Roland V-Drums TD-17 Users Manual

© 2018 Roland Corporation

Data List

* The illustration shows the TD-17.

Contents

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

KIT Screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

CLICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

COACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

TIME CHECK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

QUIET COUNT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

WARM UPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

INSTRUMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

ASSIGN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

LEVEL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

TUNING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

MUFFLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

USER SAMPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

AMBIENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

MULTI FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

PAD EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

MIDI NOTE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Bass/Treble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Pad Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Hi-Hat Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

LCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

AUTO OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

System Info. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Multi-Eect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

TAPE ECHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

REVERSE DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3TAP PAN DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

OD0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

DS0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

SPACE-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

OD0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

DS0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

PHASER A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

PHASER B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

STEP PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

LONG REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

SUPER FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

FILTER+DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

OD/DS0TWAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

LOFI COMPRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

DISTORTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

OVERDRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

SATURATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

T-SCREAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

BIT CRUSHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

ISOLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

RING MODULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

AUTO PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Kit List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Kit List (VAD306) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Instrument List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

User Sample List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Song List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Kit Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

2

DRUM KIT

KIT Screen

1. Press the [DRUM KIT] button.

The KIT screen appears.

Parameter Value Explanation

XSTICK OFF, ON Species whether a snare pad produces the cross-stick sound (ON) or not (OFF).

MIX VOL ([2] button)

Audio In -INF–+6.0 dB Input volume of the device connected to the MIX IN jack and Bluetooth (*1)

Click -INF–+6.0 dB Volume of the click

Song -INF–+6.0 dB Volume of the song

Guide Track -INF–+6.0 dB Volume of the guide track

*1 TD-17-L excepted

CLICK

1. Press the [CLICK] button.

The CLICK screen appears.

Parameter Value Explanation

Tempo*1 20–260 Tempo

[F3] button OFF, ON Turns click on/o.

MENU ([F1] button)

Beat*1 1–9 Number of beats per measure

Rhythm Type

Sound

Pan L30–CENTER–R30 Stereo position of the click

MIX VOL ([2] button)

This is the same parameter as the KIT screen’s MIX VOL ([F2] button).

–

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

Interval of the click

Sound for the click

3

COACH

1. Press the [COACH] button.

The COACH MENU screen appears.

2. Press a function button to select a practice menu.

3. Press the [F2] (MENU) button.

The coach menu settings screen appears.

TIME CHECK

Parameter Value Explanation

SETUP tab

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

Score

Grade

Display 1
Display 2

Gauge

CLICK tab

This parameter is in common with the MENU ([1] button) of the CLICK (p. 3).

OFF

ON (4, 8, 16, 32 meas)

Species the strictness of scoring.

EASY Normal

HARD Timing will be checked more strictly.

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

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

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

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

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

QUIET COUNT

Parameter Value Explanation

SETUP tab

Measures 2, 4, 8, 16 (Measures)

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

Quiet

CLICK tab

This parameter is in common with the MENU ([1] button) of the CLICK (p. 3).

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

1, 2, 4

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

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

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

WARM UPS

Parameter Value Explanation

SETUP tab

Species the time.

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

Duration

Grade

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

CLICK tab

This parameter is in common with the MENU ([1] button) of the CLICK (p. 3).

10 MINS

15 MINS

Species the strictness of scoring.

EASY Normal

HARD Timing will be checked more strictly.

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

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

4

SONG

1. Press the [SONG] button.

The SONG screen appears.

Parameter Value Explanation

SPEED ([SLOW] [FAST] button) 50–150%

GUIDE ([F3] button) *1 OFF, ON

MIX VOL ([2] button)

This is the same parameter as the KIT screen’s MIX VOL ([F2] button) (p. 3).

*1 Only if there is a guide track for the song

MEMO

Each time you press the [F1] button, you switch between internal songs, audio les on the SD card, and songs recorded on the SD card (recorded data that you exported).

Changes the playback speed of the song (audio le).

* When you switch songs, this returns to 100%.

Plays the guide track.
To mute the guide track, press the [F3] button to clear the check mark.

5

INSTRUMENT

ASSIGN

1. Press the [ASSIGN] button.

The INST ASSIGN screen appears.

Instrument group name

Instrument name

2. Select the pad that you want to edit.

3. Use the [ ] [ ] buttons to move the cursor to the instrument group or instrument, and use the dial to select an instrument.

4. Press the [DRUM KIT] button to return to the KIT screen.

Parameter Value Explanation

Instrument

Snare Buzz (F2 button) *1 OFF, 1–8 Resonance to the snare

Strainer Adj. (F2 button) *1 LOOSE1–3, MEDIUM1–3, TIGHT1–3 Tension of the strainer (resonating cords)

SUB ([F3] button)

You can select a sub-instrument (layer) and edit its settings.

SUB ON ([F2] button) OFF, ON Turns the sub-instrument on/o.

SUB INST

Layer Type

Fade Point 1–127

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

Pitch*1 -4800–4800 Instrument pitch (units of one cent)

Decay*1 1–100 Length of decay

Tuning*1 -100–100 Tuning of the head

Muing*1

Snare Buzz*1 OFF, 1–8 Resonance to the snare

Strainer Adj.*1 LOOSE1–3, MEDIUM1–3, TIGHT1–3 Tension of the strainer (resonating cords)

Size*1 1.0–40.0 Hi-hat/Cymbal diameter

Fixed*1 NORMAL, FIXED1–4

*1 This parameter can be specied only for instruments that support it. For details, refer to “Instrument List” (p. 26).

000–310 (preset)
U001–U100

000–310 (preset)
U001–U100 (user sample)

These parameters specify how the sub instrument will be sounded.

MIX

FADE1

FADE2

SWITCH

Muing (muting) setting
For the values of this setting, refer to MUFFLING (p. 7).

(user sample)

Instrument number

Reference

For more about instruments, refer to “Instrument List” (p. 26).

Sub-instrument number

Reference

For more about instruments, refer to “Instrument List” (p. 26).

Volume

The main instrument (A) and sub instrument (B) always sound

Playing

Volume

Volume

Volume

Species the force of the strike at which the sub instrument begins to be sounded.
If this is “1,” the sub instrument is sounded by a strike of any force.

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

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

regardless of how you press the hi-hat pedal.

Dynamics

Playing
Dynamics

Playing
Dynamics

Playing
Dynamics

together as a layer.

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

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

At 127 or higher, the main instrument (A) and sub instrument (B) are
the same volume.

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

MEMO

If the [F1] (H&R ON) button shows a check mark, the instruments for the head and rim etc. can be selected as a set. According to the instrument that you select, the
recommended instruments are selected as a set.

6

LEVEL

1. Press the [LEVEL] button.

The INST LEVEL screen appears.

Parameter Value Explanation

VOLUME tab

Volume -INF–+6.0 dB Volume of each pad

PAN tab

Pan L30–CTR–R30 Stereo position of each pad

MEMO

If you press the [F1] (H&R ON) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc.

TUNING

INSTRUMENT

1. Press the [TUNING] button.

The INST TUNING screen appears.

Parameter Value Explanation

TUNING*1 -100–100 Tuning of the head

SIZE*1 1.0–40.0 Hi-hat/Cymbal diameter

PITCH*1 -4800–4800 Instrument pitch (units of one cent)

*1 This parameter can be specied only for instruments that support it. For details, refer to “Instrument List” (p. 26).

MEMO

If you press the [F1] (H&R ON) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc.

MUFFLING

1. Press the [MUFFLING] button.

The INST MUFFLING screen appears.

Parameter Value Explanation

Muing (muting) setting

OFF, TAPE1–4, BLANKET1–3,

MUFFLING*1

FIXED*1 NORMAL, FIXED1–4

DECAY*1 1–100 Length of decay

*1 This parameter can be specied only for instruments that support it. For details, refer to “Instrument List” (p. 26).

MEMO

If you press the [F1] (H&R ON) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc.

WEIGHT1, 2

OFF, TAPE1–7, DONUT1, 2 When an instrument of the SNARE or CROSS STICK group is selected

OFF, TAPE1–5, FELT1–4 When an instrument of the TOM group is selected

OFF, TAPE1–19 When an instrument of the RIDE, CRASH, or SPLASH/CHINA group is selected

When an instrument of the KICK group is selected

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

regardless of how you press the hi-hat pedal.

7

INSTRUMENT

USER SAMPLE

1. Press the [USER SAMPLE] button.

2. Turn the dial to move the cursor to the user sample that you want to edit.

3. Press the [F2] (MENU) button.

The USER SAMPLE MENU screen appears.

