®
We’d like to take a moment to thank you for purchasing the Roland Percussion
Sound Module TD-10.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3, 4), and “IMPORTANT
NOTES” (p. 17). These sections provide important information concerning the
proper operation of the unit. Additionally, in order to feel assured that you have
gained a good grasp of every feature provided by your new unit, this manual should
be read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
Co p y rig h t © 1 9 9 7
RO LAN D CO RPO RATIO N
All rig h ts re se rve d . N o p a rt o f th is p u b lica tio n m a y b e re p ro d u ce d in
a n y fo rm w ith o u t th e w ritte n p e rm issio n o f RO LAN D CO RPO RATIO N .
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USING THE UNIT SAFELY
The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
or warnings.The specific meaning of the symbol is
determined by the design contained within the
triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
The
symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
must not be done is indicated by the design contained
within the circle. In the case of the symbol at left, it
means that the unit must never be disassembled.
* Material damage refers to damage or
other adverse effects caused with
respect to the home and all its
furnishings, as well to domestic
animals or pets.
The ● symbol alerts the user to things that must be
carried out. The specific thing that must be done is
indicated by the design contained within the circle. In
the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
• Before using this unit, make sure to read the instruc-
tions below, and the Owner’s Manual.
• Protect the unit from strong impact.
(Do not drop it!)
...........................................................................................................
...........................................................................................................
• Do not open or perform any internal modifications
on the unit. (The only exception would be where
this manual provides specific instructions which
should be followed in order to put in place user-
installable options; see p. 43.)
• 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 extension
cords—the total power used by all devices you have
connected to the extension cord’s outlet must never
exceed the power rating (watts/ amperes) for the
extension cord. Excessive loads can cause the insula-
tion on the cord to heat up and eventually melt
through.
...........................................................................................................
• When using the unit with a rack or stand recom-
mended by Roland, the rack or stand must be care-
fully placed so it is level and sure to remain stable. If
not using a rack or stand, you still need to make
sure that any location you choose for placing the
unit provides a level surface that will properly sup-
port the unit, and keep it from wobbling.
...........................................................................................................
• Before using the unit in a foreign country, consult
with your dealer, or qualified Roland service per-
sonnel.
...........................................................................................................
...........................................................................................................
• Use only the attached power-supply cord.
• Always turn the unit off and unplug the power cord
before attempting installation of the circuit board
(WAVE & SYSTEM EXPANSION BOARD TDW series; p.
43).
...........................................................................................................
• Avoid damaging the power cord. Do not bend it
excessively, step on it, place heavy objects on it, etc.
A damaged cord can easily become a shock or fire
hazard. Never use a power cord after it has been
damaged.
...........................................................................................................
• Do not put anything that contains water (e.g., flower
vases) on this unit. Also, avoid the use of insecti-
cides, perfumes, alcohol, nail polish, spray cans, etc.,
near the unit. Swiftly wipe away any liquid that
spills on the unit using a dry, soft cloth.
...........................................................................................................
• In households with small children, an adult should
provide supervision until the child is capable of fol-
lowing all the rules essential for the safe operation
of the unit.
...........................................................................................................
...........................................................................................................
3
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USING THE UNIT SAFELY
• Always grasp only the plug on the power-supply
cord when plugging into, or unplugging from, an
outlet or this unit.
...........................................................................................................
• Try to prevent cord s and cables from becoming
entangled . Also, all cord s 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.
...........................................................................................................
• Never handle the power cord or its plugs with wet
hands when plugging into, or unplugging from, an
outlet or this unit.
...........................................................................................................
• Before moving the unit, disconnect the power plug
from the outlet, and pull out all cords from external
devices.
...........................................................................................................
• Before cleaning the unit, turn off the power and
unplug the power cord from the outlet (p. 27).
...........................................................................................................
• Whenever you suspect the possibility of lightning in
your area, pull the plug on the power cord out of
the outlet.
...........................................................................................................
• Install only the specified circuit board(s) (WAVE &
SYSTEM EXPAN SION BOARD TDW series).
Remove only the specified screws (p. 43).
...........................................................................................................
4
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Ho w to re a d th is o w n e r ’s m a n u a l
This owner’s manual is organized as follows.
Q u ick Sta rt
This section is intended for those using the TD-10 for the first time, and explains how to use various
functions in a simple way. Please read Quick Start and follow along by actually operating the TD-
10. This will help you understand most of what you need to know for basic operations. If you find
unfamiliar words or terms, refer to the “Glossary” on p. 169. More advanced ways of using the TD-
10, or details of other operations are explained the Reference section.
Ad va n ce d Use
This section explains all functions of the TD-10 in detail and is divided into specific parts. Basic
panel operations and displays are covered in the Quick Start. The Advanced Use section assumes
you already understand basic procedures, so if anything’s unclear, refer to the “Quick Start.”
Ch a p te r 1 . O ve rvie w o f th e TD-1 0 V-d ru m s
This chapter explains the concept of the TD-10 and how it is organized. Read this chapter in order to
understand what the TD-10 is.
Ch a p te rs 2 –5 . Fu n ctio n s fo r cre a tin g so u n d
If you wish to learn more about the sound creation possibilities introduced in the “Quick Start,”
refer to chapters 2–5.
Ch a p te r 6 . Usin g a se q u e n ce r a n d re la te d fu n ctio n s
This chapter explains sequencer functions such as performance, recording, click settings, and pattern
editing.
Ch a p te r 7 . Se ttin g s fo r th e e n tire TD-1 0
This chapter explains settings that affect the entire TD-10, such as adjusting the overall sound, sav-
ing data to a memory card etc.
Ch a p te rs 8 a n d 9 . Co n ve n ie n t fu n ctio n s a n d h o w to u se th e m
These chapters explain how to use pads or pedals for pattern play back, and other functions, and
about time-saving operations such as copy and help.
Ch a p te r 1 0 . Fu n ctio n s u sin g MIDI
This chapter explains how to use MIDI—whether it be for saving data to an external device, or for
using the TD-10 as a sound module.
Ap p e n d ice s
If you run into problems, refer to “Troubleshooting” to make sure that the settings are correct. If an
error message appears during operation, refer to “Message/ Error Message List” and take appropri-
ate action. This section also provides information related to sound editing, MIDI, various lists, and
the MIDI implementation charts.
* The display screens printed in this owner’s manual are based on the factory settings. However, please be aware
that in some cases they may differ from the actual factory settings.
5
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Co n te n ts
IMPORTANT SAFETY INSTRUCTIONS ............................................................................2
USING THE UNIT SAFELY.................................................................................................3
How to read this owner’s manual ........................................................................................5
Features ............................................................................................................................12
Front and rear panel..........................................................................................................14
Important notes .................................................................................................................17
About button operations and the screen displays .............................................................18
Q u ick Sta rt ..............................2 1
Be fo re y o u b e g in p la y in g ..........................2 2
Mounting the TD-10 to the stand.......................................................................................22
Connect your audio system or amp...................................................................................23
Connecting pads and pedals.............................................................................................24
Turning on the power ........................................................................................................26
To turn the power off ... .....................................................................................................................27
Listening to the internal demo playback............................................................................28
Specify the pads that the TD-10 will use...........................................................................29
If you have purchased the “V-Basic Kit” or “V-Standard Kit” ....................................................29
If you have purchased the PD-5, PD-7, PD-9, PD-100 or PD-120 individually .........................30
Using triggers on an acoustic drum to play the TD-10 .................................................................33
Check the settings.............................................................................................................34
Fo r a b e tte r p e rfo rm a n ce ..........................3 5
Concerning the performance & expressiveness of the pads.............................................35
Rim shots..............................................................................................................................................35
Choking ................................................................................................................................................35
Positional sensing ...............................................................................................................................36
Playing with brushes..........................................................................................................................36
Hi-hat control pedal ...........................................................................................................................36
TD-10 operating procedure ...............................................................................................37
Adjusting the volume.........................................................................................................................37
Selecting a drum kit............................................................................................................................38
Adjusting the sensitivity of a pad.....................................................................................................39
Master equalizer..................................................................................................................................40
Effect on/ off ........................................................................................................................................41
Help function.......................................................................................................................................42
About expansion boards....................................................................................................43
À propos des cartes d’extension .......................................................................................44
(French language for Canadian Safety Standard)
Troubleshooting connections and settings........................................................................45
Fe a tu re s o f th e p re se t d ru m k its ................4 7
How sounds are created on the V-drums..........................................................................47
No.36: 70’s Rock drum kit .................................................................................................48
No.37: Brush Kit ................................................................................................................50
No.38: Electronic drum kit .................................................................................................52
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Contents
Mo d ify in g a d ru m k it ................................5 4
[INST]: Creating drum sounds ..........................................................................................55
Selecting an instrument......................................................................................................................55
Modify the material and depth of the body....................................................................................56
Change the material and tuning of the head ..................................................................................58
Adjust the muffling (muting) and snare strainer tension .............................................................60
[STUDIO]: Adjusting the acoustics of the room.................................................................62
Decide “where” the drums are played ............................................................................................63
Change the size of the room ..............................................................................................................64
[CONTROL ROOM]: Adding finishing touches to the sound.............................................65
Using the equalizer to modify the sound ........................................................................................65
Adjusting the volume balance of the instruments.........................................................................67
Ex a m p le s a n d co n ve n ie n t tip s ...................6 8
Perform with the on-board sequencer...............................................................................68
Playing back a preset pattern ............................................................................................................68
Play the pads along with a preset pattern.......................................................................................69
Drum Kit Chain—Selecting drum kits in the desired order................................................70
Using a foot switch to select kits .......................................................................................72
Using a pad to playback patterns......................................................................................72
Using headphones to hear the click sound .......................................................................73
Using the TD-10 as a MIDI sound module ........................................................................74
Ad va n ce d Use .........................7 5
Ch a p te r 1 . O ve rvie w o f th e TD-1 0 V-d ru m s .......7 6
How the V-drums system is organized..............................................................................76
How to select pads............................................................................................................77
Using pads to select the pad/ sound for editing ............................................................................77
Using the TD-10 to select the pad/ sound for editing....................................................................77
Ch a p te r 2 . Se ttin g s fo r th e e n tire d ru m k it ....7 8
Selecting a kit....................................................................................................................78
Selecting kits from the list display .....................................................................................78
Naming a kit ......................................................................................................................78
Making settings for brush performance.............................................................................79
Effect switches for the entire kit.........................................................................................79
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Contents
Ch a p te r 3 . In stru m e n t se ttin g s ..................8 0
Selecting an instrument.....................................................................................................80
Selecting instruments from the list display ........................................................................80
Editing an acoustic drum kit (V-EDIT) ..............................................................................81
Selecting the shell material................................................................................................................81
Changing the shell depth...................................................................................................................82
Selecting the head material................................................................................................................82
Tuning the head ..................................................................................................................................82
Muffling settings (muting) ................................................................................................................83
Adjusting the snare strainer tension ................................................................................................83
Editing an electronic drum kit (V-EDIT).............................................................................84
Editing a TR-808/909 (V-EDIT) .........................................................................................85
Editing hi-hat, cymbals and percussion.............................................................................86
Ch a p te r 4 . Stu d io se ttin g s .........................8 7
Settings for the entire drum kit ..........................................................................................87
Selecting the studio/ room .................................................................................................................87
Changing the size of the room ..........................................................................................................87
Changing the wall material...............................................................................................................87
Selecting the ambience mike location ..............................................................................................87
Adjusting the volume and output assignments of the ambience ................................................88
Settings for each instrument..............................................................................................88
Adjusting the amount of ambience ..................................................................................................88
Selecting the type of mike and its location......................................................................................88
Settings for each group .....................................................................................................89
Adjusting the amount of ambience send level for each group ....................................................89
Ch a p te r 5 . Co n tro l ro o m se ttin g s ...............9 0
Settings for each instrument..............................................................................................90
Adjusting volume (level) ...................................................................................................................90
Adjusting pan (stereo location).........................................................................................................90
Adjusting effect send level ................................................................................................................90
Selecting output assignments............................................................................................................91
Controlling variations in volume (Compressor)............................................................................91
Customizing the tone (Equalizer).....................................................................................................92
Settings for the entire drum kit ..........................................................................................93
Adjusting effect Return level ............................................................................................................93
Selecting the type of effect .................................................................................................................93
Editing the effects ...............................................................................................................................94
Settings for an entire group...............................................................................................96
Adjusting effect send level for an entire group ..............................................................................96
Adjusting the volume by group .......................................................................................................96
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Contents
Ch a p te r 6 . Se q u e n ce r ................................9 7
Basic sequencer operation................................................................................................97
Using Preset Patterns .........................................................................................................................97
Setting the tempo ..............................................................................................................97
Setting the tempo for each pattern ...................................................................................................97
Temporarily changing the tempo of the currently-playing pattern ............................................97
Playback functions ............................................................................................................98
Selecting a pattern...............................................................................................................................98
Selecting patterns from the list .........................................................................................................98
Selecting how a pattern will playback .............................................................................................98
Click settings .....................................................................................................................99
Click on/ off and volume settings ....................................................................................................99
Setting the tempo ................................................................................................................................99
Setting the time signature and click interval ..................................................................................99
Selecting the click sound ..................................................................................................................100
Using ambience.................................................................................................................................100
Using effects ......................................................................................................................................100
Adjusting the pan (stereo location)................................................................................................100
Selecting the output destination .....................................................................................................100
Recording........................................................................................................................101
Basic recording procedure...............................................................................................................101
The Rehearsal function ....................................................................................................................102
Using a count-in ................................................................................................................................102
Start recording the moment that you strike a pad .......................................................................102
Correcting timing as you record (Quantize).................................................................................103
Importing data from another sequencer into the TD-10.............................................................103
Editing a pattern ..............................................................................................................103
Naming a pattern ..............................................................................................................................103
Erasing a pattern ...............................................................................................................................104
Erasing selected measures of a pattern..........................................................................................104
Copying a pattern .............................................................................................................................104
Copying selected measures of a pattern........................................................................................105
Clearing a pattern .............................................................................................................................105
Clearing selected measures of a pattern ........................................................................................105
Connecting two patterns..................................................................................................................106
Settings for part instruments ...........................................................................................106
Adjusting the master tuning ...........................................................................................................106
Instrument selection and settings for each part ...........................................................................106
Mixer settings for each part.............................................................................................................107
Muting a specific part.......................................................................................................................107
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Contents
Ch a p te r 7 . Se ttin g s fo r th e e n tire TD-1 0 ...1 0 8
Changing output assignment for audio received by the MIX IN jack...............................108
Specifying the type of pad...............................................................................................108
Basic settings for the trigger parameters (BASIC) ..........................................................109
Detailed settings for the trigger parameters (ADVNCD)..................................................111
The order in which trigger parameters should be set when using drum triggers.............112
Adjusting the brightness of the display............................................................................113
Setting the master equalizer............................................................................................113
Saving data to a memory card ........................................................................................114
Loading data from a memory card ..................................................................................115
Automatically switching the display (Note Chase)...........................................................115
Ch a p te r 8 . Co n ve n ie n t fu n ctio n s ..............1 1 6
Selecting kits in the desired order (Drum Kit Chain) .......................................................116
Specifying a Drum Kit Chain ..........................................................................................................116
Naming a Drum Kit Chain ..............................................................................................................116
Copying ...........................................................................................................................117
The UNDO function.........................................................................................................117
Getting help.....................................................................................................................118
Specifying how the Preview button functions..................................................................118
Ch a p te r 9 . O p e ra tio n s u sin g p a d s a n d
fo o t sw itch e s ..........................................1 1 9
Using pads to play patterns (Pad Pattern) ......................................................................119
Using pads to perform button operations (Pad Switch) ..................................................119
Using foot switches to perform button operations (Foot Switch).....................................120
Ch a p te r 1 0 . Fu n ctio n s u sin g MIDI ............1 2 1
Saving/Loading data to/from an external device (Bulk Dump) ........................................121
Saving data ........................................................................................................................................121
Loading saved data to the TD-10....................................................................................................121
Setting the Device ID—Transmitting saved data to two or more TD-10 units........................122
Using pads to play an external MIDI sound module........................................................122
Selecting the note number transmitted by each pad ...................................................................122
Setting the Gate Time .......................................................................................................................123
Setting the MIDI channel.................................................................................................................123
Using the TD-10 with the Roland SPD-11.......................................................................123
MIDI settings for the entire TD-10 ...................................................................................124
Setting the MIDI channels for each Part........................................................................................124
Turning off Local Control................................................................................................................124
Disabling reception or transmission of Program Changes.........................................................124
Reducing the amount of data transmitted by the FD-7 (Pedal Data Thin) ..............................124
Using the TD-10 as a sound module...............................................................................125
Setting the instrument for each part ..............................................................................................125
Adjusting the mixer settings for each part....................................................................................125
Regarding note numbers for the drum kit sounds ......................................................................125
Using the percussion group ............................................................................................................126
Changing the kit number that is selected by a program change ...............................................128
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Contents
MIDI messages for detailed performance expressions ...................................................128
Messages for hi-hat control .............................................................................................................128
Messages for positional sensing (snare drum and ride cymbal only).......................................129
Synchronization with external MIDI devices....................................................................129
Ap p e n d ice s ............................1 3 1
Troubleshooting...............................................................................................................132
Instruments that can be used with each trigger...............................................................136
Restoring the factory settings (INITIALIZE).....................................................................137
Message / error message list ..........................................................................................138
About MIDI ......................................................................................................................140
Using drum triggers.........................................................................................................142
Preset list.........................................................................................................................143
MIDI implementation .......................................................................................................154
MIDI implementation chart ..............................................................................................165
Specifications ..................................................................................................................168
Glossary ..........................................................................................................................169
Index of screen displays..................................................................................................173
Index................................................................................................................................176
* PinStripe is a registered trademark of Remo Inc. U.S.A.
1 1
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Fe a tu re s
● En h a n ce d to n a l q u a lity a n d e x p re ssive n e ss th a t riva ls a co u stic
d ru m s
The TD-10 features a newly developed modeling sound module that relies on COSM technology.
The force and position of the hit are detected, providing sensitive and dynamic expression that is
extremely close to that of acoustic drums. In addition, when PD-100 or PD-120 (optional) pads are
used, you can enjoy excellent response when playing rolls.
* COSM (Composite Object Sound Modeling) is a Roland technology which combines multiple sound model-
ing processes to create new sounds.
* Positional detection is possible on snare drums and ride cymbals.
● W ith 6 0 0 d ru m so u n d s a n d 5 4 b a ck in g in stru m e n t p ro vid e d
A rich array of instrumental sounds are provided, sufficient to cover all styles of music.
● A u se r in te rfa ce co m fo rta b le fo r d ru m m e rs
You can create sounds much in the same way that you would using acoustic drums when you select
a preferred drum head, tune it, and attach muffling (muting) material. With the large display, the
use of graphics and icons to portray parameters being set and their meanings, operation is intuitive
and easily understood.
● Hig h -sp e e d trig g e r re sp o n se
The triggering time (time delay from hitting the pad until you hear the sound) is faster than ever,
allowing expressiveness and dynamics to be reproduced accurately.
● Tw e lve p a d s ca n b e u se d sim u lta n e o u sly
Since up to twelve pads can be used simultaneously, you can create large-scale setups bigger than
ever before. This also gives you flexibility for extended applications, such as using pads as switches
(Pad Switch) or for pattern playback (Pad Pattern).
● Sim u la te th e e n tire p ro ce ss o f a ctu a l re co rd in g
By being able to choose drum materials, sizes, studio location, mike types and their settings, effects
and mixer parameters, the TD-10 allows total flexibility for recording or live applications. All of
these settings can be stored as part of a drum kit,for instant recall at any time.
● Pe rfo rm u sin g b ru sh e s
If you use the PD-100 or PD-120 pads, you can play with brushes, something not possible with any
previous electronic drum system. (Nylon brush only please!).
● So u n d p ro ce ssin g sp e cia lly se le cte d fo r d ru m s
For each instrument assigned to trigger inputs 1–10, individual two-band equalizers and compres-
sors are provided. In addition,(in the control room) —there are digital effects: reverbs, flanger, cho-
rus, delays, pitch shift delay, and phaser. A three-band equalizer is also provided for processing the
sound at the MASTER OUT. Ambience(in the Studio) lets you choose WHERE the drums are being
played. You can change the sound of that space by changing the material of the walls, size of the
room and the position of the ambient mikes. There are individual ambience send levels for all
instruments.
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Features
● Fu n ctio n s a n d o p e ra tio n s p e rfe ct fo r live p e rfo rm a n ce s
The group faders on the front panel let you make quick changes as needed during performance. You
can play drum kits in any desired order (Drum Kit Chain). The INC/ DEC buttons are large enough
to be pressed with a drum stick. (Don’t HIT them!) Another very useful function allows you to send
the click sound ONLY to the headphones if desired. An audio input (stereo) for custom monitoring
(MIX IN jack) is also provided.
● Ea sy -o p e ra tio n se q u e n ce r is b u ilt-in
With easy, tape recorder-like operations, you can record or play back patterns. In addition to the
drums, three backing parts can be added for ensemble practice or for creating backing patterns via
MIDI keyboard, external sequencer etc.
* Brush swish/sweeping and choke cannot be recorded.
● Pre vio u s m o d e ls o f p a d s ca n b e u se d
Previous pad models (PD-5, PD-7, PD-9), kick trigger units (KD-5, KD-7) and the hi-hat control
pedal (FD-7) are all compatible. Also, the PD-7 and PD-9 allow positional sensing for the snare drum
and ride cymbal.
● Use r In sta lla b le Ex p a n sio n b o a rd s a llo w e x te n d e d fu n ctio n a lity
WAVE & SYSTEM EXPANSION BOARD TDW series will bring more instruments and drum kits to
the TD-10, and allows the system to be upgraded through Flash ROM. A memory card (M-512E) can
be used to store all kits and patterns for the TD-10.
● Usa b le a s a MIDI so u n d m o d u le
Percussion groups are provided so these sounds can be accessed via MIDI as with a dedicated mod-
ule, so in addition to sounds assigned to the 12 trigger inputs, a special note map for percussion
allows 72 types of instruments to be accessed simultaneously.
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Fro n t a n d re a r p a n e l
Fro n t Pa n e l
15
18
16
17
3
2
1
19
8
7
6
5
20
4
21
10
9
11
12 13 14
22
1 Trig g e r In d ica to r
5 EXIT Bu tto n
This will light when a trigger signal (signal produced when
pad is struck) is received from a pad. It allows you to check
whether the pad has been connected correctly.
Press this button and you will return to the screen one level
higher in the hierarchy. Repeated pressing takes you back to
the “DRUM KIT” page.
2 LED Disp la y
6 TO O LS Bu tto n
Displays the number of the currently selected drum kit.
Provides access to functions such as Copy, Undo, and Help.
(p. 42, 117)
3 Gra p h ic Disp la y
7 CHAIN Bu tto n
During performance, this indicates the drum kit name and
other important information. During editing, various graph-
ics and text relative to the editing process is indicated.
Lets you make Drum Kit Chain settings (a function that
arranges drum kits in a desired order for successive selec-
tion) (p. 70, 116).
* In this owner’s manual, this will be referred to simply as
“the display.”
8 SETUP Bu tto n
Here you can make settings that affect the entire TD-10, such
as trigger parameters and MIDI settings (p. 108).
4 F1 -F4 Bu tto n s
These buttons change their function depending on the con-
tents of the display. The lower part of the display will indi-
cate the function of each button (p. 18).
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Front and rear panel
9 GRO UP FADERS
20 TRIG SELECT
These allow you to adjust the volume of the kick, snare, hi-
hat, other percussion instruments, backing instruments, and
the click sound (p. 37).
Use the lower two buttons to select the pad (trigger number)
for which you wish to make settings. To select the rim of a
pad, press the RIM button, then the RIM indicator is lit. If
pads are connected to the TD-10, you can also select a pad
by striking it. The PREVIEW button lets you audition the
instrument that is assigned to the selected pad or the sound
appearing in the display when editing a percussion group
(p. 20).
10 SEQ UEN CER
Here are the buttons that control sequencer functions (play-
back/ recording of performance patterns) (p. 68, 97).
11 KIT Bu tto n
Provides access to the basic display page used when playing
the TD-10.
21 PREVIEW Bu tto n
Used to audition an instrument. By using TRIG SELECT but-
tons to select a pad, you can play and edit sound even if no
pads are connected to the TD-10. The button is velocity sen-
sitive (p. 20).
12 IN ST (In stru m e n t) Bu tto n
Provides access to the display page in which you can edit
instruments (p. 55, 80).
22 IN C Bu tto n , DEC Bu tto n
These buttons are used to switch drum kits or to modify val-
ues. Pressing the INC button increases the value, and press-
ing the DEC button decreases it. Since these buttons are
large, you can also use the tip of your drum stick to press
them (p. 19).
13 STUDIO Bu tto n
Provides access to the display page where you can choose
mike types, their positions, ambience types and ambient
mike positions (p. 62, 87).
* Please be aware that hitting the buttons with a stick can
cause malfunctions.
14 CO N TRO L RO O M Bu tto n
Allows you to edit mixer, EQ, compressor and effect para-
meters (p. 65, 90).
15 MIX IN Kn o b
This adjusts the volume of the device connected to the MIX
IN jack. The sound from the MIX IN will be output from the
MASTER out and/ or the PHONES jack.
16 PHO N ES Kn o b
Adjusts the headphone volume. Even when headphones are
connected, sound will still be output from the various out-
put jacks.
17 MASTER Kn o b
Adjusts the volume of the MASTER OUT jacks. The volume
of the PHONES jack is adjusted by the PHONES knob.
18 CURSO R Bu tto n s
Used to move the cursor in the display, or to access the next
display page (p. 18).
19 VALUE Dia l
This dial has the same function as the INC and DEC buttons.
Use this dial when you wish to make large changes in drum
kit settings or edited values (p. 19).
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Front and rear panel
Re a r Pa n e l
23
33
32
28
27
31
29
30
25
26
24
34
23 MEMO RY CARD Slo t
29 PHO N ES Ja ck
An M-512E memory card (optional) can be inserted into this
slot. Each memory card can store all settings of the TD-10,
such as drum kits and sequencer performance data, etc (p.
114).
A pair of stereo headphones can be connected to this jack.
Even if headphones are connected, sound will still be output
from the OUTPUT jacks (p. 23).
* The M-512E is the only memory card that can be used by
the TD-10.
30 MIX IN Ja ck
This jack is used to connect a CD or cassette player, or as a
custom monitoring input for live/ recording performances.
The sound that is input to this jack will be output from the
MASTER out jacks and/ or the PHONES jack (p. 108).
24 TRIGGER IN PUT Ja ck s
Accept the pads or kick trigger units you want to connect to
the TD-10. To connect a dual trigger type pad (PD-7, PD-9,
PD-120), use a stereo cable (p. 24).
31 MIDI IN Co n n e cto r
Use this connector when you wish to use an external MIDI
sequencer to play the sounds of the TD-10, or when loading
TD-10 settings (bulk data) that were saved on an external
device (p. 121).
25 FO O T SW ITCH Ja ck
Accepts connection of an optional foot switch (FS-5U). A
foot switch can be used to select kits and start/ stop the
sequencer, etc. Use a special PCS-31 cable (optional) (p. 72,
120).
32 MIDI O UT/ THRU Co n n e cto r
Use this connector when you wish to use play sounds in an
external MIDI sound module/ sampler from the pads, or
when you wish to transmit TD-10 settings (bulk data) to
another MIDI device (p. 121).
26 HH CTRL Ja ck
Accepts connection of a hi-hat control pedal (FD-7) (p. 36).
27 O UTPUT (MASTER) Ja ck s
33 PO W ER Sw itch
This switch turns the power on/ off (p. 26).
These jacks output the instrumental sounds of the TD-10,
and are for connection to external audio devices or amps. If
you are listening in mono, connect to only the MASTER L
(MONO) jack (p. 23).
34 AC In le t
Connect the included AC power cable to this inlet (p. 23).
28 OUTPUT (DIRECT 1 , 2 , 3 ) Ja ck s
The direct outs allow you to have more “separation,” over
the total kit, and can be u sed for external effects etc.
Ambience may also be sent from these outputs, but NOT the
digital effects. Output assignments DIRECT 1, 2 or 3 jacks
are found in the Control Room (p. 91).
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In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and
“USING THE UNIT SAFELY” on pages 2–4, please read and observe the following:
Im p o rta n t n o te s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
Po w e r Su p p ly
● 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).
● 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.
● 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.
● A small amount of heat will radiate from the unit during
normal operation.
Pla ce m e n t
● To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use head-
phones, so you do not need to be concerned about those
around you (especially when it is late at night).
● Since sound vibrations can be transmitted through floors
and walls to a greater degree than expected, take care not
to allow such sound to become a nuisance to neighbors,
esp ecially at n igh t an d w h en u sin g h ead p h on es.
Although the drum pads and pedals are designed so
there is a minimal amount of extraneous sound produced
when they're struck, rubber heads tend to produce louder
sounds compared to mesh heads. You can effectively
reduce much of the unwanted sound from the pads by
switching to mesh heads.
● When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
● Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the fol-
lowing precautions.
● Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To
alleviate the problem, change the orientation of this unit;
or move it farther away from the source of interference.
● This device may interfere with radio and television recep-
tion. Do not u se this d evice in the vicinity of su ch
receivers.
● 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 tem perature extrem es.
Excessive heat can deform or discolor the unit.
Ma in te n a n ce
● 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.
● Never use benzene, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/ or
deformation.
● Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufactur-
er of the cable.
Re p a irs a n d Da ta
● Please be aware that all data contained in the unit’s mem-
ory m ay be lost w h en th e u n it is sen t for rep airs.
Important data should always be backed up on a RAM
card / DATA card , in an oth er MIDI d evice (e.g., a
sequencer), or written down on paper (when possible).
During repairs, due care is taken to avoid the loss of data.
However, in certain cases (such as when circuitry related
to memory itself is out of order), we regret that it may not
be possible to restore the data, and Roland assumes no
liability concerning such loss of data.
Be fo re Usin g Ca rd s
Usin g DATA Ca rd s
● New M-512E DATA cards do not yet have their battery
installed. Before a DATA card can be used, you first need
to insert the battery (refer to the instructions supplied
with the DATA card).
● M-512E DATA card s are equipped w ith a PROTECT
switch, which when turned on protects your data from
accidental erasure. It is recommended that the switch be
kept at the ON position, and switched to OFF only at the
times you wish to write new data onto the card.
Me m o ry Ba ck u p
● This unit contains a battery w hich pow ers 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 w ith your d ealer, or qualified
Roland service personnel.
On
Off
● When the battery in an M-512E DATA card is nearly
worn out, the message below will be shown in the dis-
play. Refer to the instructions supplied with the DATA
card and promptly replace the battery to avoid the loss of
the data on it.
“MEMORY CARD Battery Low ! Please Change !”
● Carefully insert the DATA card all the way in—until it is
firmly in place.
“Backup Battery Low !”
Ad d itio n a l Pre ca u tio n s
● Please be aware that the contents of memory can be irre-
trievably lost as a result of a malfunction, or the improper
operation of the unit. To protect yourself against the risk
of loosing important data, we recommend that you peri-
odically save a backup copy of important data you have
stored in the unit’s memory on a RAM card/ DATA card,
in another MIDI device (e.g., a sequencer).
● Unfortunately, it may be impossible to restore the con-
tents of data that was stored on a RAM card/ DATA card,
in another MIDI device (e.g., a sequencer), in the unit’s
m em ory once it has been lost. Roland Corp oration
assumes no liability concerning such loss of data.
● Never touch the terminals of the DATA card. Also, avoid
● Use a reasonable amount of care when using the unit’s
getting the terminals dirty.
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Ab o u t b u tto n o p e ra tio n s a n d th e scre e n d isp la y s
Operations common to all aspects of operating the TD-10 are covered below.
● Sa vin g y o u r se ttin g s
For operations within the TD-10, there is no procedure for “saving settings.” When you modify the
value of a setting, the new value is automatically saved as soon as you make the change.
● Bu tto n s, slid e rs a n d k n o b s
Buttons, sliders and knobs on the front panel will be printed in square brackets [ ]; e.g., [SETUP].
● Cu rso r
fig.00-003e
Cursor
Cursor refers to the highlighted characters indicating an on-screen item that can be set. If the screen
contains more than one item that can be set, use the [CURSOR] buttons to move it to the item that
you wish to set.
fig.00-003a
● Fu n ctio n b u tto n s ([F1 ]–[F4 ])
fig.00-004
The [F1]–[F4] buttons are called the “function buttons.” The bottom part of the display will show the
names of the functions available for [F1]–[F4]. For example, if this owner’s manual makes reference
to [INST]-[F1 (SHELL)], press [INST] , and then press [F1] (in this case, “SHELL” is displayed above
[F1]).
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About button operations and the screen displays
● Ho w to m o d ify se ttin g s
fig.00-005e
INC/DEC button
VALUE dial
[INC] and [DEC] (referred to in this manual as [INC/ DEC]) and the VALUE dial are both used to
modify the values of settings. The two methods have the following advantages.
[IN C/ DEC]
• Each time [INC] is pressed, the value increases. Each time [DEC] is pressed, the value decreases.
This is convenient for fine adjustments.
• When making an on/ off setting, [INC] will turn the setting on and [DEC] will turn it off.
• If you hold down [INC] and press [DEC], the value will increase rapidly. If you hold down [DEC]
and press [INC] the value will decrease rapidly.
VALUE d ia l
Since the dial allows you to make major changes to the value at once, it’s a convenient way to make
broad adjustments to a parameter quickly.
● Ab o u t th e u p p e r rig h t o f th e scre e n d isp la y
fig.00-006e
Trigger number
Instrument name (or Trigger name)
MIDI note number
Rim
Head
In pages that allow you to make settings for each pad, you can strike the desired pad to see the set-
ting page for that pad. At this time, the upper right of the display will show the number of the trig-
ger jack to which the selected pad is connected, the instrument that it is using, and the MIDI note
number. The first character (“H” or “R”) indicates whether the head or the rim of the pad is selected.
The numerals at the right are the MIDI note number. You will need to know the MIDI note number
when using the TD-10 as a MIDI sound module.
The “H” or “R” display will indicate whether the head or rim will sound when you press the
Preview button. In cases where settings for the head and rim can be edited separately, the following
characters will also be displayed, letting you know the page in which you are.
fig.00-007
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About button operations and the screen displays
● Se le ctin g p a d s fro m th e TD-1 0 fro n t p a n e l
fig.00-008
The trigger select buttons ([TRIG SELECT]) are used when you wish to select a sound for editing
from the front panel of the TD-10, rather than by striking a pad as explained above. You can use
these buttons to select a trigger number and edit the settings.
When you press the button marked “1,” the next lower-numbered trigger will be selected. When
you press the button marked “12,” the next higher-numbered trigger will be selected.
When using a PD-7, PD-9 or PD-120, the rim button ([RIM]) lets you specify whether you are mak-
ing settings for the head or the rim. When the [RIM] indicator is lit, the rim is selected.
By using these buttons in conjunction with the preview button, you can edit without pads connected
to the TD-10.
* Depending on the instrument selection, there will be no distinction between head and rim in some cases. For
details refer to p. 136.
● Ab o u t th e Pre se t Dru m Kits
When the instrument is shipped from the factory, drum kits 1–50 are already pre-loaded. Even if
you modify the settings of these drum kits, you can restore them to their factory settings at any time.
These drum kits are referred to as the Preset Drum Kits. For details, refer to p. 137.
● Ab o u t th e b a sic scre e n
fig.00-008ae
Screen
name
Effect on/off
Settings for brushes
Drum kit
name
This screen is the TD-10’s basic screen, which will appear when you press [KIT].
In addition to the kit name, it displays the status of the memory card (p. 78), the effect on/ off setting
(p. 79), and whether or not the kit is for brushes (p. 79) etc.
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Q u ick Sta rt
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Be fo re y o u b e g in p la y in g
This section explains the connections and settings that you must make before playing. The explana-
tions here are given, assuming that the TD-10 has its factory settings.
The TD-10 provides a function for restoring the factory settings. Refer to “Restoring the factory settings (INI-
TIALIZE)” on p. 137.
MEMO
Mo u n tin g th e TD-1 0 to th e sta n d
Attach the stand holder (included with the optional MDS-7U/ 10) to the TD-10.
fig.00-009e
Wide
Narrow
Using the included screws, attach it so that the unit is oriented as shown in the above diagram.
Use the included screws. Using other screws can cause damage.
N O TE
Next, attach the TD-10 to the drum stand (MDS-7U/ 10).
For details on assembling the drum stand and attaching the TD-10, refer to the owner’s manual for
the drum stand (MDS-7U/ 10).
To attach the TD-10 to a cymbal stand (or the like), you may want to make use of the separately available
MEMO
APC-33 All Purpose Clamp.
Make sure, though, that the cymbal stand you intend to use has pipes with a diameter of between 10.5 and 30
millimeters.
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Before you begin playing
Co n n e ct y o u r a u d io sy ste m o r a m p
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
fig.00-010e
Audio cable
R
L
Power cord
to AC
power outlet
Stereo headphones
Audio set, etc.
Connect the rear panel MASTER L(MONO) and R jacks to your audio system or amps. If you will be
using headphones, connect them to the PHONES jack.
Be sure that the TD-10’s MASTER L and R jacks are connected respectively to the L and R of your audio sys-
tem or amps.
N O TE
In consideration of live performance situations, the headphone output is designed to produce a higher volume
than other electronic musical instruments. Extended listening at high volumes will damage your hearing, so
please pay attention to the volume adjustment.
At the factory settings, no sound will be output from the DIRECT 1, DIRECT 2 or DIRECT 3 jacks.
MEMO
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Before you begin playing
Co n n e ctin g p a d s a n d p e d a ls
Using the cables provided, connect your pads, hi-hat control pedals and kick trigger units as shown
in the above diagram. Special jacks are provided for the kick (KICK) and snare (SNARE), so make
the correct connections to these jacks.
fig.00-011e
TD-10 Rear panel
Roland
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Before you begin playing
If you are using a PD-7 or PD-9, move the polarity switch located on the back of the pad to the “-(Roland)”
position. When using a KD-7, either position will do.
N O TE
fig.00-012
OUTPUT
POLARITY
+
- (Roland)
PD-7, PD-9
To have the most expressive performance, we recommend the use of the Roland pads (PD-5, PD-7, PD-9, PD-
100, PD-120) and kick trigger units (KD-7).
MEMO
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Before you begin playing
Tu rn in g o n th e p o w e r
Once the connections have been completed (p. 23, 24), turn on power to your various devices in the order spec-
N O TE
ified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and
other devices.
fig.00-013
1
3
6
5
Rotate [MASTER] and [PHONES] all the way to the left to turn down the volume.
Turn down the volume of the connected amp or audio system.
1
2
3
Turn on the POWER switch located on the rear panel of the TD-10.
Caution when turning on the power
N O TE
● After turning on the power, do not press the hi-hat control pedal (FD-7) until the drum kit
name (see the following illustration) appears in the display.
If the pedal was pressed while the power was being turned on, hi-hat open/close operations cannot be per-
formed correctly.
● After turning on the power, do not strike a pad until the drum kit name appears in the dis-
play.
Striking a pad while the power is being turned on will cause poor response when the pad is struck softly.
fig.00-037
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Before you begin playing
Turn on the power of the connected amp or audio system.
4
5
Raise the [GROUP FADERS] sliders to the maximum position, and adjust [MASTER] ([PHONES])
to the position shown in the diagram.
fig.00-014a
While striking [PREVIEW] with your finger, adjust the volume of the connected amp or audio sys-
tem. If you are using headphones, gradually raise [PHONES] to adjust the volume.
The TD-10 will produce sound. The volume will depend on the force with which you struck [PRE-
VIEW].
6
If there is no sound when you strike [PREVIEW] ...
Check the following points.
· If you are using headphones, are they connected to the PHONES jack?
· If you are using an external amp, is it connected to the MASTER jacks? Are the
audio cables connected correctly to the input jacks of the external amp, etc.?
· Could there be a problem with the cables connected to the external amp?
· Are the input select settings of the external amp correct?
· Are the [GROUP FADERS] sliders lowered?
· Could the [PHONES] volume be too low?
· Could the [MASTER] volume be too low?
You can use [TRIG SELECT] to select and audition the instrument for each pad.
MEMO
● To tu rn th e p o w e r o ff ...
Make sure that the TD-10 volume controls and the connected external devices are turned to the
1
2
3
minimum position.
Turn off the power of the external devices.
Turn off the power of the TD-10.
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Before you begin playing
Liste n in g to th e in te rn a l d e m o p la y b a ck
The TD-10 contains demo songs that demonstrate its sounds and expressive capabilities. The demo
song is a “rainbow” of 4 short songs, arranged as a medley. It plays back in “loop” (repeating)
mode, yet you can also listen, starting from any of 4 positions, accessed as follows:
fig.00-015
2
3
1
5 4
Set each of the [GROUP FADERS] sliders [KICK][SNARE][HI-HAT][OTHERS][BACKING] to the
same volume.
1
2
Hold down [SETUP] and press [CHAIN].
In this display, the cursor defaults to “Rock.”
Use [INC/DEC] or the VALUE dial to select the “section” number.
3
4
You can start listening from the beginning of any of the four sections.
Press [PLAY].
You can listen to the medley and it will continue to loop.
During playback, the [GROUP FADERS] function normally allowing you to mix the demo song as
you wish. (for more info on the [GROUP FADERS], see page 37.)
Press [STOP] to stop playback.
5
Once you are through listening to the demos, press [EXIT] to return to the “DRUM KIT” page.
All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a
N O TE
violation of applicable laws.
No data for the music that is played will be output from MIDI OUT/THRU.
Drum kit 39–42 are used in the Demo Song.
For details of the Demo Song, refer to page 179.
MEMO
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Before you begin playing
Sp e cify th e p a d s th a t th e TD-1 0 w ill u se
In order for the TD-10 to accurately receive trigger signals from each pad, you must specify the type of
pad that is connected to each TRIGGER INPUT jack.
