Roland Drums SPD 20 User Guide

O W N ER’S M AN UAL

Thank you, and congratulations on your choice of the SPD-20

Total Percussion Pad. The SPD-20 is an electronic percussion unit

that has eight pads, trigger interfaces, a high-quality digital sound

generator, and on-board digital effects.

Since the SPD-20 includes a sound generator and effects in one

lightweight, compact package, you can use it anywhere, anytime.

A wide variety of options (pads, pedals, drum stand, etc.) are

available, allowing you to easily create a custom drum kit. By

adding sequencers or samplers, you can take advantage of the

possibilities of MIDI percussion.

The SPD-20 provides the flexibility and expandability that will be

appreciated by every percussionist, from beginner to professional.

Ab o u t th e Sy m b o ls in Th is Ma n u a l

Words or symbols enclosed in [square brackets] indicate panel

buttons or controls.

For example, [LAYER] signifies the Layer button.

MEMO

Items marked by

are supplementary explanations.

N O TE

Items headed by

explain important points concerning the

operation of your SPD-20.

Items preceded by

give you useful tips and information

regarding the use of the SPD-20.

Before using this unit, carefully read the sections enti-

tled: “USING THE UNIT SAFELY” and “IMPORTANT

NOTES” (Owner’s manual p. 2; p. 6). These sections pro-

vide important information concerning the proper operation of

the unit. Additionally, in order to feel assured that you have

gained a good grasp of every feature provided by your new

unit, Owner‘s manual should be read in its entirety. The man-

ual should be saved and kept on hand as a convenient refer-

ence.

ROLAND CORPORATION

form without the written permission of ROLAND CORPORATION.

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•

Immediately turn the power off, remove the AC

adaptor from the outlet, and request servicing by

your retailer, the nearest Roland Service Center, or

an authorized Roland distributor, as listed on the

"Information" page when:

•

The unit and the AC adaptor should be located so

their location or position does not interfere with

their proper ventilation.

.........................................................................................................

•

The AC adaptor or the power-supply cord has

been damaged; or

Objects have fallen into, or liquid has been

spilled onto the unit; or

The unit has been exposed to rain (or otherwise

has become wet); or

The unit does not appear to operate normally

or exhibits a marked change in performance.

•

Always grasp only the plug or the body of the AC

adaptor when plugging into, or unplugging from,

an outlet or this unit.

.........................................................................................................

•

Whenever the unit is to remain unused for an

extended period of time, disconnect the AC adap-

tor.

.........................................................................................................

•

In households with small children, an adult should

provide supervision until the child is capable of

following all the rules essential for the safe opera-

tion of the unit.

•

Try to prevent cords and cables from becoming

entangled. Also, all cords and cables should be

placed so they are out of the reach of children.

.........................................................................................................

•

Never climb on top of, nor place heavy objects on

the unit.

•

Protect the unit from strong impact.

(Do not drop it!)

.........................................................................................................

•

Never handle the AC adaptor body, or its plugs,

with wet hands when plugging into, or unplug-

ging from, an outlet or this unit.

•

Do not force the unit's power-supply cord to share

an outlet with an unreasonable number of other

devices. Be especially careful when using exten-

sion cords—the total power used by all devices

you have connected to the extension cord's outlet

m u st n ever exceed th e p ow er ratin g

(watts/ amperes) for the extension cord. Excessive

loads can cause the insulation on the cord to heat

up and eventually melt through.

.........................................................................................................

•

Before moving the unit, disconnect the AC adaptor

and all cords coming from external devices.

.........................................................................................................

•

Before cleaning the unit, turn off the power and

unplug the AC adaptor from the outlet (p. 12).

.........................................................................................................

•

Before using the unit in a foreign country, consult

w ith you r retailer, the nearest Roland Service

Center, or an authorized Roland distributor, as list-

ed on the "Information" page.

.........................................................................................................

•

Whenever you suspect the possibility of lightning

in your area, disconnect the AC adaptor from the

outlet.

.........................................................................................................

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Ta b le o f Co n te n ts

USING THE UNIT SAFELY.............................................2

How to Use This Manual..................................................5

Important Notes ................................................................6

Main Features of the SPD-20............................................7

Panel Descriptions.............................................................8

Attaching the SPD-20 to a Drum Stand........................10

Using the Slit Tape (Included).......................................10

Adjusting the Pad Sensitivity (TRIG SENS)................30

Setting the Pad’s Minimum Level

(TRIG THRESHOLD)......................................................31

Copying a Patch (COPY)................................................32

Setting Up Your Own Patch Sequences

(Patch Chain)................................................................33

What is a Patch Chain?........................................................33

Setting up a Patch Chain.....................................................33

Using a Patch Chain to Select Patches ..............................34

Erasing a Patch Chain .........................................................34

How to Restore the Factory Settings

(System Initialize)........................................................11

CHAPTER 3 Co n n e ctin g Ex te rn a l Pa d s o r Pe d a ls

CHAPTER 1 Q u ick Sta rt

Connecting External Pads or Hi-Hat Control Pedal ..35

Connecting External Pads or the Special Pedal...............35

Precautions When Connecting a External Pad ................37

Precautions When Connecting

Connection to Audio Equipment ..................................12

Playing the Pads ..............................................................12

Turning the Power On ........................................................12

Turning the Power Off........................................................13

Adjusting the Volume .........................................................13

the PD-100 or PD-120......................................................38

How to Use the Rim Shot and Cymbal Choke

Selecting a Patch ..............................................................14

What is a Patch? ...................................................................14

Using a Footswitch to Select Patches ................................15

Playing Techniques .........................................................39

Precautions When Connecting

a Hi-Hat Control Pedal...................................................40

Using a Footswitch as a Hold Pedal..................................41

Comparing Layered Sounds..........................................15

What is a Pad Bank? ............................................................16

What is the Layer Function?...............................................17

Settings for External Pads or Kick Trigger Units........42

Setting External Pad Tone and MIDI Parameters ...........42

How to Edit the Trigger Parameters .................................42

Setting Parameters for Reliable Performance using

Acoustic Drum Triggers and Other Manufacturers’

Pads (Advanced Trigger Parameters)...........................48

CHAPTER 2 Usin g th e SPD-2 0 b y Itse lf

About the SPD-20’s Internal Setup and Parameter

Settings (Edit)...............................................................18

What Kind of Instrument is the SPD-20? .........................18

Internal Organization ..........................................................18

Play Mode and Edit Mode..................................................19

How to Edit...........................................................................20

Settings for an External Hi-Hat Control Pedal............54

Controlling the Tone with the Hi-Hat

Control Pedal—Pedal Control (PDL CTRL)................54

Adjusting the Volume of the Pedal Hi-Hat Sound

(PDL LEVEL)....................................................................55

Using the Hi-Hat Control Pedal’s Action to Set

Controller Numbers for Sending and Receiving

MIDI Data (PDL CC#).....................................................56

Selecting and Adjusting Sounds

(Sound Parameters).....................................................22

Selecting a Sound (INST)....................................................22

Adjusting the Volume (LEVEL).........................................23

Adjusting the Pitch (PITCH) ..............................................23

Adjusting the Decay (DECAY) ..........................................23

Adjusting the Stereo Position (PAN) ................................23

Adjusting the Dynamic Volume Response (CURVE).....24

Adjusting the Effects Depth (FX SEND)...........................25

How to Edit Sound Parameters .........................................26

CHAPTER 4 Co n n e ctin g MIDI De vice s

MIDI Connections ...........................................................57

About MIDI......................................................................57

How MIDI Data is Sent and Received ..............................57

Main Types of MIDI Data Used by the SPD-20...............58

Adding Reverberation and Other Effects to the Sound

(Effect Parameters) ......................................................28

Select an Effect (FX TYPE) ..................................................28

Setting Effect Duration and Rate (FX TIME) ...................28

Adjust the Effect Depth for the Entire Patch

MIDI Parameter Settings ................................................61

How the MIDI Parameters Work ......................................61

Setting MIDI Parameters ....................................................66

Priority Ranking of Note Number Expression ................67

Using the SPD-20 as a MIDI Sound Module ...............67

Setting the Receive Channel (Basic Channel) ..................67

(FX LEVEL).......................................................................28

How to Edit Effect Parameters...........................................29

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Settings for Each Pad ...........................................................68

Using External MIDI Devices to Play the Internal

Sound Generator..............................................................69

Expanding Patches to Allow Reception of Many

Note Numbers (Patch Expand) .....................................69

Ho w to Use Th is Ma n u a l

This manual provides a step-by-step introduction to the many

functions of the SPD-20. If this is your first time using elec-

tronic drums, or a MIDI device, please read the manual from

beginning to end. If you are already familiar with electronic

percussion and sequencers, you may not need to read the

entire manual. Glance briefly over Chapters 1 & 2, then refer

to other sections as necessary, while you experiment with the

SPD-20. You will soon learn how the unit works. If you don’t

understand the meaning of a term or how a function works,

use the index to find the appropriate explanation.

How to Use a Sequencer or a Computer to

Record/ Play back Your Performance ......................72

Connecting a Computer (or a Sequencer) ........................72

Breaking/ Cutting the Connection Between the Sound

Generator and the Pad Controller (Local Control).....72

How to Set Up the SPD-20 for Sequencing ......................74

Storing the SPD-20’s Data in External Devices

(Bulk Dump) ....................................................................75

How to Transmit (Bulk Dump)..........................................75

How to Receive (Bulk Load) ..............................................76

Reading SPD-11 Data with the SPD-20.............................77

What is Device ID ................................................................78

CHAPTER 1 Q u ick Sta rt

Read this chapter first to learn how to play using the SPD-20.

It guides you quickly through the basics, up to the point

where you can produce sound. All the fundamental operat-

ing procedures are also introduced.

CHAPTER 2 Usin g th e SPD-2 0 b y Itse lf

CHAPTER 5 Su p p le m e n ta ry Ma te ria ls

Read this chapter if you wish to use the SPD-20 as a stand-

alone unit. Here you will find a variety of information, such

as how the unit is organized internally, as well as how to

modify the sounds.

Taking Advantage of the On-board Effects.................79

Troubleshooting...............................................................82

Error Messages.................................................................87

Instrument List.................................................................88

Patch List ..........................................................................93

CHAPTER 3 Co n n e ctin g Ex te rn a l Pa d s o r Pe d a ls

Read this chapter when you wish to connect external pads or

hi-hat control pedal to the SPD-20.

Parameter List ..................................................................94

Trigger Type Internal Parameters

(Advanced Trigger Parameters) ........................................94

CHAPTER 4 Co n n e ctin g MIDI De vice s

Blank Parameter Chart ...................................................95

Roland Exclusive Message .............................................96

MIDI Implementation .....................................................98

MIDI Implementation Chart........................................102

How to Read a MIDI Implementation Chart ............103

Specifications..................................................................104

Index................................................................................105

How-To Index................................................................106

Read this chapter when you wish to use the SPD-20 to play

an external sound module, to have sequencer performance

data played through the SPD-20, or to save data from the

SPD-20 to a sequencer.

CHAPTER 5 Su p p le m e n ta ry Ma te ria ls

Supplementary sections provided with this manual include

“Troubleshooting,” a “Instrument List,” and the “MIDI

Implementation” chart. Read this when, for example, you

need a solution to some difficulty in operating the unit, or

when you just want to know about MIDI in greater detail.

You can find both a subject-specific index and general index

at the end of this manual.

If you will be using the SPD-20 by itself, there is no

need for you to read Chapters 3 and 4, or the MIDI

MEMO

Implementation section in Chapter 5 (p. 98–101).

The explanations in this manual include illus-

N O TE

trations that depict what should typically be

shown by the display. Note, however, that your

unit may incorporate a newer, enhanced version

of the system (e.g., includes newer sounds), so

what you actually see in the display may not

always match what appears in the manual.

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Im p o rta n t N o te s

In addition to the items listed under “USING THE UNIT SAFELY” on page 2, please read and observe the following:

Po w e r Su p p ly

Me m o ry Ba ck u p

•

Do not use this unit on the same power circuit with any

device that will generate line noise (such as an electric

motor or variable lighting system).

•

This unit contains a battery which powers the unit’s

memory circuits while the main power is off. When this

battery becomes weak, the message shown below will

appear in the display. Once you see this message, have

the battery replaced with a fresh one as soon as possible

to avoid the loss of all data in memory. To have the bat-

tery replaced, consult with your retailer, the nearest

Roland Service Center, or an authorized Roland distribu-

tor, as listed on the “Information” page.

The AC adaptor will begin to generate heat after long

hours of consecutive use. This is normal, and is not a

cause for concern.

Before connecting this unit to other devices, turn off the

power to all units. This will help prevent malfunctions

and/ or damage to speakers or other devices.

Pla ce m e n t

•

Using the unit near power amplifiers (or other equip-

ment containing large power transformers) may induce

hum. To alleviate the problem, change the orientation of

this unit; or move it farther away from the source of

interference.

Ad d itio n a l Pre ca u tio n s

•

Unfortunately, it may be impossible to restore the con-

tents of data that was stored in another MIDI device (e.g.,

a sequencer) once it has been lost. Roland Corporation

assumes no liability concerning such loss of data.

•

This d evice m ay interfere w ith rad io and television

reception. Do not use this device in the vicinity of such

receivers.

•

Use a reasonable amount of care when using the unit’s

buttons, sliders, or other controls; and when using its

jacks and connectors. Rough handling can lead to mal-

functions.

Do not expose the unit to direct sunlight, place it near

devices that radiate heat, leave it inside an enclosed vehi-

cle, or otherw ise subject it to temperature extremes.

Excessive heat can deform or discolor the unit.

•

Never strike or apply strong pressure to the display.

When connecting/ disconnecting all cables, grasp the

connector itself—never pull on the cable. This way you

will avoid causing shorts, or damage to the cable’s inter-

nal elements.

Ma in te n a n ce

•

To avoid d isturbing your neighbors, try to keep the

unit’s volume at reasonable levels. You may prefer to use

headphones, so you do not need to be concerned about

those around you (especially when it is late at night).

For everyday cleaning wipe the unit with a soft, dry

cloth or one that has been slightly dampened with water.

To remove stubborn dirt, use a cloth impregnated with a

mild, non-abrasive detergent. Afterwards, be sure to

wipe the unit thoroughly with a soft, dry cloth.

This instrument is designed to minimize the extraneous

sou nd s p rod u ced w hen it's p layed . H ow ever, since

sound vibrations can be transmitted through floors and

walls to a greater degree than expected, take care not to

allow these sounds to become a nuisance to neighbors,

especially when performing at night and when using

headphones.

•

Never use benzine, thinners, alcohol or solvents of any

kind, to avoid the possibility of discoloration and/ or

deformation.

Re p a irs a n d Da ta

•

Please be aware that all data contained in the unit’s

memory may be lost when the unit is sent for repairs.

Important data should always be backed up in another

MIDI device (e.g., a sequencer), or w ritten dow n on

paper (when possible). During repairs, due care is taken

to avoid the loss of data. However, in certain cases (such

as w hen circuitry related to m em ory itself is out of

order), we regret that it may not be possible to restore the

data, and Roland assumes no liability concerning such

loss of data.

•

When you need to transport the unit, package it in the

box (includ ing pad d ing) that it came in, if possible.

Otherwise, you will need to use equivalent packaging

materials.

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Ma in Fe a tu re s o f th e SPD-2 0

•

The SPD-20 features 700 different internal instruments, including drum set sounds, percus-

sion sounds from around the world, dance sounds, sound effects, phrase loops, and more,

that can be used in a wide variety of musical genres. (Instrument List p. 88)

•

Each sound can be edited using a wide variety of sound parameters, including level, pitch,

decay, pan, velocity curve, and effect send (p. 22).

Using the Layer function, different Velocity Curves can be assigned to each of two sounds,

and the two sounds mixed (or switched) by your playing dynamics (p. 17).

The on-board digital effects unit (Reverb, Delay, Chorus and Flanger) allows you to set the

effect depth independently for each sound assigned to a pad (p. 28).

Four external dual trigger inputs are provided, allowing you to connect kick trigger units

(KD-7s; sold separately) or pads (PD-7, PD-9, PD-5, PD-120, PD-100: sold separately), for

playing in conjunction with the SPD-20’s pads (p. 35). When you connect the PD-7 or PD-9,

you can enjoy such drum techniques as snare rim shots and cymbal choking (p. 39). With the

PD-120 connected, you can play rim shots. What’s more, you can play the SPD-20’s sounds

using an acoustic drum trigger attached to an acoustic drum (p. 45).

•

When a hi-hat control pedal (FD-7; sold separately) is connected, you have continuous con-

trol (from closed to open) of the hi-hat sounds (p. 54).

Settings for the SPD-20’s 8 pads, 4 external pads, hi-hat control pedal, and the effects unit can

be stored as one of 99 Patches. This means that a single SPD-20 is able to store and instantly

recall 99 different percussion “sets,” covering virtually any style of music you can imagine.

•

Using the Patch Chain function, you can create and store a sequence of up to 16 Patches

which can be selected in a predetermined order (convenient for use within a song). The SPD-

20 can store eight such Patch Chains (p. 33).

•

For each pad, you can set two independent MIDI transmit channels and Velocity Curves, so

that your playing dynamics can control external and internal sound generators (p. 61).

The SPD-20 is fully expandable via MIDI, and is especially powerful when used with a

sequencer. For example, you might record SPD-20 settings as bulk data (p. 75) at the begin-

ning of sequencer song data, or allow the sequencer to take care of Patch selection so that you

can concentrate on playing.

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Pa n e l De scrip tio n s

Fro n t

fig. (Front Panel)

6 7 8 9 10 11 12

14 13

Pad 1

Pad 2

Pad 3

Pad 4

Pad 5

Pad 6

Pad 7

Pad 8

Re a r

fig. (Rear Panel and Cord Hook)

16 17

19 20

23 24 25

Cord Hook

To prevent the disruption of power to your unit (should the plug be pulled out accidentally), and to

avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as

shown in the illustration.

N O TE

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Pa d s 1 –8

1 5 PATCH/ VALUE [-], [+] b u tto n s

Play these pads to trigger the various sounds. The

pads are velocity sensitive and will respond to your

playing dynamics.

These buttons are used to select Patches. In the Edit

m od e they are used to m od ify param eter values

(p. 14).

Pa tch d isp la y

1 6 VO LUME k n o b

This display indicates the Patch number or the value

of each parameter (p. 14).

Ad ju sts th e volu m e of th e OUTPUT jacks an d

PHONES jack (p. 13).

PAD BAN K in d ica to r

1 7 PHO N ES ja ck

Indicates the selected pad bank (A or B) (p. 16).

A pair of stereo headphones can be connected to this

jack. Even with headphones connected, the OUTPUT

jacks will still be active (p. 12).

EFFECT in d ica to r

The LED of the selected effect will light (p. 28).

1 8 O UTPUT (R, L/ MO N O ) ja ck s

Pa ra m e te r List

These jacks output the sound of the SPD-20. For

monaural output use the L/ MONO jack (p. 12).

In the Edit mode, the indicator of the selected para-

meter will light (p. 20). Use the [SELECT] (Parameter

Group Select) and [ ][ ] (Parameter Select) but-

tons to choose parameters (p. 21).

1 9 [HH CTRL/ TRIG 4 ] se le ct sw itch

If a hi-hat control pedal (FD-7; sold separately) is con-

nected to the hi-hat control pedal jack, set this switch

to HH CTRL (p. 40). If an external pad is connected,

set this switch to TRIG 4 (p. 37).

Pa ra m e te r Gro u p Se le ct b u tto n [SELECT]

In the Edit mode, this button selects the desired para-

meter group: SOUND, MIDI, FX/ PEDAL, or SYS-

TEM (p. 21).

2 0 HH CTRL/ TRIG 4 ja ck

A hi-hat control pedal (FD-7; sold separately) can be

connected to this jack. If the external input select

switch is set to TRIG 4, an external pad can be con-

nected to this jack (p. 35, 36).

Pa ra m e te r Se le ct b u tto n s [ ][

]

In the Edit mode, use these buttons to select a para-

meter within the parameter group (p. 21).

2 1 . TRIGGER IN PUT 1 –3 ja ck s

External pads etc. can be connected here (p. 37).

Use Trigger Input jack 1 and 2 to allow the play-

[PATCH CHAIN ] b u tto n

Use this button when setting up or playing a Patch

Chain (p. 33).

MEMO

ing of rim shots when using a PD-120 pad (p. 38).

[BAN K A/ B] b u tto n

Sw itch es you betw een p ad ban ks

(p. 16).

an d

2 2 . MIDI IN / O UT co n n e cto rs

External MIDI devices can be connected here (p. 57).

1 0 [CO PY] b u tto n

2 3 . FO O T SW ja ck

Use to copy data from one Patch to another (p. 32).

A footswitch can be connected here allowing you to

change Patches by remote control. If you use a special

cable (PCS-31; sold separately) to connect two FS-5U

switches (sold separately), you can move up or down

through the Patch numbers. If you connect a DP-2

switch (sold separately), you can move up (but not

down) through the Patch numbers (p. 15).

1 1 [LAYER] b u tto n

This button allows the sounds assigned to pad banks

A and B to be played together (p. 15).

1 2 [EDIT] b u tto n

This bu tton sw itches betw een the Ed it and Play

modes (p. 19).

2 4 . AC a d a p to r ja ck

Connect the included AC adaptor here (p. 12).

1 3 [FX O N / O FF] b u tto n

Use only the included AC

adaptor. Use of any other AC

adaptor may cause damage or

malfunction.

This button turns the effects on or off (p. 28).

1 4 [ALL/ EN TER] b u tto n

Use this button when setting all pads to the same

value (p. 27), when performing a copy (p. 32), or

when storing Patch Chain settings (p. 33).

2 5 . PO W ER sw itch

This switch turns the unit on/ off (p. 12).

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Atta ch in g th e SPD-2 0 to a Dru m Sta n d

If you are attaching the unit to a cymbal stand etc. with a pipe diameter of 10.5–30 mm, use an all pur-

pose clamp set (APC-33: sold separately).

Usin g a 4 m m w re n ch , re m o ve th e fo u r scre w s fro m th e b o tto m o f

th e SPD-2 0 .

fig.3

Use th e fo u r scre w s y o u re m o ve d in ste p 1 to a tta ch th e sta n d h o ld -

e r to th e b o tto m o f th e SPD-2 0 .

fig.4

The screws included with the APC-33 cannot be used.

N O TE

Usin g th e Slit Ta p e (In clu d e d )

Place the Slit tape, included with the SPD-20, along the slits, or grooves around each of the pads. The

Slit tape allows you to clearly distinguish where each pad is, even on stage or in other darkened loca-

tions.

fig. Slit Tape

N O TE

Please note that Roland does not handle replacements or additional purchases of Slit Tape.

1 0

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Ho w to Re sto re th e Fa cto ry Se ttin g s (Sy ste m In itia lize )

When the SPD-20 is shipped, it contains 99 Patches in memory. You can freely overwrite this data.

However, the same data is also preserved in ROM, and can be restored at any time. This procedure is

called System Initialize.

ROM

This is an abbreviation for Read Only Memory, which is a type of memory that can only be read;

modification or deletion is not possible.

The explanations in this manual assume that the SPD-20 is still in its factory initialized state. We recom-

mend that before you begin using the unit, you perform this System Initialize operation.

When you execute the System Initialize operation, all your edited data will be lost. If your SPD-20

contains important edited data, you should make a note of the settings or store the data in an external

device such as a sequencer (p. 75).

N O TE

W h ile h o ld in g d o w n [ ] a n d [ALL/ EN TER], tu rn th e p o w e r o n .

The following display will appear.

fig.5

Pre ss [ALL/ EN TER] a n d th e d a ta w ill b e in itia lize d .

If you wish to quit without initializing, press any key other than [ALL/ ENTER].

It is possible to restore the factory settings of a single patch with Patch Copy (p. 32).

MEMO

1 1

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CHAPTER 1 Q u ick Sta rt

Co n n e ctio n to Au d io Eq u ip m e n t

With the SPD-20, you can produce realistic sounds simply by connecting an audio system. You can also

use headphones.

fig.6

AC a d a p to r

Ste re o He a d p h o n e s

LINE IN

Fo o tsw itch e s

Au d io Eq u ip m e n t

(Ste re o se t)

To prevent malfunction and/or damage to speakers or other devices, always turn down the volume,

and turn off the power on all devices before making any connections.

N O TE

Pla y in g th e Pa d s

When connections are complete, you can play the SPD-20.

Tu rn in g th e Po w e r O n

The POWER switch is on the rear panel.

Once the connections have been completed, turn on power to your various devices in the order speci-

fied. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speak-

ers and other devices.

N O TE

Always make sure to have the volume level turned down before switching on power. Even with the

volume all the way down, you may still hear some sound when the power is switched on, but this is

normal, and does not indicate a malfunction.

Ch e ck th a t a ll co n n e ctio n s w ith o th e r d e vice s a re co rre ct, a n d th a t

e ve ry th in g is o ff.

1 2

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Pre ss th e p o w e r sw itch to tu rn th e u n it o n .

fig.7

fig.8

O ff

O n

When the power is turned on, the SPD-20 will be in the Play mode. This is the mode in

which you will play the SPD-20.

When you turn the SPD-20’s power on, it takes about one second complete adjustments to the trigger

circuits.

N O TE

After you turn the power on, do not strike the pads or press the pedals until the Patch number is displayed.

If you turn the power on when a hi-hat control pedal (FD-7) is connected, make sure that the pedal is

fully open. When you turn the power on, a message “Fd7” will be displayed briefly. (For details see p.

40.) Do not press the pedal until this message has been displayed.

Tu rn o n th e o th e r d e vice s, b u t tu rn th e p o w e r a m p o n la st.

Tu rn in g th e Po w e r O ff

Power down your system in the reverse order.

When the power is turned off, the following three functions will be reset to their factory settings.

Function

Factory setting

Local Control (p. 72)

HH Control Pedal (p. 40)

PATCH CHAIN ON/OFF

Not set

Off

Functions and parameter settings other than these are retained even when the power is turned off.

Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor.

Ad ju stin g th e Vo lu m e

When you strike a pad, it will trigger the sound that has been assigned to it. Playing harder will pro-

duce a louder sound. As you play, adjust the overall volume by rotating the VOLUME knob located on

the rear panel.

fig.9

This unit, either alone or in combination with an amplifier

and headphones or speakers, may be capable of producing

sound levels that could cause permanent hearing loss. Do

not operate for a long period of time at a high volume level,

or at a level that is uncomfortable. If you experience any

hearing loss or ringing in the ears, you should immediately

stop using the unit, and consult an audiologist.

To avoid disturbing your neighbors, try to keep the unit’s volume at reasonable levels. You may prefer

to use headphones, so you do not need to be concerned about those around you (especially when it is

late at night).

N O TE

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Se le ctin g a Pa tch

When you select a Patch, the sound assigned to each pad and the settings for MIDI, effect and pedal will

all change instantly. Try each of the 99 factory-preset Patches to hear the different possibilities.

To select Patches first make sure you are in the Play mode. Then use the PATCH/ VALUE [-] or [+] but-

tons to select Patches. The number of the selected Patch will appear in the display.

Pressing PATCH/VALUE [+] while holding down PATCH/VALUE [-] (or vice versa) causes the

Patch numbers to change more rapidly.

MEMO

fig.10

The factory patch names are listed on p. 93.

W h a t is a Pa tch ?

A Patch contains data determines how each pad sounds, settings for the effects and also MIDI settings.

The SPD-20 can store 99 different Patches.

fig.11

Pa tch 9 9

•

Pa d 1

So u n d Pa ra m e te rs

• In stru m e n t

• Le ve l

•

Pa tch 1

Pa d 1

Pa d 2

Pa d 6

Pa d 3

Pa d 7

Pa d 4

Pa d 8

• Pitch

• De ca y

• Pa n

• Ve lo city Cu rve

• Effe ct Se n d

Pa d 5

Ex te rn a l Pa d s

1 -4

MIDI Pa ra m e te rs

• Tra n sm it Ch a n n e l

• N o te N u m b e r

• Ga te Tim e

In te rn a l Pa d s 1 -8

• Pa n

• Ve lo city Cu rve

• Ve lo city Se n sitivity

• Pro g ra m Ch a n g e

Effe cts

Hi-Ha t Co n tro l Pe d a l

When you select a Patch, the settings for each pad are instantly changed (p. 15).

You can also use MIDI Exclusive messages to store Patch data in an external sequencer or other

device (p. 75).

MEMO

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Usin g a Fo o tsw itch to Se le ct Pa tch e s

By using a special cable (PCS-31; sold separately) to connect two footswitches (FS-5U; sold separately)

to the FOOT SW jack, you can select Patches by remote control. When you press Footswitch 1 you will

advance to the next Patch number, and when you press Footswitch 2 you will go back to the previous

Patch number. If you connect a DP-2, you can move up (but not down) through the Patch numbers.

fig.12

Ste re o

You can make the setting with

the FS-5U polarity switch, as

shown in the figure below.

(Re d )

Mo n o

(W h ite )

Mo n o

PO LALITY

Fo o tsw itch 2

Fo o tsw itch 1

(Pre vio u s Pa tch )

(N e x t Pa tch )

Connect the two mono cables of the PCS-31 to the two footswitches. The plug with the white line is for

Footswitch 1, and the plug with the red line is for Footswitch 2.

Connecting the model DP-2 pedal switch (sold separately) allows you to only advance the Patch numbers.

When using the footswitch as a Hold Pedal, please refer to “Using a Footwitch as a Hold Pedal” on p. 41.

MEMO

Co m p a rin g La y e re d So u n d s

Most of the factory-preset Patches use Layer (p. 17). Select a layered Patch and listen to the sounds of

pad banks A and B. When you select a layered Patch, both PAD BANK indicators (A and B) will light.

Se le ct a Pa tch .

In th e Pla y m o d e , p re ss [LAYER] to tu rn La y e r o ff.

PAD BANK indicator B will go out. Now you can play the pads to hear the sound of pad

bank A.

To h e a r th e so u n d o f p a d b a n k B, p re ss [BAN K A/ B] so th a t PAD

BAN K in d ica to r B lig h ts. Pla y th e p a d s.

Each time you press [BANK A/B], PAD BANK indicators A and B will light alternately.

MEMO

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W h a t is a Pa d Ba n k ?

