Roland V-Drums TD-50 Data List

Download

Page 1

Data List

Page 2

Contents

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

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

KIT SETTINGS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

KIT SETTINGS 1 (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

KIT SETTINGS 2 (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

PAD CONTROL (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

PAD MIDI (page 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

KIT CUSTOMIZE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

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

INSTRUMENT (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

MIC POSITION (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

TRANSIENT (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

SUB INST (page 4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

AMBIENCE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

AMBIENCE LEVEL (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

ROOM (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

REVERB (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

STEREO ENHANCER (page 4) . . . . . . . . . . . . . . . . . . . . . . . . . 12

MIXER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

MIXER VOLUME (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

PAD EQ (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

PAD COMP (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

MULTI EFFECT (MFX) (page 4) . . . . . . . . . . . . . . . . . . . . . . . . 15

MASTER COMP (page 5) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

MASTER EQ (page 6) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

USER SAMPLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

SAMPLE LIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

SONG (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

SONG INFO (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

SET LIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

CLICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

TRIGGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

TRIG BASIC (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

TRIG ADVANCED (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

TRIG MONITOR (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Multi-Eect Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

TAPE ECHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

REVERSE DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

3TAP PAN DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

OD0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

DS0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

SPACE-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

OD0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

DS0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

PHASER A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

PHASER B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

STEP PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

FLANGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

LONG REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

SUPER FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

FILTER+DRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

OD/DS0TWAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

LOFI COMPRESS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

DISTORTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

OVERDRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

SATURATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

T-SCREAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

BIT CRUSHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

ISOLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

RING MODULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

AUTO PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Drum Kit List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Instrument List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Song List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Drum Kit Parameter Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

SETUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

OUTPUT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

PAD OUTPUT (page 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

OTHER OUTPUT (page 2) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

OUTPUT ROUTING (page 3) . . . . . . . . . . . . . . . . . . . . . . . . . . 29

USB AUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

CONTROL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

AUTO OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

INFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Page 3

DRUM KIT

DRUM KIT Screen

Parameter Value Explanation

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

XSTICK OFF, ON

KIT SETTINGS

1. Press the [KIT] button.

1. Press the [F5] (MENU) button.

The menu screen appears.

If the trigger input of a pad that supports both cross-stick technique and digital connection (such as the PD-140DS) is assigned to a snare, cross-stick playing is always possible. In this case, the screen does not show the XSTICK icon.

2. Use the PAGE [UP] [DOWN] buttons to access the editing screen.

3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value.

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

KIT SETTINGS 1 (page 1)

Parameter Value Explanation

Edits the name of the drum kit.

[F4] button

VOLUME tab

Kit Volume -INF–+6.0 dB Drum kit volume

COLOR tab

Kit Color

FAVORITE tab

Favorite OFF, ON Registers (ON)/de-registers (OFF) the drum kit in favorites.

Reference

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

1: WHITE 2: RED 3: GREEN 4: BLUE 5: PINK 6: PURPLE 7: ORANGE 8: YELLOW 9: EMERALD 10: RAINBOW

Use the [KIT] button or [R1]–[R3] knobs to specify the illumination color.

Page 4

DRUM KIT

KIT SETTINGS 2 (page 2)

Parameter Value Explanation

BRUSH tab

Species whether you’re performing with sticks (OFF) or brushes (ON).

Brush Switch OFF, ON

KIT TEMPO tab

OFF

Kit Tempo

Tempo 20–260 Tempo specied for each drum kit

If this is “ON,” you can perform by scraping (sweeping) the brushes.

* This is supported starting with program version 1.05. Refer to the Roland website for the latest

information.

http://www.roland.com/support/

Use a common tempo (p. 21) for the entire TD-50. The tempo does not change when you switch drum kits.

Use the tempo that is specied by each drum kit. The click tempo and the tempo of tempo-synchronized eects can be individually specied for

each drum kit.

PAD CONTROL (page 3)

Parameter Value Explanation

PEDALBEND tab

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

Pedal Bend Range -24–0–+24

POSITION tab

Position Control*1 OFF, ON

POS AREA tab

Position Area*1 INSIDE -5–DEFAULT– OUTSIDE +5

MUTE GRP tab

MUTE SEND

– (OFF), 1–8

MUTE RECEIVE

*1 This supports the following trigger inputs.

5 SNARE

5 TOM1–4

5 The bow (head) of RIDE

5 AUX1–4

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

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

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

You can set this for the snare (head, rim), tom (head, rim), ride (bow), and AUX (head, rim) trigger inputs.

Head: Strike position Rim: Rim shot nuance Bow: Strike position

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

play toward the outside.

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

the same number in MUTE RECEIVE is muted.

* Even if you specify the same number in MUTE SEND and MUTE RECEIVE for the same location

(e.g., head or rim) of the same pad, muting does not occur.

Page 5

PAD MIDI (page 4)

Parameter Value Explanation

NOTE tab

Note No.

GATE tab

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

MIDI CH tab

MIDI Channel

MIDI note numbers transmitted and received by the hi-hat

Item Explanation

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

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

HI-HAT PEDAL 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

CH1–CH16 MIDI channel on which each pad transmits or receives note messages or control change messages

GLOBAL Transmitted and received on the transmit/receive channel specied in SETUP (p. 32)

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

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

DRUM KIT

MIDI note numbers transmitted and received by the snare

Parameter Explanation

SNARE <HEAD> SNARE <RIM>

SNARE <BRUSH> MIDI note number transmitted and received by brush sweep

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

When playing the internal sound generator of the TD-50, if an incoming note number is assigned to more than one pad, that note plays the instrument of the pad with the lowest trigger input number. If the same note number is assigned to both the head and the rim, the head instrument is sounded.

MEMO

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

Example:

Note number “38 (D 2)” is set for the head and rim of trigger input 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.

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

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

within the gate time.

Page 6

KIT CUSTOMIZE

INSTRUMENT

1. Press the [INSTRUMENT] button.

The INSTRUMENT screen appears.

2. Select the pad that you want to edit.

3. Use the PAGE [UP] [DOWN] buttons and function buttons to select the item that you want to edit.

* The parameters that you can edit depend on the pad and instrument.

4. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value.

MEMO

For some parameters, you can also use the rotary knobs to edit the value.

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

INSTRUMENT (page 1)

Parameters that can be edited for each instrument

Parameter Value Explanation

INST tab

Inst

ADVANCED tab

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

Pitch Sweep*1 -100–100

Decay*1 1–100 Length of decay

Dynamic Enhancer Sw*1, *2 OFF, ON Species whether the sense of strong strikes is enhanced (ON) or not enhanced (OFF).

*1 If a user sample is assigned to the instrument, you can’t specify Dynamic Enhancer Sw. Also, if the user sample’s Play Type (p. 18) is set to “LOOP ALT,” the Pitch Sweep and Decay

have no eect.

*2 For some instruments, this cannot be set.

MEMO

If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc.

001– (preset) U001–U500 (user sample)

Instrument number

Reference

For more about instruments, refer to “Instrument List” (p. 42).

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

low and then rise. Larger values produce greater change.

* In some cases, changing the Pitch setting by a large amount might limit the Pitch Sweep eect.

Page 7

KICK A

Parameter Value Explanation

INST tab

Shell Depth 1.0–30.0 Depth of the shell

Head Type CLEAR, COATED, PINSTRIPE Type of head

BASIC 1 tab

Tuning -100–100 Tuning of the head

Muing

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

BASIC 2 tab

Snare Buzz OFF, 1–8 Resonance to the snare

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

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

ADVANCED tab

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

OFF, TAPE1–4, BLANKET1–3, WEIGHT1, 2

Muing (muting) setting

SNARE A/CROSS STICK/SNARE BRUSH

KIT CUSTOMIZE

Parameter Value Explanation

INST tab

Shell Depth*1 1.0–30.0 Depth of the shell

Head Type*1 CLEAR, COATED, PINSTRIPE Type of head

BASIC 1 tab

Tuning -100–100 Tuning of the head

Muing OFF, TAPE1–7, DONUT1, 2 Muing (muting) setting

Overtone*1, *2 -5–NORMAL–+5 Amount of overtone components

BASIC 2 tab

Strainer Adj.*2 LOOSE1–3, MEDIUM1–3, TIGHT1–3 Tension of the strainer (resonating cords)

Wire Type*2 TYPE1–3 Type of strainer

Wire Level*2 -4–NORMAL–+5 Volume of strainer

ADVANCED tab

XStick Inst*3 1–5 Cross-stick sound selection

Cross-stick sound volume

XStick Inst Volume*3 -INF–+6.0 dB

*1 Unavailable if the instrument group is CROSS STICK. *2 Unavailable if the instrument group is SNARE BRUSH. *3 Only if the SNARE A/CROSS STICK instrument is assigned to the rim of the snare (or to the rim of a digitally connected pad that is assigned to snare)

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

MEMO

The “XStick Volume” can also be edited from the MIXER DRUM KIT VOLUME screen (KIT VOL tab) of the MIXER (p. 13).

Page 8

KIT CUSTOMIZE

TOM A/TOM BRUSH

Parameter Value Explanation

INST tab

Shell Depth 1.0–30.0 Depth of the shell

Head Type CLEAR, COATED, PINSTRIPE Type of head

BASIC 1 tab

Tuning -100–100 Tuning of the head

Muing OFF, TAPE1–5, FELT1–4 Muing (muting) setting

Snare Buzz OFF, 1–8 Resonance to the snare

HI-HAT

Parameter Value Explanation

INST tab

Size 1.0–40.0 Hi-hat diameter

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

BASIC 1 tab

Fixed NORMAL, PRESS, CLOSE, HALF, OPEN

ADVANCED tab

Pedal HH Volume -INF–+6.0 dB

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.

Volume of pedal hi-hat

MEMO

The “Pedal HH Volume” can also be edited from the MIXER DRUM KIT VOLUME screen (KIT VOL tab) of the MIXER (p. 13).

MEMO

The closed hi-hat position (Fixed = CLOSE) can be enabled by pressing an optional footswitch or hitting a pad switch. Please refer to “CONTROL” (p. 31).

