each button.
These buttons are used to switch drum kits or to change values when editing.
The [+] button increases the value, and the [–] button decreases it.
This velocity sensitive button allows you to audition an instrument after you have
chosen it with the TRIG SELECT buttons or after you have played a pad/pedal.
If you press the [LOCK] button so its indicator is lit, the pad for which settings are
being made will remain selected even if you strike a pad.
When using a pad that supports a rim, allows you to select either the head or the rim
for editing.
Used in combination with other buttons. How this functions is explained in respective
parts of this manual.
This dial functions like the [+] and [–] buttons. Use it to scroll quickly or make large
changes in edited values.
Move the cursor. p. 26
p. 28
–
p. 69
p. 71
p. 78
p. 26
p. 26
p. 27
p. 55
p. 55
–
p. 26
VOLUME CONTROL
[MIX IN] knob Adjusts the level of the audio source connected to the MIX IN jack. p. 24
14
[PHONES] knob
[MASTER] knob Adjusts the volume of the MASTER OUT jacks. p. 39
Adjusts the headphone volume.
Sound will still be output from each output jacks even if headphones are connected.
p. 39
AppendicesExpansionSettingsPerformanceSetupOverview
23
Panel Descriptions
Rear Panel (Connecting Your Equipment)
NOTE
• To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn o the unit
on all devices before making any connections.
• When connection cables with resistors are used, the volume level of equipment connected to the inputs (MIX IN jack) may
be low. If this happens, use connection cables that do not contain resistors.
DIRECT OUT jacks (unbalanced)
Connect jacks these to your mixer.
You can make settings in [SETUP] button to specify which of the
DIRECT OUT 1–8 jacks each instrument will be sent from (p. 115).
MEMO
For examples of output settings and connections, refer to
“Output Destination Setting Examples” (p. 116).
MASTER OUT jacks (unbalanced)
These jacks output the sound. Connect them to your amplied
speakers or your recording equipment.
If you’re outputting in monaural, connect only the L/MONO jack.
MIX IN jack (stereo)
This jack can be used to connect a digital audio player, or as the
monitor input for a live performance.
The output destination of the sound being input here can be
assigned to the MASTER OUT jacks, the PHONES jack, or the
DIRECT OUT 5–8 jacks (p. 115).
FOOT SW jack
A footswitch (separately sold: FS-5U, FS-6)
can be connected here to control various
things (p. 117).
Security slot ( )
http://www.kensington.com/
DIGITAL OUT jack (coaxial type)
You can connect this to speakers or other equipment that
has a digital input.
This jack outputs the same audio signal as is output from
the MASTER OUT jacks.
Provides output of a 44.1 kHz, 24-bit version of the audio
signal.
* Use a coaxial cable to make connections. Optical cables
cannot be used.
24
Panel Descriptions
USB MEMORY port
You can connect a USB ash drive
(separately sold) here (p. 85). You can
play back audio les from it (p. 86),
or save the TD-30’s settings to the
USB ash drive (p. 108).
MIDI connectors
Use these connectors to
connect MIDI equipment
(p. 141).
USB COMPUTER port
With a USB cable, you can connect the TD-30 to
your computer for recording MIDI information to
your software sequencer (DAW) (p. 140).
AC IN jack
Connect the included AC power cable to
this inlet.
[ON] switch
This switch turns the unit on/o (p. 39).
TRIGGER INPUT jacks
Connect your pads, cymbals, hi-hat, and kick etc. to these jacks (p. 37).
* Use a stereo cable (1/4-inch TRS phone type) if you’re connecting a dual-trigger type pad.
AppendicesExpansionSettingsPerformanceSetupOverview
25
Basic Operation
Changing a Value
Saving your settings
On the TD-30, values you edit are saved automatically by overwriting the previous value; there is no need to perform a specic
operation to save the settings. Settings are also saved when you turn o the unit.
Moving the cursor (cursor buttons)
Cursor
Cursor refers to the highlighted characters indicating an on screen parameter that can be set. When there is more than one
possibility within the screen, use the cursor buttons to move it.
Changing data values ([–] [+] buttons/dial)
The [–] and [+] buttons and the dial are both used to change the
values of settings.
Both methods have advantages.
[–] [+] buttons
• Each time the [+] button is pressed, the value increases. Each
time the [–] button is pressed, the value decreases. This is
convenient for ne adjustments.
• When making an on/o setting, the [+] button will turn the
setting on and the [–] button will turn it o.
• If you hold down the [+] button and press the [–] button, the
value will increase rapidly. If you hold down the [–] button and
press the [+] button, the value will decrease rapidly.
• If you hold down the [SHIFT] button and press the [–] or [+]
button, the value will change even more rapidly.
Dial
This allows you to make large changes in the value by a single operation, so it’s convenient when editing a parameter that has
a large range of values.
The value will change in larger steps if you turn the dial while holding down the [SHIFT] button.
Selecting a function to edit (function buttons)
The [F1]–[F5] buttons are called “function buttons.” The bottom part of the display will show the names of the functions
available for the [F1]–[F5] buttons. For example, if this owner’s manual makes reference to the [F2] (EDIT) button, press [F2]
button (in this case, “EDIT” is displayed above the [F2] button).
26
Returning to the previous screen ([EXIT] button)
Press the [EXIT] button to return to the previous screen, for
example after you’ve edited a setting.
Choosing a Pad to Edit
About the upper right display screen indications
In screens that allow you to edit specic settings for each pad, the
upper right of the display will show the trigger number and name
of the TRIGGER INPUT jack to which the selected pad is connected.
The initial “H” or “R” indicates whether the settings are for the pad’s
head (HEAD) or rim (RIM). Pressing the [PREVIEW] button will play
either the head or rim sound depending on whether “H” or “R” is
displayed.
The editing screen for either the head or rim will appear in the
position shown in the illustration. If the setting applies to both the
head and the rim, both will appear.
Basic Operation
Choosing by hitting a pad
To edit the settings for a pad, strike that pad to select it.
To select the rim of a pad, strike the rim.
MEMO
By pressing the [LOCK] button to make it light, you can prevent the pad you’re editing from being switched (p. 55). This is
convenient if you’re playing a phrase while you edit.
Choosing with the TRIG SELECT buttons
You can use the TRIG SELECT buttons to select a pad/sound
without needing to hit a pad and/or when a pad is not connected.
Pressing the [1] button will select the next lower-numbered
trigger. Pressing the [15] button will select the next higher
numbered trigger.
When using a dual trigger pad (with rim trigger) the [RIM] button
selects whether you’re making settings for the head or the rim of
the selected pad.
When rim is selected, the [RIM] button will light.
Auditioning the sound of a pad ([PREVIEW] button)
Press the [PREVIEW] button to hear the sound of the selected pad/
sound using the TRIG SELECT buttons.
MEMO
You can make the sound play at a xed volume regardless of
the force with which you press the [PREVIEW] button (p. 120).
AppendicesExpansionSettingsPerformanceSetupOverview
27
Basic Operation
Using The Group Faders (GROUP FADERS/[FADER] button)
Use the GROUP FADERS faders to adjust the volume.
By pressing the [FADER] button, the function of the faders changes
as shown in the chart below. An LED will light up at the upper and
lower left of the faders, indicating which set of sounds is active.
You can adjust the volume of following trigger inputs and the other kinds of volumes.
Upper indicator is lit Lower indicator is lit
Fader Explanation Fader Explanation
KICK KICK AUX 1 AUX 1
SNARE SNARE AUX 2 AUX 2
TOMS TOM 1, TOM 2, TOM 3, TOM 4 AUX 3 AUX 3
HI-HAT HI-HAT AUX 4 AUX 4
CRASH 1 CRASH 1, CRASH 2 CLICK Metronome click (p. 82)
RIDE RIDE, EDGE PATTERN Pattern (backing part and percussion part) (p. 89)
AUX All AUX USB SONG Audio le (p. 86)
AMBIENCE AMBIENCE AMBIENCE AMBIENCE
MEMO
The GROUP FADERS temporarily adjust the overall balance of the TD-30.
By using the mixer (p. 65) you can adjust the volume balance of the pads for each kit. Mixer settings are saved individually for
each kit.
Example: Adjusting the Snare Volume
1. Press the [FADER] button so the upper indicator is lit.
2. Move the GROUP FADERS [SNARE] fader.
The fader position shows the current snare volume.
* After switching with the [FADER] button, the values for the GROUP FADERS faders may not reect the actual volume of the
sound assigned to that fader. So after switching, be sure to move the faders a bit before making your setting.
Turning the Click On/O
Hold down the [SHIFT] button and press the [TEMPO] button to turn the click on and o.
Changing the Tempo ([TEMPO] button)
To adjust the tempo of the sequencer and click, use the [–]
[+] buttons or the dial in the screen displayed by pressing the
[TEMPO] button.
28
Basic Operation
Assigning a Name
On the TD-30 you can assign names to the following items.
• Drum kits
• Drum kit chains
• Percussion sets
• Patterns
• Backups
• Trigger banks
The procedure is the same, regardless of what you’re naming.
Example: In the DRUM KIT NAME screen
1. Assign a name to the drum kit.
Button Explanation
Cursor [
[–] [+] buttons Change characters.
[F1] (INSERT) button A blank space is inserted at the cursor position, and characters after this point are moved to the right one space.
[F2] (DELETE) button Character at the cursor position is deleted, and characters after this point are moved to the left one space.
[F3] (SPACE) button Character at the cursor position is replaced by a blank space.
[F4] (A
] [ ] buttons
a 0) button
Move the cursor to the character that you want to change.
Type of character at the cursor position changes between uppercase/lowercase alphabet, or numbers and
symbols.
2. Press the [EXIT] button to return to the previous screen.
AppendicesExpansionSettingsPerformanceSetupOverview
29
About the Screens
When you press the top panel buttons, a screen showing the corresponding functions or settings will appear.
985
*
The explanations in this manual include illustrations that depict what should typically be shown by the display.
Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so
what you actually see in the display may not always match what appears in the manual.
Button Screen Page
DRUM KIT screen
This is the main screen used when performing.
DRUM KIT LIST screen
Here you can select a drum kit from a list (p. 46).
[KIT] button
[AMBIENCE] button
[MULTI EFFECTS] button
AMBIENCE SECTION screen
Here you can apply an ambience eect.
MULTI EFFECTS screen
Here you can apply a multi-eect.
DRUM KIT FUNCTION screen
Here you can make settings for each drum kit (p. 47).
DRUM KIT NAME screen
Here you can edit the name of the drum kit (p. 48).
p. 46
p. 69
p. 71
30
[MASTER COMP] button
MASTER COMPRESSOR screen
Here you can adjust the sonic character of the overall drum sound.
p. 78
About the Screens
Button Screen Page
EFFECTS SWITCH screen
Here you can turn the eects on/o.
[SHIFT] button
+
[MASTER COMP] button
INST screen
Here you can assign the instruments.
p. 67
[INST] button
[SHIFT] button
+
[INST] button
[COMP/EQ] button
[MIXER] button
[CHAIN] button
p. 54
INST EDIT screen
Here you can edit the instruments.
p. 56
PAD COMPRESSOR screen / PAD EQ screen
Here you can adjust the sonic character of each pad.
p. 68
Mixer screen
Here you can adjust the volume and pan of each pad.
p. 65
DRUM KIT CHAIN screen
Here you can make settings for the drum kit chain function.
p. 51
[TRIGGER] button
[CHAIN] button
+
[TRIGGER] button
Trigger screen
Here you can make settings for the trigger parameters.
DEMONSTRATION screen
Here you can listen to demo songs.
p. 126
AppendicesExpansionSettingsPerformanceSetupOverview
p. 42
31
About the Screens
Button Screen Page
Setup screen
Here you can make settings that apply to the entire TD-30.
[SETUP] button
[USB MEM] button
[SHIFT] button
+
[USB MEM] button
[USB/PTN] button
p. 114
USB memory screen
Here you can perform operations related to USB memory.
p. 108
Copy screen
Here you can copy settings such as drum kits and instruments.
–
USB SONG screen
Here you can play back audio les saved in USB memory.
p. 86
32
[TEMPO] button
PATTERN screen
Here you can play back or edit patterns.
p. 90
TEMPO screen
Here you can specify the tempo.
p. 81
Purpose-Oriented Index
This index lists the principal settings and functions you’ll use the TD-30.
Purpose Explanation Page
You can audition the currently selected drum kit by using a phrase to play its sounds.
For convenient auditioning, the TD-30 provides various drum and backing phrases
(“preset patterns”).
Auditioning the sound of a drum kit
Recalling drum kits in a specied order
(Drum kit chain)
Returning all settings to their factory-set
state (Factory reset)
Returning an individual kit to its factory
setting
Playing a pattern by striking a pad
(Pad pattern function)
Switching drum kits by striking a pad
(Pad switch function)
Using cross-stick techniques For each drum kit, you can specify whether cross-stick techniques can or cannot be used. p. 49
Copying settings
Settings for an added pad
(Trigger parameters)
Specifying a sound’s output destination
(Output assign)
Using drum kits from a USB ash drive
(Kit Selection)
Playing back audio les from a USB ash
drive
Select a drum kit, and then play the patterns to hear its sounds.
MEMO
You can use the GROUP FADERS to adjust the volume balance and the amount of
ambience (p. 28).
By specifying the desired drum kit for each step of a 32-step chain, you can specify the
order in which you want drum kits to be recalled. This function is called “drum kit chain.”
This is convenient for a live performance, since it provides an easy way for you to specify
and then recall drum kits in the order you need to use them.
If desired, you can return the drum kits and all other settings to their factory-set state. p. 122
An individual drum kit whose instrument or eect settings you’ve edited can be returned
to the factory-set state by using the Copy function.
Select “PRESET” as the copy-source, and then select the drum kit whose settings you
want to return to the factory-set state.
You can start playback of a specied pattern by striking a pad. p. 60
Pads connected to TRIGGER INPUT jacks 14/AUX 3 and 15/AUX 4 can be used to switch
drum kits or patterns.
The following settings can be copied from user memory, preset memory, or a backup
saved on a USB ash drive.
• Drum kit (p. 49)
• Instrument (p. 63)
• Mixer (VOLUME and PAN only) (p. 66)
• Eect (AMBIENCE SECTION and MULTI EFFECTS only) (p. 79)
• Trigger bank (p. 137)
• Drum kit chain (p. 49)
You’ll need to make trigger settings if you connect an additional pad to the TD-30.
Specify the model (trigger type) of the pad you’ve connected.
You can specify the output jack from which the sound of each pad will be output.
This is called the “Output assign” function.
You can also specify that only the ambience component will be output from the MASTER
OUT jacks.
The TD-30’s preset drum kits or drum kits backed up to a USB ash drive can be played
without having to load them. This is called the “Kit selection” function.
This is a convenient way to perform without rewriting the contents of user memory.
If desired, you can also copy this data to a drum kit in user memory.
You can play back audio les that you’ve saved on a USB ash drive.
This is convenient when you want to play along with a song.
p. 118
p. 126
p. 115
p. 123
p. 89
p. 51
p. 49
–
p. 86
33
AppendicesExpansionSettingsPerformanceSetupOverview
MEMO
34
Setup
Mounting the TD-30 on the Stand
Here’s how to attach the TD-30 to a drum stand (separately sold: MDS series).
NOTE
928
When turning the unit upside down, position stacks of magazines (or other materials) under the unit in such a way that
they will support its four corners, thus preventing damage to the buttons, knobs, etc. Also, be sure to handle the unit with
care so as to avoid dropping it, or allowing it to fall or tip over.
1. Attach the sound module mounting plate (included with the sold separately drum stand) to the TD-30.
* ONLY use the screws on the bottom panel of the TD-30. Other screws may damage the unit.
Wide
Narrow
Sound module mounting plate
2. Mount the TD-30 and sound module mounting plate to the drum stand (sold separately: MDS series).
See the owner’s manual for the stand for details on assembling the drum stand and mounting the TD-30.
MEMO
The All Purpose Clamp (sold separately: APC-33) can be attached to a pipe of 10.5–28.6 mm radius in case you want to
mount the TD-30 on a cymbal stand or other such stand.
36
Connecting the Pads
Using the provided cables, connect the pads, cymbals, hi-hat, and kick trigger.
MEMO
When mounting a TD-30 on an MDS-25 or an MDS-12V drum stand, use the built-in connection cables.
Set up example
Connect the various pads to the TD-30’s TRIGGER INPUT jacks.
The names of the corresponding TRIGGER INPUT jacks on the TD-30 are enclosed with a solid line in the illustration below.
TRIGGER
OUTPUT jack
to TD-30’s
HI-HAT jack
CONTROL
OUTPUT jack
to TD-30’s
HH CTRL jack
to TD-30’s
RIDE jack
to TD-30’s
EDGE jack
BOW/BELL
BOW/EDGE
MEMO
The HI-HAT and RIDE cymbal use two cables each.