The 8 pads of the SPD-20, together with 4 external pads (plus the 4 rims)—for a total of 16 pads—are

referred to as a pad bank. Each Patch contains two pad bank settings, A and B.

fig.13

Pa d Ba n k B

Pa d Ba n k A

Pa d 1

Pa d 2

Pa d 3

Pa d 7

Pa d 4

Pa d 8

Pa d 5

Pa d 6

4 Ex te rn a l Pa d s

4 Rim s

When you select a Patch, the PAD BANK indicator will show which pad bank the Patch uses. If the

Layer function (explained below) is used in that Patch, both PAD BANK indicators (A and B) will be lit.

fig.14

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W h a t is th e La y e r Fu n ctio n ?

Layer means that two sounds are played simultaneously. The Layer setting is stored as part of each

Patch. A Patch for which Layer is enabled will simultaneously play the sounds of both pad banks (A

and B). In this case, however, you will only be able to play half as many notes simultaneously (a maxi-

mum of 7). Layering sounds can open the door to creative expression.

Wa y s to u se th e La y e r fu n ctio n

By assigning different Instruments to pad banks A and B, and setting pad banks A and B to different

Velocity Curves (p. 24), your playing dynamics can be used to cross-fade or switch between the two

sounds.

Ve lo city Mix : Pla y in g d y n a m ics w ill d e te rm in e th e m ix o f th e tw o so u n d s.

fig.15-a

fig.15-b

fig.15-c

Pa d Ba n k A

Pa d Ba n k B

Ve lo city

Ve lo city Sw itch : Pla y in g d y n a m ics ca u se a sw itch b e tw e e n th e tw o so u n d s.

Pa d Ba n k A

Pa d Ba n k B

Ve lo city

Ve lo city Cro ssfa d e : Pla y in g d y n a m ics p ro d u ce cro ss-fa d e s b e tw e e n th e tw o so u n d s.

Pa d Ba n k A

Pa d Ba n k B

Ve lo city

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CHAPTER 2 Usin g th e SPD-2 0 b y Itse lf

Ab o u t th e SPD-2 0 ’s In te rn a l Se tu p a n d Pa ra m e te r Se ttin g s (Ed it)

This Chapter explains the basic structure of the SPD-20 and how it functions. Before we get into details,

you should have an overall understanding of the unit.

W h a t Kin d o f In stru m e n t is th e SPD-2 0 ?

The SPD-20 is an electronic percussion instrument that produces sound when its pads are struck. This

type of device is usually called a MIDI pad controller. The SPD-20 includes a sound generator (700

sounds with 16-bit dynamic range) and digital effects unit in a compact and lightweight package. By

connecting external pads or pedals (sold separately), you can obtain the same musical expressivity from

the SPD-20 as you might enjoy with an acoustic drum kit. In addition, the SPD-20 is MIDI compatible,

meaning that it can be connected to any other MIDI-compatible device (sequencer, sampler, etc.) regard-

less of the manufacturer. This allows you to create a very powerful music system.

Pro d u ct O ve rvie w

•

Self-contained compact MIDI pad controller

8 dynamics-sensitive pads

700 sounds with 16-bit dynamic range

Built-in digital effects

Expandable with external pads/ pedals

(such as the PD-7, PD-120, KD-7, and FD-7)

Teams up with various MIDI units

(such as sequencer, sampler, etc.)

•

In te rn a l O rg a n iza tio n

The SPD-20 can be divided into the following sections:

fig.16

Pa d se ctio n

Trig g e r In te rfa ce se ctio n

Local Control

On/Off

FX SEND

So u n d Ge n e ra tin g

se ctio n

Effe cts se ctio n

FX LEVEL

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Pa d se ctio n

This section has 8 velocity sensitive pads that respond to changes in your playing dynamics.

Trig g e r In te rfa ce se ctio n

This section sends the trigger signals (electric signals produced when you strike a pad) to the Sound

Generating section.

So u n d Ge n e ra tin g se ctio n

This section receives signals from the trigger interface or MIDI IN, and produces sound in response. The

SPD-20 contains 700 sounds and up to 14 can be played simultaneously.

Effe cts se ctio n

This section adds effects (Flanger, Chorus, Reverb, Delay) to the sound from the sound generator. You

can select from 25 effects combinations (p. 28).

Pla y Mo d e a n d Ed it Mo d e

The SPD-20 has two modes; the Play mode and the Edit mode. Press [EDIT] to switch between them.

fig.17

Pla y Mo d e

Ed it Mo d e

EDIT

(th e d isp la y is lit)

(th e d isp la y is fla sh in g )

Pla y Mo d e

In this mode you can strike the pads and select Patches. In the Play mode, the display will show the

Patch number.

Ed it Mo d e

In this mode you can make settings for the various parameters. In the Edit mode, the display will show

the parameter value (which will be flashing).

In addition to these two modes, there is another, the Advanced Edit mode, for making more detailed

settings for the Trigger parameters. (p. 48)

MEMO

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Ho w to Ed it

To modify parameter values you must be in the Edit mode. The names of all the parameters you can

modify are in the Parameter List printed on the front panel.

“Edit” refers to the process of changing parameter values.

MEMO

Ho w to re a d th e p a ra m e te r list

The parameter list has four indicators arranged horizontally and seven indicators arranged vertically. In

the Edit mode, one of the horizontal indicators and one of the vertical indicators will always be lit. This

shows which parameter is being edited; i.e., the intersection of the indicated column and row is the cur-

rently selected parameter. The display shows the value of this parameter. To edit a particular parame-

ter, refer to the parameter list and use the [SELECT] and [

] [

] buttons to select it.

fig.18

Th e in te rse ctio n o f th e

in d ica te d co lu m n a n d ro w

INST

TX CH

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

PDL LEVEL TRIG THRESHOLD

PDL CC #

BASIC CH

LEVEL

PITCH

DECAY

PAN

NOTE #

BULK DUMP

PATCH EXPAND

TRIG SENS

GT TIME

PAN

CURVE

SENS

PGM CHG

Se le cte d Pa ra m e te r

Va lu e (fla sh in g )

CURVE

FX SEND

TRIG TYPE

TRIG CURVE

ca n b e se t

to e a ch p a d

ca n b e se t to

e a ch Pa tch

ca n b e se t to

th e e n tire sy ste m

Use PATCH/VALUE [-] or [+] to modify the parameter value.

MEMO

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Ho w to e d it

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Se le ct th e p a ra m e te r y o u w ish to e d it. Pre ss [SELECT] to g e t th e

a p p ro p ria te in d ica to r to lig h t, th u s se le ctin g a co lu m n . Use [ ] o r

[

] to se le ct th e d e sire d ro w , b y g e ttin g th e a p p ro p ria te in d ica to r

to lig h t. (Th e d isp la y w ill sh o w th e va lu e o f th e se le cte d p a ra m e te r.)

[SELECT] chooses the parameter group. The parameters of the SPD-20 are organized into

four groups: SOUND, MIDI, FX/ PEDAL, and SYSTEM. With each press of [SELECT], the

indicator that lights (and the group that is selected), will be the next one in this group.

The [

] and [

] buttons are used to select parameters within the parameter groups.

], and the one

The indicator above the currently lighted one will light when you press [

below the one currently lighted will light when you press [

fig.19

SELECT

INST

TX CH

NOTE # FX TIME

GT TIME FX LEVEL PATCH EXPAND

PAN PDL CTRL TRIG SENS

CURVE PDL LEVEL TRIG THRESHOLD

FX TYPE BASIC CH

LEVEL

PITCH

DECAY

PAN

BULK DUMP

CURVE

FX SEND PGM CHG

SENS

PDL CC # TRIG TYPE

TRIG CURVE

In this illustration, the DECAY parameter in the SOUND parameter group is selected.

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e . Th e p re vio u s va lu e o f

th e p a ra m e te r w ill b e d isca rd e d . In th e ca se o f a n u m e rica l va lu e ,

P ATCH/ VALUE [+ ] in cr e a s e s t h e v a lu e , a n d P ATCH/ VALUE [-]

d e cre a se s it.

You can speed up the change in values by pressing [+] while holding down [-] (or vice versa).

MEMO

If y o u w ish to e d it a n o th e r p a ra m e te r, re p e a t ste p s 2 –3 a s n e ce s-

sa ry .

Pre ss [EDIT] to re tu rn to th e Pla y m o d e .

The parameter list indicators will go out, and the display will once again show the Patch

number.

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Se le ctin g a n d Ad ju stin g So u n d s (So u n d Pa ra m e te rs)

The parameters in the SOUND group (the sound parameters) allow you to modify the sound assigned

to each pad.

The SOUND group contains 7 parameters: INST, LEVEL, PITCH, DECAY, PAN, CURVE and FX SEND.

Sound parameter settings for each pad are stored in each Patch.

MEMO

Se le ctin g a So u n d (IN ST)

Each sound assigned to a pad is called an Instrument. The SPD-20 contains 700 such Instruments, and

the Instrument assign settings determine which sounds will be played. The 700 Instruments are

grouped into the following categories.

fig.96

b01 – b50

S01 – S86

t01 – t40

h01 – h33

H01 – H17

C01 – C36

L01 – L78

i01 – i33

F01 – F37

J01 – J51

o01 – o24

M01 – M59

A01 – A16

d01 – d43

E01 – E46

n01 – n31

r01 – r20

Mut

Bass Drum

Snare Drum

Tom-tom

Hi-Hat Cymbal

Hi-Hat Cymbal for pedal control

Crash/ Ride Cymbal

Latin Percussion (Cuban, Brazilian)

Indian Percussion

African/ Middle Eastern/ Australian/ Other Percussion

Japanese/ Korean/ Chinese/ Southeast Asian Percussion

Orchestral Percussion

Melodic Percussion/ Melodic Instrument

Analog Percussion (CR-78, TR-808, etc.)

Dance Sounds

Artificial Sound Effects

Natural Sounds, Human Voice

Ambience, Reversed Sounds

Forces Phrase Loop Instrument to stop (MUTE). No sound

No sound

oFF

The Hi-Hat Cymbals for pedal control “instruments H01–H17” can be used effectively only when a

Hi-Hat controller (FD-7; separately sold) is used (p. 54).

MEMO

If the Instrument assign setting for any Pad is set to “oFF”, there will be no sound when you strike

that Pad.

If you make the Hold Pedal settings (p. 41), then with some of the sounds, you can use the footswitch

to sustain the sound. For the instruments that can be lengthened with the footswitch, refer to p. 88.

When an Instrument is selected, by pressing PATCH/VALUE [+] while holding down [-] (or vice

versa), you can jump to the next Instrument group.

About Phrase Loop

Some Instruments are designed as Phrase Loops (p. 88).

When you select a Phrase Loop, you don’t just hear single notes; instead, a short phrase typical of

that musical genre is played. You cannot play more than one Phrase Loop on different pads. You

can layer two Phrase Loops on one pad and play them simultaneously. To force a Phrase Loop to

stop sounding, select “Mut” and strike the pad. No sound is heard from a pad that has been set for

“Mut.”

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Ad ju stin g th e Vo lu m e (LEVEL)

This parameter determines the volume (0–15). At a setting of 0 there will be no sound.

When FX SEND in the SOUND parameter group is set above 0, the effects sound alone will be heard

even if the LEVEL parameter is set to 0.

N O TE

Ad ju stin g th e Pitch (PITCH)

This parameter determines the pitch of the Instrument ( 24– 24). Each step will change the pitch by a

semitone (100 cents).

For some Instruments, raising the pitch beyond a certain point will not be possible.

N O TE

Ad ju stin g th e De ca y (DECAY)

This parameter adjusts the decay of the Instrument ( 31– 31). Higher settings will result in a longer

decay time.

fig.20

-3 1

3 1

Tim e

For some Instruments, raising the decay beyond a certain point will not be possible.

N O TE

When the connected pedal is assigned to “HH” (p. 54), the decay parameter has no effect on Hi-Hat

Cymbals for pedal control (instruments H01–H17).

Changing the decay setting for a Phrase Loop Instrument (p. 88) changes the attenuation time at the

end of the loop.

Ad ju stin g th e Ste re o Po sitio n (PAN )

This parameter determines the stereo position of the Instrument (L7–Ctr–r7/ rnd). A setting of L7 is far

left, Ctr is center, and r7 is far right. At the “rnd” setting, the stereo position will change randomly each

time you strike the pad.

fig.21

Le ft Sp e a k e r

Rig h t Sp e a k e r

Ctr

(Ce n te r)

This parameter is meaningful only when the SPD-20 is connected to a stereo audio system.

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Ad ju stin g th e Dy n a m ic Vo lu m e Re sp o n se (CURVE)

This parameter determines how the Instrument volume will change in response to your playing. You

can choose from 16 response curves.

fig.22

Linear

Exponential 1

Exponential 2

Exponential 3

Exponential 4

Spline 1

Spline 2

Soft 1

Soft 2

Soft 3

Soft 4

Hard 1

Hard 2

Hard 3

Hard 4

Constant

You can come up with some effective Layered sounds by combining SF (Soft) and Hd (Hard) Velocity

Curves.

Ex. 1: In a layered patch, when you combine SF1 and Hd1, or SF2 and Hd2, as the Velocity Curve

settings for pad bank A and pad bank B, respectively, striking the pad lightly sounds the

Instrument of pad bank A, and the harder you hit, the louder you can make the sound of the

pad bank B Instrument become (Velocity Crossfade).

Ex. 2: In a layered patch, when you combine SF3 and Hd3, or SF4 and Hd4, as the Velocity Curve

settings for pad bank A and pad bank B, respectively, you can switch the pad bank A and pad

bank B Instruments with the strength with which you strike the pads (Velocity Switch).

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fig.23 fig.24

Pa d Ba n k A

Pa d Ba n k B

Ve lo city Cro ssfa d e

So ft 1

Ha rd 1

Pa d Ba n k A

Pa d Ba n k B

Ve lo city Sw itch

So ft 3

Ha rd 3

When CSt is selected, the unit sounds at maximum volume, regardless of how hard you strike the pad.

MEMO

Ad ju stin g th e Effe cts De p th (FX SEN D)

This parameter determines the depth (0–15) of the effect applied to each Instrument assigned to the pad.

Higher settings will result in a deeper effect. With a setting of 0 there will be no effect. The overall

effects level for a Patch is determined by FX LEVEL in the FX/ PEDAL parameter group.

fig.25

FX SEND

Effe cts se ctio n

FX LEVEL

OUTPUT

So u n d Ge n e ra tin g

se ctio n

L/MONO

PAN

LEVEL

This FX SEND parameter will have an audible result only if the [FX ON/OFF] setting is on, and FX

LEVEL in the FX/PEDAL parameter group is set above 0.

N O TE

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Ho w to Ed it So u n d Pa ra m e te rs

It is not possible to simultaneously edit the sound parameters of pad banks A and B. Use [BANK A/ B]

to switch between the two pad banks, and edit each bank separately.

Ed itin g a so u n d p a ra m e te r

In th e Pla y m o d e , u se th e PATCH/ VALUE [-] o r [+] b u tto n s to se le ct

th e Pa tch (1 –9 9 ) to e d it.

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Selecting and changing parameters is called editing.

MEMO

Strik e th e p a d y o u w ish to e d it.

Tu rn La y e r o n o r o ff if n e ce ssa ry .

You can have only one of the Pad Bank Instruments sound by setting Layer to OFF.

MEMO

Pre ss [BAN K A/ B] to se le ct th e b a n k y o u w ish to e d it.

The selected PAD BANK indicator will be flashing.

Pre ss [SELECT] to se le ct th e SO UN D p a ra m e te r g ro u p .

fig.26

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

Pre ss [ ] o r [ ] to se le ct th e p a ra m e te r to b e e d ite d .

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e .

For a numerical parameter, pressing PATCH/ VALUE [-] will decrease the value, and

pressing PATCH/ VALUE [+] will increase the value.

Pressing PATCH/VALUE [+] while holding down PATCH/VALUE [-] (or vice versa) makes this

change more rapidly. However, when selecting a Parameter Group Instrument (INST), when you

press PATCH/VALUE [+] while holding down PATCH/VALUE [-] (or vice versa), you jump to the

next Instrument group.

MEMO

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To e d it th e o th e r p a d b a n k o f th e la y e re d so u n d , re p e a t ste p s 5 –8 .

W h e n y o u fin ish m a k in g se ttin g s, p re ss [EDIT] to re tu rn to th e Pla y

m o d e .

1 0

By using a special cable (PCS-31; sold separately) to connect two footswitches (FS-5U; sold separate-

ly) to the FOOT SW jack, you can change parameter values by remote control. While in Edit Mode,

when you press Footswitch 1 you will advance to the next higher parameter value, and when you press

Footswitch 2 you will go down to the next lower parameter value (p. 15). If you connect a single

footswitch (DP-2; sold separately) you can only move up to a higher parameter value, not down to a

lower parameter value.

MEMO

Se ttin g a ll p a d s to th e sa m e p a ra m e te r va lu e

If you press [ALL/ ENTER] after step 8, the displayed parameter value will be set for all pads of the cur-

rently selected pad bank.

fig.27

If you are making settings for one of the SPD-20’s pads, the settings will be applied to all 8 pads. If

you are making settings for an external pad, the settings will be applied to all 4 of the external pads,

and all 4 of the external rims.

MEMO

By assigning the same Instrument to all the pads and setting a different pitch for each, you can play

melodies. The following procedure is an example using a melodic percussion Instrument (M01–M59).

1 . Set the INST parameter in the SOUND parameter group to the desired Instrument.

2 . Press [ALL/ENTER] to set all pads to the same sound.

3 . Adjust the PITCH parameter for each pad.

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Ad d in g Re ve rb e ra tio n a n d O th e r Effe cts to th e So u n d

(Effe ct Pa ra m e te rs)

The SPD-20 has four on-board effects: Reverb, Delay, Chorus, and Flanger. There are three effects para-

meters: FX TYPE, FX TIME and FX LEVEL.

Effects settings are stored independently for each Patch, so you can set up the ideal effects for each

Patch.

MEMO

Chapter 5 includes a section on “Taking Advantage of the On-board Effects” (p. 79), and we suggest

that you read this as well.

Se le ct a n Effe ct (FX TYPE)

This parameter selects one of the 25 effects combinations (1–25).

The Effect Indicator for the selected effect type will light to show the effect being used.

fig.27-a

Effect Type

1–10

Explanation

Reverb sound

Chorus sound

Flanger sound

Delay sound

Adds reverberation to the sound

Adds breadth to the sound

Applies undulations to the sound

Adds an echo-like effect

11–14

15–17

18–25

For details on each effect type, refer to the page 79.

MEMO

The effects are toggled on/off with each press of [FX ON/OFF].

Se ttin g Effe ct Du ra tio n a n d Ra te (FX TIME)

This sets the duration of reverberation, or the modulation rate (1–32). The higher the value, the longer

the reverb duration, or the higher the modulation rate. The result will be different depending on the

type of effect. Refer to page 79.

Ad ju st th e Effe ct De p th fo r th e En tire Pa tch (FX LEVEL)

This parameter corresponds to the effect return level on a mixer, and higher settings will result in a

deeper effect (0–15). At a value of 0 there will be no effect.

The depth of the effect applied to each Instrument (assigned to a pad) is determined by FX SEND in

the SOUND parameter group. (p. 25)

MEMO

This effect level parameter will have an audible result only if the [FX ON/OFF] setting is on, and if

the Instrument parameter FX SEND for a pad is set above 0.

N O TE

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Ho w to Ed it Effe ct Pa ra m e te rs

In th e Pla y m o d e , u se PATCH/ VALUE [-] o r [+] to se le ct a Pa tch

(1 –9 9 ).

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Pre ss [SELECT] to se le ct th e FX/ PEDAL p a ra m e te r g ro u p (p . 2 1 ).

fig.28

SOUND

MIDI

FX/PEDAL SYSTEM

FX TYPE BASIC CH

INST

TX CH

NOTE # FX TIME

LEVEL

PITCH

DECAY

PAN

BULK DUMP

GT TIME FX LEVEL PATCH EXPAND

PAN PDL CTRL TRIG SENS

CURVE PDL LEVEL TRIG THRESHOLD

CURVE

FX SEND PGM CHG

SENS

PDL CC # TRIG TYPE

TRIG CURVE

Pre ss [ ] o r [ ] to se le ct th e e ffe ct p a ra m e te r y o u w ish to e d it.

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e .

Re p e a t ste p s 3 –5 to fin ish m a k in g th e e ffe ct se ttin g s fo r th e Pa tch .

If y o u w ish to a d ju st th e e ffe ct d e p th in d e p e n d e n tly fo r e a ch p a d ,

m a k e th e a p p ro p ria te se ttin g s fo r th e FX SEN D in th e SO UN D p a ra -

m e te r g ro u p fo r e a ch p a d (p . 2 5 ).

2 9

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Ad ju stin g th e Pa d Se n sitivity (TRIG SEN S)

By adjusting the TRIG SENS in the SYSTEM parameter group you can adjust the sensitivity of the pad

when it is struck (the range of adjustment is 1–16). Higher settings result in higher sensitivity, so that

the pad will produce a loud volume even when struck softly. This parameter applies to all 8 pads.

Factory Trigger Sensitivity (TRIG SENS) settings for the internal pad reflect the average user´s pref-

erences. If these settings produce good results for you, then there is no need to change the Trigger

Sensitivity values.

N O TE

This parameter is set for all 8 pads, i.e., the same value applies to all pads. However, this parameter

can be set independently for each connected external pad.

MEMO

Trigger Sensitivity (TRIG SENS) settings are common to all patches.

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Pre ss [SELECT] to se le ct th e SYSTEM p a ra m e te r g ro u p .

Use [ ] o r [ ] to se le ct TRIG SEN S.

fig.29

Strik e o n e o f th e 8 p a d s.

When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display

on a six-level scale. Striking the pad forcefully sets velocity at a value of 127.

MEMO

fig.95

Stre n g th

o f Strik in g

Ve lo city

1 2 7

Ha rd

1 0 0 –1 2 6

7 5 –9 9

5 0 –7 4

2 5 –4 9

So ft

1 –2 4

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e .

3 0

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Se ttin g th e Pa d ’s Min im u m Le ve l (TRIG THRESHO LD)

By adjusting the TRIG THRESHOLD in the SYSTEM parameter group you can have a pad produce a

trigger signal only when struck with more than a certain level of force (a “threshold”). This can be used

to prevent a pad from sounding in response to extraneous vibrations from another pad. However, if

you strike the pad with a force less than the Trigger Threshold, it will not sound. In the diagram below,

the pad will sound for 2 , but not for 1 or 3 . This parameter can be set over a range of 0–15.

fig.30

Factory Trigger Threshold (TRIG THRESHOLD) settings for the internal pad reflect the average

user´s preferences. If these settings produce good results for you, then there is no need to change the

Trigger Sensitivity values.

N O TE

This parameter is set for all 8 pads, i.e., the same value applies to all pads. However, this parameter

can be set independently for each connected external pad.

MEMO

Trigger Threshold (TRIG THRESHOLD) settings are common to all patches.

In th e Ed it m o d e , se le ct th e SYSTEM p a ra m e te r g ro u p (p . 2 1 ).

Use [ ] o r [ ] to se le ct TRIG THRESHO LD.

fig.31

Strik e o n e o f th e 8 p a d s.

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e .

For information on editing external Pad Trigger Parameters, please refer to p. 42.

MEMO

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Co p y in g a Pa tch (CO PY)

This operation copies Patch settings to another Patch. If you need another Patch that is only slightly dif-

ferent from an existing one, copy that Patch and then make the changes that you need.

fig.29-1

Co p y so u rce

Co p y d e stin a tio n

Pa tch

Use r Pa tch U1 -U9 9

Pre se t Pa tch P1 -P9 9

Use r Pa tch U1 -U9 9

When you execute COPY, the contents of the copy destination patch are rewritten.

MEMO

In th e Pla y m o d e , u se PATCH/ VALUE [-] o r [+] to se le ct th e co p y d e s-

tin a tio n Pa tch (1 –9 9 ).

When you execute COPY, the data is overwritten in this patch.

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Pre ss [CO PY].

fig.32

Use PATCH/ VALUE [-] o r [+] to se le ct th e co p y so u rce Pa tch .

The copy source Patch can be selected from user Patches (U1–U99) or factory-

preset Patches (P1–P99).

Play the pads to check the selected copy source Patch.

To quit without copying, press [COPY].

MEMO

Pre ss [ALL/ EN TER] a n d th e Pa tch w ill b e co p ie d .

fig.32-a

Pre ss [EDIT] o n ce a g a in to re tu rn to th e Pla y m o d e .

The external pad’s SOUND parameter, MIDI parameter, and FX/PEDAL settings are copied simulta-

neously.

MEMO

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Se ttin g Up Yo u r O w n Pa tch Se q u e n ce s (Pa tch Ch a in )

W h a t is a Pa tch Ch a in ?

A Patch Chain is a sequence (that you create) of up to 16 Patches. The SPD-20 can store 8 of these Patch

Chains (A, b, C, d, e, F, G, H.)

fig.33

Ste p 1

Ste p 2

Ste p 3

Ste p 4

Ste p 5

Ste p 1 6

•

Pa tch Ch a in A

Pa tch Ch a in B

•

Pa tch Ch a in H

By setting up a Patch Chain that contains all the Patches needed for a stage set or a song, you can quick-

ly and easily access the Patches you need.

Se ttin g u p a Pa tch Ch a in

In th e Ed it m o d e , p re ss [PATCH CHAIN ] to se le ct a Ch a in (A, b , C, d ,

e , F, G, H).

fig.36

Use th e PATCH/ VALUE [-] o r [+] b u tto n s to se le ct th e Pa tch n u m b e r

(1 –9 9 ).

You can also select Patch numbers using a footswitch connected to the FOOT SW jack.

MEMO

Pre ss [ALL/ EN TER].

Re p e a t ste p s 2 –3 to cre a te a Ch a in o f Pa tch e s.

Each Chain can consist of up to 16 Patches. If you attempt to specify a 17th Patch, the display will

show “FUL.”

MEMO

W h e n y o u a re fin ish e d , p re ss [ALL/ EN TER].

fig.35

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If you press [PATCH CHAIN] to select another Chain before pressing [ALL/ENTER], the Patch

Chain settings you just made will be lost.

N O TE

If y o u w ish , y o u m a y m a k e se ttin g s fo r a n o th e r Pa tch Ch a in .

W h e n y o u fin ish m a k in g Pa tch Ch a in se ttin g s, p re ss [EDIT] to re tu rn

to th e Pla y m o d e .

Usin g a Pa tch Ch a in to Se le ct Pa tch e s

Here’s how to step through the Patches in a Patch Chain.

In th e Pla y m o d e , p re ss [PATCH CHAIN ] to se le ct th e Pa tch Ch a in

y o u w ish to u se (A, b , C, d , e , F, G,H).

fig.36

A Patch Chain which does not contain any data will not be displayed in the Play mode.

N O TE

Ea ch tim e y o u p re ss PATCH/ VALUE [-] o r [+]th e n e x t Pa tch in th e

Ch a in w ill b e se le cte d .

After the last Patch in the Chain, you will return to the first Patch.

MEMO

A footswitch connected to the FOOT SW jack can also be used to select Patches.

Pre ss [PATCH CHAIN ] se ve ra l tim e s to re tu rn to th e Pla y m o d e .

Era sin g a Pa tch Ch a in

Here’s how to erase the current Patch Chain settings.

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Use [PATCH CHAIN ] to se le ct a Pa tch Ch a in , a n d p re ss [ALL/ EN TER]

to e ra se it. Th e fo llo w in g d isp la y w ill a p p e a r.

fig.37

Pre ss [EDIT] o n ce a g a in to re tu rn to th e Pla y m o d e .

After all chains are cleared, the Patch Chain cannot be used, even if you press [PATCH CHAIN] in

the Play mode.

N O TE

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CHAPTER 3 Co n n e ctin g Ex te rn a l Pa d s o r Pe d a ls

You can add external pads to the SPD-20. Furthermore, you can connect a hi-hat control pedal (FD-7;

sold separately) to control the opening and closing of the hi-hat.

Co n n e ctin g Ex te rn a l Pa d s o r Hi-Ha t Co n tro l Pe d a l

Co n n e ctin g Ex te rn a l Pa d s o r th e Sp e cia l Pe d a l

Ex a m p le 1 : Pe rcu ssio n Se t

The SPD-20 should be mounted on a stand. A commercially available cymbal or tom-tom stand works

well for this.

fig.38

4 Pa d s (PD-7 )

Se t to TRIG 4

HH CTRL

/ TRIG 4

TRIGGER IN PUT (1 –3 )

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Ex a m p le 2 : Fu ll Se t Kit

If you wish to connect a hi-hat control pedal (FD-7; sold separately) to the HH CTRL/ TRIG 4 jack, set

the [HH CTRL/ TRIG 4] select switch (p. 40) to HH CTRL. If you wish to connect an external pad, set the

switch to TRIG 4.

fig.39

Crash Splash Ride China

Tom1 Tom2 Tom3 Tom4

Hi-Hat

Snare

Roland

Kick

Hi-Hat Control Pedal

Hi-Ha t Co n tro l Pe d a l (FD-7 )

Pa d (PD-1 2 0 )

Kick Trig g e r Un it (KD-7 )

+ Kick Pe d a l

Pa d (PD-7 )

TRIG 3

TRIG 2

TRIG 1

HH CTRL/ TRIG 4

Se t to HH CTRL

HH CTRL

/ TRIG 4

TRIGGER IN PUT (1 –3 )

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Pre ca u tio n s W h e n Co n n e ctin g a Ex te rn a l Pa d

fig.40

The external pad and Kick Trigger Unit are

connected to the Trigger Input jacks 1, 2, and

3, or the HH CTRL/ TRIG 4 jack. (However,

PD-120

PD-7

in this case, the Trigger Input switch is set to

TRIG 4.)

You may hear a brief sound when you change the position of the switch. This is normal, and should

not be a cause for concern.

N O TE

To perform with even greater expression, we recommend the use of the following specialized pads from

Roland.

PD-7, PD-9, PD-5, PD-120, PD-100, KD-7 (Kick Trigger Unit)

When you use these pads, it is necessary to set the pad type with the TRIGGER parameter TRIG TYPE

(p. 45).

Use a mono cable when connecting pads from other manufacturers.

N O TE

When using a PD-7, PD-9 and KD-7, set the Polarity Switch on the pad to the “-” (negative) side,

and make connections using the cable included with the pad or Kick Trigger Unit.