CRASH/CHINA/SPLASH/STACKED CYMBAL

Parameter Value Explanation

INST tab

Size 1.0–40.0 Cymbal diameter

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

BASIC 1 tab

Muing OFF, TAPE1–19 Muing (muting) setting

Sizzle Type OFF, RIVET, CHAIN, BEADS Type of sizzle

Sizzle Amount -3–+3 Amount of sizzle

Page 9

RIDE

Parameter Value Explanation

INST tab

Size 1.0–40.0 Cymbal diameter

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

BASIC 1 tab

Muing OFF, TAPE1–19 Muing (muting) setting

Sizzle Type OFF, RIVET, CHAIN, BEADS Type of sizzle

Sizzle Amount -3–+3 Amount of sizzle

BASIC 2 tab

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

Ping Level*1 -4–NORMAL–+5 Volume of the ride’s ping sound

*1 For some instruments, these settings are not available.

MIC POSITION (page 2)

You can edit the mic position and volume for each instrument.

* For some instruments, these settings are not available.

KIT CUSTOMIZE

Parameter Value Explanation

MIC POS tab

Mic Position OUTSIDE4–STANDARD–INSIDE4 Tonal change caused by mic position

ELEMENT tab

Overhead -INF–+6.0 dB Volume of overhead mic

Room -INF–+6.0 dB Volume of room mic

WIDTH tab

Mic Width -5–+5 Spread of the overhead mic and room mic

TRANSIENT (page 3)

You can adjust the attack and release (transient) for each instrument.

* For some instruments, these settings are not available.

Parameter Value Explanation

[F4] button OFF, TRANSIENT ON Turns the transient eect on/o.

Time ([R1] knob) 1–10 Time over which the attack changes

Attack ([R2] knob) -100–+100 Adjustment of the attack

Release ([R3] knob) -100–+100 Adjustment of the release

Gain -12.0–+6.0 dB Volume following transient adjustment

Page 10

KIT CUSTOMIZE

SUB INST (page 4)

Parameter Value Explanation

[F4] button OFF, SUB ON Turns the sub-instrument on/o.

SUB INST tab

SUB INST

Layer Type

Fade Point 1–127+32

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

V-EDIT tab

001– (preset) U001–U500 (user sample)

These parameters specify how the sub instrument will be sounded.

MIX

FADE1

FADE2, FADE3

SWITCH

Reference

For details on the parameters that can be edited, refer to “INSTRUMENT (page 1)” (p. 6).

OTHER tab

Mic Position OUTSIDE4–STANDARD–INSIDE4 Tonal change caused by mic position

Mic Overhead -INF–+6.0 dB Volume of the overhead mics

Mic Room -INF–+6.0 dB Volume of the room mics

Mic Width -5–+5 Spread of the overhead mics and the room mics

Transient Sw OFF, TRANSIENT ON Transient on/o

Transient Time 1–10 Time over which the attack changes

Transient Attack -100–+100 Adjustment of the attack

Transient Release -100–+100 Adjustment of the release

Transient Gain -12.0–+6.0 dB Volume following transient adjustment

Sub-instrument number

Reference

For more about instruments, refer to “Instrument List” (p. 42).

Volume

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

Playing

Volume

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

only by the strongest strike.

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

Dynamics

Playing Dynamics

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.

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

same volume.

FADE3:

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

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

* For some instruments, these settings are not available.

Page 11

AMBIENCE

1. Press the [AMBIENCE] button.

The AMBIENCE screen appears.

2. Use the PAGE [UP] [DOWN] buttons to access the editing screen.

3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value.

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

AMBIENCE LEVEL (page 1)

KIT CUSTOMIZE

Parameter Value Explanation

[F1] button ROOM OFF, ROOM ON Turns the room ambience (the type and size of room) eect on/o.

[F2] button REV OFF, REV ON Turns the reverb (reverberation) eect on/o.

[F3] button ENHNC OFF, ENHNC ON Turns the stereo enhancer (spaciousness) eect on/o.

Room ([R1] knob) -INF–+6.0 dB Volume of room ambience

Reverb ([R2] knob) -INF–+6.0 dB Volume of reverb

Stereo Enhancer ([R3] knob) -INF–+6.0 dB Volume of stereo enhancer

ROOM (page 2)

Parameter Value Explanation

[F4] button OFF, ROOM ON Turns room ambience on/o.

ROOM tab

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

Type ([R1] knob)

Level ([R2] knob) -INF–+6.0 dB Volume of room ambience

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

Room Shape 0–100 Room shape and reverberation length

Wall Type

Mic Position

SEND tab

Room Send Volume -INF–+6.0 dB

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

Type of room reverberation

Wall material

Tonal change caused by mic position

Amount of room ambience applied to each pad If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head

area and rim area, etc.

Page 12

KIT CUSTOMIZE

REVERB (page 3)

Parameter Value Explanation

[F4] button OFF, REV ON Turns reverb on/o.

ROOM tab

Type ([R1] knob) ROOM 1, 2, HALL 1, 2, PLATE Type of reverb

Level ([R2] knob) -INF–+6.0 dB Volume of reverb

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

Time 0.1–10.0 Sec Time length of reverberation

Density 0–127 Density of reverb sound

Diusion 0–127

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

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

Spread 0–127 Spread of the reverb sound

Tone 0–127 Tonal character of reverb sound

SEND tab

Reverb Send Volume -INF–+6.0 dB

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

longer reverb times).

Amount of reverb applied to each pad If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head

area and rim area, etc.

STEREO ENHANCER (page 4)

Parameter Value Explanation

[F4] button OFF, ENHNC ON Turns stereo enhancer on/o.

ROOM tab

Width ([R1] knob) MONO, 1–4 Spread of stereo enhancer

Level ([R2] knob) -INF–+6.0 dB Volume of stereo enhancer

Color 1–6 Tonal character of stereo enhancer

MAIN SEND tab

Stereo Enhancer Main Inst Send

SUB SEND tab

Stereo Enhancer Sub Inst Send -INF–+6.0 dB

-INF–+6.0 dB

Amount of stereo enhancer applied to each pad (main instrument) If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head

area and rim area, etc.

Amount of stereo enhancer applied to each pad (sub-instrument) If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head

area and rim area, etc.

Page 13

MIXER

1. Press the [MIXER] button.

The MIXER screen appears.

2. Use the PAGE [UP] [DOWN] buttons to access the editing screen.

3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value.

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

MIXER VOLUME (page 1)

For each drum kit, you can adjust the volume of each pad and adjust the overall volume of the entire drum kit. You can also adjust how the volume responds to the striking force.

KIT CUSTOMIZE

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

MIN VOL tab

Pad Minimum Volume*1 0–15

Pad Maximum Volume*1 -5–0

KIT VOL tab

Kit Volume*2

Pedal HH Volume Pedal hi-hat volume

Xstick Volume Cross-stick volume

*1 Use the cursor [H] [I] buttons to choose whether you’re setting the Pad Minimum Volume or the Pad Maximum Volume. *2 You can also set “Kit Volume” in the KIT SETTINGS screen (VOLUME tab) (p. 3).

MEMO

If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc.

-INF–+6.0 dB

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

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

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

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

connector.

Drum kit volume

Page 14

KIT CUSTOMIZE

PAD EQ (page 2)

This is a three-band equalizer that each drum kit provides for each strike location of each pad. You can disable the pad equalizer eect that is output from the DIRECT OUT jacks (p. 29).

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

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

Parameter Value Explanation

[F4] button OFF, EQ ON Turns pad equalizer on/o.

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

Low Gain ([R1] knob) -15–+15 dB Amount of boost/cut for the low range

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

Mid Q 0.5–8.0

Mid Gain ([R2] knob) -15–+15 dB Amount of boost/cut for the mid range

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

High Gain ([R3] knob) -15–+15 dB Amount of boost/cut for the high range

MEMO

If you press the [F5] (H&R) button to turn it “ON,” you can simultaneously make settings for the head area and rim area, etc.

* If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” the pad equalizer eect does not apply to the sound that is output from the DIRECT OUT jacks.

* If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” and Master OUT is set to “DIRECT,” the pad equalizer eect does not apply to the sound that is output from the DIRECT

OUT jacks and MASTER OUT jacks.

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

PAD COMP (page 3)

This is a compressor that each drum kit provides for each pad. The pad compressor eect can be applied only to the output from the DIRECT OUT jacks. You can also disable the pad compressor eect from being

applied to the PHONES jack output (p. 29).

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

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

Parameter Value Explanation

[F4] button OFF, COMP ON Turns pad compressor on/o.

Type ([R1] knob)

Threshold ([R2] knob) -48–0 dB Volume level at which compression begins

Gain ([R3] knob) -24–+24 dB Output level of the compressor

Ratio 1:1–100:1 Compression ratio

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

Attack 0–100 mSec Time from when the volume goes up the threshold level until the compressor eect applies

Release 10–1000 mSec

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

* If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” the pad compressor eect does not apply to the sound that is output from the DIRECT OUT jacks.

* If the routing setting (p. 29) PadEq/Comp to direct is “OFF,” and Master Out is set to “DIRECT,” the pad compressor eect does not apply to the sound that is output from the

DIRECT OUT jacks and the MASTER OUT jacks.

* If the routing setting (p. 29) PadComp to Phones is “OFF,” the pad compressor eect does not apply to the sound that is output from the PHONES jacks.

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

Character of the compressor

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

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

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

Page 15

Meters shown in the PAD COMP screen

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

KIT CUSTOMIZE

Input meter

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

Output meter

The “output meter” shows the output level following the pad compressor.

Gain reduction meter

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

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

MULTI EFFECT (MFX) (page 4)

You can use three multi-eects simultaneously for each drum kit.

Parameter Value Explanation

MFX tab

[F5] button OFF, MFX1–3 ON Turns on/o the multi-eect 1–3 selected by the [R1] knob.

MFX SEL ([R1] knob) MFX1–3 You can use three multi-eects simultaneously for each drum kit.

Type of multi-eect

Type ([R2] knob)

Level ([R3] knob) -INF–+6.0 dB Volume of the eect sound for the selected multi-eect

ASSIGN tab

MFX Assign MFX1–3 Select the multi-eect 1–3 that is applied to each pad.

SEND tab

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

DRY+MFX tab

MFX DRY+WET*1

*1 MFX DRY+WET is specied for each pad. It cannot be specied for individual strike locations (such as the head or rim). If MFX DRY+WET is set to “MFX ONLY,” some multi-eect settings might cause no sound to be output.