4. Use the dial to select the menu, and press the [ENTER] button.

Menu Explanation

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

Play Type Specifying how the user sample is sounded.

Adjust Start/End Specifying the sounded region of a user sample.

Rename Renaming a user sample.

Delete Deleting a user sample.

Renumber Packing user sample numbers forward.

Optimize Optimizing the user sample area.

Delete All Deleting all user samples.

Reference

For details on the operations of each menu, refer to “Owner’s Manual.”

Parameter Value Explanation

Play Type

Specifying how the user sample is sounded.

ONESHOT MONO

Play Type

Adjust Start/End

ZOOM ([

] [ ] button)

START (dial) *1 0–07937742

END (dial) *1 257–07937999

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

ONESHOT POLY When you strike the drum trigger repeatedly, the sounds of the notes are heard overlapping (poly).

LOOP ALT

–

When you strike the drum trigger, the currently-heard sound is silenced before the new sound is
heard. Notes do not overlap (mono).

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

Zooms the waveform display in or out.
Press the [F3] button to select “X” (“ZOOM-X” is shown), and use the [

on the horizontal axis.
Press the [F3] button to select “Y” (“ZOOM-Y” is shown), and use the [

on the vertical axis.

Adjusts the start point (the location at which the user sample starts playing).
Press the [F2] button to select “S” (“START” is shown), and turn the dial.

Adjusts the end point (the location at which the user sample stops playing).
Press the [F2] button to select “E” (“END” is shown), and turn the dial.

] [ ] buttons to zoom-in/out

] [ ] buttons to zoom-in/out

8

OTHER

1. Press the [OTHER] button.

The OTHER MENU screen appears.

2. Use the [ ] [ ] buttons and the function buttons to select a menu item.

3. Make settings as appropriate for the menu item that you selected.

Menu Explanation

AMBIENCE Adjusts the reverberation.

MULTI FX Species an eect for the entire kit.

PAD EQ Adjusts the pad equalizer.

VOLUME Species the volume of the entire kit.

NAME Edits the name of the kit.

MIDI NOTE Species MIDI settings for the kit.

COPY Copy a kit’s settings, or restore the factory-set kit settings.

SAVE/LOAD Save a kit’s settings to an SD card (backed up), or write (load) them back into this unit.

Reference

For details on the operations of each menu, refer to “Owner’s Manual.”

INSTRUMENT

AMBIENCE

Parameter Value Explanation

[F3] button OFF, ON Turns room ambience on/o.

SEND ([F2] button) -INF–+6.0dB

BEACH, LIVING ROOM, BATH ROOM,
STUDIO, GARAGE, LOCKER ROOM,
THEATER, CAVE, GYMNASIUM,

Type

Room Size TINY, SMALL, MEDIUM, LARGE, HUGE Size of the room

Room Shape 0–100 Room shape and reverberation length

Wall Type

Mic Position

Level -INF–+6.0dB Volume of room ambience

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

CURTAIN, CLOTH, WOOD,
PLASTER, CONCRETE, GLASS

NEXT DOOR, LOW FLOOR,
LOW, MID LOW, MID,
MID HIGH, HIGH, CEILING A, CEILING B

Moves to a screen where you can specify the amount of room ambience for each pad.
If you press the [F1] (H&R ON) button to turn it “ON,” you can simultaneously make settings for the

head area and rim area, etc.

Type of room reverberation

Wall material

Tonal change caused by mic position

9

INSTRUMENT

MULTI FX

Parameter Value Explanation

[F3] button OFF, ON Turns on/o the multi-eect.

SEND ([F2] button) -INF–+6.0dB

Type of multi-eect

Type, parameter

Reference

For more about multi-eects, refer to “Multi-Eect Parameters” (p. 17).

Moves to a screen where you can specify the eect depth for each pad.
If you press the [F1] (H&R ON) button to turn it “ON,” you can simultaneously make settings for the

head area and rim area, etc.

PAD EQ

Parameter Value Explanation

[F3] button OFF, ON Turns pad equalizer on/o.

LOW Freq 20Hz–1kHz Center frequency of the low range

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

MID Freq 20Hz–16kHz Center frequency of the mid range

MID Q 0.5–8.0

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

HIGH Freq 1kHz–16kHz Center frequency of the high range

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

MEMO

5 If you press the [F1] (H&R ON) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc.

5 Each time you press the [F2] button, the selection alternates between LOW/MID/HIGH.

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

VOLUME

Parameter Value Explanation

Kit Volume

Xstick Volume Cross-stick volume

Pedal HH Volume Pedal hi-hat volume

HH Open/Close Balance -5–+5

-INF–+6.0dB

Kit volume

Open/close volume balance
If this value is lowered, playing the hi-hat when it is open produces a lower volume than playing

it when closed. If this value is raised, playing the hi-hat when it is open produces a higher volume
than playing it when closed.

10

MIDI NOTE

Parameter Value Explanation

Note No.

* An asterisk (*) appears at the right of the note number for trigger inputs that are not sounded.

MEMO

If you press the [F3] (DEFAULT) button, all values return to their default value.

MIDI note numbers transmitted and received by the hi-hat

Item Explanation

HI-HAT OPEN <BOW>
HI-HAT OPEN <EDGE>

HI-HAT CLOSE <BOW>
HI-HAT CLOSE <EDGE>

HI-HAT PEDAL MIDI note number transmitted and received by pedal hi-hat

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

OFF Note messages are not transmitted or received

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

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

INSTRUMENT

MIDI note numbers transmitted and received by the snare

Item Explanation

SNARE <HEAD>
SNARE <RIM>

SNARE <XSTICK> MIDI note number transmitted and received by cross stick

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

When setting multiple pads to the same note number

If you are playing the internal sound engine of the TD-17 from an external MIDI device, and if a received note number is assigned to more than one
pad, you’ll hear the instrument of the pad that is shown at the highest position in the MIDI NOTE No. screen. If the note number overlaps between the
head and rim, the head instrument is heard. If the same note number is assigned to both the head and the rim, the head instrument is sounded.

MEMO

An asterisk (*) appears at the right of the note number for trigger inputs that are not sounded.

Example:

If “38 (D 2)” is assigned to the SNARE’s <HEAD> and <RIM>, and “38 (D 2) is assigned to TOM3 <HEAD>, and note number 38 (D 2) is received, you’ll
hear the SNARE <HEAD> instrument.

11

SETUP

Here’s how to make settings for the overall tonal character or pads of the entire unit.

1. Press the [SETUP] button.

The SETUP MENU screen appears.

2. Use the dial to select the menu, and press the [ENTER] button.

3. Make settings as appropriate for the menu item that you selected.

Menu Explanation

Bluetooth*1 Make Bluetooth settings.

SD Card Backing up data to an sd card.
Bass/Treble Adjusts how the low and high frequency ranges are controlled.
Pad Settings Editing the pad settings.
Hi-Hat Settings Making hi-hat settings.
MIDI Edit the MIDI settings for the entire unit.

LCD Adjust the contrast of the display.

USB Specify the USB settings.

AUTO OFF Specify the AUTO OFF setting.

System Info Displays the program version.

Factory Reset Return to the factory settings.

*1 This cannot be specied for the TD-17-L.

Reference

For details on the operations of each menu, refer to “Owner’s Manual.”

Bass/Treble

Parameter Value Explanation

BASS tab, TREBLE tab

Type SHELV (Shelving), PEAK Type of equalizer

Q

Freq

MEMO

Use the [BASS]/[TREBLE] knobs to adjust the depth of BASS/TREBLE.

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

20Hz–1kHz (BASS)
1kHz–16kHz (TREBLE)

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

Center frequency

Pad Settings

Parameter Value Explanation

TYPE tab

Pad Type Refer to “Pad Type list” (p. 15)

Selects the type of pad that is connected.

* When you change the type, the various Pad Settings parameters change to values that are

suitable for the type (except for XTalk Cancel and XStick Adj).

12

Parameter Value Explanation

LINEAR

EXP2EXP1

EXP2EXP1

LOG2

SPLINE

LOUD2LOUD1

LOUD2LOUD1

BASIC tab

Pad Type Refer to “Pad Type list” (p. 15)

You can adjust the sensitivity of the pads to accommodate your personal playing style.