You may hear a brief sound when you change the position of this switch. This is normal, and should

not be a cause for concern.

The four Trigger Input jacks provided with the SPD-20 are already Dual Trigger Type. This is to

allow processing of two types of signals, for when you strike the head and for rim shots, when you con-

nect a PD-7 or PD-9.

MEMO

N O TE

You can play rim shots with the PD-120 only by using Trigger Input jacks 1 and 2 (p. 38).

Pre ca u tio n s w h e n co n n e ctin g a Kick p e d a l (Kick Trig g e r Un it)

When using a kick pedal, a specialized Kick Trigger Unit (KD-7; sold separately) is necessary.

fig.41

A connecting cable and beater are included

Kick Trig g e r Un it (KD-7 )

with the KD-7, and you may use a favorite bass

+ Kick Pe d a l

drum pedal to control the SPD-20 sounds. Set

the Polarity Switch on the KD-7 to the “-”(neg-

ative) position, then connect to an TRIGGER

INPUT jack (1–3), or to the HH CTRL/ TRIG 4

jack. (However, in the later case, be sure to set

the External input select switch to TRIG 4.)

By connecting two sets of units and pedals, you can use dual bass drum techniques. There are two

ways to do this. You can use the mix in jack of one KD-7 and connect the two sets in serial to one SPD-

20 input, or you can connect each KD-7 to its own SPD-20 Trigger input. The first method uses only one

SPD-20 TRIGGER INPUT, and the second method uses two SPD-20 TRIGGER INPUTs. However, the

second method allows you to control two different Instruments, so that you can assign different-sound-

ing Kick Drums to each side, and change the pitch and Pan settings for a more expressive sound.

When connecting two KD-7s with the KD-7’s Mix In jack, the Kick Trigger signal is slightly weak-

ened. In such cases, when connecting the KD-7 set the Trigger Input Trigger Sensitivity (TRIG

SENS, p. 43) slightly higher.

N O TE

3 7

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Usin g a Fo o tsw itch In ste a d o f a Kick Pe d a l

Even without a kick pedal, you can play Instruments by connecting a Pedal Switch (DP-2; sold separate-

ly) to Trigger Input jack 1. The pedal switch will yield one consistent level, regardless of how hard you

hit the pedal. The level is set with a combination of two parameters. Set the Trigger Sensitivity (TRIG

SENS) to have enough signal, then you may reduce the volume level with the Sound parameter level

(LEVEL). Additionally, set the Trigger Threshold (THRESHOLD) between 6 and 8. Setting the Trigger

Threshold value any lower than this causes the pedal to trigger sounds even when you remove your

foot; setting it any higher prevents any triggering.

When triggering a sound module via MIDI, you can set the volume using MIDI parameter SENS.

When using a Pedal Switch (DP-2; sold separately) to play Instruments, use only Trigger Input jack 1.

N O TE

Pre ca u tio n s W h e n Co n n e ctin g th e PD-1 0 0 o r PD-1 2 0

Use the PD-120/PD-100 only after thoroughly reading the manuals provided with those models.

fig.42

When using models PD-120/ PD-100, set the pad type

(120, 100) with the TRIGGER parameter TRIG TYPE (p.

45). With the PD-120, setting the Trigger Type makes it

possible for you to play rim shots.

You can play rim shots with the PD-120 only by using

Trigger Input jacks 1 and 2.

With the PD-7 and PD-9, you can play rim shots using any of the Trigger Inputs.

MEMO

The sound does not change, regardless of where you strike the head.

N O TE

If the PD-120 does not play rim shots, check the following items.

The PD-120’s rim shot trigger characteristics differ from those of the PD-7 (or PD-9). Rim shots

are detected by setting the Trigger Type to the PD-120.

Is it connected to Trigger Input 1 or 2?

Rim shots on the PD-120 are detected only through Trigger Input 1 and 2.

Is the PD-120 connected with the stereo cable provided?

When the PD-120 is connected with a mono cable, rim shots are not detected.

Please strike the rim close to where the PD-120’s jack is located (p. 39).

When using the PD-120 as a snare, please play with the unit set up on a snare stand.

MEMO

Do not play the PD-120 or PD-100 when the head is loose. Striking the head when it is loose

not only causes sounds to be played incorrectly, but may also result in damage to the internal sensors.

Furthermore, you’ll get better performance if the head is on the stiff side.

N O TE

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Ho w to Use th e Rim Sh o t a n d Cy m b a l Ch o k e Pla y in g Te ch n iq u e s

If a PD-7 or PD-9 is connected, you will be able to use Rim Shot and Cymbal Choke playing technique.

If a PD-120 is connected, you will be able to use Rim Shot playing technique.

Rim Sh o t

By playing Rim Shot, you can play two types of sound from one pad. This can be done with a PD-7, PD-

9, PD-120.

At the time the unit was shipped from the factory, the Snare Drum Rim Shot Instrument was set to

Patch 1 Trigger Input 2; confirm this by actually striking the pad.

MEMO

Normal shot: Strike only the head (center)

Rim shot: Strike both the head and the rim (perimeter) simultaneously.

fig.43

Pa d

Rim o f th e Pa d

Rim Sh o t

Ce n te r o f Pa d

When playing rim shots, striking only the rim does not produce a solid rim shot sound. Be sure to

strike both the head and rim at the same time. With rim shots how hard the drum is struck is detected

in the head portion.

N O TE

fig.44

When you play rim shots on the PD-120, with the pad

OUTPUT jack facing toward you as shown in the figure,

strike the rim within the range shown. By making rim

shots outside this range you will not be able to achieve a

reliable rim shot sound.

O UTPUT

rim shots can be played on the PD-120 only through

Trigger Input 1 and 2.

Ra n g e w ith in

Ja ck

N O TE

w h ich rim sh o ts

ca n b e m a d e

With the SPD-20, you can choose two separate MIDI

sound modules for a dual trigger pad, i.e. send the “head

only” to MIDI channel 10, and the “rim” to MIDI chan-

nel 11. This allows you to control instruments from two

MIDI systems with one PD-7, PD-9, or PD-120 (p. 66).

MEMO

To w a rd th e p la y e r

Cy m b a l Ch o k e

With the PD-7 and PD-9, physically grasping the rim of the pad just after the pad is struck stops the

sound as it is made. This allows you to make the same sound you get when you stop the cymbal from

sounding with your hand just after striking it.

fig.45

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Pre ca u tio n s W h e n Co n n e ctin g a Hi-Ha t Co n tro l Pe d a l

Connect the hi-hat control pedal (FD-7; sold separately) to the HH CTRL/ TRIG 4 jack, and set the

Trigger input switch to HH CTRL. When using an FD-7 you will be able to control various Instrument

parameters in real time (p. 54).

fig.46

FD-7

Ho w to se t th e h i-h a t co n tro l p e d a l fo r th e b e st p o ssib le p e rfo rm a n ce re su lts

Usin g th e ca b le in clu d e d w ith th e FD-7 , co n n e ct th e FD-7 to th e HH

CTRL/ TRIG 4 ja ck .

Ma k e su re th a t th e p e d a l is fu lly o p e n .

If the pedal is depressed, settings will not be made correctly.

N O TE

Mo ve th e e x te rn a l in p u t se le ct sw itch to TRIG 4 a n d th e n m o ve it

b a ck to HH CTRL. W h e n th e sw itch is m o ve d b a ck to HH CTRL th e

fo llo w in g d isp la y w ill a p p e a r. Th is in d ica te s th a t th e FD-7 h a s b e e n

“ re co g n ize d ” b y th e SPD-2 0 a n d w ill n o w fu n ctio n co rre ctly .

fig. 47

You may hear a brief sound when you change the position of this switch. This is normal, and should

not be a cause for concern.

N O TE

Be very careful not to depress the pedal until the above message is displayed.

The appropriate settings will be made automatically and the same message will be displayed whenever

the power is turned on with the FD-7 already plugged in.

Usin g a Fo o tsw itch in Pla ce o f th e Hi-Ha t Pe d a l

In place of a hi-hat control pedal, you can also control the hi-hat with a footswitch (DP-2 Pedal Switch;

sold separately) connected to the HH CTRL/ TRIG 4 jack. However, with this arrangement, techniques

such as half open cannot be played. Just as with the hi-hat control pedal, when using the footswitch, it

is necessary to have the pedal recognized using the previously mentioned procedure. When the pedal

switch is properly recognized, “dP2” appears in the display.

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Usin g a Fo o tsw itch a s a Ho ld Pe d a l

A footswitch (DP-2/ FS-5U; sold separately) connected to the FOOT SW jack can be used as a hold (sus-

tain) pedal to control specified Instruments and external MIDI sound modules. When you depress the

pedal, a Control Change message (Hold) will be transmitted, instructing the MIDI sound modules to

continue sounding the notes that are currently being played.

If you turn the SPD-20 on while the footswitch is depressed, the following message will scroll across the

display and the footswitch will act as a hold pedal.

fig.48

If you are using an FS-5U, Footswitch 1 with PCS-31 will act as the hold pedal, and Footswitch 2 will

increase the Patch number.

The SPD-20’s display can only show 3 characters at once. To “scroll” means that the characters auto-

matically move across the display to show a longer message. The SPD-20 will sometimes scroll error

messages or other helpful information (p. 87).

N O TE

MEMO

N O TE

Hold messages will be transmitted on the channel specified by the Basic Channel.

There are specific Instruments in the internal sound generator that can also be held with a footswitch

(p. 88).

This may not work properly for some MIDI sound modules or some sounds.

When using the footswitch as a Patch Shift Pedal (p. 15), first turn off the power to the unit, then with

the footswitch depressed, turn the power back on. The following message is displayed, and the

footswitch is set to function as a Patch Shift Pedal.

The footswitch can function as a “Patch Shift Pedal” or a “Hold Pedal.”

Each time the power is turned on with the footswitch in the depressed position, the function is switched

between “Patch Shift Pedal” and “Hold Pedal.” The footswitch setting is set at the factory to “Patch

Shift Pedal.”

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Se ttin g s fo r Ex te rn a l Pa d s o r Kick Trig g e r Un its

Se ttin g Ex te rn a l Pa d To n e a n d MIDI Pa ra m e te rs

Sound and MIDI parameters can be set for external pads or Kick Trigger Units (connected to the TRIG

INPUT jacks) in the same way as for the on-board pads.

If a PD-7, PD-9, PD-120 is connected, each parameter can be set independently for the head and rim.

The method for setting external pad tones is the same as that for internal pads. Make settings after

referring to “Selecting and Adjusting Sounds (Sound Parameters)” (p. 22). With external pads, you can

make settings for both the head and the rim. To make settings for the head, strike only the head. To

make settings for the rim, simultaneously strike the rim and head. (Rim settings apply only to the PD-7,

PD-9, and PD-120. However, the rim for the PD-120 can only be used with Trigger Input 1 and 2.)

Press the connected pedal when making the Kick Trigger Unit’s tone settings.

Except for the option of making rim settings, MIDI parameter settings for external pads are made the

same way as those for internal heads. Make settings after referring to “MIDI Parameter Settings” (p.

61).

It is better not to set and layer two different tones and Velocity Curves using the rim’s Pad Bank,

since the relative strength is difficult to control precisely.

N O TE

Ho w to Ed it th e Trig g e r Pa ra m e te rs

You can set the sensitivity and make other settings for external pads (TRIGGER parameters). There are

four types of TRIGGER parameters available (TRIG SENS, TRIG THRESHOLD, TRIG TYPE, and TRIG

CURVE).

Settings for some of these parameters can control both internal and external pads; others can control the

external pads only.

Parameter

Internal Pad

External Pad (4 Independent)

TRIG SENS

Common to 8 Pads

TRIG THRESHOLD

TRIG TYPE

Common to 8 Pads

TRIG CURVE

External and internal pads have shared TRIGGER parameter settings.

N O TE

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Ad ju stin g th e Se n sitivity o f a Pa d o r Kick Trig g e r Un it (TRIG SEN S)

This parameter adjusts the sensitivity of a pad or Kick Trigger Unit. Higher values will result in higher

sensitivity (setting range: 1–16). When external pads are connected, you should adjust the relative sensi-

tivity between the external and on-board pads so as to provide a balanced feel for the entire drum kit.

In th e Ed it m o d e , se le ct th e SYSTEM p a ra m e te r g ro u p (p . 2 1 ).

Use [ ] o r [ ] to se le ct TRIG SEN S.

fig.49

Strik e th e p a d (o r d e p re ss th e Kick Trig g e r Un it) y o u w ish to e d it.

When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display

in six levels. Striking the pad hard sets velocity at a value of 127.

MEMO

fig.95

Stre n g th

o f Strik in g

Ve lo city

1 2 7

Ha rd

1 0 0 –1 2 6

7 5 –9 9

5 0 –7 4

2 5 –4 9

So ft

1 –2 4

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e .

About the PD-120’s Rim Sensitivity

Available only when making Trigger Type settings to the PD-120, you can set the Rim Sensitivity in

Advanced Edit mode (p. 53).

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Se ttin g Min im u m Le ve ls fo r th e Pa d s (TRIG THRESHO LD)

By setting this parameter, you can make the pad respond with a trigger signal only when it is struck

with a force above a threshold level. This allows you to prevent the pad from picking up extraneous

vibrations from neighboring pads. If the striking force is less than the threshold, the pad will not sound.

In the following diagram, the statement like “2 ” of the examples will produce sound(setting range:

0–15.)

fig.50

To have the unit sound even when struck lightly, set the TRIGGER THRESHOLD as low as possible

without triggering other connected pads.

N O TE

Settings for the internal pads reflect the average user´s preferences. If these settings produce good

results for you, there is no need to change these values.

In th e Ed it m o d e , se le ct th e SYSTEM p a ra m e te r g ro u p (p . 2 1 ).

Use [ ] o r [ ] to se le ct TRIG THRESHO LD.

fig.51

Strik e th e p a d (o r d e p re ss th e Kick Trig g e r Un it) y o u w ish to e d it.

Rim and head feature shared TRIG THRESHOLD settings for all pads (PD-7/9, PD-120).

MEMO

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e .

When the vibration from striking one external pad causes the Instrument of another pad to play, set

Crosstalk Cancel (p. 53).

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Se le ctin g Ty p e s fo r Ex te rn a l Pa d s (TRIG TYPE)

The SPD-20’s Trigger Inputs allow you to connect and play using a variety of pad types. While the trigger

signal output from a pad can have a variety of characteristics depending on the type of pad, you can make

sure the trigger signal is read correctly by setting the Trigger Type. In addition, when connecting the PD-120

or other pad models, setting the Trigger Type makes it possible to play rim shots on the PD-120 (p. 39). The

Trigger Type is set not only for different drum pad types, but for different acoustic drum triggers as well.

Acoustic Drum Triggers

These are pickups that are attached to acoustic drums. The strength with which the drum is struck

is output as a trigger signal, allowing you to play sound modules with Trigger Inputs such as the

SPD-20’s.

In th e Ed it m o d e , se le ct th e SYSTEM p a ra m e te r g ro u p (p . 2 1 ).

Use [ ] o r [ ] to se le ct TRIG TYPE.

Strik e th e Ex te rn a l p a d (o r d e p re ss th e Kick Trig g e r Un it) y o u w ish

to e d it.

fig.53

MEMO

N O TE

Trigger Type rim and head settings are shared for all pads (PD-7/9, PD-120).

You cannot make settings for the internal pads. If you try to select the internal head by striking it,

“

” is displayed.

Use PATCH/ VALUE [-] o r [+] to se t th e va lu e .

Pad Trigger Types

Displayed

Description

fig.54

For the PD-5

For the PD-7, standard drum pads, other manufacturers’ pads

For the PD-9, low crosstalk (p. 53) pads

For the PD-100

For the PD-120

For other makers’ pads (See Note)

For the KD-7, standard kick pads, other manufacturers’ pads

For other manufacturers’ kick pads (see Note)

For other manufacturers’ kick Pads (see Note)

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(Note) This type of Trigger (TRIG TYPE) is for drum pads whose output of the Trigger signal wave-

form’s attack is slow. In order to reliably detect the strength with which the pad is struck, the

time set for detection of the trigger (Scan Time; p. 51) is as slow as 1–2 msec. When using other

manufacturers’ pads, if while playing with the Trigger Type set to “Pd7” you notice the sound

strength or dynamics are unstable, you should reset the Trigger Type to “P1” or “P2.”

For faster sound expression, set to “P1” or “P2” (“K1” or “K2”).

Acoustic Drum Trigger Types

Displayed

Description

fig.54

For kick drums (bass drums)

For snare drums

For toms

For floor toms, toms with 15-inch or bigger heads

Trigger Type Internal Settings (Advanced TRIGGER Parameters)

When you make settings for the Trigger Type, a number of internal parameters that do not appear

on the panel are set automatically. These parameters are known as Advanced TRIGGER parame-

ters. Normally, no detailed settings are necessary to match the selected Trigger Type, but when

you get poor sound, even having set the Trigger Type, or when using pads or acoustic drum trig-

gers not covered by a particular Trigger Type, then set the Advanced TRIGGER parameters as

needed (p. 48).

Advanced TRIGGER Parameter

Scan Time

Description

Sets the time for detecting the trigger signal

Retrigger Cancel

Detects the attenuation of the trigger signal and cancels subse-

quent incorrect triggering

Mask Time

Cancels secondary sounding of the kick pad and other pads

Cancels triggering caused by vibration from other pads

Adjusts the PD-120’s Rim Sensitivity

Crosstalk Cancel

Rim Sensitivity

For more detailed information, refer to (p. 48).

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Se ttin g Ho w th e Stre n g th w ith W h ich Ex te rn a l Pa d s Are Stru ck Ch a n g e s th e Vo lu m e (TRIG CURVE)

With some external pads and acoustic drum triggers, the relationship between the strength with which

you strike the pad and the changes in volume output signal is unnatural. To get natural-sounding vol-

ume changes, set the Trigger Curve.

In Ed it m o d e , se le ct th e SYSTEM p a ra m e te r g ro u p (p . 2 1 ).

Pre ss [ ] o r [ ] to se le ct th e TRIG CURVE.

Strik e th e e x te rn a l p a d (o r Kick Trig g e r Un it) to b e se t.

fig. 55

Trigger Curve rim and head settings are shared for all pads (PD-7/9, PD-120).

MEMO

You cannot make settings for the internal pads. If you try to select the internal head by striking it,

“

” is displayed.

Usin g PATCH/ VALUE [+] o r [-], se t th e Trig g e r Cu rve (-2 , -1 , 0 , 1 , o r 2 ).

Values correspond to the Trigger Curves shown below.

“0” denotes the standard Trigger Curve.

fig. 56

Level

Striking Force

- 2

- 1

0 (Sta n d a rd )

To make this setting correctly, set the Trigger Sensitivity before setting the Trigger Curve.

MEMO

Se ttin g th e Sa m e Pa ra m e te r Va lu e s to All Pa d s

When you press [ALL/ ENTER] while in Edit mode, the parameter values that are set in an external pad

are set to all external pads that are in the selected pad bank at that time.

For example, with Trigger Type Pd7 set to Trigger Input 1, by pressing [ALL/ENTER], Pd7 is set to

all four Trigger Inputs.

If you press [ALL/ENTER] when setting the Trigger Type, the current pad’s Advance Trigger para-

meter settings (p. 48) are applied to all of the other Trigger Inputs.

MEMO

N O TE

[ALL/ENTER] does not function in Advanced Edit mode (p. 48).

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Se ttin g Pa ra m e te rs fo r Re lia b le Pe rfo rm a n ce u sin g Aco u stic Dru m

Trig g e rs a n d O th e r Ma n u fa ctu re rs’ Pa d s (Ad va n ce d Trig g e r Pa ra m e te rs)

Sometimes, when you use the SPD-20 with an acoustic drum trigger or a pad from another manufacturer,

setting only the Trigger Type may result in poor sound or mistakenly played sounds. In such cases, by set-

ting the Advanced Trigger Parameters, you can make more detailed trigger parameter settings.

Advanced Trigger Parameters are set automatically when the Trigger Type is set. Normally, when

you set the Trigger Type, no setting of the Advanced Trigger Parameters is necessary.

N O TE

The five Advanced Trigger Parameters are as follows:

Scan Time

Sets the time for detecting the trigger signal

Retrigger Cancel

Detects the attenuation of the trigger signal, and prevents subsequent

incorrect triggering

Mask Time

Prevents secondary sounding of the kick pad and other pads

Prevents triggering caused by vibration from other pads

Adjusts the sensitivity of the PD-120´s rim

Crosstalk Cancel

Rim Sensitivity

Ho w to Se t Ad va n ce d Trig g e r Pa ra m e te rs

The process of making settings for the Advanced Trigger Parameters differs from that when making

other settings. Special procedures are required to set the parameters in Advanced Edit mode.

The Advanced Trigger Parameters cannot be found in the Parameter List on the front panel.

You cannot make Advanced Trigger Parameter settings for internal pads.

N O TE

There are three modes

Play mode:

Edit mode:

The unit is played in this mode.

Status in which settings are made for the parameters from the parameter

list.

Advanced Edit mode: In this mode, settings can be made for the Advanced Trigger Parameters,

which are not included in the parameter list.

First, set the Trigger Type. When you set the Trigger Type, the most suitable Advanced Trigger

Parameters values are set automatically.

If, after having set the Advanced Trigger Parameters, you then change the Trigger Type setting, the

Advanced Trigger Parameter settings revert to the initial values for that Trigger Type.

N O TE

In Ed it m o d e , se le ct th e SYSTEM p a ra m e te r g ro u p (p . 2 1 ).

Pre ss [ ] o r [ ] to se le ct th e TRIG TYPE.

Strik e th e e x te rn a l p a d (o r d ru m p a d ) to b e se t.

fig. 57

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Trigger Type rim and head settings are shared for all pads (PD-7/9, PD-120).

MEMO

You cannot make settings for the internal pads. If you try to select the internal head by striking it,

“

” is displayed.

Usin g PATCH/ VALUE [+] o r [-], se t th e Trig g e r Ty p e .

If you don’t find the settings most suitable for your Trigger Type, then set the type you

think is closest.

Drum Pad:

Pd7, P 1, P 2

Kick Pad:

Kd7, K 1, K 2

Acoustic Drum Trigger:

KiK, Snr, toM, FLr

For descriptions of each of the Trigger Types, see p. 45.

MEMO

Up to this point, the procedure has been the same as in making normal Trigger Type set-

tings.

After setting the Trigger Type, the following operation is used to enter Advanced Edit

mode.

Co n firm th a t Trig g e r Ty p e (TRIG TYPE) in th e SYSTEM p a ra m e te r

g ro u p h a s b e e n se le cte d .

H o ld d o w n [EDIT] fo r s e v e r a l s e co n d s . Th is t a k e s y o u in t o

Ad va n ce d Ed it m o d e .

fig. 58

(Fla sh in g )

In Advanced Edit mode, the SYSTEM Parameter Group indicator flashes.

MEMO

One second after “Scn” appears in the display, the value is then displayed.

fig.59

Ab o u t o n e

se co n d la te r

This is the Scan Time settings screen.

If the TRIG TYPE settings screen does not come up, consequently, you can not call up the Advanced

Edit Mode screens by holding down [EDIT].

N O TE

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Pre ss [ ] o r [ ] to se le ct th e Ad va n ce d Trig g e r Pa ra m e te r to b e

se t. W h e n y o u m a k e y o u r se le ctio n , th e n a m e o f th e p a ra m e te r

a p p e a rs, fo llo w e d o n e se co n d la te r b y th e va lu e fo r th a t p a ra m e -

te r.

fig. 60

Scn Scan Time

rEt Retrigger Cancel

MSK Mask Time

CrS Cross Talk Cancel

riM Rim Sensitivity

Refer to p. 51 for descriptions of how each of the parameters works.

MEMO

Pre ss PATCH/ VALUE [+] o r [-] to se t th e va lu e .

When making settings for another pad, strike the pad first.

MEMO

W h e n y o u h a ve fin ish e d m a k in g se ttin g s, p re ss [EDIT].

You are returned to the normal Edit mode.

Th e n p re ss [EDIT] o n ce a g a in to re tu rn to Pla y m o d e .

1 0

[ALL/ENTER] does not function in Advanced Edit mode (p. 48).

N O TE

O ve rvie w o f th e Pro ce ss o f Ma k in g Se ttin g s in Ad va n ce d Trig g e r Pa ra m e te rs

•

In Edit mode, select and set the TRIG TYPE.

Press [EDIT] for about one second.

Press [ ] or [ ] to select the parameter to be set. When you select the parameter, then one

second after the name of the parameter is displayed, the value appears.

•

Press PATCH/ VALUE [+] or [-] to set the value.

After you finish making the settings, press [EDIT] twice to return to PLAY mode.

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Ad ju stin g th e Trig g e r Sig n a l De te ctio n Tim e (Sca n Tim e , Scn )

fig.60-a

(Available Settings) 0.0–0.3 ms (0.1 ms steps)

00–30 appears in the display.

N O TE

The trigger signal waveforms produced by some types of drum pads or acoustic drum triggers have

rather long attack times, which can result in unstable volume levels, even when the same force is used

to strike the pad; or can result in unreliable detection of striking force. In such cases, by adjusting the

amount of time between the striking of the pad and detection of that strike (Scan Time), you can achieve

the correct detection of striking force.

fig.60-b

Sca n Tim e

A Pa d w ith a slo w Trig g e r

sig n a l w a ve fo rm a tta ck

PD-7

Tim e

For reliable detection of Trigger signal output, adjust the time for reading the trigger signal (Scan Time).

For more on how to set these values, refer to p. 48.

To maximize the speed at which sounds are triggered, set the Scan Time value as low as possible.

MEMO

For P 1 and P 2 trigger types, increase the Pd7 Scan Time values. For K 1 and K 2, increase the Kd7

Scan Time values.

When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display,

with six possible levels. When the pad is struck hard, the velocity is set to a value of 127.

fig.95

Stre n g th

o f Strik in g

Ve lo city

1 2 7

Ha rd

1 0 0 –1 2 6

7 5 –9 9

5 0 –7 4

2 5 –4 9

So ft

1 –2 4

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De te ctin g Trig g e r Sig n a l Atte n u a tio n a n d Ca n ce llin g In co rre ct Trig g e rin g (Re trig g e r Ca n ce l, rEt)

fig.60-c

(Available Settings) 1–16

Use this setting when your setup uses mainly acoustic drum triggers.

Compared with drum pads, the trigger signal that is output from an acoustic drum trigger may have unnec-

essarily long attenuation times, and erratic waveforms. Multiple soundings from a single strike to the head

are more likely to occur. You can eliminate such symptoms by increasing the Trigger Cancel value.

fig.61

Th e p e a k h e re ca u se s trig g e rin g

Tim e

W a ve fo rm o u tp u t fro m a co u stic

d ru m trig g e rs a n d o th e r d e vice s

PD-7 W a ve fo rm

If the Retrigger Cancel value is extremely high, individual notes may drop out more readily when you

strike repeatedly or play rolls, so set the value as low as possible.

N O TE

The problem of double sounding can also be eliminated using Mask Time. However, Mask Time can-

not detect trigger signals if they occur within the specified 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.

MEMO

Trigger signal attenuation time varies with the type and workings of the connected acoustic drum

trigger.

When using acoustic drum triggers, it is recommended that you mute the acoustic drums to suppress

excess head vibration.

For more on how to set these values, refer to p. 48.

Pre ve n tin g Do u b le Trig g e rin g o f Kick Pa d s a n d O th e r In stru m e n ts (Ma sk Tim e , MSk )

fig.61-a

(Available Settings) 0–64 (in milliseconds)

Make this setting when using acoustic drum triggers fitted to other manufacturers’ kick pads or to

acoustic drums.

Sometimes when playing the kick pad or similar instruments, you may be trying to depress the kick

pedal to have the beater strike the head just once, but the beater ends up striking twice or more, result-

ing in mistaken triggering. After a trigger signal is detected, Mask time prevents detection of any sub-

sequent trigger signal only within the set time period, thus eliminating mistaken triggering.

However, since with Mask Time set, absolutely no trigger signal is detected in the set period, in order

not to lose any sounds when playing repeated strikes, set the level as low as possible.

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fig.62

Ma sk Tim e (m s)

Tim e

When Mask Time is set, all trigger signals are canceled within the set time.

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

Cancel (p. 52).

MEMO

For more on how to set these values, refer to p. 48.

Pre ve n tin g Vib ra tio n s fro m O th e r Pa d s fro m Ca u sin g In co rre ct Trig g e rin g (Cro ssta lk Ca n ce l, CrS)

fig.62-a

(Available Settings) oFF, 30, 40, 50, 60, 70, 80

When different pads, for example one used as a tom and another as a cymbal, are attached to the same

stand, vibrations from the tom may cause incorrect sounding of the cymbal pad (this phenomenon is

called crosstalk). In this case, you can avoid the problem by setting Crosstalk Cancel on the cymbal

pad. The higher the value is set, the more difficult it is for external vibrations to mistakenly trigger the

pad.

However, if you increase the Crosstalk Cancel value on a pad, then when that pad and another pad are

struck simultaneously, the sound from the pad that is struck more weakly may be omitted. To prevent

this from occurring, set Crosstalk Cancel values as low as possible.

N O TE

For more on how to set these values, refer to p. 48.

Se ttin g Rim Se n sitivity o n th e PD-1 2 0 (Rim Se n sitivity, riM)

fig.62-b

(Available Settings) oFF, 1–15

You can set the Rim Sensitivity only when using the PD-120. When you find it difficult to get rim shots

to sound, increase the Rim Sensitivity value. When Rim Sensitivity is set to oFF, striking the rim pro-

duces the sound of the same Instrument as that of the head.

With the Trigger Type set to 120 (PD-120), you can play rim shots and set the Rim Sensitivity.

Rim shots are possible on the PD-120 only with Trigger Inputs 1 and 2.

MEMO

N O TE

You cannot adjust the rim sensitivity of the PD-7 and PD-9. Both rim and head use the same values.

For more on how to set these values, refer to p. 48.

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Se ttin g s fo r a n Ex te rn a l Hi-Ha t Co n tro l Pe d a l

You can use the hi-hat control pedal (FD-7; sold separately) not only to open and close the hi-hat, you

can also use it to control the sound effect level sent in real time, and change the pitch (PDL CTRL; p. 54).

Additionally, you can send Control Change Data to connected external MIDI devices (PDL CC#; p. 56).