● If y o u h a ve p u rch a se d th e “ V-Ba sic Kit” o r “ V-Sta n d a rd Kit”
Trigger settings for the V-Basic Kit or the V-Standard Kit are provided, so you can call up and select
them.
fig.00-016
1
2
3
Press [SETUP], press [F1 (TRIG)], and then press [F1 (BANK)].
Use [CURSOR] to move the cursor to the “BANK” number.
Use [INC/DEC] or the VALUE dial to make the setting.
1
2
3
V-Basic Kit: BANK 1
V-Standard Kit: BANK 2
If the settings have been modified and are different than the settings in the above diagram, use the Copy func-
tion to restore the factory settings (p. 137).
N O TE
This completes settings for all pads of the V-Basic Kit or V-Standard Kit. If you are using a PD-100 or
PD-120, make settings for the head tension as explained on p. 31.
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT” page.
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Before you begin playing
● If y o u h a ve p u rch a se d th e PD-5 , PD-7 , PD-9 , PD-1 0 0 o r PD-1 2 0
in d ivid u a lly
Make the following settings for each pad.
fig.00-023
1
2
4
Press [SETUP], press [F1 (TRIG)], and then press [F1 (BANK)].
1
The following screen will appear:
fig.00-017
This screen shows a list of pad models that are specified
for each TRIGGER INPUT jack.
Display
PD5
PD7
PD9
10A
Pad name
PD-5
PD-7
PD-9
PD-100
PD-120
KD-7/KD-5
12A
KD7
* For details on 10B and 12B, refer to p. 108.
Use [CURSOR] to move the cursor to a location other than “BANK.”
2
3
Strike the pad for which you wish to make settings.
The cursor will move to the edited value of the pad that you struck.
Use [INC/DEC] or the VALUE dial to select the model name of the pad.
4
This completes pad settings. If you are using a PD-100 or PD-120, make settings for the head tension
as explained in the following section.
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Before you begin playing
● Ad ju stin g th e h e a d te n sio n
For these pads, adjustments are required in order to regularize the tension of the head. Also, the ten-
sion of the head may change when the pad has been used for a long period. If this occurs, use the
following procedure to make adjustments as necessary.
fig.00-025
2
4
5
Make sure that the Trigger Type (pad model name) is set either to “10A” (PD-100) or to “12A” (PD-
1
2
3
120).
Press [SETUP], then press [F1 (TRIG)], and then press [F4 (OPTION)].
Strike the PD-100 or PD-120 for which you wish to make settings.
The setting page for the pad that you struck will appear.
fig.00-026
Use [CURSOR] to move the cursor to “Head Tension Adjustment.”
4
5
Use [INC/DEC] or the VALUE dial to make the setting.
With a setting of “Loose” it will be adjusted at a weaker tension, and with a setting of “Tight” it will
be adjusted at a stronger tension.
For now, set this to the medium value of “Normal.”
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Before you begin playing
On the head of the PD-100 or PD-120, accurately strike a location approximately 1 inch (3 cm) from
the tuning bolt.
6
fig.00-027e
Strike here
Tuning bolt
1 inch (3 cm)
The indicator in the lower right of the display will indicate how far off the adjustment is.
Use a tuning key (optional) to turn the all tuning bolt so that the indicator reaches the position shown
in the diagram.
7
fig.00-027ae
Indicator
If the indicator is toward the right, turn the tuning key toward the left to loosen the tension. If the
indicator is toward the left, turn the tuning key toward the right to tighten the tension.
If the indicator moves greatly to the left or right, adjust the tension of the entire head before making this set-
ting.
N O TE
The head tension adjustment does not work correctly when the SCAN TIME” (p. 111) setting is excessively
“
low. The “SCAN TIME” setting is automatically set to the most efficient values for each pad when you select
the “TRIGGER TYPE” (P.108). If you have changed the “SCAN TIME” setting, select the “TRIGGER
TYPE” again.
For details on adjusting the head tension, refer to the PD-100/120 owner’s manual.
MEMO
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT”
page.
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Before you begin playing
● Usin g trig g e rs o n a n a co u stic d ru m to p la y th e TD-1 0
Set the trigger type to the drum trigger setting, and if notes are not sounded accurately, you’ll need
to make changes in the “advanced” mode of this section. For details, refer to “Detailed settings for
the trigger parameters (ADVNCD)” (p. 111) in the “Advanced Use.”
First refer to p. 142 and attach the drum trigger. When you have done so, make the following set-
tings for each trigger.
fig.00-023
1
2
4
Press [SETUP], then press [F1 (TRIG)], and then press [F1 (BANK)].
1
The following screen will appear:
fig.00-017
This screen shows a list of the trigger types that are specified for each TRIGGER INPUT jack.
Use [CURSOR] to move the cursor to a location other than “BANK.”
2
3
Strike the drum (or press the kick pedal) for which you wish to make settings.
The cursor will move to the trigger number of the drum that you struck.
Use [INC/DEC] or the VALUE dial to specify the trigger type. Make the following settings for each
trigger.
4
“KIK”: Kick drum
“TOM”: Tom
“SNR”: Snare drum
“FLR”: Floor tom
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT”
page.
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Before you begin playing
Ch e ck th e se ttin g s
This completes the settings. Strike the pads/ drums and verify that the appropriate instrument
sounds correctly. If not, check the settings once again, and refer to “Troubleshooting connections
and settings” on p. 45.
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Fo r a b e tte r p e rfo rm a n ce
Co n ce rn in g th e p e rfo rm a n ce & e x p re ssive n e ss o f
th e p a d s
This section introduces various performance functions that will help you perform more expressively
on the pads.
Some of these playing techniques and functions are unique to the TD-10, so please be sure to read
this section in order take full advantage of the TD-10’s capabilities.
● Rim sh o ts
By using the rim, you can play two types of sound from one pad. This can be done with a PD-7, PD-
9 and PD-120.
fig.00-030e
Pad
Pad
Rim of the pad
Normal shot
Rim shot
To play a rim shot, you must strike both the head (center area) and the rim (outer edge) of the pad
simultaneously. There will be no sound if you strike only the rim. When you play a rim shot, the
instrument assigned to the rim will sound.
When specifying the rim during editing, you will also need to strike the head and rim simultaneously.
Im p o rta n t: The rim function of the PD-120 ONLY works when connected to trigger input 2 (SNARE). If
you desire rim sounds for the toms etc., please use a PD-7 or PD-9.
N O TE
● Ch o k in g
This function simulates the muting of a cymbal and can be done with a PD-7 or PD-9.
fig.00-031
By striking a pad and then squeeze the rim portion of the pad while the note is still sounding, you
can mute the sounding note; a performance technique known as choking.
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For a better performance
● Po sitio n a l se n sin g
This function simulates movement across the snare drum head or ride cymbal surface. A PD-7, PD-
9, PD-100 or PD-120 can be used when connected to trigger jacks number 2 or 10.
fig.00-032e
Tonal differences by strike location
For the snare drum and ride cymbals, differences in striking position between the center of the head
and the rim area will produce a natural change in tone. When the PD-120 is used as a snare, changes
in tone and response will produce playability rivaling that of an acoustic drum.
● Pla y in g w ith b ru sh e s
The TD-10 allows you to play using brushes when using a PD-100 or PD-120 only . You can use tech-
niques such as swishing or sweeping to trigger that type of sound, as with an acoustic drum. When
using brushes, you must select a drum kit that is intended for brush playing. Press [KIT], and select
a kit that has a symbol like the following at the lower right of the kit name.
fig.00-033
ONLY use nylon/plastic brushes. Metal brushes will damage the head and/or could pierce the fine mesh of the
head itself.
N O TE
Of the preset drum kits, numbers 7 and 37 are for brush playing.
MEMO
● Hi-h a t co n tro l p e d a l
A hi-hat control pedal can be used for the following performance techniques, giving you continuous
control from open to closed positions. This can be done with an FD-7.
fig.00-033a
FD-7
Open hi-hat:
Strike the pad without pressing the pedal.
Strike the pad while pressing the pedal.
Closed hi-hat:
Pedalled closed: Step on the pedal to trigger the “foot close” hi-hat.
Pedalled open: Step on, and quickly release pedal to trigger the “foot open” hi-hat sound.
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For a better performance
TD-1 0 o p e ra tin g p ro ce d u re
This section explains basic operation of the TD-10. Please try out each of these procedures.
● Ad ju stin g th e vo lu m e
Ad ju stin g th e vo lu m e b a la n ce
For the kick drum, snare drum and hi-hat, use the [GROUP FADERS] sliders to adjust the volume.
Tom and cymbal, etc. are all adjusted as a group by [OTHERS].
Volume adjustments for each pad of the kit are made by the Control Room settings (p. 90).
fig.00-034
Ad ju stin g th e o ve ra ll vo lu m e
Use [VOLUME CONTROL] to adjust the volume of the TD-10’s MASTER output jacks. Rotating it
clockwise increases volume, and rotating it counterclockwise decreases volume.
fig.00-035
[MASTER]: Adjusts the volume output from the MASTER OUT jacks.
[PHONES]: Adjusts the volume output from the headphone jack.
[MIX IN]:
Adjusts the volume that is input from the MIX IN jack.
The input from MIX IN is output from the MASTER jacks and the PHONES jack (alter-
natively, only from the PHONES jack).
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For a better performance
● Se le ctin g a d ru m k it
fig.00-036
2
1
Press [KIT].
1
The following screen will appear:
fig.00-037
Each drum kit of the TD-10 is a collection of settings for the instrument assigned to each pad, set-
tings for the room and microphones, mixer, effects and other parameters.
Use [INC/DEC] or the VALUE dial to select a kit.
2
MEMO
The List display makes it easier to select a drum kit. In the above display, press [F1 (LIST)], and ten kit names
will appear in one screen, allowing you to select the desired kit. Press [F1 (PAGE <)] to move to the previous
page, or [F2 (PAGE >)] to move to the next page. In this display, you can select kits using [INC/DEC], the
VALUE dial, or [CURSOR].
fig.00-038
Press [EXIT] to return to the display page of step 1.
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For a better performance
● Ad ju stin g th e se n sitivity o f a p a d
You may wish to adjust the sensitivity of the pads to accommodate your personal taste. In this sec-
tion we will explain the easiest way to adjust the TD-10’s sensitivity in order to get the best correla-
tion between your playing velocity (strength) and the response and volume of the sound.
fig.00-047
1
2
4
Press [SETUP], then press [F1 (TRIG)], and then press [F2 (BASIC)].
1
The following screen will appear:
Trigger indicator
Use [CURSOR] to move the cursor to “Sensitivity.”
2
3
4
Strike a pad to select the one needing sensitivity adjustment.
Use [INC/DEC] or the VALUE dial to adjust the sensitivity.
The numeric value at the cursor will change (within the range from 1 to 16). Lower sensitivity (lower
values) will mean that stronger strikes will not increase the volume very much. Conversely, higher sen-
sitivity will mean that loud volumes will be reached quickly as you play more strongly. In general, it is
best to set the sensitivity so that the indicator reaches the maximum position when you play with your
maximum dynamics.
Overall volume is an important element in adjusting the sensitivity of an electronic drum kit. In particular, if
you are listening at a low volume you may feel that there is too little change in volume, so you might raise the
sensitivity excessively without really needing to. Try playing at different volume levels (through amps or head-
phones) in order to fine tune the sensitivity. In order to make settings correctly, adjust the volume to an appro-
priate level.
N O TE
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For a better performance
● Ma ste r e q u a lize r
This is the master equalizer that is applied to the sound output from the MASTER OUT jacks. It
adjusts the balance of the low, mid, and high frequency ranges. Let’s try adjusting the GAIN (the
amount of boost).
fig.00-043
2
3
1
Press [KIT], and then press [F4 (MAS EQ)].
1
2
The following screen will appear:
fig.00-044
Use [F2]–[F4] or [CURSOR] to select the “GAIN” column.
[F2]: Low range (LOW)
[F3]: Middle range (MID)
[F4]: High range (HIGH)
[F1] functions as an equalizer on/off switch.
MEMO
Use the VALUE dial to modify the value, and hear how the sound changes.
3
Press [EXIT] to return to the “DRUM KIT” display page.
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● Effe ct o n / o ff
If you wish to compare your sounds “with” or “without” ambiance, individual compressors &
equalizers, or digital effects, here they can each be turned on/ off for the entire kit.
fig.00-040
1
Press [KIT], and then press [F3 (FX SW)].
1
The following screen will appear:
fig.00-041
In this page, [F1]–[F4] act as on/ off switches. For example, pressing [F1] will turn ambiance on/ off.
AMBNCE (Ambience):The size of the room and the type of walls can be adjusted to modify the
sound.
COMP (Compressor): This is used to smooth volume peaks, preventing overload.
EQ (Equalizer):
EFFECT (Effect):
This adjusts the balance of the high, mid and low ranges.
This adds effects such as reverb or delay.
When these switches are turned off, effects will not apply, regardless of any other settings. Before using ambi-
ence or effects, make sure that these switches are turned on.
N O TE
These settings can be made for each drum kit.
MEMO
Press [EXIT] to return to the “DRUM KIT” display page.
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For a better performance
● He lp fu n ctio n
You can select a keyword for a specific operation and instantly view an explanation or the relative
setting page. For example if you wish to make settings for a function using a foot switch, select the
“FOOT SWITCH” keyword and press the button to access the appropriate setting page.
fig.00-045a
1
3 ,4
2
Press [TOOLS], and then press [F4 (HELP)].
1
The following screen (keyword list) will appear:
fig.00-046
Use [INC/DEC] or the VALUE dial to select a keyword.
2
3
4
Press [F4 (SELECT)], and an explanation of the function will appear.
If you wish to go to the setting page for that function, press [F4 (GO NOW)].
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT” page.
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For a better performance
Ab o u t e x p a n sio n b o a rd s
Expansion boards (optional) are cards that allow you to upgrade the system and add new instru-
ments and drum kits.
* Sound expansion boards for the Roland JV/XP series cannot be used.
The bottom panel of the TD-10 has a slot that allows expan-
5 . Use the Installation Tool supplied with the Expansion
sion boards to be installed.
board to turn the holders in the LOCK direction, so the
Install only the specified circuit board(s) (WAVE & SYSTEM
EXPANSION BOARD TDW series).
board will be fastened in place.
fig.00-049c
1 . Always turn the TD-10 off and unplug the power cord
before attempting installation of the circuit board (WAVE
& SYSTEM EXPANSION BOARD TDW series).
LOCK
2 . Remove only the four screws as indicated below, and
open the cover located on the bottom of the TD-10.
fig.00-049ae
Removal screws
* When Expansion Board installation is complete, double-check
your work.
(To remove the Expansion board, turn the board holders in
the UNLOCK direction, and lift up the board using the pro-
vided tool. Remove the board and secure the cover plate.)
6 . Secure the cover plate using the four screws removed in
step 2.
3 . Check that the plastic board holders are positioned as
shown figure. Rotate them if necessary.
fig.00-049be
Expansion board
● Immediately turn the power off, and request servic-
ing by your dealer or qualified Roland service per-
sonnel when:
• Objects (such as screws) have fallen into, or liquid has
been spilled on to the TD-10; or
Connector
• The TD-10 has been exposed to rain (or otherwise has
become wet); or
Board holder
• The TD-10 d oes not appear to operate normally or
exhibits a marked change in performance.
Never open the bottom cover of the TD-10 by yourself.
● To avoid the risk of damage to internal components that
can be caused by static electricity, please carefully observe
the following whenever you handle the board.
• Before you touch the board, always first grasp a metal
object (such as a water pipe), so you are sure that any
static electricity you might have been carrying has been
discharged.
4 . While positioning the holes on the board over the board
holders, carefully insert the connector on the board into
the socket on the TD-10. Make sure the connector is
securely connected, and that all three board holders pro-
ject through the holes.
* Do not touch any of the printed circuit pathways or connection
terminals.
• When handling the board, grasp it only by its edges.
Avoid touching any of the electronic components or
connectors.
* Never use excessive force when installing a Expansion Board. If
it doesn’t fit properly on the first attempt, remove the board and
try again.
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À p ro p o s d e s ca rte s d ’e x te n sio n
(Fre n ch la n g u a g e fo r Ca n a d ia n Sa fe ty Sta n d a rd )
Les cartes d’extension (optionnelles) sont des cartes qui vous permettent d’augmenter la puissance
de votre système et d’ajouter de nouveaux instruments ainsi que des batteries.
* Les cartes d’extension de son pour les séries JV/XP de Roland ne peuvent être utilisées.
N’installez que la ou les carte(s) de circuits imprimés spéci-
5 . Pour tourner les supports en position LOCK (verrouillé),
utilisez l’outil d’installation de la carte d’extension fournie
à cet effet. De cette façon, la carte sera bien fixée à sa
fiée(s). (WAVE & SYSTEM EXPANSION BOARD série TDW)
Le panneau du dessous du TD-10 a un créneau permettant
l’installation des cartes d’extension.
place.
fig.00-049c
1 . Éteignez toujours le TD-10 et débranchez le câble élec-
trique avant toute tentative d’installation de carte de cir-
cuits imprimés (WAVE & SYSTEM EXPANSION BOARD
série TDW).
LOCK
2 . Enlevez seulement les quatre vis et ouvrez la plaque
située sous le TD-10.
fig.00-049ae
Vis
* Lorsque votre installation de la carte d’extension est terminée,
revérifiez-la.
(Pour enlever la carte d’extension, faites tourner les supports
dans la direction UNLOCK (déverrouillé) et soulevez la
carte en utilisant l’outil à cet effet. Retirez la carte et remettez
la plaque .)
6 . Refermez la plaque en utilisant les quatre vis enlevées à
l’étape 2.
3 . Veillez à ce que les supports en plastique pour la carte
soient positionnés tel qu’indiqué. Faites-les pivoter si
nécessaire.
fig.00-049bf
Carte d’extension
● Eteignez immédiatement l’unité, et contactez le
SAV de votre revendeur ou un service de mainte-
nance Roland qualifié lorsque :
• Des objets (vis) sont tombés dans l’unité ou du liquide
s’est répandu à l’intérieur
Prise
• L’unité a été exposée à la pluie (ou d’ une façon ou
d’une autre a été mouillée)
Support pour la carte
• L’unité ne semble pas fanctionner normalement ou
montre une altération de ses performances.
N’ouvrez jamais vous-même le capot du dessous du TD-10.
4 . Pendant que vous alignez les trous de la carte au-dessus
des supports, insérez délicatement le connecteur sur la
carte dans la prise du TD-10. Assurez-vous que le con-
necteur est raccordé correctement et que les trois sup-
ports s’emboîtent bien dans les trous.
● Pour éviter d’endommager les composants internes par
de l’électricité statique, suivez attentivement les régles ci-
dessous lorsque vous maniez la carte.
• Avant de toucher la carte, saisissez toujours un objet
métallique (tel qu’un tuyau d’arrivée d’eau) pour être
sûr de vous décharger de toute électricité statique.
• Quand vous saisissez la carte, ne la prenez que par ses
côtés. Evitez de toucher ses composants électroniques
ou connecteures.
* Ne touchez pas à la carte de circuits imprimés ni à aucun des
terminaux de connexion.
* Ne forcez jamais excessivement lors de l’installation d’une carte
d’extension. Si elle ne s’ajuste pas correctement au premier
essai, enlevez-la et recommencez.
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Tro u b le sh o o tin g co n n e ctio n s a n d se ttin g s
This section will discuss points to check if you experience problems while making basic settings, and
how to solve those that occur easily when you are using electronic drums for the first time.
Before checking or modifying connections, be sure to turn off the power of all devices.
N O TE
For troubleshooting of problems that occurred as a result of editing operations, etc., you will need to check your
editing, so please refer to “Troubleshooting” (p. 132) in the “Appendices.” Also refer to that section if you are
using acoustic drums to trigger the TD-10, or if you are using pads made by a manufacturer other than Roland.
MEMO
● N o so u n d
● The w rong p a d sound s, or
First, make sure that connections have been made according
to the setup on p. 23–25, and then check the follow ing
points.
othe r p a d s sound ina d ve rte ntly
• Are you using the wrong TRIGGER INPUT jacks?
• Are the pads fixed firmly in place?
If the attachment of a pad has loosened, it may receive
vibrations when a different pad is struck, and trigger
sounds unintentionally.
● No so un d w h e n yo u strik e [PREVIEW ]
Make sure that the [GROUP FADERS] sliders are not low-
ered.
• Is a high-volume speaker sounding nearby the pad?
Try changing the orientation of the speaker or the pad.
fig.00-034
● W h e n a p a d is stru ck so ftly, it
d o e s n o t so u n d
• Did you touch a pad or press a pedal from the time that
the TD-10 was powered on until the kit name display
appeared?
When the power is turned on, the TD-10 checks the pads.
If pads are struck during this time, the check cannot be
performed correctly.
● [P REVIEW ] p r o d u ce s s o u n d , b u t
strik in g th e p a d s d o e s n o t.
Check whether the trigger indicator (TRIGGER) lights when
● Th e vo lu m e is to o sm a ll fo r th e
fo rce w ith w h ich th e p a d s a re
stru ck
you strike a pad. If it doesn’t light, check the connections of
the pad and TRIGGER INPUT jack.
fig.00-051
• Are you listening at an appropriate volume?
In the case of electronic drums, listening at low volumes
may give you the impression that the pad sensitivity is
low. If raising the volume (p. 37) does not correct this, then
try adjusting the sensitivity (p. 39).
If y o u a re u sin g a PD-5 , PD-7 , PD-9 ,
PD-1 0 0 o r PD-1 2 0
You can make adjustments for the volume produced relative
to the playing velocity (striking force) on the pad. Refer to p.
39 and try making this adjustment.
● Yo u h e a r so u n d in th e h e a d p h o n e s
b u t n o t fro m th e e x te rn a l a m p , e tc.
Check the connections with the external equipment,its vol-
ume, and make sure that the TD-10’s [MASTER] knob is not
turned down.
fig.00-052
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For a better performance
If y o u a re u sin g p a d s m a d e b y a n o th -
e r m a n u fa ctu re r
If when using pads made by another manufacturer, they do
not perform satisfactorily, you will need to adjust the trigger
parameters. Refer to “Basic settings for the trigger parame-
ters (BASIC)” (p. 109) in the “Advanced Use,” and make the
needed changes or settings.
● Strik e lo ca tio n is n o t d e te cte d .
• Are the trigger type settings correct?
• When u sing a PD-100 or PD-120, is the head tension
adjusted correctly?
• When using a PD-7 or PD-9, is the Polarity Switch set to “-
(Roland)”?
• Strike location can be detected only for trigger number 2
(SNARE) and trigger number 10 (RIDE).
● Sp e cific p a d s a re to o lo u d o r
to o so ft
• If you are listening in m onau ral, u se the MASTER L
(MONO) jack ONLY, and do not insert a plug into the R
jack.
• Are each of the [GROUP FADERS] sliders in an appropri-
ate position?
Move all the faders to the same volume,then re-adjust for
the desired balance.
● Rim sh o ts d o n o t so u n d
• Are you using a PD-7, PD-9 or PD-120 pad?
Rim shots cannot be played on other pads.
• Are you using a monaural cable to connect the pad with
the TD-10?
If so, only the head portion will trigger sound. Use the
stereo cable included with the PD-7, PD-9 or PD-120.
• Are the trigger type settings correct?
● Rim sh o ts d o n o t so u n d co r-
re ctly
• When playing on the PD-7 or PD-9, strike the rim and
head simultaneously. Simply striking the rim alone will
not produce sound.
• Are the trigger type settings correct?
• If you are using a PD-120 as the snare, check the “Rim
Sensitivity” setting (p.110).
● Vo lu m e is lo w w h e n y o u p la y
u sin g b ru sh e s
• Since the impact of a brush is lower than the impact of a
stick, you need to use a drum kit that has trigger settings
geared for brushes, one displaying a symbol such as the
following in the lower right of the KIT display page.
fig.00-053
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Fe a tu re s o f th e p re se t d ru m k its
Ho w so u n d s a re cre a te d o n th e V-d ru m s
The TD-10 uses a completely new method for generating sounds called Variable Drum Modeling.
The concept of this method is to “model” the important parts or “character” that makes a drum
sound the way it does. This allows editing of parameters that were never available before, thus cre-
ating new and personalized sounds.
fig.00-054e
Room, Microphone
Mixing
Instrument
Drum shell
Room ambience
Mixer
Drum head
Room type
Effect
Snares
Tuning
Muffling
Mike setting
Compressor
Equalizer
1 . In stru m e n t (IN ST)
The materials that make up the drums, their shape, and other elements.
2 . Stu d io (STUDIO )
The type, size and construction material of the room in which the drums are played, positions of the
ambient mikes, and the type and position of the microphones used to pick up the instruments.
3 . Co n tro l ro o m (CO N TRO L RO O M)
Here, the finishing touches are made by changing mixer settings such as volume/ pan/ effect send
level/ output assignment/ EQ/ Compressors and digital effects.
The V-drums concept focuses on these three major areas and three dedicated buttons [INST], [STU-
DIO] and [CONTROL ROOM] are provided for quick access so your creative aspirations can be
immediately translated into reality. As an interface concept for the user, this is also completely new.
Before you actually begin creating sounds, please read the following explanations of some of the
preset drum kits. They will lead you through some easy steps to become familiar with the features
of an acoustic kit, a kit for brushes, and an electronic kit.
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Features of the preset drum kits
N o .3 6 : 7 0 ’s Ro ck d ru m k it
This is a rock drum kit with a deep and “fat” sound. Until now, this type of “fatness” could never be
created or edited in drum modules or samplers. However, since the TD-10 uses a model of an
acoustic drum that can be adjusted using the Variable Drum Modeling technology, you can create a
sound of your own and one that responds to your natural dynamics.
Let’s take a look at the instrument parameters of this kit. One of the parameters that creates the rich-
ness of the sound is “Shell Depth” (which adjusts the depth of the drum shell). Let’s experiment by
changing the shell depth of the snare drum.
fig.00-056
3
5
2 ,6
1
Press [KIT].
1
2
The “DRUM KIT” page will appear.
Use [INC/DEC] or the VALUE dial to select kit number 36.
fig.00-057
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Features of the preset drum kits
Press [INST], then [F2 (EDIT)], and then press [F1 (SHELL)].
3
4
The following screen will appear:
fig.00-058
Strike the pad that you are using as the snare.
The snare settings display page will appear. In this page you can select the materials and depth of
the drum shell.
fig.00-059
Use [CURSOR] to move the cursor to “Shell Depth.”
5
fig.00-060
Use [INC/DEC] or the VALUE dial to change the depth of the shell.
6
In order to produce a powerful sound, this preset has a setting of 8.0 inches, but let’s try changing
this to 3.5 inches.
fig.00-061
How does it sound? The character has changed considerably, and is much lighter. Strike a tom pad,
and try the same adjustment for it.
In order to make the same comparison on acoustic drums, you w ould tw o separate drums.
Furthermore, previous models of electronic drums had no way to make this adjustment. However
on the TD-10, such changes are made with simple front panel operations,letting you create the
desired sound in an instant.
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Features of the preset drum kits
N o .3 7 : Bru sh Kit
This is a kit for playing with brushes, something that was also not possible with any previous elec-
tronic drum system. Compared with stick playing, brush playing uses an extremely delicate trigger
signal, so we have provided a kit with special trigger settings. The studio and control room settings
are set to take advantage of this delicate character, and emphasize a natural feeling as if the kit were
being played right in front of the listener. Listen to what the effect settings are doing. To avoid
destroying the nuances of the original sound, effects are being used subtly, and do create a signifi-
cant impact on the resonance and tone of the delicate sounds.
fig.00-064
4
2
1
3
Press [KIT].
1
2
The “DRUM KIT” display page will appear.
Use [INC/DEC] or the VALUE dial to select kit number 37.
fig.00-065
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Features of the preset drum kits
Press [F3 (FX SW)].
3
4
The following screen will appear:
fig.00-066
An indication of “ON” appears above each button [F1]–[F4], indicating that all effects are being
used.
Press [F1] and [F4].
Ambiance and Effect will be turned off.
fig.00-067
How does it sound? You will notice that the sound has suddenly lost its sense of depth.
Sounds that have a pronounced delicate character respond very sensitively to ambience and rever-
beration. In more advanced applications of these settings, you can control the character of ambiance
and reverb to simulate the exact acoustic space that you have in mind; for example, a “live” and
“spatial” character, while at the same muting some of the resonance.
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Features of the preset drum kits
N o .3 8 : Ele ctro n ic d ru m k it
With this kit we can reproduce the electronic drums that were popular in the early 1980’s. Previous
drum sound modules did not provide for the creation and editing of the unique parameters of an
electronic drum. Since the TD-10 provides these parameters and also reproduces tonal changes
resulting from changes in velocity (striking force), it gives us powerful electronic sounds with great
potentials in today’s dance, hip-hop and rap music scenes.
Let’s experiment by changing the amount of pitch bend,a function that modifies pitch during the
decay (duration) of the sound, and is one feature that characterizes an electronic drum. The pitch
bend parameter specifies the amount of pitch change.
fig.00-070
5
2 , 6
1 3
Press [KIT].
1
2
The “DRUM KIT” page will appear.
Use [INC/DEC] or the VALUE dial to select kit number 38.
fig.00-071
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Features of the preset drum kits
Press [INST], and then press [F2 (EDIT)].
3
The following screen will appear:
fig.00-072
Strike the pad that is being used as the tom.
The tom setting screen will appear.
4
5
Press [CURSOR] to move the cursor to “Bend.”
fig.00-073
While using [INC/DEC] or the VALUE dial to increase the pitch bend setting, strike the tom pad.
6
The pitch at the beginning of the note will become higher, and the effect will gradually become more
intense.
fig.00-074e
Bend
127
amount of pitch change
0
Time
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Mo d ify in g a d ru m k it
In this section we will start with drum kit number 36, and take you through the process of creating
an entirely different kit. Kit number 36 is a distinctive kit intended for rock, but we will turn this
into a sharper and more natural-sounding drum kit that might be suitable for fusion, etc. When
effects are being used, it will be difficult to hear how the instruments really sound, so let’s begin by
turning off all the effects.
fig.00-075
4
3
2
1
Press [KIT].
1
2
The “DRUM KIT” page will appear.
Use [INC/DEC] or the VALUE dial to select kit number 36.
fig.00-076
Press [F3 (FX SW)].
3
The following screen will appear:
fig.00-077
Where there is an indication of “ON” above the [F1]–[F4] buttons, press the button to turn the indica-
4
tion “OFF.”
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Modifying a drum kit
[IN ST]: Cre a tin g d ru m so u n d s
The settings in this section are for the drums themselves, and they are concerned with the funda-
mental elements that determine the character of the sound. Via easy operations you can proceed
through the process of selecting an instrument, deciding its material and shape, and adjust the tun-
ing, etc.
During the procedures described here, you can use [TRIG SELECT] to select triggers/sounds even if pads are
not connected, and use [PREVIEW] to audition the sound.
MEMO
● Se le ctin g a n in stru m e n t
fig.00-080
3
1
Press [INST].
1
The following screen will appear:
fig.00-081
Strike the pad whose instrument you wish to change.
2
3
The instrument select page for the specified pad will appear.
Use [INC/DEC] or the VALUE dial to select a different instrument. Strike the pad as you select differ-
ent instruments to hear how they sound.
In this example, let’s use “106 Maple1 S” as the snare, and edit this to create our sound.
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Modifying a drum kit
● Mo d ify th e m a te ria l a n d d e p th o f th e b o d y
By changing the material of the instrument body and listening to the difference, you can find the
sound that you want. This is an editing method that is only possible on the TD-10. It’s just like
choosing between a variety of real snare drums.
Here, let’s modify the material and depth of the snare drum body.
fig.00-082
3 ,5
4 , 6
1
Press [INST], then press [F2 (EDIT)], and then [F1 (SHELL)].
1
Strike the pad being used for the snare.
2
The snare setting display page appears. Here, you can choose the material and depth of the body.
fig.00-083
Use [CURSOR] to move the cursor to “Material.”
3
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Modifying a drum kit
Use [INC/DEC] or the VALUE dial to change the material of the body.
4
In this example, let’s change the setting from “Steel” to “Wood.” Of the three types, this will pro-
duce the warmest sound.
fig.00-084
This completes our selection of the body material. Next we will specify the depth of the body.
Use [CURSOR] to move the cursor to “Shell Depth.”
5
fig.00-085
Use [INC/DEC] or the VALUE dial to modify the depth of the body.
6
Since the current setting is a bit deep, let’s change this to “3.5".” Notice how the body resonance
decreases.
fig.00-086
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Modifying a drum kit
● Ch a n g e th e m a te ria l a n d tu n in g o f th e h e a d
Here, let’s modify the type and tuning of the snare drum head.
fig.00-088
3 ,5
4 ,6
1
Press [INST], then press [F2 (EDIT)], and then press [F2 (HEAD)].
1
Strike the pad being used for the snare.
2
The snare setting page appears. Here, you can type and tuning of the head.
fig.00-089
Use [CURSOR] to move the cursor to “Head Type.”
3
Use [INC/DEC] or the VALUE dial to change the type of head.
4
In this example, let’s change the type from “Coated” to “PinStripe®.” The sound will become thicker,
with fewer overtones.
fig.00-090
* PinStripe is a registered trademark of Remo Inc. U.S.A.
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Modifying a drum kit
This completes the head material choice. Next we’ll tune of the head.
Use [CURSOR] to move the cursor to “Head Tuning.”
5
6
fig.00-091
Use [INC/DEC] or the VALUE dial to modify the tuning.
Here we will change the setting from “-30” to “0.”
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Modifying a drum kit
● Ad ju st th e m u fflin g (m u tin g ) a n d sn a re stra in e r te n sio n
You can add muffling to the snare drum or adjust the tension of the snare strainer to reduce unwant-
ed overtones or resonances, creating a tighter sound. You can even turn the snares off!
fig.00-093
3 ,5
4 ,6
1
Press [INST], then press [F2 (EDIT)], and then press [F3 (MUFFLE)].
1
Strike the pad being used for the snare.
2
The snare setting page appear. Here, you can choose the muffling method and snare strainer ten-
sion.
fig.00-094
Use [CURSOR] to move the cursor to “Muffling.”
3
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Modifying a drum kit
Use [INC/DEC] or the VALUE dial to modify the setting.
4
For this example, select “Dougnuts1.” The sound will become somewhat more muted.
fig.00-095
This completes the muffling settings. Next we will adjust the tension of the strainer.
Use [CURSOR] to move the cursor to “Strainer Adj.”
5
fig.00-096
Use [INC/DEC] or the VALUE dial to modify the setting.
6
For this example, try “Loose.” Listen to the difference.
fig.00-097
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Modifying a drum kit
[STUDIO ]: Ad ju stin g th e a co u stics o f th e ro o m
One very important element that affects the overall sound of a drum kit is the environment in which
the drums are placed. The same drums are capable of producing a very different sound, depending
on whether they are played in a conventional studio, or in a glass-walled room. Here you can make
such variations in room characteristics with the simple touch of a few buttons.
Here we will try editing Ambience, which is part of the “Studio” settings. First, turn on the
Ambiance that you turned off before selecting the instruments.
fig.00-098
2
1
Press [KIT], and then press [F3 (FX SW)].
1
The following screen will appear:
fig.00-099
Press [F1] to turn Ambiance “ON.”
2
fig.00-100
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Modifying a drum kit
● De cid e “ w h e re ” th e d ru m s a re p la y e d
You can choose locations for your drums from different types of rooms, a cave, a bathroom or even
the beach. You make this selection by “seeing” the icon that represents the actual acoustical environ-
ment.
The factory preset will be “Gymnasium.” Let’s change this to “Studio.” The resonance will change to
that of a more muted room.
fig.00-102
2
1
Press [STUDIO].
1
2
The currently selected studio settings will be displayed.
Use [INC/DEC] or the VALUE dial to select “Studio.”
fig.00-102a
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Modifying a drum kit
● Ch a n g e th e size o f th e ro o m
You can modify the “ambience” space by selecting one of five different room sizes.
fig.00-103a
2
3
1
Press [STUDIO], and then press [F2 (ROOM)].
1
The following screen will appear:
fig.00-103
Use [CURSOR] to move the cursor to “Room Size.”
2
3
Use [INC/DEC] or the VALUE dial to modify the setting.
Small sizes will produce a slight impression of ambient presence, and it will sound as though the
drums are being played right in front of your eyes. Larger sizes will produce a more “live” ambi-
ence. Adjust this setting as desired.
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Modifying a drum kit
[CO N TRO L RO O M]: Ad d in g fin ish in g to u ch e s to th e so u n d
● Usin g th e e q u a lize r to m o d ify th e so u n d
If you want the selected instrument to sound a little different, such as “a bit brighter” or “a bit
lighter,” etc., you can use the equalizer to make adjustments. The TD-10 has a 2-band (high and low)
equalizer for each instrument, and this can be used to fine tune each sound for the total blend of the
kit. This way, you can customize the contrast between individual sounds such as snare and kick for
example.
First, turn on the Equalizer that you turned off before selecting the instruments.
fig.00-104
2
1
Press [KIT], and then press [F3 (FX SW)].
1
The following screen will appear:
fig.00-105
Press [F3] to turn the equalizer “ON.”
2
fig.00-106
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Modifying a drum kit
In this example, let’s assume that we want to make the sound of the snare stand out.
fig.00-107
3
1
Press [CONTROL ROOM], press [F3 (EQ)], and then press [F4 (HIGH)]
1
The following screen will appear:
fig.00-108
Strike the pad being used for the snare.
2
3
The snare setting screen will appear.
Use [INC/DEC] or the VALUE dial to modify the value. For this example, adjust the setting to “+5.”
fig.00-108
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Modifying a drum kit
● Ad ju stin g th e vo lu m e b a la n ce o f th e in stru m e n ts
Now that we’ve used the equalizer to boost the high range, the snare sounds brighter. With this
change, however,the snare might stand out a bit too much. Let’s lower the volume to correct the bal-
ance.
fig.00-110
4
1
2
Set each of the [GROUP FADERS] sliders [KICK][SNARE][HI-HAT][OTHERS] to the same volume.
1
Press [CONTROL ROOM], press [F1 (MIXER)], and then press [F1 (VOLUME)].
2
The following screen will appear:
fig.00-111
Strike the pad that is being used for the snare.
The snare slider will be selected.
3
4
Use [INC/DEC] or the VALUE dial to lower the volume slightly.
When setting the volume, make sure that the group faders ([GROUP FADERS]) are all at the same level, and
MEMO
use on-screen editing to adjust the volume balance. If you use this method, the same balance will be reproduced
each time you select that kit. It is best to use the group faders when you need to make temporary adjustments to
the volume. (they will NOT overwrite settings in the mixer page)
By using the simple procedures that have been introduced above, you can see how the simple and
friendly interface allows you to create a wide variety of drum kits, easily accessed by just pushing a
button.
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Ex a m p le s a n d co n ve n ie n t tip s
This section will highlight things that are possible only with electronic musical instruments such as
the TD-10.
Pe rfo rm w ith th e o n -b o a rd se q u e n ce r
The TD-10 contains a sequencer that can record and play back accompaniment tracks and/ or drum
performances.
The sequencer contains built-in pattern performances (preset patterns). These patterns can be used
as a very helpful practice tool.
● Pla y in g b a ck a p re se t p a tte rn
Preset patterns 1–36 will playback several measures repeatedly until [STOP] is pressed. These pat-
terns are convenient for drum practicing.
fig.00-114
2
1
3
Press [PATTERN].
1
The number of the currently selected pattern will be displayed.
fig.00-115
Use [INC/DEC] or the VALUE dial to select a pattern.
Press [PLAY].
2
3
The pattern will begin playing back. Press [STOP] to stop playback, and press it again to return to
the beginning of the pattern.
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Examples and convenient tips
● Pla y th e p a d s a lo n g w ith a p re se t p a tte rn
When you have found a preset pattern that you like, you can play along with that pattern. While
sounding the click, adjust the volume balance of the drums, backing parts, and the click.
fig.00-117
1 ,4
2
Adjust the [BACKING] and [CLICK] [GROUP FADERS] lower than the other sliders.
1
2
Press [CLICK].
The click will begin sounding.
As described in “Playing back a preset pattern” (p. 68), play back the pattern.
3
4
Gradually raise the [BACKING] and [CLICK] GROUP FADER sliders to adjust the volume balance
with the drum kit.
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Examples and convenient tips
Dru m Kit Ch a in —Se le ctin g d ru m k its in th e d e sire d o rd e r
You can choose the order in which drum kits will be selected.
fig.00-120
1
2 ,4
3 ,5
7
Press [CHAIN], and then press [F1 (C.EDIT)].
1
The following screen will appear:
fig.00-121
In this screen, you can create a list to specify the order in which the drum kits will be selected.
Use [CURSOR] to move the cursor to the sequence order in which the drum kits will be selected—
2
the step number “1” located in the right of the screen.
fig.00-121a
Use [INC/DEC] or the VALUE dial to select the kit that will be selected first.
3
4
Use [CURSOR] to move the cursor to “2.”
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Examples and convenient tips
Use [INC/DEC] or the VALUE dial to select the kit that will be selected second.
5
6
In the same way, make settings for the third and subsequent kits.
fig.00-122
To delete an unwanted kit from a step, use [CURSOR] in the “CHAIN” page to select the kit, and then press
[F2 (DELETE)].
MEMO
If you wish to add a kit between steps, press [F1 (INSERT)].
When you finish making the settings, press [EXIT].
7
You will return to the “DRUM KIT CHAIN” page.
fig.00-122a
In this page you can use [INC/ DEC] to select drum kits in the specified order.
To turn off the Drum Kit Chain function, press [CHAIN] to make the button indicator go dark.
MEMO
In addition, you can specify pads or foot switches that can be used to select drum kits easily, even while you
continue playing. For details refer to “Chapter 9. Operations using pads and foot switches” (p. 119) in the
“Advanced Use.”