Sensitivity 1–32

Threshold 0–31

Volume change in response to pad strike strength

LINEAR

EXP1, EXP2

Curve

ADVANCED ([F3] button)

SCAN tab

Pad Type Refer to “Pad Type list” (p. 15)

Scan Time 0–4.0 ms

Retrig Cancel 1–16

LOG1, LOG2

SPLINE

LOUD1, LOUD2

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

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

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

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

Volume

Volume Volume

Volume Volume

LOG1 LOG2

Volume

Volume Volume

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

slightly depending on the characteristics of each pad or acoustic
drum trigger (drum pickup), you may notice that identical hits
(velocity) may produce sound at dierent volumes. If this occurs,
you can adjust the “Scan Time” so that your way of playing can be
detected more precisely.

While repeatedly hitting the pad at a constant force, gradually
raise the Scan Time value from 0 msec, until the resulting volume stabilizes at the loudest level. At
this setting, try both soft and loud strikes, and make sure that the volume changes appropriately.

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

lowest value possible.

Detecting trigger signal attenuation
Important if you are using acoustic drum triggers. Such

triggers can produce altered waveforms, which may also
cause inadvertent sounding at Point A in the following gure
(Retrigger).

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

While repeatedly striking the pad, raise the “Retrig Cancel” value until retriggering no longer occurs.
Although setting this to a high value prevents retriggering, it then becomes easy for sounds to

be omitted when the drums played fast (roll etc.). Set this to the lowest value possible while still
ensuring that there is no retriggering.

MEMO

You can also eliminate this problem of retriggering with the Mask Time setting. Mask Time does
not detect trigger signals if they occur within the specied amount of time after the previous
trigger signal was received. Retrig Cancel detects the attenuation of the trigger signal level, and
triggers the sound after internally determining which trigger signals were actually generated
when the head was struck, while weeding out the other false trigger signals that need not
trigger a sound.

Playing
dynamics

Playing
dynamics

Playing
dynamics

Playing
dynamics

Playing
dynamics

Playing
dynamics

Playing
dynamics

Playing
dynamics

SETUP

Threshold

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

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

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

Extreme changes are made in
response to playing dynamics.

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

Scan Time

Time

Time

13

SETUP

Parameter Value Explanation

Double triggering prevention
When playing a kick trigger the beater can bounce back

and hit the head a second time immediately after the
intended note—with acoustic drums sometimes the
beater stays against the head—this causes a single hit to
“double trigger” (two sounds instead of one). The Mask
Time setting helps to prevent this. Once a pad has been

Mask Time 0–64 ms

XTalk Cancel 1–80

RIM tab*1

Pad Type Refer to “Pad Type list” (p. 15)

Rim Gain 0–3.2

Head/Rim Adj 0–80

XStick Adj*2 0–127

ExtNoiseCancel OFF, 1–5

*1 This parameter can be specied only for pad types that support it. For details, refer to “Pad Type list” (p. 15).
*2 This parameter can be specied only for a pad that is connected to “SNR.”

hit, any additional trigger signals occurring within the
specied “Mask Time” will be ignored.

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

MEMO

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

When multiple pads (or acoustic drums equipped with drum triggers) are attached to the same
stand, this Crosstalk Cancel setting prevents vibrations produced by a strike from falsely triggering
other pads (or drum triggers). For example if pad B is falsely triggered when you strike pad A, you
should increase the XTalk Cancel value of pad B until crosstalk no longer occurs. If this value is too
high, a note played on pad B might be omitted when pad A and pad B are played simultaneously.

Adjusts the balance between the force of striking the rim or edge and the loudness of the sound.
If you increase this value, even soft strikes on the rim are sounded at high volume. If you decrease

this value, even strong strikes on the rim are sounded at low volume.
This is available for pads that support rim shots.

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

MEMO

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

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

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

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

* For a pad that is connected to a TRIGGER IN jack, be

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

This setting prevents a drum trigger from being falsely triggered by the sound of a drum that is not
equipped with a drum trigger, or by sound or vibration from an external source (Noise Cancel).

This noise cancel function can be used when a RT-30K or RT-30HR drum trigger is connected to
SNR, TOM1, TOM2, or TOM3 of the dedicated connection cable or to the TRIGGER IN jack (AUX) via a
Roland-recommended stereo cable.

* The “RT-30H” does not support the Noise Cancel function

High

Low

Volume

Mask Time

Sound not produced

Rim Shot
Sound

Cross Stick
Sound

XStick Adj

HardSoft

Time

Playing
dynamics

Hi-Hat Settings

Parameter Value Explanation

Pad Type Refer to “Pad Type list” (p. 15)

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

14

Pad Type list

SETUP

Pad used Pad Type Rim shot Bell shot Choke play

KD-A22 KDA22
KD-180L KD180L
KD-140 KD140
KD-120 KD120
KD-85 KD85
KD-10 KD10
KD-9 KD9
KD-8 KD8
KD-7 KD7
KT-10 KT10
KT- 9 KT9
PDA120L PDA120L
PDA100L PDA100L
PD-128 PD128
PD-125X PD125X
PD-125 PD125
PD-108 PD108
PD-105X PD105X
PD-105 PD105
PD-85 PD85
PDX-100 PDX100
PDX-12 PDX12
PDX-8 PDX8
PDX-6 PDX6
PD-8 PD8
VH-11 VH11

(
(
(
(
(
(
(
(
(
(
(
(
(
( (
( (

MIDI

Pad used Pad Type Rim shot Bell shot Choke play

VH-10 VH10
CY-16R-T CY16RT
CY-15R CY15R
CY-14C-T CY14CT
CY-14C CY14C
CY-13R CY13R
CY-12C CY12C
CY-12R/C CY12R/C
CY- 8 CY8
CY- 5 CY5

BT-1

RT-30K RT30K
RT-30HR RT30HR

RT-30H

RT-10K RT10K
RT-10S RT10S
RT-10T RT10T

*1

When using the BT-1, it is possible to further increase the sensitivity for

BT1
BT1 SENS*1

RT30H SN*2
RT30H TM*3

( (
( ( (
( ( (
( (
( (
( ( (
( (
( ( (
( (
( (

(

(

soft strikes, but this increases the possibility of unwanted triggering by
vibration from the surroundings.

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

Parameter Value Explanation

BASIC tab

MIDI Channel 1–16Ch Transmit and receive channel.

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

Program Change Tx OFF, ON Turns program change transmission on/o

Program Change Rx OFF, ON Turns program change reception on/o

Turns on/o the connection between the performance data from the pads and this unit’s sound

Local Control OFF, ON

Cymbal Choke Shot OFF, ON

SYS EX tab

Device ID 17–32

Transmit Edit Data OFF, ON

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

THRU tab

Bluetooth*1 OFF, ON(MIDI OUT)

USB OFF, ON(MIDI OUT)

*1 This cannot be specied for the TD-17-L.

generator section
Normally you’ll leave this “ON.” If this is “OFF,” the per formance data from the pads is not connected

to this unit’s sound generator section.

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

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

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

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

Species whether changes in this unit’s settings are transmitted as system exclusive messages (ON)
or not transmitted (OFF).

Species whether performance data received via Bluetooth MIDI is transmitted to the MIDI OUT
connector (ON (MIDI OUT)) or is not transmitted (OFF).

Species whether performance data received via this unit’s USB COMPUTER port is transmitted to
the MIDI OUT connector (ON (MIDI OUT)) or is not transmitted (OFF).

Using the Local Control setting

If you’re using a DAW with the performance data from the pads and this unit’s sound generator section, you
should turn the Local Control “OFF.” Here’s why.

DAW

We need to connect these sections in the following order: the performance data from the pads
a DAW0this unit’s sound generator section.

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

0

Pad

Local Control: OFF

This unit

Sound generator
section

15

SETUP

LCD

Parameter Value Explanation

LCD Contrast 1–16 Display contrast

LCD Brightness 1–16 Display brightness

USB

Parameter Value Explanation

USB Input Gain -36–+12dB Adjusts the input level

USB Output Gain -24–+24dB Adjusts the output level

Switches between this unit’s dedicated USB driver and the driver provided by your operating system.

MEMO

USB Driver Mode

The setting takes eect when this unit is powered o and on again.

GENERIC

VENDOR Use this unit’s dedicated driver provided by Roland. USB MIDI and USB audio can be used.