Reference

For more about multi-eects, refer to “Multi-Eect Parameters” (p. 34).

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

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

Page 16

KIT CUSTOMIZE

MASTER COMP (page 5)

This is a two-band equalizer that is provided for each drum kit. The master compressor is output from the MASTER OUT jacks and the PHONES jacks.

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

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

Parameter Value Explanation

[F4] button OFF, COMP ON Turns master comp on/o.

SINGLE SOFT COMP, SINGLE HARD

Type

Split Freq SINGLE, 10–16000 Hz

Threshold*1 -48–0 dB Volume level at which compression begins

Gain*1 -24–+24 dB Output level of the compressor

Attack*1 0–100 mSec Time from when the volume goes up the threshold level until the compressor eect applies

Release*1 10–1000 mSec

Ratio*1 1:1–100:1 Compression ratio

Knee*1 HARD, SOFT1–3 Attack of the sound at the moment compression is applied

[F2] button*2 LO SOLO

[F3] button*2 HI SOLO

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

* If the routing setting (p. 29) Master Out is “DIRECT,” the master compressor does not apply to the sound that is output from the MASTER OUT jacks.

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

Character of the compressor

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

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

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

the high band.

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

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

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

5 Respecify the Type parameter as single band compressor

5 Set the Split Freq parameter to “SINGLE”

5 Exit the MASTER COMP screen

Meters shown in the MASTER COMP screen

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

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

Input meter

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

Output meter

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

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

Gain reduction meter

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

Input meter

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

This is shown individually for the low and high bands.

Gain reduction meter

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

This is shown individually for the low and high bands.

Output meter

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

Page 17

MASTER EQ (page 6)

This is a four-band equalizer that is provided for each drum kit. You can adjust the equalizer’s eect (shelving and peaking) for the low frequency (LOW) and high frequency (HIGH). The master EQ is not output from the MASTER OUT jacks and PHONES jacks.

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

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

Parameter Value Explanation

[F4] button OFF, EQ ON Turns master EQ on/o.

Type

Freq

Gain -12–+12 dB Amount of boost/cut

* If the routing setting (p. 29) Master Out is set to “DIRECT,” the eect of the master EQ does not apply to the sound that is output from the MASTER OUT jacks.

MEMO

To return to the default values, press the [F5] (DEFAULT) button.

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

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

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

Type of equalizer

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

Center frequency

KIT CUSTOMIZE

Page 18

USER SAMPLE

SAMPLE LIST

Parameter Value Explanation

Renames the currently selected user sample.

[F5] button

LIST tab

Play Type

START/END tab

Zoom ([R1] knob) –

Start ([R2] knob)*1 0–07937742 Adjusts the start point (the location at which the user sample starts playing).

End ([R3] knob)*1 257–07937999 Adjusts the end point (the location at which the user sample stops playing).

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

Reference

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

Species how the user sample is sounded.

ONESHOT MONO

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

LOOP ALT

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

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

Zooms the waveform display in or out. You can zoom-in/out on the horizontal axis by turning the [R1] knob or by holding down the

[SHIFT] button and pressing the cursor [K] [J] buttons. If you hold down the [SHIFT] button and turn the [R1] knob or use the cursor [H] [I] buttons, you’ll

zoom-in/out on the vertical axis.

Page 19

SONG

SONG (page 1)

Parameter Value Explanation

Speed ([R3] knob) 50–150 %

SONG INFO (page 2)

Parameter Value Explanation

Change the name of recorded data.

[F4] button*1

Loop Type

Song Level -INF–+6.0 [dB] Song volume

Click Track Level*2 -INF–+6.0 [dB] Click track volume

*1 Only recorded data *2 Only if there is a click track corresponding to the song

Reference

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

Species how the song is played back.

ONE SHOT Play back only once and then stop.

LOOP Play repeatedly.

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

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

available.

Page 20

SET LIST

SETUP

Parameter Value Explanation

Renames the set list.

[F4] button

Reference

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

Page 21

CLICK

1. Press the [CLICK] button.

The CLICK screen appears.

Parameter Value Explanation

[F5] button OFF, ON Turns click on/o.

TEMPO tab

Tempo*1 20–260 Tempo

Beat*1 1–9 Number of beats per measure

Rhythm

SOUND tab

Sound

Level -INF–+6.0 dB Volume of click

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

OTHER tab

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

Amb(Reverb)Send -INF–+6.0 dB

Tap Sw OFF, ON

Tap Pad KICK–PREVIEW Select the pad or button that can be struck or pressed to set the tap tempo.

*1 This cannot be changed while playing back a drum performance data song (p. 46) or recorded data.

–

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

Interval of the click

Sound for the click

Depth of ambience reverb Applying ambience reverb makes the click easier to hear.

MEMO

The eect specied by the ambience reverb setting is applied. This means that reverb must be turned on (p. 12).

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

Quiet Count settings

1. In the CLICK screen, press the [F4] (QUIET CNT) button.

2. Press the [F2] (SETUP) button.

The setting screen appears.

3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value.

Parameter Value Explanation

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

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.

Page 22

TRIGGER

1. Press the [TRIGGER] button.

The TRIGGER screen appears.

2. Use the PAGE [UP] [DOWN] buttons to access the editing screen.

3. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value.

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

TRIG BASIC (page 1)

Parameter Value Explanation

Renames the trigger bank.

[F5] button

BANK tab

Bank No. 1–8 Trigger bank number

Trig Type

DIGITAL tab

Assign N/A, KICK–AUX4

SENS tab

Trig Type This parameter is the same as the Trig Type parameter of the BANK tab.

Sensitivity 1.0–32.0

Rim Gain 0–3.2

HI-HAT tab

Trig Type This parameter is the same as the Trig Type parameter of the BANK tab.

Hi-Hat Type

Oset*1, *2 -100–+100 (automatically)

Foot Splash Sens*2 -10–+10 Amount of how easy to make the foot splash

Noise Cancel*1, *2 1–3

CC MAX*2, *3 90, 127

*1 Only if Trig Type is set to “VH13” or “VH12.” *2 Digitally-connected pads do not support hi-hat pedal performance. *3 Only if Trig Type is set to something other than “VH13” or “VH12”

Reference

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

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

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

digital connection.

For details, refer to “Trig Type list” (p. 23).

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

MEMO

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

Species the trigger input to which a digitally-connected pad is assigned. A digitally connected pad for which you select “N/A” is not used; the settings of the pad connected

to the TRIGGER IN jack are applied.

* Even if this is assigned to “HI-HAT,” hi-hat open/close techniques cannot be performed.

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

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

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

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

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

Reference

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

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

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

* There’s no need to change this setting if you’re performed only with the TD-50 and the pads.

Page 23

TRIGGER

Making detailed settings for digitally-connected pads

1. Press the [TRIGGER] button.

2. Press the PAGE [UP] button to access page 1 (TRIG BASIC).

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

4. Press the [F5] (ADVANCED) button.

The DIGITAL TRIGGER ADVANCED screen appears.

5. Use cursor buttons to select a parameter, and use the [–] [+] buttons or the dial to edit the value.

6. Press the [F4] (EXIT) button to return to the DIGITAL TRIGGER IN screen.

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

Parameter Value Explanation

Position Adjust 1–10

XStick Detect Sens OFF, 1–5

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

Bell Gain 0–3.2

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

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

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

Trig Type list

Used modes Trig Type

KD-A22 KDA22 – – – – –

KD-140 KD140 – – – – –

KD-120 KD120 – – – – –

KD-85 KD85 – – – – –

KD-9 KD9 – – – – –

KD-8 KD8 – – – – –

KD-7 KD7 – – – – –

KT-10 KT10 – – – – –

PD-128S, PD-128

PD-125XS, PD-125X

PD-125 PD125

PD-108 PD108

PD-105X PD105X

PD-105 PD105

PD-85 PD85

PDX-100 PDX100

PDX-8 PDX8

PDX-6 PDX6

PD-8 PD8

VH-13 VH13

VH-12 VH12

VH-11 VH11

CY-15R CY15R

CY-14C CY14C

CY-13R CY13R

CY-12C CY12C

CY-12R/C CY12R/C

PD128

PD125X

Rim shot

(

( ( (

(

( ( (

(

( ( (

Positional sensing

Bell shot

Head Rim

( (

–

( (

–

( (

–

( (

–

( (

–

( (

–

( (

–

( (

–

– – – –

– – –

–

(

–

(

–

Choke play

Used modes Trig Type

CY- 8 CY8

CY- 5 CY5

BT-1

Generic pads

–

(

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 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.

BT1 – – – – –

BT1 SENS*1 – – – – –

PAD1

PAD2

PAD3

RT30H SN*2 – – – – –

RT30H TM*3 – – – – –

Rim shot

(

Positional sensing

Bell shot

Head Rim

– – –

– – – –

– – –

– – – –

Choke play

(

Page 24

TRIGGER

LINEAR

EXP2EXP1

LOG2LOG1

SPLINE

LOUD2LOUD1

Trigger inputs and playing methods corresponding chart

Rim shot/cross stick

* Use a dual-trigger type pad.

Trigger Input

KICK – – –

SNARE

TOM 1–4

HI-HAT

CRASH 1, 2

RIDE

AUX 1–4

Rubber Pad Mesh Pad

Rim Shot

( ( (

( (

(

( (

– –

Cross Stick

–

Positional sensing/rim shot nuance

Trigger Input Positional Sensing (Head) Rim Shot Nuance

KICK – –

SNARE

TOM 1–4

HI-HAT – –

CRASH 1, 2 – –

RIDE

AUX 1–4

MEMO

5 Brush sweep can be used only SNARE.

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

5 Bell shots are possible only for “RIDE.”

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

TRIG ADVANCED (page 2)

Parameter Value Explanation

THRESHOLD tab

Trig Type This is the same parameter as Trig Type (p. 22) in the BANK tab.

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

Threshold 0–31

Volume change in response to pad strike strength

LINEAR

EXP1, EXP2

Curve

LOG1, LOG2

SPLINE

LOUD1, LOUD2

to prevent a pad from sounding because of vibrations from other pads. In the following example, B will sound but A and C will not sound.

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

Volume

Playing dynamics

Volume Volume

Playing dynamics

Volume Volume

Playing dynamics

Volume

Playing dynamics

Volume Volume

Playing dynamics

( (

(

( (

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.