AppendicesExpansionSettingsPerformanceSetupOverview
37
Connecting the Pads
Check after making connections
Kick setting
In order to take full advantage of the TD-30’s potential, such as the kick sound’s response to playing dynamics, please
adjust the following parameters before you perform.
Parameter Explanation Page
Adjusts the kick sensitivity.
Sensitivity
Hi-hat setting
To ensure optimal hi-hat performance, please adjust the following parameters before you perform.
Parameter Explanation Page
Oset
Foot Splash Sens Adjusts how easily the foot splash can be played. p. 128
Pedal HH Volume
VOLUME
The “Sensitivity” setting is signicantly inuenced by dierences in the particular pad you’re
using, your kick pedal, and your playing style.
While you watch the TD-30’s Trigger LED indication, adjust this setting so that the red LED lights
only for the strongest hits.
This adjustment ensures that pedal movements such as open and close will be detected
correctly.
* If you’re using the VH-13, VH-12, or VH-11, you must adjust the “Oset.”
Adjusts the volume of the pedal hi-hat.
This can be adjusted individually for each drum kit.
Adjusts the volume of the hi-hat.
This can be adjusted individually for each drum kit.
p. 127
p. 128
p. 65
p. 65
38
Turning the TD-30 On/O
CAUTION
309
941
943
With the factory settings, the TD-30 will automatically be switched o 4 hours after you stop playing or operating the unit.
If you don’t want the unit to turn o automatically, change the “AUTO OFF” setting to “OFF” as described on p. 124.
NOTE
*
Once everything is properly connected (p. 24), be sure to follow the procedure below to turn on their power. If you turn on
equipment in the wrong order, you risk causing malfunction or equipment failure.
*
Before turning the unit on/o, always be sure to turn the volume down. Even with the volume turned down, you might
hear some sound when switching the unit on/o. However, this is normal and does not indicate a malfunction.
Turning the TD-30 On
1. Turn the [MASTER] and [PHONES] knobs
completely to the left to lower the volume to “0.”
2. Turn down the volume control on the connected
audio equipment.
3. On the TD-30’s rear panel, turn on the [ON] switch.
942
*
This unit is equipped with a protection circuit. A brief
interval (a few seconds) after turning the unit on is
required before it will operate normally.
4. Turn on the power to the connected audio
equipment.
5. While hitting a pad, gradually turn the [MASTER]
knob (or [PHONES] knob) to the right to adjust
the volume level.
When you turn the
appear.
In this screen you can specify whether the auto o
function (p. 124) will be enabled or disabled.
Button Explanation
[F1] (OFF) button
[F5] (4 HOURS) button
This screen will not appear if the auto o function is
turned “OFF.”
TD-30
on, the following screen will
The auto o function will be
disabled.
When four hours have elapsed
without any pad being struck or
any operation being performed,
the unit will turn o automatically.
Also adjust the volume of the connected audio device to
the appropriate level.
Turning the TD-30 o
NOTE
Settings that you edit on the TD-30 are saved when
you turn o the unit. Be sure to turn o the unit by
pressing the [ON] switch.
1. Completely turn down the volume of the TD-30
and the connected audio equipment.
2. Turn o the power to the connected audio
equipment.
3. Turn o the TD-30’s [ON] switch.
The screen will indicate “Please wait. Now saving...”, and
the unit will turn o when the settings have been saved.
945
*
If you need to turn o the power completely, rst
turn o the unit, then unplug the power cord from
the power outlet. Refer to “Power Supply” (p. 6).
AppendicesExpansionSettingsPerformanceSetupOverview
39
Adjusting the Hi-Hat and Mesh Pads
Making Hi-hat Settings
If you’re using the VH-13, VH-12, or VH-11 V-hi-hat, adjust the oset on the TD-30.
This adjustment is required for pedal movements such as open or close to be detected correctly.
* If you do not make hi-hat’s setting correctly, it may cause malfunction. For details on attaching the hi-hat to the stand, refer
to the owner’s manual of each device.
Settings for the VH-13/VH-12
1. Set the Trigger Type for hi-hat to “VH13” (or “VH12”) (p. 126).
2. In the TRIGGER HI-HAT screen (p. 128), press the [F4] (OFFSET) button.
The VH OFFSET ADJUSTMENT screen will appear.
MEMO
You can also adjust the oset by holding down the TD-30’s [KIT ] button and pressing the [TRIGGER] button.
3. Loosen the clutch screw of the top hi-hat and let it sit on the bottom hi-hat.
* Do NOT touch the hi-hats or the pedal.
4. Press the [F5] (EXECUTE) button.
The “VH Oset” parameter is set automatically (approx. 3 seconds).
The [TRIGGER] button stops ashing and remains lit.
MEMO
If you need, make further adjustments to the parameters, refer to “Hi-Hat Settings (HI-HAT)” (p. 128).
Settings for the VH-11
1. After making the hi-hat settings, release your foot from the pedal, and while keeping your foot o the pedal,
turn on the unit to the TD-30.
2. Loosen the clutch screw and let the hi-hat rest naturally on the motion sensor unit.
3. Press the [TRIGGER] button.
4. Press the [F3] (HI-HAT) button.
The TRIGGER HI-HAT screen will appear.
5. Set the Trigger Type for hi-hat to “VH11” (p. 126).
40
Adjusting the Hi-Hat and Mesh Pads
6. While reading the meter displayed on the right side of the TD-30’s screen, adjust the oset with the VH-11’s
VH oset adjustment screw.
Adjust the oset so that the appear in the meter.
MEMO
If you need, make further adjustments to the parameters, refer to “Hi-Hat Settings (HI-HAT)” (p. 128).
Adjusting Mesh Head Tension
Before playing you must adjust the mesh pad tension rst.
You can tune/adjust the head tension as you would with an acoustic drum, to get the same dynamic “feel.”
* The pad will function at it’s best if you are sure to:
• Adjust the head evenly so that it does not sag.
• Adjust the tuning bolts so that they are not loose.
1. Adjust each tuning bolt little by little, across the head as indicated in the illustration.
4
5
* Fully tightening a tuning bolt at only a single location produces uneven tensioning, and correct playing dynamics may not
be achieved. Even tuning/tensioning is very important.
6
12
3
2. Adjust the tightness of each tuning bolt so that the head is tensioned evenly.
MEMO
• Head tension will not aect the actual tuning of the sound you are playing. For that you need to adjust sound parameters
in the sound module you are using. For details, refer to “Editing an Instrument’s Settings (EDIT)” (p. 56).
• Head tension will not aect the actual tuning of the sound you are playing. For that you need to adjust sound parameters
in the sound module you are using. Also, head tension may change depending on usage. Adjust as needed.
AppendicesExpansionSettingsPerformanceSetupOverview
41
Listening to the Demo Songs
The demo songs introduce the TD-30’s sounds and expressive capability.
The drums on these songs were recorded from the TD-30 to a sequencer in realtime.
* When playing back the demo song, turn the [MASTER] and [PHONES] knobs to the left (counterclockwise) to bring the
volume level down. The sound levels (volume) of the instruments may be louder when the demo song is played back.
982
*
No data for the music that is played will be output from the MIDI OUT connector and the USB COMPUTER port.
1. Press the [CHAIN] and [TRIGGER] button simultaneously.
The DEMONSTRATION screen will appear.
2. Press the [F5] (PLAY) button or [PLAY] button.
The demo song is played.
All songs will play consecutively.
When the last song has nished playing, playback will return to the rst song and continue.
While the song plays, you can use the function buttons to mute a specic part.
Button Explanation
[F1] (DRUMS) button You can MUTE the entire drum track.
[F2] (BACKING) button * You can MUTE all the backing instruments.
* The [F2] (BACKING) button will appear only if you’ve selected a demo song that contains a backing part.
3. To stop the playback mid-way through a song, press the [F4] (STOP) or [STOP] button.
MEMO
• When you press the button, you’ll return to the beginning of the song that was playing.
• You can change the volume balance with GROUP FADERS (p. 28).
• Hold down the [SHIFT] button and press the [TEMPO] button to turn the metronome click (p. 82) on/o.
• The click sounds with the settings which you set before you enter the DEMONSTRATION screen.
4. Press the [EXIT] button to return to the DRUM KIT screen.
42
Listening to the Demo Songs
Changing the Drum Kit Used
Normally, the demo songs will be played using the drum kit recommended for each song. However, you are free to listen to
the demo songs played using a dierent drum kit.
1. In the DEMONSTRATION screen, select the kit that you want to use.
2. Use the cursor [ ] [ ] buttons, [–] [+] buttons, and dial to select a drum kit.
Parameter Value Explanation
TD-30 PRESET The TD-30’s preset drum kit
Memory
BackUp 1–999 If you selected “USB MEMORY” for “Memory,” select a backup.
Kit Select the kit that you want to use.
You can change the drum kit while the demo song is either playing or stopped.
If you switch songs, the song will play with the recommended drum kit specied for that song.
TD-20X PRESET The TD-20X’s preset drum kit
USER A drum kit in user memory
USB MEMORY A backup drum kit saved on a USB ash drive
43
AppendicesExpansionSettingsPerformanceSetupOverview
MEMO
44
Performance
Drum Kit
A “drum kit” consists of a sound selection for each pad,
together with eect settings, etc. (p. 17).
Selecting a Drum Kit
Here’s how to select a drum kit and perform.
1. Press the [KIT] button.
The [KIT] button will light, and the DRUM KIT screen will
appear.
2. Use the [–] [+] buttons or the dial to select drum
kits.
MEMO
• Footswitches or pads can be programmed to make
selections (p. 117).
• The selected or current kit number is indicated at all
times in the number display at the left of the display.
About the DRUM KIT screen
This screen is the TD-30’s main screen; it will appear
when you press the [KIT] button.
Drum kit name
Selecting a Drum Kit from the List (LIST)
You can select a drum kit by accessing the list of
available kits.
1. Press the [KIT] button.
The DRUM KIT screen will appear.
2. Press the [F1] (LIST) button.
The DRUM KIT LIST screen will appear.
Button Explanation
[F1] (
PAGE) button
[F2] (PAGE
) button
3. Use the dial, the [–] [+], or cursor buttons to
select a drum kit.
4. Press the [KIT] button to return to the DRUM KIT
screen.
The previous page of the list
appears.
The next page of the list appears.
Eect on/o status
Button Explanation
[F1] (LIST) button Displays the drum kit list.
[F2] (FUNC) button Edits settings for each drum kit.
[F3] (NAME) button
[F5] (XSTICK) button
MEMO
Regardless of which screen is displayed, you can press
the [KIT] button to access the DRUM KIT screen.
However, this will not work from the PATTERN REC
STANDBY screen or the PATTERN RECORDING screen
(p. 99).
Assigns a name to the drum kit
(p. 48).
Selects whether cross-stick
techniques can be used (p. 49).
46
Drum Kit
Making Settings for Drum Kit (FUNC)
Here’s how to adjust the drum kit’s volume and tempo.
1. Press the [KIT] button.
The DRUM KIT screen will appear.
2. Press the [F2] (FUNC) button.
3. Use the [F1]–[F5] buttons to select the setting
that you want to make.
Button Explanation
[F1] (VOLUME)
button
[F2] (TEMPO) button Species the tempo.
[F3] (BRUSH) button Species the brushes.
[F3] (PAD PTN) button
[F5] (MONITOR) button
5. Use the cursor [ ] [ ] buttons to select a
parameter.
Species the drum kit’s volume.
Turns the Pad Pattern function
on/o.
Monitors the output volume of
each jack.
Assigning a Tempo for Each Kit (TEMPO)
When you select a drum kit of which Kit Tempo is set to
“ON,” the tempo you dene here will be set automatically.
Parameter Value Explanation
Kit Tempo
Tempo 20–260 Dened tempo
MEMO
When you select a kit of which Kit Tempo is set to
“ON,” the dened tempo appears in the upper right of
the DRUM KIT screen.
OFF
ON Tempo is dened
Tempo is not dened
Switching drum kits will
not change the tempo.
6. Use the [–] [+] buttons or dial to specify the
value.
7. Press the [KIT] button to return to the DRUM KIT
screen.
Adjusting the Volume (VOLUME)
You can adjust the drum kit’s volume
Parameter Value Explanation
Kit Volume 0–127
Pedal HH
Volume
XStick Volume 0–127
0–127
Volume of the entire
drum kit
Volume of the hi-hat’s foot
closed sound
Volume of cross stick
sound
If the tempo of the individual drum kit is at a dierent
setting than the tempo of the overall TD-30, an “*” is
shown before the tempo.
AppendicesExpansionSettingsPerformanceSetupOverview
47
Drum Kit
Playing Brushes (BRUSH)
In each kit, you can choose whether sticks or brushes will
be used.
Parameter Value Explanation
Brush Switch
MEMO
When Brush Switch is set to “ON,” the brush icon
appears in the DRUM KIT screen.
OFF For using sticks
ON For using brushes
Turning the Pad Pattern Function
Naming a Drum Kit (NAME)
You can rename the currently selected kit; the maximum
is 12 characters.
1. Press the [KIT] button.
The DRUM KIT screen will appear.
2. Press the [F3] (NAME) button.
The DRUM KIT NAME screen will appear.
3. Edit the name.
For details on how to edit a name, refer to “Assigning a
Name” (p. 29).
4. Press the [KIT] button to return to the DRUM KIT
screen.
On/O (PAD PTN)
This function allows you to turning the Pad Pattern
function on/o.
For more about the Pad pattern function, refer to
“Playing a Pattern by Striking a Pad (Pad Pattern)
(PATTERN)” (p. 60).
Viewing the Output Level (MONITOR)
You can view the volume that is being output from the
MASTER OUT, PHONES, or DIRECT OUT jacks.
Use the [–] [+] buttons or the dial to choose the jacks.
48
Drum Kit
Playing Cross Stick (XSTICK)
For each kit, you can specify whether cross stick
techniques can be used.
1. Press the [KIT] button.
DRUM KIT screen will appear.
2. Press the [F5] (XSTICK) button.
Each time you press the button, cross-stick will alternate
between enabled and disabled.
Cross stick can be played
Cross stick not possible
MEMO
• When using the cross-stick technique, you can specify
the velocity at which the cross-stick sound will be
switched with the open rim shot sound. If this XStick
Threshold setting is set to “127,” only the cross-stick
sound will play every time. For more about making
this setting, refer to “Making Advanced Settings for
Rim Shots (RIM)” (p. 134).
• You can also use a foot switch or pad to enable or
disable cross-sticking (p. 117).
Copying a Drum Kit
You can copy a drum kit from preset memory or from a
USB ash drive
For user memory, you can rearrange the data by exchanging
the copy-source and copy-destination drum kits.
NOTE
When you execute the copy, the contents of the
copy-destination will be overwritten. If you want
to keep those settings, back them up to a USB ash
drive before you continue (p. 108).
1. Hold down the [SHIFT] button and press the
[USB MEM] button.
[USB MEM] button will light, and the COPY A screen will
appear.
2. Press the [F1] (KIT) button.
3. Use the [F1]–[F3] buttons to select the copy-
source.
Button Explanation
[F1] (USER) button
[F2] (PRESET) button
[F3] (USB) button
.
Copy-source
Copy-destination
Copy from user memory.
Exchanging the copy-source and
copy-destination is possible only if
the copy-source is user memory.
Copy from preset memory.
You can choose from TD-30 or TD-
20X preset data. Select this if you
want to return to the factory-set
settings.
Copy from backup data saved on a
USB ash drive.
AppendicesExpansionSettingsPerformanceSetupOverview
4. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source and copy-destination.
If you selected [F2] (PRESET) in step 3, specify whether
you’re copying from TD-30 or from TD-20X.
If you selected [F3] (USB) in step 3, select the copy-source
backup number.
49
Drum Kit
5. Press the [F4] (EXCHNG) or [F5] (COPY) button.
A conrmation message will appear.
(Example: Copying a user memory drum kit)
If you selected [F1] (USER) in step 3, you can exchange
the copy-source and copy-destination by pressing the
[F4] (EXCHNG) button.
Press the [F5] (COPY) button to execute the copy.
If you decide to cancel the copy or exchange, press the
[F1] (CANCEL) button.
6. Press the [F5] (EXECUTE) button.
The drum kit will copied.
Copying Fifty Drum Kits at a Time
You can copy fty drum kits in a single operation.
Proceed as described in “Copying a drum kit,” but change
steps 2 as follows.
In step 2, choose [F4] (50 KITS).
5. Press the [F4] (IMPORT) button.
The COPY KIT (IMPORT) screen will appear.
6. Press the [F1] (TD-20) button or the [F2] (TD-20X)
button to specify the type of backup data.