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

AUTO OFF

Parameter Value Explanation

Auto O OFF, 10 MINS, 30 MINS, 4 HOURS

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

System Info

Parameter Value Explanation

Program Ver. Program version

16

Multi-Eect Parameters

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

Eect type Page

DELAY p. 18

TAPE ECHO p. 18

REVERSE DELAY p. 18

3TAP PAN DELAY p. 18

OD0DELAY

DS0DELAY

CHORUS p. 19

SPACE-D p. 19

OD0CHORUS

DS0CHORUS

PHASER A p. 20

PHASER B p. 20

STEP PHASER p. 20

FLANGER p. 20

REVERB p. 21

LONG REVERB p. 21

SUPER FILTER p. 21

FILTER+DRIVE p. 21

AUTO WAH p. 22

OD/DS0TWA H

LOFI COMPRESS p. 22

DISTORTION p. 22

OVERDRIVE p. 22

SATURATOR p. 22

T-SCREAM p. 23

BIT CRUSHER p. 23

ISOLATOR p. 23

RING MODULATOR p. 23

PITCH SHIFTER p. 23

AUTO PAN p. 23

p. 19

p. 19

p. 19

p. 19

p. 22

About note values

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

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

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

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

Quarter note Half-note triplet Dotted quarter note Half note

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

Dotted whole note Double note

NOTE

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

17

Multi-Eect Parameters

DELAY

This is a stereo delay.

Parameter Value Explanation

Species whether the delay time

Tempo Sync L, R OFF, ON

Delay L, R Time 1–1300 ms, note

Phase Left, Right NORMAL, INVERSE Phase of the delay sound

Feedback Mode NORMAL, CROSS

Feedback -98–+98%

HF Damp

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

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

Level 0–127 Output Level

200–8000
Hz, BYPASS

value of the left/right delay sounds
is specied as a note value (ON) or
not (OFF).

Delay time from the original sound
until the left/right delay sound is
heard

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

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

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

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

Negative “-” settings will invert the
phase.

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

TAPE ECHO

A virtual tape echo that produces a realistic tape delay sound. This
simulates the tape echo section of a Roland RE-201 Space Echo.

Parameter Value Explanation

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

Mode

Repeat Rate 0–127

Intensity 0–127 Amount of delay repeats

Bass -15–+15 dB

Treble -15–+15 dB

Head S Pan L64–R63

Head M Pan L64–R63

Head L Pan L64–R63

Tape Distortion 0–5

W/F Rate 0–127

W/F Depth 0–127 Depth of wow/utter

Level 0–127 Output level

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

with dierent delay times

S: Short
M: Middle
L: Long

Tape speed
Increasing this value will shorten the

spacing of the delayed sounds.

Boost/cut for the lower range of the
echo sound

Boost/cut for the upper range of the
echo sound

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

Amount of tape-dependent
distortion to be added

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

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

REVERSE DELAY

This is a reverse delay that adds a reversed and delayed sound to
the input sound. A tap delay is connected immediately after the
reverse delay.

Parameter Value Explanation

Threshold 0–127

Tempo Sync Rev OFF, ON

RevDelay Time 1–1300 ms, note

RevDelay
Feedback

RevDelay HF
Damp

Rev Delay Pan L64–63R

Rev Delay Level 0–127 Volume of the reverse delay sound

Tempo Sync
Delay1–3

Delay1–3 Time 1–1300 ms, note

Delay 3 Feedback -98–+98%

Delay HF Damp

Delay 1 Pan,
Delay 2 Pan

Delay 1 Level,
Delay 2 Level

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

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

Level 0–127 Output Level

-98–+98%

200–8000 Hz,
BYPASS

OFF, ON

200–8000 Hz,
BYPASS

L64–63R

0–127 Volume of the tap delay sounds

Volume at which the reverse delay
will begin to be applied

Species whether the delay time
value of the reverse delay is specied
as a note value (ON) or not (OFF).

Delay time from when sound is input
into the reverse delay until the delay
sound is heard

Proportion of the delay sound that
is to be returned to the input of the
reverse delay.

Negative “-” settings will invert the
phase.

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

Stereo location of the reverse delay
sound

Species whether the delay time
value of the tap delay is specied as a
note value (ON) or not (OFF).

Delay time from when sound is input
into the tap delay until the delay
sound is heard

Proportion of the delay sound that
is to be returned to the input of the
tap delay (negative values invert the
phase)

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

Stereo location of the tap delay
sounds

3TAP PAN DELAY

Produces three delay sounds; center, left and right.

Parameter Value Explanation

Tempo Sync L, R,
Center

Delay L, R, Ctr
Time

Center Feedback -98–+98%

HF Damp

Left, Right,
Center Level

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

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

Level 0–127 Output Level

OFF, ON

1–2600 ms, note

200–8000 Hz,
BYPASS

0–127 Volume of each delay

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

Adjusts the time until the delay
sound is heard.

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

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

18

OD

0

DELAY

Multi-Eect Parameters

SPACE-D

Parameter Value Explanation

Overdrive Drive 0–127

Overdrive Pan L64–63R

Tempo Sync OFF, ON

Delay Time 1–2600 ms, note

Delay Feedback -98–+98%

Delay HF Damp

Delay Balance

Level 0–127 Output Level

0

DS

DELAY

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

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

200–8000 Hz,
BYPASS

D100:0W–
D0:100W

Degree of distortion
Also changes the volume.

Stereo location of the overdrive
sound

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

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

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

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

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

CHORUS

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

Parameter Value Explanation

Type of lter
OFF: no lter is used

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 Hz Basic frequency of the lter

Pre Delay 0.0–100.0 ms

Tempo Sync OFF, ON

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

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

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

Level 0–127 Output Level

0.05–10.00 Hz,
note

LPF: cuts the frequency range above
the Cuto Freq

HPF: cuts the frequency range below
the Cuto Freq

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

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

Frequency of modulation

This is a multiple chorus that applies two-phase modulation in
stereo. It gives no impression of modulation, but produces a
transparent chorus eect.

Parameter Value Explanation

Pre Delay 0.0–100.0 ms

Tempo Sync OFF, ON

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

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

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

Level 0–127 Output Level

0

OD

DS

CHORUS

Parameter Value Explanation

Overdrive Drive 0–127

Overdrive Pan L64–63R

Chorus Pre Delay 0.0–100.0 ms

Tempo Sync OFF, ON

Rate

Chorus Depth 0–127 Depth of modulation

Chorus Balance

Level 0–127 Output Level

0

CHORUS

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

Overdrive Drive0Distortion Drive, Overdrive Pan0Distortion Pan

0.05–10.00 Hz,
note

0.05–10.00 Hz,
note

D100:0W–
D0:100W

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

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

Frequency of modulation

Degree of distortion
Also changes the volume.

Stereo location of the overdrive
sound

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

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

Frequency of modulation

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

19

Multi-Eect Parameters

PHASER A

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

Parameter Value Explanation

Mode

Manual 0–127

Tempo Sync OFF, ON

Rate

Depth 0–127 Depth of modulation

Polarity

Resonance 0–127 Amount of feedback

Cross Feedback -98–+98%

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

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

Level 0–127 Output Level

4-STAGE, 8-STAGE,
12-STAGE

0.05–10.00 Hz,
note

INVERSE,
SYNCHRO

Number of stages in the phaser

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

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

Frequency of modulation

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

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

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

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

PHASER B

STEP PHASER

The phaser eect will be varied gradually.

Parameter Value Explanation

Mode

Manual 0–127

Tempo Sync
(Rate)

Rate

Depth 0–127 Depth of modulation

Polarity

Resonance 0–127 Amount of feedback

Cross Feedback -98–+98%

Tempo Sync
(Step Rate)

Step Rate

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

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

Level 0–127 Output Level

4-STAGE, 8-STAGE,
12-STAGE

OFF, ON

0.05–10.00 Hz,
note

INVERSE,
SYNCHRO

OFF, ON

0.10–20.00 Hz,
note

Number of stages in the phaser

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

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

Frequency of modulation

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

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

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

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

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

Rate of the step-wise change in the
phaser eect

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

Parameter Value Explanation

Speed 0–100 Frequency of modulation

Depth 0–127 Depth of modulation

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

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

Level 0–127 Output Level

FLANGER

This is a stereo anger. (The LFO has the same phase for left and
right.) It produces a metallic resonance that rises and falls like a jet
airplane taking o or landing. A lter is provided so that you can
adjust the timbre of the anged sound.