–

Page 25

Parameter Value Explanation

THRESHOLD tab

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

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

ExtNoiseCancel*1 OFF, 1–5

RIM tab

Trig Type This is the same parameter as Trig Type (p. 22) in the BANK tab.

Head/Rim Adjust*2 0–80

XStick Threshold*2 0–127

SCAN tab

Trig Type This is the same parameter as Trig Type (p. 22) in the BANK tab.

Scan Time 0–4.0 ms

Mask Time 0–64 ms

Supported TRIGGER IN jacks

5 KICK 5 SNARE 5 TOM1–4 5 AUX1–4

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

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 Adjust values while you continue trying out the results. Extreme changes to the values will cause the wrong sound to be heard when you strike the pad, for example producing the rim shot sound when you play a head shot.

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.

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.

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

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

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

MEMO

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

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. Retrigger Cancel detects such distortion in and prevents retriggering from occurring.

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

Retrigger Cancel 1–16

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

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

MEMO

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

High

Low

Volume

Rim Shot Sound

Cross Stick Sound

XStick Threshold

Scan Time

Mask Time

Sound not produced

TRIGGER

Playing dynamics

HardSoft

Time

Page 26

TRIGGER

Parameter Value Explanation

POSITION tab

Trig Type This is the same parameter as Trig Type (p. 22) in the BANK tab.

Positional sensing on/o If you turn strike position detection on, you’ll be able to produce tonal change by varying the strike position on the head or by changing

Position Detect*2

Head OFF, ON Turns head strike position detection on/o

Rim OFF, ON Turns rim strike position detection on/o

*1 Only when Trig Type is set to “RT30K” or “RT30HR” *2 For some Trig Type settings, this cannot be specied.

the nuance of your rim shots.

MEMO

To return to the default values, press the [F5] (DEFAULT) button.

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

5 Hi-hat parameters

5 Oset

5 Foot Splash Sens

5 Noise Cancel

5 CC MAX

5 XStick Threshold

5 XTalk Cancel Rate

TRIG MONITOR (page 3)

Parameter Value Explanation

XTALK tab

Strength of crosstalk cancellation

XTalk Cancel Rate 0–80

Reference

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

Page 27

SETUP

1. Press the [SETUP] button.

The SETUP MENU screen appears.

2. Use the PAGE [UP] [DOWN] buttons and the function buttons to select the setup menu that you want to edit.

Setup menu Explanation Page

OUTPUT Species the output destination of the sounds. p. 27

USB AUDIO Makes USB audio settings. p. 30

OPTION Makes settings for the [PREVIEW] button, the MIX IN jacks, and the display. p. 30

CONTROL Assigns functions to the footswitch and pads. p. 31

MIDI Makes MIDI settings. p. 32

AUTO OFF Makes AUTO OFF settings. p. 33

INFO Displays information about the TD-50 itself, such as the program version. p. 33

Returns the TD-50 to its factory settings.

FACTORY RESET

Reference

For details on the factory reset operation, refer to “Reference Manual” (PDF).

3. Edit the settings of the menu that you selected.

Reference

For details on operations in the setup menu, refer to “Reference Manual” (PDF).

–

OUTPUT

PAD OUTPUT (page 1)

Parameter Value Explanation

MASTER tab

PAD OUTPUT ASSIGN MASTER

DIRECT tab

PAD OUTPUT ASSIGN DIRECT

MONITOR tab

Monitor the output volume of each jack.

PHONES (MASTER OFF), PHONES+MASTER LR

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

Species each pad’s output from the PHONES jacks and the MASTER OUT jacks (when Master Out (p. 29) is “NORMAL”).

Species each pad’s output from the DIRECT OUT 1–8 jacks and the MASTER OUT jacks (when Master Out (p. 29) is “DIRECT ”).

MEMO

If you want to return to the default values, press the [F4] (DEFAULT) button. If the [F2] (DIRECT ) button is selected, pressing the [F4] (DEFAULT) button lets you select the default values (factory-set state) or an additional output setting (STEREO ALL) (supported starting with program version 1.05).

Use the cursor buttons to select “DEFAULT” if you want to return to the default values (factory-set state) or “STEREO ALL” if you want to select the other output setting; then press the [F5] (RESET) button.

Page 28

SETUP

OTHER OUTPUT (page 2)

Parameter Value Explanation

MASTER tab

OTHER OUTPUT ASSIGN MASTER

DIRECT tab

OTHER OUTPUT ASSIGN DIRECT

MONITOR tab

Monitor the output volume of each jack.

PHONES (MASTER OFF), PHONES+MASTER LR

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

MEMO

To return to the default values, press the [F4] (DEFAULT) button.

Species how ambience and MFX are output from the PHONES jacks and the MASTER OUT jacks (when Master Out (p. 29) is “NORMAL”).

Species how ambience and MFX are output from the DIRECT OUT1–8 jacks and the MASTER OUT jacks (when Master Out (p. 29) is “DIRECT ”).

Page 29

OUTPUT ROUTING (page 3)

Parameter Value Explanation

ROUTING tab

Species whether the fader values are applied to the output from the DIRECT OUT jacks (ON) or are not applied (OFF).

If this is “OFF,” the output from the DIRECT OUT jacks is not aected by the panel faders. If the OUTPUT ROUTING Master Out is “DIRECT,” and Fader to Direct is “OFF,” the output from the

Fader to Direct*1 OFF, ON

PadEq/Comp to Direct*1 OFF, ON

PadComp to Phones OFF, ON

Master Out*1 NORMAL, DIRECT

LO CUT tab

LoCut Frequency 20–200 Hz

DirectOut*2 OFF, ON

MasterOut*2 OFF, ON

PhonesOut OFF, ON

ATT tab

Direct Out Att*2 -12, -6, 0db

*1 This also applies to the TD-50’s sound that is output via USB audio. *2 Low cut and attenuator do not apply to the TD-50’s sound that is output via USB audio.

MEMO

To return to the default values, press the [F4] (DEFAULT) button.

MASTER OUT jacks is also unaected by the panel faders. Regardless of the Fader to Direct setting, the output from the PHONES jacks is always aected by

the panel faders. This means that the faders at hand can be used to adjust the balance of the sound monitored by

the performer, independently of the balance adjusted by the PA.

Species whether the pad equalizer (p. 14) and pad compressor (p. 14) eects are applied (ON) or are not applied (OFF) to the sound that is output from the DIRECT OUT jacks.

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

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

Species whether the pad compressor (p. 14) is applied (ON) or is not applied (OFF) to the sound that is output from the PHONES jacks.

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

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

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

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

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

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

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

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

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

Lowers the volume of the DIRECT OUT jacks (attenuator). This lets you decrease the volume if the output of the TD-50 is too high, causing distortion on the

device that receives these signals. This applies to all DIRECT OUT jacks. If Master Out is set to “DIRECT,” this also applies to the output from the MASTER OUT jacks.

SETUP

Page 30

SETUP

USB AUDIO

Parameter Value Explanation

Input Gain -36–+12 dB

Species the knob that adjusts the input volume of USB audio (Input MAIN, SUB).

Volume Select Input MAIN, SUB

Output Gain -24–+24 dB

OFF The volume is not adjusted by a knob.

SONG The [SONG] knob adjusts the volume.

CLICK The [CLICK] knob adjusts the volume.

Switches between the TD-50’s dedicated USB driver and the driver provided by your operating system.

MEMO

Driver Mode

The setting takes eect when the TD-50 is powered o and on again.

GENERIC

VENDOR Use the TD-50’s dedicated driver provided by Roland. USB MIDI and USB audio can be used.

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

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

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

OPTION

Parameter Value Explanation

PREVIEW tab

Species how the sound is played when the [PREVIEW] button is pressed.

Preview Mode

Velocity 1–127+32 Velocity when Preview Mode is set to “FIXED”

MIX IN tab

The MIX IN jack can be used not only as a stereo input but also as mono input x2. For example, if the click sound is being played through the L-channel of the MIX IN jack and the backing through the R-channel, set Mode to “MONO” so that the click and backing

are both heard from the center. This setting is common to the front panel and rear panel MIX IN jacks.

Input

Mode

Gain 0, +6, +12 dB Adjusts the input level

LCD tab

Contrast 1–16 Display contrast

Brightness 1–16 Display brightness

GUIDE tab

FIXED The sound is heard at a xed volume regardless of how strongly the button is pressed.

DRUM KIT

Selects the jack(s) to use as an input.

L + R Use both channels

L ONLY Use only the left channel

R ONLY Use only the right channel

STEREO Use as stereo input

MONO Use as monaural x 2

The velocity changes depending on how strongly the button is pressed. The velocity changes in the range of 1–127 according to the pad that is connected. For a digitally

connected pad, the velocity changes in the range of 1–127+32.

Species whether the guide is shown (ON) or not shown (OFF) on the screen when switching pages.

Guide Display Sw OFF, ON

Page 31

CONTROL

Parameter Value Explanation

FOOT SW tab

Assigns a function to a footswitch (separately sold: BOSS FS-5U, FS-6) connected to the TD-50.

Connecting an FS-5U

SETUP

Stereo 1/4” phone type

1/4” phone type x 2

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

PAD CTRL tab

Aux3 Head Func, Aux3 Rim Func

Aux4 Head Func, Aux4 Rim Func

See below

RING

SW 2SW 1

TIP

POLARITY switch

* If you use a mono cable to connect a single FS-5U, it will operate as SW 2.

* The FS-5L cannot be used.

Connecting an FS-6

Stereo 1/4” phone type

MODE/POLARITY switch

SW 1

SW 2

Assigns functions to a pad connected to TRIGGER IN jack 13/AUX3. You can assign separate functions to the head and to the rim.

Assigns functions to a pad connected to TRIGGER IN jack 14/AUX4. You can assign separate functions to the head and to the rim.

Functions that you can assign to a footswitch or pad

Value Explanation

OFF No function is assigned.

KIT# INC Calls up the previous kit.

KIT# DEC Calls up the next kit.

SETLIST# INC Calls up the previous set list.

SETLIST# DEC Calls up the next set list.

SONG# INC Calls up the previous song.

SONG# DEC Calls up the next song.

SONG PLAY Play the song.

SONG STOP Stop the song.