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Examples and convenient tips
Usin g a fo o t sw itch to se le ct k its
When an FS-5U foot switch (optional) is connected to the FOOT SWITCH jack, you can use it to
select kits, patterns, or as a play/ stop button for patterns (p. 120).
fig.00-123e
Foot switch cable PCS-31
Foot switches
FS-5U
The function that the foot switch will have can be selected by the “Mode” setting in the “FOOT SWITCH”
MEMO
display (p. 120).
fig.00-123a
Usin g a p a d to p la y b a ck p a tte rn s
In addition to using pads to play drum sounds, it is also possible to make settings so that striking a
pad will start playback of a pattern.(with various possibilities) When this function is used, you can
(for example) strike a pad to start playback of a pattern, and then continue playing along with that
pattern. This is only possible with electronic drums!
Some of the preset drum kits use this function.
For details on the settings, refer to p. 119.
MEMO
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Examples and convenient tips
Usin g h e a d p h o n e s to h e a r th e click so u n d
If you want to listen to a click sound while you play (for example during practice or a live perfor-
mance), you can make settings so that the click is heard only in the headphones, and is not output
from the OUTPUT jacks (MASTER).
fig.00-124
1
2
3
Press [CLICK], and then press [F2 (INST)].
1
The following screen will appear:
fig.00-125
Use [CURSOR] to move the cursor to “Output.”
2
3
Use [INC/DEC] or the VALUE dial to select “Phones Only.”
fig.00-126
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Examples and convenient tips
Usin g th e TD-1 0 a s a MIDI so u n d m o d u le
The TD-10 can also be used as a sound module for MIDI keyboards or sequencer. When used as a
MIDI sound module, the percussion group (p. 126) can be used so that 72 types of instrument can be
accessed simultaneously in addition to the sounds that are assigned to the 12 trigger inputs (pads).
In addition, three backing parts can be used as sound sources (each with its own individual MIDI
channel) as well as the drums. This means that a single TD-10 can be used as a four-part multi part
multi-timbral sound source with 56 voices of polyphony! For details refer to “Using the TD-10 as a
sound module” (p. 125).
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Ad va n ce d Use
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Ch a p te r 1 . O ve rvie w o f th e TD-1 0 V-d ru m s
The TD-10 is a drum trigger interface and sound module, providing virtual reproduction of an actu-
al drum set, allowing total control over all aspects of drum sound creation.
When electronic drums were first developed, the technology available was not as advanced as it is
today, so sounds were not really comparable with acoustic drums. However, many people appreci-
ated electronic drums in their own right for their unique sound quality and character. The early elec-
tronic drum systems were fairly expensive, and not that easy to use in a wide musical context. Later,
the appearance of “samplers” (instruments using digital recording technology) brought great
advances in the quality of acoustic instrument simulations and editing potential of those sounds.
Although this technology was developed mostly for synthesizers, it was also applied to rhythm
machines and electronic drums though the operating procedures and the sound creating/ editing
processes were simply carried over from synthesizers.
For many drummers, it became necessary to learn new and unfamiliar technical terms and methods
for processing sound, meaning that the “user friendliness” was considerably diminished.
The TD-10 V-drums offers access to the whole family of percussion sounds, including acoustic and
electronic drums, and percussion, and provides a control environment that is specially designed for
the drummer. This includes choosing your instrument, (out of over 600 sounds!) editing the sounds,
and a way to make sure they respond to your style of playing through the advanced and accurate
triggering response. You also have control of “where” the drums are played, the acoustics of that
environment, the types of microphones used on the drums and their positions and all details of the
final mixing process in the “control room.” In other words, the TD-10 alone is a complete drum pro-
duction concept with a studio, effect units and a mixing console. There are 50 preset drum kits that
have been created in this manner, so you can get a feel of the TD-10’s potential once you have com-
pleted the basic setup.
Ho w th e V-d ru m s sy ste m is o rg a n ize d
The V-drums system can be divided into the following two parts.
Co n tro lle rs su ch a s pads a n d pedals o n w h ich y o u p e rfo rm
Th e sound module th a t p ro d u ce s so u n d s in re sp o n se to y o u r p e r-
fo rm a n ce o n th e p a d s o r p e d a ls
fig.01-02e
Controller
Sound module (TD-10)
TRIGGER
INPUT Jacks
Instrument (instrumental sound)
OUTPUT jacks
PHONES jack
Pad
In this system, the TD-10 is the sound module.
When the TD-10 receives signals (trigger signals) received after pads are hit (or via MIDI) it plays
the corresponding instrumental sounds.
* The term “trigger signal” will appear frequently in this manual, so become familiar with the term as it will
will help you understand the explanations that follow (p. 172).
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Chapter 1. Overview of the TD-10 V-drums
Ho w to se le ct p a d s
When making settings, you can specify the pad in one of the following two ways.
Usin g p a d s to se le ct th e p a d / so u n d fo r e d itin g
Strike the head (the head and rim simultaneously) of the pad. The setting display for the pad you
struck will appear. Listen to the sound as you strike the head (the head and rim simultaneously),
and use [INC/ DEC] or the VALUE dial to modify the setting.
Usin g th e TD-1 0 to se le ct th e p a d / so u n d fo r e d itin g
Use the “1” button or “12” button located below [TRIG SELECT] to select a trigger signal(corre-
sponds to the 12 trigger inputs). To edit the rim settings, press [RIM] to make the indicator light.
When using [PREVIEW] to audition a sound, use [INC/ DEC] or the VALUE dial to modify the set-
ting.
* When separate settings can be made for the head and the rim, a display such as the following will appear.
For details refer to p. 136.
fig.01-03
Head settings
Rim settings
In this owner’s manual, a symbol such as the following will mark functions that can be set independently for
head and rim.
fig.(H)(R)
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Ch a p te r 2 . Se ttin g s fo r th e e n tire d ru m k it
Se le ctin g a k it
N a m in g a k it
Press [KIT], and the basic display page will appear. In this
Each kit can be given a name of up to 8 characters.
fig.03-01
page, you can use [INC/ DEC],the VALUE dial or a foot
switch (optional) to select drum kits (p. 120).
fig.02-01
2
3
1
Pro ce d u re
1 . Press [KIT]-[F2 (FUNC)]-[F4 (NAME)].
The “DRUM KIT NAME” page will appear.
Area 1 in the above figure indicates whether the selected kit
contains settings for performance with sticks or for brushes.
To change this setting see “Making settings for brush perfor-
mance” (p. 79). Area 2 indicates effect on/ off settings for the
entire kit. Please refer to “Effect switches for the entire kit”
(p. 79). Area 3 will appear if a card is inserted into the TD-10.
If the card’s protect switch is on, a lock symbol will appear.
2 . Use the left/right [CURSOR] buttons to select the charac-
ter that you wish to change.
The character at the blinking location is the one that can be
changed.
3 . Use the VALUE dial, [INC/DEC], or [CURSOR] (up/down)
to change the character.
* To prevent data from being accidentally modified while you
play, it is a good idea to select this display page once you have
finished making settings.
Characters can be selected in the order of the small charac-
ters displayed in the bottom of the screen.
Fu n ctio n b u tto n s
Se le ctin g k its fro m th e list
d isp la y
In this page the [F1]–[F4] buttons can be used to perform the
following convenient functions for entering characters.
[F1 (INSERT)]: All characters to the right of the cursor will
be moved to the right.
Here you can select drum kits by accessing the full list of
available kits.
fig.02-02
[F2 (DELETE)]: The character at the cursor location will be
deleted, and all characters to the right of the
cursor will be moved to the left.
[F3 (SPACE)]: A blank space will be inserted at the cursor
location.
[F4 (CHAR)]: Cycle between uppercase/ lowercase/ sym-
bols.
Pro ce d u re
1 . Press [KIT]-[F1 (LIST)].
The “DRUM KIT LIST” page will appear.
2 . Use the VALUE dial, [INC/DEC], or [CURSOR] to select a
kit.
Fu n ctio n b u tto n s
[F1 (PAGE <)]: The previous page of the list will appear.
[F2 (PAGE >)]: The next page of the list will appear.
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Chapter 2. Settings for the entire drum kit
Ma k in g se ttin g s fo r b ru sh
p e rfo rm a n ce
Effe ct sw itch e s fo r th e
e n tire k it
For each kit you can specify whether sticks or brushes will
be used. When the trigger setting is set to “brush,” pad sen-
sitivity will be higher. Each kit has settings for sticks and for
Ambience, compressors, equalizers, and digital effects can
be turned on/ off for the entire kit. This gives you a great
way to “compare” your sounds with or without those func-
tions.
brushes, and the brush settings can be selected as follows.
fig.03-02
Pro ce d u re
1 . Press [KIT]-[F3 (FX SW)].
The “EFFECTS SWITCH” page will appear.
2 . Each time you press a function button [F1]–[F4], the cor-
responding effect will be switched on/off.
Pro ce d u re
Fu n ctio n b u tto n s
1 . Press [KIT]-[F2 (FUNC)]-[F3 (SELECT)].
The “SELECT” page will appear.
[F1 (AMBNCE)]: Ambience on/ off switch
[F2 (COMP)]:
[F3 (EQ)]:
Compressor on/ off switch
Equalizers on/ off switch
2 . Use [INC/DEC] or the VALUE dial to select “Brushes.”
[F4 (EFFECT)]: Effect on/ off switch
The settings for brush performance will be selected.
* The settings made here can also be seen in the drum kit name
* Preset drum kits for brushes are already set for brush perfor-
mance. The setting discussed here is necessary when you wish to
modify a kit that was created for stick performance in order to
play with brushes. If you wish to create a new brush kit, it’s sim-
pler to copy an existing one and then edit it as you wish.
page (“DRUM KIT”).
fig.03-02ae
* The setting you make here can also be viewed in the drum kit
name page (“DRUM KIT”).
* When performing brush swish/sweeping, the following condi-
tions must also be met in addition to the above setting.
On
Off
Trigger jack 2 must be used. (for the snare drum)
PD-120 or PD-100 pads must be used.
Make sure that you are using instrument number 113 “Brush1
S,” number 114 “Brush2 S” or 115 “BrushTmbS.”
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Ch a p te r 3 . In stru m e n t se ttin g s
Here you can edit the instruments.(i.e. snare drum kick etc.)
Se le ctin g in stru m e n ts
fro m th e list d isp la y
The TD-10 provides separate parameters for editing acoustic
or electronic drum sounds.
Here you can choose the sound from the list of all instru-
Se le ctin g a n in stru m e n t
ments.
fig.04-02
On the TD-10, each sound,is referred to as an “instrument”
(INST). You’ll begin the sound-creating procedure by select-
ing the desired instruments.
fig.04-01
Pro ce d u re
1 . Press [INST]-[F1 (LIST)].
The “INST LIST” page will appear.
2 . Strike the pad whose instrument you wish to change.
The setting page for the pad you struck will appear. The cur-
sor will be at the name of the currently selected instrument.
Pro ce d u re
(Example) Changing the snare
3 . Use the VALUE dial, [INC/DEC] or [CURSOR] to select
1 . Press [INST].
an instrument.
The “INST” page will appear.
4 . After you have selected an instrument, press [EXIT].
2 . Strike the snare pad.
You will return to the “INST” page.
The name of the instrument being triggered by the snare pad
will appear at “Inst.” The “type” of the currently selected
instrument will appear at “Group.”
Fu n ctio n b u tto n s
[F1 (PAGE <)]: The previous page of the list will appear.
[F2 (PAGE >)]: The next page of the list will appear.
3 . Use [INC/DEC] or the VALUE dial to select an instrument.
* There are instruments that cannot be selected There are some
instrument combinations that cannot be selected within the
same kit, or with certain trigger inputs. The V-EDIT process is
not available for all instruments (p. 136).
You can also use the Function Key to scroll through the
instrument list at a higher speed.
To advance quickly
Hold down [F2 (PAGE >)] and
press [F1 (PAGE <)]
To move in reverse quickly Hold down [F1 (PAGE <)] and
press [F2 (PAGE >)]
* Instruments which cannot be selected for specific triggers are
indicated by a horizontal line as in the following diagram.
fig.04-03e
Instruments which cannot be selected
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Chapter 3. Instrument settings
Ed itin g a n a co u stic d ru m k it (V-EDIT)
V-EDIT a n d EDIT
Editing procedure for an acoustic snare, kick and tom drums will differ depending on the type of
instrument and the TRIGGER INPUT jack that you are using.
1 . V-EDIT le ts y o u u se a ll th e e d itin g ca p a b ility o f th e TD-1 0
2 . EDIT le ts y o u e d it o n ly th e tw o p a ra m e te rs Pitch a n d De ca y
VERY IMPO RTAN T!! W h e n V-EDIT ca n b e u se d
“V-EDIT” will appear ONLY when using trigger inputs 1–6 and an instrument from instrument
groups “V-KICK”, “V-SNARE”, or “V-TOM.” (A “V-EDIT” symbol will appear in the setting page.)
When an instrument from another instrument group is assigned, only Pitch and Decay can be edit-
ed. So if you assign a “V” type sound to an input other than 1-6, you cannot use the V-Edit parame-
ters.
For details on assigning instruments, refer to p. 136.
The parameters available in V-EDIT will differ depending on the trigger input and instrument
selected. The following parameters can be edited.
Trigger
Shell Material Shell Depth Head Type Head Tuning Muffling Strainer Adj.
1 (KICK)
2 (SNARE)
3–6 (TOM)
-
o
o
o
o
o
o
o
o
o
o
o
o
-
o
-
o
-
o: Can be set
- : Cannot be set
Se le ctin g th e sh e ll m a te ria l
Changing the material of the snare drum shell produces a different tone. You can select one of three
materials: wood, steel and brass.
fig.04-04
In stru m e n ts th a t ca n b e e d ite d
Snare only
Pro ce d u re
1 . Press [INST]-[F2 (EDIT)]-[F1 (SHELL)].
The “INST EDIT” page will appear.
2 . Strike the snare pad.
The snare setting page will appear.
3 . Use [CURSOR] to move the cursor to “Material.”
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Material: Wood, Steel, Brass
Wood: Wood body. This produces a natural and mellow sound.
Steel: Steel body. This produces a sound with metallic resonance.
Brass: Brass body. This produces the unique resonance of brass.
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Chapter 3. Instrument settings
Pa ra m e te rs
Head Type: Clear, Coated, PinStripe
Ch a n g in g th e sh e ll d e p th
Changing the depth of the drum shell will change the tone.
With the snare drum, the depth can be changed over 39
steps, from 1 to 20 inches! Making the shell deeper will
increase the richness of the low range, and make the sound
Clear:
A single transparent head.
Coated:
The most commonly used type of head.
PinStripe®: Characterized by a rich medium and low range
“color.”
more “fat”.
fig.04-05
* PinStripe is a registered trademark of Remo Inc. U.S.A.
Tu n in g th e h e a d
Here you can tune the drum head very accurately.
fig.04-07
In stru m e n ts th a t ca n b e e d ite d
Kick, Snare, Tom
Pro ce d u re
1 . Press [INST]-[F2 (EDIT)]-[F1 (SHELL)].
The “INST EDIT” page will appear.
In stru m e n ts th a t ca n b e e d ite d
2 . Strike the pad that you wish to edit.
Kick, Snare, Tom
The setting page for the pad you struck will appear.
Pro ce d u re
3 . Use [CURSOR] to move the cursor to “Shell Depth.”
1 . Press [INST]-[F2 (EDIT)]-[F2 (HEAD)].
The “INST EDIT” page will appear.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
2 . Strike the pad that you wish to edit.
Pa ra m e te rs
The setting page for the pad you struck will appear.
Shell Depth: Normal, Deep (Kick)
1–20 inch (39 steps) (Snare)
Normal, Deep (Tom)
3 . Use [CURSOR] to move the cursor to “Head Tuning.”
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Se le ctin g th e h e a d m a te ria l
Changing the “type” of drum head will affect aspects of
Pa ra m e te rs
Head Tuning: -480–+480 (-4–+4 octaves)
attack and tone. You can choose from three type of heads:
Clear, Coated, and PinStripe®
fig.04-06
* For some instruments, raising or lowering the value beyond a
certain point may not produce further change.
In stru m e n ts th a t ca n b e e d ite d
Kick, Snare, Tom
Pro ce d u re
1 . Press [INST]-[F2 (EDIT)]-[HEAD(F2)].
The “INST EDIT” page will appear.
2 . Strike the pad that you wish to edit.
The setting page for the pad you struck will appear.
3 . Use [CURSOR] to move the cursor to “Head Type.”
4 . Use [INC/DEC] or the VALUE dial to make the setting.
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Chapter 3. Instrument settings
Mu fflin g se ttin g s (m u tin g )
Ad ju stin g th e Sn a re stra in e r
You can literally apply tape or “rings” to dampen the over-
te n sio n
tones.
The amount of contact between the bottom head and the
snares themselves can be adjusted to change the tone just
like with a real acoustic drum. You have a choice between
one of three tensions: Loose, Medium or Tight or you can
fig.04-08
turn the snares OFF.
fig.04-09
In stru m e n ts th a t ca n b e e d ite d
Snare, Kick, Tom
Pro ce d u re
1 . Press [INST]-[F2 (EDIT)]-[F3 (MUFFLE)].
The “INST EDIT” page will appear.
In stru m e n ts th a t ca n b e e d ite d
Snare only
2 . Strike the pad that you wish to edit.
Pro ce d u re
The setting page for the pad you struck will appear.
1 . Press [INST]-[F2 (EDIT)]-[F3 (MUFFLE)].
The “INST EDIT” page will appear.
3 . Use [CURSOR] to move the cursor to “Muffling.”
4 . Use [INC/DEC] or the VALUE dial to make the setting.
2 . Strike the snare pad.
The snare setting page will appear.
Pa ra m e te rs
3 . Use [CURSOR] to move the cursor to “Strainer Adj.”
Muffling: OFF, Tape 1, Tape 2, Blanket, Weight (Kick)
OFF, Tape 1, Tape 2, Doughnuts 1, Doughnuts 2
(Snare)
4 . Use [INC/DEC] or the VALUE dial to make the setting.
OFF, Tape 1, Tape 2, Felt 1, Felt 2 (Tom)
Pa ra m e te rs
OFF:
No muffling.
Strainer Adj.: OFF, Loose, Medium, Tight
Tape 1:
Tape 2:
Blanket:
one piece of tape.
OFF: The sound with no snares.
two pieces of tape.
Loose, Medium, Tight:
Muffled by placing a blanket inside the kick
drum.
The strainer tension becomes progressively stronger.
Weight:
Blanket with a weight on top.
Doughnuts 1: common “ring” type mute.
Doughnuts 2: common “ring” type mute with stronger muf-
fling of overtones.
Felt 1:
Felt 2:
Conventional felt type mute.
Conventional felt type mute with more pres-
sure on the head.
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Chapter 3. Instrument settings
Pa ra m e te rs
Ed itin g a n e le ctro n ic
d ru m k it (V-EDIT)
Electronic drum sounds consist of “tone” and “noise.” These
instruments can be assigned only to specific trigger inputs.
For details on instrument assignments, refer to p. 136.
Instruments from the “ELECTRONIC” instrument group
provide the following parameters.
Atk (Attack Level ): 0–127
Ad justs the volum e of the attack (the beginning of the
sound).
Tone (Tone Pitch ): 0–127
* With electronic drums, selecting an instrument for the head will
assign the same instrument to the rim. It is not possible to
change the rim to a different instrument.
Adjusts the pitch of the “tone” component.
Noi (Noise Pitch): 0–127
fig.04-10
Adjusts the pitch of the “noise” component.
Dcy (Decay): 0–127
Adjusts the decay time of the sound.
Bal (Noise Tone Balance): 0–127
Adjusts the volume balance between the “noise” and “tone”
components.
IMPORTANT: Instruments that can be used for specific trig-
ger inputs Instruments from the “ELEC” instrument group
can be used ONLY with trigger inputs 1–6. Example: An
Electronic Kick can only be used with the trigger input (1)
dedicated for the Kick.
Bend (Pitch Bend): 0–127
Adjusts the extent of the pitch change that occurs during the
sound. This setting adjusts the pitch at which the sound
begins.
fig.00-074e
Pro ce d u re
1 . Press [INST].
Bend
127
The “INST” page will appear.
2 . Strike a pad that is connected to a TRIGGER INPUT jack
(1-6).
amount of pitch change
The setting page for the pad you struck will appear.
3 . Use [INC/DEC] or the VALUE dial to select an instru-
ments from the “ELEC” instrument group.
0
Time
4 . Press [F2 (EDIT)].
The setting page for the selected instrument will appear.
5 . Use [CURSOR] to move the cursor to the parameter that
you wish to set.
* You can also use the [F1]–[F4] buttons to select parameters.
[F1]: Atk
[F2]: Each time the button is pressed, Tone or Noi will be
selected.
[F3]: Each time the button is pressed, Dcy or Bal will be
selected.
[F4]: Bend
6 . Use [INC/DEC] or the VALUE dial to make the setting.
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Chapter 3. Instrument settings
Ed itin g a TR-8 0 8 / 9 0 9 (V-EDIT)
This simulates a Roland “TR-808” or “TR-909” Rhythm Composer. Only instruments specified for
each trigger input can be selected. For details on instrument assignments, refer to p. 136.
* For instruments in the TR-808/909 groups, selecting an instrument for the head will assigns the same
instrument for the rim. It’s not possible to change the rim to a different instrument.
fig.04-12
In stru m e n ts a n d p a ra m e te rs u sa b le fo r e a ch trig g e r in p u t
Instruments in the “TR-808” or “TR-909” instrument group can be used only for trigger inputs 1–6.
Specific trigger jacks are used for specific instruments, such as “a kick instrument for the kick jack.”
The following parameters can be edited.
* The [F2]–[F4] buttons can be used to select parameters.
TR-808
Trigger
[F2]
[F3]
[F4]
Tone
Tone
-
1 (KICK)
Tune
Tune
Tune
Decay
Snappy
Decay
2 (SNARE)
3–6 (TOM1–4)
TR-909
Trigger
[F2]
[F3]
[F4]
Attack
Tone
-
1 (KICK)
2 (SNARE)
3–6 (TOM1–4)
Tune
Tune
Tune
Decay
Snappy
Decay
Pro ce d u re
1 . Press [INST].
The “INST” page will appear.
2 . Strike a pad connected to a TRIGGER INPUT jack 1–6.
The setting page for the pad you struck will appear.
3 . Use [INC/DEC] or the VALUE dial to select the TR-808/909 instrument.
4 . Press [F2 (EDIT)].
The setting page for the selected instrument will appear.
5 . Use [CURSOR] to move the cursor to the parameter that you wish to set.
6 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Attack (Attack Level): 0–127
Adjusts the volume of the attack (the beginning of the sound).
Tone (Tone Pitch): 0–127
On the TR-808/ 909, this parameter simulated the brightness of the drum.
Snappy: 0–127
This is the TR-808/ 909 parameter that simulates snare strainer tension.
Decay (Decay Time): 0–127
Adjusts the decay time of the sound.
Tune: 0–127
On the TR-808/ 909, this parameter simulated the tension of the drum head. The pitch and thickness
of the sound will change.
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Chapter 3. Instrument settings
Ed itin g h i-h a t, cy m b a ls
a n d p e rcu ssio n
Only pitch and decay can be edited for instruments that are
assigned to trigger inputs 7–12. Even for trigger inputs 1-6,
only pitch and decay can be edited if the assigned instru-
ment is not V-EDIT capable.
fig.04-14
Pro ce d u re
1 . Press [INST].
The “INST” page will appear.
2 . Strike a pad connected to a TRIGGER INPUT jack 7–12.
The setting page for the pad you struck will appear.
3 . Use [INC/DEC] or the VALUE dial to select a hi-hat, cym-
bal or percussion instrument.
4 . Press [F2 (EDIT)].
The setting page for the selected instrument will appear.
5 . Use [CURSOR] to move the cursor to the parameter that
you wish to set.
6 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Pich: -480–+480
Adjusts the pitch of the sound.
Decay: -31–+31
Adjusts the decay time of the sound.
* For some instruments, raising/lowering the value beyond a cer-
tain level will not produce any further change in Decay.
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Ch a p te r 4 . Stu d io se ttin g s
Here is where you can virtually change the acoustics of the
Ch a n g in g th e w a ll m a te ria l
You can choose from Wood, Plaster or Glass covered walls
room in which you are playing the drums. The parameters
available here let you select actual room sizes and wall mate-
rials to easily get your desired sound. You can also change
the positions of the “room” microphones.
for the room where the drums are being played.
fig.05-03
An easy way to understand this is to change the type of stu-
dio as explained below in “Selecting the studio/ room” in
“Settings for the entire drum kit.”
Se ttin g s fo r th e e n tire
d ru m k it
Pro ce d u re
1 . Press [STUDIO]-[F2 (ROOM)].
The “ROOM” page will appear.
Se le ctin g th e stu d io / ro o m
You can select one of 10 types of “ambiences” built into the
TD-10. Before you make detailed settings, use this setting to
select the basic type of acoustic environment in which you
2 . Use [CURSOR] to move the cursor to “Wall Type.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
will be playing.
fig.00-102a
Pa ra m e te rs
Wall Type: Wood, Plaster, Glass
Wood: Simulates the sound of a wood-walled room pro-
ducing a warm sound.
Plaster: Simulates a plaster-walled room producing a more
“naturally live” sound.
Glass: Simulates a glass-walled room producing a very
bright ambience.
Pro ce d u re
1 . Press [STUDIO].
The “STUDIO” page will appear.
Se le ctin g th e a m b ie n ce m ik e
2 . Use [INC/DEC] or the VALUE dial to make the setting.
lo ca tio n
Ambience microphones are placed at a distance from the
instrument in order to pick up the natural acoustics of the
room. Adjusting the height of these mikes allows you to cap-
Pa ra m e te rs
Studio Select: Beach, Living Room, Bath Room, Studio,
Garage, Locker Room, Theater, Cave,
Gymnasium, Dome Stadium
ture different characteristics of that room.
fig.05-04
Ch a n g in g th e size o f th e ro o m
You have five sizes to choose from.
fig.05-02
Pro ce d u re
1 . Press [STUDIO]-[F3 (AMBMIC)].
The “AMBIENCE MIC” page will appear.
2 . Use [INC/DEC] or the VALUE dial to make the setting.
Pro ce d u re
1 . Press [STUDIO]-[F2 (ROOM)].
The “ROOM” page will appear.
2 . Use [CURSOR] to move the cursor to “Room Size.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Room Sizes: Tiny, Small, Medium, Large, Huge
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Chapter 4. Studio settings
Pa ra m e te rs
Ambience Mic Positions: Low, High
Se ttin g s fo r e a ch in stru m e n t
Low: Often referred to as “floor mikes,” picking up low
frequencies of the room, producing a warmer charac-
ter.
Ab o u t th e b a sic p ro ce d u re
In each page,when you hit the pad for which you wish to
make settings, the setting page for that pad will appear. You
can also make a selection by pressing [TRIG SELECT] on the
TD-10 itself.
High: Often referred to as “overhead mikes” capturing the
high frequencies and accenting the brightness of the
room.
Ad ju stin g th e a m o u n t o f a m b ie n ce
Ad ju stin g th e vo lu m e a n d o u tp u t
a ssig n m e n ts o f th e a m b ie n ce
fig.05-06
fig.05-05
Pro ce d u re
1 . Press [STUDIO]-[F4 (AMBNCE)]-[F1 (AMBSND)].
The “AMBIENCE” page will appear.
Pro ce d u re
1 . Press [STUDIO]-[F4 (AMBNCE)]-[F3 (AMBLVL)].
The “AMBIENCE” page will appear.
2 . Strike the pad that you wish to edit.
The cursor will move to the slider of the pad that you struck.
2 . Use [CURSOR] to move the cursor to the output destina-
tion that you wish to set (“MASTER”, “DIR1”, “DIR2”,
“DIR3” ).
3 . Use the VALUE dial, [INC/DEC] or [CURSOR] to make
the setting.
Pa ra m e te rs
Ambience Send Level: 0-127
3 . Use [INC/DEC] or the VALUE dial to make the setting.
If you want the ambience to be output ONLY from a specific
output, raise the value for that output and set a value of “0”
for the others.
* If you consider Ambience as a type of “effect” used with a mix-
ing console, this parameter corresponds to the Send Level (the
amount that is sent from the mixer to the effect or in this
case,the room you’ve selected).
Pa ra m e te rs
Ambience Output Level: 0–127
MASTER: Adjusts the level of ambience output from the
MASTER jacks.
Se le ctin g th e ty p e o f m ik e a n d
its lo ca tio n
DIR1:
DIR2:
DIR3:
Adjusts the level of ambience output from the
DIRECT 1 jacks.
Here you can choose the type of mike used on certain instru-
ments and its relative position to that instrument.
fig.05-07
Adjusts the level of ambience output from the
DIRECT 2 jacks.
Adjusts the level of ambience output from the
DIRECT 3 jacks.
* Consider that Ambience is like an effect used with a mixing con-
sole and that these parameters correspond to the “Return Level”
(the amount that is sent from an effect back to the mixer).
* This parameter’s not available for electronic drums, TR-808/909
kits, cymbals or percussion.
Microphone settings can be made for the following trigger
inputs.
Trigger number
1, 2 (KICK, SNARE)
3–6 (TOM1–4)
7–12
Mic type
Mic location
o
o
-
o
-
-
o: Can be set
- : Cannot be set
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Chapter 4. Studio settings
Se le ctin g th e ty p e o f m ik e
Pro ce d u re
Se ttin g s fo r e a ch g ro u p
Settings can be made for the three main instrument groups:
1 . Press [STUDIO]-[F1 (MIC)].
The “MIC” page will appear.
the drum kit,the percussion group, and the backing parts.
* The percussion group is a sound map that can be accessed when
the TD-10 is being used as a MIDI sound module. For details
refer to “Using the percussion group” (p. 126). Of course, indi-
vidual percussion sounds CAN be assigned to the pads.
2 . Strike the pad that you wish to edit.
The setting page for the pad you struck appears.
3 . Use [CURSOR] to move the cursor to “Mic Type.”
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Ad ju stin g th e a m o u n t o f a m b i-
Pa ra m e te rs
Mic Type: Condenser, Dynamic 1, Dynamic 2 (KICK)
Condenser, Dynamic, Lo-Fi (SNARE)
e n ce se n d le ve l fo r e a ch g ro u p
The ambience can be adjusted by groups: the drum kit, the
percussion group (p. 126), and the backing part group. It’s a
convenient way to raise or lower the overall amount of
ambience without adjusting individual ambience send levels
for the instruments.
(KICK)
Condenser: Produces the sound of a condenser mike.
Dynamic 1: Prod u ces the sou nd of a stand ard d ynam ic
mike.
Dynamic 2: Produces the sound of a dynamic mike that has
the m id -to-high-range content em p hasized
somewhat.
Pro ce d u re
1 . Press [STUDIO]-[F4 (AMBNCE)]-[F2 (GRPSND)].
The “AMBIENCE” page will appear.
(SNARE)
2 . Use [CURSOR] to move the cursor to the group for which
Condenser: Produces the sound of a condenser mike.
Dynamic: Produces the sound of a dynamic mike.
you wish to make settings (“DRUMS”, “PERC”, “PART” ).
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Lo-Fi:
Emphasizes low range and is a bit “dirty.”
Pa ra m e te rs
Ambience Group Send: 0–127
Sp e cify in g th e m ik e p la ce m e n t
Pro ce d u re
DRUMS: Adjusts ambience send level for the entire drum
kit.
1 . Press [STUDIO]-[F1 (MIC)].
The “MIC” page will appear.
PERC: Adjusts ambience send level for the entire percus-
sion group.
2 . Strike the pad that you wish to edit.
The setting page for the pad you struck appears.
PART: Ad justs am bience send level for the sequencer
parts (Part 1, Part 2, and Bass part).
3 . Use [CURSOR] to move the cursor to “Mic Position.”
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Mic Position: Outside, Standard, Inside
Outside: Placed to capture more “attack.”
Standard: Standard mike location for a natural sound.
Inside:
Produces less attack and a bit more “body” of the
drum.
8 9
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Ch a p te r 5 . Co n tro l ro o m se ttin g s
The most important aspect of finalizing the sound in record-
Ad ju stin g p a n (ste re o lo ca tio n )
ing or live performances depends on the mixing console. In
the Control Room, you’ll find a complete 12-channel mixer
with 10 individual compressors and EQ’s and digital effects,
finalizing your sound in a CD-quality state.
This adjusts the stereo location of each pad.
fig.06-02
Ab b re via tio n s in th e d isp la y scre e n
TRIGGER INPUT jacks
K=Kick
Sn=Snare
Pro ce d u re
T1=Tom 1
T2=Tom 2
T3=Tom 3
T4=Tom 4
HH=Hi-hat
C1=Crash 1
C2=Crash 2
Rd=Ride cymbal
A1=AUX1
A2=AUX2
1 . Press [CONTROL ROOM]-[F1 (MIXER)]-[F2 (PAN)].
The “PAN” page will appear.
2 . Strike the pad that you wish to edit.
The cursor will move to the slider of the pad that you struck.
3 . Use the VALUE dial, [INC/DEC] or [CURSOR] to make
the setting.
Raising the slider (pressing [INC]) will move the sound
toward the right, and lowering it (pressing [DEC]) will move
the sound toward the left.
Pa ra m e te rs
Pan: L15–Center–R15
Se ttin g s fo r e a ch in stru m e n t
Th e b a sic p ro ce d u re
In each page, strike the pad for which you wish to make set-
tings, and the setting page for that pad will appear. You can
also use [TRIG SELECT] to make your selection by.
Ad ju stin g e ffe ct se n d le ve l
This sets the effect Send Level for each pad/ sound.
fig.06-03
Ad ju stin g vo lu m e (le ve l)
This adjusts the volume of each pad.
fig.06-01
Pro ce d u re
1 . Press [CONTROL ROOM]-[F4 (EFFECT)]-[F1 (FXSEND)].
The “EFFECT” page will appear.
Pro ce d u re
2 . Strike the pad that you wish to edit.
1 . Press [CONTROL ROOM]-[F1 (MIXER)]-[F1 (VOLUME)].
The “VOLUME” page will appear.
The cursor will move to the slider of the pad that you struck.
3 . Use the VALUE dial, [INC/DEC] or [CURSOR] to make
2 . Strike the pad that you wish to edit.
the setting.
The cursor will move to the slider of the pad that you struck.
Pa ra m e te rs
Send Level: 0–127
3 . Use the VALUE dial, [INC/DEC] or [CURSOR] to make
the setting.
Pa ra m e te rs
Volume: 0–127
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Chapter 5. Control room settings
Se le ctin g o u tp u t a ssig n m e n ts
Co n tro llin g va ria tio n s in vo lu m e
(Co m p re sso r)
To change the output destination for the sound of each pad
note that the vertical lines indicate the TRIGGER INPUT
number, and the horizontal lines ind icate the OUTPUT
choices. The black dots indicate the OUTPUT assignment
10 com p ressors are p rovid ed (Triggers 1-10 on ly)
Compression is used to “smooth” volume peaks, preventing
“overloads” and as it will also change the character and tone
of the sound in response to the playing dynamics, it’s anoth-
corresponding to each sound.
fig.06-04
er useful tool in creating YOUR sound.
fig.06-05
Pro ce d u re
1 . Press [CONTROL ROOM]-[F1 (MIXER)]-[F3 (OUTPUT)].
The “OUTPUT” page will appear.
Pro ce d u re
1 . Press [CONTROL ROOM]-[F2 (COMP)].
The “COMPRESSOR/ LIMITER” page will appear.
2 . Strike the pad that you wish to edit.
The cursor will move to the vertical line (TRIGGER INPUT
jack) of the pad that you struck.
2 . Strike the pad that you wish to edit.
The setting page for the pad you struck will appear.
3 . Use the VALUE dial, [INC/DEC] or [CURSOR] to make
3 . Use [CURSOR] to move the cursor to the parameter that
the setting.
you wish to set.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
In this page, [F1] will turn the compressor on/ off. Also,
pressing the [F2][F3][F4] buttons will move the cursor direct-
ly to “Attack,” “Release,” or “Output.”
Ab b re via tio n s in th e d isp la y scre e n
OUTPUT jacks
M=MASTER
1=DIRECT 1
2=DIRECT 2
3=DIRECT 3
Pa ra m e te rs
ATTACK (Attack time): 0.05–50 msec
Ad justs the volum e of the attack (the beginning of the
sound).
* The volume of the DIRECT 1, DIRECT 2 and DIRECT 3 jacks
is not affected by the master volume control located in the upper
right of the front panel ([MASTER]).
RELEAS (Release time): 0.05–2000 msec
Adjusts the release time of the sound.
Ap p lica tio n s
OUTPUT (Output Level): -60– +12 dB
You can also use the DIRECT outputs (6) in mono by select-
ing (for example) DIRECT 1, and then panning the chosen
sound hard right or left (R15/ L15) (stereo location; p. 90). If
you are processing all sounds externally, you can also use
the MASTER out in this way, giving you 8 individual mono
outs.
Adjusts the volume of the sound processed by the compres-
sor. Ideally the volume should be about the same whether
the compressor is on or off.
Threshold (Threshold): -∞, -99–0
When the input exceeds the level that you specify here, the
compressor will begin to hold down the volume.
O u tp u t Se p a ra tio n : 7 6 d B (m in .)
(MASTER L -> DIRECT L, MASTER R -> DIRECT R): 45 dB (min.)
(DIRECT L -> Other DIRECT L, DIRECT R -> Other DIRECT R): 45 dB (min.)
Ratio (Compression Ratio): 1:1–90:1, ∞:1
This decides the degree of volume compression, expressed
as a ratio relative to the original (input) sound.
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Chapter 5. Control room settings
Custom izing the tone (Eq ua lizer)
Here you can adjust the high and low frequencies balance
for the instrument assigned to each pad. (TRIGGERS 1-10
only)
Peak
GAIN
0
LShelv
HShelv
Frequence
* This setting is not available for the AUX1,2 trigger inputs.
fig.06-06
FREQ
0
Pro ce d u re
1 . Press [CONTROL ROOM]-[F3 (EQ)].
The “EQ” page will appear.
Q
2 . Strike the pad that you wish to edit.
The setting page for the pad you struck will appear.
3 . Use [CURSOR] to move the cursor to the parameter that
you wish to set.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
In this page, [F1] will turn the equalizer on/ off. Pressing [F3]
or [F4] will move the cursor directly to the low range (LOW)
or high range (HIGH) settings.
Pa ra m e te rs
TYPE: Peak, L shelv, H shelv
Peak:
The vicinity of the specified frequency range will be
boosted/ cut.
L shelv: The entire range below the specified frequency will
be boosted/ cut.
H shelv: The entire range above the specified frequency will
be boosted/ cut.
Q: 0.5, 1.0–20, 1.0 steps
Adjusts the width of the frequency range that will be boost-
ed/ cut. For example, when the “Q” value is small, raising or
lowering the low range “GAIN” will affect a broad area
extending close to the high range.
FREQ (Frequency): 20–20 kHz
Adjusts the point at which the boost/ cut will occur.If you
wish to boost/ cut a range that is higher than the current
range, you would adjust this setting.
GAIN: -15–0–+15 dB
Adjusts the amount of the boost/ cut. Negative (-) settings
produce a cut.
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Chapter 5. Control room settings
Gate Reverb 1, 2, 3
Non Linear 1, 2
Se ttin g s fo r th e e n tire
d ru m k it
These effects cut off the reverberation before its natural
decay, and have broad applications as the sound will change
in different ways over time for Gate Reverb and Non Linear.
fig.06-09e
Ad ju stin g e ffe ct Re tu rn le ve l
You can adjust the effect Return level for the drum kit, per-
Level
cussion group, and backing parts.
Pro ce d u re
Gate
Non Linear
1 . Press [CONTROL ROOM]-[F4 (EFFECT)]-[F2 (SNDRTN)].
The “EFFECT GROUP” page will appear.
Time
2 . Use [CURSOR] to move the cursor to “Return Level”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Delay 1, 2
A repeating-type effect is produced. By changing the time
difference between the left and right delays, you can “spread
out” the left/ right width of the delayed sound.
Pa ra m e te rs
Return Level: 0–127
Beat Delay 1, 2
Se le ctin g th e ty p e o f e ffe ct
This produces a delay that is synchronized to the tempo of
the sequencer. This differs from “Delay 1, 2” in that the
delay time can be specified in terms of note values. For
example with a setting of “16” (16th note), the delay time
will always be a 16th note length even if you change the
tempo of the sequencer.
The TD-10 provides 30 different types of digital effects that
are easy to select with the simple push of a button. You can
also edit these effects. Refer to “Editing the effects” (p. 94).
fig.06-08
Chorus Delay 1, 2
Delay is combined with a chorused sound.
Chorus: An effect that adds smoothness and spaciousness
to the sound
Delay: A repeating-type effect
Pro ce d u re
Flanger Delay 1, 2
1 . Press [CONTROL ROOM]-[F4 (EFFECT)]-[F3 (FXTYPE)].
The “EFFECT TYPE” page will appear.
Delay is combined to a flanged sound.
Flanger: An effect that adds a “jet airplane” nuance
Delay: A repeating-type effect
2 . Use [CURSOR] to move the cursor to where the effect
name is displayed.
Phaser Delay 1, 2
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Delay is applied to a phased sound.
Phaser: An effect that gives a twisting character to the
sound
Hall Reverb 1, 2, 3
Room Reverb 1, 2, 3
Delay: A repeating-type effect
Plate Reverb 1, 2, 3
These are high quality digital reverbs similar to what you
find in dedicated effects modules. Hall and Room Reverbs
are more conventional types while Plate simulates the prede-
cessors of digital effects, where a metal plate was actually
used. Try them to hear the differences.
Pitch Shift Delay 1, 2
These are delays with pitch change.
3D-Delay 1, 2, Flying 3D-Delay 1, 2
3D-Delay adds a sense of spaciousness to the delay sound.