Button Explanation
[F1] (TD-20) button TD-20 backup data will be copied.
[F2] (TD-20X) button
(Example: When [F1] (TD-20X) is selected)
TD-20X or TDW-20 backup data will
be copied.
7. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source and copy-destination.
Copy-source
Copying TD-20/TD-20X Drum Kits
Here's how to copy a kit from TD-20, TD-20X, or TDW-20
backup data.
1. Find the backup data that you want to copy, and
copy it to your USB ash drive (p. 110).
2. Connect your USB ash drive to the TD-30’s USB
MEMORY port (p. 85).
3. Hold down the [SHIFT] button and press the
[USB MEM] button.
[USB MEM] button will light, and the COPY A screen will
appear.
4. Press the [F5] (A B C) button twice to access the
COPY C screen.
50
Copy-destination
8. Press the [F5] (COPY) button.
A conrmation message will appear.
If you decide to cancel, press the [F1] (CANCEL) button.
9. Press the [F5] (EXECUTE) button.
The kit data will be copied from the USB ash drive.
Specifying the Order in Which Drum Kits will be Recalled (CHAIN)
“Drum kit chain” allows you to step through the drum
kits of your choice and in the order you want. The TD-30
lets you create and store 16 dierent chains of up to 32
steps each.
You can specify the order in which you’ll be using drum
kits in your live performance; this makes it easy for you to
step through them as desired.
Chain 1
Step 32Step 2Step 1
Drum kit
23
Step 32Step 2Step 1
Drum kit
5
Chain 2
Drum kit
7
Drum kit
1
Drum kit
13
Drum kit
14
2. Press the [F3] (C EDIT) button.
CHAIN EDIT screen will appear.
Chain number Steps
Button Explanation
A step with the same kit is inserted
at the cursor position, and steps
after this point are moved back
[F1] (INSERT) button
[F2] (DELETE) button
one place.
Step at the cursor position is
deleted, and steps after this point
are moved forward one place.
Drum Kit
Chain 16
Drum kit
3
Drum kit
8
Step 32Step 2Step 1
Drum kit
Creating a Drum Kit Chain
1. Press the [CHAIN] button to switch drum kit
chain on.
The [CHAIN] button will light, and the DRUM KIT CHAIN
screen will appear.
Button Explanation
[F1] (
CHAIN#) button
[F2] (CHAIN#
[F3] (C EDIT) button
) button
Select a drum kit chain.
Create, edit, or rename a drum kit
chain.
[F5] (NAME) button You can name a drum kit chain.
3. Use the dial, [–] [+] buttons, and cursor buttons
11
to edit the drum kit chain.
Use the [–] [+] buttons
or dial to select the
chain number.
Use the cursor [ ] [ ]
buttons to select a step.
Use the [–] [+] buttons or
dial to select a drum kit.
4. Press the [KIT] button to return to the DRUM KIT
CHAIN screen.
AppendicesExpansionSettingsPerformanceSetupOverview
51
Drum Kit
Naming a Drum Kit Chain (NAME)
Each chain’s name can use up to 12 characters.
1. Select the drum kit chain you want to name in the
DRUM KIT CHAIN screen.
2. Press the [F3] (C EDIT) button.
3. Press the [F5] (NAME) button.
CHAIN NAME screen will appear.
4. Edit the name.
For details on how to edit a name, refer to “Assigning a
Name” (p. 29).
5. Press the [EXIT] button to return to the DRUM
KIT CHAIN screen.
Using a Drum Kit Chain
Here’s how to select a drum kit chain you’ve created, and
step through the drum kits in the order you want to use
them.
Switching drum kits
1. Use the [–] [+] buttons or the dial to recall the
drum kits in the step order you specied.
2. When you’ve nished performing, press the
[CHAIN] button to make it go dark, or press the
[EXIT] button.
The drum kit chain function will turn o.
MEMO
• You can assign a footswitch or pad to recall a drum kit
chain or a drum kit. For details, refer to “Assigning a
Function to a Footswitch or Pad (CONTROL)” (p. 117).
• If dierences in volume levels between kits is a
problem, press the [MIXER] button and adjust “Kit
Volume” (the overall kit volume (p. 65)).
Copying a Drum Kit Chain
You can copy a drum kit chain from preset memory or
from a USB ash drive.
For user memory, you can rearrange the data by
exchanging the copy-source and copy-destination drum
kit chains.
NOTE
When you execute the copy, the contents of the
copy-destination will be overwritten. If you want
to keep those settings, back them up to a USB ash
drive before you continue (p. 108).
Selecting a drum kit chain
1. Press the [CHAIN] button to make it light.
The drum kit chain function will turn on.
2. Press the [F1] ( CHAIN#) button or [F2] (CHAIN#
) buttons to select the chain number that you
want to use.
52
1. Hold down the [SHIFT] button and press the
[USB MEM] button.
[USB MEM] button will light, and the COPY A screen will
appear.
2. Press the [F5] (A B C) button twice to access the
COPY C screen.
3. Press the [F2] (CHAIN) button.
Copy-source
Copy-destination
4. Use the [F1]–[F3] buttons to select the copy-
source.
Button Explanation
Copy from user memory.
[F1] (USER) button
Exchanging the copy-source and
copy-destination is possible only if
the copy-source is user memory.
Copy from preset memory.
Drum Kit
[F2] (PRESET) button
[F5] (USB) button
MEMO
All drum kit chains in preset
memory are empty.
Copy from backup data saved on a
USB ash drive
5. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source and copy-destination.
If you selected [F3] (USB) in step 4, select the copy-source
backup number.
6. Press the [F4] (EXCHNG) or [F5] (COPY) button.
A conrmation message will appear.
(Example: Copying a user memory drum kit chain)
If you selected [F1] (USER) in step 4, you can exchange
the copy-source and copy-destination by pressing the
[F4] (EXCHNG) button.
Press the [F5] (COPY) button to execute the copy.
If you decide to cancel the copy or exchange, press the
[F1] (CANCEL) button.
7. Press the [F5] (EXECUTE) button.
The drum kit chain will be copied.
AppendicesExpansionSettingsPerformanceSetupOverview
53
Instrument
Here’s how to select and edit sounds, such as the snare
drum and kick drum.
Selecting an Instrument
All the TD-30 sounds are referred to as “instruments
(INST).”
1. Press the [INST] button.
The [INST] button will light, and the INST screen will
appear.
Type of instrument (Instrument group)
Selecting an Instrument from the List (LIST)
Here you can select from the list of all available
instruments.
1. Press the [INST] button.
2. Press the [F1] (LIST) button.
INST LIST screen will appear.
Name of instrument
The “V-EDIT” icon is shown in edit screens that allow
V-EDIT (p. 56).
Button Explanation
[F1] (LIST) button Displays the instrument list.
[F2] (EDIT) button Edits instrument settings (p. 56).
Lets you use the pads and pedal
[F3] (CONTROL) button
[F4] (DEFAULT) button
[F5] (H&R) button
as controllers (p. 60). You can use the
pads to play patterns, or make MIDI
settings for the pads and pedal.
Returns the instrument’s settings
to typical values (p. 62).
Switches between selecting the
head and rim instruments as a set,
or selecting them independently.
2. Select the pad that you want to edit.
Strike the desired pad, or use the TRIG SELECT buttons
to select it.
The edit screen for the selected pad will appear.
3. Use the cursor [ ] [ ] buttons to move the
cursor to “Group” or “Inst.”
4. Use the [–] [+] buttons or the dial to select the
instrument group/instrument.
Button Explanation
CATEG) button
[F1] (
[F2] (CATEG
[F1] (
[F2] (GROUP
[F5] (H & R) button
) button
GROUP) button
) button
Selects the instrument category.
Selects the instrument group.
Switches to select the head and
rim instruments simultaneously
(on) or individually (o).
3. Select the pad that you want to edit.
Strike the desired pad, or use the TRIG SELECT buttons
to select it.
The INST LIST screen for the selected pad will appear.
4. Use the dial, the [–] [+], or cursor buttons to
select the instrument.
5. Press the [EXIT] button to return to the INST
screen.
5. Press the [KIT] button to return to the DRUM KIT
screen.
54
The indication below the
instrument name
If you turn the [F5] (H&R) button o, the following
information will be shown below the instrument
name. You’ll be able to obtain the eects that are
shown.
Display Explanation
The tone will change according
to the striking position. For a
rim sound, the tone will change
depending on the depth at which
POSI
INTRVL
XSTK
the stick strikes the rim.
Use the Position Ctrl setting to turn
this eect on/o. You can specify
this only for specic trigger inputs
(p. 61).
Smoothes the interval between
notes according to the performance technique used, such as a
roll or am.
If the cross-stick switch is on (p. 49),
you’ll be able to play rim shots and
cross-stick separately.
Instrument
Choose with the TRIG SELECT buttons
1. Press the [INST] button.
The [INST] button will light, and the INST screen will
appear.
2. Press the [1] or [15] button to select the pad (the
trigger input number).
The trigger input number is indicated in the upper part
of the screen.
3. Press the [RIM] button to select the head or rim.
[RIM] button Explanation
Unlit Head is selected.
Lit Rim is selected.
MEMO
When MIDI note number corresponding to a pad is
received, the pad is selected and shown in the screen.
Lock the Pad You Are Editing
Choosing a Pad to Edit
There are two basic ways to select the pad you want to
edit.
Choose by hitting a pad
1. Press the [INST] button.
The [INST] button will light, and the INST screen will
appear.
2. Strike a pad.
The settings screen for the struck pad appears.
To select a pad’s rim, strike the rim.
(Trigger Lock)
If you want to hear your editing in the context of your
performance, you can prevent the edited pad from being
switched when you play.
1. Select the pad to be locked.
The settings screen for the pad appears.
2. Press the [LOCK] button to make it light.
The pad is locked and other pads cannot be selected.
3. To release the lock, press the [LOCK] button to
make it go o.
MEMO
You can change the pad to be edited by pressing
the TRIG SELECT [1] or [15] button even if the [LOCK]
button is lit.
AppendicesExpansionSettingsPerformanceSetupOverview
55
Instrument
Editing an Instrument’s Settings (EDIT)
Here’s how to edit the settings of an instrument.
The procedure will dier depending on the type of
instrument.
Editing Acoustic Drum Sounds (V-EDIT)
What is V-EDIT?
This is a function that allows you to simulate the tonal
changes produced by dierences in the material, shape,
and size of an instrument. By choosing and tuning a
favorite head, or attaching muing (a mute), you can
create your sound in an intuitive way just as when
adjusting an acoustic drum.
When V-EDIT can be used
V-EDIT is possible in the following instrument groups
“KICK,” “SNARE,” “TOM,” “HI-HAT,” “CRASH,” “SPLASH,”
“CHINA,” “STACKED CYMBAL,” or “RIDE.”
The following icon appears to indicate instruments
which are V-EDIT compatible.
Editing Other Instruments
You can edit instrument’s settings such as the “Pitch,”
“Decay Time,” and “Dynamic Pitch Bend” (p. 59).
Editing Procedure
1. Press the [INST] button.
2. Press the [F2] (EDIT) button.
INST EDIT screen will appear.
3. Select the pad that you want to edit.
Strike the desired pad, or use the TRIG SELECT buttons
to select it.
The edit screen for the selected pad will appear.
4. Use the [F1]–[F4] and cursor [ ] [ ] buttons to
select the parameter.
5. Use the [–] [+] buttons or the dial to adjust the
setting.
6. When nished, press the [EXIT] button to return
to the INST screen.
MEMO
• You can return the settings of the currently selected
instrument to their standard values.
Press the [F4] button in the INST screen, or hold
down the [SHIFT] button in the INST EDIT screen;
a conrmation message will appear. Press the [F5]
(EXECUTE) button to return the instrument settings
to the standard values for that instrument.
• You can edit the head and rim instruments as a
pair. Each time you press the [F5] (H&R) button, you
will alternate between editing the head and rim
simultaneously or separately. However if instruments
from dierent instrument groups are selected for the
head and the rim, they will be edited separately even
if you’ve turned on the [F5] (H&R) button. This setting
is shown by the “HEAD” and “RIM” icons in the upper
left of the screen.
* For some instruments, raising or lowering the value
beyond a certain point may not produce further
change.
• KICK/SNARE/TOM: “Head Tuning”
• CRASH/SPLASH/CHINA/STACKED CYMBAL/RIDE:
“Sustain”
• Other Instruments: “Pitch,” “Decay Time,” and
“Dynamic Pitch Bend.”
56
Instrument
The edit screens for each pad
(INST EDIT screen)
KICK
Parameter Value Explanation
[F1] (SHELL) button
Shell Depth
Beater Type
[F2] (HEAD) button
Head Type
Head Tuning -480–+480 Tuning of the head
[F3] (MUFFLE) button
Muing
Snare Buzz OFF, 1–8 Resonance to the snare
[F4] (MIC/RES) button
Mic Position
Mic Size NORMAL, LARGE
Kit Resonance OFF, 1–8
NORMAL,
DEEP1–2
FELT, WOOD,
PLASTIC
CLEAR, COATED,
PINSTRIPE
OFF, TAPE1–2,
BLANKET, WEIGHT
OUTSIDE4–1,
STANDARD,
INSIDE1–4
Depth of the shell
Type of beater
Type of head
Muing (muting) setting
Tonal change caused by
microphone position
Emphasizes the
low-frequency portion of
the attack
Amount of resonance for
the entire drum kit
SNARE
Parameter Value Explanation
[F1] (SHELL) button
Material
Shell Depth 1.0"–20.0" Depth of the shell
[F2] (HEAD) button
Head Type
Head Tuning -480–+480 Tuning of the head
[F3] (MUFFLE) button
Muing
Strainer Adj.
[F4] (MIC/ADD) button
Mic Position
Add Rim
Sound
Level -3–+3
* For some instruments, Material, Strainer Adj., and
Head Type cannot be edited.
* PINSTRIPE is a registered trademark of Remo Inc.,
U.S.A.
MEMO
You can assign the footswitch or a pad to turn o
the snare’s strainer (Strainer Adj. = OFF). Please refer
to “Assigning a Function to a Footswitch or Pad
(CONTROL)” (p. 117).
WOOD, STEEL,
BRASS
CLEAR, COATED,
PINSTRIPE
OFF, TAPE1–2,
DOUGHNUTS1–2
OFF, LOOSE,
MEDIUM, TIGHT
OUTSIDE4–1,
STANDARD,
INSIDE1–4
OFF, TAMB,
909 CLAPS,
GATE HIT
Material of the shell
Type of head
Muing (muting) setting
Tension of the strainer
(resonating cords)
Tonal change caused by
microphone position
Sound added to the rim
shot sound
If this is “OFF,” only the rim
shot sound will be heard.
Adjusts the volume balance of the sound added
by “Add Rim Sound.”
57
AppendicesExpansionSettingsPerformanceSetupOverview
Instrument
TOM
Parameter Value Explanation
[F1] (SHELL) button
Shell Depth
[F2] (HEAD) button
Head Type
Head Tuning -480–+480 Tuning of the head
[F3] (MUFFLE) button
Muing
Snare Buzz OFF, 1–8 Resonance to the snare
[F4] (MIC) button
Mic Position
NORMAL,
DEEP1–2
CLEAR, COATED,
PINSTRIPE
OFF, TAPE1–2,
FELT1–2
OUTSIDE4–1,
STANDARD,
INSIDE1–4
Depth of the shell
Type of head
Muing (muting) setting
Tonal change caused by
microphone position
HI-HAT
Parameter Value Explanation
[F1] (SIZE) button
Size 1"–40" Hi-hat diameter
[F2] (ADD) button
Add Sound
Level -3–+3
[F3] (FIXED) button
Fixed Hi-Hat
[F4] (MIC) button
Mic Position
OFF, TAMBOURINE,
CABASA,
COWBELL
NORMAL
FIXED1–4
OUTSIDE2–1,
STANDARD,
INSIDE1–2
Allows you to add
tambourine, cabasa, or
cowbell to the hi-hat. The
percussion groove will be
added to the hi-hat.
Adjusts the volume
balance of the added
sound.
The openness will be
controlled by the pedal.
The openness will be
xed.
Tonal change caused by
microphone position
* For some instruments, Mic Position cannot be edited.
MEMO
The closed hi-hat position (Fixed Hi-Hat = FIXED2)
can be enabled by pressing an optional footswitch
or hitting a pad switch. Please refer to “Assigning a
Function to a Footswitch or Pad (CONTROL)” (p. 117).