Hi-Hat Control pedal settings are made with FX/ PEDAL Parameter Group PDL CTRL, PDL LEVEL,

and PDL CC#. Too see how to make these settings, refer to each item shown on the following page.

For more on how to connect the pedal, refer to “Precautions When Connecting a Hi-Hat Control

Pedal” (p. 40).

MEMO

Hi-Hat control pedal settings are stored in each Patch.

Co n tro llin g th e To n e w ith th e Hi-Ha t Co n tro l Pe d a l—Pe d a l

Co n tro l (PDL CTRL)

Select from the following settings to determine how the hi-hat control pedal exerts control when

pressed.

Opened/closed hi-hat sounds (p. 54)

Tone Effect Send (p. 55)

EFS

U07, U12, U24, d05, d12, d24

Raising and lowering of the pitch (p. 55)

In th e Ed it m o d e , se le ct th e FX/ PEDAL p a ra m e te r g ro u p .

Use [ ] o r [ ] to se le ct PDL CTRL.

Use PATCH/ VALUE [-] o r [+] to se le ct th e fu n ctio n y o u w ish to co n -

tro l.

You can make settings for each Patch independently.

MEMO

Co n tro llin g th e O p e n in g a n d Clo sin g o f th e Hi-Ha t (HH)

The pedal works as a hi-hat control pedal controlling sounds (H01–H17) assigned to a pad. Stepping on

the pedal while striking the pad produces a closed hi-hat sound, and by letting up on the pedal a little at

a time, you continuously change the tone and length of the sound from closed, to half-opened, to

opened. Additionally, you can get a “foot close” sound by stepping on the pedal more forcefully. You

can also get a great “foot open” sound, similar to the sound you get as you lift your foot off the hi-hat.

Set the volume of the pedal hi-hat sound produced with the pedal in PDL LEVEL. For more on how to

make these settings, refer to “Adjustivg the Volume of the Pedal Hi-Hat Sound” (p. 55).

MEMO

N O TE

If a hi-hat sound (H01–H17) is assigned to two or more pads, the pedal hi-hat will sound for the high-

est-priority pad as shown in next page:

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h ig h p rio rity

INT1

INT2

INT3

INT4

INT5

INT6

INT7

INT8

Pa d Ba n k A

TRIG1

(Head)

TRIG2

(Head)

TRIG3

(Head)

TRIG4

(Head)

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

INT1

INT2

INT3

INT4

INT5

INT6

INT7

INT8

Pa d Ba n k B

TRIG1

(Head)

TRIG2

(Head)

TRIG3

(Head)

TRIG4

(Head)

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

INT 1:

Internal pad 1

lo w p rio rity

TRIG 1: Trigger input 1

The Velocity Curve (p. 24) and layer (p. 17) settings do not affect the pedal hi-hat sound.

N O TE

Co n tro l th e e ffe ct a p p lie d to a n In stru m e n t (EFS)

When this function is assigned, the hi-hat control pedal will control the effect send level of an

Instrument. When the pedal is released, the pad takes the values set for the pad (values set in FX

SEND). When the pedal is depressed, the effect send level will be increased proportionally to the angle

of the pedal.

Co n tro l In stru m e n t p itch (U0 7 / U1 2 / U2 4 / d 0 5 / d 1 2 / d 2 4 )

When this function is assigned, the hi-hat control pedal will control the pitch of an Instrument. When

the pedal is released, the pad takes the pitch set for the pad. When the pedal is depressed, the pitch will

be modified proportionally to the angle of the pedal.

U07

U12

U24

d05

d12

d24

700 cents

1,200 cents

2,400 cents

500 cents

(a perfect fifth)

(one octave)

(two octaves)

(a perfect fourth)

(one octave)

down

1,200 cents

2,400 cents

(two octaves)

Depending on the type of Instrument or on the sound parameter pitch settings, there may be a point

above which the pitch cannot be raised.

N O TE

Ad ju stin g th e Vo lu m e o f th e Pe d a l Hi-Ha t So u n d (PDL LEVEL)

When one of the Hi-Hat Cymbals for pedal control (H01–H17) sounds is assigned to the pad, you can

control the pedal hi-hat volume when the hi-hat control pedal is pressed. Higher values will result in a

louder sound. At a setting of 0, there will be no sound.

In th e Ed it m o d e , se le ct th e FX/ PEDAL p a ra m e te r g ro u p .

Use [ ] o r [ ] to se le ct PDL LEVEL.

Use PATCH/ VALUE [-] o r [+] to se t th e vo lu m e (0 –1 5 ).

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Usin g th e Hi-Ha t Co n tro l Pe d a l’s Actio n to Se t Co n tro lle r

N u m b e rs fo r Se n d in g a n d Re ce ivin g MIDI Da ta (PDL CC# )

When not using an external MIDI device, Setting Pedal Controller Numbers is unnecessary.

You can transmit the action of the hi-hat control pedal as Control Change messages sent to external

MIDI devices and have Control Change messages sent from external sources act as pedal movements.

A main way to use this setup is by controlling one more SPD-20 hi-hat, and by continuously pressing

the pedals, you can do things like add modulation to the sounds from external MIDI sound modules.

However, there is no need to be able to receive the Controller Numbers set here to external MIDI

devices.

For explanations of Control Change messages and Controller numbers, refer to p. 59.

MEMO

Send and Receive Controller Numbers are as shown below.

Controller Number

Modulation

Foot

oFF

Pan

Expression

General Purpose 1

General Purpose 2

Hold

No Transmission

The Controller Number is set at the factory to 4 (Foot). You can control the SPD-20, TD-10, TD-7,

and TD-5 hi-hats with this setting. For control of the SPD-11 hi-hat, set the number to 1

(Modulation).

MEMO

When recording SPD-20 a performance to a sequencer, and playing back the same performance, set the

Controller Number to 4 (Foot). This way, you can faithfully reproduce the action of the hi-hat control

pedal.

In Ed it m o d e , se le ct th e FX/ PEDAL p a ra m e te r g ro u p .

Pre ss [ ] o r [ ] to se le ct PDL CC# .

Usin g PATCH/ VALUE [+] o r [-], se le ct th e Co n tro lle r N u m b e r.

Refer to the above Controller Number.

If you switch to a Patch set with a different Pedal Controller Number while the hi-hat control pedal is

pressed, the connected external sound module ends up being set with the Control Change message

value set in the immediately preceding Patch. For example, Modulation will constantly be applied to

the external sound module.

N O TE

When each Patch is set with a different Controller Number, we recommend that you not switch Patches

with the pedal depressed. If you do switch Patches while the pedal is pressed, the external sound mod-

ule is then set with the Control Change message value just as it is. When you then revert to the original

Patch by releasing the pedal, the Control Change message value reverts to its initial setting.

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CHAPTER 4 Co n n e ctin g MIDI De vice s

MIDI Co n n e ctio n s

When connected to other MIDI devices, the SPD-20 can be used in a wide variety of musically creative

ways. For example, it can be connected to a sequencer as a pad controller for realtime input, and its on-

board sound generator can be layered with external sound modules. Other applications include using a

sequencer to automatically select SPD-20 Patches, or to store SPD-20 data in a sequencer or other MIDI

Bulk storage device.

Example of one way to connect when using the SPD-20 to control an external sound

module

fig.64

SPD-2 0

MIDI O UT

AC a d a p to r

MIDI IN

Sa m p le r

LINE IN

Au d io Eq u ip m e n t

(Ste re o Se t)

Ab o u t MIDI

MIDI is an acronym for “Musical Instrument Digital Interface,” and is a standard by which electronic

musical Instruments and computers can exchange musical data. The SPD-20 conforms to the MIDI spec-

ification and can be connected to other devices to either control, or be controlled.

Ho w MIDI Da ta is Se n t a n d Re ce ive d

First, we will briefly explain how MIDI data is sent and received.

MIDI co n n e cto rs

MIDI data is sent and received through the following connectors. Use a MIDI cable to connectors these

connectors to other devices.

fig.65

MIDI IN:

receives data from other MIDI devices

transmits data to other MIDI devices

re-transmits the data received via MIDI IN

MIDI OUT:

MIDI THRU:

The SPD-20 does not have a MIDI THRU connector.

N O TE

It is possible to connect (“daisy chain”) several MIDI devices

using the MIDI THRU connectors, but you should keep the

total length of MIDI cables within 10 meters, to prevent possible

reception errors.

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MIDI ch a n n e ls

MIDI allows you to independently control two or more devices over a single MIDI cable. This is possi-

ble because MIDI provides for multiple channels of control. You can think of MIDI channels as being

similar to television channels. Although many broadcast channels are in the air at any one time (many

channels of MIDI data are moving through a single cable), a television set receives only the channel to

which it is set (the MIDI device receives only the channel to which it is set).

fig.66

Se le ct th e ch a n n e l o f th e TV Sta tio n

y o u w ish to w a tch .

TV Sta tio n A

TV Sta tio n B

TV Sta tio n C

TV m e ssa g e s fro m va rio u s TV Sta tio n s a re se n t th ro u g h th e a n te n n a ’s ca b le .

MIDI provides sixteen channels, 1–16, and the receiving device will only receive data when its receive

channel matches the Transmit Channel. In the following diagram, playing the keyboard will cause only

sound module B to play.

fig.67

MIDI THRU

MIDI IN

So u n d Mo d u le A

MIDI O UT

Re ce ive ch a n n e l: 2

So u n d Mo d u le B

Tra n sm it ch a n n e l: 1

MIDI IN

Re ce ive ch a n n e l: 1

With the SPD-20, you can set the Transmit Channel (TX CH) for each pad (p. 61). Settings for the

receiving end are made with the Basic Channel (BASIC CH) (p. 67).

MEMO

Ma in Ty p e s o f MIDI Da ta Use d b y th e SPD-2 0

A wide variety of musical data can be transmitted by MIDI, with a different type of MIDI message pro-

vided for each type of data. MIDI messages can be broadly categorized into two groups: information

that is differentiated by channel (Channel messages) and information that is not differentiated by chan-

nel (System messages).

Da ta d iffe re n tia te d b y ch a n n e l (Ch a n n e l m e ssa g e s)

These messages carry musical performance data. Normally, these messages do most of the work. The

result that each type of message produces will depend on the settings of the sound module.

•

Note messages

These messages notify the sound generator that a pad has been struck. (A keyboard would transmit

these messages when keys are played.) Note messages convey the following information.

Note Number: Each note message (Note On or Note Off) carries the Note Number which was

assigned to that pad (a number indicating the note position on a keyboard).

Note On:

Note Off:

This message is transmitted when a pad is struck (when a key is played).

This message is transmitted when the specified Gate Time has elapsed after the Note

On message (when a key is released).

Velocity:

Each note message contains data indicating how strongly the pad was struck (how

strongly the key was played).

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The Note Numbers fall within the range of 0–127, with middle C (C4) as number 60 (p. 62).

Note numbers usually specify the pitch of the sound to be produced, but for rhythm sound generators,

they specify the type of drum sound (the Instrument) which is to be played.

With the SPD-20, Note Numbers for transmitting and receiving are set with the MIDI parameter

NOTE #.

MEMO

•

Aftertouch messages

Aftertouch messages are transmitted by some keyboards when you press down on the keyboard after

playing a note. The degree of pressure (aftertouch) can thus be used to control various aspects of the

sound. There are two types of aftertouch messages. Data which is transmitted independently for each

key is called Polyphonic Key Pressure, and data which is transmitted for the overall keyboard (without

differentiating between individual keys) is called Channel Key Pressure.

The SPD-20 transmits Polyphonic Key Pressure messages when the rim area of a pad (PD-7, PD-9) is

squeezed or released. When the SPD-20 receives Polyphonic Key Pressure messages from another

MIDI device, its sound will be affected in the same way as when the rim area of a pad is squeezed.

MEMO

•

Program Change messages (1–128)

These messages are usually used to select sounds.

The SPD-20 can transmit Program Change messages to select Patches on external sound modules (p .

65). When the SPD-20 receives a Program Change message from another MIDI device, the Patch will

change (p. 69).

Control Change messages

These messages convey various types of information that make a musical performance more expressive.

Each message carries a control number that indicates which function it is to control. The result will

depend on the MIDI device.

With the SPD-20, you can transmit PAN Control Change messages to each pad individually.

MEMO

The SPD-20 transmits movements of the hi-hat control pedal as Control Change messages (p. 56).

When it receives Control Change messages from another MIDI device, its sound will be affected in the

same way as when the pedal is moved.

Da ta n o t d iffe re n tia te d b y ch a n n e l (Sy ste m m e ssa g e s)

System messages include Exclusive messages as well as other messages that keep a MIDI system run-

ning smoothly.

•

Exclusive messages

Exclusive messages are used to transmit and receive data which is unique to a particular device (such as

Patch data). This type of data can be received and transmitted between devices of identical type and

manufacturer. For details, refer to the MIDI Implementation (p. 98).

•

Start

This message starts playback of a song on a sequencer from the beginning of the song.

Stop

This message stops playback of the sequencer song.

Continue

This message is for starting playback of a sequencer song from the current location.

With the SPD-20, you can make external sequencers start, stop, and continue by striking the pads (p.

61).

MEMO

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•

Song Position Point

This message tell the connected sequencer to move the current location in the song.

MEMO

With the SPD-20, you can return to the first measure of a sequencer song by striking the pad (p. 61).

Active sensing

These messages are used to monitor the integrity of MIDI connections. If no MIDI messages are

received within a specific length of time, the device assumes that the connection has been broken (e.g., a

cable disconnected) and will reset itself according to a specific procedure.

Ho w to Re a d th e MIDI Im p le m e n ta tio n Ch a rt

MIDI has made it possible for a wide variety of devices to exchange information, but it is not always

true that all types of MIDI messages can be exchanged between all types of devices.

To help you quickly determine what types of MIDI messages can be exchanged between master and

slave, the manual of each MIDI device includes a MIDI Implementation chart. By looking at this chart,

you can quickly see what messages the device is able to transmit and receive. MIDI Implementation

charts are standardized, so you can fold the charts together to see at a glance how the two devices will

communicate.

fig.68

MIDI Im p le m e n ta tio n

Ch a rt fo r th e tra n sm itte r

MIDI Im p le m e n ta tio n

Ch a rt fo r th e re ce ive r

Function

Transmitted Recognized Remarks

A MIDI Implementation chart for the SPD-20 is included in page 102 .

MEMO

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MIDI Pa ra m e te r Se ttin g s

If you wish to use the SPD-20 to control another MIDI sound module, or use another MIDI device to

control the SPD-20, you will need to set the MIDI parameters.

You can set MIDI parameters for each pad in a pad bank (A and B), allowing you to control external

sound modules on two channels. Additionally, MIDI parameters can be set to Patches.

MEMO

For more on how to set MIDI parameters, refer to p. 66.

Ho w th e MIDI Pa ra m e te rs Wo rk

Tra n sm it Ch a n n e l (TX CH)

Set this parameter to match the receive channel of the MIDI sound module you have connected. If you

want a pad to play only the SPD-20’s sounds, set this parameter to “oFF.”

Besides the Transmit Channel, settings for transmitting Program Numbers by striking the pad, and for

transmitting Start and Stop messages to external sequencers are also made in the TX CH settings.

Using the Pads to Play External Sound Modules

1–16:

When playing external sound modules, Note messages are sent through the Transmit

Channels set here. If you find it unnecessary to make any special setting for this, just set it to

10 (the initial value).

If you switch Patches while setting Program Changes (PGM CHG; p. 65), the Program Number is

sent through the TX CH (1–16) set here.

MEMO

When You Are Not Sending MIDI Messages

oFF:

MIDI messages are not transmitted.

Using the Pads to Control External Devices

With these settings Note messages are not transmitted.

P1–P16: Set this when using the pad to switch external sound module tones. The Program Number

set to Program Change (PGM CHG; p. 65) is sent via the MIDI channel 1–16 (P1–P16) accord-

ing to the timing with which you strike the pad.

S-S:

C-S:

toP:

Controls external sequencers and other devices by mutual transmission of MIDI Start and

Stop messages when the Pad is struck.

Controls external sequencers and other devices by mutual transmission of MIDI Continue

and Stop messages when the pad is struck.

Returns the external sequencer’s Song Position to the first measure of the song.

External sound modules cannot be played when you set oFF, P1–P16, S-S, C-S, or toP, since the Note

Numbers are not transmitted. Pads set with these parameters are dedicated pads for controlling exter-

nal sound modules or external MIDI devices.

N O TE

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N o te N u m b e r (N O TE # )

Set this parameter to the sound (note) of the MIDI sound module you want to play from that pad

(0–127/ oFF).

fig.69

Co rre sp o n d e n ce b e tw e e n N o te N u m b e rs a n d N o te N a m e s

N o te N a m e :

N o te N u m b e r:

C-1

2 1

6 0

1 0 8

1 2 7

When setting the same Note Numbers to a number of pads within the same Patch, the same Note

Numbers and Note Messages are transmitted from each pad. However, when identical Note Numbers

and Note Messages are received, only the tone set to the highest priority pad (p. 67) is expressed.

When making settings such as these, the indicator flashes more quickly, informing you that there are

non-effective settings.

MEMO

fig.70

About Note Numbers for HI-Hats Controlled with Pedals

Normally one Instrument will be assigned one Note Number. However, a hi-hat sound (H01–H17)

controlled by a hi-hat control pedal will automatically be given three note numbers; the displayed

Note Number and the two note numbers immediately below it. Only the highest Note Number

will be displayed.

So u n d o f a n In stru m e n t

Pa d

Hi-Ha t so u n d co n tro lle d

b y a Pe d a l

Pa d

O n ly th e h ig h e st

n o te n u m b e r w ill

b e sh o w n

N o te #

3 8

N o te #

4 6

4 4

4 2

For example, suppose that H01 has Note Number 46 assigned to it. With the pedal depressed, if

you strike the pad to which H01 is assigned, Note Number 42 will be sent. If you strike the pad

without depressing the pedal, Note Number 46 will be sent. If you depress the pedal without

striking the pad, Note Number 44 will be sent.

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Ga te Tim e (GT TIME)

This parameter determines the length of time that the MIDI sound module will produce sound (0.1 sec-

ond–4.0 seconds, ALt).

Settings values shown in the display are 01–40 and ALt (0.1–4.0 seconds and Alternate).

N O TE

fig.71

Tim e

Ga te tim e

This Gate Time parameter corresponds to the length of time a note is held (on a MIDI keyboard) before

it is released.

When you set “ALt”, Note On and Note Off are alternately transmitted when you strike the pad. When

using samplers and other such devices, you can strike a pad to start a sampler phrase loop, and stop the

phrase loop the next you strike the same pad.

If the MIDI sound module ignores Note Off messages, this Gate Time parameter will not affect the

length of the note (Drum sound modules and other sound modules).

N O TE

The actual length of time the note sounds will depend on the settings of the MIDI sound module.

If you are using a pad to play a sound that has a slow attack, the note may be too quiet or may be cut

off too quickly. If so, increase the Gate Time.

MEMO

Pa n (PAN )

If you have connected a MIDI sound module that can receive Pan Control Change messages (control

number 10), this parameter allows you to specify the stereo position (L7–Ctr–r7/ rnd/ oFF). With a set-

ting of “rnd” the stereo position will change randomly each time you strike the pad. With a setting of

“oFF,” Pan messages will not be transmitted.

fig.72

Le ft Sp e a k e r

Rig h t Sp e a k e r

Ctr

(Ce n te r)

If the MIDI sound module ignores Pan Control Change messages (control number 10), this Pan para-

meter will not affect the stereo position.

N O TE

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MIDI Ve lo city Cu rve (CURVE)

When changing the strength with which you strike the pad, select from the following 16 types of veloci-

ty curves for transmitting Velocity values (volume changes) from MIDI OUT.

fig.73

Linear

Exponential 1 Exponential 2

Exponential 3

Exponential 4

Spline 1

Spline 2

Soft 1

Soft 2

Soft 3

Soft 4

Hard 1

Hard 2

Hard 3

Hard 4

Constant

If this parameter is set to “CSt” (constant), the volume will be the same for each note—regardless of

how strongly or softly you strike the pad. In this case, you will adjust the velocity Sensitivity parameter

to set the volume.

Ve lo city Se n sitivity (SEN S)

When striking the pad, you can adjust the Velocity Sensitivity (1–15) transmitted to a MIDI device.

Sensitivity increases as the value is raised, allowing you to transmit high Velocity levels even when

striking the pad softly.

If the Velocity Curve parameter has been set to “CSt,” velocity will be transmitted with the following

value.

fig.74

Se n sitivity

Ve lo city

Se n sitivity

Ve lo city

100

109

118

127

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Pro g ra m Ch a n g e (PGM CHG)

By transmitting Program Change messages, the SPD-20 can select sounds on another MIDI device. This

parameter specifies the Program Number transmitted when Patches are switched (1–128, oFF). In the

Edit mode, each time you modify this parameter, a Program Change message will be transmitted imme-

diately from MIDI OUT, so that you can then strike the pad to check the external sound module. If you

do not wish to transmit Program Change messages, set this parameter to “oFF.”

Each Pad will transmit a Program Change message on its assigned MIDI channel whenever a Patch is

selected in the Play mode. If two or more pads are assigned to the same MIDI channel and have been set

to transmit different Program Numbers, only the highest-priority pad will transmit the Program

Change (p. 67).

If while editing you attempt to make such a conflicting setting, the display will flash more rapidly to

warn you. Also, Program Change messages for the lowest-priority pad will not be transmitted from

the conflicting pad.

MEMO

N O TE

When transmitting Program Numbers set with Program Change (PGM CHG) by striking the pad, set

the Transmit Channel (TX CH) to (P 1–P16) (p. 61). However, Note Numbers from a pad set like this

are not transmitted, so you cannot use them to play an external sound module.

fig.75

The following table shows how the numeric display (1–128) corresponds to the GBN

(Group/ Bank/ Number) Program Number scheme used in Roland devices.

Group A

Group B

Number

1 65 66 67 68 69 70 71 72

2 73 74 75 76 77 78 79 80

3 81 82 83 84 85 86 87 88

4 89 90 91 92 93 94 95 96

5 97 98 99 100 101 102 103 104

9 10 11 12 13 14 15 16

3 17 18 19 20 21 22 23 24

4 25 26 27 28 29 30 31 32

5 33 34 35 36 37 38 39 40

6 41 42 43 44 45 46 47 48

7 49 50 51 52 53 54 55 56

8 57 58 59 60 61 62 63 64

105 106 107 108 109 110 111 112

113 114 115 116 117 118 119 120

121 122 123 124 125 126 127 128

GBN system

This is a way of organizing Patch memory select buttons into Groups (A/ B), Banks (1–8)

and Numbers (1–8), which is used on many Roland synthesizers and sound modules.

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Se ttin g MIDI Pa ra m e te rs

Since MIDI parameters can be set independently for each pad bank (A and B), each pad can control two

external sound modules.

In th e Pla y m o d e , u se PATCH/ VALUE [-] o r [+] to se le ct th e Pa tch

(1 –9 9 ) fo r w h ich y o u w ish to m a k e se ttin g s.

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Use [SELECT] to se le ct th e MIDI p a ra m e te r g ro u p .

Use [ ] o r [ ] to se le ct th e p a ra m e te r y o u w ish to se t.

Pre ss [BAN K A/ B] to se le ct th e p a d b a n k y o u w ish to se t.

Strik e th e p a d y o u w ish to se t.

If you have a PD-7, PD-9, or PD-120 connected, you can make independent settings to the pad and

rim. When making MIDI parameter settings to the rim, play a rim shot to call up the trigger settings.

N O TE

Use PATCH/ VALUE [-] o r [+] to se t th e p a ra m e te r va lu e .

The value will change more rapidly if you press [+] while holding [-].

MEMO

If you press [ALL/ ENTER] at this point, the currently displayed value will be set for all

pads. If you are making settings for an internal pad, this will apply to all 8 internal pads.

If you are making settings for an external pad, this will apply to the 4 external pads and

rims.

You can strike the pad to hear the edited sound. If you have layered two sounds, it is

probably a good idea to press [LAYER] to turn Layer off.

To se t p a ra m e te rs fo r th e o th e r p a d b a n k , re p e a t ste p s 5 –7 .

If y o u w ish to se t th e sa m e p a ra m e te rs fo r o th e r p a d s, re p e a t ste p s

6 –7 . If y o u w ish to se t d iffe re n t p a ra m e te rs fo r th e o th e r p a d s,

re p e a t ste p s 4 –8 .

Pre ss [EDIT] o n ce a g a in to re tu rn to th e Pla y m o d e .

1 0

Layer

When Layer is on, two note messages will be transmitted each time you strike a pad. By making appro-

priate MIDI Velocity Curve settings for each pad bank (A and B), you can create effects such as velocity

crossfades for external sound modules.

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If you set Layer to Velocity Switch, be sure that the SENS parameter is set to the same value for both

pad banks (A/B). By changing the SENS value, you can shift the switching point of two sounds other-

wise.

MEMO

Prio rity Ra n k in g o f N o te N u m b e r Ex p re ssio n

When there are two or more sounds corresponding to Note Numbers that are received, only the sound

that is set to the highest priority Pad (according to the following chart) is played.

fig.75-b

h ig h p rio rity

INT1

INT2

INT3

INT4

INT5

INT6

INT7

INT8

Pa d Ba n k A

TRIG1

TRIG2

TRIG3

TRIG4

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

(Head)

INT1

INT2

INT3

INT4

INT5

INT6

INT7

INT8

Pa d Ba n k B

TRIG1

(Head)

TRIG2

(Head)

TRIG3

(Head)

TRIG4

(Head)

TRIG1

(Rim)

TRIG2

(Rim)

TRIG3

(Rim)

TRIG4

(Rim)

INT 1:

Internal pad 1

lo w p rio rity

TRIG 1: Trigger input 1

If different Program Numbers are set to multiple pads that are set to the same Transmit Channel, then

when you switch Patches, the Program Number of the highest priority pad is transmitted.

MEMO

Usin g th e SPD-2 0 a s a MIDI So u n d Mo d u le

Incoming MIDI messages from an external device can also trigger the SPD-20’s sounds. The Instruments

specified by the sound parameters for each pad will be played by incoming note messages of the Note

Number specified for each pad. Incoming note messages are received on the Basic Channel.

Se ttin g th e Re ce ive Ch a n n e l (Ba sic Ch a n n e l)

The SPD-20 receives MIDI messages (note messages, Program Change messages, Control Change mes-

sages) on its Basic Channel. When using an external MIDI device to play the SPD-20’s sound generator,

set the Transmit Channel of the external MIDI device to match the Basic Channel of the SPD-20.

In th e Ed it m o d e , p re ss [SELECT] to se le ct th e SYSTEM p a ra m e te r

g ro u p .

Use [ ] o r [ ] to se le ct BASIC CH.

Use PATCH/ VALUE [-] o r [+] to sp e cify th e ch a n n e l n u m b e r (1 –1 6 ).

Pre ss [EDIT] to re tu rn to th e Pla y m o d e .

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Se ttin g s fo r Ea ch Pa d

Here’s how to specify the Instrument (and its Note Number) that will be played by incoming MIDI mes-

sages.

In th e Pla y m o d e , u se PATCH/ VALUE [-] o r [+] to se le ct th e Pa tch

(1 –9 9 ) fo r w h ich y o u w ish to m a k e se ttin g s.

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Strik e th e p a d y o u w ish to se t.

Se le ct a n In stru m e n t u sin g IN ST in th e SO UN D p a ra m e te r g ro u p (p .

2 2 ).

Se le ct th e n o te n u m b e r (0 –1 2 7 ) b y u sin g N O TE # in th e MIDI p a ra -

m e te r g ro u p (p . 6 2 ).

Now when the specified Note Number is received from the external device, you will be

able to check the sound.

If y o u w ish to m a k e se ttin g s fo r o th e r p a d s, re p e a t ste p s 3 –5 .

Pre ss [EDIT] to re tu rn to th e Pla y m o d e .

If you have specified the same Note Number for two or more pads, each pad will transmit the same

Note Number. However, if a note message of that number is received, only the Instrument assigned to

the highest-priority pad will sound (p. 67). If you attempt to make such a conflicting setting, the dis-

play will flash more rapidly to inform you that the setting is invalid.

MEMO

N O TE

If the Patch Expand function (p. 69) is on and more than two same note numbers are included in these

five Patches, the display will also flash more rapidly.

Remember that three note numbers are assigned to each Hi-Hat Cymbal for pedal control sound

(H01–H17). If even one of these three note numbers coincides with a Note Number assigned to another

pad, only the highest-priority pad will sound. For example, if Note Number 38 has been assigned to

the S01 sound for pad number 1, and Note Number 42 has been assigned to the H01 sound for Pad

number 2, the H01 sound will not be heard. If you attempt to make such a conflicting setting, the dis-

play will flash more rapidly to inform you that the setting is invalid.

By switching the Layer on/off, the way of note message processing will be changed;

MEMO

Layer Off: Each of the Note Numbers set to pad banks A and B are transmitted when received.

Layer On: When received, the Note Number in pad bank B is ignored, while the Note Number in

pad bank A is played.

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Usin g Ex te rn a l MIDI De vice s to Pla y th e In te rn a l So u n d

Ge n e ra to r

Se t th e Tra n sm it Ch a n n e l fo r th e e x te rn a l MIDI d e vice to m a tch th e

Ba sic Ch a n n e l o f th e SPD-2 0 (p . 6 7 ).

If n e ce ssa ry , u se PATCH/ VALUE [-] o r [+] to se le ct a Pa tch .

W h e n y o u p la y th e e x te rn a l MIDI d e vice , th e SPD-2 0 w ill so u n d .

When a note message is received from the external MIDI device, the Instrument selected

for the pad set to the corresponding Note Number will sound.

If a Program Change message is received on the Basic Channel (p. 67), the corresponding Patch (1–99)

will be selected. (Only in the Play mode.)

MEMO

The SPD-20 will not respond to incoming Program Numbers 100–128 for patch changes.

Ex p a n d in g Pa tch e s to Allo w Re ce p tio n o f Ma n y N o te

N u m b e rs (Pa tch Ex p a n d )

For each Patch of the SPD-20, 32 sounds can be selected. (If Layer is on, 16 sounds.) However, when

using the unit as a MIDI sound module to play drum parts in GM System, GS Format, and other for-

mats, this is an insufficient number of sounds. Therefore, the Patch Expand function is provided to

make more sounds available for control from an external MIDI device. When Patch Expand is turned

on, the sounds selected for Patches 96–99 will also be available, in addition to the currently selected

Patch. (This provides a total of five Patches that can be played simultaneously via MIDI.) Note Numbers

27–90 are set at the factory to each of the pads with Patch Numbers 96–99 (p. 70).