Flanging 3D-Delay produces an effect in which the delay
sound appears to rotate front/ rear and left/ right.
* Listen in a stereo environment to appreciate this 3D-Delay or
Flying 3D-Dealy effect. For the speaker placement locations,
refer to p. 95.
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Chapter 5. Control room settings
Pa ra m e te rs fo r De la y 1 , 2
Delay Time: 0–1200 (ms)
Ed itin g th e e ffe cts
Here’s how to set the parameters for each effect type. It’s best
to use Ambience to create the basic overall sound of the drum
kit, and then use the digital effects to enhance specific sounds.
Adjust the time from the original sound until the delay is
heard.
To adjust the depth for each instrument, refer to p. 90.
Shift: L1200–0–R1200 (ms)
fig.06-10
Adjust the time difference between the left and right delays.
For example: if Delay Time is set to 400ms, setting Shift to
L100ms w ill cause the right channel d elay to remain at
400m s an d th e left ch an n el d elay w ill sou n d at
400+100=500ms. You can not make settings that would cause
the sum of Delay Time and Shift to be greater than 1200ms.
Feedback Level: 0–127
Pro ce d u re
Adjust the number of times that the delay effect repeats.
1 . Press [CONTROL ROOM]-[F4 (EFFECT)].
The “EFFECT TYPE” page will appear.
High Damp Freq: 500–20k (Hz)
Adjust the tone of the delay to make it brighter/ darker.
Lowering this frequency will cut more of the high range,
making the sound darker.
2 . Use [CURSOR] to move the cursor to the parameter that
you wish to set.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs fo r Be a t De la y 1 , 2
Delay Time: 16, 8T, 16F, 8, 4T, 8F, 4, 2T, 4F, 2
Specify the note value at which the delay will repeat.
Delay Time values
Pa ra m e te rs fo r Ha ll Re ve rb 1 , 2 , 3 / Ro o m
Re ve rb 1 , 2 , 3 / Pla te Re ve rb 1 , 2 , 3
Reverb Time: 0.1–25 (sec)
The length of reverberation.
16: 16th notes
Pre Delay: 0–200 (ms)
8T: 8th note triplets
Adjust the time until the reverb begins to sound. This is a
small and precise adjustment and will appear to affect the
fatness of the reverb, rather than being felt as a change in the
reverb decay time.
16F: dotted 16th notes
8: 8th notes
4T: quarter note triplets
8F: dotted 8th notes
4: quarter note
High Cut Freq: 500–20k (Hz)
2T: half-note triplets
Adjust the tone of the reverb to make it brighter/ darker.
Lowering this frequency will cut more of the high range,
making the sound darker.
4F: dotted quarter note
2: half note
Spread: 0–15
Shift: L2, L4F, L2T, L4, L8F, L4T, L8, L16F, L8T, L16, 0,
R16, R8T, R16F, R8, R4T, R8F, R4, R2T, R4F, R2
Specify how much the right or left channel delay will be
later than the Delay Time.
Adjust the left/ right spread of the reverb. Higher settings
will create a more obvious “spread” in the sound.
Pa ra m e te rs fo r Ga te Re ve rb 1 , 2 , 3 / N o n
Lin e a r 1 , 2
Gate Time: 10–400 (ms)
For example if Delay Time is set to “16 (16th note)” and Shift
is set to “L16” (left channel delayed by a 16th note), the right
channel delay will be heard at 16th note timing, and the left
channel will be heard one 16th note later than this. You can
not make settings that would cause the sum of Delay Time
and Shift to be greater than 1200ms.
Adjust the length of the reverb.
Pre Delay: 0–200 (ms)
Adjust the time until the reverb begins to sound. This is a
small and precise adjustment and will appear to affect the
fatness of the reverb, rather than being felt as a change in the
reverb decay time.
Feedback Level: 0–127
Adjust the number of times that the delay repeates.
High Damp Freq: 500–20k (Hz)
High Cut Freq: 500–20k (Hz)
Adjust the tone of the delay to make it brighter/ darker.
Lowering this frequency will cut more of the high range,
making the sound darker.
Adjust the tone of the reverb to make it brighter/ darker.
Lowering this frequency will cut more of the high range,
making the sound darker.
Density: 0–127
Adjust the “fatness” of the reverb. Higher settings produce a
fatter (denser) reverb.
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Chapter 5. Control room settings
Pa ra m e te rs fo r Ch o ru s De la y 1 , 2
Rate: 0.1–10.0(Hz)
Pa ra m e te rs fo r Pitch Sh ift De la y 1 , 2
Pitch Shift: -12–0–+12 (semitones)
Adjust the modulation frequency of the chorus. Higher set-
tings produce faster modulation.
Specify the amount of pitch change. A setting of +1 raises the
pitch a semitone, and +12 raises the pitch one octave.
Depth: 0–127
Delay Time: 0–500 (ms)
Adjust the modulation depth of the chorus. Higher settings
produce a stronger effect.
Adjust the time from the original sound until the delay is
heard.
Delay Time: 0–500 (ms)
Feedback Level: 0–127
Adjust the time from the original sound until when the
delay is heard.
Adjust the number of times that the delay repeats. With set-
tings of 2 or more times, the pitch-shifted sound will be
pitch-shifted again, meaning that the pitch will rise (or fall)
by the specified Pitch Shift amount each time the delay
repeats.
Delay Feedback: 0–127
Adjust the number of times that the delay repeats.
* If you wish to use only the chorus, set Delay Time and Delay
Feedback to 0(off).
High Cut Freq: 500–20k (Hz)
Adjust the tone of the delay to make it brighter/ darker.
Lowering this frequency will cut more of the high range,
making the sound darker.
Pa ra m e te rs fo r Fla n g e r De la y 1 , 2
Rate: 0.1–10.0 (Hz)
Adjust the modulation frequency of the flanger. Higher set-
tings produce faster modulation.
Pa ra m e te rs fo r 3 D-De la y 1 , 2
Delay Time: 0–1200 (ms)
Depth: 0–127
Adjust the time from the original sound until the delay is
heard.
Adjust the depth of the flanger. Higher settings increase the
effect.
Shift: L1200–0–R1200 (ms)
Delay Time: 0–500 (ms)
Relative to the Delay Time, you can lengthen the time until
the right or left channel delay is heard.
Adjust the time difference from the original sound until the
delay is heard.
For example if Delay Time is set to 400ms, setting Shift to
L100ms w ill cause the right channel d elay to remain at
400ms and the left channel delay will sound 100 ms later.
You can not make settings causing the sum of Delay Time
and Shift to be greater than 1200ms.
Delay Feedback: 0–127
Adjust the number of times that the delay repeats.
* If you want to just use the flanger, set Delay Time & Delay
Feedback to 0.(off)
Feedback Level: 0–127
Adjust the number of times that the delay effect repeats.
Pa ra m e te rs fo r Ph a se r De la y 1 , 2
Rate: 0.1–10.0 (Hz)
Speaker Angle: 0–90
Adjust the modulation frequency of the phaser. Higher set-
tings produce faster modulation.
Leaving the actual speaker locations as they are, you can
adjust “Angle” in the following diagram to change the direc-
tion from which the sound is heard.
fig.06-11e
Depth: 0–127
Adjust the modulation depth of the phaser. Higher settings
produce a stronger effect.
Direction from which the sound is heard
Actual speaker locations
Delay Time: 0–500 (ms)
Adjust the time from the original sound until the delay is
heard.
Delay Feedback: 0–127
Angle
30˚
Angle
30˚
Adjust the number of times that the delay effect repeats.
* If you wish to use just the phaser effect, set Delay Time & Delay
Feedback to 0.
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Chapter 5. Control room settings
Pa ra m e te rs fo r Fly in g 3 D-De la y 1 , 2
Delay Time: 10–1200 (ms)
Ad ju stin g th e vo lu m e b y g ro u p
You can adjust the overall volume of the drum kit and per-
Adjust the time from the original sound until the delay is
heard.
cussion group.
Pro ce d u re
Feedback Level: 0–127
1 . Press [CONTROL ROOM]-[F1 (MIXER)]-[F4 (GRPVOL)].
The “GROUP VOLUME” page will appear.
Adjust the number of times that the delay repeateds.
Rotation: -150–0– +150 (R.P.M) (steps of 3)
Specify the number of rotations per minute. Positive (+) set-
tings rotate toward the right, negative (-) settings rotate
toward the left.
2 . Use [CURSOR] to move the cursor to the group for which
you wish to make settings (“DRUMS” or “PERC” ).
3 . Use [INC/DEC] or the VALUE dial to make the setting.
High EQ Gain: 0– +10
Pa ra m e te rs
This is an equalizer that is applied only to the delay sound.
Group Volume: 0–127
DRUMS: Adjusts the volume of the entire drum kit.
PERC: Adjusts the volume of the entire percussion group.
Se ttin g s fo r a n e n tire g ro u p
Broad Settings can be made for the entire drum kit, backing
parts, or percussion group.
* The percussion group is a sound map that can be accessed when
the TD-10 is being used as a MIDI sound module. For details
refer to “Using the percussion group” (p. 126). Of course, indi-
vidual percussion sounds CAN be assigned to the pads.
Ad ju stin g e ffe ct se n d le ve l fo r
a n e n tire g ro u p
You can adjust the overall amount of effect send level for the
drum kit, percussion group (p. 126), and backing parts.
Pro ce d u re
1 . Press [CONTROL ROOM]-[F4 (EFFECT)]-[F2 (SNDRTN)].
The “EFFECT GROUP” page will appear.
2 . Use [CURSOR] to move the cursor to the group (“Drums,”
“Perc,” or “Part”) for which you wish to make settings.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Group FX Send: 0–127
Drums: The amount of effect send level for the entire drum
kit.
Perc:
The amount of effect send level for the entire per-
cussion group.
Part:
The amount of effect send level for the sequencer
parts (part 1, part 2, bass part).
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Ch a p te r 6 . Se q u e n ce r
The TD-10’s sequencer consists of four parts (like 4 tracks).
The Drum part is used to record/ play back performance
from the pads or an external MIDI controller. There are three
other parts for melodic instruments: Part 1, Part 2 and the
Bass part.
Usin g Pre se t Pa tte rn s
It is not possible to modify the settings of a preset pattern. If
you attempt to modify the settings when a preset pattern is
selected, the following display will appear.
fig.07-01a
A set of performances for each of these four parameters is
collectively referred to as a pattern.
The Preset patterns (1–50) contain pre-record ed perfor-
mances for each part and can be used for listening, or as a
practice/ performance tool. Preset patterns cannot be erased
(p. 104) or recorded over. The User patterns (51–100) can be
used for recording. In order to record melodic instruments
on Part 1, Part 2 and the Bass part, you will need to use an
external MIDI keyboard. Recording the Drum part can be
done from the pads or an external MIDI controller.
Although the settings can be modified temporarily, the origi-
nal settings will return when you select another pattern. If
you wish to modify the settings of a preset pattern, you must
first copy the preset pattern to a User pattern (p. 104).
Se ttin g th e te m p o
Ba sic se q ue nce r op e ra tion
The “SEQENCER” buttons located on the front panel are
used to perform basic operations and access the setting
pages. Pressing [PATTERN] will call up the basic display
Se ttin g th e te m p o fo r e a ch p a tte rn
When a pattern is selected, the tempo you specify here will
be set automatically.
page of the sequencer.
fig.07-01
Pro ce d u re
1 . Press [PATTERN]-[F2 (FUNC)]-[F2 (SETUP)].
The “PATTERN SETUP” page will appear.
2 . Use [CURSOR] to move the cursor to “Pattern Tempo.”
3 . Use [INC/DEC] or the VALUE dial to set the tempo.
Pa ra m e te rs
Pattern Tempo: 20–260
[PATTERN]: Select patterns. This is the basic display page
for the sequencer.
[PART]:
Make settings for each Part.
Te m p o ra rily ch a n g in g th e te m p o
o f th e cu rre n tly -p la y in g p a tte rn
[TEMPO]: Set the Tempo.
[CLICK]:
[STOP]:
Turn the click sound on/ off.
Pressing this will stop playback. Pressing it
once again returns you to the beginning of the
song.
You can change the tempo of the pattern that is currently
being played back. When you select a different pattern, this
tempo change will be canceled.
[PLAY]:
[REC]:
Start sequencer playback.
Access the recording setting page, and enter
record-standby mode.
Pro ce d u re
1 . Press [TEMPO].
fig.07-01ae
The “TEMPO” page will appear.
Beginning of pattern
2 . Use [INC/DEC] or the VALUE dial to set the tempo.
Go back one measure
Go forward one measure
Pa ra m e te rs
TEMPO: 20–260
Ending of pattern
[CURSOR]: Press the left button to rewind, and the right
button to fast-forward. Press the up button to
move to the beginning of the pattern, and the
down button to move to the end.
For details on the operation of each button, refer to the
explanations that follow.
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Chapter 6. Sequencer
Se le ctin g h o w a p a tte rn w ill
p la y b a ck
Pla y b a ck fu n ctio n s
Se le ctin g a p a tte rn
There are three different ways to make a pattern play back.
Loop:
The pattern will playback, repeating until you
press [STOP].
Pro ce d u re
One Shot: The pattern will playback once and then stop.
1 . Press [PATTERN].
Tap:
See (p. 119), This allows you to play back a pat-
tern note by note (step by step) (You can press
[PLAY] to audition this.)
2 . Use [INC/DEC] or the VALUE dial to select a pattern.
Ab o u t th e scre e n d isp la y
fig.07-02
Pro ce d u re
1 . Press [PATTERN]-[F2 (FUNC)]-[F3 (TYPE)].
The “PATTERN TYPE” page will appear.
1
2
3
2 . Use [CURSOR] to move the cursor to “Play Type.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
4
5
Pa ra m e te rs
Play Type: Loop, One Shot, Tap
1. Currently selected pattern number
2. Currently playing measure number.
3. Indicates the beat.
W a y s to u se th is fu n ctio n
4, 5 show the status of settings that were made in other set-
ting displays.
Loop:
Loop is useful for practicing and live perfor-
mance.
4. Indicates the playback method setting.
5. Indicates the part mute status (p. 107).
One Shot: One Shot is also a great live performance fea-
ture.
* Function buttons [F1]–[F4] are used for various functions as
explained below.
With Loop and One Shot-each time you hit the
pad to w hich the pattern is assigned, it w ill
automatically start from the beginning of the
pattern. It’s a good idea to actually try this out
to see for yourself.
Se le ctin g p a tte rn s fro m th e list
Like the “PATTERN” page, here you can select patterns
You can use an empty pattern assigned to a pad
to function as a “stop” switch for a pattern trig-
gered from another pad.
from a list of names.
From the left, this indicates pattern name (Name), time sig-
nature (Beat), measure length (Len), and pattern type (Type).
fig.07-03
* QuickPlay is a supplementary function for Loop and One Shot.
QuickPlay starts playback of the pattern from the first note (first
event) even if when you recorded the pattern, you left a pause at
the beginning. For example if you had just played/recorded
freely,ignoring the tempo clock.
Pro ce d u re
1 . Press [PATTERN]-[F1 (LIST)].
The “PATTERN LIST” page will appear.
2 . Use the VALUE dial, [INC/DEC] or [CURSOR] to select a
pattern.
Fu n ctio n b u tto n s
[F1 (PAGE )]: The previous page of the list will appear.
[F2 (PAGE )]: The next page of the list will appear.
[F3 (MEMORY)]: This indicates the remaining amount of
memory and the number of patterns.
[F4 (NEW)]:
The empty pattern will be selected.
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Chapter 6. Sequencer
Tap:
This function is a great performance tool! For
exam p le if you sp ecify “Tap ” for a p attern
which contains a melody line and assign this
pattern to a pad, you can play the notes of the
melody in order each time you strike the pad.
You can set the “Reset Time” so that the pattern
will automatically return to the beginning if that
time interval elapses without that pad being hit
again. For example, you can play a bass line
with your kick drum and the two sounds will be
perfectly “tight.”
Click se ttin g s
Click o n / o ff a n d vo lu m e se ttin g s
When you press [CLICK], the click will be turned on/ off. To
ad ju st the volu m e, m ove the [GROUP FADERS] slid er
[CLICK].
Se ttin g th e te m p o
While pattern playback is halted, you can use the click as a
metronome. But if a different pattern is selected, the tempo
will change to the tempo specified for that pattern.
* Reset Time (Off, 0.1–4.0 seconds)
This is the time interval that resets the pattern being used. If it
is set to “Off,” this function will be disabled.
Pro ce d u re
1 . Press [TEMPO].
The “TEMPO” page will appear.
2 . Use [INC/DEC] or the VALUE dial to set the tempo.
Pa ra m e te rs
TEMPO: 20–260
Se ttin g th e tim e sig n a tu re a n d
click in te rva l
Pro ce d u re
1 . Press [CLICK]-[F1 (INTRVL)].
The “CLICK” page will appear.
2 . Use [CURSOR] to move the cursor to the parameter that
you wish to set.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
* It is not possible to change the time signature of the click while a
pattern is playing back. The click corresponds to the time signa-
ture of the pattern.
Pa ra m e te rs
Time Signature: Numerator = 0–13 (number of beats per
measure), Denominator = 2, 4, 8, 16 (basic
note value)
Interval: 1/2 (half note), 3/8 (dotted quarter note), 1/4 (quar-
ter note), 1/8 (eighth note), 1/12 (12th note), 1/16
(16th note)
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Chapter 6. Sequencer
Se le ctin g th e click so u n d
Ad ju stin g th e p a n
You have a choice of sixteen sounds including a human
(ste re o lo ca tio n )
You can set the pan position of the click. But if you have cho-
sen headphones (Phones Only) as the output destination, the
click will be located in the center regardless of this setting.
voice!
Pro ce d u re
1 . Press [CLICK]-[F2 (INST)].
The “CLICK” page will appear.
Pro ce d u re
1 . Press [CLICK]-[F2 (INST)].
The “CLICK” page will appear.
2 . Use [CURSOR] to move the cursor to “Inst.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
2 . Use [CURSOR] to move the cursor to “Pan.”
Pa ra m e te rs
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Inst: Voice, Click, Claves, Wood Block, Triangle, Cowbell,
Conga, Talking Drum, Maracas, Cabasa, Cuica,
Agogo, Tambourine, Snaps, 909 Snare, 808 Cowbell
“L15” is far left, “Center” is center, and “R15” is far right.
Pa ra m e te rs
Pan: L15–Center–R15
Usin g a m b ie n ce
You can also send the click sound to the ambience used in
Se le ctin g th e o u tp u t d e stin a tio n
You can select the output for the click. (Master and / or
the current kit.
Headphones only)
Pro ce d u re
1 . Press [CLICK]-[F2 (INST)].
The “CLICK” page will appear.
Pro ce d u re
1 . Press [CLICK]-[F2 (INST)].
The “CLICK” page will appear.
2 . Use [CURSOR] to move the cursor to “Ambience Level.”
2 . Use [CURSOR] to move the cursor to “Output.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Ambience Level: 0–127
Pa ra m e te rs
Output: Master, Phones Only
Usin g e ffe cts
Master:
Output from the MASTER OUT and PHONES
jacks.
You can also “send” the click sound to the effect in use, and
sometimes this makes it more comfortable to listen to.
When using this, make sure that the master effect switch is
ON (p. 41).
Phones Only: Output only from the PHONES jacks.
Pro ce d u re
1 . Press [CLICK]-[F2 (INST)].
The “CLICK” page will appear.
2 . Use [CURSOR] to move the cursor to “FX Send Level.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
FX Send Level: 0–127
* The effect is the one assigned to the kit ([CONTROL ROOM]-
[F4 (EFFECT)]).
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Chapter 6. Sequencer
Pa ra m e te rs
Re co rd in g
Performance on the pads or on an external MIDI keyboard
can be recorded. On the TD-10, your performance will be
recorded exactly as you play it, including hi-hat control
pedal movements and Positional Sensing.
Time Signature: Numerator = 1–13, Denominator = 2, 4, 8, 16
Length (bars): 1–99
* When the denominator is 16, you cannot set a numerator of
from 1 through 3. Also, with a denominator of 8, a numerator of
1 cannot be set.
* Brush swish/sweeping and choke (p. 35) cannot be recorded.
* If you are using Replace recording (p. 102), it is not necessary to
specify the Length. Recording will continue until you press
[STOP], and the number of measures recorded will automatical-
ly become the “Length” setting.
* Please keep in mind that even though there are 50 user patterns,
the amount of memory available will be determined by how
much data is recorded into each pattern.
If you are recording from the pads, disregard paragraphs 3
and 4 of this section.
Ba sic re co rd in g p ro ce d u re
The procedure is the same when recording with pads or
with a MIDI keyboard.
3 . Se le ct a MIDI ch a n n e l
Be sure that the transmit channel on your keyboard corre-
sp on d s to th e MIDI ch an n el of th e p art you w ish to
play/ record.
1 . Se le ct a n e m p ty p a tte rn
fig.07-05
Each of the 4 parts has it’s own MIDI channel. The factory
preset channels are as follows:
All Drums = MIDI 10
Part 1 = MIDI Ch 5
Part 2 = MIDI Ch 6
Bass Part = MIDI Ch 2
Pro ce d u re
(You can change the MIDI channels if you w ish-Press
[SETUP], then [F2 (MIDI)].)
1 . Press [PATTERN]-[F4 (NEW)].
An empty pattern is automatically selected.
* If all of the patterns have been used,this can’t be selected. Refer
to “Clearing a pattern” (p. 105) and erase an unwanted pattern
before you record.
4 . Se le ct a n in stru m e n t
fig.07-07
2 . Se t th e tim e sig n a tu re a n d th e n u m -
b e r o f m e a su re s
fig.07-06
Pro ce d u re
1 . Press [Part]-[F1 (INST)].
The “PART INST” page will appear.
2 . Press [F1]–[F3] to select the part that you wish to record.
The [F1]–[F3] buttons select Part 1, Part 2, and Bass part
respectively.
Pro ce d u re
1 . Press [PATTERN]-[F2 (FUNC)]-[F2 (SETUP)].
The “PATTERN SETUP” page will appear.
3 . Use [CURSOR] to move the cursor to “INST.”
2 . Use [CURSOR] to move the cursor to the parameter that
4 . Use [INC/DEC] or the VALUE dial to select a backing
you wish to set.
instrument or drum kit.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
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Chapter 6. Sequencer
5 . Sp e cify th e re co rd in g m e th o d
Th e Re h e a rsa l fu n ctio n
fig.07-09
During recording you can press [REC] to switch between
recording and rehearsal modes. This allows you to try out
different sounds,fills or phrases without stopping the play-
back of the sequencer.
Pro ce d u re
1 . Begin recording.
Pro ce d u re
1 . Press [PATTERN]-[REC].
2 . During recording, press [REC].
The [REC] indicator will begin blinking. In this condition,
your performance on the pads (or MIDI keyboard) will not
be recorded.
The “REC STANDBY” page will appear.
2 . Use [CURSOR] to move the cursor to “Rec Mode.”
3 . Use [INC/DEC] or the VALUE dial to specify the recording
3 . Press [REC] once again to return to recording mode.
method.
Pa ra m e te rs
Usin g a co u n t-in
You can set a “count-in” (1 or 2 measures) to be heard before
Rec Mode: Loop All, Loop 1, Loop 2, Loop 4, Loop 8,
Replace
playback or recording.
Loop All: The entire pattern will be repeated, and on each
pass your perform ance w ill be ad d ed , (“over-
dubbed”) and mixed with what you did previous-
ly.
Pro ce d u re
1 . Press [CLICK]-[F3 (COUNT)].
2 . If you want a count-in for playback, select “PLAY.” For
Loop 1, Loop 2, Loop 4, Loop 8:
recording, select “REC.”
This determines the length of the section you are
recording, and 1,2,4 or 8 measure sections will
repeat.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
PLAY: OFF, 1 meas, 2 meas
REC: OFF, 1 meas, 2 meas
Replace: Recording will continue until you press [STOP].
Any previously recorded data for all Parts will be
erased.
OFF:
Playback/ recording will begin without a count-in.
1 meas: Playback/ recording begins after a 1-measure count-
6 . Se t th e te m p o
fig.07-10
in.
2 meas: Playback/ recording begins after a 2-measure count-
in.
Sta rt re co rd in g th e m o m e n t
th a t y o u strik e a p a d
This function starts the recording process the instant you
Pro ce d u re
1 . Press [TEMPO].
strike a pad.
The “TEMPO” page will appear.
Pro ce d u re
2 . Use [INC/DEC] or the VALUE dial to set the tempo.
1 . Press [PATTERN]-[REC].
The “REC STANDBY” page w ill appear and you are in
record-standby mode as the click starts to play.
7 . Re co rd
Pro ce d u re
2 . Use [CURSOR] to move the cursor to “Hit Pad Start.”
1 . In record-standby mode (the “REC STANDBY” page),
press [PLAY].
3 . Use [INC/DEC] or the VALUE dial to turn the setting “ON.”
Recording will begin.
Usa g e
2 . When you finish recording, press [STOP].
In record-standby mode, recording starts the instant you
strike a pad.
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Chapter 6. Sequencer
9 . When the portion to be imported has been recorded, stop
playback on the external sequencer and the TD-10 will
stop recording.
Co rre ctin g tim in g a s yo u re co rd
(Q u a n tize )
Quantize is a function that corrects inaccuracies of timing
while you record. Specify the basic note value before you
begin recording,and your performance will be quantized
Ed itin g a p a tte rn
automatically to the set interval.
fig.07-11
N a m in g a p a tte rn
Each pattern can be given a name of up to 8 characters.
Pro ce d u re
1 . Press [PATTERN]-[F2 (FUNC)]-[F4 (NAME)].
The “PATTERN NAME” page will appear.
2 . Use [CURSOR] (left/right) to select the character you
wish to change. The blinking location is the character that
can be changed.
Pro ce d u re
1 . Press [PATTERN]-[REC].
The “REC STANDBY” page appears and you’re in record-
standby mode as the click starts to play.
The blinking location is the character that can be changed.
3 . Use the VALUE dial, [INC/DEC], or [CURSOR] (up/down)
to change the character.
2 . Use [CURSOR] to move the cursor to “Quantize.”
Characters can be selected in the order shown in the bottom
of the screen.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Fu n ctio n b u tto n s
In this page, the [F1]–[F4] buttons perform convenient func-
tions for entering characters.
Quantize:
(8th note),
note), (16th note triplets),
(32nd note triplets), (64th note), OFF
(8th note triplets),
(16th
(32nd note),
[F1 (INSERT)]: All characters to the right of the cursor will
be moved to the right.
Im p o rtin g d a ta fro m a n o th e r
[F2 (DELETE)]: The character at the cursor location will be
deleted, and all characters to the right of the
cursor will be moved to the left.
se q u e n ce r in to th e TD-1 0
Data created on another sequencer can be imported via the
MIDI IN and recorded on the TD-10’s sequencer. The three
melodic tracks and one drum track can be imported simulta-
neously. You will need to make settings for MIDI channels
and MIDI synchronization.
[F3 (SPACE)]: A blank space will be inserted at the cursor
location.
[F4 (CHAR)]: Cycle between uppercase/ lowercase/ sym-
bols.
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)].
The “MIDI” page will appear.
2 . Set the MIDI channel of the TD-10 to match the MIDI
channel of the transmitting device (refer to p. 124).
3 . Press [PATTERN]-[F2 (FUNC)]-[F1 (GLOBAL)].
The “PATTERN GLOBAL” page will appear.
4 . Use [INC/DEC] or the VALUE dial to select “Auto.”
5 . Press [PATTERN]-[REC].
The “REC STANDBY” page appears and you’re in record-
standby mode as the click starts to play.
6 . Use [CURSOR] to move the cursor to “Rec Mode.”
7 . Use [INC/DEC] or the VALUE dial to “Replace.”
8 . Begin playback on the transmitted device. The TD-10 will
begin recording in synchronization.
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Chapter 6. Sequencer
Pro ce d u re
Era sin g a p a tte rn
This function erases ONLY the performance data; other set-
1 . Press [PATTERN]-[F3 (EDIT)]-[F1 (ERASE)]-[F3 (MEAS)].
The “ERASE PATTERN MEASURE” page will appear.
tings (such as the number of measures and the time signa-
2 . Select the portion you wish to erase. Use [CURSOR] to
move the cursor to the various settings.
ture) stay the same.
fig.07-12e
From the left, the display indicates the pattern, part, first
measure, and last measure.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
4 . Press [F4 (ERASE)]
A confirmation display will appear.
1
1
2
2
3
3
4
4
5
5
6
6
5 . Press [F4 (EXEC)] and the data will be erased from the
specified area (Press [F1 (CANCEL)] to return to the pre-
vious page without executing the operation.)
Blank measures
Co p y in g a p a tte rn
Pro ce d u re
fig.07-14
1 . Press [PATTERN]-[F3 (EDIT)]-[F1 (ERASE)].
The “ERASE PATTERN” page will appear.
2 . Use [CURSOR] to move the cursor to “Pattern.”
3 . Use [INC/DEC] or the VALUE dial to select a pattern
number.
4 . Use [CURSOR] to move the cursor to “Part.”
Src
1
2
3
4
5
6
5 . Use [INC/DEC] or the VALUE dial to select the part that
you wish to erase.
6 . Press [F4 (ERASE)]
Dst
1
A confirmation display will appear.
2
3
4
5
6
7 . Press [F4 (EXEC)] and the data will be erased from the
selected pattern. (Press [F1(CANCEL)] to return to the
previous page without executing the operation.)
Pro ce d u re
1 . Press [PATTERN]-[F3 (EDIT)]-[F2 (COPY)].
The “COPY PATTERN” page will appear.
Era sin g se le cte d m e a su re s o f a
2 . Use [CURSOR] to move the cursor to “Src.”
p a tte rn
3 . Use [INC/DEC] or the VALUE dial to select the copy
Performance data can be erased from specified measures of a
source pattern.
part or pattern. The erased portion will become blank mea-
4 . Use [CURSOR] to move the cursor to “Dst.”
sures allowing you to re-record in the same area
fig.07-13e
5 . Use [INC/DEC] or the VALUE dial to select the copy des-
tination pattern.
6 . Press [F4 (COPY)]
A confirmation display will appear.
7 . Press [F4 (EXEC)] and the selected pattern will be
copied. (If you press [F1(CANCEL)], you will return to the
previous page without executing the operation.
1
1
2
2
3
3
4
4
5
5
6
6
Blank measures
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Chapter 6. Sequencer
Co p y in g se le cte d m e a su re s o f
Cle a rin g a p a tte rn
This operation deletes ALL data from a pattern, returning all
a p a tte rn
You can copy selected measures of a part or pattern. Unlike
copying an entire pattern, settings such as instrument and
part volume etc. will not be copied; only the performance
parameters (time signature,length, tempo) to their default
values.
fig.07-15ae
data will be copied.
fig.07-15
A
B
1
2
3
4
5
6
1
Src
1
2
2
3
3
4
4
5
5
6
6
(Part settings to their default values.)
Pro ce d u re
1 . Press [PATTERN]-[F3 (EDIT)]-[F3 (CLEAR)].
Dst
1
The “CLEAR PATTERN” page will appear.
2 . Use [INC/DEC] or the VALUE dial to select the pattern
Pro ce d u re
number that you wish to clear.
1 . Press [PATTERN]-[F3 (EDIT)]-[F2 (COPY)]-[F3 (MEAS)].
The “COPY PATTERN MEASURE” page will appear.
3 . Press [F4 (CLEAR)]
A confirmation display will appear.
2 . In location “A” of the screen, select the data you wish to
copy. Use [CURSOR] to move the cursor to the various
settings.
4 . Press [F4 (EXEC)] and the contents of the selected pat-
tern will be erased. (Press [F1 (CANCEL)] to return to the
previous page without executing the operation.)
From the left, the display will indicate the pattern, part, first
measure, and last measure.
Cle a rin g se le cte d m e a su re s o f
3 . Use [INC/DEC] or the VALUE dial to make the settings.
a p a tte rn
This operation lets you clear (delete) selected measures in a
4 . In location “B” of the screen, select the copy destination.
Use [CURSOR] to move to the various settings.
The display indicates the pattern number, track, and starting
measure.
pattern. After executing CLEAR, the length of the pattern
will become shorter.
fig.07-15b
* Beginning at the first measure which you specify here, the num-
ber of measures that the copy source occupies will be overwrit-
ten.
5 . Use [INC/DEC] or the VALUE dial to make the settings.
6 . Press [F4 (COPY)]
A confirmation display will appear.
1
1
2
2
3
3
4
4
5
6
7 . Press [F4 (EXEC)] and the specified portion of perfor-
mance data will be copied. (Press [F1 (CANCEL)] to
return to the previous page without executing the opera-
tion.)
Pro ce d u re
1 . Press [PATTERN]-[F3 (EDIT)]-[F3 (CLEAR)]-[F3 (MEAS)].
The “CLEAR PATTERN MEASURE” page will appear.
2 . Select the pattern and measures that you wish to clear.
Use [CURSOR] to move the cursor to the various set-
tings.
From the left, the display indicates the pattern, the first mea-
sure, and the last measure.
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Chapter 6. Sequencer
3 . Use [INC/DEC] or the VALUE dial to make the settings.
Se ttin g s fo r p a rt in stru m e n ts
4 . Press [F4 (CLEAR)]
A confirmation display will appear.
* Drum part settings cannot be made here. These settings are
made in the Control Room of the drum kit. (refer to p. 90–96).
5 . Press [F4 (EXEC)]and the contents of the selected mea-
sures will be cleared. (Press [F1 (CANCEL)] to return to
the previous page without executing the operation.)
fig.07-17
Co n n e ctin g tw o p a tte rn s
This operation connects two patterns to create one pattern.
The pattern specified as “Dst” will be first, and the pattern
specified as “Src” will be connected to it. The new pattern
Ad ju stin g th e m a ste r tu n in g
Here you can adjust the overall tuning for Part 1, Part 2, and
will be created in “Dst.”
fig.07-16
the Bass part.
Pro ce d u re
1 . Press [PART]-[F3 (M TUNE)].
The “MASTER TUNE” page will appear.
2 . Use [INC/DEC] or the VALUE dial to make the setting.
Dst
1
Src
1
Pa ra m e te rs
Master Tune: 415.3–466.2, 0.1 Hz steps
+
2
3
4
2
3
4
* Pressing [F4 (440 HZ)] will set this to standard pitch (440.0 Hz).
APPEND
Dst
In stru m e n t se le ctio n a n d se t-
1
2
3
4
5
6
7
8
tin g s fo r e a ch p a rt
Here you can select the instrument that will be used by each
part, and make settings for Ambience, Key Shift (pitch
adjustment in semitone steps) and Bend Range.
Pro ce d u re
1 . Press [PATTERN]-[F3 (EDIT)]-[F4 (APPEND)].
The “APPEND PATTERN” page will appear.
2 . Use [CURSOR] to move the cursor to “Src.”
Pro ce d u re
1 . Press [PART]-[F1 (INST)].
The “PART INST” page will appear.
3 . Use [INC/DEC] or the VALUE dial to select the pattern
that will come later.
4 . Use [CURSOR] to move the cursor to “Dst.”
2 . Press [F1]–[F3] to select the part that you wish to set. The
[F1]–[F3] buttons select Part 1, Part 2, and the Bass part
respectively.
5 . Use [INC/DEC] or the VALUE dial to select the pattern
that will come first.
3 . Use [CURSOR] to move the cursor to the parameter that
6 . Press [F4 (APPEND)]
you wish to set.
A confirmation display will appear.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
7 . Press [F4 (EXEC)] and the patterns will be connected as
specified above. (Press [F1 (CANCEL)] to return to the
previous page without executing the operation.)
Pa ra m e te rs
Inst: 1–54
* If the result of connecting the patterns would exceed 99 mea-
sures, the display will indicate “99 MEASURE MAXIMUM,”
and the APPEND operation will not be executed.
Select the instrument that you wish to use.
Ambience: 0–127
Adjust the amount of ambience.
Keyshift: -24–0–+24
Specify a pitch change in semitone steps.
Bend Range: 0–+24
Specify the maximum pitch change (in semitone steps) that
will occur when pitch bend messages are received.
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Chapter 6. Sequencer
Mix e r se ttin g s fo r e a ch p a rt
Mu tin g a sp e cific p a rt
Pro ce d u re
Pro ce d u re
1 . Press [PART]-[F2 (MIXER)].
The mixer setting page will appear.
1 . Press [PART]-[F4 (MUTE)].
The “PART MUTE” page will appear.
2 . Press [F1]–[F4] to select the parameter that you wish to
2 . Press [F1]–[F4] to turn muting on/off.
set.
The [F1]–[F4] buttons correspond to Part 1, Part 2, Bass part,
and the Drum part. Muting will be switched on/ off each
time you press the button.
3 . Use [CURSOR] to move the cursor to the part that you
wish to set.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
VOLUME ([F1]): 0–127
Adjusts the volume.
PAN ([F2]): L15–CENTER–R15
Adjusts the left/ right(pan) position of the sound. “L15” is
far left, “C” is center, “R15” is far right.
* If you have chosen headphones (Phones Only) as the output des-
tination, the sound will be located in the center regardless of this
setting.
FXSEND ([F3]): 0–127
Adjusts the effect send level.
OUTPUT ([F4]): MASTER, PHONES
Select the output destination of the sound. The sound cannot
be output from the DIRECT 1, 2, 3 outputs.
MASTER: Output from the MASTER OUT and PHONES
jacks
PHONES: Output only from the PHONES jacks
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Ch a p te r 7 . Se ttin g s fo r th e e n tire TD-1 0
Pro ce d u re
fig.08-02e
Ch a n g in g o u tp u t a ssig n -
m e n t fo r a u d io re ce ive d b y
Model name
th e MIX IN ja ck
Selecting the output destination of the sound input from the
MIX IN jack.
1 . Press [SETUP]-[F1 (TRIG)]-[F1 (BANK)].
Pro ce d u re
1 . Press [SETUP]-[F3 (CTRL)]-[F4 (OPTION)].
The “OPTION” page will appear.
The “TRIGGER” page will appear.
2 . Use [CURSOR] to move the cursor to a location other
than “BANK.”
2 . Use [CURSOR] to move the cursor to “Mix In Output.”
3 . Strike the pad for which you wish to set the Trigger Type.
The cursor will move to the trigger number of the pad that
you hit.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Monitor Mix In: Master, Phones Only
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Master:
Output from the MASTER output and the
PHONES jack.
Refer to the following table, and specify the type of pad.
Display
PD5
PD7
PD9
12A
Model used
Phones Only: Output only from the PHONES jack.
PD-5
PD-7
PD-9
Sp e cifying the typ e of p a d
PD-120 (Strike location is detected)
PD-120 (Strike location is not detected)
PD-100 (Strike location is detected)
PD-100 (Strike location is not detected)
KD-7/ KD-5
So that the TD-10 will be able to accurately receive the sig-
nals from the pads or pedals, use the following settings to
specify the type of pads that you are using. In addition to the
content covered in “Specify the pads that the TD-10 will use”
(p. 29) of the “Quick Start,” the section below will discuss
Trigger Banks, and how to use acoustic drums with triggers
or pads made by other manufacturers.
12B
10A
10B
KD7
P1, P2
When using a pad made by another manu-
facturer
K1, K2
When using a kick pad made by another
manufacturer
Press [SETUP]-[F1 (TRIG)]-[F1 (BANK)], and the following
setting page will appear.
fig.08-01
* If you want the tone to be affected by the strike location on a PD-
100/120, select 10A/12A. The 10B/12B does not detect the strike
location, but more rapid trigger response can be achieved.
* If you wish to make even more detailed settings, refer to the
explanation in the following section “Basic settings for the trig-
ger parameters (BASIC).” Normally you don’t need to adjust
these parameters, but you may use them if you wish to make
more accurate settings for your playing style.
W h a t is th e Trig g e r Ty p e ?
So that optimal settings can be made for each pad being
used , you need to specify the type of pad s being used .
Indications such as “3 PD7” in the above display correspond
to this. This indication means “a PD-7 pad is being used for
TRIGGER INPUT number 3.”
* Use the KIK, SNR, TOM, and FLR settings when you use
acoustic drums to sound the TD-10. For details refer to p.142.
* When using a pad made by another manufacturer, first select
“PD7” and try playing the pad. If, with this setting, the pad
striking force does not produce a stable volume, try a setting of
“P1.” A setting of “P2” will be even more stable, but since the
Scan Time (p.111) will be even longer, the interval from when
the pad is struck until the sound is heard will be slightly
(approximately 0.003 seconds) longer.
W h a t is a Trig g e r Ba n k ?
Trigger Banks allow you to store the 12 trigger settings as a
single unit of information. The large number at the left edge
of the above display is the Trigger Bank number. Move the
cursor to this area to select the Trigger Bank.
(For a kick, select “KD7,” and if the result is not stable, try
“K1” or “K2.”)
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Chapter 7. Settings for the entire TD-10
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Gradually raise the Threshold value until the kind of unin-
tentional triggering shown above no longer occurs. However
if this value is raised too far, playing softly on the pad will
not be detected. Check this and adjust accordingly. Repeat
this process until you get the perfect setting for your playing
style.
Ba sic se ttin g s fo r th e trig -
g e r p a ra m e te rs (BASIC)
When you are using pads made by other manufacturers, try
adjusting the following parameters.
Se n sitivity
Ad ju st th e sen sitivity of th e p ad to regu late th e p ad
Pa ra m e te rs
response.
Threshold: 0–15
Pro ce d u re
1 . Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)].
The “TRIGGER BASIC” page will appear.
Cu rve
This is another fine adjustment of sensitivity other than the
Trigger Sensitivity p aram eter, controlling the relation
between the velocity (striking force) and changes in volume
(the dynamic curve) Adjust this curve until the response
feels as natural as possible.
2 . Use [CURSOR] to move the cursor to “Sensitivity.”
3 . Strike the pad for which you wish to make settings.
The setting display for the pad you struck will appear, and
an input indicator will move in the lower part of the screen.
Pro ce d u re
1 . Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)].