58
Instrument
CRASH, SPLASH, CHINA, STACKED CYMBAL,
RIDE
Parameter Value Explanation
[F1] (SIZE) button
Size 1"–40" Cymbal diameter
[F2] (SIZZLE) button
Sizzle Type
Sizzle Amount -3–+3 Amount of sizzle
[F3] (SUSTAIN) button
Sustain -31–+31 Length of sustain
[F4] (MIC) button
Mic Position
OFF, RIVET, CHAIN,
BEADS
OUTSIDE2–1,
STANDARD,
INSIDE1–2
Type of sizzle
Tonal change caused by
microphone position
Instruments for which V-EDIT is not
available
Electronic instruments (Dynamic pitch bend)
This function can be used with electronic instruments.
The following settings will be available if you’ve selected
certain instruments from the “SNARE ELEC,” “KICK ELEC,”
or “TOM ELEC” instrument groups.
If “Dynamic pitch bend” is on, you’ll be able to change
the pitch by varying the force (velocity) with which you
strike the pad.
Parameter Value Explanation
[F1] (PITCH) button
Basic Pitch -480–+480 Pitch
Dynamic
Bend
Bend Depth -24–+24
Bend Time -31–+31
[F2] (DECAY) button
Decay Time -31–+31 Length of the decay
OFF, ON
Turns dynamic pitch bend
on/o
Amount of pitch change
controlled by velocity
Time over which currently
controlled pitch change will
occur
* Depending on the “Basic Pitch” setting of the
instrument, there may be cases in which raising (or
lowering) a value does not produce further change.
Other instruments
Parameter Value Explanation
Pitch -480–+480 Pitch
Decay Time -31–+31
Duration of the sound
AppendicesExpansionSettingsPerformanceSetupOverview
(decay time)
59
Instrument
Using the Pads to Control the Pattern or Sound (CONTROL)
Lets you use a pad or pedal to play a pattern or modify
the sound.
1. Press the [INST] button.
2. Press the [F3] (CONTROL) button.
3. Select the pad that you want to edit.
Strike the desired pad, or use the TRIG SELECT buttons
to select it.
The edit screen for the selected pad will appear.
4. Press the [F1]–[F5] and cursor [ ] [ ] buttons to
select the parameter.
5. Use the [F1]–[F5] buttons to select the setting
that you want to make.
Button Explanation
[F1] (PATTERN) button
[F2] (PDLBEND) button
[F3] (POSI) button
[F5] (MIDI) button Lets you make MIDI settings.
6. Use the [–] [+] buttons or the dial to adjust
settings.
7. When nished, press the [EXIT] button to return
to the INST screen.
Playing a Pattern by Striking a Pad (Pad Pattern) (PATTERN)
The Pad Pattern function starts playback of a pattern
when a pad is struck. This function provides a
very convenient way to use patterns during a live
performance.
If dierent patterns have been assigned to two or more
pads, striking another pad while a pattern is playing
back will cause pattern playback to switch to the newly
selected pattern.
Lets you play a pattern by striking
a pad.
Species the amount of pitch
change that will be controlled by
the depth to which you press the
hi-hat pedal.
Enables/disables tonal changes
controlled by the strike position.
* The performance of a pattern played back by the
pad pattern function cannot be recorded into the
sequencer.
Parameter Value Explanation
PadPtn
Master Sw
Pad Ptn
Pad Ptn
Velocity
Tap Ptn Mute
Grp
MEMO
For more about patterns, refer to “Pattern Sequencer”
(p. 89).
OFF, ON
OFF, P1–P100,
U101–U200
OFF
ON
OFF, 1–8
Species whether the
Pad Pattern function will
be used (ON) or not used
(OFF).
Selects the played back
pattern when the pad is
struck.
If all pads are set to “OFF,”
icon appears.
The pattern plays back
at the velocity set for the
pattern, regardless of the
strength with which the
pad is struck.
The pattern plays back
with the velocity changing
in response to the
strength with which the
pad is struck.
This setting is enabled
only if a pattern whose
Play Type is “TAP” (p. 98) is
assigned to multiple pads.
If one sound (pattern)
is set to play before the
previous sound (pattern)
has nished playing, this
setting allows you to
either have the previous
sound stop and the
subsequent sound start
playing or have the two
sounds layered.
• Patterns set to the same
number
The previous sound
stops while in progress,
and the subsequent
sound (pattern) starts
playing.
• Patterns set to the
dierent numbers
The previous sound
continues to play to the
end, while the subsequent
sound (pattern) is
superimposed on it.
60
Instrument
Using the Hi-Hat Pedal to Change an Instrument’s Pitch (PDLBEND)
Parameter Value Explanation
Species the amount of
pitch change produced by
Pedal Bend
Range
-24–0–+24
the hi-hat pedal.
You can set this for
each pad (head and rim
separately) in semitone
units.
Enabling/Disabling Tonal Change Controlled by Strike Position or Rim Shot Nuance (POSI)
You can enable or disable tonal changes produced by
varying the strike position or the nuance of your rim
shots.
You can set this for the snare (head, rim), tom (rim), ride
(bow), and AUX (rim) trigger inputs.
Parameter Value Explanation
Each of these settings
enables (ON) or disables
(OFF) tonal change
controlled by the
respective strike position
or rim shot nuance.
SNARE (Head):
Position Ctrl OFF, ON
Strike position
SNARE (Rim):
Rim shot nuance
TOM (Rim):
Rim shot nuance
RIDE (Bow):
Strike position
AUX (Rim):
Rim shot nuance
Making MIDI Settings for Each Pad (MIDI)
MIDI settings for each pad
Parameter Value Explanation
0 (C -)–127 (G 9)
Note No.
OFF
CH1–CH16
Tx Channel
GLOBAL
Gate Time 0.1–8.0 s
MIDI note numbers transmitted by the hi-hat
Parameter Explanation
Note No. (Open)
Note No. (Closed)
Note No. (Pedal)
MIDI note numbers transmitted by the snare
Parameter Explanation
Note No.
Note No. (Brush)
Note No. (XStick)
.
Transmitted MIDI note
number
Note messages are not
transmitted.
MIDI transmit channel for
each pad.
Transmits on the same
channel as the drum kit
part (p. 141).
Duration of the note
sent from each pad (See
the text box “About gate
time”)
MIDI note number transmitted by
open hi-hat
MIDI note number transmitted by
closed hi-hat
MIDI note number transmitted by
pedal hi-hat (Foot closed)
MIDI note number transmitted by
head shot and rim shot
MIDI note number transmitted by
brush sweep
MIDI note number transmitted by
cross stick
AppendicesExpansionSettingsPerformanceSetupOverview
61
Instrument
When setting multiple pads to the same note
number
When the note number is set to be more than one pad,
the instrument assigned to the pad with the lowest
trigger input number is played. When note numbers for
the head and rim are duplicated, the head instrument is
played.
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 2 SNARE and the head of trigger input
3 TOM 1. In this case, when note number 38 (D2) is
received, the instrument assigned to the head of trigger
input 2 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 generalpurpose sound modules or samplers do receive
the note-o messages that are transmitted and
respond by turning o the sound.
For example, if you are triggering a “loop” in a
sampler, or other sounds then the gate time
parameter is very important. With the factory
defaults (preset values), the transmitted gate time
is set to the minimum value.
Setting an instrument to the Default Values (DEFAULT)
Here’s how to set an instrument’s V-EDIT settings to their
default values.
NOTE
If you edit the settings, the original instrument
settings will be lost.
If you want to keep those settings, back them up to a
USB ash drive before you continue (
1. Press the [INST] button.
2. Select the pad that you want to set to its default
settings.
Strike the desired pad, or use the TRIG SELECT buttons
to select it.
The edit screen for the selected pad will appear.
3. Press the [F4] (DEFAULT) button.
A conrmation message will appear.
If you decide to cancel the operation, press the [F1]
(CANCEL) button.
p. 108
).
62
4. Press the [F5] (EXECUTE) button.
The instrument will be set to its default settings.
MEMO
In the INST EDIT screen, you can also set an
instrument to its default values by holding down the
[SHIFT] button and pressing the [F4] button.
Copying an Instrument
You can copy an instrument from preset memory or from
a USB ash drive.
When copying an instrument, you can choose whether
to include the Pad Compressor and Pad EQ settings (p. 68).
For user memory, you can rearrange the data by
exchanging the copy-source and copy-destination
instruments.
NOTE
When you execute the copy, the contents of the
copy-destination will be overwritten. If you want
to keep those settings, back them up to a USB ash
drive before you continue (p. 108).
1. Hold down the [SHIFT] button and press the
[USB MEM] button.
[USB MEM] button will light, and the COPY A screen will
appear.
Instrument
4. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source and copy-destination.
If you selected [F2] (PRESET) in step 3, specify whether
you’re copying from TD-30 or from TD-20X.
If you selected [F3] (USB) in step 3, select the copy-source
backup number.
5. Use the cursor buttons, [–] [+] buttons, and dial
to select the copied content (Copy Target).
Value Explanation
The pad’s instrument settings
with Pad Comp/EQ
Inst/VEdit Only
Pad Comp/EQ Only
6. Press the [F4] (EXCHNG) button or [F5] (COPY)
button.
A conrmation message will appear.
(Example: Copying an instrument from a USB ash drive)
(Instrument, V-Edit), Pad Compressor, and Pad EQ settings (p. 68) will
be copied.
Only the pad’s instrument settings
(Instrument, V-Edit) will be copied.
Only the Pad Compressor and Pad
EQ settings (p. 68) will be copied.
2. Press the [F2] (INST) button.
Copy-source
Copy-destination
3. Use the [F1]–[F3] buttons to select the copy-
source.
Button Explanation
Copy from user memory.
[F1] (USER) button
[F2] (PRESET) button
[F3] (USB) button
Exchanging the copy-source and
copy-destination is possible only if
the copy-source is user memory.
Copy from preset memory.
You can choose from TD-30 or TD-
20X preset data. Select this if you
want to return to the factory-set
settings.
Copy from backup data saved on a
USB ash drive.
If you selected [F1] (USER) in step 3, you can exchange
the copy-source and copy-destination by pressing the
[F4] (EXCHNG) button.
Press the [F5] (COPY) button to execute the copy.
If you decide to cancel the copy or exchange, press the
[F1] (CANCEL) button.
7. Press the [F5] (EXECUTE) button.
The instrument will copied.
AppendicesExpansionSettingsPerformanceSetupOverview
63
Instrument
Copying a Set of Multiple Instruments
You can copy multiple instruments to another drum kit
in a single operation.
NOTE
When you execute the copy, the contents of the
copy-destination will be overwritten. If you want
to keep those settings, back them up to a USB ash
drive before you continue (p. 108).
1. Hold down the [SHIFT] button and press the
[USB MEM] button.
[USB MEM] button will light, and the COPY A screen will
appear.
2. Press the [F3] (INST SET) button.
Copy-source Instrument set to copy
4. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source, copy-destination, or
Instrument set.
If you selected [F2] (PRESET) in step 3, specify whether
you’re copying from TD-30 or from TD-20X.
If you selected [F3] (USB) in step 3, select the copy-source
backup number.
The instrument set to copy can be selected from the
following.
Value Explanation
KICK/SNR Copy Kick and Snare.
TOMS 1–4 Copy Tom 1, 2, 3, and 4.
CYM SET
AUX 1–4 Copy AUX 1, 2, 3, and 4.
Copy Hi-Hat, Crash 1, 2, Ride, and
Edge.
5. Use the cursor buttons, [–] [+] buttons, and dial
to select the copied content (Copy Target).
Value Explanation
The pad’s instrument settings
with Pad Comp/EQ
Inst/VEdit Only
Pad Comp/EQ Only
(Instrument, V-Edit), Pad Compressor, and Pad EQ settings (p. 68) will
be copied.
Only the pad’s instrument settings
(Instrument, V-Edit) will be copied.
Only the Pad Compressor and Pad
EQ settings (p. 68) will be copied.
Copy-destination
3. Use the [F1]–[F3] buttons to select the copy-
source.
Button Explanation
Copy from user memory.
[F1] (USER) button
[F2] (PRESET) button
[F3] (USB) button
64
Exchanging the copy-source and
copy-destination is possible only if
the copy-source is user memory.
Copy from preset memory.
You can choose from TD-30 or TD-
20X preset data. Select this if you
want to return to the factory-set
settings.
Copy from backup data saved on a
USB ash drive.
6. Press the [F4] (EXCHNG) button or [F5] (COPY)
button.
A conrmation message will appear.
(Example: Copying an instrument from a USB ash drive)
If you selected [F1] (USER) in step 3, you can exchange
the copy-source and copy-destination by pressing the
[F4] (EXCHNG) button.
Press the [F5] (COPY) button to execute the copy.
If you decide to cancel the copy or exchange, press the
[F1] (CANCEL) button.
7. Press the [F5] (EXECUTE) button.
The instrument will copied.
Mixer
For each drum kit, settings such as the volume and pan
(stereo position) of each pad can be stored together.
Settings such as volume and pan are made in the “mixer.”
Setting the Volume and Pan of Each Pad
Here’s how to set the volume or pan on an individual pad
basis.
1. Press the [MIXER] button.
The [MIXER] button will light.
2. Use the [F1]–[F4] buttons to select the
parameter.
3. Select the pad that you want to edit.
Strike the pad, or use the TRIG SELECT buttons to select
it.
You can also use the cursor [
pad.
] [ ] buttons to select a
MEMO
Pressing the [F5] (H & R) button in the [F1] (VOLUME),
[F2] (PAN), or [F3] (MIN VOL) setting screen, you can
choose to set the head and rim simultaneously or
individually.
5. Press the [EXIT] button to return to the DRUM
KIT screen.
Editing with the faders (MIX EDIT)
You can use the faders to adjust the volume and
minimum volume of each pad.
1. In the mixer’s VOLUME screen or
MINIMUM VOLUME screen, hold down
the [SHIFT] button and press the [MIXER]
button.
The [MIXER] button will light.
2. Move the fader which corresponds to the
pad you wish to adjust.
4. Use the dial, the [–] [+], or cursor [ ] [ ] buttons
to make the setting.
Parameter Value Explanation
[F1] (VOLUME) button
VOLUME 0–127 Volume of each pad
[F2] (PAN) button
PAN L15–CTR–R15 Pan of each pad
[F3] (MIN VOL) button
Minimum volume of each
pad
This allows you to increase
the volume of the weakest
MINIMUM
VOLUME
[F4] (KIT VOL) button
Kit Volume 0–127
Pedal HH
Volume
XStick Volume 0–127
0–15
0–127
strike while maintaining
the volume of the
strongest strike. You can
use this to make a snare’s
“ghost notes” or cymbal
legato strikes more easily
audible.
Volume of the entire
drum kit
Volume of the hi-hat’s
sound
Volume of cross stick
sound
Display Fader Display Fader
K KICK C
S SNARE C
1
2 E
TOMS
3 A
4 A
H HI-HAT A
MEMO
These settings are always common to the
head and rim.
CRASH
R
RIDE
AUX
A
3. Press the [EXIT] button to return to the
previous screen.
* After pressing the [EXIT] or [FADER] button,
the values for the GROUP FADERS faders may
not reect the actual volume of the sound
assigned to that fader. Be sure to move the
faders a bit before making your setting.
AppendicesExpansionSettingsPerformanceSetupOverview
65
Mixer
Copying Mixer Settings
The drum kit mixer’s VOLUME (volume of each pad) and
PAN (stereo position of each pad) settings can be copied
to another drum kit in a single operation. You can also
copy from a drum kit in preset memory or a USB ash
drive.
If you’re copying from user memory, you can exchange
the copy-source and copy-destination settings.
NOTE
When you execute the copy, the contents of the
copy-destination will be overwritten. If you want
to keep those settings, back them up to a USB ash
drive before you continue (p. 108).
5. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source and copy-destination.
If you selected [F2] (PRESET) in step 4, specify whether
you’re copying from TD-30 or from TD-20X.
If you selected [F3] (USB) in step 4, select the copy-source
backup number.
6. Press the [F4] (EXCHNG) or [F5] (COPY) button.
A conrmation message will appear.
(Example: Copying a user memory mixer settings)
1. Hold down the [SHIFT] button and press the
[USB MEM] button.
[USB MEM] button will light, and the COPY A screen will
appear.
2. Press the [F5] (A B C) button to access the
COPY B screen.
3. Press the [F1] (VOLUME) or [F2] (PAN) button to
select the settings that you want to copy.
(Example: When [F1] (VOLUME) is selected)
4. Use the [F1]–[F3] buttons to select the copy-
source.
Button Explanation
Copy from user memory.
[F1] (USER) button
[F2] (PRESET) button
[F3] (USB) button
Exchanging the copy-source and
copy-destination is possible only if
the copy-source is user memory.
Copy from preset memory.
You can choose from TD-30 or TD-
20X preset data. Select this if you
want to return to the factory-set
settings
Copy from backup data saved on a
USB ash drive
If you selected [F1] (USER) in step 4, you can exchange
the copy-source and copy-destination by pressing the
[F4] (EXCHNG) button.