SONG TOP Return to the beginning of the song.

SONG PLAY/STOP Play/stop the song.

*1 If the trigger input (p. 22) of a digitally-connected pad (such as the PD-140DS) is assigned to snare, “XSTICK ON/OFF” has no eect.

Value Explanation

SONG AB REPEAT Species A-B repeat.

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

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

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

XSTICK ON/OFF*1

FIXED HH ON/OFF

ALL SOUND OFF

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

Switches between setting the hi-hat Fixed (p. 8) to “CLOSE” or not.

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

Page 32

SETUP

MIDI

Parameter Value Explanation

BASIC tab

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

MIDI Channel 1–16Ch Transmit and receive channel.

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

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

This allows performance data from a MIDI device connected to the TD-50’s MIDI IN connector to be transmitted to another MIDI device connected to the MIDI OUT connector or to a computer connected to the USB COMPUTER port.

OFF

Soft Thru MIDI In

Soft Thru USB MIDI In

Local Control OFF, ON

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).

CONTROL tab

HH Pedal CC

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

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

TOMs/AUXs CC Control change used for transmitting/receiving the strike position of the tom 1–4 and AUX 1–4

HH Note# Border 0–127

Hi-Reso Velocity OFF, ON

Cymbal Choke Shot OFF, ON

SYNC tab

Sync Mode

Clock Source MIDI, USB MIDI

Sync Out OFF, ON

PROG CHG tab

MIDI Program Change 1–127

ON (MIDI OUT)

ON (USB MIDI)

ON (MIDI+USB)

Performance data from a computer connected to the TD-50’s USB COMPUTER port can be transmitted to a MIDI device connected to the MIDI OUT connector.

OFF

ON (MIDI OUT)

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

Species the synchronization signal according to which the TD-50 operates.

INTERNAL

EXTERNAL

Performance data received from the TD-50’s MIDI IN connector will not be sent to the MIDI OUT connector or the USB COMPUTER port.

Performance data received from the TD-50’s MIDI IN connector will be sent to the MIDI OUT connector.

Performance data received from the device connected to the TD-50’s MIDI IN connector will be sent to the USB COMPUTER port.

Performance data received from the device connected to the TD-50’s MIDI IN connector will be sent to the MIDI OUT connector and the USB COMPUTER port.

Performance data received via the TD-50’s USB COMPUTER port is not transmitted to the MIDI OUT connector.

Performance data received via the TD-50’s USB COMPUTER port is transmitted to the MIDI OUT connector.

Turns on/o the connection between the performance data from the pads and the TD-50’s sound generator section

Normally you’ll leave this “ON.” If this is “OFF,” the performance data from the pads is not connected to the TD-50’s sound generator section.

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

more TD-50 units at the same time. Do not change this setting in any other case.

Species whether changes in the TD-50’s settings are transmitted as system exclusive messages (ON) or not transmitted (OFF).

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

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

* There’s no need to change this setting if you’re performed and recording only with the TD-50

and the pads.

Disables CC#88 (high resolution velocity prex). If this is disabled, the maximum velocity handled by the TD-50 is limited to 127. Velocity is also

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

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

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

Choose this setting if you’re using the TD-50 by itself without synchronizing it to another device, or if you want another device to operate in synchronization with the TD-50.

The TD-50 operates as a slave device. Choose this setting if you want the TD-50 to operate according to synchronization messages that it receives from another device.

When Sync Mode is “EXTERNAL,” this species whether the TD-50 synchronizes to synchronization messages from the MIDI IN connector (MIDI) or to synchronization messages from the USB COMPUTER port (USB MIDI).

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

You can freely specify the correspondence between drum kits and the program change numbers that are transmitted and received.

Page 33

Using the Local Control setting

SETUP

If you’re using a DAW with the performance data from the pads and TD-50’s sound generator section, you should turn the Local Control “OFF.” Here’s why.

We need to connect these sections in the following order: the performance data from the pads a DAW0the TD-50’s sound generator section.

Since the performance data from the pads and TD-50’s sound generator section are connected internally, such a connection order would normally be impossible. However, if the Local Control is “OFF,” the performance data from the pads and TD-50’s sound generator section will be independent, allowing you to use a DAW as shown here in the illustration.

Pad

DAW

TD-50

Local Control: OFF

Sound generator section

Specifying the HH Note# Border

The note number transmitted when you strike the hi-hat will change depending on the amount of pressure on the hi-hat pedal. At the factory default value (127), the closed hi-hat note number will be transmitted only if the hi-hat pad is played with the pedal completely depressed. If you want this note

number to be transmitted when the pedal is slightly raised, set this to a value such as “90.”

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

AUTO OFF

Parameter Value Explanation

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

Auto O

OFF The power does not turn o automatically.

4 HOURS

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

INFO

Parameter Value Explanation

PROGRAM tab

Program Version Program version

SAMPLE tab

Imported Sample Number of imported user samples

Memory Remain Remaining amount for user samples in user memory

SD CARD tab

Backup All Backup data saved on the SD card (all settings)

1 Kit Kit backup data saved on the SD card

Rec Data Number of recorded data saved on the SD card

DIGITAL tab

Pad Indicates a pad that is digitally connected to the TD-50.

Program Version Indicates the program version of a pad that is digitally connected to the TD-50.

Page 34

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. 35

TAPE ECHO p. 35

REVERSE DELAY p. 35

3TAP PAN DELAY p. 35

OD0DELAY

DS0DELAY

CHORUS p. 36

SPACE-D p. 36

OD0CHORUS

DS0CHORUS

PHASER A p. 37

PHASER B p. 37

STEP PHASER p. 37

FLANGER p. 37

REVERB p. 38

LONG REVERB p. 38

SUPER FILTER p. 38

FILTER+DRIVE p. 38

AUTO WAH p. 39

OD/DS0TWA H

LOFI COMPRESS p. 39

DISTORTION p. 39

OVERDRIVE p. 39

SATURATOR p. 39

T-SCREAM p. 40

BIT CRUSHER p. 40

ISOLATOR p. 40

RING MODULATOR p. 40

PITCH SHIFTER p. 40

AUTO PAN p. 40

p. 36

p. 39

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.

Page 35

Multi-Eect Parameters

DELAY

This is a stereo delay.

Parameter Value Explanation

Tempo Sync Left, Right

Delay Left, Right Time

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

OFF, ON

1–1300 ms, note

200–8000 Hz, BYPASS

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

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

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

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

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

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

Negative “-” settings will invert the phase.

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

TAPE ECHO

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

Parameter Value Explanation

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

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

Rev Delay Time 1–1300 ms, note

Rev Delay Feedback

Rev Delay HF Damp

Rev Delay Pan L64–63R

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

Tempo Sync Delay 1–3

Delay 1–3 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 Left, Right, Center

Delay Left, Right, Center 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.

Page 36

Multi-Eect Parameters

DELAY

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

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

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

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

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).

Page 37

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.

Page 38

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.