Parameter Value Explanation

Type of lter
OFF: no lter is used

Filter Type OFF, LPF, HPF

Cuto Freq 200–8000 Hz Basic frequency of the lter

Pre Delay 0.0–100.0 ms

Tempo Sync OFF, ON

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg Spatial spread of the sound

Feedback -98–+98%

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

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

Level 0–127 Output Level

0.05–10.00 Hz,
note

LPF: cuts the frequency range above
the Cuto Freq

HPF: cuts the frequency range below
the Cuto Freq

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

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

Frequency of modulation

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

20

Multi-Eect Parameters

SAW1 SAW2

REVERB

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

Parameter Value Explanation

Type

Pre Delay 0.0–100 msec

Time 0–127 Time length of reverberation

HF Damp

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

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

Level 0–127 Output Level

ROOM1, ROOM2,
STAGE1, STAGE2,
HALL1, HALL2

200–8000 Hz,
BYPASS

Type of reverb

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

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

LONG REVERB

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

Parameter Value Explanation

Depth 0–127 Depth of the eect

Time 0–127 Time length of reverberation

Pre LPF

Pre HPF

Peaking Freq 200–8000 Hz

Peaking Gain -15–+15 dB

Peaking Q 0.5–8.0

HF Damp

LF Damp

Character 1–6 Type of reverb

EQ Low Freq 200–400 Hz Center frequency of the low region

EQ Low Gain -15–+15 dB Gain of the low range

EQ High Freq 2000–8000 Hz Center frequency of the high region

EQ High Gain -15–+15 dB Gain of the high range

Level 0–127 Output Level

16–15000 Hz,
BYPASS

BYPASS,
16–15000 Hz

16–15000 Hz,
BYPASS

BYPASS,
16–15000 Hz

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 specic frequency region of
the input sound

Amount of boost/cut produced by
the lter at the specied frequency
region of the input sound

Bandwidth of the lter that boosts or
cuts the specied frequency region
of the input sound

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

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

SUPER FILTER

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

Parameter Value Explanation

Filter type
Frequency range that will pass through each lter

LPF Frequencies below the cuto

Filter Type

Filter Slope

Filter Cuto 0–127

Filter Resonance 0–127

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

Modulation Sw OFF, ON On/o switch for cyclic change

Modulation Wave

Tempo Sync OFF, ON

Rate

Depth 0–127 Depth of modulation

Attack 0–127

Level 0–127 Output Level

BPF

HPF Frequencies above the cuto

NOTCH

Amount of attenuation per octave

-12 dB Gentle

-24 dB Steep

-36 dB Extremely steep

How the cuto frequency will be modulated

TRI Triangle wave

SQR Square wave

SIN Sine wave

SAW1 Sawtooth wave (upward)

SAW2 Sawtooth wave (downward)

0.05–10.00 Hz,
note

Frequencies in the region of the
cuto

Frequencies other than the region of
the cuto

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

cuto frequency.

Filter resonance level
Increasing this value will emphasize

the region near the cuto frequency.

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

Rate of modulation

Speed at which the cuto frequency
will change

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

FILTER+DRIVE

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

Parameter Value Explanation

Cuto 0–127

Resonance 0–127

Drive 0–127 Amount of distortion

Level 0–127 Output Level

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

cuto frequency.

Filter resonance level
Increasing this value will emphasize

the region near the cuto frequency.

21

Multi-Eect Parameters

AUTO WAH

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

Parameter Value Explanation

Type of lter
LPF: The wah eect will be applied

Filter Type LPF, BPF

Manual 0–127

Peak 0–127

Sens 0–127

Polarity UP, DOWN

Tempo Sync OFF, ON

Rate

Depth 0–127 Depth of modulation

Phase 0–180 deg

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

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

Level 0–127 Output Level

OD/DS

0

Parameter Value Explanation

Drive Switch OFF, ON Turns overdrive/distortion on/o

Drive Type

Drive 0–127

Tone 0–127 Sound quality of the Overdrive eect

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

Amp Type

Touch Wah Switch

Touch Wah Mode LPF, BPF

Touch Wah
Polarity

Touch Wah Sens 0–127

Touch Wah
Manual

Touch Wah Peak 0–127

Touch Wah
Balance

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

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

Level 0–127 Output Level

0.05–10.00 Hz, note

TWAH

OVERDRIVE,
DISTORTION

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

OFF, ON Wah on/o

DOWN, UP

0–127

D100:0W–
D0:100W

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

over a narrow frequency range.

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

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

Adjusts the sensitivity with which the
lter is controlled.

Direction in which the lter will move

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

frequency

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

Frequency of modulation

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

Type of distortion

Degree of distortion
Also changes the volume.

Type of guitar amp

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

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

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

narrow frequency range.

Direction in which the lter will move

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

frequency

Sensitivity with which the lter is
modied

Center frequency at which the wah
eect is applied

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

Volume balance of the sound that
passes through the wah (W) and the
unprocessed sound (D)

LOFI COMPRESS

This is an eect that intentionally degrades the tone character for
creative purposes.

Parameter Value Explanation

Selects the type of lter applied to
the sound before it passes through

Pre Filter Type 1–6

LoFi Type 1–9

Post Filter Type OFF, LPF, HPF

Post Filter Cuto 200–8000 Hz Basic frequency of the Post Filter

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

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

Level 0–127 Output Level

the Lo-Fi eect.

1: Compressor o
2–6: Compressor on

Degrades the tone character. The
tone character grows poorer as this
value is increased.

Selects the type of lter applied to
the sound after it passes through the
Lo-Fi eect.

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

the Cuto
HPF: cuts the frequency range below

the Cuto

DISTORTION

This is a distortion eect that provides heavy distortion.

Parameter Value Explanation

Drive 0–127

Tone 0–127 Sound quality of the Overdrive eect

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

Amp Type

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

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

Pan L64–63R Stereo location of the output sound

Level 0–127 Output Level

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

Degree of distortion
Also changes the volume.

Type of guitar amp

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

OVERDRIVE

This is an overdrive that provides heavy distortion. The parameters
are the same as for “DISTORTION.”

SATURATOR

A saturator which distorts the sound is connected in parallel with
a compressor, producing a rougher tonal character and boosting
the loudness. This also cuts the low-frequency region of the input
audio.

Parameter Value Explanation

Saturator Gain 0–127 Input volume to the saturator

Saturator Drive 0–127 Degree of distortion

Saturator Level 0–127 Output volume of the saturator

Comp Depth 0–127 Amount of compression

Comp Level 0–127 Output volume of the compressor

Hi Gain -12–+6 dB Gain of the high range

Level 0–127 Output Level

22

Multi-Eect Parameters

T-SCREAM

This models the analog overdrive of the past.
It adds a nice amount of overtones without dirtying the sound.

Parameter Value Explanation

Distortion 0–127

Tone 0–127 Sound quality of the Overdrive eect

Level 0–127 Output Level

Degree of distortion
Also changes the volume.

BIT CRUSHER

This creates a lo- sound.

Parameter Value Explanation

Sample Rate 0–127 Adjusts the sample rate.

Bit Down 0–18 Adjusts the bit depth.

Filter 0–127 Adjusts the lter depth.

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

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

Level 0–127 Output Level

ISOLATOR

This is an equalizer which cuts the volume greatly, allowing you to
add a special eect to the sound by cutting the volume in varying
ranges.

Parameter Value Explanation

Boost/Cut Low

Boost/Cut Mid

Boost/Cut High

Anti Phase Low
Sw

Anti Phase Low
Level

Anti Phase Mid
Sw

Anti Phase Mid
Level

Low Boost Sw OFF, ON

Low Boost Level 0–127

Level 0–127 Output Level

-60–+4 dB

OFF, ON

0–127

OFF, ON

0–127

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

At -60 dB, the sound becomes
inaudible. 0 dB is equivalent to the
input level of the sound.

Turns the Anti-Phase function on/o
for the Low frequency ranges

When turned on, the counter­channel of stereo sound is inverted
and added to the signal.

Adjusts the level settings for the Low
frequency ranges

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

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

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

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

a heavy bass sound.

Increasing this value gives you a
heavier low end

* Depending on the Isolator and

lter settings this eect may be
hard to distinguish.

RING MODULATOR

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

Parameter Value Explanation

Frequency 0–127

Sens 0–127

Polarity UP, DOWN

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

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

Level 0–127 Output Level

Adjusts the frequency at which
modulation is applied.

Adjusts the amount of frequency
modulation applied.

Direction in which the frequency
modulation will move

UP: Towards higher frequencies
DOWN: Towards lower frequencies

PITCH SHIFTER

A stereo pitch shifter.

Parameter Value Explanation

Coarse -24–+12 semi

Fine -100–+100 cent

Tempo Sync OFF, ON

Delay Time 1–1300 ms, note

Feedback -98–+98%

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

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

Level 0–127 Output Level

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

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

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

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

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

AUTO PAN

Cyclically modulates the stereo location of the sound.