Press the [F5] (COPY) button to execute the copy.
If you decide to cancel the copy or exchange, press the
[F1] (CANCEL) button.
7. [F5] (EXECUTE) button.
The mixer settings will be copied.
66
Eects
The TD-30 provides the following eects, and allows you
to make detailed settings for each eect.
Turning Eects On/O
Eect Explanation
PAD COMPRESSOR/
PAD EQ
AMBIENCE SECTION
MULTI EFFECTS
MASTER COMPRESSOR/
MASTER EQ
MEMO
See also the section “Eects” (p. 18) in “Overview of the
TD-30.”
These are a compressor and
equalizer that can be specied for
each pad (p. 68).
This simulates the acoustics or
reverberation of the location in
which you’re playing the drums.
These settings are made for each
drum kit; you can specify the
amount of the eect that will be
applied to each instrument (p. 69).
Here you can choose one of 21
dierent eects.
These settings are made for each
drum kit; you can specify the
amount of the eect that will be
applied to each instrument (p. 71).
These are a compressor and equalizer that are applied to the nal
output of the sound. These settings
apply to each drum kit (p. 78).
These switches allow you to turn the eects on/o within
each drum kit.
1. Hold down the [SHIFT] button and press the
[MASTER COMP] button.
The [MASTER COMP] button will light, EFFECTS SWITCH
screen will appear.
2. Press the function buttons to turn the following
on/o.
Button Explanation
[F1] button Turns the pad compressor on/o.
[F2] button Turns the pad equalizer on/o.
[F3] button Turns the ambience section on/o.
[F4] button Turns the multi-eects on/o.
[F5] button
Turns the master compressor/
master EQ on/o.
3. Press the [KIT] button to return to the DRUM KIT
screen.
The on/o status of each eect is shown in the DRUM KIT
screen.
Eect on/o status
Example: EQ setting
: On
: O
AppendicesExpansionSettingsPerformanceSetupOverview
67
Eects
Adjusting Volume Change and Tone (PAD COMPRESSOR/PAD EQ)
Here’s how to adjust the volume change (pad
compressor) and tone (pad equalizer) for each pad.
1. Press the [COMP/EQ] button.
The [COMP/EQ] button will light.
2. Select the pad that you want to edit.
Strike the desired pad, or use the TRIG SELECT buttons
to select it.
3. Use the [F2] (COMP), [F3] (EQ), or cursor buttons
to select the parameter.
Button Explanation
[F2] (COMP) button Adjusts the pad compressor.
[F3] (EQ) button Adjusts the pad equalizer.
[F5] (H&R) button
4. Use the [–] [+] buttons or the dial to adjust the
setting.
* The sound may be distorted in a certain setting.
5. Press the [F1] or [F4] buttons to turn each eect
on/o.
You can choose to set the head and
rim simultaneously or individually.
Adjusting the Volume Change (COMP)
A compressor adjusts the envelope (changes in the
volume over time) and changes the character of the
sound in response to playing dynamics.
Parameter Value Explanation
EMPHASIS
Attack
CRUSH
COMP SOFT 1–2,
Type
Time
For more detailed setting, adjust the parameters below.
COMP MED,
COMP HARD,
LIMITER,
EXPANDER
KICK 1–3,
SNARE1–3,
TOM 1–3,
CYM 1–2,
OTHER1–3
The “Time” setting will
be set to emphasize the
attack.
The “Time” setting will be
set to restrain the attack.
This changes “Threshold”
and “Ratio” values.
This changes “Attack,”
“Hold,” and “Release”
values.
Button Explanation
[F1] button Turns the pad compressor on/o.
[F4] button Turns the pad equalizer on/o.
7. Press the [KIT] button to return to the DRUM KIT
screen.
68
Parameter Value Explanation
Gain -15–+12 dB
Threshold -30–0 dB
Ratio 0.5:1–50:1 Compression ratio
Attack 0–100 ms
Hold 2–9999 ms Time compression is kept
Release 2–9999 ms
Output level of the
compressor
Volume level at which
compression begins
Time from when the
volume goes up the
threshold level until the
compressor eect applies
Time from when the
volume falls below the
threshold level until the
compressor eect no
longer applies
Eects
About Threshold and Ratio
As shown in the diagram below, these parameters
determine how the volume is to be compressed.
0.5:1
Output Level
Threshold
Input Level
Adjusting the Tone (EQ)
You can use the three-band graphic equalizer (LOW/MID/
HIGH) to adjust individual sounds.
Parameter Value Explanation
Q
Freq
(Frequency)
Gain -15–+15 dB Amount of boost/cut
0.5–8.0
(only for MID)
20–1k (LOW),
20–8k (MID),
1k–8k (HIGH)
Width of the frequency
range
A higher Q narrows the
aected area.
Center frequency
1:1
1.7:1
4:1
50:1
Ratio
Simulating the Acoustics of a Performing Location (AMBIENCE SECTION)
Here you can modify the actual acoustics of the space in
which you’re playing the drums.
A wide variety of parameters to work with include,
overhead mic and room mic positioning, wall material,
“type” of room, reverb etc.
1. Press the [AMBIENCE] button.
[AMBIENCE] button will light, and the AMBIENCE
SECTION screen will appear.
Button Explanation
[F1] button
[F2] button
[F3] button Turns the reverb eect on/o.
[F4] (AMB ONLY) button Auditions the ambience eect (p. 71).
[F5] (EDIT) button Edits the ambience settings.
Turns the eect when using
overhead mics on/o.
Turns the ambience eect of the
room on/o.
69
AppendicesExpansionSettingsPerformanceSetupOverview
Eects
Editing the Ambience (EDIT)
Here’s how to edit the ambience settings.
1. In the AMBIENCE SECTION screen, press the [F5]
(EDIT) button.
2. Use the [F2]–[F5] buttons and cursor buttons to
select the desired parameter.
Button Explanation
[F2] (OVRHEAD) button
[F3] (ROOM) button
[F4] (REVERB) button Edits the reverb settings.
[F5] (SEND) button
3. Use the [–] [+] buttons or dial to edit the values.
Parameter Value Explanation
[F1] button
OFF –
ON –
[F2] (OVRHEAD) button
LOW, MID,
Mic Height
Mic Width
Level 0–127
[F3] (ROOM) button
Type
70
STANDARD,
HIGH, EXT HIGH,
HIGH FLAT,
MONO, 0.5m,
1.0m, 1.5m, 2.0m
BEACH, LIVING
ROOM, BATH
ROOM, STUDIO,
GARAGE, LOCKER
ROOM, THEATER,
CAVE, GYMNASIUM, DOME
STADIUM, BOOTH
A, BOOTH B,
STUDIO A, STUDIO
B, BASEMENT,
JAZZ CLUB, ROCK
CLUB, BALLROOM,
GATE, CONCERT
HALL, SPORTS
ARENA, EXPO
HALL, BOTTLE,
CITY, SPIRAL
Adjusts the position of the
overhead mics.
Edits the ambience of the room in
which you’re performing.
Adjusts the send level of each
eect for each pad (common to
head and rim).
Turn each eect on/o.
Height of the overhead
mics
Spacing of the overhead
mics
Volume of the overhead
mics
Type of room reverberation
Parameter Value Explanation
Room Size
Room Shape 0–100
Wall Type
Mic Position
Level 0–127
[F4] (REVERB) button
Reverb Time 0.1–3.0 s Reverb time
Hi Damp Freq 1000–10000 Hz
Hi Damp 1–100 %
Mid Freq 100–10000 Hz
Mid Gain -15–+15 dB
Lo Cut Freq 10–1000 Hz
Level 0–127 Reverb volume
[F5] (SEND) button
TINY, SMALL,
MEDIUM, LARGE,
HUGE
CURTAIN, CLOTH,
WOOD, PLASTER,
CONCRETE, GLASS
NEXT DOOR,
LOW FLOOR,
LOW, MID LOW,
MID, MID HIGH,
HIGH, CEILING A,
CEILING B
Size of the room
Room shape and
reverberation length
Wall material
Position of the ambience
mics
Overall amount of
ambience
Adjusts the frequency
above which the high
frequency content of
the reverb sound will be
reduced, or “damped.”
Adjusts the amount of
damping applied to the
frequency range selected
with Hi Damp Freq.
With a setting of “100 %,”
there will be no reduction
of the reverb’s highfrequency content.
Center frequency of the
middle range
Amount of mid-range
boost/cut
The region below this
frequency will be cut.
Amount of ambience
applied to each pad
MEMO
• The head and rim will
SEND LEVEL 0–127
have the same setting.
• In the SEND LEVEL
screen, you can hold
down the [SHIFT]
button and press the
[MIXER] button, and
then use the faders to
make adjustments.
4. Press the [KIT] button to return to the DRUM KIT
screen.
Eects
Turning ambience on/o
Here’s how to turn the various ambience eects on/o.
1. Press the [AMBIENCE] button.
The [AMBIENCE] button will light, and the AMBIENCE
SECTION screen will appear.
2. Press the [F1]–[F3] buttons to turn each eect
on/o.
Button Explanation
[F1] button
[F2] button
[F3] button Edits the reverb settings.
MEMO
The settings of the ambience section can be turned
on/o together (p. 67).
Adjusts the position of the
overhead mics.
Edits the ambience of the room in
which you’re performing.
Auditioning the Ambience Eect
(AMB ONLY)
In the AMBIENCE SECTION screen, pressing the [F4] (AMB
ONLY) button will cause only the sound processed by
ambience to be output from the MASTER OUT jacks and
the PHONES jack. This is a convenient way to audition the
eect while you’re editing.
You can also audition the ambience eect from an
editing screen (OVERHEAD MICS, ROOM, REVERB screens)
by holding down the [SHIFT] button and pressing the
[F4] button.
This function will be cancelled automatically when you
access a dierent screen.
Applying Eects to the Sound
(MULTI EFFECTS)
Here you can apply various eects, such as adding depth
and spaciousness to the sound or shifting the pitch.
The TD-30 provides the following 21 types of eect.
Type
STEREO DELAY p. 73
REVERSE DELAY p. 73 AUTO WAH p. 76
TAPE ECHO p. 73 LO-FI COMPRESS p. 76
CHORUS p. 73 DISTORTION p. 76
PHASER p. 73 OVERDRIVE p. 76
STEP PHASER p. 74 ISOLATOR p. 76
FLANGER p. 74 RING MODULATOR p. 77
REVERB p. 74 STEP RINGMOD p. 77
LONG REVERB p. 75 PITCH SHIFT p. 77
SATURATOR p. 75 AUTO PAN p. 77
SUPER FILTER p. 75
Editing the Multi-Eect
1. Press the [MULTI EFFECTS] button.
[MULTI EFFECTS] button will light, and the MULTI
EFFECTS screen will appear.
Page
Type
FILTER+DRIVE
Page
p. 75
2. Use the [F2]–[F4] buttons and the cursor buttons
to select a parameter.
71
AppendicesExpansionSettingsPerformanceSetupOverview
Eects
3. Use the [–] [+] buttons or the dial to adjust the
setting.
Auditioning the Multi-Eects
Parameter Value Explanation
[F2] (MFX) button
Type Type of multi-eects (p. 71)
Level 0–127 Total eect level
[F3] (MFX SND) button
Eect send level for each
instrument
MEMO
• In the SEND LEVEL
screen, you can hold
SEND LEVEL 0–127
[F4] (DRY+MFX) button
NORMAL
DRY+MFX *
MFX ONLY
down the [SHIFT]
button and press the
[MIXER] button, and
then use the faders to
make adjustments.
• You can choose to
set the head and rim
individually.
The dry sound and eect
sound will be output.
Only the eect sound will
be output.
MEMO
• In the SEND LEVEL
screen, you can hold
down the [SHIFT]
button and press the
[MIXER] button, and
then use the faders to
make adjustments.
• The head and rim will
have the same setting.
(MFX ONLY)
In the MULTI EFFECTS screen, pressing the [F5] (MFX
ONLY) button will cause the MASTER OUT jacks and
PHONES jack to output only the sound with multi-eects
applied. This is a convenient way to audition the eect
while you edit the settings.
In the MST SEND LEVEL screen and MULTI EFFECTS
DRY+MFX screen, you can hold down the [SHIFT] button
and press the [F4] button to audition the sound of the
multi-eect.
This will be cancelled automatically when you access a
dierent screen.
Multi-Eects Parameters
About note values
Some eect parameters (such as Rate or Delay
Time) can be set by using note values.
Whenever the “BPM Sync” parameter is set to “ON,”
settings can be made in terms of a note value, so
when the eect is applied, it will be synchronized
to the tempo.
note:
* The DRY+MFX setting applies only to the output from the
MASTER OUT jacks and the PHONES jack.
Turning the multi-eects on/o
1. Press the [MULTI EFFECTS] button.
The [MULTI EFFECTS] button will light.
2. Press the [F1] button to turn multi-eects on/o.
This is the same setting as turning multi-eects on/o in
the EFFECTS SWITCH screen (p. 67).
72
When “BPM Sync” is set to “OFF,” a numerical value
can be set for the relevant items.
* 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 specied when
setting the delay time as a numerical value.
Eects
STEREO DELAY
This is a stereo delay.
Parameter Value Explanation
OFF: Time specied as
BPM Sync OFF, ON
Time Left 0–1300 msec, note
Time Right 0–1300 msec, note
Feedback -98–+98 %
Phase Left NORMAL, INVERSE Phase of the delay sound
Phase Right NORMAL, INVERSE Phase of the delay sound
Wet Gain Low -15–+15 dB
Wet Gain High -15–+15 dB
numerical value
ON: Time specied as note
value
Adjusts the delay time
from when the direct
sound begins until the left
delay sound is heard.
Adjusts the delay time
from when the direct
sound begins until the
right delay sound is heard.
Proportion of the
delay sound that is to be
returned to the input.
Negative(-) settings invert
the phase.
Amount of boost/cut for
the eect sound’s lower
range
Amount of boost/cut for
the eect sound’s upper
range
REVERSE DELAY
This is a reverse delay that adds a reversed sound of the
input sound as a delayed sound. A chorus is connected
immediately after the reverse delay.
Parameter Value Explanation
Threshold 0–127
BPM Sync OFF, ON
DlyTime 0–1300 msec, note
Feedback -98–+98 %
Volume at which the
reverse delay will begin to
be applied
OFF: Reverse delay time
DlyTime specied as
numerical value
ON: reverse delay time
DlyTime specied as note
value
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(-) settings invert
the phase.
TAPE ECHO
Simulates a tape-type echo unit of the past.
Parameter Value Explanation
Rate 0–127 Tape speed
Intensity 0–127 Amount of echo repeat
CHORUS
This is a stereo chorus. A lter is provided so that you can
adjust the timbre of the chorus sound.
Parameter Value Explanation
Adjusts the delay time
PreDelay 0.0–100 msec
Rate 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180 deg
Filter Type OFF, LPF, HPF
Cuto 200–8000 Hz
from the direct sound
until the chorus sound is
heard.
Spatial spread of the
sound
Type of lter
OFF: no lter is used
LPF: cuts the low
frequency range
HPF: cuts the high
frequency range
Center frequency when
using the lter to cut a
specic frequency range
PHASER
A phase-shifted sound is added to the original sound
and modulated.
Parameter Value Explanation
Mode
Manual 0–127
Rate 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Resonance 0–127 Amount of feedback
4-STAGE, 8-STAGE,
12-STAGE
Number of stages in the
phaser
Adjusts the basic
frequency from which the
sound will be modulated.
AppendicesExpansionSettingsPerformanceSetupOverview
73
Eects
STEP PHASER
This is a stereo phaser. The phaser eect will be varied
gradually.
Parameter Value Explanation
Mode
Manual 0–127
Rate 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Resonance 0–127 Amount of feedback
Step Rate 0–127
4-STAGE, 8-STAGE,
12-STAGE
Number of stages in the
phaser
Adjusts the basic frequency
from which the sound will
be modulated.
Rate of the step-wise
change in the phaser
eect
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.
Parameter Value Explanation
Adjusts the delay time
PreDelay 0.0–100 msec
Rate 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
Phase 0–180 deg
Feedback -98–+98 %
from when the direct
sound begins until the
anger sound is heard.
Spatial spread of the
sound
Adjusts the proportion of
the anger sound that is
fed back into the eect.
Negative (-) settings will
invert the phase.
REVERB
Adds reverberation to the direct sound, simulating an
acoustic space.