The “TRIGGER BASIC” page will appear.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Adjust the Sensitivity value so that the strongest strikes
cause the input indicator to reach nearly all the way to the
maximum level (far right). Increasing this value will raise
the sensitivity.
2 . Use [CURSOR] to move the cursor to “Curve.”
3 . Strike the pad for which you wish to make settings.
The setting page for the pad you struck will appear, and the
input indicator will move.
Pa ra m e te rs
Sensitivity: 1–16
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Th re sh o ld
Pa ra m e te rs
This setting allows a trigger signal to be received only when
the pad is struck harder than a specified force. This helps
prevent unintentional triggering caused by vibrations that
reach a pad when an adjacent pad is hit. In the following
example, signal 2 will sound, but signals 1 and 3 will not
Curve: Linear, EXP1, EXP2, LOG1, LOG2, Spline, Loud1,
Loud2
Linear: This is the normal setting when using a PD-7, PD-9,
PD-100 or PD-120, and produces the most natural
corresp on d en ce betw een velocity an d volu m e
sound.
fig.08-04e
change.
fig.08-06ae
Threshold Level
1
2
3
striking force
Linear
Pro ce d u re
1 . Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)].
The “TRIGGER BASIC” page will appear.
2 . Use [CURSOR] to move the cursor to “Threshold.”
3 . Strike the pad for which you wish to make settings.
The setting page for the pad you struck will appear, and an
input indicator will move in the lower part of the screen.
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Chapter 7. Settings for the entire TD-10
EXP1, EXP2: Compared to Linear, a wider volume change
He a d Te n sio n Ad ju stm e n t
will occur for stronger hits.
fig.08-06be
The Head Tension Adjustment parameter regulates the fol-
lowing two adjustments for the PD-100 and PD-120. Press
[SETUP]-[F1 (TRIG)]-[F4 (OPTION)] and the setting page
will appear.
* The setting page for this setting will appear only if the Trigger
Type (p. 108) is set to “10A” or “12A” for trigger number 2
(SNARE) and trigger number 10 (RIDE).
striking force
EXP2
EXP1
Ad ju st th e h e a d to a n e ve n te n sio n
This setting allows the strike location to be accurately detect-
ed. For the procedure refer to p. 31.
LOG1, LOG2: Compared to Linear, wider volume change
will occur for softer hits.
fig.08-06ce
Ad ju st th e te n sio n o f th e h e a d
Adjusting the Head Tension Adjustment value to the stan-
dard value of “Normal” will provide an average head ten-
sion. If you wish to loosen this, select “Loose.” To tighten it,
select “Tight.” Then refer to the procedure of p. 32. and
adjust the tension.
striking force
* Unlike tuning an acoustic drum, this setting will not affect the
pitch. It affects only the tension of the head. But this is VERY
important to achieve the best results for positional sensing, and
to make sure that the head tension is even. For tuning the pitch
of the sound, refer to p. 82.
LOG1
LOG2
Spline:Variation in striking force w ill prod u ce extrem e
change.
fig.08-06de
Pa ra m e te rs
Head Tension Adjustment: Loose, Normal, Tight
Rim Se n sitivity
When a PD-120 is used with trigger number 2 (SNARE), you
can adjust the sensitivity of the rim. Higher settings will
increase the sensitivity of the rim. With a setting of Off, only
the head will sound.
striking force
Spline
Loud1, Loud2:Variation in striking force will produce little
change, and a constant volume will be main-
Pro ce d u re
tained. When using drum triggers, these set-
1 . Set the trigger type to “12A.”
For this setting, refer to p. 108.
tings help maintain stable levels.
fig.08-06ee
2 . Press [SETUP]-[F1 (TRIG)]-[F4 (OPTION)].
The “TRIGGER OPTION” page will appear.
3 . Use [CURSOR] to move the cursor to “Rim Sensitivity.”
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
striking force
Rim Sensitivity: Off, 1–15
Loud1
Loud2
* Increasing the value excessively may cause the rim instrument
to sound as well when the head is struck.
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Chapter 7. Settings for the entire TD-10
Re trig g e r Ca n ce l (Re trig Ca n ce l)
Deta iled settings for the trig-
ger p a ra m eters (ADVNCD)
fig.08-07
A
The following parameters (ADVANCED EDIT) are automat-
ically set to the most efficient values for each pad when you
select the Trigger Type (p. 108), and don’t require adjust-
ment, except if you experience any of the problems that are
d iscu ssed in the exp lanation of each p aram eter. Press
[SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)] and the setting page
will appear.
B
Sca n Tim e
Since the rise time of the trigger signal waveform may differ
slightly depending on the characteristics of each pad or
drum trigger (drum pickup) (TSC-10: optional), you may
notice that identical hits (velocity) may produce sound at
different volumes. If this occurs, you can adjust the Scan
Time so that your velocity of playing can be detected more
precisely.
Sometimes in the case of a snare drum or other drum to
which an acoustic drum trigger is attached, sound will occur
at point “A” (as desired) but will also occur again at point
“B” (undesired) due to distortions in the waveform. This is
called “retriggering,” and occurs in particular at the decay-
ing edge of the waveform. Retrigger Cancel detects such dis-
tortion in and prevents retriggering from occurring.
Pro ce d u re
1 . Press [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)].
The “TRIGGER ADVANCED” page will appear.
Pro ce d u re
1 . Press [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)].
The “TRIGGER ADVANCED” page will appear.
2 . Use [CURSOR] to move the cursor to “Scan Time.”
3 . Hit the pad for which you wish to make settings.
2 . Use [CURSOR] to move the cursor to “RetrigCancel.”
The setting page for the pad you struck will appear.
3 . Hit the pad (or acoustic drum if using triggers) for which
you wish to make settings and the setting page for the
pad you struck will appear.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
While repeatedly hitting the pad at a constant force, gradual-
ly raise the Scan Time value from 0.0 msec, until the result-
ing volume stabilizes at the loudest level. At this setting, try
both soft and loud strikes, and make sure that the volume
changes appropriately. If the Scan Time setting is excessively
high, there will be a longer delay until the note is heard, so
set this to as low a value as possible.
4 . Use [INC/DEC] or the VALUE dial to adjust the setting.
While repeatedly striking the drum, raise the RetrigCancel
value until retriggering no longer occurs. Raising this value
will strengthen retrigger canceling, but will also mean that
notes may be lost during fast playing (a drum roll for exam-
ple) Set this to as low a value as possible.
Pa ra m e te rs
Scan Time: 0–4.0ms (0.1ms steps)
Pa ra m e te rs
RetrigCancel: 1–16
* The “SCAN TIME” setting is automatically set to the most effi-
cient values for each pad when you select the “TRIGGER
TYPE” (p. 108). If you have lowered the “SCAN TIME”, the
head tension adjustment (p.110) does not work correctly.
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Chapter 7. Settings for the entire TD-10
2 . Use [CURSOR] to move the cursor to “Crosstalk.”
Ma sk Tim e (Ma sk Tim e )
On a kick pad, for example, if the beater bounces back and
strikes the pad a second time immediately after the intended
stroke - (or,like with acoustic drums if you leave the bass
drum beater against the head) this can cause a single strike
to “double trigger”. (two sounds instead of the intended
“one”) The Mask Time setting helps to prevent such prob-
lems. Once a pad has been hit, any additional trigger signals
occurring within the specified MaskTime (0–64 msec) will be
ignored.
3 . Hit the pad for which you wish to make settings and the
setting page for the pad you struck will appear.
4 . Use [INC/DEC] or the VALUE dial to adjust the setting.
If for example,if when hitting a tom pad, the ride cymbal
also sounds,then raise the Crosstalk setting for the ride cym-
bal pad from “Off” through “30”, “40” ... until crosstalk no
longer occurs. As this value is raised, the ride cymbal pad
will be less prone to receive crosstalk from other pads.
Increasing the Crosstalk value may cause a different prob-
lem when playing two pads simultaneously, as the pad
receiving the weaker hit may fail to respond. So be careful
and set this parameter to the minimum value required to
prevent such crosstalk. With a setting of “Off,” crosstalk pre-
vention does no function.
* Playing electronic bass drum triggers requires that you realize
this-as “laying into the head,” as you might do with a real bass
drum, will not work here, and can cause this double triggering
problem. This occurs most often with the bass drum trigger.
With other pads, it only occurs if you leave the stick pressing
against the head immediately after hitting it. Though technology
today can perform many miracles, you still have to play with
good technique.
Pa ra m e te rs
Cross Talk: OFF, 30, 40, 50, 60, 70, 80
Pro ce d u re
1 . Press [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)].
The “TRIGGER ADVANCED” page will appear.
Th e o rd e r in w h ich trig g e r
p a ra m e te rs sh o u ld b e se t
w h e n u sin g d ru m trig g e rs
2 . Use [CURSOR] to move the cursor to “MaskTime.”
3 . Hit (or kick) a pad for which you wish to make settings
If you are using drum triggers, make settings following the
sequence given below to ensure the best results. For details
on each parameter, refer to p. 109–112.
and the setting page for that pad appears.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
While playing the kick pad, try kicking and leaving the beat-
er against the pad. If you hear the second note being trig-
gered, raise the MaskTime. But in doing so, it also means
that if you play very fast, certain notes may be lost. It may be
easier for you to understand how mask time works by using
a snare or tom pad, and playing a single handed “buzz”
stroke. Raise the mask time to see how it affects this tech-
nique.
Pro ce d u re
1 . Refer to the explanation on p. 108 and select the Trigger
Type.
2 . Set the Threshold and Curve parameters to “normal” val-
ues.
Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)] to access the setting
page. Use [CURSOR] to move the cursor to the parameters,
and use [INC/ DEC] or the VALUE dial to make the follow-
ing settings.
* Never forget that your own playing technique has a lot to do
with these potential problems.
Threshold:
Curve:
0
Pa ra m e te rs
Linear
MaskTime: 0–64 ms (4 ms steps)
3 . Sensitivity
In the setting page of step 2, use [CURSOR] to move the cur-
sor to “Sensitivity.” Make settings so that the input indicator
in the left part of the display reaches the maximum level
when the pad is struck strongly.
Cro ssta lk
When two pads are mounted on the same stand, the vibra-
tion produced by hitting one pad may trigger the sound
from another pad unintentionally. (This is called crosstalk.)
The Crosstalk setting lets you p revent su ch p roblem s.
Normally this won’t happen if the pads are not too close to
each other and mounted on a solid stand. Playing technique
is also an influence.
The settings below can be made in the setting page accessed
by pressing [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)].
4 . Scan Time
Strike the head several times with the same force, and adjust
this parameter if the volume is uneven.
Pro ce d u re
1 . Press [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)].
The “TRIGGER ADVANCED” page will appear.
5 . Retrigger Cancel (RetrigCancel)
This prevents multiple notes from sounding when a drum is
struck once (mainly for a snare drum or toms).
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Chapter 7. Settings for the entire TD-10
6 . Mask Time
Se ttin g th e m a ste r e q u a lize r
The master equalizer allows balancing the high, mid, and
Mainly for bass drums so please refer to the explanation
above.
low frequencies.
7 . Crosstalk
Same principle as with using pads as as explained above.
Once again, press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)] and the
setting page will appear.
* This equalizer is not applied to the sound which is output from
the DIRECT 1, 2, 3 jacks.
fig.08-08
8 . Threshold
If notes are unintentionally sounded even after you have
adjusted the Crosstalk setting, adjust the Threshold. If this
parameter is raised excessively, playing softly may NOT
trigger the TD-10, so keep the value as low as possible.
9 . Curve
Pro ce d u re
1 . Press [KIT]-[F4 (MAS EQ)].
The “MASTER EQ” page will appear.
If changes in playing dynamics do not produce a natural
change in the volume of the TD-10 instrument, adjust this
parameter.
2 . Use [CURSOR] to move the cursor to the frequency you
wish to adjust.
Ad ju stin g th e b rig h tn e ss
o f th e d isp la y
The display contrast is strongly influenced by the location of
the TD-10 and the lighting of the room it’s in. Adjust this
parameter when needed.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
In this page, [F1] will switch the equalizer on/ off. Pressing
[F2][F3][F4] will move the cursor directly to the low (LOW),
mid (MID), and high (HIGH) settings respectively.
Pa ra m e te rs
The following parameters can be set for each of the three
points (low, mid, high).
Pro ce d u re
1 . Press [SETUP]-[F3 (CTRL)]-[F3 (DISPLY)].
The “DISPLAY CONTRAST” page will appear.
GAIN: -15–0–+15
Specify the amount of boost/ cut. Negative (-) settings will
produce a cut.
2 . Use [INC/DEC] or the VALUE dial to make the setting.
* OR You can do this by holding down [KIT] and rotating the
VALUE dial.
FREQ (Frequency):20–500 (Low), 100–4k (Mid),
500–20k (High)
Select the frequency you wish to boots or cut.
The following parameter can be set only for the mid range.
Q: 0.5, 1.0–20 (1.0 steps)
Adjust the width of the frequency range. Depending on the
“Q” value, raising the “GAIN” may boost both the low and
high ranges.
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Chapter 7. Settings for the entire TD-10
Sa vin g d a ta to a m e m o ry ca rd
All data (drum kits, patterns, percussion group, and setup)
Sa vin g d a ta to a m e m o ry
ca rd
will be saved.
An optional memory card (M-512E) can be used to save TD-
Pro ce d u re
10 settings and sequencer data.
1 . Press [SETUP]-[F4 (UTIL)]-[F1 (SAVE)].
The “Save to CARD” page will appear.
* The Roland M-512E is the ONLY memory card which can be
used.
2 . Move the protect switch on the memory card to the “OFF”
position.
Ab o u t th e Pro te ct sw itch
When the protect switch of the M-512E is turned on, it will
not be possible to write data from the TD-10 to the memory
card. Normally you should leave the protect switch turned
on, and turn it off only when you wish to write data into the
3 . Insert the memory card into the MEMORY CARD slot
located on the rear panel.
* If you insert a card being used for the first time or a card that
has been used by another device, the “INITIALIZE CARD”
page will appear. Refer to “When using a card for the first time”
and initialize it.
card.
fig. protect.e
4 . Press [F4 (SAVE)].
A confirmation display will appear.
On
Off
5 .Press [F4 (EXEC) ] and the data will be saved to the
memory card. (Press [F1 (CANCEL)] to return to the pre-
vious page without executing the operation.)
W h e n u sin g a ca rd fo r th e first tim e
When a card is being used for the first time, or if the card has
been used by another device, you must execute the follow-
ing procedure to initialize the card. (This prepares the card
for use with the TD-10.)
* You can also save individual kits to a memory card. To do so,
use the Copy function (p. 117).
* When a card is initialized, all data on that card will be lost.
Make sure that it does not contain data you wish to keep for
another device.
1 . Press [KIT].
The “DRUM KIT” page will appear.
2 . Set the protect switch located at the top of the memory
card to the “Off” position.
3 . Insert the memory card into the MEMORY CARD slot
located on the rear panel.
The “INITIALIZE CARD” page will appear.
fig.08-10
4 . Press [F4 (INIT)].
A confirmation display will appear.
5 . Press [F4 (EXEC)] and the memory card will be initialized.
(Press [F1 (CANCEL)] to return to the previous page with-
out carrying out the operation.)
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Chapter 7. Settings for the entire TD-10
Lo a d in g d a ta fro m a
m e m o ry ca rd
Au to m a tica lly sw itch in g
th e d isp la y (N o te Ch a se )
Data saved on a memory card can be loaded into the TD-10.
When editing sounds, the TD-10’s display will switch corre-
sponding to the sound that is used when a pad is hit (or
when a MIDI message is received). This function is called
Note Chase.
Pro ce d u re
1 . Press [SETUP]-[F4 (UTIL)]-[F2 (LOAD)].
The “LOAD from CARD” page will appear.
Note Chase will always be ON for notes that are struck on a
pad. This function can be turned off for notes received from
MIDI IN.
2 . Insert the memory card into the MEMORY CARD slot.
3 . Press [F4 (LOAD)].
A confirmation display will appear.
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
The “MIDI GLOBAL” page will appear.
4 . Press [F4 (EXEC)]and the data will be loaded from the
memory card. (Press [F1 (CANCEL)] to return to the pre-
vious page without excecuting the operation.)
2 . Use [CURSOR] to move the cursor to “Note Chase.”
3 . Use [INC/DEC] or the VALUE dial to turn the setting
* You can also load individual kits from a memory card. To do so,
use the Copy function (p. 117).
on/off.
* Note Chase will NOT function while the INTERNAL sequencer
is playing.
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Ch a p te r 8 . Co n ve n ie n t fu n ctio n s
Ho w to u se th e CHAIN
1 . Press [CHAIN] to make the button indicator light
Se le ctin g k its in th e d e sire d
o rd e r (Dru m Kit Ch a in )
The Drum Kit Chain function will be turned on.
2 . Use the left/right [CURSOR] or [INC/DEC] to select kits in
the order that you specified in the chain. You can use the
up/down [CURSOR] to select chains.
Sp e cify in g a Dru m Kit Ch a in
This allows you to step through the drum kits of your choice
and in the order you want. (via the INC/ DEC buttons or
footswitch operation). TD-10 lets you create and store 16 dif-
* Press [CHAIN] to make the indicator go dark and the Drum Kit
Chain function will be turned off.
ferent chains of up to 32 steps each.
fig.09-01e
Ap p lica tio n s
32 steps
When this function is used together with the Pad Switch
function or the Foot Switch function, you can use a pad or
foot switch to select drum kits in a drum kit chain. To do
this, set the MODE setting of the Pad Switch function or Foot
Sw itch fu nction to “KIT SELECT.” For d etails refer to
“Operations using pads and foot switches” (p. 119).
Chain 1
Chain 2
Kit
7
Kit
2
Kit
5
Kit
10
N a m in g a Dru m Kit Ch a in
Chain 16
You can assign a name of up to 8 characters to each chain.
fig.09-03
fig.09-02
Pro ce d u re
1 . Press [CHAIN]-[F1 (C EDIT)]-[F4 (NAME)].
The “CHAIN NAME” page will appear.
Pro ce d u re
1 . Press [CHAIN]-[F1 (C EDIT)].
The “CHAIN EDIT” page will appear.
2 . Use the left/right [CURSOR] to move the cursor to the
character that you wish to change.
2 . Use [CURSOR] to move the cursor to the large number
(the chain number) in the left of the display.
The blinking character is the one that can be changed.
3 . Use [INC/DEC] or the VALUE dial to select the chain
3 . Use either the VALUE dial, [INC/DEC], or [CURSOR] to
change the character. Characters can be selected in the
order shown in the bottom of the screen.
number you wish to work on.
4 . Use [CURSOR] to move the cursor to the “step” number
within the selection sequence, shown at the right of the
page.
Fu n ctio n b u tto n s
In this page, the [F1]–[F4] buttons perform convenient func-
tions for entering characters.
5 . Use [INC/DEC] or the VALUE dial to select the drum kits
in the order in which you wish to play them.
[F1 (INSERT)]: All characters to the right of the cursor will
be moved to the right.
Fu n ctio n b u tto n s
[F2 (DELETE)]: The character at the cursor location will be
deleted, and all characters to the right of the
cursor will be moved to the left.
[F1 (INSERT)]: Inserts the kit after the cursor location, mov-
ing the subsequent items of the chain one
step toward the end.
[F3 (SPACE)]: A blank space will be inserted at the cursor
location.
[F2 (DELETE)]: Deletes the kit at the cursor location, moving
the subsequent items of the chain one step
toward the beginning.
[F4 (CHAR)]: Cycle between uppercase/ lowercase/ sym-
bols.
[F3 (NEXT)]: Advances to the next step.
[F4 (NAME)]: Assigns a name to the chain. For details see
the following section.
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Chapter 8. Convenient functions
“COMPRESSOR/ LIMITER” page ([CONTROL ROOM]-[F2
(COMP)])
Co p y in g
You can copy drum kits,instruments, mixer & effect settings
etc. to the destination of your choice. However, doing so will
erase (overwrite) the data that was in the new destination.
So be careful before you perform this operation.
Compressor settings can be copied to another kit for
TRIGGER INPUT jacks 1–10 as a group.
“EQ” page ([CONTROL ROOM]-[F3 (EQ)])
Equalizer settings can be copied to another kit for TRIG-
GER INPUT jacks 1–10 as a group.
* Some display pages do not allow copy. In such cases, pressing
[TOOLS] will not produce “COPY” above [F1] in the display.
“EFFECT” page ([CONTROL ROOM]-[F1 (EFFECT)])
Pro ce d u re
(Example) Copying a kit
Select the copy source.
Th e UN DO fu n ctio n
The UNDO function allows you to recall original parameters
of any function you have edited, but ONLY from the “pre-
sent” cursor position. If you change the cursor position, or
page in the display, UNDO will not work.
1 . Press [KIT].
The “DRUM KIT” page will appear.
2 . Press [TOOLS].
Exam p le: If w hen choosing an instru m ent, you scroll
th rou gh m an y sou n d s n ot fin d in g th e on e you w an t.
“UNDO” can bring back the “original” setting. Only changes
made with the [INC/ DEC] buttons or the VALUE dial can
be “undone.” And ONLY in Pages where pressing [TOOLS]
calls up [F3(UNDO)] in the display.
The function names for [F1]–[F4] appear in the lower part of
the display.
3 . Press [F1 (COPY)].
The display (“COPY DRUM KIT”) shows the source and
destination position. Use the [INC/ DEC] or the VALUE dial
to select the source and destination.
* [PRESET] refers to the drum kits that were stored in the unit at
the factory. [USER] refers to drum kits that currently can be
used. And, [CARD] refers to drum kits stored on memory card.
Pro ce d u re
(Example: Undoing an instrument selection)
1 . Press [INST].
The “INST” page will appear.
4 . Press [F4 (COPY)].
A confirmation display will appear.
2 . Use [INC/DEC] or the VALUE dial to select a different
instrument.
5 . Then press [F4 (EXEC)] and the kit will then be copied
(Press [F1 (CANCEL)] to return to the previous page with-
out excecuting out the operation.)
If you want to bring back the original instrument just exe-
cute UNDO.
* If you press [F3 (EXCHNG)], the contents of the new destina-
tion and copy source will be exchanged, a convenient way to
rearrange or organize drum kits.
3 . Press [TOOLS].
The function names for [F1]–[F4] will appear in the lower
part of the display.
4 . Press [F3 (UNDO)].
A d isp la y in w h ich Co p y ca n b e u se d
“DRUM KIT” page ([KIT])
The instrument that had been selected in step 1 will reap-
pear.
“INST” page ([INST])
Instrument Copy will be done only to the same TRIG-
GER INPUT jack of the other kit.
* If while editing, you accidentally touch another pad or rim, you
cannot “undo” the parameter you were working on. Also, Bulk
Load, Kit Copy/Exchange cannot be “undone.”
“STUDIO” page ([STUDIO])
“CONTROL ROOM” page ([CONTROL ROOM])
“TRIGGER BAN K” p age ([SETUP]-[F1 (TRIG)]-[F1
(BANK)])
“PERC GROUP” page ([KIT]-[F2 (FUNC)]-[F1 (PRCGRP)])
“MIXER” page ([CONTROL ROOM]-[F1 (MIXER)])
1 1 7
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Chapter 8. Convenient functions
Ge ttin g h e lp
Sp e cify in g h o w th e
Pre vie w b u tto n fu n ctio n s
The TD-10 comes with a built in “help page” using key-
words to select various functions, and a “jump” mode to
take you to that setting page instantly.
To audition and edit instruments, tap [PREVIEW]. Press
[TRIG SELECT] in the “INST” page to select the trigger
input number corresponding to the pad/ sound you wish to
listen to. The trigger number and instrument will appear in
the upper right of the display. The [RIM] indicator will show
whether the head or the rim is selected. Or call up a sound in
the percussion group.
Pro ce d u re
1 . Press [TOOL]-[F4 (HELP)].
A list of help keywords (“HELP INDEX”) will appear.
2 . Use [F1 (UP)] or [F2 (DOWN)] to select a keyword.
You have various choices of how the [PREVIEW] button will
respond.
3 . Press [F4 (SELECT)].
4 . If you wish to jump to the setting page for the displayed
function, press [F4 (GO NOW)]. To return to the keyword
select page, press [F1 (INDEX)].
Pro ce d u re
1 . Press [SETUP]-[F3 (CTRL)]-[F4 (OPTION)].
The “PREVIEW SETTINGS” page will appear.
2 . Use [CURSOR] to move the cursor to “Preview Button.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
ON: The volume will be fixed, regardless of the force of
your tap.
OFF: The strength of your tap will affect the volume.
4 . With a setting of “OFF,” you can specify the volume. Use
[CURSOR] to move the cursor to “Velocity.”
5 . Use [INC/DEC] or the VALUE dial to specify the volume.
With a setting of “1” will produce the minimum volume. A
setting of “127” will produce the maximum volume.
1 1 8
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Ch a p te r 9 . O p e ra tio n s u sin g p a d s a n d fo o t sw itch e s
By changing the function of controllers or the way in which they are used, you can perform a variety
of convenient operations. This opens up some very interesting performance possibilities.
Usin g p a d s to p la y p a tte rn s (Pa d Pa tte rn )
You can make settings so that striking a pad will playback a previously selected pattern. This func-
tion provides a very convenient way to use patterns during a live performance.
* If different patterns have been assigned to two or more pads, striking another pad while a pattern is playing
back will cause pattern playback to switch to the newly selected pattern. If you have switched to a pattern
whose instrument settings are different, the sound may be interrupted for an instant.
Pro ce d u re
1 . Press [INST]-[F4 (CTRL >)]-[F3 (PATTERN )].
The “INST CTRL” page will appear.
2 . Strike the pad that you wish to edit.
The setting page for the pad you struck will appear.
3 . Use [INC/DEC] or the VALUE dial to select the pattern number.
With a setting of “OFF,” the Pad Pattern function will be off.
* The symbol on the right side of the pattern name indicates how the pattern will be played back. For details
on this setting, refer to p. 98.
4 . The pattern will playback when you hit the pad.
* If you do not want to hear the instrument assigned to that pad, press [CONTROL ROOM]-[F1 (MIXER)]-
[F1 (VOLUME)] and set the volume to “0.”
* Pad patterns cannot be used during sequencer recording.
Usin g p a d s to p e rfo rm b u tto n o p e ra tio n s (Pa d Sw itch )
fig.10-01
Pro ce d u re
1 . Connect pads to TRIGGER INPUT jacks AUX 1 and AUX 2.
2 . Press [SETUP]-[F3 (CTRL)]-[F2 (PAD SW)].
The “PAD SWITCH” page will appear.
3 . Use [INC/DEC] or the VALUE dial to select the combination of functions for the AUX 1 and AUX 2
jacks (refer to the following).
4 . Press [EXIT] to exit this page.
5 . Strike the selected pads, and they will function as switches.
Pa ra m e te rs
Mode (function name)
OFF
Function of the pad connected to the AUX1 jack Function of the pad connected to the AUX2 jack
Pad switch is off
Pad switch is off
Pad switch is off
Select the previous kit
Pad switch is off
KIT SELECT
PATTERN SEL
KIT SELECT (2)
Select the next kit
Select the next pattern
Select the next kit
Select the next pattern
PATTERN SEL (2) Select the previous Pattern
1 1 9
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Chapter 9. Operations using pads and pedals
* If you do not want to trigger instrument sounds assigned to the pads, press [CONTROL ROOM]-[F1
(MIXER)]-[F1 (VOLUME)], and set the volumes of AUX 1 and AUX 2 to “0.”
* If the “Mode” setting is “KIT SELECT” or “PATTERN SEL,” striking the rim of the pad will have the
same function as pressing [DEC].
* If you wish to use Drum Kit Chain (p. 70) to select kits, set the above “MODE” parameter to “KIT
SELECT,” and press [CHAIN] to make the button indicator light. (Create your Drum Kit Chain settings
first.)
Usin g fo o t sw itch e s to p e rfo rm b u tto n o p e ra -
tio n s (Fo o t Sw itch )
Two foot switches (BOSS FS-5U, optional) and a special cable (PCS-31) can be used to operate the
TD-10. Set “Mode” to specify the function of the two pedals.
fig.10-03
Foot switch
FS-5U x 2 (PCS-31)
DP-2
SW1
o (red)
-
SW2
o (white)
o
o: Function
-: Not function
Pro ce d u re
1 . Connect the foot switch to the FOOT SWITCH jack.
2 . Press [SETUP]-[F3 (CTRL)]-[F1 (FOOTSW)].
The “FOOT SWITCH” page will appear.
3 . Use [INC/DEC] or the VALUE dial to select the combination of functions that the foot switch will
perform (refer to the following table).
4 . Press [EXIT] to exit this page.
5 . Press the foot switches, and they will function as switches.
Pa ra m e te rs
Mode (function name) SW1
SW2
KIT SELECT
Select the previous kit
Select the next kit
Select the next pattern
Playback/ stop the pattern
PATTERN SEL
PATTERN PLAY
Select the previous pattern
Select the next pattern
* To use foot switches to select kits using a Drum Kit Chain (p. 70), set the above “MODE” parameter to
“KIT SELECT,” and press [CHAIN] to make the button indicator light. (Create your Drum Kit Chain set-
tings first.)
1 2 0
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Ch a p te r 1 0 . Fu n ctio n s u sin g MIDI
There are many possibilities when using MIDI, such as:
ALL:
All data (drum kits, patterns, percus-
sion groups, and setup) will be trans-
mitted.
1 . Use a n e x te rn a l se q u e n ce r to sa ve / lo a d
d ru m k its, p a tte rn d a ta e tc.
SETUP:
Trigger and pad settings. will be trans-
mitted.
2 . Use th e p a d s to p la y e x te rn a l in stru m e n ts
As the TD-10 is a pad-to-MIDI interface, using external mod-
ules, samplers etc. can expand your potential (p. 122).
ALL DRUM KITS: Drum kits 1–50 will be transmitted.
ALL PERC GROUP: Data for percussion groups 1–4 will be
transmitted.
ALL PATTERN:
Data for patterns 51–100 will be trans-
mitted.
3 . W h e n u sin g a n e x te rn a l se q u e n ce r, th e TD-
1 0 is a p o w e rfu l d ru m so u n d m o d u le e sp e -
cia lly w h e n a cce ssin g th e Pe rcu ssio n g ro u p
fo r a n e ve n w id e r va rie ty o f in stru m e n ts
(p . 1 2 6 ).
3 . Press [F4 (EXEC)] and data transmission will begin.
(Press [F1 (CANCEL)] to return to the previous page with-
out carrying out the operation.)
* Bulk dump is a type of system exclusive (SYSEX) data. Use an
external MIDI sequencer and be sure that it can receive and
record SYSEX data.
Sa vin g / Lo a d in g d a ta
to / fro m a n e x te rn a l
d e vice (Bu lk Du m p )
Lo a d in g sa ve d d a ta to th e TD-1 0
Sa vin g d a ta
As shown in the following diagram, use a MIDI cable to con-
nect the TD-10’s MIDI IN connector to the MIDI OUT con-
To save data, use the external sequencer as you would when
recording musical data, and perform the following steps on
the TD-10 as shown in the following diagram. Use a MIDI
cable to connect the TD-10’s MIDI OUT jack to the MIDI IN
nector of the external sequencer.
fig.11-01ae
jack of the external sequencer.
fig.11-01e
MIDI OUT
MIDI IN
MIDI IN
MIDI OUT
Sequencer
TD-10
No special settings are required for the TD-10 to receive data
from an external sequencer. Everything is done automatically.
Sequencer
TD-10
* When doing so,the data that was previously in the TD-10’s
memory will be lost. Be sure you have a backup!
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F4 (BULK)].
The “BULK DUMP” page will appear.
2 . Use [INC/DEC] or the VALUE dial to select the data that
will be transmitted.
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Chapter 10. Functions using MIDI
Se ttin g th e De vice ID
Usin g p a d s to p la y a n
e x te rn a l MIDI so u n d
m o d u le
—Tra n sm ittin g sa ve d d a ta to
tw o o r m o re TD-1 0 u n its
The setting described here is necessary only when you wish
to transmit separate data to two or more TD-10 units at the
same time. Do not change this setting in any other case. If
you lose track of the Device ID setting that was used when
saving data via a bulk dump,it will no longer be possible to
reload the bulk data that was saved.
Here’s how to make settings.
* You can play the TD-10 sounds with external sounds (called
“layering”)
As shown in the following diagram, use a MIDI cable to con-
nect the TD-10’s MIDI OUT to the MIDI IN connector of the
* With the factory settings, the device ID is set to 17.
external MIDI sound source.
fig.11-02ae
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
The “MIDI GLOBAL” page will appear.
2 . Use [CURSOR] to move the cursor to “DEVICE ID.”
MIDI IN
MIDI OUT
3 . Use [INC/DEC] or the VALUE dial to make the setting.
POWER
VOLUME
P
ART
INSTRUMENT
PART
INSTRUMENT
ALL
LEVEL
REVERB
KEY SHIFT
PAN
MUTE
CHORUS
MIDI CH
PREVIEW (PUSH)
SC-55
MAP
SC-88
MAP
DELAY
PART
MIDI IN
B
PHONES
DELAY
VIB RATE
VIB DEPTH
CUTOFF
VIB DELA
RESONANCE
RELEASE
Y
USER
INST
SELECT
ON/OFF
ATTACK
DECAY
Pa ra m e te rs
EFX
EFX TYPE
EFX PARAM
EFX VALUE
Device ID: 1–32
MIDISound module
Usa g e
(Example) Suppose that w hen d ata w as saved via bulk
dump, the TD-10’s Device ID was set to “17.” When re-trans-
mitting this data back to the TD-10, it won’t receive if the
TD-10
Device ID is set to something other than 17.
fig.11-02e
Se le ctin g th e n o te n u m b e r tra n s-
m itte d b y e a ch p a d
You can select the MIDI note number (key number) that
each pad will transmit. Set this to the note number of the
sound that you wish to play on the external sound module
or sampler.
MIDI OUT
MIDI IN
Pro ce d u re
1 . Press [INST]-[F4 (CTRL)]-[F4 (MIDI)].
The “INST CTRL” page will appear.
Transmit data
Device ID:17
Device ID: 17
2 . Strike the pad that you wish to edit.
The note that is assigned to the pad will be indicated on the
keyboard in the screen. Also, the note number will appear in
“Note No.”
MIDI IN
System exclusive is
not received
3 . Use [CURSOR] to move the cursor to “Note No.”
4 . Use [INC/DEC] or the VALUE dial to select the note num-
ber.
Device ID: 16
Pa ra m e te rs
Note No.: 0 (C -)–127 (G 8)
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Chapter 10. Functions using MIDI
* For the hi-hat, make the setting only for the note number for the
Open Hi-hat (default setting is 46 (A#2)). This setting will
adjust the closed and pedal sounds as well.
Usin g th e TD-1 0 w ith th e
Ro la n d SPD-1 1
This section explains how you can use the Roland SPD-11 (a
MIDI controller) together with the TD-10’s pads to play
internal sounds and an external sound Module. Connect the
(Example) If you decrease the Open Hi-hat note number by
the Close and Pedal settings will also decrease by “2.”
“2,”
Se ttin g th e Ga te Tim e
SPD-11 and TD-10 as shown below.
fig.11-11e
Pad or pedal
SPD-11
For each pad, you can specify the length of time the note will
“hold” during transmission from the MIDI OUT.
Drum sound mod ules normally prod uce sound only in
response to “note-on” messages, and ignore “note-off” mes-
sages. However general-purpose sound modules or sam -
plers do receive the note-off messages that are transmitted
and respond by turning off the sound. For example, if you
are triggering a “loop” in a sampler, or other sounds then
the gate time parameter is very important. With the factory
defaults (preset values), the transmitted gate time is set to
the minimum value.
MIDI OUT
Pro ce d u re
1 . Press [INST]-[F4 (CTRL)]-[F4 (MIDI)].
The “INST CTRL” page will appear.
TRIGGER
INPUT
MIDI
MIDI IN OUT/THRU
2 . Use [CURSOR] to move the cursor to “Gate Time.” 3.Use
[INC/DEC] or the VALUE dial to specify the duration of
the notes.
Pa ra m e te rs
Gate Time: 0.1–8.0 seconds
Se ttin g th e MIDI ch a n n e l
To the MIDI IN of another
sound module or sampler
For setting the MIDI channel, refer to the section below,
“MIDI settings for the entire TD-10.” Performance on the
pads is transmitted from MIDI OUT on the same channel as
the channel setting for the Drum part (“All Drums” in the
setting page).
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
The “MIDI GLOBAL” page will appear.
2 . Use [CURSOR] to move the cursor to “Soft Thru.”
3 . Use [INC/DEC] or the VALUE dial to turn the setting “ON.”
The messages (except for System Exclusive) received at
MIDI IN w ill also be tran sm itted from th e MIDI
OUT/ THRU connector.
* If this setting is not used, leave it “OFF” as the trigger response
of the pads will be faster.
Pa ra m e te rs
Soft Thru: OFF, ON
1 2 3
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Chapter 10. Functions using MIDI
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
The “MIDI GLOBAL” page will appear.
MIDI se ttin g s fo r th e
e n tire TD-1 0
2 . Use [CURSOR] to move the cursor to “Local Control.”
Se ttin g th e MIDI ch a n n e ls fo r
3 . Use [INC/DEC] or the VALUE dial to turn the setting
e a ch Pa rt
“OFF.”
For each part, you can specify the channel on which the TD-
10 will receive and transmit MIDI messages.
* If you make connections and record as shown figure with a set-
ting of Local On, duplicate notes will be re-transmitted to the
TD-10 and will not be played correctly.
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)].
The “MIDI” page will appear.
Pa ra m e te rs
Local Control: OFF, ON
2 . Use [CURSOR] to move the cursor to the part whose
MIDI channel you wish to set.
Disa b lin g re ce p tio n o r tra n s-
3 . Use [INC/DEC] or the VALUE dial to specify the channel
number.
m issio n o f Pro g ra m Ch a n g e s
You can specify whether or not the TD-10 will transmit
and/ or receive program change messages to/ from an exter-
nal device.
With a setting of “1” through “16,” MIDI messages will be
transmitted and received on that channel. A setting of “OFF”
lets you turn off reception for that part, so that notes are not
received.
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F3 (PROG)].
The “MIDI Program Change” page will appear.
Pa ra m e te rs
Channel: ch 1–ch 16, OFF
2 . Each time you press [F1], reception will be turned on/off.
Each time you press [F2], transmission will be turned
on/off.
Tu rn in g o ff Lo ca l Co n tro l
This setting is required when you wish to record your pad
performance on an external MIDI sequencer.
fig.11-03e
Re d u cin g th e a m o u n t o f d a ta
tra n sm itte d b y th e FD-7
(Pe d a l Da ta Th in )
This function allows you to prevent an excessive amount of
data from being transmitted from the pedal to the internal
sequencer or via the MIDI OUT.
Trigger input
TD-10
MIDI OUT/THRU
Trigger MIDI
Pro ce d u re
converter
1 . Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)]. The “MIDI
GLOBAL” page will appear.
Local off
2 . Use [CURSOR] to move the cursor to “Pedal Data Thin.”
3 . Use [INC/DEC] or the VALUE dial to make the setting.
With a setting of “1” or “2,” pedal data will be thinned out.
“2” will reduce the amount of data more drastically than
“1.” Normally you should use a setting of “1,” and select “2”
when you need greater data reduction. With a setting of
“Normal” the data will not be thinned.
Sound module
Sequencer
MIDI IN
: Performance data flow route
* Leave this at the normal setting if you are being extremely pre-
cise with how you are using the FD-7 controller.
So that the performance data from the pads is NOT sent
directly to the sound generating section of the TD-10 (Local
Control off), but is instead sent first to the external sequencer
via the MIDI OUT, and then re-transmitted to the TD-10,
please refer to the above diagram.
Pa ra m e te rs
Pedal Data Thin: OFF, 1, 2
1 2 4
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Chapter 10. Functions using MIDI
Re g a rd in g n o te n u m b e rs fo r
th e d ru m k it so u n d s
Refer to “Selecting the note number transmitted by each
Usin g th e TD-1 0 a s a
so u n d m o d u le
As shown in the following diagram, use a MIDI cable to con-
nect the TD-10’s MIDI IN to the MIDI OUT connector of an
external sequencer,keyboard or pad controller (such as SPD-
pad” (p. 122).
Ex a m p le o f se ttin g s fo r Ge n e ra l MIDI sco re
fig.11-04e
11).
fig.11-01ae
C2
TRIGGER No.
TRIGGER No.
H 1
H 2
R 2
H 6
H 5
H 4
R 4
H 3
R 3
R 9
R10
R 8
H 9
R6
H7
H7
H7
MIDI OUT
MIDI IN
H 8
H10
Sequencer
TD-10
The settings discussed here are necessary only when using
the TD-10 as a MIDI sound module.
* When using the TD-10 as a 4-part sound module, the sounds
you select must be assigned to a PATTERN as the pattern para-
meters store which sounds you are using. In this case it’s best to
use an empty pattern to make these settings. (Press [PAT-
TERN]-[F4 (NEW)] to select an empty pattern containing no
performance.)
Se ttin g th e in stru m e n t fo r e a ch
p a rt
Refer to “Chapter 6. Sequencer” in the section “Settings for
part instruments” (p. 106).
If you wish to select instruments for the backing parts (Part
1, Part 2 , Bass part) from an external MIDI device, transmit
program changes (PG) 1–54. These correspond to instru-
ments 1–54 of the TD-10’s backing parts.
Ad ju stin g th e m ix e r se ttin g s
fo r e a ch p a rt
Refer to “Chapter 6. Sequencer” in the section “Settings for
part instruments” (p. 106).
1 2 5
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Chapter 10. Functions using MIDI
Se le ctin g a p e rcu ssio n g ro u p
Usin g th e p e rcu ssio n g ro u p
The percussion group is used only when playing the TD-10
The TD-10 contains four percussion groups and you can
assign one group per kit. When editing sounds in the per-
cussion group, you can play them from an external MIDI
controller or use the (PREVIEW) button. The position of the
cursor will determine which sound is assigned to the PRE-
from an external MIDI controller, keyboard or sequencer.
fig.11-05e
C2
TRIGGER No.