Parameter Value Explanation

Modulation wave
TRI: Triangle wave

TRI, SQR, SIN,
SAW1, SAW2, TRP

Mod Wave

SAW1 SAW2

R R

L L

Tempo Sync OFF, ON

Rate

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

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

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

Level 0–127 Output Level

0.05–10.00 Hz,
note

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

Species whether the rate of
modulation applied to the eect is
specied as a note value (ON) or not
(OFF).

Frequency of the change

23

Kit List

No. Kit name Sub name Category

1 Acoustic All Wood Acoustic/Pop

2 Fat Rock Power Toms Rock

3 Compact Jazz Combo Jazz/Blues

4 Speed Metal* Metal

5 Tight Prog Rock

6 Compact Lite w/ Tambourine HH Acoustic/Pop

7 Elec tro Wah Electro

8 Deep Daft* Processed/Eective

9 Nu RnB Funk/RnB

10 JingleStacks 2nd Hi-Hat Funk/RnB

11 Studio Live Room Acoustic/Pop

12 Classic Rock Rock

13 Jazz Funk Jazz/Blues

14 Classic Metal 80-90s Metal

15 60s Rock Rock

16 Modern Funk Funk/RnB

17 Dark Hybrid Electro

18 Big Room* Layered Processed/Eective

19 Raw DnB Layered Hybrid Processed/Eective

20 Unplugged +Percussion World/Percussive

21 Pop-Rock Studio Acoustic/Pop

22 Dry & Heavy Folk Rock Rock

23 Second Line Jazz/Blues

24 Heavy Metal Metal

25 Arena Stage Rock

26 Warmer Funk Funk/RnB

27 Alternative POP Acoustic/Pop

28 Super Boom Layered Processed/Eective

29 Retro House +Percussion Processed/Eective

30 Bottle Phaser Entertainment/SE

31 More Cowbell Pop-Rock Acoustic/Pop

32 Live Rock Rock

33 Shue Blues Jazz/Blues

34 Alternative METAL Metal

35 Rockin' Gate 80s Rock

36 West Coast FUNK Funk/RnB

37 Live Fusion Jazz/Blues

38 Dark Breaks Electro-Acoustic Electro

39 Sharp Stick Drum'n'Bass Processed/Eective

40 Super Filter Processed/Eective

41 Cassette Lo-Fi Compress Acoustic/Pop

42 Bigga Bop Jazz Jazz/Blues

43 Funk Rock Rock

44 Alternative ROCK Rock

45 Dance Pop Processed/Eective

46 Ele-DRUM Classic Electro

47 808 Electro

48 909 Electro

49 Deep Groove +Percussion World/Percussive

50 Ambient Spiral Entertainment/SE

51–100 (User Kit)

*

Kits in which user samples are assigned to instruments

Listed by category

Category No. Kit name Sub name

1 Acoustic All Wood

6 Compact Lite w/ Tambourine HH

11 Studio Live Room

Acoustic/Pop

Electro

Entertainment/SE

Funk/RnB

Jazz/Blues

Metal

Processed/Eective

Rock

World/Percussive

– 51–100 (User Kit)

* Kits in which user samples are assigned to instruments

21 Pop-Rock Studio

27 Alternative POP

31 More Cowbell Pop-Rock

41 Cassette Lo-Fi Compress

7 Electro Wah

17 Dark Hybrid

38 Dark Breaks Electro-Acoustic

46 Ele-DRUM Classic

47 808

48 909

30 Bottle Phaser

50 Ambient Spiral

9 Nu RnB

10 JingleStacks 2nd Hi-Hat

16 Modern Funk

26 Warmer Funk

36 West Coast FUNK

3 Compact Jazz Combo

13 Jazz Funk

23 Second Line

33 Shue Blues

37 Live Fusion

42 Bigga Bop Jazz

4 Speed Metal*

14 Classic Metal 80-90s

24 Heavy Metal

34 Alternative METAL

8 Deep Daft*

18 Big Room* Layered

19 Raw DnB Layered Hybrid

28 Super Boom Layered

29 Retro House +Percussion

39 Sharp Stick Drum'n'Bass

40 Super Filter

45 Dance Pop

2 Fat Rock Power Toms

5 Tight Prog

12 Classic Rock

15 60s Rock

22 Dry & Heavy Folk Rock

25 Arena Stage

32 Live Rock

35 Rockin' Gate 80s

43 Funk Rock

44 Alternative ROCK

20 Unplugged +Percussion

49 Deep Groove +Percussion

24

Kit List (VAD306)

No. Kit name Sub name Category

1 Studio Jam All Wood Acoustic / Pop

2 Rock Aggressive Rock

3 Warm Jazz Jazz / Blues

4 HipHop Funk Funk / RnB

5 Laidback Funk / RnB

6 Shallow Mini at Cafe Acoustic / Pop

7 Speed Metal* Metal

8 Tight Prog Rock

9 Impact R&B Layered Funk / RnB

10 Acoustic All Wood Acoustic / Pop

11 Compact Jazz Combo Jazz / Blues

12 Rock Studio Ambient Rock

13 AmbiFunk Duo Layered Funk / RnB

14 Studio Live Room Acoustic / Pop

15 ClassicMetal 80-90s Metal

16 60s Rock Rock

17 Modern Funk Funk / RnB

18 Compact Lite w/ Tambourine HH Acoustic / Pop

19 Fat Rock Power Toms Rock

20 Unplugged +Percussion World / Percussive

21 Pop Hybrid* w/ Clap Processed / Eective

22 Electro Wah Electro

23 Jazz Funk Jazz / Blues

24 Deep Daft* Processed / Eective

25 Nu RnB Funk / RnB

26 JingleStacks 2nd Hi-Hat Funk / RnB

27 Dark Hybrid Electro

28 Big Room* Layered Processed / Eective

29 Classic Rock Rock

30 Raw DnB Layered Hybrid Processed / Eective

31 Pop-Rock Studio Acoustic / Pop

32 Dry & Heavy Folk Rock Rock

33 Second Line Jazz / Blues

34 Heavy Metal Metal

35 Arena Stage Rock

36 Warmer Funk Funk / RnB

37 Alternative POP Acoustic / Pop

38 Super Boom Layered Processed / Eective

39 Retro House +Percussion Processed / Eective

40 Bottle Phaser Entertainment / SE

41 More Cowbell Pop-Rock Acoustic / Pop

42 Live Rock Rock

43 Shue Blues Jazz / Blues

44 Alternative METAL Metal

45 Rockin' Gate 80s Rock

46 West Coast FUNK Funk / RnB

47 Live Fusion Jazz / Blues

48 Dark Breaks Electro-Acoustic Electro

49 Sharp Stick Drum'n'Bass Processed / Eective

50 Super Filter Processed / Eective

51 Cassette Lo-Fi Compress Acoustic / Pop

52 Bigga Bop Jazz Jazz / Blues

53 Funk Rock Rock

54 Alternative ROCK Rock

55 Dance Pop Processed / Eective

56 Ele-DRUM Classic Electro

57 808 Electro

58 909 Electro

59 Deep Groove +Percussion World / Percussive

60 Ambient Spiral Entertainment / SE

61–

(User Kit)

100

*

Kits in which user samples are assigned to instruments

Listed by category

Category No. Kit name Sub name

1 Studio Jam All Wood

6 Shallow Mini at Cafe

10 Acoustic All Wood

14 Studio Live Room

Acoustic / Pop

Electro

Entertainment / SE

Funk / RnB

Jazz / Blues

Metal

Processed / Eective

Rock

World / Percussive

–

* Kits in which user samples are assigned to instruments

18 Compact Lite w/ Tambourine HH

31 Pop-Rock Studio

37 Alternative POP

41 More Cowbell Pop-Rock

51 Cassette Lo-Fi Compress

22 Electro Wah

27 Dark Hybrid

48 Dark Breaks Electro-Acoustic

56 Ele-DRUM Classic

57 808

58 909

40 Bottle Phaser

60 Ambient Spiral

4 HipHop Funk

5 Laidback

9 Impact R&B Layered

13 AmbiFunk Duo Layered

17 Modern Funk

25 Nu RnB

26 JingleStacks 2nd Hi-Hat

36 Warmer Funk

46 West Coast FUNK

3 Warm Jazz

11 Compact Jazz Combo

23 Jazz Funk

33 Second Line

43 Shue Blues

47 Live Fusion

52 Bigga Bop Jazz

7 Speed Metal*

15 ClassicMetal 80-90s

34 Heavy Metal

44 Alternative METAL

21 Pop Hybrid* w/ Clap

24 Deep Daft*

28 Big Room* Layered

30 Raw DnB Layered Hybrid

38 Super Boom Layered

39 Retro House +Percussion

49 Sharp Stick Drum'n'Bass

50 Super Filter

55 Dance Pop

2 Rock Aggressive

8 Tight Prog

12 Rock Studio Ambient

16 60s Rock

19 Fat Rock Power Toms

29 Classic Rock

32 Dry & Heavy Folk Rock

35 Arena Stage

42 Live Rock

45 Rockin' Gate 80s

53 Funk Rock

54 Alternative ROCK

20 Unplugged +Percussion

59 Deep Groove +Percussion

61–

(User Kit)