The settings for the FX/PEDAL and FX/ON OFF will apply to the settings of currently selected

Patch.

N O TE

Ho w to tu rn th e Pa tch Ex p a n d fu n ctio n o n

In th e Ed it m o d e , p re ss [SELECT] to se le ct th e SYSTEM p a ra m e te r

g ro u p .

Use [ ] o r [ ] to se le ct PATCH EXPAN D.

Use PATCH/ VALUE [-] o r [+] to tu rn th e Pa tch Ex p a n d fu n ctio n o n .

Pre ss [EDIT] to re tu rn to th e Pla y m o d e .

When the Patch Expand function is on, an “E” will be displayed to the left of the Patch

number when you are in the Play mode.

fig.76

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When you make settings for the Patch Chain (p. 33) while the Patch Expand function is on, the dis-

play will indicate the selected patch chain (A, b, c, d, e, F, G, H) only.

MEMO

N O TE

In order to make distinct the “E” indicating Patch Expand, a lower case “e” is used to indicate Patch

Chain.

fig.77

Pa tch Ex p a n d fu n ctio n is O n

Pa tch Ch a in “ e ”

Co n te n ts o f th e Pa tch e s u se d fo r th e Pa tch Ex p a n d fu n ctio n

The contents of the Patches used for the Patch Expand function (Patch numbers 96–99) are initially set

as follows:

Pa tch N u m b e r 9 6

Pa tch N u m b e r 9 8

pad note# instrument

A01

A02

A03

A04

A05

A06

A07

A08

B01

B02

B03

B04

B05

B06

B07

B08

d19 High-Q 1

A01

A02

A03

A04

A05

A06

A07

A08

B01

B02

B03

B04

B05

B06

B07

B08

C31 Brush Ride Cymbal

L03 Bongo High

E25 Shot 4

d06 Scratch Push

d07 Scratch Pull

L04 Bongo Low 1

L09 Conga High Mute

L11 Conga High Open

L12 Conga Low Open 1

L30 Timbale High

L31 Timbale Low

L38 Agogo 3

S81 Hall Cross Stick

A01 DR-55 Claves

A03 CR-78 Metallic Beat

b23 Mondo Kick

b01 Dry Kick

L38 Agogo 3

S80 Ambient Cross Stick

S37 L.A. Fat Snare

d01 Hand Clap 1

S46 Rock Snare

L39 Cabasa

L23 Maracas

L64 Samba Whistle Short

L65 Samba Whistle Long

L21 Guiro Short

t22 Real Tom 2

h01 Pop Closed Hi-Hat Inner

L22 Guiro Long

Pa tch N u m b e r 9 7

Pa tch N u m b e r 9 9

pad note# instrument

A01

A02

A03

A04

A05

A06

A07

A08

B01

B02

B03

B04

B05

B06

B07

B08

t22 Real Tom 2

A01

A02

A03

A04

A05

A06

A07

A08

B01

B02

B03

B04

B05

B06

B07

B08

L19 Claves 1

h05 Pop Pedal Hi-Hat

t22 Real Tom 2

o07 Wood Block

L43 Cuica Mute 1

L45 Cuica Open

o03 Triangle Mute

o04 Triangle Open

L24 Shaker 1

h04 Pop Open Hi-Hat Outer

t21 Real Tom 1

C01 Crash Cymbal 1

t21 Real Tom 1

C15 Ride Cymbal 1

C06 Chinese Cymbal 2

C16 Ride Bell Cymbal 1

L27 Tambourine 1

C02 Crash Cymbal 2

L14 Cowbell 1

o01 Sleigh Bell

F15 Bell Tree

o05 Castanets

L54 R-8 Surdo Mute

L55 R-8 Surdo Open

L10 Conga High Slap

J40 Small Gong

J39 Large Gong

C02 Crash Cymbal 2

L33 Vibra-Slap

7 0

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In the contents of Patch Expand Patches, note numbers 35–81 are compatible with GM Percussion

Map which can be used to select Percussion sounds under the General MIDI System, and note num-

bers 27–87 are compatible with GS Standard Set which can be used under the GS Format.

MEMO

Ge n e ra l MIDI Sy ste m

The General MIDI system is a set of recommendations which seeks to provide a way to go beyond

the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating

devices. Sound generating devices and music files that meets the General MIDI standard bears the

General MIDI logo (

). Music files bearing the General MIDI logo can be played back using any

General MIDI sound generating unit to produce essentially the same musical performance. General

MIDI supports the GM Percussion Map in channel 10.

GS Fo rm a t

The GS Format (

) is Roland's set of specifications for standardizing the performance of sound

generating devices. In addition to including support for everything defined by the General MIDI

System, the highly-compatible GS Format additionally offers an expanded number of sounds,

provides for the editing of sounds, and spells out many details for a wide range of extra features,

including effects such as reverb and chorus.

Designed with the future in mind, the GS Format can readily include new sounds and support new

hardware features when they arrive.

Since it is upwardly compatible with the General MIDI System, Roland's GS Format is capable of

reliably playing back GM Scores equally as well as it performs GS Music Files (music files that has

been created with the GS Format in mind). The GS Standard set is one of the percussion sets which

can be used in GS drum part. (Default; ch 10.)

The contents of the Patches used by the Patch Expand function (Patches 96–99) can be modified in the

same way as other Patches.

MEMO

So u n d in g Prio rity w h e n Pa tch Ex p a n d is O n

If more than two sounds are set to the same note number and they receive the corresponding note num-

ber, only one sound will play, in the priority shown in the following diagram.

fig.78

h ig h

p rio rity

lo w

p rio rity

Th e cu rre n tly

se le cte d Pa tch

9 6

9 7

9 8

9 9

7 1

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Ho w to Use a Se q u e n ce r o r a Co m p u te r to

Re co rd / Pla y b a ck Yo u r Pe rfo rm a n ce

When you wish to record or play back the musical performance of your SPD-20, you must make con-

nections properly and make settings (such as Local Control off) before you begin recording.

Co n n e ctin g a Co m p u te r (o r a Se q u e n ce r)

fig.79

Co m p u te r o r Se q u e n ce r

MIDI O UT

MIDI IN

MIDI O UT

Ste re o

He a d p h o n e s

LINE IN

AC a d a p to r

Au d io Eq u ip m e n t

(Ste re o Se t)

Bre a k in g / Cu ttin g th e Co n n e ctio n Be tw e e n th e So u n d

Ge n e ra to r a n d th e Pa d Co n tro lle r (Lo ca l Co n tro l)

The Local Control setting allows you to disconnect the pad section from the sound generating section.

When you wish to record and playback your SPD-20 performances using a MIDI sequencer or comput-

er, set Local Control to off (Local Control Off).

fig.80

MIDI O UT

MIDI IN

Lo ca l Co n tro l

O ff

Pa d se ctio n +

Trig g e r In te rfa ce se ctio n

So u n d Ge n e ra tin g

se ctio n

SPD-2 0

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Tu rn o ff th e p o w e r sw itch .

W h ile p re ssin g [PATCH CHAIN ], tu rn th e p o w e r sw itch b a ck o n .

The following message will scroll across the display, and Local Control will be turned off.

fig.81

When Local Control is set to “Off,” the internal sound generator does not sound, even

when the Pad is struck, and in PLAY mode, the MIDI Indicator lights.

Local Control Off is lifted and Local Control On restored the next time the power is turned on.

N O TE

Regardless of the Local Control setting, messages received at MIDI IN will play the internal sound

generator, and the pads and pedals will transmit messages from MIDI OUT.

MEMO

fig.82

MIDI O UT

MIDI IN

Lo ca l Co n tro l

O ff

So ft Th ru

O n

Pa d se ctio n +

Trig g e r In te rfa ce se ctio n

In te rn a l

Me m o ry

So u n d Ge n e ra tin g

se ctio n

SPD-2 0

MIDI Se q u e n ce r

If you have connected the SPD-20 to a MIDI sequencer (or a personal computer running MIDI

sequencing software) that has a “soft(ware) thru” function, set the SPD-20 to Local Off.

MEMO

Soft Thru

“Soft thru” is a function (provided in most MIDI sequencers) by which the messages received at

MIDI IN of the sequencer are re-transmitted from MIDI OUT. (For details, refer to the manual of

your sequencer or sequencer software.)

When the sequencer’s soft thru is turned on, messages it receives at its MIDI IN will be re-trans-

mitted from its MIDI OUT. If the connected SPD-20 is set to Local On, it would sound each note

twice: once in response to the message from the pad section, and once again in response to the

MIDI message sent via the software thru function of the sequencer.

It is also useful to set Local Off when using the SPD-20 as a pad controller to play only external sound

modules.

MEMO

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Ho w to Se t Up th e SPD-2 0 fo r Se q u e n cin g

If you wish to record and playback an SPD-20 performance on a MIDI sequencer or

computer, make the following settings. (these are the factory settings.)

• For each pad you wish to use, set TX CH (p. 61) to the same channel as the Basic Channel.

• For each pad you wish to use, set Note # (p. 62) for the pads so that they don’t overlap.

• For each pad you wish to use, set CURVE (p. 64) to “Lnr”.

• For each pad you wish to use, set SENS (p. 64) to 8.

If you wish to record and playback Patch changes made during a performance, you will

need to make the following settings as well.

• For only one pad, set a Program Number that matches the Patch number (p. 65).

If you wish to record and playback the pedal controller hi-hat sound (H01–H17) layered

with another instrument, following setting will be necessary.

• Assign a hi-hat cymbal for pedal control instrument (H01–H17) to pad bank A.

If you assign these instruments to pad bank B, recording will be correct, but since the SPD-20 ignores

incoming note messages for pad bank B, the Pedal hi-hat will not be heard during playback.

7 4

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Sto rin g th e SPD-2 0 ’s Da ta in Ex te rn a l De vice s (Bu lk Du m p )

The Patch data in the SPD-20 can be transmitted either singly or collectively to another SPD-20 (or to a

sequencer). SPD-20 data is transmitted and received according to the Device ID number which has been

set for each unit. (In the SPD-20, the Basic Channel number is also used as the Device ID number. p. 78)

The operation of transmitting this data is called a “Bulk Dump”; receiving this data is called a “Bulk

Load.”

Ho w to Tra n sm it (Bu lk Du m p )

The SPD-20 transmits stored data.

fig.83

MIDI O UT

MIDI IN

Co m p u te r o r Se q u e n ce r

SPD-2 0

Connect the MIDI OUT of the SPD-20 to the MIDI IN of the sequencer.

Se t th e ID (th e sa m e a s th e Ba sic Ch a n n e l’s; p . 6 7 ) o f th e d e vice

tra n sm ittin g th e Ex clu sive Me ssa g e s.

Pre ss [EDIT] to e n te r th e Ed it m o d e .

Use [ ] o r [ ] to se le ct th e BULK DUMP in th e SYSTEM p a ra m e te r

g ro u p .

Use PATCH/ VALUE [-] o r [+] to se le ct th e Pa tch d a ta y o u w ish to

tra n sm it (ALL/ 1 –9 9 ).

If ALL is selected, all Patch data, Patch Chain data, and system parameter data will be

transmitted at once. If you wish to save an individual patch, select the patch number you

wish to send with the value buttons.

Se t th e r e ce iv in g MIDI d e v ice s o th a t it w ill b e a b le to r e ce iv e

Ex clu sive m e ssa g e s.

Pre ss [ALL/ EN TER] a n d d a ta tra n sm issio n w ill b e g in .

fig.84

If you wish to stop the operation during transmission, press [EDIT].

7 5

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If y o u w ish to tra n sm it o th e r Pa tch d a ta , re p e a t ste p s 3 –5 .

Pre ss [EDIT] to re tu rn to th e Pla y m o d e .

Ho w to Re ce ive (Bu lk Lo a d )

Here’s how to receive Patch data that was stored in another SPD-20 (or in a sequencer).

fig.85

MIDI IN

MIDI O UT

Co m p u te r o r Se q u e n ce r

SPD-2 0

Connect the MIDI OUT of the transmitting device to the MIDI IN of the SPD-20.

When data is received, the previously existing patch settings will be lost.

N O TE

Ma k e su re th a t th e MIDI ch a n n e l o f th e tra n sm ittin g d e vice m a tch e s

th e Ba sic Ch a n n e l o f th e re ce ivin g SPD-2 0 (p . 6 7 ).

If you transfer Exclusive data from another SPD-20, set the basic channels on both units

match. If you receive the Exclusive data that was stored in a sequencer, set the basic chan-

nel to match the same number which was set when you saved data in the sequencer.

Tr a n s m it th e Ex clu s iv e d a ta fr o m th e o th e r MIDI d e v ice . W h e n

re ce p tio n b e g in s, “ Lo d ” a p p e a rs in th e SPD-2 0 ’s d isp la y .

You are returned to the previous display as soon as the Bulk Load has been completed.

When Patch data is received, the bulk dumped Patch data is written to identical Patch numbers.

MEMO

N O TE

For example, if you save Patch Number 21 using bulk dump, then when the Patch data is bulk loaded,

it is stored in Patch Number 21.

Exclusive Messages cannot be received while Patch Copy and Patch Chain are being received.

Exclusive data transmission and reception requires a great deal of processing, so it is best to avoid

playing or editing while transmission is going on. Also, Exclusive data transmission can require a sig-

nificant amount of time, so allow a reasonable time for these operations. Data cannot be transmitted

while incoming Bulk data is being processed, nor can data be received while Bulk data is being trans-

mitted.

7 6

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Re a d in g SPD-1 1 Da ta w ith th e SPD-2 0

You can use the SPD-20 to receive bulk data (bulk load) from the SPD-11. The SPD-20 has all of the

Instruments from the SPD-11 built in, allowing you to play back Patches and other data created on the

SPD-11.

fig. 86-a

MIDI O UT

MIDI IN

SPD-1 1

SPD-2 0

When SPD-11 data is sent to the SPD-20, Patches 1–64 from the SPD-11 are stored in Patches 1–64.

When data is received by the SPD-11, the SPD-20’s Patch data is overwritten.

You cannot transmit SPD-20 data to the SPD-11.

N O TE

Usin g a MIDI ca b le , co n n e ct th e MIDI O UT o f th e SPD-1 1 to th e MIDI

IN o f th e SPD-2 0 .

Ma tch th e SPD-1 1 ’s Ba sic Ch a n n e l w ith th e Ba sic Ch a n n e l th e SPD-

2 0 . (p . 6 7 )

Pu t th e SPD-1 1 in Ed it m o d e a n d se le ct th e BULK DUMP SYSTEM

p a ra m e te r.

Se le ct th e SPD-1 1 Pa tch e s (ALL, 1 –6 4 ) to b e fo rw a rd e d .

When transmitting data, the SPD-11’s Patch Number is written as is to the same Patch Number on

the SPD-20. When ALL is selected, then Patches 1–64 from the SPD-11 are written to Patches 1–64

on the SPD-20.

N O TE

W h e n y o u p re ss [ALL/ EN TER] o n th e SPD-1 1 , th e d a ta is fo rw a rd e d

fro m th e SPD-1 1 to th e SPD-2 0 .

W h e n re ce p tio n b e g in s, “ Lo d ” a p p e a rs in th e SPD-2 0 ’s d isp la y .

Bulk Load is then completed.

When transferring Patches 1–64 used for Patch Expand on the SPD-11 (p. 70) to the SPD-20, you

must then use Patch Copy to copy Patches 1–64 on the SPD-11, to Patches 96–99 on the SPD-20.

MEMO

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W h a t is De vice ID

According to the explanation on page 58 of this manual, Exclusive data is not differentiated by channel.

However, this would mean that in a complex MIDI system that contained two or more SPD-20s, it

would not be possible to transmit Exclusive data to only a specific SPD-20. To get around this problem,

each SPD-20 has its own Device ID number (1–16) on which it transmits and receives Exclusive data.

Exclusive data can be received only when the Device ID number of the receiving device matches the

Device ID number of the transmitting device.

In the SPD-20, the Basic Channel number is also used as the Device ID number.

In some devices, the MIDI channel number and the Device ID number can be set independently, and

will not necessarily be the same. When transferring Bulk data to another device, refer to the operation

manual for that device.

N O TE

If you are using a sequencer to control two or more SPD-20s, you can set each unit to a different

Device ID so that select data can be sent to each unit. But remember that the Basic Channel numbers

will also be different.

MEMO

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CHAPTER 5 Su p p le m e n ta ry Ma te ria ls

Here you will find materials that are useful in helping you get the most out of your SPD-20. Read the

sections as needed.

Ta k in g Ad va n ta g e o f th e O n -b o a rd Effe cts

Effe ct list

The parameter

affected by “Time”

TYPE Name

Explanation

Room (Bright)

A bright-sounding room reverb

A standard room reverb

A dark-sounding room reverb

A bright-sounding hall reverb

A standard hall reverb

Reverb Time

Chorus Rate

Reverb Time

Flanger Rate

Reverb Time

Flanger Rate

Delay Pitch

Delay Rate

Room (Standard)

Room (Dark)

Hall (Bright)

Hall (Standard)

Hall (Dark)

A dark-sounding hall reverb

A bright-sounding plate reverb

A standard plate reverb

Plate (Bright)

Standard Plate

Chorus + Reverb

Tremolo Reverb

Chorus

Chorus and reverb

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

Tremolo and reverb

A standard chorus

Chorus + Room

Chorus + Hall

Chorus + Plate

Flanger

Chorus and room reverb

Chorus and hall reverb

Chorus and plate reverb

A standard flanger

Flanger + Reverb

Pitched Delay + Reverb

Stereo Delay

Flanger and reverb

Pitch-shifted delay and reverb

Stereo delay (without feedback)

Stereo delay (with feedback)

Panned delay (without feedback)

Panned delay (with feedback)

Chorus + stereo delay (without feedback)

Chorus + stereo delay (with feedback)

Delay Time

Stereo Delay

Panning Delay

Chorus + Delay

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Ex p la n a tio n o f Te rm s

Room Reverb

A simulation of the reverberation in a small room.

Hall Reverb

A simulation of the reverberation in a room with a high ceiling.

Plate Reverb

A simulation of a plate reverb (a reverb device which uses a metal plate), pro-

ducing bright reverberation.

Chorus

An effect of enhanced spaciousness.

Flanger

An effect blending sounds reminiscent of a jet ascending and descending.

An effect in which the delayed sound is pitch-shifted.

Pitched Delay

Delay Feedback

This term refers to when the delayed signal is returned to the input of the cir-

cuit. Delay effects marked “with feedback” will have more repetitions of the

delayed sound.

Panning Delay

The delayed sound will be panned back and forth between the left and right

speakers (if you are listening in stereo). Even if you select a Panning Delay

marked “without feedback,” there will be one delay for each position of right,

center, and left.

Reverb Time

Chorus Rate

This sets the length of the reverberation.

This sets the modulation speed of the chorus effect. Higher settings result in

faster chorusing.

Flanger Rate

This sets the modulation speed of the flanger effect. Higher settings result in

faster flanging.

Pitched Delay Pitch

Pitched Delay Rate

Delay Time

This sets the amount of pitch change applied to the delayed sound. Higher set-

tings result in greater pitch change.

This sets the modulation speed of the delayed sound. Higher settings result in

faster modulation.

This sets the Delay time. Higher settings result in a longer delay. For the exact

Delay times, refer to the table below.

Delay Time: 0–450 (msec)

The following chart shows the correspondence between Effect Time values and actual time (msec) when

Delay is the Effect Type.

fig.94

FX TIME

10 11 12 13 14 15 16

TIME [m se c]

10 20 30 45 60 75 90 105 120 135 150 165 180 195 210

FX TIME

17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32

225 240 255 270 285 300 315 330 345 360 375 390 405 420 435 450

TIME [m se c]

8 0

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Hin ts o n Usin g Re ve rb

Reverb gives presence and spaciousness to any sound, whether solo or background. However, exces-

sively high effects levels and long effects times may make the performance difficult to follow (because

sounds are blurred), or make the rhythm less precise. There is a definite relationship between effect

time and effect level. Here are two hints on using Reverb, based on that relationship.

• If you want to use a long effect time, decrease the effect level to reduce muddiness.

• If you want to use a high effect level, shorten the effect time to reduce muddiness.

Hin ts o n Usin g De la y

While Reverb creates a lingering resonance, Delay creates quite a different effect. For Delay effects, the

effect time setting can create significant differences in the resulting sound. For example, when playing a

melodic solo using a mallet-type Instrument, an extremely short Delay time can be used to thicken the

sound. On the other hand, a longer repeating Delay can be set to a Delay time of a half-note or quarter-

note that matches the tempo of the song.

If you are listening to the SPD-20 in stereo, it can also be interesting to select effect type 22 or 23 (Panned

Delay) and select a Pan setting of “random.”

Hin ts o n Usin g Ch o ru s/ Fla n g e r

For Chorus/ Flanger effects, the Time parameter determines the rate (the speed of modulation).

For Chorus, lower settings of the time parameter will result in a more spacious sound, and higher set-

tings will result in a more tremolo-like effect. Flanging is often used on metallic sounds such as cymbals

or Hi-Hats to produce a frequently-heard effect.

Hin ts o n Ma k in g Pa ra m e te r Se ttin g s

Effects provide many possibilities, but if you always use the same heavily-applied Reverb or Chorus, all

the Patches will sound the same. It is important to choose effect settings that are appropriate for the

song or suited to the role of the Instrument (solo, backing, special effects, etc.).

The FX SEND in the SOUND parameter group allows you to set the effect depth independently for the

Instrument assigned to each pad, so it is possible, for instance, to apply flanging only to the cymbals. In

the case of Reverb, higher settings of FX SEND will create the impression of the Instrument being

played further away, so you might set the FX SEND parameter to a different value for each Instrument

to create spatial contrast. By utilizing the Pan setting (the stereo position) and the Chorus effect, you can

control a vast performance space.

Hin ts o n N o t Usin g Effe cts

Speaking of contrast, it can also be very “effective” to not use effects. Some possibilities are as follows.

• To apply effects to certain Instruments and not to others.

• To switch to a non-effect Patch at a strategic moment.

As an example of the first possibility, you might try using an ethnic percussion Instrument—such as a

surdo—without any effects for a feeling of authenticity. As an example of the second possibility, you

could switch from a Patch with deep Reverb to a Patch with no effects (or vice versa) to reinforce musi-

cal movement or development within a song.

8 1

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Tro u b le sh o o tin g

W h e n p la y in g th e in te rn a l so u n d g e n e ra to r

• N o so u n d

Is the volume set to 0?

Check the SPD-20 volume, and the volume of the amp system and mixer.

Can you here sound through the headphones?

If there is sound through the headphones, the problem may be that a connecting cable is dam-

aged, or there is a problem with the amp or mixer. Check the amplification system and the audio

connections.

Is Layer Off selected?

When Layer Off is selected, the sound from only one side is played.

Could LEVEL in the SOUND parameter group be set to 0?

Set the levels to an appropriate value (p. 23).

Is INST (Instrument Assign) in the SOUND parameter group set to “oFF”?

A pad will not sound if its Instrument Assign parameter is set to “oFF” (p. 22).

Is Local Control turned off?

If Local Control is turned off, the pad section is disconnected from the sound generator, so play-

ing the Pads will not produce sound (p. 72).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

Make appropriate settings for the Velocity Curve parameter (p. 24).

• N o p o w e r/ Po w e r o n , b u t u n it d o e s n o t o p e ra te

Are you using the supplied AC adaptor?

Other AC adaptors may not work properly. If the SPD-20 does not operate even with the correct

AC adaptor, check whether the correct AC line voltage is being supplied.

It is best to avoid connecting many devices of high power consumption to the same AC outlet, or using

an excessive number of AC outlet expansion plugs.

N O TE

• Th e vo lu m e is to o lo w

Is the volume turned down?

Check the SPD-20 volume, and the volume of the amp system and/ or mixer.

Are LEVEL in the SOUND parameter group set too low?

Set the LEVEL to appropriate levels (p. 23).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

Make appropriate settings for the Velocity Curve parameter(p. 24).

Is SENS (Velocity Sens) in the MIDI parameter group set too low?

Make appropriate settings for the Velocity Sensitivity parameter.

• Th e so u n d is w ro n g

Are the SOUND parameters set correctly?

Modify the SOUND parameters (p. 22).

8 2

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• Yo u h e a r so u n d s th a t y o u d id n o t se le ct

Is the layer function on?

Set Layer to Off (p. 15).

Is an external MIDI sound module being played from that pad?

If you do not wish to trigger an external MIDI sound module, set the Transmit Channel in the

MIDI parameter to “oFF” (p. 61).

• So ft strik e s d o e s n o t p ro d u ce so u n d

Is the TRIG THRESHOLD setting too high?

Set TRIG THRESHOLD to an appropriate value (p. 44).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

Make appropriate settings for the Velocity Curve parameter (p. 24).

•

W h e n tw o p a d s a re stru ck sim u lta n e o u sly, o n ly o n e o f th e so u n d s is p la y e d

Are you striking the center of the pad?

When striking two pads simultaneously, you should hit them both in the center. Furthermore,

you can be more sure of sounding both pads if you strike them with the timing slightly off.

With the SPD-20, the prevention of crosstalk (incorrect actions caused by the vibration from another

pad) is processed internally. Thus, if when two pads are struck at the same time the signal output by

one of the pads is extremely weak, then that sound is prevented from sounding. Being sure to strike

both pads in their centers, with the same force/strength makes it difficult for the sound difficult to be

omitted.

MEMO

W h e n e x te rn a l p a d s a re co n n e cte d

When using external pads, set the TRIG TYPE (p. 45).

MEMO

Th e vo lu m e ca n ’t b e co n tro lle d b y a d ju stin g th e strik in g stre n g th

Make the TRIG TYPE match (p. 45).

Make the TRIG SENS and TRIG CURVE match (p. 43, p. 47).

W h e n strik in g re p e a te d ly, so m e so u n d s a re lo st

Make the TRIG TYPE match (p. 45).

In some cases, when using pads or acoustic drum triggers from other manufacturers, you should make

your settings in Advanced Trigger Parameters (p. 48).

MEMO

Th e re is n o so u n d w h e n rim sh o ts a re p la y e d

Play the rim shot correctly (p. 39).

Are stereo cables used to connect the pads?

Connect using stereo cables.

On the PD-120, rim shots can be played when you use Trigger Inputs 1 and 2.

8 3

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W h e n p la y in g e x te rn a l MIDI so u n d m o d u le s

• N o so u n d

Are MIDI connections correct?

Check that the SPD-20 MIDI OUT is connected to the MIDI IN of the external sound module, and

that the MIDI cable is not damaged.

Is the volume of the MIDI sound module turned down?

Raise the volume.

Is TX CH (Transmit Channel) in the MIDI parameter group set correctly?

Make sure that the Transmit Channel is not set to “oFF” and that the MIDI channel of the pad

and the sound module match (p. 61). Additionally, if the Transmit Channel is set to P1–P16, S-S,

C-S, or toP, Note Messages are not transmitted.

Is NOTE # (Note Number) in the MIDI parameter group set correctly?

Check the note numbers of the MIDI sound module (p. 62).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

Make appropriate settings for the Velocity Curve parameter (p. 64).

• Th e so u n d is to o so ft

Is GT TIME (Gate Time) set too low?

If you are playing a sound with a soft attack, set a longer Gate Time (p. 63).

Is CURVE in the MIDI parameter group set to an inappropriate value?

Set Velocity Curve to an appropriate value (p. 64).

Is SENS in the MIDI parameter group too low?

Set Velocity Seneitivity to an appropriate value (p. 64).

• Th e vo lu m e d o e s n o t ch a n g e in re sp o n se to p la y in g d y n a m ics

Is CURVE in the MIDI parameter group set to “CSt”?

Set Velocity Curve to an appropriate value (p. 64).

• Th e n o te d u ra tio n o f th e MIDI so u n d m o d u le d o e s n o t ch a n g e

e ve n th o u g h y o u a d ju ste d GT TIME

Does the MIDI sound module recognize Note Off messages? Or has it been set to a mode in

which it does not recognize Note Off messages?

Refer to the operation manual of the MIDI sound module.

•

W h e n y o u se le ct a Pa tch , th e so u n d o f th e MIDI so u n d m o d u le a lso ch a n g e s

Has PGM CHG (Program Change) in the MIDI parameter group been set for a pad?

Set Program Change to “oFF” (p. 65).

• Th e MIDI so u n d m o d u le d o e s n o t ch a n g e so u n d s in re sp o n se to

Pro g ra m Ch a n g e m e ssa g e s

Is PGM CHG in the MIDI parameter group set to “oFF”?

Make Program Change settings (p. 65).

Are the Transmit Channel of the pad and the MIDI channel of the MIDI sound module set appropriately?

Check the Transmit Channel of the pad and the MIDI channel of the MIDI sound module (p. 61).

Is the MIDI sound module able to respond to Program Change messages? Or is it set to a mode

in which it does not recognize Program Change messages?

Refer to the operation manual of the MIDI sound module.

8 4

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• Tw o so u n d s a re p la y e d

Is the Layer function set to On?

Turn the Layer function off (p. 15).

• W h e n th e p a d is stru ck , th e so u n d is in te rm itte n t

Is the Gate Time set to ALt?

Set the Gate Time to something other than ALt (p. 63).

W h e n p la y in g th e in te rn a l so u n d g e n e ra to r o f th e SPD-2 0

• N o so u n d

Does the Basic Channel of the SPD-20 match the Transmit Channel of the external MIDI device?

Set both devices to the same channel (p. 67).

Set the Basic Channel (BASIC CH; p. 67) as the SPD-20’s Receive Channel.

MEMO

Is the layer function on?

When the layer function is on, note messages assigned to pad bank B will be ignored. Turn the

layer function off.

Is the Instrument you wish to play assigned to a pad?

Assign the Instrument to a pad (p. 22).

Is the Note Number set correctly?

The SPD-20 will not produce sound if it receives a Note Number which has not been assigned to a pad.

Modify the Note Number, or select a Patch which has different note numbers assigned to it (p. 62).

Have you assigned the same Note Number to more than one pad?