Page 39

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

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

Page 40

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

Page 41

Drum Kit List

No. Drum kit name Sub name

1 Jarrah Ply Hardwood

2 Rock Legend Studio"LiveRoom"

3 STUDIO B Med/Stone Wall

4 WalnutPopper Compact Kit

5 Power Metal

6 Rootsy Funk

7 BubingaBoom

8 FAT+808 RnB,HipHop Style

9 Perc Tribe Pedal:Pitch Bend

10 Beatnik Processed Hybrid

11 STUDIO A Large/Hi Celling

12 Stainless 70’s Vintage

13 Second Line New Orleans

14 Heavy Prog

15 Blues Club

16 JarrahFunk Contemporary

17 MuterBeat

18 Loop-U-Lator Ring Modulator

19 Cosmic Pop w/ Super Saw

20 Trash Noiser

21 Drum Booth Med/Cloth Wall

22 BigBeat Rock

23 Waxy Jazz Bebop Style

24 GroovePopper

25 Hard Rock 80’s/90’s

26 Moon Walk Tape Echo

27 Bubinga w/ 80’sBeechS

28 Hybrid DnB

29 Funky Fat Overdrive

30 TrashElectro 2nd Hi-Hat

31 Studio LiveRoom Session

32 Phasin’ Rock

33 Round Badge 60’s Vintage

34 80’s Studio Deep Shell Toms

35 ShallowShell w/ ProtoChinaCym

36 Roots Reggae w/ Timbales

37 RingingTones No Muing

38 Warm Groove

39 Jazz Hop Compact Kit

40 ExtremeMetal Lo-Fi Compress

41 Verb Ballad w/ Percussion

42 DownUnder West Coast

43 60/70’s Hit

44 Dance Beats Old School

45 House=909 2nd Hi-Hat

46 Ana Hybrid Flanger&Phaser

47 Short Tail Melodic Toms

48 Unplugged Cajon CompactKit

49 +Latin Perc w/ Tambourine HH

50 Laboratory Sound Textures

51 User Kit

52 User Kit

53 User Kit

54 User Kit

55 User Kit

56 User Kit

57 User Kit

58 User Kit

59 User Kit

60 User Kit

61 User Kit

62 User Kit

63 User Kit

64 User Kit

65 User Kit

66 User Kit

67 User Kit

68 User Kit

69 User Kit

No. Drum kit name Sub name

70 User Kit

71 User Kit

72 User Kit

73 User Kit

74 User Kit

75 User Kit

76 User Kit

77 User Kit

78 User Kit

79 User Kit

80 User Kit

81 User Kit

82 User Kit

83 User Kit

84 User Kit

85 User Kit

86 User Kit

87 User Kit

88 User Kit

89 User Kit

90 User Kit

91 User Kit

92 User Kit

93 User Kit

94 User Kit

95 User Kit

96 User Kit

97 User Kit

98 User Kit

99 User Kit

100 User Kit

Page 42

Instrument List

No. Instrument name Instrument group Remarks

0 OFF OFF

1 Jarrah Ply K KICK A *M1 *T

2 MapleWlnutChrryK KICK A *M1 *T

3 Birch 18" K KICK A *M1 *T

4 Bubinga 9Ply K KICK A *M1 *T

5 60sRoundBdge20"K KICK A *M1 *T

6 70s Maple 24" K KICK A *M1 *T

7 70sStainless24"K KICK A *M1 *T

8 Tight Kick 1 KICK PROC

9 Tight Kick 2 KICK PROC

10 Tight Kick 3 KICK PROC

11 Impact Kick KICK PROC

12 Hybrid Kick KICK PROC

13 Tronic Kick KICK PROC

14 Electro Knock K KICK PROC

15 Minimal House K KICK PROC

16 Early House Kick KICK PROC

17 BreakBeats Kick1 KICK PROC

18 BreakBeats Kick2 KICK PROC

19 DnB Kick 1 KICK PROC

20 DnB Kick 2 KICK PROC

21 Nu Hip Kick KICK PROC

22 Lo-Fi Kick KICK PROC

23 Hi Jumper Kick KICK PROC

24 Lo Jumper Kick KICK PROC

25 Dance Kick KICK PROC

26 Dancer Kick KICK PROC

27 Voice Kick 1 KICK PROC

28 Voice Kick 2 KICK PROC

29 Analog Kick 1 KICK ELEC

30 Analog Kick 2 KICK ELEC

31 Analog Kick 3 KICK ELEC

32 CR-78 Kick KICK ELEC

33 TR-606 Kick KICK ELEC

34 TR-808 Kick 1 KICK ELEC

35 TR-808 Kick 2 KICK ELEC

36 TR-808 Kick Long KICK ELEC

37 TR-909 Kick 1 KICK ELEC

38 TR-909 Kick 2 KICK ELEC

39 TR-909 Kick 3 KICK ELEC

40 DR-110 Kick KICK ELEC

41 R-8 Kick KICK ELEC

42 Jarrah Ply S SNARE A *P *M1 *X *T *D

43 Jarrah Ply SR SNARE A *P *M1 *X *T *D

44 MapleOilFinish S SNARE A *P *M1 *X *T *D

45 MapleOilFinishSR SNARE A *P *M1 *X *T *D

46 80sBeech 12Ply S SNARE A *P *M1 *X *T *D

47 80sBeech12Ply SR SNARE A *P *M1 *X *T *D

48 Steel TubeLugs S SNARE A *P *M1 *X *T *D

49 SteelTubeLugs SR SNARE A *P *M1 *X *T *D

50 WalnutPopper12"S SNARE A *P *M1 *X *T *D

51 WalnutPoper12"SR SNARE A *P *M1 *X *T *D

52 Jarrah Ply X CROSS STICK *M1 *X *T

53 MapleOilFinish X CROSS STICK *M1 *X *T

54 80sBeech 12Ply X CROSS STICK *M1 *X *T

55 Steel TubeLugs X CROSS STICK *M1 *X *T

56 WalnutPopper12"X CROSS STICK *M1 *X *T

57 OldSchool Snare SNARE PROC

58 DnB Snare SNARE PROC

59 Dub Step Snare SNARE PROC

60 Disto Slap Snare SNARE PROC

61 House Low Snare SNARE PROC

No. Instrument name Instrument group Remarks

62 Hip Snare SNARE PROC

63 Garage Snare SNARE PROC

64 Radio Snare SNARE PROC

65 Voice Snare SNARE PROC

66 Voice CrossStick SNARE PROC

67 Analog Snare 1 SNARE ELEC

68 Analog Snare 2 SNARE ELEC

69 CR-78 Snare SNARE ELEC

70 TR-808 Snare 1 SNARE ELEC

71 TR-808 Snare 2 SNARE ELEC

72 TR-909 Snare SNARE ELEC

73 TR-909 S w/ Clap SNARE ELEC

74 TR-606 Snare SNARE ELEC

75 TR-707 Snare SNARE ELEC

76 DR-110 Snare SNARE ELEC

77 CR-78 Rim SNARE ELEC

78 TR-808 Rim SNARE ELEC

79 TR-909 Rim SNARE ELEC

80 Jarrah Ply 8" TOM A *M1 *T

81 Jarrah Ply 8" R TOM A *P *M1 *T

82 Jarrah Ply 10" TOM A *M1 *T

83 Jarrah Ply 10" R TOM A *P *M1 *T

84 Jarrah Ply 12" TOM A *M1 *T

85 Jarrah Ply 12" R TOM A *P *M1 *T

86 Jarrah Ply 14" TOM A *M1 *T

87 Jarrah Ply 14" R TOM A *P *M1 *T

88 Jarrah Ply 16" TOM A *M1 *T

89 Jarrah Ply 16" R TOM A *P *M1 *T

90 Bubinga 9Ply 10" TOM A *M1 *T

91 Bubinga9Ply10" R TOM A *P *M1 *T

92 Bubinga 9Ply 12" TOM A *M1 *T

93 Bubinga9Ply12" R TOM A *P *M1 *T

94 Bubinga 9Ply 14" TOM A *M1 *T

95 Bubinga9Ply14" R TOM A *P *M1 *T

96 Bubinga 9Ply 16" TOM A *M1 *T

97 Bubinga9Ply16" R TOM A *P *M1 *T

98 60sRoundBadge13" TOM A *M1 *T

99 60sRoundBdge13"R TOM A *P *M1 *T

100 60sRoundBadge16" TOM A *M1 *T

101 60sRoundBdge16"R TOM A *P *M1 *T

102 70sStainless 12" TOM A *M1 *T

103 70sStainless12"R TOM A *P *M1 *T

104 70sStainless 13" TOM A *M1 *T

105 70sStainless13"R TOM A *P *M1 *T

106 70sStainless 16" TOM A *M1 *T

107 70sStainless16"R TOM A *P *M1 *T

108 70sStainless 18" TOM A *M1 *T

109 70sStainless18"R TOM A *P *M1 *T

110 Gong Drum 20" TOM A *M1 *T

111 Analog Tom1 T1 TOM ELEC

112 Analog Tom1 T2 TOM ELEC

113 Analog Tom1 T3 TOM ELEC

114 Analog Tom1 T4 TOM ELEC

115 Analog Tom2 T1 TOM ELEC

116 Analog Tom2 T2 TOM ELEC

117 Analog Tom2 T3 TOM ELEC

118 Analog Tom2 T4 TOM ELEC

119 TR-808 Tom T1 TOM ELEC

120 TR-808 Tom T2 TOM ELEC

121 TR-808 Tom T3 TOM ELEC

122 TR-808 Tom T4 TOM ELEC

123 TR-909 Tom T1 TOM ELEC

Page 43

Instrument List

No. Instrument name Instrument group Remarks

124 TR-909 Tom T2 TOM ELEC

125 TR-909 Tom T3 TOM ELEC

126 TR-909 Tom T4 TOM ELEC

127 Trad Lathed HH HI-HAT *M2 *T

128 Trad Lathed HHE HI-HAT *M2 *T

129 Dark&Warm HH HI-HAT *M2 *T

130 Dark&Warm HHE HI-HAT *M2 *T

131 Club Hi-Hat HI-HAT PROC

132 Sharp Hi-Hat HI-HAT PROC

133 Hip Hi-Hat HI-HAT PROC

134 House Hi-Hat HI-HAT PROC

135 DnB Hi-Hat HI-HAT PROC

136 LowStep Hi-Hat HI-HAT PROC

137 Voice Hi-Hat HI-HAT PROC

138 Spoke Hi-Hat HI-HAT PROC

139 CR-78 Hi-Hat HI-HAT ELEC

140 TR-808 Hi-Hat HI-HAT ELEC

141 TR-909 Hi-Hat HI-HAT ELEC

142 Trad MedThin Rd RIDE *P *M2 *T

143 Trad MedThin RdE RIDE *M2 *T

144 Trad MedThin RdB RIDE *M2 *T

145 Dry & Heavy Rd RIDE *P *M2 *T

146 Dry & Heavy RdE RIDE *M2 *T

147 Dry & Heavy RdB RIDE *M2 *T

148 Trad Thin Cr CRASH *M2 *T

149 Trad Thin CrE CRASH *M2 *T

150 Warm MedThin Cr CRASH *M2 *T

151 Warm MedThin CrE CRASH *M2 *T

152 Silvery Cr CRASH *M2 *T

153 Silvery CrE CRASH *M2 *T

154 Legacy Thin Cr CRASH *M2 *T

155 Legacy Thin CrE CRASH *M2 *T

156 Power Medium Cr CRASH *M2 *T

157 Power Medium CrE CRASH *M2 *T

158 Eight-sided Cr CRASH *M2 *T

159 Eight-sided CrE CRASH *M2 *T

160 Bright Thin Cr CRASH *M2 *T

161 Bright Thin CrE CRASH *M2 *T

162 Warm & Dark Ch CHINA *M2 *T

163 Warm & Dark ChE CHINA *M2 *T

164 Dark Swish Ch CHINA *M2 *T

165 Dark Swish ChE CHINA *M2 *T

166 70s BlackLogo Ch CHINA *M2 *T

167 70sBlackLogo ChE CHINA *M2 *T

168 Mini China CHINA *M2 *T

169 Mini China E CHINA *M2 *T

170 TinyPrototype Ch CHINA *M2 *T