100

25

Instrument List

No. Instrument name Instrument group

000 OFF OFF

001 Maple K KICK

002 Birch K KICK
003 Beech K KICK
004 Deep Shell K KICK
005 Solid K KICK

006 18"Maple K KICK

007 18"Open K KICK

008 20"Solid K KICK

009 24"Open K KICK
010 PlasticBeaterK KICK
011 WoodenBeater K KICK
012 Soft Beater K KICK
013 Resonance K KICK
014 Close Mic 1 K KICK
015 Close Mic 2 K KICK
016 Close Mic 3 K KICK
017 O Mic K KICK
018 Half-Proc 1 K KICK
019 Half-Proc 2 K KICK
020 Tight K KICK PROC/ELEC
021 Tight Cut K KICK PROC/ELEC
022 Retro Dance K KICK PROC/ELEC
023 House K KICK PROC/ELEC
024 Drum'n Bass K KICK PROC/ELEC
025 Break Beats K KICK PROC/ELEC
026 Impact K KICK PROC/ELEC
027 Tronic K KICK PROC/ELEC
028 ElectroKnock K KICK PROC/ELEC
029 Lo-Fi K KICK PROC/ELEC
030 Reverse K KICK PROC/ELEC
031 R-8 Low K KICK PROC/ELEC
032 TR-808 K KICK PROC/ELEC
033 TR-909 K KICK PROC/ELEC
034 TR-909 Wood K KICK PROC/ELEC
035 Analog K KICK PROC/ELEC
036 Mahogany S SNARE
037 Mahogany SR SNARE
038 Maple S SNARE
039 Maple SR SNARE
040 Steel S SNARE
041 Steel SR SNARE

042 Brass S SNARE

043 Brass SR SNARE
044 Aluminium S SNARE
045 Aluminium SR SNARE
046 Deep Shell S SNARE
047 Deep Shell SR SNARE

048 MaplePiccolo S SNARE

049 MaplePiccoloSR SNARE
050 Brush S SNARE
051 Brush SR SNARE
052 Cross Stick 1 CROSS STICK
053 Cross Stick 2 CROSS STICK
054 Cross Stick 3 CROSS STICK
055 Cross Stick 4 CROSS STICK
056 Cross Stick 5 CROSS STICK
057 Cross Stick 6 CROSS STICK
058 Cross Stick 7 CROSS STICK
059 Cross Stick 8 CROSS STICK
060 Cross Stick 9 CROSS STICK
061 Cross Stick 10 CROSS STICK
062 Radio S SNR PROC/ELEC
063 Short Buzz S SNR PROC/ELEC
064 Dense Click S SNR PROC/ELEC
065 Drum'n Bass S SNR PROC/ELEC
066 House S SNR PROC/ELEC
067 House Low S SNR PROC/ELEC
068 Hip Hop S SNR PROC/ELEC

26

Corresponding instrument parameter

Tuning Muing

( ( (

( ( (
( ( (
( ( (
( ( (

( ( (

( ( (

( ( (

( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (

( ( (
( ( (
( ( (
( ( (
( ( (
( ( (

( ( (

( ( (
( ( (
( ( (
( ( (
( ( (

( ( (

( ( (
( ( (
( ( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

Snare

Buzz

Strainer

Adj.

Size Fixed Pitch Decay

( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

( (
( (
( (
( (
( (
( (
(

(

Remarks

*R

*R

*R

*R

*R

*R

*R

*R

Instrument List

No. Instrument name Instrument group

069 Hop S SNR PROC/ELEC
070 Ambient Snap S SNR PROC/ELEC
071 Clap S SNR PROC/ELEC
072 Dirty Clap S SNR PROC/ELEC
073 Retro Dance S SNR PROC/ELEC
074 TR-808 S SNR PROC/ELEC
075 TR-808 SR SNR PROC/ELEC
076 TR-909 S SNR PROC/ELEC
077 TR-909 SR SNR PROC/ELEC
078 Analog 1 S SNR PROC/ELEC
079 Analog 2 S SNR PROC/ELEC
080 TR-808 X Stick SNR PROC/ELEC
081 TR-909 X Stick SNR PROC/ELEC
082 10"Maple T1 TOM
083 10"Maple T1R TOM
084 12"Maple T2 TOM
085 12"Maple T2R TOM
086 13"Maple T3 TOM
087 13"Maple T3R TOM
088 16"Maple T4 TOM
089 16"Maple T4R TOM
090 12"Birch T1 TOM
091 12"Birch T1R TOM
092 14"Birch T2 TOM
093 14"Birch T2R TOM
094 16"Birch T3 TOM
095 16"Birch T3R TOM
096 18"Birch T4 TOM
097 18"Birch T4R TOM
098 10"Beech T1 TOM
099 10"Beech T1R TOM
100 12"Beech T2 TOM
101 12"Beech T2R TOM
102 13"Beech T3 TOM
103 13"Beech T3R TOM
104 16"Beech T4 TOM
105 16"Beech T4R TOM
106 10"Shallow T1 TOM
107 10"Shallow T1R TOM
108 12"Shallow T2 TOM
109 12"Shallow T2R TOM
110 13"Shallow T3 TOM
111 13"Shallow T3R TOM
112 16"Shallow T4 TOM
113 16"Shallow T4R TOM
114 10"Brush T1 TOM
115 10"TomRimClick TOM
116 12"Brush T2 TOM
117 12"TomRimClick TOM
118 13"Brush T3 TOM
119 13"TomRimClick TOM
120 16"Brush T4 TOM
121 16"TomRimClick TOM
122 TR-808 T1 TOM PROC/ELEC
123 TR-808 T2 TOM PROC/ELEC
124 TR-808 T3 TOM PROC/ELEC
125 TR-808 T4 TOM PROC/ELEC
126 TR-909 T1 TOM PROC/ELEC
127 TR-909 T2 TOM PROC/ELEC
128 TR-909 T3 TOM PROC/ELEC
129 TR-909 T4 TOM PROC/ELEC
130 Analog T1 TOM PROC/ELEC
131 Analog T2 TOM PROC/ELEC
132 Analog T3 TOM PROC/ELEC
133 Analog T4 TOM PROC/ELEC
134 Elec Bend T1 TOM PROC/ELEC

135 Elec Bend T2 TOM PROC/ELEC

136 Elec Bend T3 TOM PROC/ELEC

137 Elec Bend T4 TOM PROC/ELEC

Tuning Muing

( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (

( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (
( ( (

Corresponding instrument parameter

Snare

Buzz

Strainer

Adj.