Even if you assign the same Note Number to more than one pad, only one Instrument will

sound. Set different note numbers for each pad (p. 62).

• N o te N u m b e rs n o t se t to a Pa tch a re p la y e d

Is Patch Expand on?

Set Patch Expand to Off (p. 69).

W h e n a fo o tsw itch is co n n e cte d

• Th e fo o tsw itch d o e s n o t w o rk

Is the footswitch connected correctly?

Connect the footswitch properly (p. 15).

• Th e MIDI so u n d m o d u le d o e s n o t su sta in n o te s w h e n y o u p re ss

th e Fo o tsw itch

Is the Hold Pedal function set?

Turn on the Hold Pedal function (p. 41).

Is the MIDI sound module able to respond to Hold messages?

Refer to the operation manual of the MIDI sound module.

8 5

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• Th e in te rn a l so u n d g e n e ra to r d o e s n o t h o ld n o te s w h e n p re sse d

Have you chosen an instrument that can hold tones?

Holding with the internal sound generator is limited to certain specific Instruments (p . 88).

O th e rs

• Th e Pa tch y o u se t in a Pa tch Ch a in is n o t se le cte d

Is the Patch Chain set correctly?

Check whether the Patch Chain is set correctly (p. 33).

If you do not press [ENTER] after entering all of the Patch Numbers, the Patch Chain setting will not

be completed.

N O TE

Is the SPD-20 in the Play mode?

The Patch Chain function works only in the Play mode.

Is the SPD-20 in the Patch Chain Play mode?

While in Patch Chain Play mode, letters of the alphabet (A, b, C, d, e, F, G, H) appear to the left

of the Patch Numbers.

• Ex clu sive m e ssa g e s a re n o t re ce ive d

Does the Device ID number of the transmitting MIDI device match the Basic Channel (Device ID

number) of the SPD-20?

Set the basic channel (p. 67).

Set the SPD-20’s Device ID to the Basic Channel.

MEMO

• Th e e ffe ct d o e s n o t w o rk

Is [FX ON/OFF] turned off?

Press [FX ON/ OFF] to on (p. 9).

Is the FX LEVEL at 0?

Set the FX LEVEL to an appropriate level (p. 28).

Is the FX SEND at 0?

Set the FX SEND LEVEL to an appropriate level (p. 25).

• Th e d isp la y fla sh e s ra p id ly d u rin g se ttin g o f th e N o te N u m b e rs

This indicates that during setting of Note Numbers the same Patch is being set to different pads

(including pad bank A/ B). If you set the same Note Numbers to different pads, the Note

Number of the pad determined to have higher priority (p. 67) will take precedence.

When Patch Expand is in effect, check to see if the same Note Number is used in any more than one of

the five patches.

MEMO

•

Th e so u n d re co rd e d to a se q u e n ce r is n o t th e sa m e a s th a t p la y e d b a ck

Are the pad’s Note Numbers overlapping with those of another pad?

Make all Note Numbers on the pads you are using different. The Note Number flashes rapidly

when Note Numbers from different pads overlap (p. 62).

8 6

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Erro r Me ssa g e s

If a problem occurs during operation, an error message will be displayed. Take the appropriate action

as described in this section.

fig.87

fig.88

fig.89

A MIDI cable is not connected properly or may be damaged.

Check the MIDI cable(s) and the connections with the other device(s).

Data loading was not successful.

Try loading once again. Pressing any button will return to the previous display.

MIDI data was received incorrectly.

Press any button on the front panel and the previous display will appear.

If this message appears repeatedly, consult your dealer or the nearest Roland Service

Center.

fig.90

Too much MIDI data was received from another MIDI device.

Reduce the amount of MIDI data transmitted by the other device. Or, re-transmit the data

after a pause to reduce the amount of MIDI data transmitted all at once. Pressing any but-

ton will return you to the previous display.

fig.91

The internal memory data has been lost.

Press any button on the front panel. All data will be initialized, and the previous display will

reappear.

N O TE

If this happens, all the data in the SPD-20 will be reset to the factory presets.

fig.92

This message indicates that there is an irregularity in the voltage of the pad detection circuit. Press any

button on the front panel and the previous display will reappear.

If the previous display does not reappear, no matter which button you press, contact the

nearest Roland Service Center. Sometimes this error message will appear if you strike a

pad while turning on the power. In this event, turn the power off and then on again.

fig.93

The memory-backup battery is exhausted.

If the backup battery runs down completely, the data in internal memory will be lost.

Contact your dealer or the nearest Roland Service Center as soon as possible to have the

battery replaced.

Press any button on the panel to return to the previous display.

8 7

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In stru m e n t List

No. Instrument

Loop

Exc No. Hold

SPD-11

Loop:

After Phrase Loop plays for several measures, the volume then

decreases (p. 22).

Exc No.: You cannot sound the instrument that has the same number (#).

Hold: You can use the foot switch to hold notes (p. 41).

S13 Loose Snare Soft

S14 Loose Snare Hard

S15 Loose Snare Rim Shot

S16 Medium Snare 1 Soft

S17 Medium Snare 1 Hard

S18 Medium Snare 1 Rim Shot

S19 Medium Snare 2 Soft

S20 Medium Snare 2 Hard

S21 Medium Snare 2 Rim Shot

S22 Concert Snare Soft

S23 Concert Snare Hard

S24 Concert Snare Rim Shot

S25 Concert Snare Roll

S26 Concert Snare Buzz

S27 Roll Snare

S28 Brass Snare Soft

S29 Brass Snare Hard

S30 Ring Snare Soft

S31 Ring Snare Hard

S32 High Piccolo Snare

S33 Medium Fat Snare

S34 TD-7 Acoustic Snare

S35 Real Snare

SPD-11: Indicates one of the SPD-11's internal instruments.

DRUMS

Exc 1

Ba ss Dru m (Kick )

No. Instrument

Loop

Exc No. Hold

SPD-11

b01 Dry Kick

b02 Dry Medium Kick

b03 Dry Hard Kick

b04 Meat Kick

b05 Pillow Kick

b06 Jazz Kick 1

b07 Jazz Kick 2

b08 Maple Kick

b09 Real Kick

b10 Vintage Kick 1

b11 Vintage Kick 2

b12 26" Deep Kick

b13 Medium Kick

b14 Oyster Kick

S36 L.A. Snare

S37 L.A. Fat Snare

S38 Fat Snare

b15 Open Kick

S39 Brush Roll Snare 1

S40 Brush Roll Snare 2

S41 Brush Swish Snare

S42 Brush Slap Snare 1

S43 Brush Slap Snare 2

S44 Brush Slap Snare 3

S45 Brush Slap Snare 4

S46 Rock Snare

Exc 2

b16 Big Low Kick

b17 Wood Beater Kick

b18 Deep Kick

b19 Room Kick 1

b20 Room Kick 2

b21 Reverb Kick

b22 Deep Reverb Kick

b23 Mondo Kick

b24 Mondo Deep Kick

b25 Mondo Reverb Kick

b26 Solid Kick

b27 Reverb Solid Kick

b28 House Kick

S47 Rocker Snare

S48 Rockin' Snare

S49 Rock Light Snare

S50 Rock Rim Shot Snare

S51 Rock Splatter Snare

S52 Light Snare

S53 Big Shot Snare

S54 Hyper Snare

b29 Dance Kick

b30 Deep Dance Kick

b31 Rap Kick 1

S55 Splatter Snare

b32 Rap Kick 2

S56 Super Light Snare

S57 Super Whack Snare

S58 Cracker Snare

S59 Cruddy Snare

S60 Dopin' Snare

b33 Plastic Kick 1

b34 Plastic Kick 2

b35 Gabba Kick

b36 Jungle Kick

b37 Electronic Kick 1

b38 Electronic Kick 2

b39 TR-808 Kick 1

b40 TR-808 Kick 2

b41 TR-808 Kick 3

b42 808 Electronic Kick

b43 808 Boom Kick 1

b44 808 Boom Kick 2

b45 TR-909 Kick 1

b46 TR-909 Kick 2

b47 TR-909 Kick 3

b48 909 Hard Kick

b49 TR-606 Distortion Kick

b50 CR-78 Kick

S61 House Snare

S62 House Dopin' Snare

S63 Reggae Snare 1

S64 Reggae Snare 2

S65 Swing Snare

S66 90's Snare

S67 Digital Snare

S68 FX Snare

S69 Rage Snare

S70 Jungle Tiny Snare

S71 Jungle Rim Snare

S72 Electronic Snare 1

S73 Electronic Snare 2

S74 TR-808 Snare 1

S75 TR-808 Snare 2

S76 TR-909 Snare

S77 TR-707 Snare

S78 TR-606 Snare

S79 CR-78 Snare

S80 Ambient Cross Stick

S81 Hall Cross Stick

S82 Analog Cross Stick

S83 Ragga Cross Stick

S84 TR-808 Cross Stick

S85 TR-909 Cross Stick

S86 CR-78 Cross Stick

Sn a re Dru m

No. Instrument

Loop

Exc No. Hold

SPD-11

S01 Piccolo Snare Soft

S02 Piccolo Snare Hard

S03 Piccolo Snare Rim Shot

S04 Beech Snare Soft

S05 Beech Snare Hard

S06 Beech Snare Rim Shot

S07 Acoustic Snare Soft

S08 Acoustic Snare Hard

S09 Acoustic Snare Rim Shot

S10 Steel Snare Soft

S11 Steel Snare Hard

S12 Steel Snare Rim Shot

8 8

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To m -To m

Hi-Ha t Cy m b a l fo r p e d a l co n tro l

No. Instrument

Loop

Exc No. Hold

SPD-11

No. Instrument

Loop

Exc No. Hold

Exc 31

SPD-11

t01 Big Tom 1 Soft

t02 Big Tom 1 Hard

t03 Big Tom 2 Soft

t04 Big Tom 2 Hard

t05 Studio Tom 1 Soft

t06 Studio Tom 1 Hard

t07 Studio Tom 2 Soft

t08 Studio Tom 2 Hard

t09 Jazz Tom 1 Soft

t10 Jazz Tom 1 Hard

t11 Jazz Tom 2 Soft

t12 Jazz Tom 2 Hard

t13 Vintage Tom 1 Soft

t14 Vintage Tom 1 Hard

t15 Vintage Tom 2 Soft

t16 Vintage Tom 2 Hard

t17 Double Head Tom 1

t18 Double Head Tom 2

t19 Fusion Tom 1

t20 Fusion Tom 2

t21 Real Tom 1

H01 Pop Hi-Hat Inner

H02 Pop Hi-Hat Outer

H03 Real Hi-Hat Inner

H04 Real Hi-Hat Outer

H05 Brush Hi-Hat

H06 Pure Hi-Hat Inner

H07 Pure Hi-Hat Outer

H08 Heavy Hi-Hat

H09 Medium Hi-Hat

H10 Wheel Hi-Hat

H11 TR-808 Hi-Hat Inner

H12 TR-808 Hi-Hat Outer

H13 TR-909 Hi-Hat

H14 CR-78 Hi-Hat

H15 Chenchen Hi-Hat

H16 Shekere Hi-Hat

H17 Hand Cymbal Hi-Hat

Cra sh / Rid e Cy m b a l

No. Instrument

Loop

Exc No. Hold

SPD-11

C01 Crash Cymbal 1

C02 Crash Cymbal 2

t22 Real Tom 2

t23 Birch Tom 1

C03 Quick Crash Cymbal

C04 Crash Cymbal Soft

C05 Chinese Cymbal 1

C06 Chinese Cymbal 2

C07 Chinese Cymbal 3

C08 Sizzle Chinese Cymbal

C09 Splash Cymbal 1

t24 Birch Tom 2

t25 Bowl Tom 1

t26 Bowl Tom 2

t27 Room Tom 1

t28 Room Tom 2

t29 Acoustic Tom 1

t30 Acoustic Tom 2

t31 Rock Tom 1

C10 Splash Cymbal 2

C11 Pgy Crash Cymbal 1

C12 Pgy Crash Cymbal 2

C13 Pgy Chinese Cymbal

C14 Pgy Splash Cymbal

C15 Ride Cymbal 1

C16 Ride Bell Cymbal 1

C17 Ride Cymbal 2

C18 Ride Bell Cymbal 2

C19 Ride Cymbal 3

C20 Ride Bell Cymbal 3

C21 Sizzle Ride Cymbal 1

C22 Sizzle Ride Bell Cymbal 1

C23 Sizzle Ride Cymbal 2

C24 Sizzle Ride Bell Cymbal 2

C25 Sizzle Ride Cymbal 3

C26 Sizzle Ride Bell Cymbal 3

C27 Pgy Ride Cymbal 1

C28 Pgy Ride Cymbal 2

C29 Brush Crash Cymbal

C30 Brush Sizzle Crash Cymbal

C31 Brush Ride Cymbal

C32 Brush Sizzle Ride Cymbal

C33 Hand Cymbals

t32 Rock Tom 2

t33 Brush Slap Tom 1

t34 Brush Slap Tom 2

t35 Electronic Tom

t36 2-Tone Electronic Tom

t37 Bright Electronic Tom

t38 TR-808 Tom

t39 TR-909 Tom

t40 909 Whack Tom

Hi-Ha t Cy m b a l

No. Instrument

Loop

Exc No. Hold

Exc 31

SPD-11

h01 Pop Closed Hi-Hat Inner

h02 Pop Closed Hi-Hat Outer

h03 Pop Open Hi-Hat Inner

h04 Pop Open Hi-Hat Outer

h05 Pop Pedal Hi-Hat

h06 Real Closed Hi-Hat Inner

h07 Real Closed Hi-Hat Outer

h08 Real Open Hi-Hat Inner

h09 Real Open Hi-Hat Outer

h10 Real Pedal Hi-Hat

h11 Brush Closed Hi-Hat

h12 Brush Open Hi-Hat

h13 Pure Closed Hi-Hat Inner

h14 Pure Closed Hi-Hat Outer

h15 Pure Half Open Hi-Hat

h16 Pure Open Hi-Hat

C34 Mallet Cymbal

C35 TR-808 Cymbal

C36 TR-606 Cymbal

PERCUSSIO N

h17 Heavy Closed Hi-Hat

h18 Heavy Open Hi-Hat

La tin Pe rcu ssio n (Cu b a n , Bra zilia n )

h19 Medium Closed Hi-Hat

h20 Medium Open Hi-Hat

h21 Tambourine Closed Hi-Hat

h22 Tambourine Open Hi-Hat

h23 Wheel Closed Hi-Hat

h24 Wheel Open Hi-Hat

No. Instrument

Loop

Exc No. Hold

SPD-11

L01 R-8 Bongo High

L02 R-8 Bongo Low

L03 Bongo High

L04 Bongo Low 1

L05 Bongo Low 2

L06 R-8 Conga High Mute

L07 R-8 Conga High Open

L08 R-8 Conga Low Open

L09 Conga High Mute

L10 Conga High Slap

L11 Conga High Open

L12 Conga Low Open 1

L13 Conga Low Open 2

L14 Cowbell 1

h25 Wheel Pedal Hi-Hat

h26 TR-808 Closed Hi-Hat Inner

h27 TR-808 Closed Hi-Hat Outer

h28 TR-808 Open Hi-Hat Inner

h29 TR-808 Open Hi-Hat Outer

h30 TR-909 Closed Hi-Hat

h31 TR-909 Open Hi-Hat

h32 CR-78 Closed Hi-Hat

h33 CR-78 Open Hi-Hat

L15 Cowbell 2

L16 Cowbell 3

L17 Cowbell 4

L18 Cowbell 5

8 9

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No. Instrument

L19 Claves 1

L20 Claves 2

L21 Guiro Short

L22 Guiro Long

L23 Maracas

L24 Shaker 1

L25 Shaker 2

Loop

Exc No. Hold

SPD-11

No. Instrument

i20 Pot Drum 2 Short

i21 Dholak Ga

i22 Dholak Ta

i23 Dholak Tun

i24 Dholak Na

i25 Madal Da

i26 Madal Din

i27 Madal Ta

i28 Khole

Loop

Exc No. Hold

Exc 33

SPD-11

Exc 3

Exc 34

Exc 35

L26 Shaker 3

L27 Tambourine 1

L28 Tambourine 2

L29 Timbale High

L30 Timbale High Rim Shot

L31 Timbale Low

L32 Timbale Paila

L33 Vibra Slap

i29 Dhol 1

i30 Dhol 2

i31 Dhol 3

i32 Dhol 4

Exc 15

Exc 16

Lo o p

i33 Tabla Baya Loop

Exc 30

L34 Agogo 1 High

L35 Agogo 1 Low

L36 Agogo 2 High

L37 Agogo 2 Low

L38 Agogo 3

Africa n / Mid d le Ea ste rn / Au stra lia n / O th e r Pe rcu ssio n

No. Instrument

Loop

Exc No. Hold

SPD-11

< Africa >

F01 Shekere

L39 Cabasa

F02 Djembe 1 Center

F03 Djembe 1 Rim

F04 Djembe 2

F05 Djembe 3

F06 Djembe 4

L40 TD-10 Cuica Mute 1

L41 TD-10 Cuica Mute 2

L42 TD-10 Cuica Open

L43 Cuica Mute 1

L44 Cuica Mute 2

L45 Cuica Open

L46 Pandeiro 1 Mute

L47 Pandeiro 1 Slap

L48 Pandeiro 1 Open

L49 Pandeiro 2 Mute

L50 Pandeiro 2 Slap

L51 Pandeiro 2 Open

L52 Pandeiro 3

Exc 4

Exc 5

Exc 6

Exc 7

F07 Talking Drum 1 Down

F08 Talking Drum 1 Up

F09 Talking Drum 2

F10 Afro Drum Open 1

F11 Afro Drum Open 2

F12 Afro Drum Flam

F13 Afro Drum Rattle

F14 Metal Castanets

Exc 17

< Mid d le Ea st >

F15 Bell Tree

L53 R-8 Surdo Rim

L54 R-8 Surdo Mute

L55 R-8 Surdo Open

L56 Surdo Mute

Exc 8

Exc 9

F16 Sagat Closed

F17 Sagat Open

F18 Darbuka 1 Dom

F19 Darbuka 1 Tak

F20 Darbuka 2

F21 Doira Dun

F22 Doira Tik

Exc 18

L57 Surdo Open

L58 Tamborim 1 Mute

L59 Tamborim 1 Slap

L60 Tamborim 1 Open

L61 Tamborim 2 Open

L62 TD-10 Samba Whistle Short

L63 TD-10 Samba Whistle Long

L64 Samba Whistle Short

L65 Samba Whistle Long

L66 Caxixi

L67 Berimbau Mute

L68 Berimbau Open

L69 Berimbau Up

L70 Berimbau Down

L71 Caixa Mute

F23 Doholla Dom

F24 Doholla Sak

F25 Doholla Tak

F26 Doholla Roll

F27 Doholla Stop

F28 Rek Dom

Exc 10

Exc 11

Exc 19

Exc 12

F29 Rek Tek

F30 Rek Open

F31 Rek Trill

F32 Bendir

F33 Dawul

L72 Caixa Open Soft

L73 Caixa Open Hard

L74 Caixa Roll

< Au stra lia >

F34 Clapstick

F35 Boomerang

L75 Rain Stick

L76 Samba Bateria

L77 Samba Loop

L78 Shaker Loop

< O th e r >

F36 Bloom Bell

Lo o p

Exc 30

< Africa >

F37 Afro Loop

Lo o p

Exc 30

In d ia n Pe rcu ssio n

No. Instrument

Loop

Exc No. Hold

SPD-11

i01 Sarna Bell

i02 Baya 1 Slide

i03 Baya 1 Gin

i04 Baya 1 Ka

i05 Baya 1 Ge

i06 Baya 2 Ge

i07 Tabla 1 Na

i08 Tabla 1 Tin

i09 Tabla 1 Tun

i10 Tabla 1 Ti

Ja p a ne se / Kore a n/ Chine se / Southe a st Asia n Pe rcussion

Exc 13

Exc 14

Exc 32

No. Instrument

Loop

Exc No. Hold

SPD-11

< Ja p a n >

J01 Biwa

J02 Atarigane

J03 Hyoshigi

J04 Ohkawa

J05 Tsuzumi 1 High

J06 Tsuzumi 1 Low

J07 Tsuzumi 2

J08 Shime Taiko 1

J09 Shime Taiko 2

J10 Matsuri Taiko

J11 Matsuri Taiko Rim

J12 Taiko 1

i11 Tabla 2 Te

i12 Tabla 2 Na 1

i13 Tabla 2 Na 2

i14 Tabla 2 Tun

i15 Pot Drum 1 Low

i16 Pot Drum 1 High

i17 Pot Drum 1 Accent

i18 Pot Drum 2 Mute

i19 Pot Drum 2 Long

J13 Taiko 2

J14 Taiko Rim

J15 Matsuri

Exc 33

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No. Instrument

Loop

Exc No. Hold

SPD-11

No. Instrument

Loop

Exc No. Hold

SPD-11

J16 Yyoo Dude

< Ce n tra l Am e rica >

M10 Steel Drum 1

< Ko re a >

J17 Buk

M11 Steel Drum 2

J18 Buk Rim

J19 Jang-Gu

J20 Jing Mute

J21 Jing Soft

J22 Jing Hard

J23 Gengari Mute

J24 Gengari Soft

J25 Gengari Hard

< In d ia >

M12 Sitar

M13 Sitar Gliss

M14 Santoor Upper

M15 Santoor Lower

M16 Tambura

Exc 28

Exc 29

M17 Tambura Drone

< Mid d le Ea st >

M18 Hammer Dulcimer Upper

M19 Hammer Dulcimer Lower

< Ch in a >

J26 Ban Gu 1

J27 Ban Gu 2

J28 Ban Gu 3

J29 Gu Roll

J30 Gu High

J31 Tang Gu Mute

J32 Tang Gu

J33 Hu Yin Luo Mute

J34 Hu Yin Luo

J35 Nao Bo

< Africa >

Exc 20

Exc 21

Exc 22

M20 Kalimba

M21 Log Drum

M22 Balaphone

M23 Afro Zither

< Ch in a >

M24 Yang Qin

J36 Xiao Bo

< So u th e a st Asia >

M25 Bonang

M26 Gender

M27 Saron

M28 Angklung

J37 Small Tam-Tam

J38 Large Tam-Tam

J39 Large Gong

J40 Small Gong

J41 Tiny Gong

J42 Bend Gong

< Me lo d ic In stru m e n ts >

M29 Gamelan 1

M30 Gamelan 2

M31 Glass

M32 Iron Hammer

M33 Bamboo

< So u th e a st Asia >

J43 Finger Cymbal

J44 Rama Cymbal

J45 Chenchen Closed

J46 Chenchen Open

J47 Bali Cymbal Closed

J48 Bali Cymbal Open

J49 Thai Gong

Exc 23

Exc 24

M34 Drip

M35 Synth Strings 1

M36 Synth Strings 2

M37 Brass Hit 1 Short

M38 Brass Hit 1 Long

M39 Brass Hit 2 Short

M40 Brass Hit 2 Long

M41 Brass Hit 3 Short

M42 Brass Hit 3 Long

M43 Brass Fall

M44 Choir Soprano

M45 Choir Alto

M46 Choir Bass

M47 Choir Unison 1

M48 Choir Unison 2

M49 Choir 5th 1

M50 Choir 5th 2

M51 Choir 4th 1

M52 Choir 4th 2

M53 Acoustic Bass

M54 Fingered Bass

M55 Picked Bass

M56 Slap Bass

M57 Funky Bass

M58 TB-303 Bass

M59 SH-101 Bass

J50 Jaws Harp Open

J51 Jaws Harp Wow

Exc 25

O rch e stra l Pe rcu ssio n

No. Instrument

o01 Sleigh Bell

o02 Tree Chimes

o03 Triangle Mute

o04 Triangle Open

o05 Castanets

o06 Castanets with Hall Ambience

o07 Wood Block

o08 Slapstick

o09 Concert Bass Drum Mute

o10 Concert Bass Drum Open

o11 Timpani 1 Soft

o12 Timpani 1 Hard

o13 Timpani 2

Loop

Exc No. Hold

SPD-11

Exc 26

Exc 27

o14 Timpani Bend

o15 Church Bell

o16 Percussion Hit 1

o17 Percussion Hit 2

o18 Percussion Hit 3

o19 Orchestra Hit Major 1

o20 Orchestra Hit Major 2

o21 Orchestra Hit Diminish 1

o22 Orchestra Hit Diminish 2

o23 Orchestra Hit 1

o24 Orchestra Hit 2

An a lo g Pe rcu ssio n (CR-7 8 , TR-8 0 8 , e tc.)

No. Instrument

Loop

Exc No. Hold

SPD-11

A01 DR-55 Claves

A02 CR-78 Cowbell

A03 CR-78 Metallic Beat

A04 CR-78 Guiro

A05 CR-78 Tambourine

A06 CR-78 Maracas

A07 CR-78 Bongo

Me lo d ic Pe rcu ssio n / Me lo d ic In stru m e n ts

No. Instrument

M01 Glockenspiel

M02 Vibraphone

M03 Xylophone

M04 Marimba 1

M05 Marimba 2

M06 Bass Marimba

M07 Celesta

Loop

Exc No. Hold

SPD-11

A08 CR-78 Claves

A09 TR-707 Cowbell

A10 TR-727 Agogo

A11 TR-808 Conga

A12 TR-808 Claves

A13 TR-808 Maracas

A14 TR-808 Cowbell

A15 TR-808 Hand Clap

A16 TR-909 Hand Clap

M08 Tubular Bells 1

M09 Tubular Bells 2

9 1

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No. Instrument

E33 Random Noise 3

E34 Random Noise 4

E35 Slide

E36 Uut?

E37 Drop

E38 Emergency

E39 Woody 1

E40 Woody 2

E41 Monster Drum

E42 Can Drum

E43 Wah Guitar Down 1

E44 Wah Guitar Up 1

E45 Wah Guitar Down 2

E46 Wah Guitar Up 2

Loop

Exc No. Hold

SPD-11

SO UN D EFFECTS

Da n ce So u n d s

No. Instrument

Loop

Exc No. Hold

SPD-11

d01 Hand Clap 1

d02 Hand Clap 2

d03 Little Clap

d04 Hip Clap

d05 Afro Clap

d06 Scratch Push

d07 Scratch Pull

d08 Scratch Stereo

d09 DR-550 Scratch Push

d10 DR-550 Scratch Pull

d11 Scratch Bass Drum Push

d12 Scratch Bass Drum Pull

d13 Scratch Snare

d14 Jungle Hat

d15 Jungle Cymbal

d16 Dance Shaker

d17 Tape Rewind

d18 Vinyl Stop

N a tu ra l So u n d s, Hu m a n Vo ice

No. Instrument

n01 Telephone 1

n02 Telephone 2

n03 Doorbell

n04 Dog Bark

n05 Bird

Loop

Exc No. Hold

SPD-11

d19 High-Q 1

d20 High-Q 2

d21 Beam High-Q

d22 Air Blip

n06 Car Door

n07 Car Stop

n08 Horn

n09 Punch

d23 Techno Snap

d24 Organ Chord

d25 Distortion Guitar

d26 Auh Voice

d27 Techno Chord

d28 Techno Scene

d29 Synth Hit

n10 Glass Crash

n11 Door Close

n12 Metallic Lid

n13 Machine Gun

n14 Pistol

n15 Siren

n16 Drum Major Whistle

n17 Afro Feet

n18 Afro Stomp

n19 Thunder

n20 Stream

d30 Distortion Hit

d31 Thin Beef

d32 Techno Hit

d33 Tao Hit

d34 Philly Hit

n21 Snaps

n22 Human Whistle

n23 Oww!

d35 Analog Bird

d36 Retro UFO

d37 Metal Sweep

d38 Bounce

n24 Woa!

n25 Ooh!

n26 Chiki!

n27 Hey!

n28 Ou!

d39 Distortion Swish

d40 PCM Press

d41 Jungle Roll Kick

d42 Jungle Roll Snare

d43 Techno Loop

Lo o p

n29 Ou! Up

Exc 30

n30 Scream

n31 Voice Loop

Lo o p

Exc 30

Artificia l So u n d Effe cts

No. Instrument

E01 Burt

Loop

Exc No. Hold

SPD-11

Am b ie n ce , Re ve rse d So u n d s

No. Instrument

Loop

Exc No. Hold

SPD-11

E02 Boing 1

E03 Boing 2

E04 Onkey

E05 Tom Noise

E06 Lazer

E07 Feedback Wave

E08 Atmosphere

E09 Bend Synth

E10 Toy Gun

E11 Eddy

E12 R-8 Spark

E13 Rattle

E14 Anvil

E15 Chop

E16 Metal 1

E17 Metal 2

E18 Metal Cross Stick

E19 Crash 1

E20 Crash 2

E21 Explosion

E22 Shot 1

E23 Shot 2

E24 Shot 3

r01 Kick Ambience

r02 Snare Ambience

r03 Tom Ambience

r04 Concert Ambience

r05 Reverse Bend Gong

r06 Reverse Analog Bird

r07 Reverse Laser

r08 Reverse Boing

r09 Reverse Bend Synth

r10 Reverse High-Q

r11 Reverse Beat

r12 Reverse Sitar Gliss

r13 Reverse Yyoo Dude

r14 Reverse Ambience

r15 Reverse Clap

r16 Reverse Cymbal

r17 Reverse Kick

r18 Reverse Shot

r19 Reverse Snare

r20 Reverse Tom

Fo rce s Ph ra se Lo o p In stru m e n t to sto p (MUTE)

E25 Shot 4

E26 Stick Hit

No. Instrument

Loop

Exc No. Hold

SPD-11

Mut Phrase Loop Mute

Exc 30

E27 Noise Accent 1

E28 Noise Accent 2

E29 Noise Accent 3

E30 Noise Accent 4

E31 Random Noise 1

E32 Random Noise 2

N o so u n d

No. Instrument

oFF Off

Loop

Exc No. Hold

SPD-11

9 2

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Pa tch List

No.

Patch Name

Drums & Shaker *

Latin Set *

Orchestral

Groove *

Amazon *

Brushes *

Delay

Description

Demo Kit

No.