171 TinyPrototypeChE CHINA *M2 *T

172 Warm MedThin Sp SPLASH *M2 *T

173 Warm MedThin SpE SPLASH *M2 *T

174 BrightMedThin Sp SPLASH *M2 *T

175 BrightMedThinSpE SPLASH *M2 *T

176 NickelCoating Sp SPLASH *M2 *T

177 NickelCoatingSpE SPLASH *M2 *T

178 Chinese Type Sp SPLASH *M2 *T

179 Chinese Type SpE SPLASH *M2 *T

180 CleanSuperThinSp SPLASH *M2 *T

181 CleanSuprThinSpE SPLASH *M2 *T

182 18"Ch+18"Ch St STACKED CYMBAL *M2 *T

183 18"Ch+18"Ch StE STACKED CYMBAL *M2 *T

184 12"Ch+12"Ch St STACKED CYMBAL *M2 *T

185 12"Ch+12"Ch StE STACKED CYMBAL *M2 *T

No. Instrument name Instrument group Remarks

186 10"Ch+8"Ch St STACKED CYMBAL *M2 *T

187 10"Ch+8"Ch StE STACKED CYMBAL *M2 *T

188 10"HH+8"Ch+Sp St STACKED CYMBAL *M2 *T

189 10"HH+8"Ch+SpStE STACKED CYMBAL *M2 *T

190 18"ChCr+12"ChSt STACKED CYMBAL *M2 *T

191 18"ChCr+12"ChStE STACKED CYMBAL *M2 *T

192 18"Ch+12"Ch St STACKED CYMBAL *M2 *T

193 18"Ch+12"Ch StE STACKED CYMBAL *M2 *T

194 18"Cr+12"Ch St STACKED CYMBAL *M2 *T

195 18"Cr+12"Ch StE STACKED CYMBAL *M2 *T

196 18"Ch+11"TrashSt STACKED CYMBAL *M2 *T

197 18"Ch+11"TrshStE STACKED CYMBAL *M2 *T

198 Accent Cymbal CYMBAL OTHERS

199 Chime Cymbal CYMBAL OTHERS

200 Cross Cymbal 1 CYMBAL OTHERS

201 Cross Cymbal 2 CYMBAL OTHERS

202 Mini Cymbal CYMBAL OTHERS

203 Metal Crasher CYMBAL OTHERS

204 Pair Cymbal 1 CYMBAL OTHERS

205 Pair Cym 1 Smash CYMBAL OTHERS

206 Pair Cymbal 2 CYMBAL OTHERS

207 Pair Cym 2 Choke CYMBAL OTHERS

208 Sweep Crash CYMBAL PROC

209 Lo-Fi Crash CYMBAL PROC

210 Ambient Crash CYMBAL PROC

211 Verby Crash CYMBAL PROC

212 Trashy Ride CYMBAL PROC

213 Phasing Ride CYMBAL PROC

214 Cosmo Bell CYMBAL PROC

215 Electra Bell CYMBAL PROC

216 Reective Bell CYMBAL PROC

217 Voice Crash CYMBAL PROC

218 Analog Cymbal CYMBAL ELEC

219 TR-808 Cymbal CYMBAL ELEC

220 TR-606 Cymbal CYMBAL ELEC

221 Finger Cymbal BELL/CHIME/GONG

222 Rama Cymbal BELL/CHIME/GONG

223 Zil BELL/CHIME/GONG

224 Crotale BELL/CHIME/GONG

225 Sleigh Bells BELL/CHIME/GONG

226 Bell Tree BELL/CHIME/GONG

227 Tree Chime BELL/CHIME/GONG

228 Pin Chime BELL/CHIME/GONG

229 Tam Tam BELL/CHIME/GONG

230 Gong BELL/CHIME/GONG

231 Bend Gong BELL/CHIME/GONG

232 Cowbell 1 BLOCK/COWBELL

233 Cowbell 1 Tip BLOCK/COWBELL

234 Cowbell 2 BLOCK/COWBELL

235 Cowbell 2 Tip BLOCK/COWBELL

236 Cowbell 3 BLOCK/COWBELL

237 Cowbell 4 BLOCK/COWBELL

238 Cowbell 5 BLOCK/COWBELL

239 Cowbell 6 BLOCK/COWBELL

240 Cowbell 7 BLOCK/COWBELL

241 Agogo Hi BLOCK/COWBELL

242 Agogo Lo BLOCK/COWBELL

243 Wood Block Hi BLOCK/COWBELL

244 Wood Block Lo BLOCK/COWBELL

245 Plastic Block Hi BLOCK/COWBELL

246 Plastic Block Lo BLOCK/COWBELL

247 Mini Block BLOCK/COWBELL

Page 44

Instrument List

No. Instrument name Instrument group Remarks

248 Temple Block Hi BLOCK/COWBELL

249 Temple Block Lo BLOCK/COWBELL

250 Bongo Hi Open PERCUSSION

251 Bongo Hi Slap PERCUSSION

252 Bongo Lo Open PERCUSSION

253 Bongo Lo Slap PERCUSSION

254 Conga Open PERCUSSION

255 Conga Slap PERCUSSION

256 Conga Bass PERCUSSION

257 Conga Gliss PERCUSSION

258 Tumba Open PERCUSSION

259 Tumba Slap PERCUSSION

260 Tumba Bass PERCUSSION

261 Tumba Gliss PERCUSSION

262 Timbale Hi Open PERCUSSION

263 Timbale Hi Rim PERCUSSION

264 Timbale Hi Paila PERCUSSION

265 Timbale Mid Open PERCUSSION

266 Timbale Mid Rim PERCUSSION

267 Timbale MidPaila PERCUSSION

268 Timbale Lo Open PERCUSSION

269 Timbale Lo Rim PERCUSSION

270 Timbale Lo Paila PERCUSSION

271 Cajon Open PERCUSSION

272 Cajon Edge PERCUSSION

273 Cajon Slap PERCUSSION

274 Cajon Bass PERCUSSION

275 Pandeiro Open PERCUSSION

276 Pandeiro Slap PERCUSSION

277 Pandeiro Bass PERCUSSION

278 Pandeiro Jingle PERCUSSION

279 Djembe Open PERCUSSION

280 Djembe Slap PERCUSSION

281 Djembe Bass PERCUSSION

282 Djembe Ears PERCUSSION

283 Pot Drum Side PERCUSSION

284 Pot Drum Bass PERCUSSION

285 Pot Drum Release PERCUSSION

286 Pot Drum Side/Mt PERCUSSION

287 Tabla Na PERCUSSION

288 Tabla Ti PERCUSSION

289 Tabla Tin PERCUSSION

290 Tabla Tun PERCUSSION

291 Baya Ge PERCUSSION

292 Baya Ge Slide PERCUSSION

293 Baya Gin PERCUSSION

294 Baya Ka PERCUSSION

295 Darabuka Open PERCUSSION

296 Darabuka Slap PERCUSSION

297 Darabuka Bass PERCUSSION

298 Hira Taiko PERCUSSION

299 Hira Taiko Rim PERCUSSION

300 Nagado Taiko PERCUSSION

301 Nagado Taiko Rim PERCUSSION

302 Timpani Hi D PERCUSSION

303 Timpani Lo G PERCUSSION

304 Doumdoumba PERCUSSION

305 Doumdoumba Rim PERCUSSION

306 Repinique PERCUSSION

307 Repinique Rim PERCUSSION

308 Tamborim PERCUSSION

309 Surdo PERCUSSION

No. Instrument name Instrument group Remarks

310 Bombo PERCUSSION

311 Bendir PERCUSSION

312 Tambourine 1 PERCUSSION

313 Tambourine 2 PERCUSSION

314 Tambourine 3 PERCUSSION

315 Triangle 1 PERCUSSION

316 Triangle 1 Mute PERCUSSION

317 Triangle 2 PERCUSSION

318 Triangle 2 Mute PERCUSSION

319 Castanets PERCUSSION

320 Clapsticks PERCUSSION

321 Claves 1 PERCUSSION

322 Claves 2 PERCUSSION

323 Afro Claves PERCUSSION

324 Guiro Slide PERCUSSION

325 Guiro Shot PERCUSSION

326 Maracas PERCUSSION

327 Metal Maracas PERCUSSION

328 Shaker PERCUSSION

329 Caxixi PERCUSSION

330 Ganza PERCUSSION

331 Chafchas PERCUSSION

332 Afuche PERCUSSION

333 African Bracelet PERCUSSION

334 African Jingle PERCUSSION

335 Ankle Beads PERCUSSION

336 Rain Stick PERCUSSION

337 Vibra-Slap PERCUSSION

338 Ratchet PERCUSSION

339 Flex Metal PERCUSSION

340 FlexMetal BendUp PERCUSSION

341 Waterphone Hit PERCUSSION

342 CR-78 Bongo PERC ELEC

343 CR-78 Cowbell PERC ELEC

344 CR-78 Claves PERC ELEC

345 CR-78 Guiro PERC ELEC

346 CR-78 Maracas PERC ELEC

347 CR-78 Tambourine PERC ELEC

348 CR-78 Metal Beat PERC ELEC

349 TR-808 Conga Hi PERC ELEC

350 TR-808 Conga Mid PERC ELEC

351 TR-808 Conga Lo PERC ELEC

352 TR-808 Cowbell 1 PERC ELEC

353 TR-808 Cowbell 2 PERC ELEC

354 TR-808 Claves PERC ELEC

355 TR-808 Maracas PERC ELEC

356 TR-707 Cowbell PERC ELEC

357 TR-727 Agogo PERC ELEC

358 DR-55 Claves PERC ELEC

359 Clap CLAP

360 Claps CLAP

361 Torio Clap CLAP

362 Flamenco Clap CLAP

363 Ambience Clap CLAP

364 House Clap CLAP

365 Noise Clap CLAP

366 TR-808 Clap CLAP

367 TR-909 Clap CLAP

368 Finger Snap CLAP

369 Dense Click SOUND FX

370 Pulse SOUND FX

371 High Q SOUND FX

Page 45

Instrument List

No. Instrument name Instrument group Remarks

372 Dyna Filter SOUND FX

373 Random Noise 1 SOUND FX

374 Random Noise 2 SOUND FX

375 Beep SOUND FX

376 Fat Beep SOUND FX

377 Disto Beep SOUND FX

378 Techno Beef SOUND FX

379 Space Beep SOUND FX

380 Voice Beep SOUND FX

381 Super Low SOUND FX

382 Prevision SOUND FX

383 Ejector SOUND FX

384 Echoic Shot SOUND FX

385 Super Shot SOUND FX

386 Rusty Iron SOUND FX

387 Digi Cup SOUND FX

388 Abstract Noise SOUND FX

389 Industrial 1 SOUND FX

390 Industrial 2 SOUND FX

391 Junk SOUND FX

392 Emergency SOUND FX

393 Discovery SOUND FX

394 Cave SOUND FX

395 Stomped Box SOUND FX

396 LP Noise SOUND FX

397 Low Frequency 1 ELEMENTS

398 Low Frequency 2 ELEMENTS

399 Low Frequency 3 ELEMENTS

400 Attack 1 ELEMENTS

401 Attack 2 ELEMENTS

402 Attack 3 ELEMENTS

403 Attack 4 ELEMENTS

404 Noise 1 ELEMENTS

405 Noise 2 ELEMENTS

406 Noise 3 ELEMENTS

407 Noise 4 ELEMENTS

408 Noise 5 ELEMENTS

409 Noise 6 ELEMENTS

410 White Noise 1 ELEMENTS

411 White Noise 2 ELEMENTS

412 Sine Wave 1kHz ELEMENTS

413 Sine Wave C ELEMENTS

414 Triangle Wave C ELEMENTS

415 Square Wave C ELEMENTS

416 Sawtooth Wave1 C ELEMENTS

417 Sawtooth Wave2 C ELEMENTS

418 Super Saw C ELEMENTS

419 Brush Snare SNARE BRUSH *B *M3 *T 420 Brush Snare Rim SNARE BRUSH *M3 *T 421 Brush Tom 12" TOM BRUSH *M3 *T 422 Brush Tom 14" TOM BRUSH *M3 *T

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

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

*M1 Mic Position, Mic Overhead, Mic Room, and Mic Width are supported.