TRIGGER No.
VIEW button.
fig.11-07
H 1
H 2
R 2
H 6
H 5
H 4
R 4
H 3
R 3
R 9
R10
R 8
H 9
R6
H7
H7
H7
H 8
R10
Pro ce d u re
1 . Press [KIT]-[F2 (FUNC)]-[F1 (PRCGRP)].
The “PERC GROUP” page will appear.
2 . Use [CURSOR] to move the cursor to the “GROUP” num-
ber.
3 . Use [INC/DEC] or the VALUE dial to select the group.
Pa ra m e te rs
Group: 1–4
Se le ctin g p e rcu ssio n in stru m e n ts
: An instrument of the percussion
group will sound.
Here’s how to select the instrument for each note number of
the percussion group.
fig.11-08
The sounds in the percussion groups have their own inde-
pendent note number “map” in order to be played from an
external MIDI controller, and can be changed if you want.
* If the same note number is assigned to both a pad and an instru-
ment in the percussion group, the pad has “priority” and you
will only hear the sound assigned to that pad.
Pro ce d u re
1 . Press [KIT]-[F2 (FUNC)]-[F1 (PRCGRP)].
The “PERC GROUP” page will appear.
* For details on note number assignments, refer to the table on p.
150.
2 . Use [CURSOR] (left/right) to move the cursor to the
instrument name.
3 . Use [CURSOR] (up/down) to move the cursor to the note
number whose instrument you wish to change.
* Instruments whose group name includes “ELEC,” “TR-808” or
“TR-909” cannot be used.
* If an indication such as “H1” is displayed at the instrument
name, a drum kit instrument is selected. For these note num-
bers, select an instrument in the “INST” page.
* When an external MIDI controller connected, playing a note on
the keyboard will move the cursor to the note number that you
played. “Note Chase” needs to be “ON” (p. 115).
1 2 6
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Chapter 10. Functions using MIDI
Fu n ctio n b u tto n s
Pe rcu ssio n g ro u p e d itin g
Each instrument in the percussion group can be edited.
fig.11-10
When the cursor is located at the instrument name, you can
press [F1 (LIST)] to access the instrument list page. Press [F2
(EDIT)] to access the instrument edit page. For details on
edit functions, refer to “Percussion group editing.”
Ad ju stin g th e vo lu m e b a la n ce
b e tw e e n th e d ru m k it a n d th e p e r-
cu ssio n g ro u p
Pro ce d u re
The volume (Group Volume) and effect send (Group Send
1 . Press [KIT]-[F2 (FUNC)]-[F1 (PRCGRP)]-[F2 (EDIT)].
The “PERC INST EDIT” page will appear.
Level) can be adjusted for all the drums and for the entire
percussion group.
fig.11-09
2 . Play the external MIDI controller connected to the MIDI IN
to select the note number you wish to edit and the corre-
sponding setting page will appear.
3 . Use [CURSOR] to move the cursor to the parameter that
you wish to set.
4 . Use [INC/DEC] or the VALUE dial to make the setting.
Pro ce d u re (Gro u p Vo lu m e )
1 . Press [CONTROL ROOM]-[F1 (MIXER)]-[F4 (GRPVOL)].
The “GROUP VOLUME” page will appear.
Pa ra m e te rs
Note
Move the cursor to the left to select the note number for edit-
ing. Move the cursor to the right to select the instrument.
2 . Use [CURSOR] to move the cursor to the group that you
wish to set.
“DRUMS” adjusts the volume of the drum kit, and “PERC”
adjusts the volume of the percussion group.
Volume: 0–127
Adjusts the volume.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pan: L15–CENTER–R15
Adjusts the left/ right position.
Pa ra m e te rs
DRUMS, PERC: 0–127
Pitch: -480–0–+480
Adjusts the pitch of the sound.
Pro ce d u re (Gro u p Se n d Le ve l)
Decay: -31–0–31
1 . Press [CONTROL ROOM]-[F4 (EFFECT)]-[F2 (SNDRTN)].
The “EFFECT GROUP” page will appear.
Adjusts the decay time of the sound.
Ambience: 0–127
2 . Use [CURSOR] to move the cursor to the group that you
wish to set.
Adjusts the ambience send level.
Fx Send: 0–127
“Drums” adjusts the effect send level of the whole drum kit,
“Perc” adjusts the effect send level of the percussion group,
and “Part” adjusts the send level of the backing part.
Adjusts the effect send level.
Output: Master, Phones Only
You can select “MASTER OUT “PHONES jack only” as out-
put destinations for the percussion group.
3 . Use [INC/DEC] or the VALUE dial to make the setting.
Pa ra m e te rs
Send Level: 0–127
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Chapter 10. Functions using MIDI
Ch a n g in g th e k it n u m b e r th a t is
se le cte d b y a p ro g ra m ch a n g e
MIDI m e ssa g e s fo r
d e ta ile d p e rfo rm a n ce
e x p re ssio n s
You can freely select the correspondence between program
changes and drum kits, so that (for example) drum kit 10
cou ld be selected w hen p rogram change nu m ber 5 is
received.
Me ssa g e s fo r h i-h a t co n tro l
The TD-10’s hi-hat controller also transmits the depth to
which the pedal is pressed, using control change messages.
By d efau lt (factory p reset), con trol ch an ge 4 is u sed .
Recep tion / tran sm ission to/ from an extern al MIDI
sequencer will use this number.
* This would only be used in special cases when using a lot of
MIDI information from a sequencer, and using the same pro-
gram change MIDI channel to change patches in other modules,
effect units etc.
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F3 (PROG)].
The “MIDI Program Change” page will appear.
* If the MIDI device that you are using already uses control
change number 4 for another function then you can set the hi-
hat to use a different control change number.
2 . Use [CURSOR] to move the cursor next to the kit name
Pro ce d u re
for which you wish to select a program change number.
1 . Press [SETUP]-[F2 (MIDI)]-[F2 (CTRL)].
The “MIDI Control Change” page will appear.
3 . Use [INC/DEC] or the VALUE dial to select the program
change number.
2 . Use [CURSOR] to move the cursor to “Pedal CC.”
3 . Use [INC/DEC] or the VALUE dial to specify the control
change number.
Pa ra m e te rs
Pedal CC: OFF, Modulation (1), Foot Ctrl (4), General1 (16),
General2 (17)
OFF:Hi-hat data control will not be received or transmitted
via MIDI IN or MIDI OUT.
Modulation (1), Foot Ctrl (4), General1 (16), General2 (17):
The specified control change will be used for hi-hat
control. This setting will be used both for reception at
MIDI IN and for transmission from MIDI OUT.
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Chapter 10. Functions using MIDI
Me ssa g e s fo r p o sitio n a l se n s-
in g (sn a re d ru m a n d rid e cy m -
b a l o n ly )
The TD-10 uses control change messages to indicate the
position a snare pad or ride cymbal pad was hit. The loca-
tion from the center of the pad outward to the rim is indicat-
ed by control change 16 for the snare d rum (TRIGGER
INPUT jack 2), and by control change 17 for the ride cymbal
(TRIGGER INPUT jack 10). These numbers are used for both
transm ission and recep tion to/ from an external MIDI
device.
Sy n ch ro n iza tio n w ith
e x te rn a l MIDI d e vice s
This section discusses the settings that allow an external
MIDI sequencer and the TD-10’s sequencer to be synchro-
nized. The device that is playing back is called the “master”
and the device that is synchronizing to the playback is called
the “slave”.
Ab o u t th e SYN C p a ra m e te rs
Internal:
External:
Auto:
The TD-10’s tempo setting will be used for
playback/ recording. When shipped from the
factory, this setting is selected.
* If a MIDI device that you are using already uses control change
numbers 16 and 17, you can change these numbers.
The TD-10’s sequencer will operate in accor-
dance with tempo data (MIDI Clock) from
the external device.
Pro ce d u re
1 . Press [SETUP]-[F2 (MIDI)]-[F2 (CTRL)].
The “MIDI Control Change” page will appear.
This is a convenient setting that combines
features of both the Internal and External set-
tings. If the TD-10’s [PLAY] is pressed when
no synchronization signal is being received,
pressing the [PLAY] will playback according
to the internal setting. When a synchroniza-
tion signal is being received from an external
device, the TD-10 will sync to that signal.
The TD-10 will obey start/ pause/ stop mes-
sages from an external device, but will play-
back according to its own tempo setting.
2 . Use [CURSOR] to move the cursor to “SNARE” to make
the snare setting, or “RIDE” to make the ride cymbal set-
ting.
3 . Use [INC/DEC] or the VALUE dial to specify the control
change number.
Remote:
Pa ra m e te rs
Zone CC:OFF, Modulation (1), General1 (16), General2 (17)
OFF:Positional sensing data will not be received or transmit-
ted via MIDI IN and MIDI OUT.
MIDI Delay: Tempo messages will be received to control
the “Beat Delay” of the effect. Since Song
Select and playback start/ pause/ stop mes-
sages will not be received, use this setting
w h en you d o n ot w an t th e in tern al
sequencer to playback in synchronization.
Modulation (1), General1 (16), General2 (17):
Positional sensing data will be handled using the speci-
fied control change. This setting is applied to reception
via MIDI IN and transmission from MIDI OUT.
Sy n ch ro n izin g th e TD-1 0 to th e
p la y b a ck o f a n e x te rn a l se q u e n ce r
In this case, the TD-10 will be the slave. As shown in the fol-
lowing diagram, use a MIDI cable to connect the MIDI OUT
of the external MIDI device to the TD-10’s MIDI IN connec-
tor.
fig.11-01ae
MIDI OUT
MIDI IN
Sequencer
TD-10
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Chapter 10. Functions using MIDI
Pro ce d u re
1 . Press [PATTERN]-[F2 (FUNC)]-[F1 (GLOBAL)].
The “PATTERN GLOBAL” page will appear.
2 . Use [CURSOR] to move the cursor to “Sync Mode.”
3 . Use [INC/DEC] or the VALUE dial to select “External” or
“Auto.”
4 . Begin playback on the transmitting device (master).
Synchronized playback will begin.
Sy n ch ro n izin g a n e x te rn a l
se q u e n ce r to th e TD-1 0
In this case, the TD-10 will be the master. As shown in the
following diagram, use a MIDI cable to connect the MIDI
OUT of the TD-10 to the MIDI IN connector of the external
device.
fig.11-01e
MIDI IN
MIDI OUT
Sequencer
TD-10
Pro ce d u re
1 . Press [PATTERN]-[F2 (SETUP)]-[F1 (GLOBAL)].
The “PATTERN GLOBAL” page will appear.
2 . Use [CURSOR] to move the cursor to “Sync Mode.”
3 . Use [INC/DEC] or the VALUE dial to “Internal” or “Auto.”
4 . Make settings on the external sequencer so that it will
synchronize.
5 . Press [PLAY] to start playback on the TD-10.
Synchronized playback will begin.
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Ap p e n d ice s
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Tro u b le sh o o tin g
This section outlines points to check if you experience prob-
lems, and what to do about them. For matters related to very
basic settings, refer to the “Quick Start,” “Troubleshooting
connections and settings.”
Ha s a n o n -vo lu m e p a ra m e te r b e e n se t so th a t
n o so u n d ca n b e o u tp u t?
Check the following points.
•
If you are using brushes, have you selected a special
brush kit? ([KIT])
When selecting the drum kit, select one that has the fol-
Pro b le m s w ith th e o ve ra ll
so u n d
lowing symbol in the lower right of the display.
fig.12-01
Do e s n o t so u n d rig h t.
Is p a d se n sitivity a d ju ste d co rre ctly ?
First refer to the “Quick Start” “Specify the pads that the
TD-10 will use” (p. 29), and make sure that trigger set-
tings are correct. If you wish to make additional adjust-
ments to the sensitivity, refer to “Adjusting the sensitivity
of a pad” (p. 39). If you are using drum triggers or pads
made by another manufacturer, refer to the “Advanced
Use” “Basic settings for the trigger parameters (BASIC)”
(p. 109) and “Detailed settings for the trigger parameters
(ADVNCD)” (p. 111).
•
Has the output assignment been changed? ([CONTROL
ROOM]-[F1 (MIXER)]-[F3 (OUTPUT)])
Hit the pad that does not sound, so that the cursor moves
to the setting for that pad. Use [INC/ DEC] or the VALUE
dial to select the correct output.
•
Is the instrument number set to 600 (OFF)?
Press [INST], and in the screen display which appears,
select an instrument numbered 1–559.
N o so u n d
No sound w hen you ta p the [PREVIEW]
Is th e vo lu m e se ttin g o ff o r to o lo w ?
Press the buttons in the order given in the parentheses ( ) to
access the appropriate setting page.
Do you ha ve Loca l Control (p . 1 2 4 ) set to "OFF"?
Things should be connected/ set so performance data that
has been routed through the external sequencer (or other
device) will be input to the TD-10, as illustrated on p. 124.
Local Control should be set to “ON” if an external sequencer
is not being used.
•
Has the [VOLUME CONTROL] (MASTER) been low-
ered?
Rotate the [VOLUME CONTROL] knob to be sure.
Have the [GROUP FADERS] been lowered?
Raise the [GROUP FADERS] sliders.
•
Ch a n g e s in th e se ttin g s a re n o t
•
Have the Control Room volumes for each instrument
been lowered? ([CONTROL ROOM]-[F1 (MIXER)]-[F1
(VOLUME)])
re fle cte d in th e so u n d
Is th e h e a d / rim se le ctio n in co rre ct?
Some parameters can be set independently for the head and
the rim. In such cases, take note of the “HEAD” or “RIM”
indication in the display screen.
Hit the pad that is not sounding, so that the cursor moves
to the slider for that pad. Use [INC/ DEC] or the VALUE
dial to raise the value.
•
Have compressor “Level” settings for each instrument
been lowered? ([CONTROL ROOM]-[F2 (COMP)])
Vo lu m e se ttin g s d o n ’t se e m rig h t
Ch e ck th e g ro u p fa d e rs
If you wish to reproduce the volume balance that was set for
the drum kit in the Control Room, set all of the front panel
[GROUP FADERS] to the same position.
Hit the pad that is not sounding, to access the setting
page. Press [F4] to select “Level,” and use [INC/ DEC] or
the VALUE dial to raise the value.
•
Has the Control Room (GROUP VOLUME) setting for the
overall kit been low ered ? ([CON TROL ROOM]-[F1
(MIXER)]-[F4 (GRPVOL)])
Th e re is n o so u n d w h e n a p a d is
stru ck so ftly
If a pad was struck while the power was being turned on,
the pad will respond poorly when struck softly. Turn off the
power. Then turn on the power once again, and do not strike
a pad until the drum kit is displayed.
Select “DRUM” in the setting page, and use [INC/ DEC]
or the VALUE dial to raise the value.
Are th e p a d s co n n e cte d co rre ctly ?
Make sure that the pad connections are correct, and that
each pad is connected to the proper input.
The minimum output level of the pad is detected when the
power is turned on. If the pad is struck at this time, the out-
put level of the pad will be detected incorrectly, causing the
pad to have poor response.
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Troubleshooting
Ro ta tin g [MASTER] d o e s n o t ch a n g e
th e vo lu m e
The [MASTER] knob ad justs the volume level from the
MASTER jacks, and does not affect the volume of the output
from the headphones or the DIRECT 1, 2, 3 outputs.
Eq u a lize r d o e sn ’t w o rk (in d ivid u a l
o r MASTER)
Check the following points by pressing the buttons in the
order given in parentheses ( ) and you’ll access the appro-
priate setting page.
•
Has the switch that turns the equalizer on/ off for each kit
been turned off? ([KIT]-[F3 (FX SW)])
N o Effe cts
Check the following points by pressing the buttons in the
order given in parentheses ( ) and you’ll access the appro-
priate setting page.
Press [F3] to turn it “ON.”
•
Has the master equalizer switch been turned off? ([KIT]-
[F4 (MAS EQ)])
Press [F1] to turn it “ON.”
•
Has the master effect switch been turned off? ([KIT]-[F3
(FX SW)])
•
Has the equalizer switch for each pad been turned off?
([CONTROL ROOM]-[F3 (EQ)])
Press [F4] to turn it “ON.”
Hit the pad for which no equalizion is heard and the set-
ting page for that pad will appear.
•
Has the “send” level for each instrument been turned
d ow n?(for d igital effects) ([CON TROL ROOM]-[F4
(EFFECT)]-[F1 (FXSEND)])
Press [F1] to turn the setting “ON.”
Hit the pad for which no effect is sounding, and the cur-
sor will move to the slider for that pad. Use [INC/ DEC]
or the VALUE dial to raise the value.
Co m p re sso r d o e sn ’t w o rk
•
Has the switch which turns the compressor on/ off for
each kit been turned off? ([KIT]-[F3 (FX SW)])
•
Has the master level of the effect been turned down? (In
the page accessed by [CONTROL ROOM]-[F4 (EFFECT)]-
[F2 (SNDRTN)], select “Output Level”)
Press [F2] to turn it “ON.”
•
Has the compressor switch for each pad been turned off?
([CONTROL ROOM]-[F2 (COMP)])
Hit the pad for which no compression is heard so that the
setting page for that pad appears. Press [F1] to turn the
setting “ON.”
In the setting p age, select “Ou tp u t Level” and u se
[INC/ DEC] or the VALUE dial to raise the value.
•
Are th e com p ressor settin gs correct? ([CON TROL
ROOM]-[F2 (COMP)])
N o Am b ie n ce
Check the following points by pressing the buttons in the
order given in parentheses ( ) and you’ll access the appropri-
ate setting page.
Refer to the explanations on p. 91 and correct the com-
pressor settings.
•
Has the master ambience switch been turned off? ([KIT]-
[F3 (FX SW)])
Concerning pa ds a nd peda ls
Press [F1] to turn it “ON.”
Pla y in g ve lo city d o e sn ’t co rre sp o n d
to th e re su ltin g so u n d
•
Has the “send” level for each instrument been turned
down? ([STUDIO]-[F4 (AMBNCE)]-[F1 (AMBSND)])
First refer to the “Quick Start” “Specify the pads that the TD-
10 will use” (p. 29) and make sure that the basic settings are
correct. If this does not solve the problem or if you are using
pads made by another manufacturer, refer to “Adjusting the
sensitivity of a pad ” (p. 39) and make detailed settings.
Hit the pad for which no ambience is heard, and the cur-
sor will move to the slider for that pad. Use [INC/ DEC]
or the VALUE dial to raise the value.
•
Has the ambience group send level been turned down?
([STUDIO]-[F4 (AMBNCE)]-[F2 (GRPSND)])
Select the grou p to w hich am bience d oes not ap p ly
(“DRUMS”, “PERC”, “PART” ), and use [INC/ DEC] or
the VALUE dial to raise the value.
An in stru m e n t o th e r th a n th e o n e
a ssig n e d is h e a rd
When you hit a pad have the head/ rim assignments been
inverted? Also, simultaneously striking the head and rim
(Rim Shot) will trigger the instrument assigned to the rim. If
you wish to play the sound that is assigned to the head, be
sure to strike only the head.
•
Has the level of the ambience output destination been
lowered? ([STUDIO]-[F4 (AMBNCE)]-[F3 (AMBLVL])
Select the ou tp u t d estination (“MASTER”, “DIR1”,
“DIR2”, “DIR3” ), and use [INC/ DEC] or the VALUE dial
to raise the value.
Ha ve y o u ch a n g e d th e “ SCAN
•
The volume level of the instrument connected to MIX IN
jack is too low.
TIME” se ttin g (p . 1 1 1 ) a fte r se le ctin g
th e “ TRIGGER TYPE” (p . 1 0 8 )?
Could you be using a connection cable that contains a
resistor?
The head tension adjustment (p. 110) does not work correct-
ly when the “SCAN TIME” setting is excessively low. This
setting is automatically set to the most efficient values for
each pad when you select the “TRIGGER TYPE” again.
Use a connection cable that does not contain a resistor.
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Troubleshooting
Hi-h a t co n tro l p e d a l (FD-7 ) d o e s n o t
o p e ra te co rre ctly
Se q u e n ce r-re la te d p ro b le m s
The hi-hat control p ed al w as not d etected correctly at
power-on. Turn off the power. Then turn on the power once
again, and do not operate the hi-hat control pedal (FD-7)
until the drum kit display appears.
Pre ssin g [PLAY] d o e s n o t sta rt p la y -
b a ck
Are y o u p la y in g b a ck a n e m p ty p a tte rn ?
Playback a pattern which contains musical data.
The position of the pedal when open is detected when the
pow er is turned on. If the ped al w as pressed w hile the
pow er w as being turned on, the ped al position w ill be
detected incorrectly, and the pedal will not operate correctly.
Is a p a rt m u te d ?
In the p age that ap p ears w hen you p ress [PART]-[F4
(MUTE)], if “MUTE” is ind icated for any p arts, p ress
[F1]–[F4] to switch these settings to “PLAY.”
MIDI-re la te d p ro b le m s
Did p la y b a ck o ccu r fo r a m o m e n t
N o So u n d w h e n u sin g a n e x te rn a l
a n d th e n sto p im m e d ia te ly ?
co n tro lle r (se q u e n ce r,k e y b o a rd e tc.)
Is th e p la y b a ck ty p e (PLAY TYPE) se t to
“ Ta p ” ?
This type is used mainly when pads are used to playback a
pattern step by step. In the page that appears when you
press [PATTERN]-[F2 (FUNC)] [F3 (TYPE)], set “Play Type”
to a setting other than “Tap.”
Ha s a n in te rn a l vo lu m e se ttin g b e e n lo w e re d ?
Check the following points. Pressing the buttons in the order
given in parentheses ( ) will access the appropriate setting
page.
•
Has the individual volume for each instrument in the per-
cussion group been lowered? ([KIT]-[F2 (FUNC)]-[F1
(PRCGRP)]-[F2 (EDIT)])
Click -re la te d p ro b le m s
Move the cursor to “Note,” and select the note which is
not sounding. Next select “Volume,” and use [INC/ DEC]
or the VALUE dial to increase the value.
Click d o e s n o t so u n d
Is th e [CLICK] in d ica to r lit?
If it is not lit, press [CLICK] to make it light. At this time, the
click setting page appears,and you should hear the click
sound. If not, then see below or press [EXIT] to exit the page.
•
Has the Control Room volume for the entire percussion
group been lowered? ([CONTROL ROOM]-[F1 (MIXER)]-
[F4 (GRPVOL)])
In the setting page select “PERC,” and use [INC/ DEC] or
the VALUE dial to raise the value.
Ha s th e [GRO UP FADERS] slid e r [CLICK] b e e n
lo w e re d ?
Raise the [CLICK] slider.
•
Have output assignments been changed? ([CONTROL
ROOM]-[F1 (MIXER)]-[F3 (OUTPUT]) (With the factory
settings, the sound will be output only from the MASTER
OUT and PHONES jacks.)
Is th e o u tp u t d e stin a tio n o f th e click so u n d
co rre ct?
Use [INC/ DEC] or the VALUE dial to specify the correct
output destination (“MASTER”, “DIR1”, “DIR2”, “DIR3” ).
In the p age that ap p ears w hen you p ress [CLICK]-[F2
(INST)], move the cursor to “Output.” If this is set to “MAS-
TER,” the click will be output from MASTER OUT and the
PHONES. If set to “PHONES,” the click will be output from
the headphones ONLY.
•
H as the MIDI channel of the part been turned off or
changed? ([SETUP]-[F2 (MIDI)])
If the “Channel” column of the setting page indicates
“OFF,” move the cursor to that value and use [INC/ DEC]
or the VALUE dial to specify the MIDI channel.
Bu lk d u m p is n o t tra n sm itte d .
Is th e MIDI ca b le co n n e cte d p ro p e rly ?
If you wish to save a bulk dump on an external device, con-
nect the TD-10’s MIDI OUT/ THRU connector to the external
sequencer’s MIDI IN connector. Also, make sure that recep-
tion of system exclusive messages is not turned off on the
external sequencer. System exclusive data is data unique to
individual devices, so verify all settings.
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Troubleshooting
Disp la y -re la te d p ro b le m s
O th e r
Trig g e r in d ica to rs lig h t o n th e ir o w n
If a monitor speaker or the like is sounding at a high volume
nearby a pad, the vibration can sometimes be detected by
the pad as a trigger signal. If this occurs, either move the
speaker, or change the angle of the pad. Also verify the
mounting of the pads and that the stand is stable in order to
eliminate excess vibrations.
Hittin g [PREVIEW ] p la y s b a ck a p a t-
te rn .
Is a p a d p a tte rn a ssig n e d to th e p a d ?
In this case, using [PREVIEW] to play this pad will have the
same result as striking the pad, and the pattern will play-
back. To stop playback, press [STOP].
So u n d s o f o th e r in stru m e n ts a re
a u d ib le w h e n u sin g th e DIRECT
ja ck s
Th e a m b ie n ce co m p o n e n t o f th e to n e b e in g
o u tp u t fro m a DIRECT ja ck is b e in g h e a rd fro m
th e MASTER ja ck . Tu rn th e a m b ie n ce to "O FF"
(p . 4 1 ), o r se t th e "AMBIEN CE O u tp u t Le ve l" to
"0 " (p . 8 8 ).
Disp la y is to o lig h t o r to o d a rk
The visibility of the display will change depending on the
viewing angle and on room lighting conditions. Re-adjust
the setting in the page that is displayed when you press
[SETUP]-[F3 (CTRL)]-[F3 (DISPLY)], or hold down [KIT] and
rotate the VALUE dial to make the setting.(easiest way).
Regardless of the sound output assignments (Output Assign;
p. 91), all of the ambience sounds are mixed into two chan-
nels, (L) and (R), and sent to the outputs selected with the
"AMBIEN CE Ou tp u t Level" setting (p . 88). Therefore,
sounds may be audible through a different output than the
output assigned for the instrument itself due to the "AMBI-
ENCE Output Level" setting.
For example, if the factory settings are changed so that the
kick is output from the DIRECT jack, the ambience sounds
are still to be output from the MASTER jack; as a result, the
kick sound could be perceived as seeping from the MASTER
jack.
Lo w -le ve l cro ssta lk (-4 5 d B o r lo w e r) is p e r-
ce ive d a t a n o th e r o u tp u t co n n e cto r.
This is within the TD-10's specifications, so it should not be a
source for concern.
Output Separation:76 dB (min.)
(MASTER L -> DIRECT L, MASTER R -> DIRECT R): 45 dB (min.)
(DIRECT L -> Other DIRECT L, DIRECT R -> Other DIRECT R): 45 dB (min.)
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In stru m e n ts th a t ca n b e u se d w ith e a ch trig g e r
The instruments that can be assigned to each trigger are as follows.
: The instrument can be assigned and V-EDIT is possible
: The instrument can be assigned, but V-EDIT is not possible
: Cannot be assigned
Trigger number
Inst group
1
2
3
4
TOM2
5
TOM3
6
7
8
9
10
11
AUX1
12
AUX2
\
KICK SNARE TOM1
TOM4 HI-HAT CRASH1 CRASH2 RIDE
V-KICK
V-SNARE
V-TOM
ELEC KICK
ELEC SNARE
ELEC TOM1
ELEC TOM2
ELEC TOM3
ELEC TOM4
808 KICK
808 SNARE
808 TOM1
808 TOM2
808 TOM3
808 TOM4
909 KICK
909 SNARE
909 TOM1
909 TOM2
909 TOM3
909 TOM4
Other
* On instruments with a group name that includes “ELEC”, “808”, or “909,” the combination of head and
rim cannot be modified.
VERY IMPORTANT: If you assign two different “V” sounds from the same instrument group, to the head
and rim, the choices made when editing (shell depth, head type etc.) will apply for both sounds. For the sound
assigned to the rim, the ONLY individual edit parameter available is head tuning.
Pa ra m e te rs th a t ca n b e se t in d e p e n d e n tly fo r th e h e a d
a n d rim
[INST] parameters:
Pitch, Decay (except for “V-EDIT” sounds)
[STUDIO] parameters:
Amb Send Level (except for ELEC, 808 or 909 sounds)
[CONTROL ROOM] parameters:
MIXER/ Volume, MIXER/ Fx Send (except for ELEC, 808 or 909 sounds)
[INST]-[F4 (CTRL)]-[F4 (MIDI)] parameters:
TRIGGER to PATTERN, Gate Time, Note No.
[INST]-[F4 (CONTROL)]-[F3 (PATERN)] parameters:
TRIGGER to PATTERN
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Re sto rin g th e fa cto ry se ttin g s (IN ITIALIZE)
If you wish to restore all internal settings to the factory pre-
set values use the Initialize operation explained below. All
internal settings will be lost when you perform the Initialize
operation, so if necessary, save your data to a memory card
or on an external MIDI device before initializing.
How to recall original factory presets for individual drum
kits, percussion groups and trigger banks.
fig.12-01ae
source
destination
Pro ce d u re
1 . Press [SETUP]-[F4 (UTIL)]-[F4 (INIT)].
The “SYSTEM INITIALIZE” page will appear.
(Example)
2 . Press [F4 (INIT)].
Initializing individual Drum kits.
A confirmation display will appear.
1 . Press [KIT].
3 . Press [F4 (EXEC)] and the TD-10’s data will be initialized.
(Press [F1 (CANCEL)] to return to the previous page with-
out executing the operation.)
The “DRUM KIT” page appears.
2 . Press [TOOLS]-[F1 (Copy)].
The “COPY DRUM KIT” page appears, showing the source
and destination positions.
3 . Use [INC/DEC] or the VALUE dial to, scroll until you see
“PRESET” in front of the drum kit you wish to recall.
4 . Press [F4 (COPY)].
A confirmation display will appear.
5 . Then press [F4 (EXEC)] and the data will be restored.
(Press [F1 (CANCEL)] to return to the previous page with-
out executing out the operation.)
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Me ssa g e / e rro r m e ssa g e list
This section lists the messages (error messages) that the TD-
BULK DATA Re ce ive Co m p le te d !
Bulk data reception has ended.
10 produces and explains the meaning of each message, giv-
ing you the appropriate action to take. If the TD-10 is not
able to operate correctly or if an incorrect operation was per-
formed, a message window will appear in the screen. Read
this section and take the appropriate action.
Em p ty Pa tte rn
You attempted to perform an editing operation on an empty
pattern.
When an indication of “ACCEPT” is shown above [F4] as in
the following figure, pressing that button will close the mes-
EXPAN SIO N BO ARD N o t Re a d y o r
Un a va ila b le !
sage window.
fig.12-02
Either the expansion board has been removed or was not
installed correctly (p. 43).
ILLEGAL CARD
This message may be due to one of the following two rea-
sons:
1. Check whether the card has been used by a different
Roland device.
Check whether the card has been used by a different Roland
device. If you wish to erase the contents of the card and use
it with the TD-10, press [F4 (ACCEPT)]. The card initialize
page will appear. In this page, press [F4 (INIT)] and you will
be asked whether it is OK to erase the contents of the card.
To initialize the card, press [F4].To cancel, press [F1].
2. Make sure that you are using an “M-512E” card ONLY.
Ba ck u p Ba tte ry Lo w !
The internal backup battery of the TD-10 (a battery that
maintains data in the user memory) has run down. Contact
your dealer or a nearby Roland service center to have the
battery replaced.
BACKUP N G !
The backup battery has run down completely, and the inter-
nal data has been lost. Contact your dealer or a nearby
Roland service center to have the battery replaced.
MEMO RY CARD Ba tte ry Lo w ! Ple a se
Ch a n g e !
The backup battery of the memory card has run down. Refer
to the owner’s manual for your memory card, and replace
the battery.
BULK DUMP Ab o rte d b y Use r !
Bulk data transmission was halted.
MEMO RY CARD Da ta Erro r !
Ch e ck Su m Erro r !
The checksum value of a system exclusive message was
There is a problem in the data of the memory card. If the
power is turned off or the card removed while data is being
written into the card (SAVE), the data in the card will be
damaged. Format the card once again before using it (p.
114).
incorrect.
BULK DUMP Da ta Tra n sm it Co m p le te d !
Bulk data transmission was completed.
MEMO RY CARD Da ta Lo a d Co m p le te d !
Data has been loaded from the memory card.
BULK DATA DEVICE ID Erro r !
Due to an incorrect Device ID, the system exclusive message
could not be received. Set the correct Device ID (p. 122).
MEMO RY CARD Da ta Sa ve Co m p le te d !
Data has been saved to the memory card.
BULK DATA Lo a d Erro r !
Reception of bulk dump failed. Make sure that all MIDI
MEMO RY CARD N o t Re a d y !
A pattern or drum kit chain attempted to access data from a
memory card. Insert the memory card.
cables are firmly connected (p. 122).
BULK DATA Re ce ivin g ... Ple a se , Wa it.
Bulk data is now being received. (Don’t touch any buttons or
pad during this process).
MEMO RY CARD Write Pro te cte d .
The memory card is write protected (switch in the “write
prohibit” position), and data could not be saved. Move the
write protect switch of the card to allow data to be saved (p.
114).
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Message / error message list
MIDI Bu ffe r Fu ll !
A large amount of MIDI messages were received in a short
time, and could not be processed completely. Make sure that
a problem has not occurred with the MIDI cable connection
or with your external MIDI device.
Da ta O ve rlo a d
Pattern contained an excessive amount of data, and as a
result could not be output successfully from MIDI OUT. Try
eliminating a track that has too much data.
MIDI O fflin e !
A MIDI cable was disconnected. (Or communication with
the external MIDI device stopped for some reason.)
PATTERN DATA N o t e n o u g h m e m o ry !
The internal memory for pattern storage is full. Save the pat-
terns either to a memory card (p. 114) or to an external
device via bulk dump, (p. 121) and then delete some or all of
the internal patterns (p. 105).
SYSTEM ERRO R
A problem has occurred with the internal system. Contact
your dealer or a nearby Roland service center.
SYSTEM IN ITIALIZE Co m p le te d !
Initialization of the TD-10’s internal data has been complet-
ed.
N o Em p ty Pa tte rn
There are no more empty patterns. Clear unneeded patterns
before using this function (p. 105).
N o t En o u g h Me m o ry
Pattern recording or editing could not be carried out because
there w as not enough internal memory. Try again after
deleting patterns that are no longer needed.
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Ab o u t MIDI
MIDI means “Musical Instrument Digital Interface”. By
using MIDI you can play and/ or control multiple instru-
ments from a single MIDI controller, keyboard or sequencer,
and is a world-wide standard, allowing communication
between MIDI equipped instruments, no matter who manu-
factured them.
MIDI ch a n n e ls a n d m u lti-
tim b ra l so u n d so u rce s
MIDI transmits many types of data over a single MIDI cable.
This is mad e possible by the concept of MIDI channels
which allow a device to distinguish the data that is or is not
intended for it. In some ways, MIDI channels are similar to
television channels. By changing the channel on a television
set, you can view the programs that are being broadcast by
d ifferent stations. In the same w ay, MIDI also allow s a
device to select the information intended for that device out
If you wish to use a MIDI keyboard to record on the TD-10,
or to use an external sequencer to play the TD-10, we sug-
gest that you understand the explanations that follow.
MIDI co n n e cto rs
fig.12-03a
of the variety of information that is being transmitted to it.
fig.12-03be
MIDI
THRU
OUT
IN
The cable from the antenna carries the TV
signals from many broadcast stations.
Station A
Station B
Station C
MIDI IN
This connector receives m essages from external MIDI
devices ( keyboards, sequencers controllers etc.) to play the
TD-10’s instruments or change its settings.
The TV is set to the channel of the station
you wish to watch.
MIDI uses sixteen channels; 1 through 16. Set the receiving
device so that it will receive only the channel that it needs to
receive. In the example below, the transmitting device is
transmitting on channels 1 and 2, but sound module A has
been set to receive only channel 1, and sound module B has
been set to receive only channel 2. In this way, sound mod-
ule A plays the guitar part and sound module B plays the
MIDI O UT
The TD-10 transmits musical data from its sequencer or pads
via the MIDI OUT, and can also use this connector save
internal song data and settings to an external sequencer for
back-up purposes.
bass part.
fig.12-03ce
MIDI THRU
All messages received at MIDI IN are re-transmitted from
this connector. (if Soft Thru is “ON”) refer to “Chapter 10.
Functions using MIDI,” and read the section “Using the TD-
10 with the Roland SPD-11” (p. 123). This connector is used
when you wish to transmit the same stream of MIDI data to
other devices. With the factory settings, this connector will
function as MIDI OUT only.
MIDI OUT
MIDI IN
MIDI THRU
Receive
Transmit channel : 1, 2
channel : 1
Sound
Module A
Receive
channel : 2
MIDI keyboard
MIDI IN
Sound
Module B
When the TD-10 is used as a sound module, it can function
on four different channels simultaneously. This means that a
single TD-10 can play a four-part ensemble. Sound modules
like the TD-10 which can receive multiple
MIDI channels at once to play different sounds on each
channel are called “multi-timbral sound modules.”
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About MIDI
Ho w th e se q u e n ce r o p e ra te s
A sequencer is an electronic musical device that records and
plays back performance data, meaning the note you play,
how long it is held (gate time) and velocity with which you
play, and various controller functions. The TD-10 contains a
built-in sequencer with 50 preset patterns containing pre-
programmed musical data. You can also create your own
patterns.
fig.12-04e
External sound generator
TD-10
Pattern 1 - 100
Part 1
Part 2
MIDI keyboard
Bass part
Pad
Drum part
Internal sound generator
During playback, data recorded in the sequencer is transmit-
ted to the sound module and played. As shown in the dia-
gram above, each track is transmitted to the respective part;
track 1 plays part 1 and track 2 plays part 2, and so forth.
During recording, the performance information from the
pads or MIDI keyboard is transmitted to the sequencer, and
the data is then transmitted to the sound module for play-
back.
A percussion group allows 60 types of instrument to be
played via MIDI in addition to all the instruments of the
drum kit. You can use instruments of the percussion group
w hen using an external MIDI controller or keyboard to
record on to the drum track.
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Usin g d ru m trig g e rs
This section explains how to attach an acoustic drum trigger.
2 . Use a monaural cable to connect the drum trigger to the
TD-10’s TRIGGER INPUT jack.
Pro ce d u re
1 . Attach the drum trigger to the acoustic drum.
fig.12-05a
Drum
TRIGGER INPUT jack
Kick
1
Snare drum
Tom tom
2
3–6
3 . Make trigger settings on the TD-10.
Press [SETUP]-[F1 (TRIG)]-[F1 (BANK)] to access the setting
page. Next, use [CURSOR] to move the cursor to the trigger
number that you wish to set, and use [INC/ DEC] or the
VALUE dial to set the trigger parameters as shown in the
following display.
fig.12-07
fig.12-05be
Snare drum
Tom tom
4 . When you hit the drum, the TD-10 will will be
triggered.inverted? If it does not sound correctly, try
changing the position of the drum trigger, or refer to “The
order in which trigger parameters should be set when
using drum triggers” (p. 112) and make adjustments.
* So that the drum trigger does not pick up extraneous vibrations,
do not allow it’s cable to contact the rim or shell (body).
* Be sure to mute the bass drum and snare drum. If you use a ring
mute, cut away part of the ring mute, so the drum trigger con-
tacts the head directly.
Floor tom
Kick
* For details on adjusting the correspondence between playing
velocity and the TD-10’s volume, refer to p. 37 of the “Quick
Start,” and “Basic settings for the trigger parameters” (p. 109).
fig.12-05e
Make sure that the wire does not touch
Drum
Where to Install
Kick
On the playing head (5 to 10 cm from the rim)
Snare drum On the playing head (2 to 3 cm from the rim)
Tom tom
Floor tom
On the shell (next to a lug located about 1 cm
from the playing head rim)
On the shell (next to a lug located about 1 cm
from the playing head rim)
* If the drum trigger of a tom has a low output level, attach it to
the head.
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Pre se t list
Dru m k it list
No.
Kit name
Percussion group
Remark
No.
Kit name
Percussion group
Remark
1
2
StudioV
BigRock
Tight
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
3
1
1
1
1
1
1
1
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
Far East
SnareBuz
HEAVy
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
3
4
JazzSizl
SuperBwl
Freak'n
OldScool
TexMex
NextDoor
Latin 3D
Vintage
MIDIbrsh
SockHop
Woody
5
6
7
*1
*2
8
9
GroovIn
BtDelayy
LatinSet
Orch Set
BrasRing
TR-808
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
GoFigure
70'sRock
Brushes
Electro
Rock
*1
*2
*2
*2
TR-909
Analog
*2
Dr Spin
Memphis
Cartoon
KornBall
X-Stick
BIG Band
lowFI
Fusion
Jazz
SLAPBACK
COMpress
LivnRoom
KitCopy1
KitCopy2
KitCopy3
KitCopy4
KitCopy5
*2
CarTUNE
Natural
Dirty
*1 indicates a kit to be played with brushes.
*2 indicates a kit using sounds referred to “#” on page 144–147. When these sounds are used a bit more time is needed when changing kits.
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Preset list
Dru m in stru m e n t list
No.
Inst name
Inst group
Remark
No.