Parameter Value Explanation
Type of reverb
ROOM1: dense reverb
with short decay
ReverbType
PreDelay 0.0–100 msec
ReverbTime 0–127
HFDamp
Wet Gain Low -15–+15 dB
Wet Gain High -15–+15 dB
ROOM1, ROOM2,
STAGE1, STAGE2
200–8000 Hz,
BYPASS
ROOM2: sparse reverb
with short decay
STAGE1: reverb with
greater late reverberation
STAGE2: reverb with
strong early reections
Adjusts the delay time
from the direct sound
until the reverb sound is
heard.
Time length of reverberation
Adjusts the frequency
above which the reverberant sound will be cut.
As the frequency is set
lower, more of the high
frequencies will be cut,
resulting in a softer and
more muted reverberance
(BYPASS: no cut).
Amount of boost/cut for the
eect sound’s lower range
Amount of boost/cut for the
eect sound’s upper range
74
Eects
LONG REVERB
This is a very rich sounding reverb with a choice of
Character.
Parameter Value Explanation
Reverb Time 0–127
Character 0–5 Type of reverb
PreLPF
PreHPF
Pre EQ Freq 200–8000 Hz
Pre EQ Gain -15–+15 dB
Depth 0–127 Depth of the eect
HFDamp
LFDamp
EQ Lo -15–+15 dB
EQ Hi -15–+15 dB
16–15000 Hz,
BYPASS
BYPASS,
16–15000 Hz
16–15000 Hz,
BYPASS
BYPASS,
16–15000 Hz
Time length of reverberation
Frequency of the lter that
cuts the high-frequency
content of the input
sound (BYPASS: no cut)
Frequency of the lter that
cuts the low-frequency
content of the input
sound (BYPASS: no cut)
Frequency of the lter
that boosts/cuts a specic
frequency region of the
input sound
Amount of boost/cut
produced by the lter at
the specied 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)
Amount of low-range
boost/cut
Amount of high-range
boost/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
Type
Cuto 0–127
Resonance 0–127
Modulation
Switch
Rate 0–127 Rate of modulation
Depth 0–127 Depth of modulation
LPF, BPF, HPF,
NOTCH
OFF, ON
the cuto
BPF: Frequencies in the
region of the cuto
HPF: Frequencies above
the cuto
NOTCH: 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
On/o switch for cyclic
change
FILTER+DRIVE
This is a low-pass lter equipped with overdrive. It cuts
the upper range and adds 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 Amount of compression
Comp Level 0–127
EQ Higain -12–+6 dB
0–127
0–127 Amount of distortion
0–127
Input volume to the
saturator
Output volume of the
saturator
Output volume of the
compressor
Amount of high-range
boost/cut
Parameter Value Explanation
Cuto frequency of the
Cuto 0–127
Resonance 0–127
Drive 0–127 Amount of distortion
lter
Increasing this
value will raise the cuto
frequency.
Filter resonance level
Increasing this value will
emphasize the region
near the cuto frequency
AppendicesExpansionSettingsPerformanceSetupOverview
75
Eects
AUTO WAH
Cyclically controls a lter to create cyclic change in timbre.
Parameter Value Explanation
Type of lter
LPF: The wah eect will
Filter Type LPF, BPF
Manual 0–127
Peak 0–127
Polarity UP, DOWN
Rate 0–127 Frequency of modulation
Depth 0–127 Depth of modulation
be applied over a wide
frequency range.
BPF: The wah eect will
be applied over a narrow
frequency range.
Adjusts the center
frequency at which the
eect is applied.
Adjusts the amount of the
wah eect that will occur
in the range of the center
frequency.
Set a higher value for Peak
to narrow the range to be
aected.
Sets the direction in which
the frequency will change
when the auto-wah lter
is modulated.
UP: The lter will
change toward a higher
frequency.
DOWN: The lter will
change toward a lower
frequency
LO-FI COMPRESS
This is an eect that intentionally degrades the sound
quality for creative purposes.
Parameter Value Explanation
Selects the type of lter
PreFilter TYPE 1–3
Lo-Fi TYPE 1–9
Post Filter
Type
Post Filter
Cuto
Gain Low -15–+15 dB Gain of the low range
Gain High -15–+15 dB Gain of the high range
OFF, LPF, HPF
200–8000 Hz
76
applied to the sound
before it passes through
the Lo-Fi eect.
Degrades the sound
quality. The sound quality
grows poorer as this value
is increased.
Type of lter after it passes
through the Lo-Fi eect
OFF: no lter is used
LPF: cuts the frequency
range above the Cuto
HPF: cuts the frequency
range below the Cuto
Basic frequency of the
Post Filter
DISTORTION
Intensely distorts the sound. The tone quality of the
distorted sound is adjusted with a lter.
Parameter Value Explanation
Pre HPF
Drive 0–127 Amount of distortion
Tone 0–127
BYPASS,
16–1000 Hz
Frequency of the lter that
cuts the low-frequency
content of the input
sound (BYPASS: no cut)
Tone quality of distorted
sound
OVERDRIVE
Mildly distorts the sound. The tone quality of the
distorted sound is adjusted with a lter.
Parameter Value Explanation
PreHPF
Drive 0–127 Amount of distortion
Tone 0–127
BYPASS,
16–1000 Hz
Frequency of the lter that
cuts the low-frequency
content of the input
sound (BYPASS: no cut)
Tone quality of distorted
sound
ISOLATOR
This is an equalizer which cuts the volume greatly,
allowing you to add a special eect to the sound by
cutting the volume in varying ranges.
Parameter Value Explanation
These boost and cut each
of the low frequency
Boost/Cut Low -64–+63
Boost/Cut Mid -64–+63
Boost/Cut High -64–+63
ranges.
At -64, the sound
becomes inaudible. 0 is
equivalent to the input
level of the sound.
These boost and cut each
of the middle frequency
ranges.
At -64, the sound
becomes inaudible. 0 is
equivalent to the input
level of the sound.
These boost and cut each
of the high frequency
ranges.
At -64, the sound
becomes inaudible. 0 is
equivalent to the input
level of the sound.
Eects
RING MODULATOR
This is an eect 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 eect.
Parameter Value Explanation
RING MOD: Applies
amplitude modulation to
Mode
Frequency 0–127
Sensitivity 0–127
Polarity UP, DOWN
RING MOD,
ENV OSC
the input signal
ENV OSC: Outputs
oscillation corresponding
to the input signal
Adjusts the frequency
at which modulation is
applied.
Adjusts the amount of
frequency modulation
applied.
Determines whether the
frequency modulation
moves towards higher
frequencies (UP) or lower
frequencies (DOWN).
STEP RINGMOD
This is a ring modulator that uses a 8-step sequence to
vary the frequency at which modulation is applied.
PITCH SHIFT
Shifts the pitch of the original sound. This pitch shift can
add two pitch shifted sounds to the original sound.
Parameter Value Explanation
Pitch1 (semi) -24–+12 semi
Pitch2 (semi) -24–+12 semi
DlyTime 0–1300 msec
Feedback -98–+98 %
Pitch1 Level 0–127
Pitch2 Level 0–127
Wet Gain Low -15–+15 dB
Wet Gain High -15–+15 dB
Adjusts the pitch of Pitch
Shift 1 in semitone steps.
Adjusts the pitch of Pitch
Shift 2 in semitone steps.
Adjusts the delay time
from the direct sound
until the Pitch Shift sound
is heard.
Adjusts the proportion of
the pitch shifted sound
that is fed back into the
eect.
Negative (-) settings will
invert the phase.
Volume of the Pitch Shift
1 sound
Volume of the Pitch Shift
2 sound
Amount of boost/cut for
the eect sound’s lower
range
Amount of boost/cut for
the eect sound’s upper
range
Parameter Value Explanation
RING MOD: Applies
amplitude modulation to
Mode
Freq Modify -64–63
Freq Step 1–8 0–127
Attack 0–127
Rate 0–127
RING MOD,
ENV OSC
the input signal
ENV OSC: Outputs
oscillation corresponding
to the input signal
Increases/decreases value
for all steps
Frequency of ring modulation at each step
Speed at which the
modulation frequency
changes between steps
Rate at which 8-step
sequence is to be
repeated
AUTO PAN
Cyclically modulates the stereo location of the sound.
Parameter Value Explanation
Rate 0–127 Frequency of the change
Depth 0–127
Depth to which the eect
is applied
AppendicesExpansionSettingsPerformanceSetupOverview
77
Eects
Adjusting the Overall Sound (MASTER COMPRESSOR/ MASTER EQ)
You can make settings for the stereo compressor/limiter
(master comp) and four-band parametric equalizer
(master EQ) that are applied to the nal stage of the
master output.
* The master comp and EQ eect is applied to the
sound that is sent from the MASTER OUT jacks, the
DIGITAL OUT jack, and the PHONES jack.
The master comp and EQ eect is not applied to the
DIRECT OUT jacks.
Using the master comp
• When used as a compressor, this allows you to raise
the overall loudness of the drums by compressing
brief peaks in the sound. This lets the sound project
better, without being buried in the mix by the other
instruments.
• When used as a comp-limiter, this lets you increase
the recording level while limiting the maximum input
to the recording device.
• If you’re using a small monitor amp, you can use this
eect as a limiter so that the peaks of the drum sound
are limited, making the sound less likely to distort.
Using the master EQ
• This lets you adjust the tonal character by boosting
or cutting each of the four bands (LOW/MID1/MID2/
HIGH).
• You can also use this to make compensations in the
tone when using the master comp.
Editing the Master Comp/Master EQ Settings
1. Press the [MASTER COMP] button.
The [MASTER COMP] button will light.
3. Use the [–] [+] buttons or the dial to adjust the
setting.
Parameter Value Explanation
[F2] (M COMP) button
Type of compressor
COMP 1,
Type
Threshold -48–0 dB
Gain -24–+24 dB
Ratio
Knee SOFT, HARD
Attack 0.1, 1–100 ms
Release 10–1000 ms
[F3] (M EQ) button
TYPE
Q
FREQ
GAIN -12–+12 dB Amount of boost/cut
* The sound may be distorted in a certain setting.
COMP 2,
HARD COMP,
LIMITER
1:1, 2:1, 3:1, 4:1,
8:1, ∞:1
MEMO
If “Ratio” is set to “1:1” the master comp eect
will not be applied (only the Gain setting will
be valid), regardless of the other settings.
SHELV (Shelving)
PEAK
(MID1 and MID2:
xed to “PEAK”)
0.5–8.0 (only
when Type is set
to “PEAK”)
20–1k (LOW)
20–16K (MID1, MID2)
1k–16k (HIGH) Hz
* If you set Type, the mas-
ter comp parameters
will be set to suitable
values. Based on these
settings, you can adjust
the Threshold and Gain
values appropriately.
Volume level at which
compression begins
Output volume of
compressor
Compression ratio
The sound’s attack at the
moment compression
begins
Time from when the
volume goes up the
threshold level until the
compressor eect applies
Time from when the
volume falls below the
threshold level until the
compressor eect no
longer applies
Type of equalizer
Width of the frequency
range
A higher Q narrows the
aected area.
Center frequency
2. Use the [F2], [F3], or cursor buttons to select the
parameter.
78
MEMO
You can choose whether the master compressor/
equalizer settings will be independent for each kit, or
be shared for all kits (p. 120).
Eects
Meters shown in the MASTER
COMPRESSOR screen
In the MASTER COMPRESSOR screen, the “input meter,”
the “gain reduction meter,” and the “output meter” are
displayed.
Input meter
The “input meter”
shows the level (dB) being input to the master
comp/master EQ.
Output meter
The “output meter” shows the output level
following the master comp and EQ.
Adjust the master comp’s “Gain” so that the output meter
does not exceed 0 dB (i.e., so that it does not clip).
* The output meter shows only the level of the output
signal from the MASTER OUT jacks.
Gain reduction meter
The “gain reduction
meter” shows the change
in level (dB) produced by
the master comp.
Turning the Master Comp/ Master EQ
On/O
Copying Eect Settings
Here’s how a drum kit’s ambience section settings or
multi-eect settings can be copied to another drum kit
in a single operation. You can also copy from a drum kit
that’s in preset memory or on a USB ash drive.
If you’re copying from user memory, you can exchange
the copy-source and copy-destination settings.
NOTE
When you execute the copy, the contents of the
copy-destination will be overwritten. If you want to
keep those settings, back them up to a USB ash drive
before you continue (p. 108).
1. Hold down the [SHIFT] button and press the
[USB MEM] button.
The [USB MEM] button will light, and the COPY A screen
will appear.
2. Press the [F5] (A B C) button to access the
COPY B screen.
3. Use the [F3] (AMB) or [F4] (MFX) button to select
the eect setting that you want to copy.
(Example: When [F4] (MFX) is selected)
Copy-source
1. Press the [MASTER COMP] button.
The [MASTER COMP] button will light.
2. Press the [F1] button to turn the master comp/
master EQ on/o.
This is the same setting as turning master comp/master
on/o in the EFFECTS SWITCH screen (p. 67).
Copy-destination
4. Use the [F1]–[F3] buttons to select the copy-
source.
Button Explanation
Copy from user memory.
[F1] (USER) button
[F2] (PRESET) button
[F3] (USB) button
Exchanging the copy-source and
copy-destination is possible only if
the copy-source is user memory.
Copy from preset memory.
You can choose from TD-30 or TD-
20X preset data. Select this if you
want to return to the factory-set
settings.
Copy from backup data saved on a
USB ash drive.
AppendicesExpansionSettingsPerformanceSetupOverview
79
Eects
5. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source and copy-destination.
If you selected [F2] (PRESET) in step 4, specify whether
you’re copying from TD-30 or from TD-20X.
If you selected [F3] (USB) in step 4, select the copy-source
backup number.
6. Press the [F4] (EXCHNG) or [F5] (COPY) button.
A conrmation message will appear.
(Example: Copying settings from a USB ash drive)
If you selected [F1] (USER) in step 4, you can exchange
the copy-source and copy-destination by pressing the
[F4] (EXCHNG) button.
Press the [F5] (COPY) button to execute the copy.
If you decide to cancel the copy or exchange, press the
[F1] (CANCEL) button.
7. Press the [F5] (EXECUTE) button.
The eect setting will be copied.
MEMO
SEND LEVEL” (p. 70) is included in the ambience
• The “
settings copied by this operation. Similarly, the
“SEND LEVEL” (p. 72) is also included in the multi-eect
settings copied by this operation.
• The comp/EQ settings for each pad (instrument) can
be copied as described in “Copying an Instrument”
(p. 63).
80
Tempo
Here you can make settings for the tempo and click.
Setting the Tempo by Hitting a
Specifying the Tempo
1. Press the [TEMPO] button.
The [TEMPO] button will light, and the TEMPO screen will
appear.
Button Explanation
[F1] (CLICK) button Make click settings (p. 82).
[F2] (SYNC) button
[F3] (TAP) button
[F4] button
[F5] button Sound the click (p. 82).
2. Use the [–] [+] buttons or the dial to select the
tempo.
Value 20–260
Specify synchronization with
external MIDI devices (p. 84).
Specify the tempo by striking a pad
or button.
Make the [TEMPO] button blink in
time with the tempo (p. 82).
Pad (TAP)
You can set the tempo by hitting a pad or the [PREVIEW]
button two or more times at quarter-note intervals of the
desired tempo.
1. Press the [TEMPO] button.
The [TEMPO] button will light, and the TEMPO screen will
appear.
2. Press the [F3] (TAP) button.
The TAP TEMPO screen will appear.
3. Press the cursor [ ] button to move the cursor
to Tap Switch.
4. Use the [–] [+] buttons or the dial to set to “ON.”
5. Press the cursor [ ] button to move the cursor
to Tap Pad.
6. Use the [–] [+] buttons or the dial to select the
pad (or the [PREVIEW] button) to use for Tap
Tempo function.
4. Press the [EXIT] button to return to the DRUM
KIT screen.
7. Press the [EXIT] button to return to the TEMPO
screen.
When you strike the pad selected in step 6 (or the
[PREVIEW] button) two or more times, the tempo will
change to the corresponding interval.
AppendicesExpansionSettingsPerformanceSetupOverview
81
Tempo
Viewing the Tempo as a Blinking Button
You can make the [TEMPO] button blink in time with the
tempo.
1. Press the [TEMPO] button.
The [TEMPO] button will light, and the TEMPO screen will
appear.
2. Press the [F4] button to turn the [TEMPO] button
ashing (ON) or going o (OFF).
3. Press the [EXIT] button to return to the DRUM
KIT screen.
Sounding a Click
1. Press the [TEMPO] button.
The [TEMPO] button will light, and the TEMPO screen will
appear.
2. Each time you press the [F5] button, the setting
will alternate between sounding the click (ON)
and not sounding it (OFF).
3. Press the [EXIT] button to return to the DRUM
KIT screen.
MEMO
You can also turn the click on/o by holding down
the [SHIFT] button and pressing the [TEMPO] button.