Patch Name

Yang Qin

Description

Chinese Struck Stringed Instrument

Southeast Asian Percussion

Orchestral Percussion

Melodic Percussion

Melodic Sound

Sound Effects

Demo Kit

Southeast Asian

Gamelan

Demo Kit

Timpani

Demo Kit

Chimes & Bells

Orchestra Hits

Marimba

Demo Kit

Dance Chord

Indian *

Demo Kit

Bass Marimba

Celesta

Demo Kit

Tex-Mex

Demo Kit

Vibraphone

Standard 1

Standard 2

Big Rock

Acoustic Drum Kit

Electronic Drum Kit

Cuban Percussion

Brazilian Percussion

Indian Percussion

Indian Stringed Instrument

Indian Struck Stringed Instrument

Indian Stringed Instrument

African Percussion

Percussion

Xylophone

Tubular Bells

Steel Drum

Jazz

Melodic Gong

Oriental

Funk

Power

Choir

Rock

Choir & Bass

Strings & Bass

Brass

Electronic

Vintage Hex

TR-909

Melodic 1

TR-808

Melodic 2

CR-78/TR-808

Dance Scratch

Dance Mix *

Techno

Melodic 3

Melodic 4

Whole Tone

One Shot Delay

Chorus + Delay

Flanger + Reverb

Metal Head

Techno Beat

Techno Hit *

Hip Hop

Sound Effects

Jungle *

Chorus Chord

Wack-O

Sound Effects

Drums & Synth

Bongo & Conga

Timbales *

Cabasa & Cuica

Berimbau *

Samba *

Sound Effects

Flying

Sound Effects

Crime Scene

Holler

Sound Effects

Voices *

Sound Effects

Loop Menu *

Reversed Sounds

Ambience

Sound Effects

Tabla Baya

Pot Drums

Madal & Dholak *

Sitar *

Sound Effects

Deep (Full Set)

Recording (Full Set)

Vintage (Full Set)

Jazz (Full Set)

Jazz Brushes (Full Set)

Analog (Full Set)

Kit Copy

Full Set Kit

Santoor

Full Set Kit

Tambura

Full Set Kit

African *

Full Set Kit

Kalimba

Full Set Kit

Balaphone

Darbuka

Kit Copy

Doholla

Percussion

for Patch Expand 1

for Patch Expand 2

for Patch Expand 3

for Patch Expand 4

Hammer Dulcimer

Japanese

Korean

Struck Stringed Instrument

Japanese Percussion

Korean Percussion

Chinese Percussion

Chinese

Patches marked with an asterisk “*” are made using phrase-loop Instruments.

MEMO

9 3

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Pa ra m e te r List

GRO UP

PARAMETER

VALUE (DISPLAY)

PAGE

INST

b01–b50, S01–S86, t01–t40, h01–h33, H01–H17, C01–C36,

L01–L78, i01–i33, F01–F37, J01–J51, o01–o24, M01–M59,

SO UN D

A01–A16, d01–d43, E01–E46, n01–n31, r01–r20, Mut, oFF

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

PGM CHG

FX TYPE

FX TIME

FX LEVEL

PDL CTRL

PDL LEVEL

PDL CC #

BASIC CH

BULK DUMP

PATCH EXPAND

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

TRIG CURVE

0–15

-24–24

-31–31

L7–L1, Ctr, r1–r7, rnd

Lnr, EP1–EP4, SP1, SP2, SF1–SF4, Hd1–Hd4, CSt

0–15

1–16, oFF, P1–P16, S-S, C-S, toP

0–127, oFF

01–40, ALt

L7–L1, Ctr, r1–r7, rnd, oFF

Lnr, EP1–EP4, SP1, SP2, SF1–SF4, Hd1–Hd4, CSt

1–15

1–128, oFF

1–25

1–32

0–15

HH, EFS, U07, U12, U24, d05, d12, d24

0–15

oFF, 1, 4, 10, 11, 16, 17, 64

1–16

ALL, 1–99

oFF, on

1–16

0–15

MIDI

FX/ PEDAL

SYSTEM

Pd5, Pd7, Pd9, 100, 120, P1, P2, Kd7, K1, K2, KiK, Snr, toM, FLr

-2, -1, 0, 1, 2

GRO UP

PARAMETER

VALUE (DISPLAY)

00–30

1–16

PAGE

SCAN TIME [x 0.1ms]

RETRIGGER CANCEL

MASK TIME [ms]

CROSSTALK CANCEL

RIM SENS (PD-120)

ADVAN CED

TRIGGER

PARAMETER

00–64

oFF, 30, 40, 50, 60, 70, 80

oFF, 1–15

Trig g e r Ty p e In te rn a l Pa ra m e te rs (Ad va n ce d Trig g e r Pa ra m e te rs)

Refer to the chart for the Advanced Trigger Parameter values, which are set automatically when the

Trigger Type is set.

fo r DRUM PAD

fo r DRUM TRIGGER

ADVAN CED

TRIGGER

PARAMETER

Pd5 Pd7 Pd9 100 120 P1 P2 Kd7 K1 K2 KiK Snr toM FLr

15 00 00 00 10 10 20 00 10 20 10 10 10 20

SCAN TIME [x 0.1ms]

RETRIGGER CANCEL

MASK TIME [ms]

CROSSTALK CANCEL

RIM SENSITIVITY

12 12 12 12 12 12 12 12 28 28 28 28 28 28

50 40 40 30 30 50 50 oFF oFF oFF 40 40 40 30

--- --- --- ---

--- --- --- --- --- --- --- --- ---

Pd5: PD-5

Pd7: PD-7

Pd9: PD-9

100: PD-100

120: PD-120

P1: PAD 1

P2: PAD 2

Kd7: KD-7

K1: KICK PAD 1

K2: KICK PAD 2

KiK: KICK

Snr: SNARE

toM: TOM TOM

FLr: FLOOR TOM

9 4

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Bla n k Pa ra m e te r Ch a rt

PATCH PARAMETER

PATCH N o .

FX TYPE

FX TIME

FX/ PEDAL

PATCH N AME

FX LEVEL

PDL CTRL

PDL LEVEL

PDL CC #

PAD BAN K

LAYER

FX O N / O FF

OFF

IN TERN AL PAD

PAD 1

PAD 2

PAD 3

PAD 4

PAD 5

PAD 6

PAD 7

PAD 8

BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

CURVE

SENS

SO UN D

MIDI

PGM CHG

EXTERN AL PAD

HEAD 1

RIM 1

HEAD 2

RIM 2

HEAD 3

RIM 3

HEAD 4

RIM 4

BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B

INST

LEVEL

SO UN D

PITCH

DECAY

PAN

CURVE

FX SEND

TX CH

NOTE #

GT TIME

PAN

MIDI

CURVE

SENS

PGM CHG

TRIGGER PARAMETER

TRIG 1 TRIG 2 TRIG 3 TRIG 4 INTERNAL PAD

TRIG SENS

TRIG THRESHOLD

TRIG TYPE

BASIC

TRIG CURVE

SCAN TIME

ADVAN CED

RETRIGGER CANCEL

MASK TIME

CROSSTALK CANCEL

RIM SENSITIVITY (PD-120)

9 5

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Ro la n d Ex clu sive Me ssa g e

fig.

1 . Da ta Fo rm a t fo r Ex clu sive Me ssa g e s

• O n e -w a y tra n sfe r p ro ce d u re (Se e Se ctio n 3

fo r d e ta ils.)

Roland’s MIDI implementation uses the following data format for all

Exclusive messages (type IV):

This procedure is suited to the transfer of a small amount of data. It sends out

an Exclusive message completely independent of the receiving device's status.

Byte

F0H

Description

Co n n e ctio n Dia g ra m

Exclusive Status

Manufacturer ID (Roland)

Device ID

41H

Device A

MIDI OUT

Device B

MIDI IN

DEV

MDL

CMD

[BODY]

F7H

MIDI IN

MIDI OUT

Model ID

Command ID

Main data

Connection at point 2 is essential for “Request data” procedures. (See Section 3.)

• Ha n d sh a k e -tra n sfe r p ro ce d u re (Th is d e vice

End of exclusive

d o e s n o t u se th is p ro ce d u re )

• MIDI sta tu s: F0 H, F7 H

This procedure initiates

predetermined transfer sequence (handshaking)

across the interface before data transfer takes place. Handshaking ensures that

An Exclusive message must be flanked by a pair of status codes, starting

with a Manufacturer ID immediately after F0H (MIDI version 1.0).

reliability and transfer speed are high enough to handle a large amount of data.

Co n n e ctio n Dia g ra m

• Ma n u fa ctu re r ID: 4 1 H

Device A

MIDI OUT

Device B

MIDI IN

The Manufacturer ID identifies the manufacturer of a MIDI instrument that

sends an Exclusive message. Value 41H represents Roland’s Manufacturer ID.

MIDI IN

MIDI OUT

• De vice ID: DEV

Connection at points 1 and 2 is essential.

The Device ID contains a unique value that identifies individual devices in

the implementation of several MIDI instruments. It is usually set to

00H–0FH, a value smaller by one than that of a basic channel, but value

00H–1FH may be used for a device with several basic channels.

N o te s o n th e a b o ve p ro ce d u re s

* There are separate Command IDs for different transfer procedures.

* Devices A and B cannot exchange data unless they use the same transfer procedure,

share identical Device ID and Model ID, and are ready for communication.

• Mo d e l ID: MDL

The Model ID contains a value that identifies one model from another.

Different models, however, may share an identical Model ID if they handle

similar data.

3 . O n e -w a y Tra n sfe r Pro ce d u re

This procedure sends out data until it has all been sent and is used when the

messages are so short that answerbacks need not be checked.

For longer messages, however, the receiving device must acquire each

message in time with the transfer sequence, which inserts 20 milliseconds

intervals.

The Model ID format may contain 00H in one or more places to provide an

extended data field. The following are examples of valid Model IDs, each

representing a unique model:

01H

02H

Ty p e s o f Me ssa g e s

03H

Message

Command ID

RQ1 (11H)

DT1 (12H)

00H, 01H

00H, 02H

00H, 00H, 01H

Request data 1

Data set 1

• Co m m a n d ID: CMD

• Re q u e st d a ta # 1 : RQ 1 (1 1 H)

The Command ID indicates the function of an Exclusive message. The

Command ID format may contain 00H in one or more places to provide an

extended data field. The following are examples of valid Command IDs,

each representing a unique function:

This message is sent out when there is a need to acquire data from a device

at the other end of the interface. It contains data for the address and size that

specify designation and length, respectively, of data required.

On receiving an RQ1 message, the remote device checks its memory for the

data address and size that satisfy the request.

01H

02H

03H

If it finds them and is ready for communication, the device will transmit a

“Data set 1 (DT1)” message, which contains the requested data. Otherwise,

the device won't send out anything.

00H, 01H

00H, 02H

00H, 00H, 01H

Byte

F0H

41H

DEV

MDL

11H

aaH

Description

Exclusive Status

Manufacturer ID (Roland)

• Ma in d a ta : BO DY

Device ID

Model ID

This field contains a message to be exchanged across an interface. The exact

data size and content will vary with the Model ID and Command ID.

Command ID

Address MSB

2 . Ad d re ss-m a p p e d Da ta Tra n sfe r

LSB

Address mapping is a technique for transferring messages conforming to the

ssH

Size

MSB

data format given in Section 1. It assigns

series of memory-resident

records—waveform and tone data, switch status, and parameters, for

example, to specific locations in a machine-dependent address space, thereby

allowing access to data residing at the address a message specifies.

LSB

sum

F7H

Check sum

Address-mapped data transfer is therefore independent of models and data

categories. This technique allows use of two different transfer procedures:

one-way transfer and handshake transfer.

End of exclusive

9 6

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fig.

* The size of the requested data does not indicate the number of bytes that will make

up a DT1 message, but represents the address fields where the requested data

resides.

* Some models are subject to limitations in data format used for a single transaction.

Requested data, for example, may have a limit in length or must be divided into

predetermined address fields before it is exchanged across the interface.

* The same number of bytes comprises address and size data, which, however, vary

with the Model ID.

* The error-checking process uses a checksum that provides a bit pattern where the

last 7 bits are zero when values for an address, size, and that checksum are

summed.

• Da ta se t 1 : DT1 (1 2 H)

This message corresponds to the actual data transfer process.

Because every byte in the data is assigned a unique address, a DT1 message

can convey the starting address of one or more bits of data as well as a series

of data formatted in an address-dependent order.

The MIDI standards inhibit non real-time messages from interrupting an

Exclusive one. This fact is inconvenient for devices that support a “soft-thru”

function. To maintain compatibility with such devices, Roland has limited

the DT1 to 256 bytes so that an excessively long message is sent out in

separate ‘segments’.

Byte

F0H

41H

DEV

MDL

12H

aaH

Description

Exclusive Status

Manufacturer ID (Roland)

Device ID

Model ID

Command ID

Address MSB

LSB

ddH

Data

MSB

LSB

sum

F7H

Check sum

End of exclusive

* A DT1 message is capable of providing only the valid data among those specified by

an RQ1 message.

* Some models are subject to limitations in data format used for a single transaction.

Requested data, for example, may have a limit in length or must be divided into

predetermined address fields before it is exchanged across the interface.

* The number of bytes comprising address data varies from one Model ID to another.

* The error-checking process uses a checksum that provides a bit pattern where the

last 7 bits are zero when values for an address, size, and that checksum are

summed.

• Ex a m p le o f Me ssa g e Tra n sa ctio n s

• De vice A se n d in g d a ta to De vice B

Transfer of a DT1 message is all that takes place.

Device A

Device B

[Data set 1]

* More than 20m sec time interval.

[Data set 1]

• De vice B re q u e stin g d a ta fro m De vice A

Device B sends an RQ1 message to Device A.

Checking the message, Device A sends a DT1 message back to Device B.

Device A

Device B

[Request data]

[Data set 1]

* More than 20m sec time interval.

[Data set 1]

9 7

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MIDI Im p le m e n ta tio n

TOTAL PERCUSSION PAD

Date: Dec. 4 1997

Model SPD-20

Version: 1.00

This transmits the Hi-Hat Controller position message as one of the Control Messages set

in PDL CC#.

1.TRANSMITTED DATA

[Channel Voice Message]

(1) Note off

When the Footswitch function is set as a hold pedal, then if the pedal is pressed, 7FH is

transmitted; when the pedal is released, 00H is transmitted.

It is transmitted via the MIDI Channel set to the Basic Channel.

Hold1 (Controller number 64)

Status

Second

Third

Status

Second

Third

9nH

kkH

00H

BnH

40H

vvH

n = MIDI Channel:

kk = Note number:

0H–FH (ch.1–ch.16)

00H–7FH (0–127)

n = MIDI channel:

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

vv = Parameter Value:

(2) Note on

This transmits the Hi-Hat Controller position message as one of the Control Messages set

in PDL CC#.

Status

Second

Third

It is transmitted via the MIDI Channel set to the Basic Channel.

9nH

kkH

vvH

n = MIDI Channel:

kk = Note number:

vv = Velocity:

0H–FH (ch.1–ch.16)

00H–7FH (0–127)

01H–7FH (1–127)

Panpot (Controller number 10)

Status

Second

Third

BnH

0AH

vvH

The SPD-20 transmits through the MIDI Channels set to each Pad’s Transmit Channel (TX

CH). However, there is no transmission if the Transmit Channel is set to P1–P16, S-S, C-S,

or toP.

n = MIDI channel:

vv = Panpot:

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

When the Gate Time is set to 01–40, after Note On is transmitted, Note Off is transmitted

after the set time has elapsed. However, if a new sound is produced by the same Pad

before Note Off is transmitted, then Note Off is transmitted at that time.

With Gate Time set to ALt, Note On and Note Off messages are alternately transmitted

when you strike the Pad. However, when switching Patches,

This transmits the Hi-Hat Controller position message as one of the Control Messages set

in PDL CC#.

It is transmitted via the MIDI Channel set to the Basic Channel.

These are transmitted via the MIDI Channel that is set to each Pad’s Transmit Channel.

However, if the Transmit Channel is set to P1–P16, S-S, C-S, or toP, the settings are not

transmitted.

When the Layer function is on, settings for both Bank A and Bank B are transmitted.

When the Pad is struck, the Panpot value corresponding to the MIDI PAN set to the Pad is

transmitted.

(3) Polyphonic Key Pressure

The Panpot message is not transmitted when the Transmit Channel and the Panpot value

of a Pad that is tapped are the same as those of the most recently tapped Pad.

Status

Second

Third

AnH

kkH

vvH

n = MIDI Channel:

kk = Note number:

vv = Value:

0H–FH (ch.1–ch.16)

00H–127H (0–127)

00H, 7FH (0, 127)

The Panpot value

MIDI PAN

These are transmitted via the MIDI Channel that is set to each Pad’s Transmit Channel.

However, if the Transmit Channel is set to P1–P16, S-S, C-S, or toP, the settings are not

transmitted.

This message is transmitted with value 7FH when grab the rim of the pad or value 00H

when release the rim. Note number to be transferred is content of the head/ rim of grabbed

pad.

Ctr

When the “SOUND” is set from “H**”, the note number of the head, rim, note number of

head minus 2, note number of head minus 4, note number of rim minus 2, note number of

rim minus 4 are transferred.

100

109

118

127

When the “LAYER” is set at “ON”, the note number of “BANK A” and “BANK B” are

transmitted.

rnd

one of upper value

(4) Control Change

(5) Program Change

Modulation Depth (Controller number 1)

Status

Second

Status

Second

Third

CnH

ppH

BnH

01H

vvH

n = MIDI channel:

0H–FH (ch.1–ch.16)

pp = Program number:

00H–7FH (prog.1–prog.128)

Foot Control (Controller number 4)

With the Transmit Channel set to 1–16, when you switch Patches, the Transmit Channel

and Program Changes set to each of the Pads in Banks A and B are transmitted.

With the Transmit Channel set to P1–P16, when you strike Pads, the Transmit Channel and

Program Changes set to each of the Pads in Banks A and B are transmitted.

Status

Second

Third

BnH

04H

vvH

Expression (Controller number 11)

Status

Second

Third

BnH

0BH

vvH

[System Exclusive Message]

Status

General purpose controller 1 (Controller number 16)

Status

Second

Third

F0H:

F7H:

System Exclusive

BnH

10H

vvH

EOX (End Of Exclusive)

With the SPD-20, the System Exclusive Message can be used to transmit Bulk Dump of

patch data, instrument data, system data, chain data and sequence data.

General purpose controller 2 (Controller number 17)

Status

Second

Third

For details refer to “3. Exclusive Communications” and “Roland Exclusive Message.”

BnH

11H

vvH

n = MIDI channel:

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

vv = Parameter Value:

9 8

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Foot Control (Controller number 4)

[System Common Message]

Status

Second

Third

BnH

04H

vvH

(1) Song Position Pointer

Status

Second

Third

Panpot (Controller number 10)

F2H

00H

Status

Second

Third

When “toP” is selected as the Transmit Channel, messages are transmitted when the Pad is

BnH

0AH

vvH

struck.

Expression (Controller number 11)

Status

Second

Third

[System Realtime Message]

BnH

0BH

vvH

(1) Start

Status

General purpose controller 1 (Controller number 16)

Status

Second

Third

FAH

BnH

10H

vvH

When “S-S” is selected as the Transmit Channel, messages are transmitted when the Pad is

General purpose controller 2 (Controller number 17)

struck. Afterwards, striking the Pad alternately transmits Stop and Start messages.

Status

Second

Third

BnH

11H

vvH

(2) Continue

Status

n = MIDI channel:

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

vv = Parameter Value:

FBH

Any one of the Control Messages set in PDL CC# is received as a Hi-Hat Control pedal

Position Message. The result of receiving the message depends on the parameter of “PDL

CTRL”. The SPD-20 receives the message on the basic channel.

When “C-S” is selected as the Transmit Channel, messages are transmitted when the Pad is

struck. Afterwards, striking the Pad alternately transmits Stop and Continue messages.

(3) Stop

Status

Hold1 (Controller number 64)

Status

Second

Third

FCH

BnH

40H

vvH

n = MIDI channel:

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

When “S-S” or “C-S” is selected as the Transmit Channel, striking the Pad after transmit-

vv = Parameter Value:

ting Start or Continue messages transmits.

Any one of the Control Messages set in PDL CC# is received as a Hi-Hat Control pedal

Position Message. Effects are determined in the PDL CTRL settings. When Hold is selected

for the PDL CC# setting, with vv = 40H–7FH, Hold is turned on, and when vv = 00H–3FH,

Hold is turned off. This is received via the channel set to the Basic Channel.

(4) Active Sensing

Status

FEH

Normal transmission takes approximately 240 ms.

(4) Program Change

Status

Second

CnH

ppH

2.RECEIVED DATA

[Channel Voice Message]

(1) Note On

n = MIDI channel:

0H–0FH (ch.1–ch.16)

pp = Program number:

00H–62H (0–98)

The SPD-20 receives the message on the basic channel. The program change number 0-98

correspond to the patch number 1–99.

Status

Second

Third

[Channel Mode Message]

9nH

kkH

vvH

n = MIDI channel:

kk = Note number:

vv = Velocity:

0H–0FH (ch.1–ch.16)

00H–7FH (0–127)

01H–7FH (1–127)

(1) Reset All Controllers

Status

Second

Third

The SPD-20 receives Note on messages on the basic channel. If the received Note number is

assigned to any pad, the instrument which is assigned to that pad will sound. If there are

two (or more) pads which are assigned the same Note number, the instrument priority is

given to the lower (lowest) pad number. When the Layer is set at “ON”, the note number of

“BANK B” is ignored.

BnH

79H

00H

n = MIDI channel:

0H–FH (ch.1–ch.16)

The SPD-20 receives the message on the basic channel. The SPD-20 initializes the controller

on receiving this message.

Modulation Depth

Foot Controller

Panpot

(2) Polyphonic Key Pressure

Status

Second

Third

Expression

General Purpose Controller 1

General Purpose Controller 2

Hold 1

AnH

kkH

vvH

n = MIDI channel:

kk = Note number:

vv = Value:

0H–FH (ch.1–ch.16)

00H–7FH (0–127)

[System Real Time Message]

The SPD-20 receives the message on the basic channel. If the value is greater than or equal

to 40H(64), the decay of the instrument whitch corresponds to the Note number is made

shorter.

(1) Active Sensing

Status

(3) Control Change

FEH

Modulation Depth (Controller number 1)

Whenever the SPD-20 receives this message, it monitors the interval of the coming data. If

the subsequent message has not arrived within 300ms after the previous data, it process as

though it has received Reset All Controllers and stops monitoring receiving interval.

Status

Second

Third

BnH

01H

vvH

9 9

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[Parameter base addresses]

[System Exclusive Message]

Start

Status

Address

Description

F0H: System Exclusive

F7H: EOX (End Of Exclusive)

00 00 00 00

Patch parameters

*4-1

*4-2

*4-3

01 00 00 00

02 00 00 00

System parameters

Chain setup

When using Exclusive Messages with the SPD-20, you can bulk dump Patch data, System

data, and Chain data.

For d etails refer to “Rolan d Exclu sive Message” an d p aragrap h “3. Exclu sive

Communications.”

Table 4-1 Patch parameters

* p: Patch No. (0–98), t: Pad No. (1–32)

The correspondence of the “t” value to internal and external pads is as follows.

3.Exclusive Communications

[General]

00H (1):

07H (8):

BANK A INTERNAL PAD1

BANK A INTERNAL PAD8

08H (9):

0BH (12):

BANK A EXTERNAL HEAD1

SPD-20 can do one-way communications to send and receive parameters for sequence and

setup.

BANK A EXTERNAL HEAD4

Model ID included in the exclusive message should be 00H 0DH. The device ID code

should be BASIC CH of System. Note that the actual value that set in the device ID field is

smaller by one than the value set at parameter BASIC CH of System.

0CH (13):

0FH (16):

BANK A EXTERNAL RIM1

BANK A EXTERNAL RIM4

10H (17):

17H (24):

BANK B INTERNAL PAD1

[One Way Communications]

Request data RQ1 11H

BANK B INTERNAL PAD8

18H (25):

1BH (28):

BANK B EXTERNAL HEAD1

Byte

F0H

41H

DEV

00H 0DH

11H

aaH

ssH

Description

Exclusive status

Manufacturer’s ID (Roland)

Device ID (00H–0FH)

Model ID (SPD-20)

Command ID (RQ1)

Address MSB

Address

Address LSB

size MSB

BANK B EXTERNAL HEAD4

1CH (29):

1FH (32):

BANK B EXTERNAL RIM1

BANK B EXTERNAL RIM4

Offset

Address

pp 00 00

00 01

00 02

00 03

00 04

00 05

00 06

Description

BANK A/B

LAYER

FX ON/OFF

FX TYPE

FX TIME

0–1

(0: A, 1: B)

0–1

(0: OFF, 1: ON)

ssH

size

ssH

size

0–24

0–31

0–15

0–7

ssH

size LSB

sum

F7H

Checksum

EOX (End of Exclusive)

FX LEVEL

PDL CTRL

(0: HH, 1: EFS, 2: U07, 3: U12, 4: U24,

5: d05, 6: d12, 7: d24)

00 07

00 08

tt 00

tt 01

tt 02

tt 03

tt 04

tt 05

tt 06

tt 07

tt 08

PDL LEVEL

PDL CC#

SOUND INST Upper 3bits

SOUND INST Lower 7bits

SOUND LEVEL

SOUND PITCH

SOUND DECAY

SOUND PAN

SOUND CURVE

SOUND FX SEND

MIDI TX CH

0–15

0–7

Data set DT1 12H

Byte

Description

0–701 (700: Mut, 701: oFF)

F0H

Exclusive status

Manufacturer’s ID (Roland)

Device ID (00H–0FH)

Model ID (SPD-20)

Command ID (DT1)

Address MSB

Address

0–15

0–48

41H

DEV

00H 0DH

12H

31– 31

Lower 7bits of 2’s complement

(0–14: L7–R7, 15: RND)

0–15

0–35

aaH

(16: OFF, 17–32: P1–P16, 33: S-S,

34: C-S, 35: toP)

aaH

tt 09

tt 0A

tt 0B

tt 0C

tt 0D

tt 0E

tt 0F

tt 10

MIDI NOTE #

MIDI GT TIME

MIDI PAN

MIDI CURVE

MIDI SENS

0–127

0–1

aaH

Address

(1: OFF)

(41: ALt)

(0–14: L7–R7, 15: RND, 16: OFF)

aaH

Address LSB

1–41

0–16

0–15

0–14

0–127

0–1

ddH

data

sum

F7H

Checksum

MIDI PGM CHG

(1: OFF)

EOX (End of Exclusive)

Table 4-2 System parameters

[Transmission]

The SPD-20 transmit exclusive messages only when MIDI Bulk dump is performed by

Offset

Address

Description

PATCH EXPAND

panel operation on menu of System function.

0–1

(0: OFF, 1: ON)

TRIG SENS (INTERNAL)

TRIG THRESHOLD (INTERNAL)

0–15

[Receive]

EPAD1 Trig Type

0–13

(0: Pd5, 1: Pd7, 2: Pd9, 3: 100,

When the SPD-20 is using One Way Communication, parameters are received when Bulk

4: 120, 5: P1, 6: P2, 7: Kd7,

8: K1, 9: K2, 10: KiK, 11:Snr,

12: toM, 13: FLr)

Dump is not executed.

The SPD-20 can receive SPD-11 Patch parameter System Exclusive messages. When this is

done, the SOUND INST Sound parameter is shifted and saved to the SPD-20 Instrument

Number having the same tone as the one received from the SPD-11.

EPAD1 Trig Sens

EPAD1 Trig Threshold

EPAD1 Trig Curve

EPAD1 Scan Time

EPAD1 Retrigger Cance

EPAD1 Mask Time

EPAD1 Crosstalk Cancel

EPAD1 Rim Sens

0–15

0–4

0–30

0–15

0–16

0–6

4.Parameter address map

Addresses are shown in every 7-bit hexadecimal.

0–15

EPAD2 Trig Type

0–13

(0: Pd5, 1: Pd7, 2: Pd9, 3: 100,

+ ——————————————————————————— +

4: 120, 5: P1, 6: P2, 7: Kd7,

8: K1, 9: K2, 10: KiK, 11:Snr,

12: toM, 13: FLr)

| Address | MSB

| LSB

|—————+—————+—————+—————+—————|

| Binary

| 7-bit hex.

AA BB CC DD

EPAD2 Trig Sens

0–15

0–4

0–30

0–15

0–16

EPAD2 Trig Threshold

EPAD2 Trig Curve

EPAD2 Scan Time

EPAD2 Retrigger Cancel

EPAD2 Mask Time

+ ——————————————————————————— +

1 0 0

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EPAD2 Crosstalk Cancel

EPAD2 Rim Sens

0–6

0–15

The resolution of 7-bit Hexadecimal numbers is 128. Use several bytes for values which

require more resolution.

i.e. The number “aa bbH” in 7-bit Hexadecimal is “aa x 128 + bb” in Decimal form.

EPAD3 Trig Type

EPAD3 Trig Sens

0–13

0–15

0–4

0–30

0–15

0–16

0–6

A signed number is indicated as 00H = -64, 40H = ±0, 7FH = +63.

So the signed number “aaH” in 7-bit Hexadecimal is “aa - 64”.

A signed number using two bytes is indicated as 00 00H = -8192, 40 00H = ±0, 7F 7FH =

+8191.

EPAD3 Trig Threshold

EPAD3 Trig Curve

EPAD3 Scan Time

EPAD3 Retrigger Cancel

EPAD3 Mask Time

EPAD3 Crosstalk Cancel

So the signed number “aa bbH” in 7-bit Hexadecimal is “aa bbH - 40 00H = aa x 128 +

bb - 64 x 128”

EPAD4 Trig Type

EPAD4 Trig Sens

0–13

0–15

0–4

0–30

0–15

0–16

0–6

The data indicated as “nibbled” is a 4-bit Hexadecimal number.

EPAD4 Trig Threshold

EPAD4 Trig Curve

EPAD4 Scan Time

EPAD4 Retrigger Cancel

EPAD4 Mask Time

EPAD4 Crosstalk Cancel

i.e. “0a 0bH” is “a x 16 + b”.

<EXAMPLE 1> Convert “5AH” in Hexadecimal to a Decimal number.

(By using the table) 5AH = 90

<EXAMPLE 2> Convert “12 34H” in 7-bit Hexadecimal to a Decimal number.

(By using the table) 12H = 18, 34H = 52

Table 4-3 Chain setup

So, 18 x 128 + 52 = 2356

If you want to send Data Request to the SPD-20 in this area, set the address and the size as

<EXAMPLE 3> Convert “0A 03 09 0D” in nibblized form to a Decimal number.

follows.