Inst name
Inst group
Remark
51 MondVrbK
52 Sizzle K
53 NailHitK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
ELEC KICK
TR808 KICK
TR909 KICK
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
1 VintageK
2 26"DeepK
3 ThickHdK
4 Round K
5 Medium K
6 BigRoomK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
V-KICK
54 Box
K
55 Dance K
56 House K
57 Pillow K
7 Big
K
58 Rap
K
8 BigLow K
9 Studio1K
10 Studio2K
11 Studio3K
12 Studio4K
13 Studio5K
14 Studio6K
15 Studio7K
16 Studio8K
17 Room 1 K
18 Room 2 K
19 Room 3 K
20 Room 4 K
21 Room 5 K
22 Room 6 K
23 Solid1 K
24 Solid2 K
25 Jazz 1 K
26 Jazz 2 K
27 18"JazzK
28 BrshHitK
29 Wood 1 K
30 Wood 2 K
31 Wood 3 K
32 Maple1 K
33 Maple2 K
59 Hard808K
60 Boom808K
61 Noiz808K
62 Real909K
63 Wood909K
64 909HdAtK
65 ElephntK
66 Cattle K
67 Giant K
68 Door K
69 Punch K
70 MachineK
71 Broken K
72 BendUp K
73 HrdNoizK
74 Trip K
75 Splat K
76 Scrach1K
77 Scrach2K
78 Hi-Q K
79 Space K
80 SynBassK
81 Elec K
82 TR808 K
83 TR909 K
84 Picolo1S
85 Pco1RimS
86 Picolo2S
87 Pco2RimS
88 Picolo3S
89 Pco3RimS
90 Medium1S
91 Med1RimS
92 Medium2S
93 Med2RimS
94 Medium3S
95 Med3RimS
96 Medium4S
97 Med4RimS
98 Fat1 S
99 Fat1RimS
100 Fat2 S
#
#
#
*2
34 Oak
K
35 Birch K
36 RoseWodK
37 OnePly K
38 WdBeatrK
39 TakaokaK
40 Oyster K
41 Open K
42 26"HardK
*2
*2
*2
*2
*2
*2
*2
*2
43 Dry
K
44 DryMed K
45 DryHardK
46 DeepDryK
47 Fusion K
48 Meat K
49 SandBagK
50 BsktBalK
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Preset list
Remark
No.
Inst name
Inst group
Remark
No.
Inst name
Inst group
101 Fat2RimS
102 AcusticS
103 AcusRimS
104 VintageS
105 VntgRimS
106 Maple1 S
107 Mpl1RimS
108 Jazz S
109 JazzRimS
110 Elec S
111 TR808 S
112 TR909 S
113 Brush1 S
114 Brush2 S
115 BrshTmbS
116 MIDIBr1S
117 MIDIBr2S
118 Ballad S
119 Ring S
120 RingRimS
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
V-SNARE
ELEC SNARE
TR808 SNARE
TR909 SNARE
SNARE
153 Fat5 S
154 Fat5RimS
155 DynamicS
156 DynmcRmS
157 Roll S
158 Buzz S
159 NoSnareS
160 Dopin1 S
161 Dopin2 S
162 Reggae S
163 HrdNoizS
164 Cruddy S
165 Dance1 S
166 Dance2 S
167 Anvil S
168 House S
169 HousDpnS
170 HipHop S
171 Real808S
172 Real909S
173 Chu-Hi S
174 Clap! S
175 R70Pwr S
176 Whack S
177 CrsStk 1
178 CrsStk 2
179 CrsStk 3
180 CrsStk 4
181 CrsStk 5
182 CrsStk 6
183 808Crstk
184 Fibre T1
185 Fibre T2
186 Fibre T3
187 Fibre T4
188 Dry T1
189 Dry T2
190 Dry T3
191 Dry T4
192 NaturlT1
193 NaturlT2
194 NaturlT3
195 NaturlT4
196 StudioT1
197 StudioT2
198 StudioT3
199 StudioT4
200 Maple T1
201 Maple T2
202 Maple T3
203 Maple T4
204 Jazz T1
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
*2
*2
*2
*2
#
#
#
*1
*1
*1
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
121 13"
S
SNARE
122 13" RimS
123 Rock S
124 RockRimS
125 TD7MpleS
126 TDMplRmS
127 R8MapleS
128 R8MplRmS
129 Funk S
130 FunkRimS
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
131 Bop
S
SNARE
132 Bop RimS
133 Bronze S
134 BrnzRimS
135 Picolo4S
136 Pco4RimS
137 Picolo5S
138 Pco5RimS
139 Picolo6S
140 Pco6RimS
141 Medium5S
142 Med5RimS
143 Medium6S
144 Med6RimS
145 Medium7S
146 Med7RimS
147 Medium8S
148 Med8RimS
149 Fat3 S
150 Fat3RimS
151 Fat4 S
152 Fat4RimS
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
SNARE
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Preset list
No.
Inst name
Inst group
Remark
No.
Inst name
Inst group
Remark
205 Jazz T2
206 Jazz T3
207 Jazz T4
208 Buzz T1
209 Buzz T2
210 Buzz T3
211 Buzz T4
212 Slap T1
213 Slap T2
214 Slap T3
215 Slap T4
216 Rock T1
217 Rock T2
218 Rock T3
219 Rock T4
220 Room T1
221 Room T2
222 Room T3
223 Room T4
224 Big T1
225 Big T2
226 Big T3
227 Big T4
228 Punch T1
229 Punch T2
230 Punch T3
231 Punch T4
232 Brsh1 T1
233 Brsh1 T2
234 Brsh1 T3
235 Brsh1 T4
236 Brsh2 T1
237 Brsh2 T2
238 Brsh2 T3
239 Brsh2 T4
240 Oak T1
241 Oak T2
242 Oak T3
243 Oak T4
244 VintgeT1
245 VintgeT2
246 VintgeT3
247 VintgeT4
248 Dark T1
249 Dark T2
250 Dark T3
251 Dark T4
252 FusionT1
253 FusionT2
254 FusionT3
255 FusionT4
256 AttackT1
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
257 AttackT2
258 AttackT3
259 AttackT4
260 Hall T1
261 Hall T2
262 Hall T3
263 Hall T4
264 Birch T1
265 Birch T2
266 Birch T3
267 Birch T4
268 Beech T1
269 Beech T2
270 Beech T3
271 Beech T4
272 Micro T1
273 Micro T2
274 Micro T3
275 Micro T4
276 Hand T1
277 Hand T2
278 Hand T3
279 Hand T4
280 Bend T1
281 Bend T2
282 Bend T3
283 Bend T4
284 Bowl T1
285 Bowl T2
286 Bowl T3
287 Bowl T4
288 Dirty T1
289 Dirty T2
290 Dirty T3
291 Dirty T4
292 Space T1
293 Space T2
294 Space T3
295 Space T4
296 AnalogT1
297 AnalogT2
298 AnalogT3
299 AnalogT4
300 Noise T1
301 Noise T2
302 Noise T3
303 Noise T4
304 Elec T1
305 Elec T2
306 Elec T3
307 Elec T4
308 TR808 T1
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
V-TOM
ELEC TOM1
ELEC TOM2
ELEC TOM3
ELEC TOM4
TR808 TOM1
#
#
#
#
#
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Preset list
Remark
No.
Inst name
Inst group
Remark
No.
Inst name
Inst group
309 TR808 T2
310 TR808 T3
311 TR808 T4
312 TR909 T1
313 TR909 T2
314 TR909 T3
315 TR909 T4
316 Pure HH
317 BrightHH
318 Jazz HH
319 Thin HH
320 Pop HH
321 Heavy HH
322 Dark HH
323 Light HH
324 12" HH
325 13" HH
326 14" HH
327 15" HH
328 HandC HH
329 Brush1HH
330 Brush2HH
331 SizzleHH
332 TambrnHH
333 MaracsHH
334 TR808 HH
335 TR909 HH
336 CR78 HH
337 Mtl808HH
338 Mtl909HH
339 Mtl78 HH
340 Med16 Cr
341 Med18 Cr
342 Quik16Cr
343 Quik18Cr
344 Dark16Cr
345 Dark18Cr
346 Rock16Cr
347 Rock18Cr
348 Brsh1 Cr
349 Brsh2 Cr
350 SzlBr Cr
351 Swell Cr
352 Splsh 8"
353 Splsh10"
354 Splsh12"
355 HdSpl 8"
356 HdSpl10"
357 DkSpl10"
358 China10"
359 China12"
360 China18"
TR808 TOM2
TR808 TOM3
TR808 TOM4
TR909 TOM1
TR909 TOM2
TR909 TOM3
TR909 TOM4
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
HI-HAT
CRASH
#
#
#
#
#
#
#
361 China20"
362 SzlChina
363 SwlChina
364 PgyzBack
365 PgyCrsh1
366 PgyCrsh2
367 PgyCrsh3
368 PgyCrsh4
369 PgyCrsh5
370 PgyCrsh6
371 PgSplsh1
372 PgSplsh2
373 PhaseCym
374 Jazz Rd
375 Jazz RdB
376 Jazz RdX
377 Pop Rd
378 Pop RdB
379 Pop RdX
380 Rock Rd
381 Rock RdB
382 Rock RdX
383 Lite Rd
384 Lite RdB
385 Lite RdX
386 Quick Rd
387 Brsh1 Rd
388 Brsh2 Rd
389 SzlBr Rd
390 Szl1 Rd
391 Szl1 RdB
392 Szl1 RdX
393 Szl2 Rd
394 Szl2 RdB
395 Szl2 RdX
396 Szl3 Rd
397 Szl3 RdB
398 Szl3 RdX
399 Szl4 Rd
400 Pgy Rd1
401 Pgy Rd1B
402 Pgy Rd1X
403 Pgy Rd2
404 Pgy Rd2B
405 Pgy Rd2X
406 Cowbell1
407 Cowbell2
408 CowblDuo
409 Tambrn 1
410 Tambrn 2
411 Tambrn 3
412 CongaHMt
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
RIDE
*2
RIDE
RIDE
*2
*2
RIDE
RIDE
RIDE
*2
*2
RIDE
RIDE
RIDE
*2
*2
RIDE
RIDE
RIDE
*2
*2
RIDE
RIDE
RIDE
RIDE
RIDE
RIDE
RIDE
*2
*2
CRASH
RIDE
CRASH
RIDE
CRASH
RIDE
*2
*2
CRASH
RIDE
CRASH
RIDE
CRASH
RIDE
*2
*2
CRASH
RIDE
CRASH
RIDE
CRASH
RIDE
CRASH
RIDE
*2
*2
CRASH
RIDE
CRASH
RIDE
CRASH
RIDE
*2
CRASH
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
CRASH
CRASH
CRASH
CRASH
CRASH
CRASH
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Preset list
No.
Inst name
Inst group
Remark
No.
Inst name
Inst group
Remark
413 CongaHOp
414 CongaHSl
415 CongaMMt
416 CongaMOp
417 CongaMSl
418 CongaLMt
419 CongaLOp
420 CongaLSl
421 BongoHMt
422 BongoHOp
423 BongoHSl
424 BongoLMt
425 BongoLOp
426 BongoLSl
427 Timbal1H
428 Timbal1L
429 Timbal2H
430 Timbal2L
431 VibraSlp
432 Maracas
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
465 Sleibell
466 TablaNa
467 TablaTin
468 TablaTun
469 TablaTe
470 TablaTi
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
PERCUSSION
OTHER
471
472
BayaGe
BayaKa
473 BayaGin
474 BayaSl
475 TlkinDrm
476 BellTree
477 BendGong
478 TinyGong
479
Gong
480 TemplBel
481
482
Taiko
Caxixi
483 Kalimba
484 SteelDrm
485 Glcknspl
486 Vibraphn
487 Marimba
488 Xylophon
489 Tublrbel
490 Celesta
491 808Clap
492 808Cwbl1
493 808Cwbl2
494 808Marcs
495 808Clavs
496 808CongH
497 808CongM
498 808CongL
499 78 Cowbl
500 78 Guiro
501 78 Marcs
502 78 MBeat
503 78 Tmbrn
504 AirDrive
433
434
Shaker
Claves
435 CabasUp
436 CabasDwn
437 PandroMt
438 PandroOp
439 PandroSl
440 SurdoHMt
441 SurdoHOp
442 SurdoLMt
443 SurdoLOp
444 WhislLng
445 WhislSht
446 Agogo H
447 Agogo L
448 GiroLng1
449 GuiroSht
450 GiroLng2
451 CuicaMt1
452 CuicaOpn
453 CuicaLow
454 CuicaMt2
455 ConcrtBD
456 Timpani
457 TmpHndMt
458 MuteTimp
459 Hand Cym
460 Castanet
461 TringlOp
462 TringlMt
463 WdBlockH
464 WdBlockL
505
506
507
Burt
Biwa
OTHER
OTHER
Boing1
OTHER
508 RvsBoin1
509 Boing2
510 RvsBoin2
511 Bounce
OTHER
OTHER
OTHER
OTHER
512 CarDoor
513 CarHorn
OTHER
OTHER
514
515
516
Glass
Hammer
Hi-Q
OTHER
OTHER
OTHER
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Preset list
Remark
No.
Inst name
Inst group
Remark
No.
Inst name
Inst group
517 MtlNoise
518 MtlPhase
519 Orch Hit
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
559 SawWave
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
OTHER
560
561
Click
Bucket
520
521
OnKey
Punch
562 TrashCan
563 Hoo!
522 TapeStop
523 RvsTStop
524 TechTamb
525 TechNoiz
564 ElecBird
565 Gun Shot
566 Mystery
567 Monster
568 KnockDwn
569 TimeTrip
570 RvsKick1
571 RvsKick2
572 RvsSnr 1
573 RvsSnr 2
574 RvsAnvil
526
527
AfStmp
Barrel
528 ChinaDuo
529
530
531
532
Ou!
Ou! Up
Nope!
Snaps
533 Scrach 1
534 Scrach 2
535 Scrach 3
536 Scrach 4
537 Scrach 5
538 Gt Slide
539 RvsGtSld
540 GtScrach
541 RvsGtScr
542 BsSlide
543 RvsBSlid
544 WahGtDw1
545 WahGtUp1
546 WahGtDw2
547 WahGtUp2
548 CutGtDwn
549 CutGtUp
550 Chord 1
551 Chord 2
552 Chord 3
553 BrsFall1
554 BrsFall2
555 BrsFall3
556 BrsFall4
557 TB Bass
558 SlapBass
575
RvsTom
576 RvsCrash
577 RvsChina
578 RvsBelTr
579 Rvs Hi-Q
580 RvsMFaze
581 RvsAirDr
582 Count 1
583 Count 2
584 Count 3
585 Count 4
586 Count 5
587 Count 6
588 Count 7
589 Count 8
590 Count 9
591 Count 10
592 Count 11
593 Count 12
594 Count 13
595 CountAnd
596 Count E
597 Count A
598 Count Ti
599 Count Ta
600
OFF
*1 Can be played using a “sweep” or “swish” technique (p. 79).
*2 Responds to positional sensing (p. 36).
* An “X” at the end of an instrument name means that it is a “cross-faded” type of sound. With velocity, you can control two sounds.
* When selecting instruments indicated by the following mark “#,” a bit more time is needed before you will hear the sound, especially if you
are playing constantly while choosing them.
IMPORTANT: Please remember that there are limitations regarding instruments and their trigger assignments. Please see page 136.
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Preset list
N o te n u m b e r (fa cto ry se ttin g s)
* For details refer to p. 126.
Pe rcu ssio n g ro u p
Dru m k it
Perc group 1
(General MIDI)
Perc group 2
(Other perc.)
Perc group 3
Sound effects 1
Perc group 4
Sound effects 2)
Preset drum kit 1–50
(Trigger input jack)
Note no.
(
)
(
22
23
OFF
OFF
OFF
OFF
7/HI-HAT Rim (Close)
7/HI-HAT Rim (Open)
Ou!
808Clavs
808Cwbl1
808Clap
OFF
TB Bass
BsSlide
RvsBSlid
OFF
78 Cowbl
78 Guiro
78 Marcs
OFF
WahGtDw1
WahGtUp1
OFF
24
26
28
29
31
33
35
C1
25
27
Hi-Q
ConcrtBD
Roll S
Timpani
Timpani
OFF
Gt Slide
RvsGtSld
GtScrach
RvsGtScr
OFF
78 MBeat
78 Tmbrn
808CongH
808CongM
OFF
MtlNoise
WahGtDw2
WahGtUp2
OFF
30
32
34
11/AUX1
OFF
OFF
OFF
OFF
11/AUX1 Rim
12/AUX2
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
12/AUX2 Rim
1/KICK Rim
1/KICK
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
C2 36
38
CrsStk 5
OFF
CrsStk 4
OFF
808Crstk
OFF
Click
OFF
37
39
2/SNARE
OFF
OFF
OFF
OFF
6/TOM4 Rim
2/SNARE Rim
6/TOM4
40
OFF
OFF
OFF
OFF
OFF
OFF
OFF
OFF
41
OFF
OFF
OFF
OFF
7/HI-HAT
(Close)
(Pedal)
(Open)
42
44
46
OFF
OFF
OFF
OFF
5/TOM3
43
OFF
OFF
OFF
OFF
7/HI-HAT
45
OFF
OFF
OFF
OFF
4/TOM2
OFF
OFF
OFF
OFF
7/HI-HAT
47
OFF
OFF
OFF
OFF
4/TOM2 Rim
3/TOM1
OFF
OFF
OFF
OFF
C3 48
50
OFF
OFF
OFF
OFF
8/CRASH1
49
51
OFF
OFF
OFF
OFF
3/TOM1 Rim
10/RIDE
OFF
OFF
OFF
OFF
52
OFF
OFF
OFF
OFF
9/CRASH2 Rim
10/RIDE Rim
OFF
OFF
OFF
OFF
53
Tambrn 1
OFF
Tambrn 3
OFF
Tambrn 2
OFF
TechTamb
OFF
54
56
58
8/CRASH1 Rim
55
Cowbell1
OFF
Cowbell2
OFF
808Cwbl2
OFF
CowblDuo
OFF
57
9/CRASH2
OFF
OFF
OFF
OFF
5/TOM3 Rim
59
Pop RdX
BongoHOp
BongoLOp
CongaHMt
CongaHOp
CongaLOp
Timbal1H
Timbal1L
Agogo H
Agogo L
BongoHMt
BongoHOp
BongoLOp
CongaHOp
CongaMMt
CongaMOp
CongaMSl
CongaLMt
CongaLOp
CongaLSl
AirDrive
Burt
Bucket
TrashCan
Hoo!
C4 60
62
Biwa
61
63
Boing1
RvsBoin1
Boing2
RvsBoin2
Bounce
CarDoor
CarHorn
ElecBird
Gun Shot
Mystery
Monster
KnockDwn
TimeTrip
RvsKick1
64
65
66
68
67
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Preset list
Pe rcu ssio n g ro u p
Dru m k it
Perc group 1
(General MIDI)
Perc group 2
(Other perc.)
Perc group 3
Sound effects 1
Perc group 4
Sound effects 2)
Preset drum kit 1–50
(Trigger input jack)
Note no.
(
)
(
69
70
71
CabasUp
Maracas
WhislSht
WhislLng
GuiroSht
GiroLng1
Claves
CabasUp
CabasDwn
Castanet
VibraSlp
GuiroSht
GiroLng1
GiroLng2
CuicaLow
CuicaOpn
CuicaMt1
CuicaMt2
TablaNa
TablaTin
TablaTun
TablaTe
BayaGe
Glass
RvsSnr 2
RvsAnvil
RvsChina
RvsBelTr
Rvs Hi-Q
RvsMFaze
RvsAirDr
Count 1
Count 2
Count 3
Count 4
Count 5
Count 6
Count 7
Count 8
Count 9
Count 10
Count 11
Count 12
Count 13
CountAnd
Count E
Count A
Count Ti
Count Ta
Hammer
MtlNoise
MtlPhase
Orch Hit
OnKey
C5 72
73
75
74
76
Punch
WdBlockH
WdBlockL
CuicaMt1
CuicaOpn
TringlMt
TringlOp
Shaker
TapeStop
RvsTStop
TechTamb
TechNoiz
Barrel
77
78
80
82
79
81
Ou!
Ou! Up
83
Sleibell
BellTree
Castanet
SurdoLMt
SurdoLOp
CongaHSl
BayaKa
Nope!
BrsFall1
BrsFall4
Chord 1
Chord 2
SlapBass
TB Bass
RvsKick2
RvsSnr 1
RvsTom
C6 84
86
BayaKa
85
87
BayaGin
BayaSl
88
Kalimba
Marimba
BendGong
TinyGong
Gong
89
BayaGe
90
92
PandroMt
PandroOp
PandroSl
91
93
TemplBel
RvsCrash
* For preset drum kit instruments, note numbers are assigned to each trigger input jack.
* If the same note number is assigned to both a pad and instrument in a percussion group, the pad has “priority” and you will only hear the
sound assigned to that pad.
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Preset list
Ba ck in g in st list
No.
Display
Inst name
No.
Display
Inst name
1
2
Ac.Piano
E.Piano
FM+SA EP
60's EP
St.FM EP
Br.FM EP
Clav.
Ac. Piano
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
Wah Gt
Wah Guitar
Acoustic Bass
Electric Acoustic Bass
Fingered Bass
Funk Bass
E.Piano
Aco.Bass
El.Ac.Bs
FingerBs
FunkBass
PickBass
MutPikBs
FrtlesBs
SlapBass
Saw Bass
TB303 Bs
SH101 Bs
Syn.Str.
OB Str.
3
FM+SA EP
4
60's EP
5
St.FM EP
6
Bright FM EP
Clav.
Pick Bass
7
Muted Pick Bass
Fretless Bass
Slap Bass
8
Celesta
Glcknspl
Vibraphn
Marimba
Xylophon
Tublrbel
Organ 1
Organ 2
Nylon Gt
Steel Gt
Jazz Gt
Clean Gt
ChorusGt
Muted Gt
Pop Gt
Celesta
9
Glockenspiel
Vibraphone
Marimba
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
Saw Bass
TB303 Bass
SH101 Bass
Synth Strings
OB Strings
Brass 1
Xylophone
Tubular-bells
Organ 1 (Even Bar)
Organ 2
Brass 1
Nylon Guitar
Steel Guitar
Jazz Guitar
Clean Guitar
Chorus Guitar
Muted Guitar
Pop Guitar
Funk Guitar
Overdrive Guitar
Heavy Guitar
Muted Distortion Guitar
Rock Rhythm
Brass 2
Brass 2
Syn. Brs
Poly Brs
TenorSax
Flute
Synth Brass
Poly Brass
Tenor Sax
Flute
Saw Wave
Calliope
Fantasia
ThickPad
80'sPoly
Kalimba
Saw Wave
Synth Calliope
Fantasia
Funk Gt
OvrdrvGt
Heavy Gt
MutDstGt
RokRhytm
Thick Pad
80's Poly Synth
Kalimba
SteelDrm
Steel Drums
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Preset list
Pre se t p a tte rn list
No. Pattern name Tempo Length
Play type
No. Pattern name Tempo Length
Play type
1
2
Drums
SlowR
120
72
6
4
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
Loop
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
HipHop
Techno
Jungle
Latin
91
140
170
125
74
4
4
4
8
8
4
2
4
8
4
8
3
2
1
1
1
2
1
2
1
1
2
1
8
2
Loop
Loop
3
Sfl'R
120
100
236
140
112
75
4
Loop
4
FunkyHR
SpeedHR
8bt'R
2
Loop
5
4
Bossa
Loop
6
4
Songo
109
110
108
132
132
120
140
125
120
105
120
240
128
140
112
120
120
120
120
60
Loop
7
16bt'R
16bt'Bld
C'Rock
Blues
4
Samba
Loop
8
4
Salsa
Loop
9
106
55
12
8
Reggae
Ska
Loop
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
Loop
Swing
130
140
160
86
12
4
PercLoop
JzIntro
JzFnkBrk
RockBrk
FunkyBrk
PercFill
DrumFill
Kickin16
BrsSect
FunkHit
PianoRun
Chord
Loop
BigBand
JzWaltz
UKacid
GngRap
T Groove
Funky
One Shot
One Shot
One Shot
One Shot
One Shot
One Shot
One Shot
Tap
4
4
90
4
100
105
125
154
114
120
106
140
107
113
4
4
JazzFunk
S.Soul
PopShfl
Fusion
TechFsn
Fsn in 5
N.J.S.
House
4
4
8
Tap
12
4
Tap
Tap
3
BassLine
PercTap
SfxTap
Tap
4
Tap
4
Tap
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May. 1 1997
MIDI Im p lim e n ta tio n
Model TD-10
Version 1.00
Data Entry MSB (Controller number 6)
Section 1. Receive data
Status
2nd byte
3rd byte
BnH
06H
mmH
Channel Voice Messages
n = MIDI channel number:
mm = Control value:
0H - FH (ch.1 - ch.16)
00H - 18H (0 - 24semitone)
*
Following Channel Voice Messages can be recorded in SETUP MIDI TX/ RX Channel.
Initial value = 02H (2 semitone)
*
If RPN was previously specified as 00H 00H (Pitch Bend Sensitivity), you can specify
Note Off
the pitch bend sensitivity. This can be specified in semitone steps up to a maximum of 2
octaves. (Refer to the RPN item.)
Status
8nH
2nd byte
3rd byte
vvH
kkH
kkH
*
*
In the Drum part, ignored This message.
9nH
00H
Not recorded in the sequencer.
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Volume (Controller number 7)
vv = note off velocity:
Status
2nd byte
3rd byte
BnH
07H
vvH
*
*
*
In the Drum part, ignored This message.
The Velocity Values of Note Off message are ignored.
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
When recording, this is recorded in the sequencer data itself.
*
*
Volume messages are used to adjust the volume balance of each track.
Not recorded in the sequencer.
Note On
Status
9nH
2nd byte
kkH
3rd byte
vvH
Pan (Controller number 10)
Status
2nd byte
3rd byte
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
BnH
0AH
vvH
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
vv = note on velocity:
n = MIDI channel number:
vv = pan:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (Left - Center - Right)
*
*
A channel which is assigned to the drum part will receive only the note numbers which
are specified by the drum kit or the percussion group.
*
*
In the Drum part, ignored This message.
Not recorded in the sequencer.
When recording, this is recorded in the sequencer data itself.
Polyphonic Key Pressure
General purpose controller 1 (Controller number 16)
Status
AnH
2nd byte
kkH
3rd byte
vvH
Status
2nd byte
3rd byte
BnH
10H
vvH
n = MIDI channel number:
kk = note number:
vv = Value:
0H - FH (ch.1 - ch.16)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Initial value = 00H (0)
Initial value = 00H (0)
*
*
Only the channel assigned to the drum part can be received.
*
*
*
A channel which is assigned to the drum part will receive only the note numbers which
If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to General Purpose
Controller 1, the effect will apply to the specified parameter.
During recording, this will be recorded in the sequencer data as Pedal Ctrl Chg data or
Zone Ctrl Chg data.
are specified by the drum kit.
If the value is greater than 40H (64), the decay of the note sounded by the received note
number will be shortened.
*
Not recorded in the sequencer.
General purpose controller 2 (Controller number 17)
Control Change
Status
2nd byte
3rd byte
BnH
10H
vvH
Modulation (Controller number 1)
Status
2nd byte
3rd byte
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
BnH
01H
vvH
Initial value = 00H (0)
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
Only the channel assigned to the drum part can be received.
Initial value = 00H (0)
If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to General Purpose
Controller 2, the effect will apply to the specified parameter.
During recording, this will be recorded in the sequencer data as Pedal Ctrl Chg data or
Zone Ctrl Chg data.
*
*
Only the channel assigned to the drum part can be received.
*
If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to MODULATION, the
effect will apply to the specified parameter.
*
During recording, this will be recorded in the sequencer data as Pedal Ctrl Chg data or
Zone Ctrl Chg data.
Hold 1 (Controller number 64)
Status
2nd byte
3rd byte
BnH
40H
vvH
Foot Control (Controller number 4)
Status
2nd byte
3rd byte
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
BnH
04H
vvH
0-63 = OFF, 64-127 = ON
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
In the Drum part, ignored This message.
When recording, this is recorded in the sequencer data itself.
Initial value = 00H (0)
*
*
Only the channel assigned to the drum part can be received.
The effect will be obtained when SETUP MIDI CTRL Pedal CC is set to FOOT CON-
TROL.
*
When recording, this will be recorded as Pedal Ctrl Chg data in the sequencer data
itself.
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MIDI implementation
Controller
Reset value
RPN MSB/LSB (Controller number 100, 101)
Pitch Bend Change
Modulation
+/ -0 (center)
Status
2nd byte
3rd byte
mmH
llH
0 (off)(When set to Ctr Chg.)
0 (off)(When set to Ctr Chg.)
BnH
65H
Foot Control
BnH
64H
General Purpose Controller 1 0 (off)(When set to Ctr Chg.)
General Purpose Controller 2 0 (off)(When set to Ctr Chg.)
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
Hold 1
RPN
0 (off)
mm = upper byte of parameter number specified by RPN
ll = lower byte of parameter number specified by RPN
unset; previously set data will not change
*
*
In the Drum part, ignored This message.
All Notes Off (Controller number 123)
The value specified by RPN will not be reset even by messages such as Program Change
or Reset All Controller.
Status
BnH
2nd byte
7BH
3rd byte
00H
*
Not recorded in the sequencer.
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
RPN
Data
entry
MSB LSB
00H 00H
MSB LSB
mmH —-
Explanation
*
*
When All Notes Off is received, all notes on the corresponding channel will be turned
off. However if Hold 1 is ON, the sound will be continued until these are turned off.
In the recording mode, “Note OFF message” will be created for corresponding Note
ON message, and will be recorded.
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
Initial Value = 02H (2 semitones)
ll: ignored (processed as 00H)
specify up to 2 octaves in semitone steps
RPN null
OMNI OFF (Controller number 124)
Status
BnH
7FH 7FH
—- —-
2nd byte
7CH
3rd byte
00H
set condition where RPN and NRPN are unspecified. The data
entry messages after set RPN null will be ignored.
(No Data entry messages are required after RPN null).
Settings already made will not change.
mm,ll: ignored
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
*
The same processing will be carried out as when All Notes Off is received.
Program Change
l OMNI ON (Controller number 125)
Status
CnH
2nd byte
ppH
Status
BnH
2nd byte
7DH
3rd byte
00H
1. Drum Part
n = MIDI channel number:
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
0H - FH (ch.1 - ch.16)
pp = Program number:
00H - 7FH (prog.1 - prog.128)
*
OMNI ON is only recognized as “All notes off”.
2. Part 1, Part 2, Bass Part
n = MIDI channel number:
pp = Program number:
MONO (Controller number 126)
0H - FH (ch.1 - ch.16)
Status
BnH
2nd byte
7EH
3rd byte
mmH
00H - 35H (prog.1 - prog.54)
*
*
The sound will change beginning with the next note-on after the program change is
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
received. Voices which were already sounding before the program change was received
will not be affected.
Not recorded in the sequencer.
*
The same processing will be carried out as when All Sound Off or All Notes Off is
received.
Pitch Bend Change
Status
EnH
2nd byte
llH
3rd byte
mmH
POLY (Controller number 127)
Status
BnH
2nd byte
7FH
3rd byte
00H
n = MIDI channel number:
mm,ll = Pitch Bend value:
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Initial value = 40H 00H (Center)
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
*
The same processing will be carried out as when All Sound Off or All Notes Off is
received.
*
When recording, this is recorded in the sequencer data itself.
Channel Mode Messages
System Common Messages
All Sounds Off (Controller number 120)
Song Select
Status
BnH
2nd byte
78H
3rd byte
00H
Status
F3H
2nd byte
ppH
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
pp = Pattern Number:
00H-63H (PATTERN01-PATTERN100)
*
*
When this message is received, all currently-sounding notes on the corresponding chan-
nel will be silenced. However, the status of channel messages will not change.
When recording, this is recorded in the sequencer data itself.
*
Reception does not take place when the Sync Mode for PATTERN GLOBAL is set to
Internal or MIDI Delay.
*
*
This is recognized only in Pattern Play when playback is stopped.
Not recorded in the sequencer.
Reset All Controllers (Controller number 121)
Status
BnH
2nd byte
79H
3rd byte
00H
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
*
When this message is received, the following controllers will be set to their reset val-
ues.When recording, a control message carrying the reset value will be created and
recorded.
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MIDI implementation
Data transmission
System Realtime Message
TD-10 can transmit and receive the various parameters using System Exclusive messages.
The exclusive message of TD-10’s data has a model ID of 00H 0AH and a device ID of 10H
(17). Device ID can be changed in TD-10.
*
Following System Realtime Messages cannot be recorded in recording mode.
Timing Clock
Status
F8H
Request data 1
RQ1 (11H)
This message requests the other device to send data. The Address and Size determine the
type and amount of data to be sent.
When a Data Request message is received, if the device is ready to transmit data and if the
address and size are appropriate, the requested data will be transmitted as a “Data Set 1
(DT1)” message. If not, nothing will be transmitted.
*
Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT”
or “MIDI DELAY”.
Start
Status
Status
F0H
Data byte
Status
F7H
41H, dev, 00H, 0AH, 11H, aaH, bbH, ccH, ddH,
ssH, ttH, uuH, vvH, sum
FAH
*
Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT”
or REMOTE.
Byte
F0H
41H
Explanation
Exclusive status
ID number (Roland)
Continue
Status
FBH
dev
Device ID (dev: 00H - 1FH Initial value is 10H (17))
Model ID (TD-10)
00H 0AH
11H
Command ID (RQ1)
aaH
Address MSB: upper byte of the starting address of the requested data
*
Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT”
or REMOTE.
bbH
ccH
Address 2nd : 2nd byte of the starting address of the requested data
Address 3rd : 3rd byte of the starting address of the requested data
ddH
ssH
Address LSB: lower byte of the starting address of the requested data
Size MSB
Stop
Status
ttH
Size 2nd
uuH
uuH
sum
F7H
Size 3rd
FCH
Size LSB
Checksum
*
Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT”
or REMOTE.
EOX (End Of Exclusive)
*
*
The amount of data that can be transmitted at once time will depend on the type of
data, and data must be requested using a specific starting address and size. Refer to the
Address and Size listed in Parameter Dump Request (Page 158).
Active Sensing
Status
FEH
Regarding the checksum please refer to Page 163.
*
When Active Sensing is received, the unit will begin monitoring the intervals of all fur-
ther messages. While monitoring, if the interval between messages exceeds about 420
ms, the same processing will be carried out as when All Sounds Off, All Notes Off and
Reset All Controllers are received, and message interval monitoring will be halted.
Data set 1
DT1 (12H)
This is the message that actually performs data transmission, and is used when you wish to
transmit the data.
Status
F0H
Data byte
Status
F7H
41H, dev, 00H, 0AH, 12H, aaH, bbH, ccH, ddH,
eeh,... ffH, sum
System Exclusive Message
*
Following System Exclusive Messages cannot be recorded.
Byte
F0H
41H
dev
Explanation
Exclusive status
Status
F0H
Data byte
Status
F7H
ID number (Roland)
iiH, ddH, ......,eeH
Device ID (dev: 00H - 1FH Initial value is 10H))
0AH Model ID (TD-10)
Command ID (DT1)
00H
12H
aaH
bbH
ccH
ddH
eeH
F0H:
System Exclusive Message status
ii = ID number:
an ID number (manufacturer ID) to indicate the manufacturer whose
Exclusive message this is. Roland’s manufacturer ID is 41H.
ID numbers 7EH and 7FH are extensions of the MIDI standard;
Universal Non-realtime Messages (7EH) and Universal Realtime
Messages (7FH).
Address MSB: upper byte of the starting address of the transmitted data
Address 2nd : 2nd byte of the starting address of the transmitted data
Address 3rd: 3rd byte of the starting address of the transmitted data
Address LSB: lower byte of the starting address of the transmitted data
Data: the actual data to be transmitted. Multiple bytes of data are transmitted
dd,...,ee = data:
F7H:
00H - 7FH (0 - 127)
starting from the address.
EOX (End Of Exclusive)
:
:
ffH
sum
F7H
Data
The System Exclusive Messages received by the TD-10 are; Universal Non-realtime System
Exclusive Messages, Data Requests (RQ1), and Data Set (DT1).
Checksum
EOX (End Of Exclusive)
*
The amount of data that can be transmitted at once time will depend on the type of
data, and data must be requested using a specific starting address and size. Refer to the
Address and Size listed in Parameter Dump Request (Page 158).
Universal Non-realtime System Exclusive Messages
Inquiry request
*
*
If “Data Set 1” is transmitted successively, there must be an interval of at least 45 ms.
Regarding the checksum please refer to Page 163.
Status
Data byte
Status
F7H
F0H
7EH, dev, 06H, 01H
Byte
F0H
Explanation
Exclusive status
7EH
ID number (universal non-realtime message)
dev
Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
Inquiry request
06H,01H
F7H
EOX (End Of Exclusive)
*
*
Even if the Device ID is 7FH (Broadcast), Inquiry Reply message will be transmitted.
When Inquiry Request is received, Inquiry Reply message will be transmitted.
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MIDI implementation
Volume (Controller number 7)
Section 2. Transmit data
Status
2nd byte
3rd byte
BnH
07H
vvH
Channel Voice Messages
n = MIDI channel number:
vv = Volume:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
The following channel voice messages are transmitted on the channel specified as the
SETUP MIDI TX/ RX Channel.
*
When a pattern is selected, the Part Level of the sequencer pattern data will be transmit-
ted.
Note off
Status
8nH
2nd byte
kkH
3rd byte
vvH
Pan (Controller number 10)
Status
2nd byte
3rd byte
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
BnH
0AH
vvH
00H - 7FH (0 - 127)
40H (64) fixed
vv = Note off velocity:
n = MIDI channel number:
vv = pan:
0H - FH (ch.1 - ch.16)
00H - 40H - 7FH (Left - Center - Right)
Note on
*
When a pattern is selected, the Pan of the sequencer pattern data will be transmitted.
Status
9nH
2nd byte
kkH
3rd byte
vvH
General purpose controller 1 (Controller number 16)
Status
2nd byte
3rd byte
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
BnH
10H
vvH
vv = note on velocity:
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
Initial value = 00H (0)
*
On the channel assigned to the drum part, the note numbers specified by the drum kit
or the percussion group will be transmitted.
*
*
This is transmitted only on the channel which is assigned to the drum part.
This will be transmitted if the SETUP MIDI CTRL settings Pedal CC or Zone CC are set
to General Purpose Controller 1.
Polyphonic key pressure
Status
AnH
2nd byte
kkH
3rd byte
vvH
General purpose controller 2 (Controller number 17)
Status
2nd byte
3rd byte
n = MIDI channel number:
kk = note number:
vv = value:
0H - FH (ch.1 - ch.16)
BnH
11H
vvH
00H - 7FH (0 - 127)
00H, 7FH (0, 127)
Initial value = 00H (0)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
Initial value = 00H (0)
*
On the channel assigned to the drum part, 7FH will be transmitted when the rim of the
pad is pressed and 00H when the rim is released, for the note number specified for the
pad and rim.
*
*
This is transmitted only on the channel which is assigned to the drum part.
This will be transmitted if the SETUP MIDI CTRL settings Pedal CC or Zone CC are set
to General Purpose Controller 2.
Control Change
Hold 1 (Controller number 64)
Modulation (Controller number 1)
Status
2nd byte
3rd byte
Status
2nd byte
3rd byte
BnH
40H
vvH
BnH
01H
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127) 0-63 = OFF 64-127 = ON
n = MIDI channel number:
vv = Modulation depth:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
Initial value = 00H (0)
*
Transmitted only when the TD-10 is in play for Pattern in which Hold 1 is recorded.
*
*
This is transmitted only on the channel which is assigned to the drum part.
If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to MODULATION, the
specified parameter will be transmitted.
RPN MSB/LSB (Controller number 100,101)
Status
2nd byte
3rd byte
mmH
llH
BnH
65H
Foot control (Controller number 4)
Status
BnH
64H
2nd byte
3rd byte
BnH
04H
vvH
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
mm = upper byte of parameter number specified by RPN
ll = lower byte of parameter number specified by RPN
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
Initial value = 00H (0)
*
When a pattern is selected, the sequencer’s pitch bend sensitivity value will be transmit-
ted.
*
*
This is transmitted only on the channel which is assigned to the drum part.
This will be transmitted if the SETUP MIDI CTRL setting Pedal CC is set to FOOT CON-
TROL.
RPN
Data
entry
MSB LSB
00H 00H
MSB LSB
mmH —-
Explanation
Data entry MSB
Pitch Bend Sensitivity
Status
2nd byte
3rd byte
vvH
mm: 00H - 18H (0 - 24 semitones)
Initial Value = 02H (2 semitones)
ll: ignored (processed as 00H)
specify up to 2 octaves in semitone steps
RPN null
BnH
06H
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
7FH 7FH
—- —
set condition where RPN and NRPN are unspecified. The data
entry messages after set RPN null will be ignored.
(No Data entry messages are required after RPN null).
Settings already made will not change.
mm,ll: ignored
*
When a pattern is selected, the sequencer’s pitch bend sensitivity value will be transmit-
ted.
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MIDI implementation
Byte
Explanation
Program Change
F0H
Exclusive status
Status
CnH
2nd byte
ppH
7EH
ID number (universal non-realtime message)
Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
Inquiry reply
dev
06H 02H
41H
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - ch.16)
ID number(Roland)
00H - 7FH (prog.1 - prog.128)
0AH 01H
00H 00H
Device family code
Device family number code
*
When a drum kit is selected, or when a pattern is selected, the pattern number of the
sequencer pattern data will be transmitted.
00H 02H 00H 00H software revision level
F7H EOX (End Of Exclusive)
Pitch Bend Change
*
When Inquiry Request (P. 156)is received, Inquiry Reply message will be transmitted.
Status
EnH
2nd byte
llH
3rd byte
mmH
Data set 1
DT1 (12H)
Status
Data byte
Status
F7H
n = MIDI channel number:
mm,ll = Pitch Bend value:
0H - FH (ch.1 - ch.16)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
F0H
41H, dev, 00H, 0AH, 12H, aaH, bbH, ccH, ddH,
eeH,... ffH, sum
*
Transmitted only when the TD-10 is in play for Pattern in which Pitch Bend Change is
recorded.
Byte
F0H
Explanation
Exclusive status
41H
ID number (Roland)
dev
Device ID (dev: 00H - 1FH Initial value is 10H)
Model ID (TD-10)
System Common Messages
00H 0AH
12H
Command ID (DT1)
Song Position Pointer
aaH
Address MSB: upper byte of the starting address of the data to be sent
Status
F2H
2nd byte
llH
3rd byte
mmH
bbH
ccH
Address 2nd: 2nd byte of the starting address of the data to be sent
Address 3rd: 3rd byte of the starting address of the data to be sent.
ddH
eeH
Address LSB: lower byte of the starting address of the data to be sent.
mm,ll = Song Position:
F00 00H - 7F 7FH(0 - 16383)
Data: the actual data to be sent. Multiple bytes of data are transmitted in
order starting from the address.