Making Click Settings (CLICK)
1. Press the [TEMPO] button.
The [TEMPO] button will light, and the TEMPO screen will
appear.
2. Press the [F1] (CLICK) button.
The CLICK SETTINGS screen will appear.
3. Use the [F1]–[F3] buttons to select the parameter
you want to set.
4. Use the cursor buttons to select the parameter.
5. Use the [–] [+] buttons or the dial to make
settings.
82
Tempo
Parameter
[F1] (INST) button
Inst
Pan L15–CENTER–R15 Stereo position of the click
Amb Send
Level
Output
[F2] (TIMESIG) button
Time
Signature
Interval
[F3] (COUNT) button
Count In
Play
Count In
Rec
During Play OFF, ON
During Rec OFF, ON
Value Explanation
VOICE, CLICK,
ELECTRONIC,
PULSE, BEEP,
METRONOME,
CLAVES,
WOOD BLOCK,
STICKS,
CROSS STICK,
TRIANGLE,
COWBELL, CONGA,
MARACAS,
CABASA, AGOGO,
TAMBOURINE,
SNAPS, 909 SNARE,
808 COWBELL
Sound for the click
Amount of ambience
The click sound will be
easier to hear if you apply
ambience.
MEMO
0–127
MASTER+
PHONES,
PHONES ONLY,
DIRECT 5,
DIRECT 6,
DIRECT 5+6,
DIRECT 7,
DIRECT 8,
DIRECT 7+8,
MASTER+DIR56,
MASTER+DIR78
Numerator: 0–15
Denominator: 2, 4,
8, 16
1/2 (half note),
3/8 (dotted quarter
note),
1/4 (quarter note),
1/8 (eighth note),
1/12 (eighth-note
triplet),
1/16 (16th note)
OFF, 1 MEAS,
2 MEAS
OFF, 1 MEAS,
2 MEAS
• You have to turn the
ambience on (p. 69).
• When “---” is displayed,
this level is set to “0”
automatically to prevent
the click sound from
leaking.
Output destination for
the click
MEMO
This setting can also
be made by pressing
the [SETUP] button
and pressing the [F2]
(OUTPUT) button (p. 115).
When the numerator is set
to “0,” no accent is added
to the rst beat.
Interval at which the click
will sound
Adds a count in before
playback.
Adds a count in before
recording.
Sets the click to play
during pattern playback.
Sets the click to play
during recording.
MEMO
To adjust the click level, move the GROUP FADERS
[CLICK] fader (p. 28).
6. Press the [EXIT] button to return to the TEMPO
screen.
AppendicesExpansionSettingsPerformanceSetupOverview
83
Tempo
Synchronizing with an External MIDI Device (SYNC)
This section discusses the settings that allow an external
MIDI sequencer and the TD-30’s sequencer to be
synchronized.
The device that is playing back is called the “master” and
the device that is synchronizing to the playback is called
the “slave.”
1. Press the [TEMPO] button.
The [TEMPO] button will light, and the TEMPO screen will
appear.
2. Press the [F2] (SYNC) button.
The TEMPO SYNC screen will appear.
3. Use the [–] [+] buttons or the dial to make
settings.
Parameter Value Explanation
The TD-30’ tempo setting
will be used for playback/
INTERNAL
EXTERNAL
Sync Mode
AUTO
REMOTE
recording.
The TD-30 will be the
master. When shipped
from the factory, this
setting is selected.
The TD-30’s sequencer
will operate in accordance
with tempo data (MIDI
Clock) from the external
device.
The TD-30 will be the
slave.
This is a convenient
setting that combines
features of both the
INTERNAL and EXTERNAL
settings.
When no synchronization
signal is being received,
the TD-30’s tempo setting
will be used for playback/
recording. When a
synchronization signal is
being received from an
external device, the TD-30
will sync to that signal.
The TD-30 will obey start/
pause/stop messages
from an external device,
but will playback according to its own tempo
setting.
Parameter Value Explanation
If the Sync Mode is
MIDI
Clock Source *
USB MIDI
* If the Sync Mode is “INTERNAL,” this is shown as “---”.
“EXTERNAL” or “AUTO,” the
TD-30 will synchronize to
tempo data from the MIDI
IN connector.
If the Sync Mode is
“EXTERNAL” or “AUTO,” the
TD-30 will synchronize to
tempo data from the USB
COMPUTER port.
4. Press the [EXIT] button to return to the TEMPO
screen.
Synchronizing the TD-30 with the playback of
an external MIDI sequencer
In this case, the TD-30 will be the slave and the external
MIDI sequencer will be the master.
1. Connect the TD-30 to your external MIDI
sequencer (p. 141).
2. Set the Sync Mode to “EXTERNAL.”
3. Set the Clock Source.
If you’ve connected your external MIDI sequencer to the
MIDI connector, choose “MIDI.” If you’ve connected it to
the USB COMPUTER port, choose “USB.”
4. Play back your external sequencer.
Synchronized playback will begin.
84
Song Player
The song player lets you play back audio les
(WAV, MP3) saved on a USB ash drive.
Audio les that can be played
MP3
Sampling frequency 44.1 kHz
Bit rate 64 kbps–320 kbps
WAV
Sampling frequency 44.1 kHz
Bit rate 8, 16, 24-bit
When saving les to a USB ash
drive
Save the audio les in the root directory (the top
level) of your USB ash drive.
* File names containing 19 or more characters
or containing double-byte characters (such as
Japanese) will not be displayed correctly.
* The TD-30 can recognize up to 100 audio les.
Keep the number of audio les saved on the
USB ash drive to 100 or fewer.
* Make sure that each le is no larger than 2 GB.
Connecting USB Flash Drive
* Carefully insert the USB ash drives all the way in—
until it is rmly in place.
* Use USB ash drive sold by Roland. We cannot
guarantee operation if other USB ash drive is used.
1. Connect your USB ash drive to the USB
MEMORY port.
USB ash drive
85
AppendicesExpansionSettingsPerformanceSetupOverview
Song Player
Playing an Audio File
Here’s how to play back audio les from your USB
ash drive.
* On-board patterns will not function while an audio
le is playing.
MEMO
You can also use a footswitch or pad to start playback
(p. 117).
1. Connect your USB ash drive to the TD-30’s USB
memory port (p. 85).
2. Press the [USB/PTN] button.
The [USB/PTN] button will light.
3. Press the [F1] (USB PTN) button to access the
USB SONG screen.
Audio le name
Current playback location in the audio le
Selecting an Audio File from a List (LIST)
Here’s how to select an audio le from a list.
1. In the USB SONG screen, hold down the [SHIFT]
button and press the [F1] (LIST) button.
The USB SONG LIST screen will appear.
Button Explanation
[F1] (
PAGE) button
[F2] (PAGE
) button Displays the next page of the list.
2. Use the dial, the [–] [+] buttons, or the cursor [ ]
[ ] buttons to select the desired audio le.
3. Press the [EXIT] button to return to the USB
SONG screen.
Displays the previous page of
the list.
4. Use the [–] [+] buttons or the dial to select the
audio le that you want to play.
5. Press the [PLAY] button.
The [PLAY] button will light, and the audio le will start
playing.
Button Explanation
Stops the playback.
[STOP] button
] button
Cursor [
] button
Cursor [
Cursor [
Cursor [
] button
] button
When you press the [PLAY] button
once again, playback will resume
from the location at which you
stopped.
Returns to the beginning of the
audio le.
Advances to the end of the
pattern.
Rewinds the audio le.
Fast-forwards the audio le.
86
Song Player
Playback Settings (FUNC)
Here’s how you can determine the way in which audio
les will play back, and how to adjust the playback
volume.
1. In the USB SONG screen (p. 86), press the [F2]
(FUNC) button.
The USB SONG INFO/FUNC screen will appear.
2. Use the cursor [ ] [ ] buttons to select the
desired parameter.
3. Use the [–] [+] buttons or the dial to set the
parameter.
Parameter Value Explanation
A single song will be
played only once.
ONESHOT
Play Type
LOOP
Song Volume 0–127
If you choose ONESHOT,
) will be shown in
(
the upper part of the USB
SONG screen.
The selected song will
be played repeatedly.
Playback will continue
until you press the [STOP]
button.
If you choose LOOP, ( )
will be shown in the upper
part of the USB SONG
screen.
Adjusts the playback
volume.
Changing the Playback Speed (SPEED)
Here’s how to change the audio le playback speed.
1. In the USB SONG screen (p. 86), press the [F3]
(SPEED) button.
2. Use the [–] [+] buttons or the dial to set the
parameter.
Parameter Value Explanation
Adjusts the playback speed.
Speed 50–150 %
To return to the original
playback speed, press [F5]
(100%).
3. When you’ve nished making settings, press the
[EXIT] button.
* Settings that produce an extreme change in the
playback speed may lower the audio quality.
Repeatedly Playing a Specic
Region (A-B)
You can make a specic region of the audio le play back
repeatedly (AB Repeat).
4. When you’ve nished making settings, press the
[USB/PTN] button to return to the USB SONG
screen.
Region to repeat
Time
A (start time)
B (end time)
1. Play back the audio le (p. 86).
2. At the time location where you want to start
repeating (A), press the [F5] (A-B) button.
3. At the time location where you want to stop
repeating (B), press the [F5] (A-B) button once
again.
The “ ” icon will appear in the USB SONG screen,
and the region between “A” and “B” will play repeatedly.
To stop AB Repeat, press the [F5] (A-B) button once again.
AppendicesExpansionSettingsPerformanceSetupOverview
87
Song Player
Viewing Information About the Audio File
Here’s how to view information about the audio le.
1. In the USB SONG screen (p. 86), press the [F2]
(FUNC) button.
The USB SONG INFO/FUNC screen will appear, showing
information about the audio le.
Name of the audio le
Length of the audio le
2. Press the [USB/PTN] to return to the USB SONG
screen.
88
Pattern Sequencer
The TD-30’s sequencer organizes music into six “parts.”
The Drum Kit part is used to record/play back what is
played on the pads. Additionally, Melody Part, Bass Part,
Backing 1 Part, and Backing 2 Part are the four backing
instrument parts, and there is another Percussion part.
The collective performance of these six parts is called a
“pattern.”
Preset patterns (Pattern 1–100)
Settings in Preset patterns cannot be modied. These
patterns are provided for use in practicing or live
performances. You cannot erase nor make changes in the
performance data of a Preset pattern. Recording to them
is also not allowed.
MEMO
If you want to change, edit, or record any Preset
pattern settings, copy them to a user pattern (p. 102).
User patterns (Pattern 101–200)
These are patterns for you to use as you wish. You
can record directly from the pads or an external MIDI
keyboard in real time (p. 99). User pattern settings are
saved automatically.
Basic Operation
Button Explanation
[USB/PTN] button
[STOP] button
[PLAY] button Starts playback of the pattern.
[SHIFT] button +
[PLAY] button
[TEMPO] button Sets the Tempo (p. 81).
Cursor [
Cursor [
Cursor [
Cursor [
] button
] button
] button
] button
Selects patterns. This displays the
basic screen for the sequencer.
Stops playback of the pattern.
When pressed while the pattern
is stopped, this returns you to the
beginning of the pattern.
Enters record-standby mode.
When pressed while the pattern
is stopped, this returns you to the
beginning of the pattern.
When pressed while the pattern
is stopped, this returns you to the
previous measure in the pattern.
When pressed while the pattern is
stopped, this advances you to the
next measure in the pattern.
When pressed while the pattern is
stopped, this advances you to the
end of the pattern.
* The cursor buttons cannot be used while the pattern
is played back.
89
AppendicesExpansionSettingsPerformanceSetupOverview
Pattern Sequencer
Choosing a Pattern
1. Press the [USB/PTN] button.
[USB/PTN] button will light.
2. Press the [F1] (USB PTN) button to access the
PATTERN screen.
3. Use the [–] [+] buttons or the dial to select the
pattern.
About the PATTERN screen
: Preset patterns
: User patterns (already recorded)
: User patterns (empty)
Pattern name
Measure number
Beat
Selecting a Pattern from the List
Here you can select patterns from a list of pattern names.
Pattern number, pattern name, beat, measure length,
pattern playback type, and tempo are displayed.
1. In the PATTERN screen, hold down the [SHIFT]
button and press the [F1] (USB PTN) button.
The PATTERN LIST screen will appear.
Button Explanation
[F1] (
PAGE) button
[F2] (PAGE
[F4] (PRE
[F5] (NEW) button
) button
USR) button
2. Use the dial, the [–] [+], or cursor buttons to
select the pattern.
The previous page of the list
appears.
The next page of the list appears.
Switches between preset patterns
and user patterns.
An empty pattern with the lowest
number is called up.
Part mute status (p. 92)
Pattern playback
type (p. 98)
Pattern number
0–100: Preset patterns
101–200: User patterns
Button Explanation
[F2] (PART) button
[F3] (FUNC) button
[F4] (EDIT) button
REC) button
[F5] (
MEMO
Pressing the [F5] (NEW REC) button when a preset
pattern is selected will enter record-standby mode with
the lowest-numbered empty pattern.
Make settings for each part of the
pattern.
Change the settings of a user
pattern, or view the settings of a
preset pattern (p. 97).
Edit a user pattern, or copy a preset
pattern to a user pattern (p. 101).
Enters record-standby mode.
3. Press the [EXIT] button to return to the PATTERN
screen.
90
Pattern Sequencer
Playing Back a Pattern
* You can’t play back audio les while a pattern is
playing back.
1. Select the pattern that you want to playback (p.
90).
2. Press the [PLAY] button.
The [PLAY] button will light, and playback of the pattern
begins.
3. Press the [STOP] button to stop playback of the
pattern.
The [PLAY] button goes o, and returns to the beginning
of the measure played at that moment.
4. Press the [STOP] button once again to return to
beginning of the pattern.
MEMO
For details on the tempo settings for playing a
pattern, refer to “Tempo” (p. 81).
Making Settings for Each Part (PART)
If you want to change the settings for each part of a
pattern (mainly for a user pattern), access the PATTERN
PART screen as follows.
1. In the PATTERN screen (p. 90), press the [F2] (PART)
button.
PATTERN PART screen will appear.
Button Explanation
[F1] (MUTE) button Mute (silence) a specic part.
[F2] (BACKING) button
[F3] (PERC) button
[F4] (MIXER) button
[F5] (REV/CHO) button
Make instrument settings for the
backing parts (p. 92).
Make settings for the percussion
part (p. 93).
Make volume and pan settings for
each part (p. 96).
Make reverb/chorus settings for
the backing parts (p. 96).
* If a preset pattern is selected, you won’t be able to
change any settings other than [F1] (MUTE).
Unavailable editing icons are shown as “ .”
AppendicesExpansionSettingsPerformanceSetupOverview
91
Pattern Sequencer
Muting a Specic Part (MUTE)
You can mute specic parts in patterns.
1. In the PATTERN PART screen (p. 91), press the [F1]
(MUTE) button.
PART MUTE screen will appear.
2. Press the [F1]–[F5] buttons to turn each part
muted or played.
Button Explanation
[F1] button Melody part
[F2] button Bass part
[F3] button Backing 1 part + Backing 2 part
[F4] button Percussion part
[F5] button Drum part
3. Press the [EXIT] button to return to the PATTERN
PART screen.
Specifying the Instruments for the Backing Parts (BACKING)
Here’s how to select the instruments to be used by
backing parts (parts other than the drum and percussion
parts), and make settings for the Key Shift (change pitch
in semitone steps).
1. In the PATTERN PART screen (p. 91), press the [F2]
(BACKING) button.
The part setting screen will appear.
2. Press the [F1]–[F4] buttons to select the part you
wish to set.
Button Explanation
[F1] (MELODY) button Melody part
[F2] (BASS) button Bass part
[F3] (BACK1) button Backing 1 part
[F4] (BACK2) button Backing 2 part
MEMO
You can check the part mute status in the PATTERN
screen.
MUTE PLAY
Display Explanation
MELO Melody part
BASS Bass part
BK1&2 Backing part
PERC Percussion part
DRUM Drum part
3. Use the cursor [ ] [ ] buttons to select the
parameter.
4. Use the [–] [+] buttons or the dial to make
settings.
Parameter Value Explanation
Inst Part Instrument
Key Shift -24–0–+24
Bend Range 0–+24
Shifts the overall pitch (in
semitone steps).
Amount of change in
pitch with pitch bend at
the maximum level (in
semitone steps).
5. Press the [EXIT] button to return to the PATTERN
PART screen.
92
Pattern Sequencer
Tuning Settings for the Backing Parts (Master Tuning)
Here you can adjust the overall tuning for the backing
parts.
1. In the PATTERN PART screen (p. 91), press the [F2]
(BACKING) button.