Size Fixed Pitch Decay

( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

( (

( (

( (

Remarks

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

*R

27

Instrument List

No. Instrument name Instrument group

138 14"Session HH HI-HAT
139 14"Session HHE HI-HAT
140 13"Bright HH HI-HAT
141 13"Bright HHE HI-HAT
142 15"Heavy HH HI-HAT
143 15"Heavy HHE HI-HAT
144 14"Brush HH HI-HAT
145 14"Brush HHE HI-HAT
146 Tambourine HH HI-HAT
147 Tambourine HHE HI-HAT
148 Drum'n Bass HH HH PROC/ELEC
149 House HH HH PROC/ELEC
150 Sharp House HH HH PROC/ELEC
151 Low Step HH HH PROC/ELEC
152 Jingle HH HH PROC/ELEC
153 TR-808 HH HH PROC/ELEC
154 TR-909 HH HH PROC/ELEC
155 CR-78 HH HH PROC/ELEC
156 CR-78 Metal HH HH PROC/ELEC
157 20"Dark Rd RIDE
158 20"Dark RdE RIDE
159 20"Dark RdB RIDE
160 20"Bright Rd RIDE
161 20"Bright RdE RIDE
162 20"Bright RdB RIDE
163 19"Light Rd RIDE
164 19"Light RdE RIDE
165 19"Light RdB RIDE
166 21"Dry Dark Rd RIDE
167 21"DryDark RdE RIDE
168 21"DryDark RdB RIDE
169 20"Brush Rd RIDE
170 20"Brush RdE RIDE
171 20"Brush RdB RIDE
172 22"Sizzle Rd RIDE
173 22"Sizzle RdE RIDE
174 22"Sizzle RdB RIDE
175 16"Dark Cr CRASH
176 16"Dark CrE CRASH
177 18"Dark Cr CRASH
178 18"Dark CrE CRASH
179 16"Bright Cr CRASH
180 16"Bright CrE CRASH
181 18"Bright Cr CRASH
182 18"Bright CrE CRASH
183 16"Thin Cr CRASH
184 16"Thin CrE CRASH
185 18"Thin Cr CRASH
186 18"Thin CrE CRASH
187 16"Heavy Cr CRASH
188 16"Heavy CrE CRASH
189 19"Heavy Cr CRASH
190 19"Heavy CrE CRASH
191 17"Brush Cr CRASH
192 17"Brush CrE CRASH
193 19"Brush Cr CRASH
194 19"Brush CrE CRASH
195 6"Thin Splash SPLASH/CHINA
196 6"ThinSplash E SPLASH/CHINA
197 12"Thin Splash SPLASH/CHINA
198 12"ThinSplashE SPLASH/CHINA
199 8"Med Splash SPLASH/CHINA
200 8"Med Splash E SPLASH/CHINA
201 12"Med Splash SPLASH/CHINA
202 12"MedSplash E SPLASH/CHINA
203 16"China SPLASH/CHINA
204 16"China E SPLASH/CHINA
205 20"China SPLASH/CHINA
206 20"China E SPLASH/CHINA
207 14"Trash SPLASH/CHINA

28

Tuning Muing

( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

Corresponding instrument parameter

Snare

Buzz

Strainer

Adj.

Size Fixed Pitch Decay

( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

Remarks

*E

*E

*E

*E

*E

( (
( (
( (
( (
( (
( (
( (
( (
( (

*E

*B

*E

*B

*E

*B

*E

*B

*E

*B

*E

*B

*E

*E

*E

*E

*E

*E

*E

*E

*E

*E

*E

*E

*E

*E

*E

*E

Instrument List

No. Instrument name Instrument group

208 14"Trash E SPLASH/CHINA

209 17"Trash Cr SPLASH/CHINA

210 17"Trash CrE SPLASH/CHINA

211 Drum'n Bass Rd CYMBAL OTHERS
212 Mainly Bell Rd CYMBAL OTHERS
213 Short&Dirty Rd CYMBAL OTHERS
214 Reverse Rd CYMBAL OTHERS
215 Sweep Cr CYMBAL OTHERS
216 Lo-Fi Cr CYMBAL OTHERS
217 Phase Cr CYMBAL OTHERS
218 Ambient Cr CYMBAL OTHERS
219 TR-808 Cr CYMBAL OTHERS
220 Analog Cr CYMBAL OTHERS
221 Reverse Cr
222 Reverse Trash
223 Bongo Hi Open
224 Bongo Hi Slap
225 Bongo Lo Open
226 Conga Hi Open
227 Conga Hi Slap
228 Conga Lo Open
229 TimbaleHi Open
230 Timbale Hi Rim
231 TimbaleLo Open
232 Timbale Paila PERCUSSION
233 Cajon Open PERCUSSION
234 Cajon Slap PERCUSSION
235 Cajon Bass PERCUSSION
236 Cowbell 1 PERCUSSION
237 Cowbell 1 Tip PERCUSSION
238 Cowbell 2 PERCUSSION
239 Cowbell 3 PERCUSSION
240 Claves PERCUSSION
241 Maracas PERCUSSION
242 Shaker PERCUSSION
243 Tambourine 1 PERCUSSION
244 Tambourine 2 PERCUSSION
245 Rain Stick PERCUSSION
246 Vibra-Slap PERCUSSION
247 Cabasa PERCUSSION
248 Surdo Open PERCUSSION
249 Surdo Mute PERCUSSION
250 Surdo Rim PERCUSSION
251 Pandeiro Thumb PERCUSSION
252 Pandeiro Slap PERCUSSION
253 PandeiroJingle PERCUSSION
254 Agogo Hi PERCUSSION
255 Agogo Lo PERCUSSION
256 Caxixi PERCUSSION
257 Cuica Hi PERCUSSION
258 Cuica Lo PERCUSSION
259 Djembe Open PERCUSSION
260 Djembe Slap PERCUSSION
261 Djembe Bass PERCUSSION
262 Pot Drum Side PERCUSSION
263 Pot Drum Mute PERCUSSION
264 Pot Drum Bass PERCUSSION
265 PotDrumRelease PERCUSSION
266 Tabla Na PERCUSSION
267 Tabla Tin PERCUSSION
268 Tabla Tun PERCUSSION
269 Tabla Ge PERCUSSION
270 Tabla Ka PERCUSSION
271 Tabla Ge Slide PERCUSSION
272 Timpani G PERCUSSION
273 Timpani C PERCUSSION
274 Wood Block Hi PERCUSSION
275 Wood Block Lo PERCUSSION
276 Triangle Open PERCUSSION

CYMBAL OTHERS
CYMBAL OTHERS
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION

Tuning Muing

( (

( (

( (

Corresponding instrument parameter

Snare

Buzz

Strainer

Adj.

Size Fixed Pitch Decay

Remarks

*E

*E

( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

29

Instrument List

No. Instrument name Instrument group

277 Triangle Close PERCUSSION
278 Crotale PERCUSSION
279 Sleigh Bells PERCUSSION
280 Tree Chimes PERCUSSION
281 Gong PERCUSSION
282 TR-808Cowbell1 PERC PROC/ELEC
283 TR-808Cowbell2 PERC PROC/ELEC
284 TR-808 Maracas PERC PROC/ELEC
285 TR-808 Claves PERC PROC/ELEC
286 TR-808 Conga PERC PROC/ELEC
287 CR-78 Cowbell PERC PROC/ELEC
288 CR-78 Guiro PERC PROC/ELEC
289 CR-78 Maracas PERC PROC/ELEC
290 CR-78 Tamb PERC PROC/ELEC
291 CR-78 Bongo PERC PROC/ELEC
292 CR-78 Claves PERC PROC/ELEC
293 CR-78MetalBeat PERC PROC/ELEC
294 Clap SOUND FX
295 House Clap SOUND FX
296 Fat Clap SOUND FX
297 TechHouse Clap SOUND FX
298 Noize Clap SOUND FX
299 TR-808 Clap SOUND FX
300 TR-909 Clap SOUND FX
301 Snaps SOUND FX
302 Snappin' SOUND FX
303 Beep SOUND FX
304 Afro Stomp SOUND FX
305 Discovery SOUND FX
306 Super Low SOUND FX
307 ReectiveBell SOUND FX
308 Reverse&Phase SOUND FX
309 Voice-Haaa SOUND FX
310 Sin 440Hz SOUND FX

*R Rim sound

*E Cymbal edge sound

*B Cymbal bell sound

Tuning Muing

Corresponding instrument parameter

Snare

Buzz

Strainer

Adj.

Size Fixed Pitch Decay

Remarks

( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (
( (

30

User Sample List

No. User sample name Assigned kit

U001 SpeedMetal_K Speed Metal

U002 InYourFace_K

U003 BigRoom_K

U004 BigRoom_S

U005 BigRoom SR

U006 DeepDraft_K

U007 DeepDraft_S

U008–100 (Empty) –

Big Room

Pop Hybrid, Deep Daft

Song List

No. Song name

001 Rock1

002 Dance1

003 Funk

004 Rock2

005 Jazz

006 Latin

007 Dance2

31

Kit Structure

Kit 100

Kit 1

Pads

KICK

Head

SNARE

Head

Rim

TOM 1

Head

Rim

TOM 2

Head

Rim

TOM 3

Head

Rim

Pad settings

Instrument (instrumental sound, user sample), tuning,
muing, equalizer, volume, etc.

HI-HAT

Head

Rim

AUX

Head

Rim

CRASH 1

Head

Rim

CRASH 2

Head

Rim

Ambience settings

Performance location, wall material, depth, etc.

Multi-eect settings

Overall kit settings

Volume, kit name, etc.

RIDE

Head

Rim

Bell

32

02