*M2 Mic Position, Mic Overhead, and Mic Width are supported.

*M3 Mic Position is supported.

Rim shot and cross stick can be played separately.

*T TRANSIENT is supported.

*D Dynamic Enhancer is supported.

*B Brush playing is supported.

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

and striking position, refer to “Trig Type list” (p. 23).

* The instrument groups SNARE BRUSH and TOM BRUSH are supported starting

with program version 1.05). Refer to the Roland website for the latest information.

http://www.roland.com/support/

Page 46

Song List

001–007: Drum performance data 008–027: Audio data

No. Song name

001 Drum Solo

002 Ride Demo

003 Kick Demo

004 Toms Demo

005 Preview 1

006 Preview 2

007 Preview 3

008 Rock 1 (AUDIO)

009 Rock 2 (AUDIO)

010 Rock 3 (AUDIO)

011 Rock 4 (AUDIO)

012 Jazz 1 (AUDIO)

013 Jazz 2 (AUDIO)

014 Jazz 3 (AUDIO)

015 Jazz 4 (AUDIO)

016 Pop 1 (AUDIO)

017 Pop 2 (AUDIO)

018 Pop 3 (AUDIO)

019 Funk 1 (AUDIO)

020 Funk 2 (AUDIO)

021 Funk 3 (AUDIO)

022 Funk 4 (AUDIO)

023 Metal 1 (AUDIO)

024 Metal 2 (AUDIO)

025 Latin (AUDIO)

026 Dance 1 (AUDIO)

027 Dance 2 (AUDIO)

Page 47

Drum Kit Parameter Structure

Drum kit 100

Drum kit 1

Pads

KICK *1

Head

TOM 4

Head

Rim

AUX 1

Head

Rim

[AMBIENCE] (p. 11)

ROOM, REVERB, STEREO ENHANCER

[MIXER] (p. 3)

MULTI-EFFECT, MASTER COMP, MASTER EQ, PEDAL HH VOLUME, XSTICK VOLUME

[KIT] (MENU) (p. 3)

KIT NAME, KIT VOLUME, COLOR, FAVORITE, BRUSH SWITCH, KIT TEMPO SWITCH/TEMPO

SNARE

Head

Rim

HI-HAT

Head

Rim

AUX 2

Head

Rim

TOM 1

Head

Rim

CRASH 1

Head

Rim

AUX 3

Head

Rim

TOM 2

Head

Rim

CRASH 2

Head

Rim

AUX 4

Head

Rim

TOM 3

Head

Rim

RIDE *2

Head

Rim

Bell

Pad settings

[MIXER] (p. 13)

PAD COMP, MFX DRY + WET

Head

[INSTRUMENT] (p. 6)

5 SUB INST ON/OFF 5 SUB INST LAYER TYPE 5 SUB INST FADE POINT

[AMBIENCE] (p. 11)

5 ROOM SEND VOLUME

5 REVERB SEND VOLUME

[MIXER] (p. 13)

5 PAN 5 MINIMUM/MAXIMUM

VOLUME

5 PAD EQ 5 MFX ASSIGN,

SEND VOLUME

[KIT] (MENU) (p. 3)

5 PEDAL BEND/POSITION/

POSITION AREA/MUTE GROUP

5 MIDI NOTE/GATE/

CHANNEL

Instrument (main)

[INSTRUMENT] (p. 6)

5 INST NUMBER 5 V-EDIT PARAMETER 5 MIC POSITION/

ELEMENT LEVEL/WIDTH

5 TRANSIENT

[AMBIENCE] (p. 11)

5 STEREO ENHANCER SEND

VOLUME

[MIXER] (p. 13)

5 MAIN INST VOLUME

Sub-instrument

[INSTRUMENT] (p. 6)

5 INST NUMBER 5 V-EDIT PARAMETER 5 MIC POSITION/

ELEMENT LEVEL/WIDTH

5 TRANSIENT 5 SUB VOLUME

[AMBIENCE] (p. 11)

5 STEREO ENHANCER SEND

VOLUME

[MIXER] (p. 13)

5 (NONE)

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

Rim

Same as the head

Page 48

USB Audio I

PHONES

MIX IN

1 KICK (Fader KICK)

SONG

7 HI-HAT (Fader HI-HAT)

8 CRASH1, 9 CRASH2

(Fader CRASH)

SETUP/USB AUDIO/

3 TOM1

6 TOM4 (Fader TOMS)

11 AUX1

14 AUX4 (Fader AUX)

MASTER OUT (BALANCED) jacks

10 RIDE (Fader RIDE)

Block Diagram

Volume Select/ Input MAIN

NPUT

INPUT MAIN

INPUT

SUB

SETUP/USB AUDIO/ Input Gain

[SONG]

[CLICK]

SETUP/USB AUDIO/ Volume Select/ Input SUB

[SONG]

[CLICK]

(USB AUDIO INPUT ROUTING)

2 SNARE (Fader SNARE)

HEAD

MAIN INST

SUB INST

INSTRUMENT/ Sub Volume

RIM

MAIN INST

SUB INST

INSTRUMENT/ Sub Volume

LICK

HEAD

MIXER VOLUME

HEAD

RIM

HEAD

RIM

HEAD

RIM

HEAD

RIM

BELL

HEAD

RIM

CLICK

SOUND

SONG (AUDIO) INTERNAL/SD

SONG CLICK TRACK

Rear

(Stereo, 1/4 TRS)

Front

(Stereo, Mini)

USER SAMPLE PREVIEW

(from SD/Internal)

MIXER PAN

PAD EQ

Amb Stereo Enhancer Main Send

Amb Stereo Enhancer Sub Send

PAD EQ

Amb Stereo Enhancer Main Send

Amb Stereo Enhancer Sub Send

A/D

Amb Room Send

Amb Reverb Send

MFX Send

MFX ASSIGN

Amb Room Send

Amb Reverb Send

MFX Send

MFX ASSIGN

CLICK SETTING Pan, Level

SONG/Song Level

SONG/Song Click Track Level

[CLICK]

[SONG]

[CLICK]

[MIX IN]

PAD COMP

MFX WET+DRY

MIX IN SETTING Input, Mode, Gain

SETUP/OUTPUT ROUTING/ PadEq/Comp to Direct

OFF

CLICK/Amb (Reverb) Send

[FADER]

AMBIENCE

ROOM

REVERB

STEREO ENHANCER

MULTI EFFECT(MFX)

MFX1

MFX2

MFX3

ROOM LEVEL

REVERB LEVEL

STEREO ENHANCER LEVEL

MFX1 LEVEL

MFX2 LEVEL

MFX3 LEVEL

SETUP/OUTPUT/OUTPUT ROUTING/

OFF

Fader to Direct

SETUP/OUTPUT/ PAD OUTPUT ASSIGN MASTER

SETUP/OUTPUT/OUTPUT ROUTING/

OFF

PadComp to Phones

[FADER]

(AMBIENCE)

SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER

(Drum Mix for MASTER)

(Drum Mix

for PHONES)

OFF

ON SETUP/OUTPUT/ OUTPUT ROUTING/ Fader to Direct

MASTER COMP

KIT Volume

SETUP/OUTPUT/ PAD OUTPUT ASSIGN DIRECT

SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT

MASTEREQKIT

SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER

Volume

MASTER

(NORMAL)

DIRECT

MASTER

87654321

MASTER DIRECT

DiRDiL

MASTER NORMAL

SETUP/OUTPUT/ OUTPUT ROUTING/ Master Out

DIRECT

NORMAL

OFF

1 2 3 4 5 6 7 8 DiL DiR

OFF

1 2 3 4 5 6 7 8 DiL DiR

DIRECT 1–8

(USB AUDIO INPUT ROUTING)

PHONES

L R

SETUP/OUTPUT/ OTHER OUTPUT ASSIGN MASTER

SETUP/OUTPUT/ OUTPUT ROUTING/ Master Out

SETUP/OUTPUT/ OTHER OUTPUT ASSIGN DIRECT

DIRECTNORMAL

SONG EXPORT Gain

OFF

1 2 3 4 5 6 7 8 DiL DiR

OFF

1 2 3 4 5 6 7 8 DiL DiR

SONG EXPORT

Card

(Audio, SMF)

SETUP/OUTPUT/ OUTPUT ROUTING/ Direct Out Att

SETUP/USB AUDIO/ Output Gain

SETUP/OUTPUT/ OUTPUT ROUTING/ Direct Out Att

SETUP/OUTPUT/ OUTPUT ROUTING/ Master Out

DIRECT

NORMAL

SETUP/OUTPUT/ OUTPUT ROUTING/ Lo Cut DirectOut

(Sw)

(SONG Export Preview)

SETUP/OUTPUT/ OUTPUT ROUTING/ Lo Cut MaterOut

(Sw)

(Sw) SETUP/OUTPUT/ OUTPUT ROUTING/ Lo Cut PhonesOut

(MASTER L) (MASTER R) (IN 1) (IN 2) (IN 3) (IN 4) (IN 5) (IN 6) (IN 7) (IN 8)

DIRECT OUT

DA CONVERTER

D/A

[MASTER]

D/A

[PHONES]

MASTER

USB Audio Output

DIRECT 1/L (BALANCED)

DIRECT 2/R (BALANCED)

DIRECT 3/L (BALANCED)

DIRECT 4/R (BALANCED)

DIRECT 5/L (BALANCED)

DIRECT 6/R (BALANCED)

DIRECT 7/L (BALANCED)

DIRECT 8/R (BALANCED)

L/MONO

(UNBALANCED)

L (BALANCED)

R (BALANCED)

1/4 TRS

MINI

Pin assignment of the DIRECT OUT (BALANCED) jacks

Pin assignment of the