2. Press the [F5] (M TUNE) button.
The MASTER TUNE screen will appear.
3. Use the [–] [+] buttons or the dial to make
setting.
Parameter Value
Master Tune 415.3–466.2 Hz
You can set this to 440.0 Hz by pressing the [F5] (440 Hz)
button.
4. Press the [EXIT] button twice to return to the
PATTERN PART screen.
Percussion Part Settings (PERC)
An assembled group of dierent percussion instruments
is called a “percussion set.” Since each note number
has been assigned a dierent percussion instrument, a
multiple number of instruments can be played at one
time.
Choosing a percussion set
1. In the PATTERN PART screen (p. 91), press the [F3]
(PERC) button.
The PERCUSSION PART screen will appear.
2. Use the [–] [+] buttons or the dial to select the
percussion set.
About the Percussion Sets
The TD-30 features eight percussion sets.
You can select which percussion set is to be used
in each pattern in the PERCUSSION PART screen.
Pattern
Pattern 1
Pattern 2
Pattern 101
Pattern 200
Changing a percussion set’s instrument settings
simultaneously changes the percussion
instruments in patterns using the same percussion
sets.
MEMO
The preset patterns use percussion sets 1–5.
If you change the percussion set settings,
it is recommended that you rst copy the
percussion set you want to change to
percussion set 6 or other percussion set, then
change the settings in the copy.
Percussion set
Percussion set 1
Percussion set 2
Percussion set 3
Percussion set 8
AppendicesExpansionSettingsPerformanceSetupOverview
93
Pattern Sequencer
Percussion set settings
1. In the PATTERN PART screen (p. 91), press the [F5]
(EDIT) button.
PERCUSSION SET EDIT screen will appear.
2. Make settings of the percussion set.
3. When nished, press the [EXIT] button to return
to the PERCUSSION PART screen.
Selecting a percussion instrument
Select an instrument for each note number.
1. In the PERCUSSION SET EDIT screen, press the
[F4] ( INST) button.
2. Use the cursor [ ] [ ] buttons to select the note
number.
Note number
Instruments
3. Press the [F1] (LIST) button.
The PERCUSSION SET INST LIST screen will appear.
Button Explanation
[F1] ( PAGE) button
[F2] (PAGE ) button
[F5] (OFF) button
Previous page of the list appears.
The next page of the list appears.
Selects OFF (an instrument that
will not sound)
4. Use the dial, the [–] [+], or cursor buttons to
select the instrument.
5. Press the [EXIT] button to return to the
PERCUSSION SET EDIT screen.
Settings the volume and pan for each
percussion instrument (EDIT)
Set the volume, pan, pitch, decay, etc. for each
percussion instrument.
1. In the PERCUSSION SET EDIT screen, press the
[F5] (EDIT
) button.
3. Use the [–] [+] buttons or the dial to select the
instrument.
MEMO
You can listen the sound of instrument by pressing
the [PREVIEW] button.
Selecting a percussion instrument from the
list (LIST)
Here you can select from the list of all available
instruments.
1. In the PERCUSSION SET EDIT screen, press the
[F4] ( INST) button.
2. Use the cursor [ ] [ ] buttons to select the note
number.
2. Use the cursor buttons to select the parameter.
3. Use the [–] [+] buttons or the dial to make
settings.
Parameter Value Explanation
Volume 0–127 Volume
Pan
Pitch -480–+480 Pitch
Decay Time -31–+31 Decay Time
Cho Send
Level
Rev Send
Level
CC 0–127
L15–CTR–R15
0–127 Amount of chorus
0–127 Amount of reverb
Stereo position
Species how the instrument which changes the
tone like a snare (striking
position) or hi-hat (pedal
position) sounds.
94
Pattern Sequencer
Naming a percussion set (NAME)
The percussion set can be named (up to 12 characters).
1. In the PERCUSSION SET EDIT screen (p. 94), press
the [F2] (NAME) button.
The PERCUSSION SET NAME screen will appear.
2. Edit the name.
For details on how to edit a name, refer to “Assigning a
Name” (p. 29).
3. Press the [EXIT] button to return to the
PERCUSSION SET EDIT screen.
Copying a percussion set
You can copy a percussion set from preset memory or
from a USB ash drive.
For user memory, you can rearrange the data by
exchanging the copy-source and copy-destination
percussion sets.
4. Use the [F1]–[F3] buttons to select the copy-
source.
Button Explanation
Copy from user memory.
[F1] (USER) button
[F2] (PRESET) button
[F3] (USB) button
Exchanging the copy-source and
copy-destination is possible only if
the copy-source is user memory.
Copy from preset memory.
Choose this when you want to
revert to the factory settings.
Copy from backup data saved on a
USB ash drive.
5. Use the cursor buttons, [–] [+] buttons, and dial
to specify the copy-source and copy-destination.
If you selected [F3] (USB) in step 4, select the copy-source
backup number.
6. Press the [F4] (EXCHNG) or [F5] (COPY) button.
A conrmation message will appear.
(Example: Copying settings from a USB ash drive)
NOTE
When you execute the copy, the contents of the
copy-destination will be overwritten. If you want to
keep those settings, back them up to a USB ash drive
before you continue (p. 108).
1. Hold down the [SHIFT] button and press the
[USB MEM] button.
[USB MEM] button will light, and the COPY A screen will
appear.
2. Press the [F5] (A B C) button twice to access the
COPY C screen.
3. Press the [F3] (PERC) button.
Copy-source
If you selected [F1] (USER) in step 3, you can exchange
the copy-source and copy-destination by pressing the
[F4] (EXCHNG) button.
Press the [F5] (COPY) button to execute the copy.
If you decide to cancel the copy or exchange, press the
[F1] (CANCEL) button.
7. Press the [F5] (EXECUTE) button.
The percussion set will copied.
AppendicesExpansionSettingsPerformanceSetupOverview
Copy-destination
95
Pattern Sequencer
Setting the Volume and Pan of Each Part (MIXER)
Set the volume and pan for each part.
MEMO
• Drum part cannot be set here. Set in the MIXER
settings (p. 65).
• To adjust volume/pan settings for each instrument in
the PERCUSSION SET EDIT screen.
1. In the PATTERN PART screen (p. 91), press the [F4]
(MIXER) button.
The PART VOLUME, PART PAN, PART REVERB SEND LEVEL,
or PART CHORUS SEND LEVEL screen will appear.
2. Press the [F1]–[F4] buttons to select the
parameter.
3. Use the cursor [ ] [ ] buttons to select the part
you wish to set.
4. Use the dial, the [–] [+], or cursor [ ] [ ] buttons
to make settings.
Parameter Value Explanation
[F1] (VOLUME) button
Volume of each part
PART VOLUME 0–127
[F2] (PAN) button
PART PAN L15–CTR–R15 Panning of each part
[F3] (REV SND) button
PART REVERB
SEND
[F4] (CHO SND) button
PART CHORUS
SEND
0–127 Reverb depth of each part
0–127 Chorus depth of each part
The percussion part
(PERC) species the
volume of the entire part.
Applying Reverb/Chorus to the Backing Parts (REV/CHO)
Set the amount of reverb and chorus for each backing
part.
1. In the PATTERN PART screen (p. 91), press the
[F5] (REV/CHO) button.
The REVERB/CHORUS screen will appear.
2. Press the [F2]–[F4] buttons to select the
parameter.
3. Use the cursor buttons to select the parameter.
4. Use the [–] [+] buttons or the dial to make
settings.
Parameter Value Explanation
[F2] (REV/CHO) button
REVERB
AMBIENCE,
Type
Time 0–127 Reverb length/delay time
CHORUS
Rate 1–64 Speed of modulation
Depth 1–64 Depth of modulation
[F3] (REV SND) button
PART REVERB
SEND
[F4] (CHO SND) button
PART CHORUS
SEND
ROOM,
HALL,
PLATE
0–127
0–127
Type of reverb
Amount of reverb applied
to each part
Amount of chorus applied
to each part
5. Press the [EXIT] button to return to the PATTERN
PART screen.
96
5. Press the [F1] and/or [F5] buttons to turn the
reverb/chorus ON or OFF.
Pattern Sequencer
Making Settings for a User
Button Explanation
[F1] button Reverb on/o
[F5] button Chorus on/o
6. Press the [EXIT] button to return to the PATTERN
PART screen.
Pattern (FUNC)
Set various settings for a user pattern.
* If a preset pattern is selected, you won’t be able to
change. Unavailable editing icons are shown as “
Specifying the Number of Measures, Time Signature, and Tempo (SETUP)
1. In the PATTERN PART screen (p. 91), press the [F3]
(FUNC) button.
2. Press the [F1] (SETUP) button.
The PATTERN SETUP screen will appear.
3. Use the cursor buttons to select the parameter.
4. Use the [–] [+] buttons or the dial to make
settings.
”.
Parameter Value Explanation
Pattern
Length
Time
Signature
Tempo 20–260 Tempo
1–999 Number of measures
Beat
Numerator: 1–15
Denominator: 2,
4, 8, 16
* Time Signature can be
set on an empty pattern.
You cannot set 1/8 and
1/16-3/16.
AppendicesExpansionSettingsPerformanceSetupOverview
97
Pattern Sequencer
Specifying the Playback Type (TYPE)
1. In the PATTERN PART screen (p. 91), press the [F3]
(FUNC) button.
2. Press the [F2] (TYPE) button.
The PATTERN TYPE screen will appear.
3. Use the cursor [ ] [ ] buttons to select the
parameter.
4. Use the [–] [+] buttons or the dial to make
settings.
Parameter
Play Type *
Value Explanation
This species how the pattern will play back.
After the pattern is played back all
the way to the end, playback then
repeats, starting at the beginning of
LOOP
ONE
SHOT
TAP
the pattern. Playback continues until
the [STOP] button is pressed.
Loop is useful for practicing and live
performance.
Playback stops once the end of the
pattern is reached.
This is a convenient feature to use
when assigning patterns to the pads
(Pad Pattern, p. 60). Each time you
hit the pad to which the pattern is
assigned, it will automatically start
from the beginning of the pattern.
When set to pad pattern (p. 60), the
sounds are played back in sequence
each time the pad is pressed. (You
can use the [PLAY] button instead
of a pad.)
For example if you specify “ TAP” for a
pattern which contains a melody line
and assign this pattern to a pad, you
can play the notes of the melody in
order each time you strike the pad.
You can set the “Tap Reset Time” so
that the pattern will automatically
return to the beginning if that time
interval elapses without that pad
being hit again. You can play a bass
line with your kick drum, too.
MEMO
When using Realtime Recording
(p. 99) to record patterns used for
TAP playback, make the Quantize
settings (p. 99) before you begin
recording.
Parameter
Play Type MVC
Tap Reset
Time
Quick Play OFF, ON
* If an empty pattern is selected, you can’t set Play Type to
“TAP” or “MVC.” Specify the Play Type after recording.
Value Explanation
This is a “TAP” setting dedicated to
the VISUAL CONTROL (p. 146).
You will switch to the next image
reach time you strike the pad or press
the [PLAY] button.
This function automatically returns
to the beginning of the pattern if
that pattern has not been played
for a certain length of time during
OFF,
0.2–4.0
sec
Tap Play.
When the time specied here has
elapsed after the pattern was played
most recently, the pattern will return
to its beginning the next time you
play it. If it is set to “OFF,” this function
will be disabled.
If there is a blank portion at the
beginning of the performance data,
you can specify whether playback
will start where the notes begin
(ON) or start at the beginning of the
performance data including the blank
portion (OFF).
This is convenient if Play Type is set to
“ONESHOT.”
5. Press the [EXIT] button to return to the PATTERN
screen.
MEMO
You can have the velocity of the pattern being played
change according to the force with which the pad is
tapped (Pad Pattern Velocity). Refer to p. 60.
Naming a Pattern (NAME)
Each pattern can be named (up to 12 characters).
1. In the PATTERN PART screen (p. 91), press the [F3]
(FUNC) button.
2. [F5] (NAME) button.
The PATTERN NAME screen will appear.
3. Edit the name.
For details on how to edit a name, refer to “Assigning a
Name” (p. 29).
4. Press the [EXIT] button to return to the PATTERN
screen.
98
Pattern Sequencer
Recording a Pattern
What is played on the pads or on an external MIDI
keyboard can be recorded (Realtime recording).
Your performance will be recorded exactly as you play it,
including hi-hat control pedal movements and Positional
Sensing.
* Please keep in mind that even though there are 100
user patterns, the amount of memory available will
be determined by how much data is recorded into
TD-30.
MEMO
• Storing performance data that describes every
instance where the Hi-Hat Control Pedal is used,
and that includes strike position detection rapidly
consumes the User memory.
• You can check the state of memory usage. For more
information, refer to “Viewing the Remaining Memory
and the Program Version (INFO)” (p. 125).
(1) Select the pattern to record
1. Access the PATTERN screen (p. 90).
(3) Set the recording method
1. In the PATTERN screen (p. 91), press the [F5]
(
REC) button.
The [PLAY] button will light, and the PATTERN REC
STANDBY screen will appear.
The TD-30 will enter record-standby mode, and the click
will begin sounding.
MEMO
• If all the patterns have been used, pressing the
[F5] (NEW) button will have no eect. Delete an
unneeded pattern (p. 104) before you record.
• If you press the [F5] (NEW
preset pattern is selected, the TD-30 will enter
record-standby mode with the lowest-numbered
empty pattern.
2. Use the cursor [ ] [ ] buttons to select the
parameter.
3. Use the [–] [+] buttons or the dial to make
settings.
REC) button while a
2. Use the [–] [+] buttons or the dial to select a
pattern.
(2) Specify the time signature, number
of measure, and tempo
As described in “Specifying the Number of Measures,
Time Signature, and Tempo (SETUP)” (p. 97), specify the
time signature, number of measures, and tempo of the
pattern that you’re going to record.
MEMO
• If “REC Mode” (p. 100) is set to “Replace,” it is not
necessary to specify the “Pattern Length.” Recording
will continue until you press the [STOP] button, and
the number of measures recorded will automatically
become the “Pattern Length” setting.
• You can have a count sound (click) inserted before
recording begins by setting “Count In Rec.” For more
information, refer to “Making Click Settings (CLICK)”
(p. 82).
Parameter Value Explanation
Tempo 20–260 Tempo
“Quantize” is a function
that corrects timing
inaccuracies while you
record. Set the note
value before you begin
recording and everything
you play will be quantized
automatically.
The value should be
set to the shortest note
Quantize
8th note–64th
note, OFF
appearing in the phrase.
When set to “OFF,” the
pattern is recorded exactly
as played.
* When using Tap
Playback to play back
a pattern you have
created, rst make sure
that this is not set to
“OFF,” then quantize. If
set to “OFF,” then Tap
Playback (p. 78) cannot
be executed correctly.
AppendicesExpansionSettingsPerformanceSetupOverview
99
Pattern Sequencer
Parameter Value Explanation
The entire pattern will be
LOOP ALL
Rec Mode
Hit Pad Start OFF, ON
LOOP1–2
REPLACE
repeated in loop mode
and you can continually
record (like overdubbing).
Recording in a one or two
measure loop mode.
Recording will continue
until you press the [STOP]
button. Any previously
recorded data for all Parts
will be erased.
When “ON,” recording
starts the instant you
strike a pad in recording
stand-by mode. Press the
[F5] (HITPAD) button to
turn on/o.
This function can be used
only when “Local Control”
(p. 142) is set to “ON (DRUM).”
(4) Recording
1. Press the [PLAY] button.
The [PLAY] button stops ashing and remains lit, and the
PATTERN RECORDING screen appears.
2. Play with pads or MIDI keyboards to record.
Recording will begin.
3. Press the [STOP] button to stop recording.
The [PLAY] button go o.
MEMO
You can name the recorded pattern (p. 98).
Recording from an external MIDI
device
If you want to record from an external MIDI
keyboard or other MIDI device, make the following
settings before recording.
Select a MIDI channel
Be sure that the transmit channel on your
keyboard corresponds to the MIDI channel of the
part you wish to record.
Each part has it’s own MIDI channel. The factory
preset channels are as follows:
Part MIDI Channel
Drum Kit part CH 10
Percussion part CH 11
Melody part CH 1
Bass part CH 2
Backing 1 part CH 3
Backing 2 part CH 4
MEMO
• You can change the MIDI channel by pressing
the [SETUP] button. For more information, refer
to “MIDI Channel Settings (MIDI CH)” (p. 141).
• If you set “Local Control” to “ON (PERC),”
you’ll be able to use the pads to record the
percussion part. For more information, refer
to”MIDI Channel Settings for the Entire TD-30
(GLOBAL)” (p. 142).
Part Setting
Follow the procedures described in “Making
Settings for Each Part (PART)” (p. 91) to make settings
of the parts.
100
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