(By using the table)

0AH = 10, 03H = 3, 09H = 9, 0DH = 13

Other data requests specifying address or size are ignored.

Moreover, you cannot choose the address to which the data in this section is transmitted,

nor can you choose the address from which it is received.

address = 02 00 00 00

So, {(10 x 16 + 3) x 16 + 9} x 16 + 13 = 41885

[Example of actual MIDI messages]

<EXAMPLE> C9 49

size = 00 00 01 00

”Cn” is a status of a Program change message, and “n” is a MIDI channel number.

The second byte is a Program number. 9H = 9, 49H = 73

So, this is a Program change message of MIDI channel=10, Program number = 74.

Address Map

Address

Block

Sub block

Reference

==========

00 00 00 00

===========

+——————-+........ +————–+........+——-+

==========

=========

| Patch Param. |

+——————-+.

| Patch#0

+————–+........+——-+

| Patch#1

+————–+

|4-1

[Checksum of Roland System Exclusive

messages]

| .

Roland System Exclusive messages (RQ1 and DT1) have a Checksum at the end of the data

+————–+

| Patch#97 |

+————–+

| Patch#98 |

+————–+

(before EOX) to be able to check for communication errors.

The Checksum results from address and data (or size) included in the message.

01 00 00 00

02 00 00 00

+——————-+..................................... +——-+

| System setup | | 4-2

+——————-+..................................... +——-+

| Chain setup | 4-3

+——————-+..................................... +——-+

How to calculate Checksums (“H” indicates Hexadecimal.)

The error checking process uses a Checksum and provides a bit pattern where the last sig-

nificant 7 bits are zero when values for an address, data (or size) and the Checksum are

summed.

If the address is “aa bb ccH” and the data( or the size) is “dd ee ffH”

aa + bb + cc + dd + ee + ff = sum

5.Useful Information

[Decimal and Hexadecimal]

sum ÷ 128 = quotient—remainder

128 - remainder = checksum

It is common to use 7-bit Hexadecimal numbers in MIDI communication.

The following is a conversion table between decimal numbers and 7-bit Hexadecimal num-

<EXAMPLE 1> Set “FX TYPE” of patch2 to 10

See the “Parameter address map”

bers.

fig.

Address: 00 01 00 03H the value of FX TYPE = 10 is 09H

Hexa-

decimal

Hexa-

decimal

Hexa-

decimal

Hexa-

decimal

Decimal

F0 41 09 00 0D 12 00 01 00 03 09 ??

(1) (2) (3) (4) (5) address

(1) Exclusive Status

(2) ID (Roland)

data checksum (6)

(4) Model ID (SPD-20)

(5) Command ID (DT1)

(6) End of Exclusive

00H

01H

02H

03H

04H

05H

06H

07H

08H

09H

0AH

0BH

0CH

0DH

0EH

0FH

10H

11H

12H

13H

14H

15H

16H

17H

18H

19H

1AH

1BH

1CH

1DH

1EH

1FH

20H

21H

22H

23H

24H

25H

26H

27H

28H

29H

2AH

2BH

2CH

2DH

2EH

2FH

30H

31H

32H

33H

34H

35H

36H

37H

38H

39H

3AH

3BH

3CH

3DH

3EH

3FH

40H

41H

42H

43H

44H

45H

46H

47H

48H

49H

4AH

4BH

4CH

4DH

4EH

4FH

50H

51H

52H

53H

54H

55H

56H

57H

58H

59H

5AH

5BH

5CH

5DH

5EH

5FH

60H

61H

62H

63H

64H

65H

66H

67H

68H

69H

6AH

6BH

6CH

6DH

6EH

6FH

70H

71H

72H

73H

74H

75H

76H

77H

78H

79H

7AH

7BH

7CH

7DH

7EH

7FH

(3) Device ID (09H)

The Checksum is:

100

101

102

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

119

120

121

122

123

124

125

126

127

00H + 01H + 00H + 03H + 09H = 0 + 1 + 0 + 3 + 9 = 13 (sum)

13 (sum) ÷ 128 = 0 (quotient)—13 (remainder)

checksum = 128 - 13 (remainder) = 115 = 73H

Therefore, the message to send is: F0 41 09 60 12 00 01 00 03 09 73 F7.

<EXAMPLE 2> Request to transfer the “MIDI CH” of Pad1 (BANK A), Patch 3.

See the “Parameter address map”

Address: 00 02 01 08H

Size: 00 00 00 01H

See the “Parameter address map”

Address: 00 01 00 03H

F0 41 09 00 0D 11 00 02 01 08 00 00 00 01 ??

(1)(2)(3) (4) (5) address data checksum (6)

(4) Model ID (SPD-20)

(5) Command ID (RQ1)

(6) End of Exclusive

the value of FX TYPE = 10 is 09H

(1) Exclusive Status

(2) ID (Roland)

(3) Device ID (09H)

The Checksum is:

00H + 02H + 01H + 08H + 00H + 00H +00H + 01H = 0 + 2 + 1 + 8 + 0 + 0 + 0

+ 1 = 12 (sum)

12 (sum) ÷ 128 = 0 (quotient)—12 (remainder)

checksum = 128 - 12 (remainder) = 116 = 74H

To indicate a decimal number for the MIDI channel and Program number, add 1 to the

Decimal number in the table.

Therefore, the message to send is: F0 41 09 60 11 00 02 01 08 00 00 00 01 74 F7.

1 0 1

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MIDI Im p le m e n ta tio n Ch a rt

TOTAL PERCUSSION PAD

Date : Dec. 4, 1997

Version : 1.00

Model SPD-20

MIDI Implementation Chart

Function...

Transmitted

Recognized

Remarks

Basic

Channel

Default

Changed

Off, 1–16

1–16

Memorized

(Non-volatile)

Default

Messages

Altered

Mode 3

Mode

**************

Note

Off, 0–127

Number :

True Voice

**************

Note ON

Note OFF

O 9n v = 1–127

O 9b v = 1–127

n = Pad ch.

b = Basic ch.

Velocity

9n v = 0

After

Touch

Key's

Ch's

0, 127

O 0, 127

Pitch Bend

Modulation

Foot

Pan

Expression

Control

Change

General Purpose 1

General Purpose 2

*3 *4

Hold 1

121

Reset all controllers

Program

Change

0–98

Off, 0–127

: True #

System Exclusive

: Song Pos

: Song Sel

: Tune

System

Common

System

Real Time

: Clock

: Commands

: Local ON/ OFF

: All Notes OFF

: Active Sense

: System Reset

Aux

Message

* 1 Can be set and stored for each pad.

* 2 Common to “Transmitted” and “Recognized.”

Notes

* 3 Select one to use as the Hi-hat Control pedal.

* 4 Transmitted when Footswitch is set to “Hold pedal.”

Mode 1 : OMNI ON, POLY

Mode 3 : OMNI OFF, POLY

Mode 2 : OMNI ON, MONO

Mode 4 : OMNI OFF, MONO

O : Yes

X : No

1 0 2

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Ho w to Re a d a MIDI Im p le m e n ta tio n Ch a rt

O: MIDI messages that can be transmitted or received

X: MIDI messages that cannot be transmitted or received

•

Basic Channel

This is the range of MIDI channels on which MIDI messages can be transmitted (received). The MIDI

channel setting will be retained even when the power is turned off.

Mode

Most keyboards today use mode 3 (omni off, poly). This means that MIDI messages will only be

received on a specific MIDI channel, and will be played polyphonically.

The MIDI “mode” setting is relevant only to reception.

N O TE

•

Note Number

This is the range of note numbers that can be transmitted (received). Note Number 60 is middle C (C4).

Velocity

This is the range of velocity values which can be transmitted (received) as part of each Note On or Note

Off message.

•

Aftertouch

Polyphonic: aftertouch is independent for each key in the channel.

Channel: aftertouch applies equally to all keys in the channel.

•

Pitch Bend

The SPD-20 does not transmit/ receive this data.

Control Change

These are the Control Change numbers which can be transmitted (received), and the control functions

they can have. For details refer to the MIDI Implementation.

•

Program Change

The Program Numbers in the chart are the actual data values. The Patch numbers will be one number

higher.

•

Exclusive

Patch data can be transmitted and received as an Exclusive message.

Common, Realtime

This MIDI message is used when the SPD-20 plays concurrently with a sequencer or rhythm machine,

or when Start/ Stop/ Continue messages are in effect.

•

Other

This category includes messages such as Active Sensing (to monitor the integrity of MIDI connections),

which help keep a MIDI system running properly.

1 0 3

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Sp e cifica tio n s

SPD-2 0 : To ta l Pe rcu ssio n Pa d

• Pa d s

• Po w e r Su p p ly

Built-in Pads: 8

AC 12 V: AC Adaptor

Four external trigger inputs (dual) are provided, allowing

you to connect Pads.

• Cu rre n t Dra w

420 mA

• Ma x im u m Po ly p h o n y

• Dim e n sio n s

14 voices

450 (W) x 350 (D) x 70 (H) mm

17-3/ 4 (W) x 13-13/ 16 (D) x 2-13/ 16 (H) inches

• In stru m e n ts

700

• We ig h t

2.8 kg

6 lbs 3 oz

• Me m o ry

Patches: 99

(excepting AC adaptor)

Patch Chains: 8

• Acce sso rie s

• So u n d Pa ra m e te rs

Owner’s Manual

Instrument

Level

AC Adaptor (BOSS BRA Series)

Slit Tape

Pitch

Decay

Pan

• O p tio n s

Pads (PD-120, PD-100, PD-9, PD-7, PD-5)

Kick Trigger Unit (KD-7)

Hi-Hat Control Pedal (FD-7)

Footswitch (BOSS FS-5U)

Curve

Effect Send Level

Footswitch Cable (BOSS PCS-31)

Pedal Switch (DP-2/ 6)

All-purpose Clamp Set (APC-33)

• Effe cts

Reverb

Delay

Chorus

Flanger

In the interest of product improvement, the specifica-

tions and/or appearance of this unit are subject to

change without prior notice.

• Disp la y

7 segments, 3 characters (LED)

• Co n n e cto rs

Output Jacks (L [Mono], R)

Phones Jack (Stereo)

Trigger Input Jacks (Dual): 3

HH CTRL/ TRIG 4 Jack (Dual)

MIDI Connectors (IN, OUT)

Foot Sw Jack (Dual)

Trigger inputs 1 and 2 accept rim shots from the PD-7, PD-9

and PD-120 while inputs 3 and 4 accept rim shots from the

PD-7 and PD-9.

1 0 4

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In d e x

MIDI Implementation ......................................................................................98

MIDI Implementation Chart .........................................................................102

MIDI Parameter ................................................................................................61

MIDI Connector ................................................................................................57

MIDI Velocity Curve........................................................................................64

Acoustic Drum Trigger ..............................................................................45, 48

Advanced Edit Mode .......................................................................................48

Advanced Trigger Parameter .........................................................................48

Aftertouch Messages........................................................................................59

ALL...............................................................................................................27, 47

All Purpose Clamp Set.....................................................................................10

ALt ......................................................................................................................63

APC-33 ...............................................................................................................10

NOTE #...............................................................................................................62

Note Number ..............................................................................................58, 62

Note Off..............................................................................................................58

Note On ..............................................................................................................58

BASIC CH ..........................................................................................................67

Basic Channel ....................................................................................................67

Bulk Dump ........................................................................................................75

Bulk Load ...........................................................................................................76

Open Hi-Hat......................................................................................................54

Pad Bank ............................................................................................................16

Pad Section ........................................................................................................18

PAN ..............................................................................................................23, 63

Parameter List .............................................................................................20, 94

Patch ...................................................................................................................14

Patch Chain........................................................................................................33

Patch Expand.....................................................................................................69

Patch List............................................................................................................93

PD-100 ..........................................................................................................38, 45

PD-120 ........................................................................................36, 37, 38, 39, 45

PD-5 ..............................................................................................................37, 45

PD-7 ............................................................................................35, 36, 37, 39, 45

PD-9 ........................................................................................................37, 39, 45

PDL CC# ............................................................................................................56

PDL CTRL..........................................................................................................54

PDL LEVEL .......................................................................................................55

Pedal Control.....................................................................................................54

Pedal Controller Numbers ..............................................................................56

Pedal Hi-Hat......................................................................................................54

Pedal Level ........................................................................................................55

Pedal Switch ................................................................................................38, 40

Percussion Set....................................................................................................35

PGM CHG..........................................................................................................65

Phrase Loop .......................................................................................................22

PITCH .................................................................................................................23

Play Mode..........................................................................................................19

Program Change.........................................................................................61, 65

Program Change Messages .............................................................................59

PSC-31 ................................................................................................................15

Chorus ................................................................................................................81

Closed Hi-Hat ...................................................................................................54

Control Change Messages...............................................................................59

COPY..................................................................................................................32

Cord Hook ...........................................................................................................8

Crosstalk Cancel ...............................................................................................53

CURVE(Velocity Curve)..................................................................................24

Cymbal Choke...................................................................................................39

DECAY...............................................................................................................23

Delay...................................................................................................................81

Device ID............................................................................................................78

Drum Trigger ..............................................................................................45, 48

Edit Mode ..........................................................................................................19

Effect Level ........................................................................................................28

Effect List ...........................................................................................................79

Effect Parameter................................................................................................28

Effect Section .....................................................................................................18

Effect Send Level...............................................................................................25

Effect Time.........................................................................................................28

Effect Type ...................................................................................................28, 79

Error Message ...................................................................................................87

Exclusive Messages ..........................................................................................59

External Pad ......................................................................................................37

Factory Initialized State ...................................................................................11

FD-7 ........................................................................................................36, 40, 54

Foot Close ..........................................................................................................54

Foot Open ..........................................................................................................54

Footswitch........................................................................................15, 38, 40, 41

Franger ...............................................................................................................81

FS-5U ..................................................................................................................15

Full Set Kit .........................................................................................................36

FX LEVEL...........................................................................................................28

FX SEND(Effect Send Level)...........................................................................25

FX TIME .............................................................................................................28

Receive Channel................................................................................................67

Retrigger Cancel ...............................................................................................52

Reverb.................................................................................................................81

Rim ......................................................................................................................39

Rim Sensitivity ..................................................................................................53

Rim Shot.............................................................................................................39

ROM ...................................................................................................................11

Scan Time...........................................................................................................51

SENS ...................................................................................................................64

Slit Tape..............................................................................................................10

Soft Thru ............................................................................................................73

Sound Generator Section .................................................................................18

Sound Parameter ..............................................................................................22

Specifications...................................................................................................104

System Initialize................................................................................................11

Gate Time...........................................................................................................63

GBN System ......................................................................................................65

General MIDI System .......................................................................................71

GS Format ..........................................................................................................71

GT TIME.............................................................................................................63

Half Open Hi-Hat .............................................................................................54

Head ...................................................................................................................39

Hi-Hat Control Pedal .................................................................................40, 54

Hi-Hat Cymbals for Pedal Control ...............................................................22

Hold Pedal.........................................................................................................41

The Patch used for the Patch Expand Function ...........................................70

Transmit Channel .............................................................................................61

TRIG CURVE.....................................................................................................47

TRIG SENS...................................................................................................30, 43

TRIG THRESHOLD....................................................................................31, 44

TRIG TYPE.........................................................................................................45

Trigger Curve....................................................................................................47

Trigger Interface Section..................................................................................18

Trigger Parameter.............................................................................................42

Trigger Sensitivity ......................................................................................30, 43

Trigger Signal....................................................................................................51

Trigger Threshold .......................................................................................31, 44

Trigger Type......................................................................................................45

TX CH .................................................................................................................61

INST....................................................................................................................22

Instrument Group .............................................................................................22

Instrument List..................................................................................................88

Instruments........................................................................................................22

KD-7........................................................................................................36, 37, 45

Kick Pedal ..........................................................................................................37

Kick Trigger Unit ..............................................................................................37

Layer .............................................................................................................15, 17

LEVEL ................................................................................................................23

Local Control.....................................................................................................72

Velocity ..............................................................................................................58

Velocity Crossfade............................................................................................17

Velocity Curve ..................................................................................................24

Velocity Mix ......................................................................................................17

Velocity Sensitivity...........................................................................................64

Velocity Switch .................................................................................................17

Mask Time .........................................................................................................52

MIDI....................................................................................................................57

MIDI Channels..................................................................................................58

1 0 5

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Ho w -To In d e x

In te rn a l p a d se ttin g s

W h ile p la y in g

Adjust the overall volume of the SPD-20........................13

Get half-open sounds with connected FD-7 ...................54

Select Patches ......................................................................14

Select Patches in a preset order (Patch Chain) ...............33

Select Patches using footswitches ....................................15

Select Patches using Program Change messages...........65

Use choke playing technique with connected PD-7......39

Use dual bass drum tequniques with connected KD-7s ....37

Use rim shot with connected PD-7, PD-9, PD-120.........39

• When playing the SPD-20’s pads, how to ...

Adjust the Seneitivity of the pads ..............................30, 43

Adjust the volume of each pad .........................................23

Change the decay ...............................................................23

Change the depth of the effect applied to the sound

of each pad......................................................................25

Change the Instrument triggered by a pad ....................22

Change the Pan setting ......................................................23

Change the pitch .................................................................23

Change the way playing dynamics affects volume ...24, 47

Force the internal tone Phrase Loop to stop using

Fo o tsw itch

the pads...........................................................................22

Play two Instruments simultaneously.............................17

Prevent improper triggering of the pads ........................31

Use a footswitch to hold a sound of an external

sound module ................................................................41

Use footswitches to select Patches ...................................15

Use a footswitch in place of the kick pedal.....................38

Use a footswitch in place of the hi-hat control pedal....40

• When playing an external MIDI sound module, how to ...

Adjust pad sensitivity ........................................................64

Change sounds using Program Change messages ........65

Change the length of time that the note is sounded ......63

Change the MIDI channel .................................................61

Change the Note Number .................................................62

Change the way playing dynamics affects volume.......64

Use the SPD-20 as a pad controller to play only

Hi-Ha t Co n tro l Pe d a l

Adjust the hi-hat volume with the pedal ........................55

Control the hi-hat with the pedal.....................................54

Control the Effect Send level, pitch, etc., with the pedal......55

Transmit Control Changes to external devices with

the pedal..........................................................................56

external sound ................................................................61

Use the pads to transmit Program Changes to

external devices..............................................................65

Use the pads to start and stop a sequencer.....................61

Use the pads to alternately transmit Note On and

Note Off ..........................................................................63

Effe ct

Adjust the effect depth for each Instrument assigned

to the pad ........................................................................25

Adjust the overall effect depth for a Patch .....................28

Change the effect type .......................................................28

Control the effect send by using a hi-hat control pedal .......55

Taking advantage of the on-board effects.......................79

• When using the SPD-20 as a MIDI sound module, how to ...

Make more sounds available from an external controller ...69

Set each Instrument’s note number .................................62

Set the receive channel.......................................................67

Use a Sequencer to record/ playback...............................72

O th e r

Adjust the overall volume.................................................13

Attach the SPD-20’s tom stand and cymbal stand .........10

Create a custom drum kit ..................................................36

Create a custom percussion set.........................................35

Read MIDI Implementation Chart ...................................60

Read the parameter list......................................................94

Read this manual ..................................................................5

Receive Patch data stored in a sequencer .......................76

Reset all parameters to the factory settings ....................11

Reset one patch to the factory settings ............................32

Transmit Patch data as an Exclusive message................75

Turn the power off .............................................................13

Turn the power on ..............................................................12

Use the cord hook.................................................................8

Move Patch data from the SPD-11 to the SPD-20 ..........77

Ex te rn a l p a d se ttin g s

Adjust the sensitivity of an external pad ........................43

Adjusting the Trigger Signal Detection Time.................51

Prevent double triggering of an external pad ................52

Prevent improper triggering of an external pad ............48

Use external pads ...............................................................35

Set minimum levels for external pads .............................44

Set the Trigger Type for external pads ............................45

Set the Dynamics Curve for external pads .....................47

Set Rim Sensitivity on the PD-120....................................53

Pa tch e d itin g

Copy Patch settings to another Patch ..............................32

Set all pads to the same parameter value........................27

1 0 6

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For the U.K.

IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.

BLUE:

NEUTRAL

BROWN: LIVE

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying

the terminals in your plug, proceed as follows:

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK.

The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED.

Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug.

For EU Countries

CAUTION

Danger of explosion if battery is

incorrectly replaced.

Replace only with the same or

Apparatus containing

Lithium batteries

equivalent type recommended by the

manufacturer.

Discard used batteries according to the

manufacturer’s instructions.

ADVARSEL!

Lithiumbatteri - Eksplosionsfare ved

fejlagtig håndtering.

Udskiftning må kun ske med batteri af

samme fabrikat og type.

VARNING

Explosionsfara vid felaktigt batteribyte.

Använd samma batterityp eller en

ekvivalent typ som rekommenderas av

apparattillverkaren.

Levér det brugte batteri tilbage til

leverandøren.

Kassera använt batteri enligt

fabrikantens instruktion.

ADVARSEL

Eksplosjonsfare ved feilaktig skifte av

batteri.

VAROITUS

Paristo voi räjähtää, jos se on

virheellisesti asennettu.

Benytt samme batteritype eller en

tilsvarende type anbefalt av

apparatfabrikanten.

Brukte batterier kasseres i henhold til

fabrikantens instruks joner.

Vaihda paristo ainoastaan

laitevalmistajan suosittelemaan

tyyppiin. Hävitä käytetty paristo

valmistajan ohjeiden mukaisesti.

For EU Countries

For the USA

This product complies with the requirements of European Directive 89/336/EEC.

FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the

FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential

installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in

accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee

that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or

television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the

interference by one or more of the following measures:

–

Reorient or relocate the receiving antenna.

Increase the separation between the equipment and receiver.

Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modification to this system can void the users authority to operate this equipment.

This equipment requires shielded interface cables in order to meet FCC class B Limit.

For Canada

NOTICE

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.

AVIS

Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.

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In fo rm a tio n

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as

shown below.

PAN AMA

ITALY

ISRAEL

SIN GAPO RE

AFRICA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE PANAMA

TEL: 315-0101

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

Halilit P. Greenspoon &

Swee Lee Company

150 Sims Drive,

Sons Ltd.

SINGAPORE 387381

TEL: 846-3676

8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

CRISTOFORI MUSIC PTE

LTD

Blk 3014, Bedok Industrial Park E,

#02-2148, SINGAPORE 489980

TEL: 243 9555

N O RW AY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

PARAGUAY

Distribuidora De

Instrumentos Musicales

J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (021) 492-124

JO RDAN

AMMAN Trading Agency

245 Prince Mohammad St.,

Amman 1118, JORDAN

TEL: (06) 464-1200

TEL: 20-2-417-1828

REUN IO N

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

TAIW AN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung Shan

N.Road Sec.2, Taipei, TAIWAN,

R.O.C.

TEL: 273 0074

KUW AIT

Easa Husain Al-Yousifi

Abdullah Salem Street,

Safat, KUWAIT

PERU

VIDEO Broadcast S.A.

Portinari 199 (ESQ. HALS),

San Borja, Lima 41,

REP. OF PERU

TEL: (01) 4758226

PO LAN D

P. P. H. Brzostowicz

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

REUNION ISLAND

TEL: (0262) 218-429

TEL: 243-6399

TEL: (02) 2561 3339

SO UTH AFRICA

That Other Music Shop

(PTY) Ltd.

11 Melle St., Braamfontein,

Johannesbourg, SOUTH AFRICA

LEBAN O N

PO RTUGAL

THAILAN D

A. Chahine & Fils

Gerge Zeidan St., Chahine Bldg.,

Achrafieh, P.O.Box: 16-5857

Beirut, LEBANON

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

Tecnologias Musica e Audio,

Roland Portugal, S.A.

Cais Das Pedras, 8/ 9-1 Dto

4050-465 PORTO

Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2,

Bangkok 10100, THAILAND

TEL: (02) 2248821

TEL: (01) 20-1441

P.O.Box 32918, Braamfontein 2017

Johannesbourg, SOUTH AFRICA

TEL: (011) 403 4105

PORTUGAL

TEL: (022) 608 00 60

Q ATAR

Al Emadi Co. (Badie Studio

& Stores)

P.O. Box 62,

Doha, QATAR

TEL: 4423-554

VIETN AM

Saigon Music

138 Tran Quang Khai St.,

District 1

Ho Chi Minh City

VIETNAM

TEL: (08) 844-4068

VEN EZUELA

Paul Bothner (PTY) Ltd.

17 Werdmuller Centre,

Main Road, Claremont 7708

SOUTH AFRICA

RO MAN IA

FBS LINES

Piata Libertatii 1,

RO-4200 Gheorghehi

TEL: (095) 169-5043

Musicland Digital C.A.

Av. Francisco de Miranda,

Centro Parque de Cristal, Nivel

C2 Local 20 Caracas

VENEZUELA

TEL: (212) 285-8586

P.O.BOX 23032, Claremont 7735,

SOUTH AFRICA

TEL: (021) 674 4030

SAUDI ARABIA

aDawliah Universal

Electronics APL

Corniche Road, Aldossary Bldg.,

1st Floor, Alkhobar,

SAUDI ARABIA

RUSSIA

MuTek

3-Bogatyrskaya Str. 1.k.l

107 564 Moscow, RUSSIA

TEL: (095) 169 5043

AUSTRALIA/

N EW ZEALAN D

EURO PE

ASIA

AUSTRALIA

AUSTRIA

Roland Austria GES.M.B.H.

Siemensstrasse 4, P.O. Box 74,

A-6063 RUM, AUSTRIA

SPAIN

Roland Electronics

de España, S. A.

Calle Bolivia 239, 08020

Barcelona, SPAIN

Roland Corporation

Australia Pty., Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

CHIN A

Beijing Xinghai Musical

Instruments Co., Ltd.

6 Huangmuchang Chao Yang

District, Beijing, CHINA

TEL: (010) 6774 7491

TEL: (0512) 26 44 260

SYRIA

TEL: (93) 308 1000

Technical Light & Sound

Center

BELGIUM/ HOLLAND/

LUXEMBO URG

Roland Benelux N. V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL: (014) 575811

TEL: (02) 9982 8266

SW EDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (08) 702 0020

Bldg. No. 47,

N EW ZEALAN D

Shanghai Xingtong Acoustics

Khaled Ebn Al Walid St.

Damascus, SYRIA

TEL: (011) 221-1230

Roland Corporation Ltd.

32 Shaddock Street, Mount Eden,

Auckland, NEW ZEALAND

TEL: (09) 3098 715

Equipment CO.,Ltd.

5F. No.1500 Pingliang Road

New East Club Plaza, Shanghai,

CHINA

TURKEY

Barkat muzik aletleri ithalat

ve ihracat Ltd Sti

Siraselviler Caddesi Siraselviler

Pasaji No:74/ 20

DEN MARK

TEL: (021) 5580-0800

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

CEN TRAL/ LATIN

AMERICA

SW ITZERLAN D

Roland (Switzerland) AG

Musitronic AG

Gerberstrasse 5, Postfach,

CH-4410 Liestal, SWITZERLAND

TEL: (061) 927-8383

HO N G KO N G

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

Taksim - Istanbul, TURKEY

TEL: (0212) 2499324

TEL: (039)16 6200

ARGEN TIN A

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

FRAN CE

Roland France SA

4, Rue Paul Henri SPAAK,

Parc de l'Esplanade, F 77 462 St.

Thibault, Lagny Cedex FRANCE

TEL: 01 600 73 500

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai, U.A.E.

TEL: (04) 3360715

UKRAIN E

TEL: 2415 0911

TIC-TAC

Mira Str. 19/ 108

IN DIA

P.O. Box 180

295400 Munkachevo, UKRAINE

TEL: (03131) 414-40

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra Mahalaxmi

Flats Compound Off. Dr. Edwin

Moses Road, Mumbai-400011,

INDIA

BRAZIL

Roland Brasil Ltda

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

FIN LAN D

Roland Scandinavia As,

Filial Finland

Lauttasaarentie 54 B

Fin-00201 Helsinki, FINLAND

TEL: (9) 682 4020

UN ITED KIN GDO M

N O RTH AMERICA

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

TEL: (022) 498 3079

IN DO N ESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

CAN ADA

Roland Canada Music Ltd.

(Head Office)

5480 Parkwood Way Richmond

B. C., V6V 2M4 CANADA

TEL: (0604) 270 6626

CO STA RICA

JUAN Bansbach

Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237,

San Jose, COSTA RICA

TEL: 258-0211

UNITED KINGDOM

TEL: (01792) 700139

GERMAN Y

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt,

GERMANY

MIDDLE EAST

KO REA

Roland Canada Music Ltd.

(Toronto Office)

Unit 2, 109 Woodbine Downs

Blvd, Etobicoke, ON

M9W 6Y1 CANADA

TEL: (0416) 213 9707

TEL: (040) 52 60090

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

CHILE

Comercial Fancy S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue,

P.O.Box 247, Manama 304,

State of BAHRAIN

GREECE

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: (061) 43-5400

MALAYSIA

BENTLEY MUSIC SDN BHD

140 & 142, Jalan Bukit Bintang

55100 Kuala Lumpur,MALAYSIA

TEL: (03) 2144-3333

TEL: 211 005

U. S. A.

EL SALVADO R

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

CYPRUS

Radex Sound Equipment Ltd.

17, Diagorou Street, Nicosia,

CYPRUS

OMNI MUSIC

HUN GARY

75 Avenida Norte y Final

Intermusica Ltd.

Alameda Juan Pablo

Edificio No.4010 San Salvador,

EL SALVADOR

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint, HUNGARY

TEL: (23) 511011

PHILIPPIN ES

TEL: (323) 890 3700

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 66-9426

TEL: 262-0788

IRAN

MOCO, INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

IRELAN D

Roland Ireland

Audio House, Belmont Court,

Donnybrook, Dublin 4.

Republic of IRELAND

TEL: (01) 2603501

MEXICO

TEL: (02) 899 9801

Casa Veerkamp, s.a. de c.v.

Av. Toluca No. 323, Col. Olivar

de los Padres 01780 Mexico D.F.

MEXICO

TEL: (021) 285-4169

As of January 1, 2002 (Roland)

TEL: 668-0480

01453923 '02-2-AE2-61N

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