:
:
Song Select
ffH
sum
F7H
Data
Status
F3H
2nd byte
ppH
Checksum
EOX (End Of Exclusive)
pp = Pattern number:
00H-63H (PATTERN1-PATTERN100)
*
*
*
The amount of data that can be transmitted at once time will depend on the type of
data, and data must be requested using a specific starting address and size. Refer to the
Address and Size listed in 3.Parameter address map (Page 159).
Data larger than 128 bytes must be divided into packets of 128 bytes or less. If “Data Set
1” is transmitted successively, there must be an interval of at least 40 ms between pack-
ets.
*
When a pattern is selected, the song select number will be transmitted.
System Realtime Message
Regarding the checksum please refer to Page 163.
Timing Clock
Status
F8H
Bulk Dump
Start
Status
Bulk Dump allows you to transmit a large amount of data at once, and is convenient for
storing settings for the entire unit on a computer or sequencer.
For Bulk Dump Request, you must use the Address and Size listed in the following “Bulk
Dump Request.”
FAH
Continue
Status
FBH
Bulk Dump Request
Address(H)
10 00 00 00
40 00 00 00
41 nn 00 00
44 pp 16 00
Size(H)
Stop
Status
00 00 00 00 (ALL Patterns: dump request for all user pattern (51-100))
01 00 00 00 (SETUP: )
FCH
00 01 00 00 (DRUM KIT:)
00 00 48 00 (PERCUSSION GROUP:)
Active sensing
Status
FEH
mm = 01-32H (Pattern No.51-100)
nn = 00-31H (Drum Kit No.1-50)
pp = 00-03H (Perc Group No.1-4)
*
This will be transmitted constantly at intervals of approximately 250ms.
*
*
Request for ALL PATTERNS and SET UP are correspond to “Bulk Dump” parameter (
[SETUP]-[F2(MIDI)]-[F4(BULK)]).
System exclusive messages
Data of preset pattern (No.1-50) cannot be transmitted.
Inquiry reply and Data Set 1 (DT1) are the only System Exclusive messages transmitted by
TD-10.
When an appropriate “Inquiry Request” or “Data Request 1 (RQ1)” message is received,
the requested internal data will be transmitted.
Universal Non-realtime System Exclusive Messages
Inquiry reply
Status
Data byte
Status
F7H
F0H
7EH, dev, 06H, 02H,41H,0AH,01H,00H,00H,00H,
06H,00H,00H
1 5 8
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI implementation
|
|
|
|
08 | 000a aaaa | STICK | Mask Time
0 - 16
(0ms - 64ms, 4ms step) |
0 - 6
(OFF,30,40,50,60,70,80) |
|
3. Parameter address map
|
|
|
09 | 0000 0aaa | STICK | Crosstalk
|
(Model ID = 00H 0AH)
|
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|
|—————————————+———————————+———————+—————————————————————————————————————|
This map indicates address, size, Data (range), Parameter, and Description of parameters
|
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|
|
0A | 0000 aaaa | BRUSH | Sensitivity
0 - 15
(1 - 16)
0 - 15
0 - 7
|
|
|
|
which can be transferred using “Data set 1 (DT1)”.
|
|
|
0B | 0000 aaaa | BRUSH | Threshold
0C | 0000 0aaa | BRUSH | Sens Curve
All the nu m bers of ad d ress, size, Data, and Defau lt Valu e are ind icated in 7-bit
Hexadecimal-form.
|
|
|
|
| (Linear,EXP1,EXP2,LOG1,LOG2,Spline, |
| Loud1,Loud2)
|
|—————————————+———————————+———————+—————————————————————————————————————|
Addresses marked at “#” cannot be used as starting addresses.
|
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0D | 00aa aaaa | BRUSH | Scan Time
0 - 40
|
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|
(0.0ms - 4.0ms, 0.1ms step) |
0E | 0000 aaaa | BRUSH | Retrigger Cancel
0 - 15
|
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|
|
|
(1 - 16)
0 - 16
0F | 000a aaaa | BRUSH | Mask Time
Parameter Address Block
|
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|
(0ms - 64ms, 4ms step) |
10 | 0000 0aaa | BRUSH | Crosstalk
0 - 6
|
|
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|
(OFF,30,40,50,60,70,80) |
|—————————————+—————————————————————————————————————————————————————————|
TD-10 (Model ID = 00H 0AH)
| Total size | 00 00 00 11
+———————————————————————————————————————————————————————————————————————+
|
+———————————————————————————————————————————————————————————————————————+
| Start
|
|
|
|
| address
Description
|—————————————+—————————————————————————————————————————————————————————|
| 00 00 00 00 | SETUP
(Individual)
*1-1|
* 1-1-2 DRUM KIT CHAIN (Name)
|—————————————+—————————————————————————————————————————————————————————|
+-----------------------------------------------------------------------+
| 01 00 00 00 | DRUM KIT 1
(Individual)
*1-2|
|
*1-2|
| Offset
| address
|
|
|
|
|
:
|
Description
| 01 31 00 00 | DRUM KIT 50
(Individual)
|-------------+---------------------------------------------------------|
|—————————————+—————————————————————————————————————————————————————————|
|
|#
|
00 | 0aaa aaaa | Drum Kit CHAIN Name
01 | 0aaa aaaa | Drum Kit CHAIN Name
32 - 127
32 - 127
|
|
|
|
| 04 00 00 00 | PERCUSSION GROUP 1
(Individual)
*1-3|
|
*1-3|
|
:
|
: |
:
|
| 04 03 00 00 | PERCUSSION GROUP 4
(Individual)
|#
07 | 0aaa aaaa | Drum Kit CHAIN Name
32 - 127
|—————————————+—————————————————————————————————————————————————————————|
|-------------+---------------------------------------------------------|
| 10 00 00 00 | PATTERN
|—————————————+—————————————————————————————————————————————————————————|
| 40 00 00 00 | SETUP (Bulk) *1-1|
(Bulk)
*1-4|
| Total size | 00 00 00 08
+-----------------------------------------------------------------------+
|
|—————————————+—————————————————————————————————————————————————————————|
| 41 00 00 00 | DRUM KIT 1
(Bulk)
*1-2|
|
*1-2|
* 1-1-3 DRUM KIT CHAIN (Step)
|
:
|
+-----------------------------------------------------------------------+
| 41 31 00 00 | DRUM KIT 50
(Bulk)
| Offset
| address
|
|
|
|
|—————————————+—————————————————————————————————————————————————————————|
Description
| 44 00 00 00 | PERCUSSION GROUP 1
(Bulk)
*1-3|
|
*1-3|
|-------------+---------------------------------------------------------|
|
:
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|
|
00 | 0aaa aaaa | Drum Kit Number (Step1)
0 - 50
|
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| 44 03 00 00 | PERCUSSION GROUP 4
(Bulk)
|
|
(1-50, END)
0 - 50
+———————————————————————————————————————————————————————————————————————+
|#
|
01 | 0aaa aaaa | Drum Kit Number (Step2)
|
: |
|
|
(1-50, END)
|
:
* 1-1 SETUP
|#
|
1F | 0aaa aaaa | Drum Kit Number (Step32)
0 - 50
(1-50, END)
+———————————————————————————————————————————————————————————————————————+
|
|
| Offset
|
|
|
|
|-------------+---------------------------------------------------------|
| address
Description
| Total size | 00 00 00 20
+-----------------------------------------------------------------------+
|
|—————————————+—————————————————————————————————————————————————————————|
|
|
|
00 00 00 | TRIGGER BANK 1
*1-1-1|
|
*1-1-1|
:
|
00 30 00 | TRIGGER BANK 4
* 1-1-4 MIDI
|—————————————+—————————————————————————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+
|
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|
01 00 00 | DRUM KIT CHAIN 1 (Name)
*1-1-2|
|
*1-1-2|
| Offset
| address
|
|
|
|
:
|
:
Description
01 0F 00 | DRUM KIT CHAIN 16 (Name)
|—————————————+—————————————————————————————————————————————————————————|
|—————————————+—————————————————————————————————————————————————————————|
|
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00 00 | 000a aaaa | MIDI Channel (DRUM)
0 - 16
|
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02 00 00 | DRUM KIT CHAIN 1 (Step)
*1-1-3|
|
*1-1-3|
|
|
(1 - 16,OFF)
0 - 16
:
|
:
00 01 | 000a aaaa | MIDI Channel (PART1)
02 0F 00 | DRUM KIT CHAIN 16 (Step)
|
|
(1 - 16,OFF)
0 - 16
|—————————————+—————————————————————————————————————————————————————————|
00 02 | 000a aaaa | MIDI Channel (PART2)
|
03 00 00 | MIDI
|—————————————+—————————————————————————————————————————————————————————|
04 00 00 | PROGRAM CHANGE MAP *1-1-5|
|—————————————+—————————————————————————————————————————————————————————|
05 00 00 | CONTROL *1-1-6|
|—————————————+—————————————————————————————————————————————————————————|
06 00 00 | MASTER EQ *1-1-7|
|—————————————+—————————————————————————————————————————————————————————|
*1-1-4|
|
|
(1 - 16,OFF)
0 - 16
00 03 | 000a aaaa | MIDI Channel (BASS)
|
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|
(1 - 16,OFF)
|—————————————+———————————+—————————————————————————————————————————————|
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00 04 | 0000 00aa | Zone CC (2/SNARE)
0 - 3
|
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|
(OFF,Modulation(1),General1(16), |
|
GENERAL2(17))
|
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00 05 | 0000 00aa | Zone CC (10/RIDE)
0 - 3
|
07 00 00 | MASTER TUNE
*1-1-8|
|
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|
(OFF,Modulation(1),General1(16), |
General2(17))
+———————————————————————————————————————————————————————————————————————+
|
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00 06 | 0000 0aaa | Pedal CC
0 - 4
|
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|
(OFF,Modulation(1),Foot Ctrl(4), |
General1(16),General2(17))
* 1-1-1 TRIGGER BANK
|
+———————————————————————————————————————————————————————————————————————+
|—————————————+———————————+—————————————————————————————————————————————|
| Offset
|
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00 07 | 0000 000a | Program Change Rx SW
0 - 1
|
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|
| address
Description
|
|
(OFF,ON)
0 - 1
|—————————————+—————————————————————————————————————————————————————————|
00 08 | 0000 000a | Program Change Tx SW
|
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|
00 00 | Pad parameters (1/KICK)
*1-1-1-1|
|
*1-1-1-1|
|
|
(OFF,ON)
:
|
:
|—————————————+———————————+—————————————————————————————————————————————|
0B 00 | Pad parameters (12/AUX2)
+———————————————————————————————————————————————————————————————————————+
|
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00 09 | 0000 000a | Local Control
0 - 1
|
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(OFF,ON)
0 - 1
00 0A | 0000 000a | Soft Through
|
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(OFF,ON)
0 - 1
00 0B | 0000 000a | Note Chase
* 1-1-1-1 TRIGGER BANK (Pad parameters)
|
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(OFF,ON)
0 - 2
+———————————————————————————————————————————————————————————————————————+
00 0C | 0000 00aa | Pedal Data Thin
| Offset
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|
|
(OFF,1,2)
| address
Description
|—————————————+—————————————————————————————————————————————————————————|
|—————————————+—————————————————————————————————————————————————————————|
| Total size | 00 00 00 0D
+———————————————————————————————————————————————————————————————————————+
|
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00 | 0000 aaaa | Trigger Type
|
|
0 - 15
(PD5,PD7,PD9,10A,10B,12A,12B,P 1,P 2, |
KD7,K 1,K 2,KIK,SNR,TOM,FLR)
|
|
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|
|—————————————+———————————+—————————————————————————————————————————————|
|
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01 | 0000 0aaa | Head Tension Adjustment
|
|
0 - 1
|
* 1-1-5 PROGRAM CHANGE MAP
|
|
(Loose,Normal,Tight) |
(2/SNARE only) |
+———————————————————————————————————————————————————————————————————————+
| Offset
| address
|
|
|
|
|—————————————+———————————+—————————————————————————————————————————————|
Description
|
|
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02 | 000a aaaa | Rim Sensitivity
|
|
0 - 15
(OFF, 1 - 15)
|
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|—————————————+—————————————————————————————————————————————————————————|
|
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00 00 | 0aaa aaaa | Program Change (DRUM KIT 1) 0 - 127
|
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|
(2/SNARE only) |
|
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|
(1 - 128)
|—————————————+———————————+—————————————————————————————————————————————|
:
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03 | 0000 aaaa | STICK | Sensitivity
0 - 15
(1 - 16)
0 - 15
0 - 7
|
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00 31 | 0aaa aaaa | Program Change (DRUM KIT 50) 0 - 127
|
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|
|
(1 - 128)
04 | 0000 aaaa | STICK | Threshold
05 | 0000 0aaa | STICK | Sens Curve
|—————————————+———————————+—————————————————————————————————————————————|
| Total size | 00 00 00 32
+———————————————————————————————————————————————————————————————————————+
|
|
|
|
|
| (Linear,EXP1,EXP2,LOG1,LOG2,Spline, |
| Loud1,Loud2)
|
|—————————————+———————————+———————+—————————————————————————————————————|
|
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|
|
06 | 00aa aaaa | STICK | Scan Time
0 - 40
|
|
|
|
(0.0ms - 4.0ms, 0.1ms step) |
07 | 0000 aaaa | STICK | Retrigger Cancel
0 - 15
(1 - 16)
|
|
|
|
|
1 5 9
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MIDI implementation
|
00 00 09 | 0000 0000 | dummy (ingnored)
|
* 1-1-6 CONTROL
|—————————————+———————————+—————————————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+
|
|
00 00 0A | 0aaa aaaa | GROUP VOLUME (DRUMS)
00 00 0B | 0aaa aaaa | GROUP VOLUME (PERC)
0 - 127
0 - 127
|
|
| Offset
| address
|
|
|
|
Description
|—————————————+———————————+—————————————————————————————————————————————|
|—————————————+—————————————————————————————————————————————————————————|
|
|
|
00 00 0C | 0aaa aaaa | AMBIENCE Group Send Level (DRUMS) 0 - 127
00 00 0D | 0aaa aaaa | AMBIENCE Group Send Level (PERC) 0 - 127
00 00 0E | 0aaa aaaa | AMBIENCE Group Send Level (PART) 0 - 127
|
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|
00 00 | 0000 00aa | Foot SW Mode
00 01 | 0000 0aaa | Pad SW Mode
00 02 | 0000 aaaa | Display Contrast
0 - 2
(*1)
(*2)
|
|
|
|
|
0 - 4
0 - 15
(1 - 16)
0 - 1
|—————————————+———————————+—————————————————————————————————————————————|
|
|
|
|
|
00 00 0F | 0aaa aaaa | EFFECT Group Send Level (DRUMS)
00 00 10 | 0aaa aaaa | EFFECT Group Send Level (PERC)
00 00 11 | 0aaa aaaa | EFFECT Group Send Level (PART)
0 - 127
0 - 127
0 - 127
|
|
|
00 03 | 0000 000a | Mix In Output
|
|
(Master,Phones Only) |
00 04 | 0000 000a | Preview Dynamics
0 - 1
(OFF,ON)
1 - 127
|
|
|
|—————————————+———————————+—————————————————————————————————————————————|
|
|
|
|
|
|
00 00 12 | 0aaa aaaa | AMBIENCE Output Level (MASTER) 0 - 127
00 00 13 | 0aaa aaaa | AMBIENCE Output Level (DIR1) 0 - 127
00 00 14 | 0aaa aaaa | AMBIENCE Output Level (DIR2) 0 - 127
00 00 15 | 0aaa aaaa | AMBIENCE Output Level (DIR3) 0 - 127
|
|
|
|
00 05 | 0aaa aaaa | Preview Velocity
|—————————————+—————————————————————————————————————————————————————————|
| Total size | 00 00 00 06
+———————————————————————————————————————————————————————————————————————+
|
|—————————————+———————————+—————————————————————————————————————————————|
00 00 16 | 0aaa aaaa | EFFECT Output Level 0 - 127
|
|
|—————————————+———————————+—————————————————————————————————————————————|
(*1) Foot SW Mode
|
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00 00 17 | 0000 000a | AMBIENCE SW
0 - 1
|
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|
[ SW1 ]
[ SW2 ]
|
|
(OFF,ON)
0 - 1
00 00 18 | 0000 000a | EFFECT SW
0 KIT SELECT
KIT# DEC
PTN# DEC
PTN# INC
KIT# INC
PTN# INC
STOP/ PLAY
|
|
(OFF,ON)
0 - 1
1 PATTERN SEL
2 PATTERN PLAY
00 00 19 | 0000 000a | COMP SW
|
|
(OFF,ON)
0 - 1
00 00 1A | 0000 000a | EQ SW
|
|
(OFF,ON)
|—————————————+———————————+—————————————————————————————————————————————|
(*2) Pad SW Mode
|
|
|
|
|
|
|
|
|
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|
00 00 1B | 0000 aaaa | AMBIENCE Type
0 - 9
|
[ AUX1 ]
OFF
[ AUX2 ]
OFF
|
|
|
|
|
|
|
|
(Beach, Living Room, Bath Room, |
Studio, Garage, Locker Room,
Theater, Cave, Gymnasium,
Dome Stadium)
|
|
|
|
0 OFF
1 KIT SELECT
2 PATTERN SEL
3 KIT SELECT(2)
4 PATTERN SEL(2)
OFF
KIT# INC
PTN# INC
KIT# INC
PTN# INC
00 00 1C | 0000 0aaa | AMBIENCE Room Size
0 - 4
OFF
|
|
(Tiny, Small, Medium, Large, Huge) |
KIT# DEC
PTN# DEC
00 00 1D | 0000 00aa | AMBIENCE Wall Type 0 - 2
|
|
|
(Wood, Plaster, Glass) |
00 00 1E | 0000 000a | AMBIENCE Mic Position
0 - 1
(Low, High)
|
|
|
|
|—————————————+———————————+—————————————————————————————————————————————|
* 1-1-7 MASTER EQ
|
|
|
|
|
00 00 1F | 000a aaaa | EFFECT Type
00 00 20 | 0aaa aaaa | EFFECT Param 1
00 00 21 | 0aaa aaaa | EFFECT Param 2
00 00 22 | 0aaa aaaa | EFFECT Param 3
00 00 23 | 0aaa aaaa | EFFECT Param 4
0 - 29
|
|
|
|
|
+———————————————————————————————————————————————————————————————————————+
0 - 127
0 - 127
0 - 127
0 - 127
| Offset
| address
|
|
|
|
Description
|—————————————+—————————————————————————————————————————————————————————|
|
|
|
|
00 00 | 0000 aaaa | Low Frequency
0 - 14
(20Hz - 500Hz) |
49 - 79
(-15db - +15db) |
|
|—————————————+———————————+—————————————————————————————————————————————|
|
|
|
|
00 00 24 | 0000 000a | Stick Type
0 - 1
|
00 01 | 0aaa aaaa | Low Gain
|
|
|
(Sticks, Brushes) |
|
|
|—————————————+———————————+—————————————————————————————————————————————|
|—————————————+———————————+—————————————————————————————————————————————|
| Total size | 00 00 00 25
|
|
|
|
|
|
|
00 02 | 000a aaaa | Mid Frequency
7 - 23
(100Hz - 4kHz) |
49 - 79
(-15db - +15db) |
0 - 20
(0.5,1.0 - 20.0, 1.0step) |
|
+———————————————————————————————————————————————————————————————————————+
|
|
00 03 | 0aaa aaaa | Mid Gain
|
|
|
00 04 | 000a aaaa | Mid Q
|
* 1-2-2 DRUM KIT (Pad parameters)
|
|
+———————————————————————————————————————————————————————————————————————+
|—————————————+———————————+—————————————————————————————————————————————|
| Offset
| address
|
|
|
|
|
|
|
|
00 05 | 000a aaaa | High Frequency
14 - 30
(500Hz - 20kHz) |
49 - 79
(-15db - +15db) |
|
Description
|
|
|—————————————+—————————————————————————————————————————————————————————|
00 06 | 0aaa aaaa | High Gain
|
|
00 | 0000 aaaa | HEAD | Instrument
0 - 599
(1 - 600)
|
|
|
|
|
|
|#
|#
|#
01 | 0000 bbbb |
02 | 0000 cccc |
03 | 0000 dddd |
|
|
|
|—————————————+———————————+—————————————————————————————————————————————|
|
|
00 07 | 0000 000a | SW
0 - 1
(OFF,ON)
|
|
|
|
|—————————————+———————————+——————+——————————————————————————————————————|
|—————————————+—————————————————————————————————————————————————————————|
|
04 | 0000 aaaa | HEAD | Pitch (Head Tuning) -480 - +480
|
| Total size | 00 00 00 08
|
|#
|#
|#
05 | 0000 bbbb |
06 | 0000 cccc |
07 | 0000 dddd |
|
|
|
(-4800 - 4800cent, 10cent step) |
+———————————————————————————————————————————————————————————————————————+
|
|
|—————————————+———————————+——————+——————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
08 | 0aaa aaaa | HEAD | Decay
33 - 95
|
|
|
|
|
|
|
|
|
* 1-1-8 MASTER TUNE
|
|
|
(-31 - +31)
0 - 127
+———————————————————————————————————————————————————————————————————————+
09 | 0aaa aaaa | HEAD | Level
| Offset
| address
|
|
|
|
0A | 0aaa aaaa | HEAD | Note number
0 - 127
Description
0B | 0aaa aaaa | HEAD | Ambience Send Level 0 - 127
|—————————————+—————————————————————————————————————————————————————————|
0C | 0aaa aaaa | HEAD | Effect Send Level
0 - 127
|
00 00 | 0000 aaaa | Master Tune
01 | 0000 bbbb |
0 - 509
|
0D | 0aaa aaaa | HEAD | Play Pattern number 0 - 100
|#
|#
|#
(415.3 - 466.2Hz) |
|
|
|
(OFF,1 - 100)
1 - 80
02 | 0000 cccc |
|
|
0E | 0aaa aaaa | HEAD | MIDI Gate Time
03 | 0000 dddd |
|
|
|
(0.1s - 8.0s, 0.1s step) |
|—————————————+—————————————————————————————————————————————————————————|
|—————————————+———————————+——————+——————————————————————————————————————|
| Total size | 00 00 00 04
|
|
0F | 0000 aaaa | RIM | Instrument
0 - 599
(1 - 600)
|
|
|
|
+———————————————————————————————————————————————————————————————————————+
|#
|#
|#
10 | 0000 bbbb |
11 | 0000 cccc |
12 | 0000 dddd |
|
|
|
* 1-2 DRUM KIT
|—————————————+———————————+——————+——————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+
|
13 | 0000 aaaa | RIM | Pitch (Head Tuning) -480 - 480
|
| Offset
| address
|
|
|
|
|#
|#
|#
14 | 0000 bbbb |
15 | 0000 cccc |
16 | 0000 dddd |
|
|
|
(-4800 - +4800cent, 10cent step) |
Description
|
|
|—————————————+—————————————————————————————————————————————————————————|
|
|
|
|
|
|
|
|
|
|
|
|
|
00 00 | Common parameters
*1-2-1|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
*1-2-2|
|—————————————+———————————+——————+——————————————————————————————————————|
01 00 | Pad parameters (1/KICK)
02 00 | Pad parameters (2/SNARE)
03 00 | Pad parameters (3/TOM1)
04 00 | Pad parameters (4/TOM2)
05 00 | Pad parameters (5/TOM3)
06 00 | Pad parameters (6/TOM4)
07 00 | Pad parameters (7/HIHAT)
08 00 | Pad parameters (8/CRASH1)
09 00 | Pad parameters (9/CRASH2)
0A 00 | Pad parameters (10/RIDE)
0B 00 | Pad parameters (11/AUX1)
0C 00 | Pad parameters (12/AUX2)
|
|
|
|
|
|
|
|
|
|
17 | 0aaa aaaa | RIM | Decay
33 - 95
|
|
|
|
|
|
|
|
|
|
|
|
(-31 - +31)
0 - 127
18 | 0aaa aaaa | RIM | Level
19 | 0aaa aaaa | RIM | Note number
0 - 127
1A | 0aaa aaaa | RIM | Ambience Send Level 0 - 127
1B | 0aaa aaaa | RIM | Effect Send Level
0 - 127
1C | 0aaa aaaa | RIM | Play Pattern number 0 - 100
|
|
|
(OFF,1 - 100)
1 - 80
1D | 0aaa aaaa | RIM | MIDI Gate Time
|
|
|
(0.1s - 8.0s, 0.1s step) |
|—————————————+———————————+—————————————————————————————————————————————|
|
|
|
|
1E | 000a aaaa | Pan
0 - 30
(L15 - R15)
0 - 3
|
|
|
+———————————————————————————————————————————————————————————————————————+
|
|
1F | 0000 00aa | Output Assign
|
|
(MASTER,DIR1,DIR2,DIR3) |
* 1-2-1 DRUM KIT (Common parameters)
|—————————————+———————————+—————————————————————————————————————————————|
+-----------------------------------------------------------------------+
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20 | 0000 000a | Compressor SW
0 - 1
(OFF,ON)
0 - 100
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| Offset
| address
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Description
21 | 0aaa aaaa | Compressor Threshold
|-------------+---------------------------------------------------------|
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(-inf, -99db - 0db) |
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00 00 00 | 0aaa aaaa | Drum Kit Name 1
00 00 01 | 0aaa aaaa | Drum Kit Name 2
32 - 127
32 - 127
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22 | 000a aaaa | Compressor Ratio
0 - 18
(1:1 - 9:1 (1step),
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|#
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:
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10:1 - 90:1 (10step), |
|#
00 00 07 | 0aaa aaaa | Drum Kit Name 8
32 - 127
inf:1)
0 - 31
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|-------------+---------------------------------------------------------|
23 | 000a aaaa | Compressor Attack Time
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00 00 08 | 0000 00aa | PERCUSSION GROUP Assign
0 - 3
(1 - 4 )
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(0.05 - 0.09 (0.01step), |
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0.1 - 0.9 (0.1step),
1.0 - 9.0 (1.0step),
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+-----------------------------------------------------------------------+
1 6 0
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MIDI implementation
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10.0 - 50.0 (5.0step)) |
0 - 23
Instrument Group: ELEC KICK, ELEC SNARE, ELEC TOM1 - ELEC TOM4
24 | 000a aaaa | Compressor Release Time
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+———————————————————————————————————————————————————————————————————————+
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(0.05,0.07,0.1,0.5,1,5,10,17, |
25,50,75,100,200,300,400,500, |
| Offset
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| address
Description
600,700,800,900,1000,1200,
1500,2000 ms)
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|—————————————+—————————————————————————————————————————————————————————|
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31 | 0aaa aaaa | Attack
32 | 0aaa aaaa | Decay
33 | 0aaa aaaa | Noise
34 | 0aaa aaaa | Tone
35 | 0aaa aaaa | Bend
36 | 0aaa aaaa | Balance
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
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25 | 0aaa aaaa | Compressor Output Level
0 - 72
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(-60 - +12db) |
|—————————————+———————————+—————————————————————————————————————————————|
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26 | 0000 000a | EQ SW
0 - 1
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(OFF,ON)
0 - 2
27 | 0000 00aa | EQ HIGH Type
+———————————————————————————————————————————————————————————————————————+
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(Peaking, L.Shelving, H.Shelving) |
28 | 000a aaaa | EQ HIGH Frequency
0 - 30
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(20,25,31.5,40,50,63,80,100,125, |
160,200,250,315,400,500,630,800, |
1k,1.25k,1.6k,2k,2.5k,3.15k,4k, |
Instrument Group: TR808 KICK
+———————————————————————————————————————————————————————————————————————+
| Offset
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5k,6.3k,8k,10k,12.5k,16k,20k)
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| address
Description
29 | 0aaa aaaa | EQ HIGH Gain
49 - 79
|—————————————+—————————————————————————————————————————————————————————|
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(-15 - +15db)
0 - 20
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31 | 0000 0000 | dummy (ignored)
32 | 0aaa aaaa | Decay
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2A | 000a aaaa | EQ HIGH Q
0 - 127
0 - 127
0 - 127
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(0.5,1.0 - 20.0, 0.1step) |
33 | 0aaa aaaa | Tune
34 | 0aaa aaaa | Tone
2B | 0000 00aa | EQ LOW Type
(Peaking, L.Shelving, H.Shelving) |
2C | 000a aaaa | EQ LOW Frequency 0 - 30
0 - 2
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35 | 0000 0000 | dummy (ignored)
36 | 0000 0000 | dummy (ignored)
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(20,25,31.5,40,50,63,80,100,125, |
160,200,250,315,400,500,630,800, |
1k,1.25k,1.6k,2k,2.5k,3.15k,4k, |
+———————————————————————————————————————————————————————————————————————+
5k,6.3k,8k,10k,12.5k,16k,20k)
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Instrument Group: TR808 SNARE
2D | 0aaa aaaa | EQ LOW Gain
49 - 79
+———————————————————————————————————————————————————————————————————————+
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(-15 - +15db)
0 - 20
| Offset
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2E | 000a aaaa | EQ LOW Q
| address
Description
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(0.5,1.0 - 20.0, 0.1step) |
|—————————————+—————————————————————————————————————————————————————————|
|—————————————+———————————+—————————————————————————————————————————————|
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31 | 0000 0000 | dummy (ignored)
32 | 0000 0000 | dummy (ignored)
33 | 0aaa aaaa | Tune
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2F | 0000 00aa | Mic Type
0 - 2
(*3)
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(1/KICK:Condenser,Dynamic1,Dynamic2) |
0 - 127
0 - 127
0 - 127
(2/SNARE:Condenser,Dynamic,Lo-Fi)
0 - 2 (*4)
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34 | 0aaa aaaa | Tone
30 | 0000 00aa | Mic Position
35 | 0aaa aaaa | Snappy
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(Outside,Standard,Inside) |
36 | 0000 0000 | dummy (ignored)
|—————————————+———————————+—————————————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+
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31 | 0aaa aaaa |
32 | 0aaa aaaa |
33 | 0aaa aaaa |
34 | 0aaa aaaa |
35 | 0aaa aaaa |
36 | 0aaa aaaa |
(*5)
(*5)
(*5)
(*5)
(*5)
(*5)
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Instrument Group: TR808 TOM
+———————————————————————————————————————————————————————————————————————+
| Offset
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| address
Description
|—————————————+—————————————————————————————————————————————————————————|
|—————————————+—————————————————————————————————————————————————————————|
| Total size | 00 00 00 37
+———————————————————————————————————————————————————————————————————————+
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31 | 0000 0000 | dummy (ignored)
32 | 0aaa aaaa | Decay
33 | 0aaa aaaa | Tune
34 | 0000 0000 | dummy (ignored)
35 | 0000 0000 | dummy (ignored)
36 | 0000 0000 | dummy (ignored)
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0 - 127
0 - 127
(*3) 1/ KICK, 2/ SNARE only
(*4) 1/ KICK, 2/ SNARE, 3/ TOM1, 4/ TOM2, 5/ TOM3, 6/ TOM4 only
(*5) 1/ KICK, 2/ SNARE, 3/ TOM1, 4/ TOM2, 5/ TOM3, 6/ TOM4 only
+———————————————————————————————————————————————————————————————————————+
Depending on the instrument group of the assigned instruments, settings are as follows.
Instrument Group: TR909 KICK
+———————————————————————————————————————————————————————————————————————+
| Offset
| address
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Description
Instrument Group: V-KICK
|—————————————+—————————————————————————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+
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31 | 0aaa aaaa | Attack
0 - 127
0 - 127
0 - 127
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| Offset
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32 | 0aaa aaaa | Decay
| address
Description
33 | 0aaa aaaa | Tune
|—————————————+—————————————————————————————————————————————————————————|
34 | 0000 0000 | dummy (ignored)
35 | 0000 0000 | dummy (ignored)
36 | 0000 0000 | dummy (ignored)
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31 | 0000 00aa | Head Type
0 - 2
(Clear,Coated,PinStripe*) |
| PinStripe is a registered Trademark of Remo Inc. U.S.A. |
32 | 0000 000a | Shell Depth 0 - 1
(Normal, Deep) |
0 - 4
(OFF,Tape1,Tape2,Blanket,Weight) |
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+———————————————————————————————————————————————————————————————————————+
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33 | 0000 0aaa | Muffling
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Instrument Group: TR909 SNARE
34 | 0000 0000 | dummy (ignored)
35 | 0000 0000 | dummy (ignored)
36 | 0000 0000 | dummy (ignored)
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+———————————————————————————————————————————————————————————————————————+
| Offset
| address
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Description
+———————————————————————————————————————————————————————————————————————+
|—————————————+—————————————————————————————————————————————————————————|
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31 | 0000 0000 | dummy (ignored)
32 | 0000 0000 | dummy (ignored)
33 | 0aaa aaaa | Tune
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0 - 127
0 - 127
0 - 127
Instrument Group: V-SNARE
34 | 0aaa aaaa | Tone
+———————————————————————————————————————————————————————————————————————+
35 | 0aaa aaaa | Snappy
| Offset
| address
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36 | 0000 0000 | dummy (ignored)
Description
+———————————————————————————————————————————————————————————————————————+
|—————————————+—————————————————————————————————————————————————————————|
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31 | 0000 00aa | Head Type
0 - 2
(Clear,Coated,PinStripe*) |
| PinStripe is a registered Trademark of Remo Inc. U.S.A. |
32 | 000a aaaa | Shell Depth 0 - 38
(1.0” - 20.0”, 0.5step) |
0 - 4
(OFF,Tape1,Tape2,Daughnuts1,Daughnuts2) |
34 | 0000 00aa | Shell Material 0 - 2
(Wood,Steel,Brass) |
0 - 3
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Instrument Group: TR909 TOM
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+———————————————————————————————————————————————————————————————————————+
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| Offset
| address
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33 | 0000 0aaa | Muffling
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Description
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|—————————————+—————————————————————————————————————————————————————————|
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31 | 0000 0000 | dummy (ignored)
32 | 0aaa aaaa | Decay
33 | 0aaa aaaa | Tune
34 | 0000 0000 | dummy (ignored)
35 | 0000 0000 | dummy (ignored)
36 | 0000 0000 | dummy (ignored)
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0 - 127
0 - 127
35 | 0000 00aa | Strainer Adjustment
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(OFF,Loose,Medium,Tight) |
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36 | 0000 0000 | dummy (ignored)
+———————————————————————————————————————————————————————————————————————+
+———————————————————————————————————————————————————————————————————————+
Instrument Group: V-TOM
+———————————————————————————————————————————————————————————————————————+
* 1-3 PERCUSSION GROUP
| Offset
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+———————————————————————————————————————————————————————————————————————+
| address
Description
| Offset
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|—————————————+—————————————————————————————————————————————————————————|
| address
Description
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31 | 0000 00aa | Head Type
0 - 2
(Clear,Coated,PinStripe*) |
| PinStripe is a registered Trademark of Remo Inc. U.S.A. |
32 | 0000 000a | Shell Depth 0 - 1
(Normal, Deep) |
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|—————————————+—————————————————————————————————————————————————————————|
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16 00 | Note #22 (Note parameters)
:
*1-3-1|
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*1-3-1|
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5D 00 | Note #93 (Note parameters)
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+———————————————————————————————————————————————————————————————————————+
33 | 0000 0aaa | Muffling
0 - 4
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(OFF,Tape1,Tape2,Felt1,Felt2) |
34 | 0000 0000 | dummy (ignored)
35 | 0000 0000 | dummy (ignored)
36 | 0000 0000 | dummy (ignored)
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+———————————————————————————————————————————————————————————————————————+
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MIDI implementation
* 1-3-1 PERCUSSION GROUP (Note parameters)
Parameter Address Block Map
+———————————————————————————————————————————————————————————————————————+
| Offset
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| address
Description
An outlined address map of the Exclusive Communication is as follows;
|—————————————+—————————————————————————————————————————————————————————|
|
00 | 0000 aaaa | Instrument
01 | 0000 bbbb |
02 | 0000 cccc |
03 | 0000 dddd |
0 - 599
(1 - 600)
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Address(H)
Block
Sub block
Reference
|#
|#
|#
=========== ==============
==================================
==========
00 00 00 00 +————————————+....+——————————————————+....+————————+....+————————+
| SETUP
+————————————+. +——————————————————+. +————————+....+————————+
: . | | . |
: . +——————————————————+ . +————————+
|
|TRIGGER BANK 1
|
| Pad 1 |
|*1-1-1-1|
|—————————————+———————————+—————————————————————————————————————————————|
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04 | 0000 aaaa | Pitch
05 | 0000 bbbb |
06 | 0000 cccc |
07 | 0000 dddd |
-480 - +480
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|#
|#
|#
(-4800 - +4800cent, 10cent step) |
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: . |TRIGGER BANK 4
| . | Pad 12 |
: . +——————————————————+ .+————————+
|—————————————+———————————+—————————————————————————————————————————————|
: . +——————————————————+..................+————————+
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08 | 0aaa aaaa | Volume
09 | 000a aaaa | Pan
0 - 127
0 - 30
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: . |KIT CHAIN 1 (Name)|
| *1-1-2 |
: . +——————————————————+..................+————————+
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(L15 - R15)
33 - 95
(-31 - +31)
0 - 127
0 - 127
0 - 1
: . |
:
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0A | 0aaa aaaa | Decay
: . +——————————————————+
|
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: . |KIT CHAIN16 (Name)|
0B | 0aaa aaaa | Ambience
0C | 0aaa aaaa | Fx Send
0D | 0000 00aa | Output
: . +——————————————————+
: . +——————————————————+....+————————+....+————————+
: . |KIT CHAIN 1 (Step)|
| Step 1 |
| *1-1-3 |
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(MASTER,PHONES ONLY) |
: . +——————————————————+. +————————+....+————————+
: . | | . |
|—————————————+—————————————————————————————————————————————————————————|
:
:
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| Total size | 00 00 00 0E
+———————————————————————————————————————————————————————————————————————+
|
: . +——————————————————+ . +————————+
: . |KIT CHAIN16 (Step)| . | Step 32|
: . +——————————————————+ .+————————+
: . +——————————————————+..................+————————+
* 1-4 PATTERN
: . |MIDI
|
| *1-1-4 |
+-----------------------------------------------------------------------+
: . +——————————————————+..................+————————+
: . +——————————————————+..................+————————+
| Offset
| address
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| Description
: . |PROGRAM CHANGE MAP|
| *1-1-5 |
|-------------+---------------------------------------------------------|
: . +——————————————————+..................+————————+
: . +——————————————————+..................+————————+
|
00 00 00 | All User Pattern Request
|
|-------------+---------------------------------------------------------|
: . |CONTROL
|
| *1-1-6 |
|
7F 7F 7F | User Pattern Data End
|
: . +——————————————————+..................+————————+
: . +——————————————————+..................+————————+
+-----------------------------------------------------------------------+
: . |MASTER EQ
|
| *1-1-7 |
mm = User Pattern Number: 01H - 32H (Pattern No.51 - Pattern No.100)
: . +——————————————————+..................+————————+
: . +——————————————————+..................+————————+
: . |MASTER TUNE
|
| *1-1-8 |
*
*
Data size should be 00 00 00 00.
:
:
.+——————————————————+..................+————————+
Data of demo song and Preset patterns cannot be transmitted.
01 00 00 00 +————————————+....+——————————————————+..................+————————+
| DRUM KIT
|
+————————————+.
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| DRUM KIT 1
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| *1-2
|
+——————————————————+..................+————————+
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:
:
:
:
:
:
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: . +——————————————————+
: . | DRUM KIT 50
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:
:
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.+——————————————————+
04 00 00 00 +————————————+....+——————————————————+....+————————+....+————————+
| PERCUSSION | |PERCUSSION GROUP 1| |Note #22| | *1-3
GROUP +——————————————————+. +————————+....+————————+
+————————————+.
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| . |
:
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:
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: . +——————————————————+ . +————————+
: . |PERCUSSION GROUP 4| . |Note #93|
:
:
:
:
.+——————————————————+ .+————————+
10 00 00 00 +————————————+........................
| PATTERN
|
^
+————————————+
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40 00 00 00 +————————————+
| SETUP
+————————————+
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:
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41 00 00 00 +————————————+
| DRUM KIT
+————————————+
|
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Bulk area
|
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v
:
:
44 00 00 00 +————————————+
| PERCUSSION |
|
GROUP
|
+————————————+........................
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MIDI implementation
<Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F
Section 4. Supplementary material
BnH is the Control Change status, and n is the MIDI channel number. For Control
Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in
which two or more messages consecutive messages have the same status, MIDI has a pro-
vision called “running status” which allows the status byte of the second and following
messages to be omitted. Thus, the above messages have the following meaning.
Decimal and Hexadecimal table
In MIDI documentation, data values and addresses/ sizes of exclusive messages etc. are
expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers.
(B3
64 00
65 00
06 0C
26 00
64 7F
65 7F
MIDI ch.4, lower byte of RPN parameter number:
00H
(B3)
(B3)
(B3)
(B3)
(B3)
(MIDI ch.4) upper byte of RPN parameter number: 00H
+——————+——————++——————+——————++——————+——————++——————+——————+
| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.|
+——————+——————++——————+——————++——————+——————++——————+——————+
(MIDI ch.4) upper byte of parameter value:
(MIDI ch.4) lower byte of parameter value:
0CH
00H
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0 | 00H ||
1 | 01H ||
2 | 02H ||
3 | 03H ||
4 | 04H ||
5 | 05H ||
6 | 06H ||
7 | 07H ||
8 | 08H ||
9 | 09H ||
10 | 0AH ||
11 | 0BH ||
12 | 0CH ||
13 | 0DH ||
14 | 0EH ||
15 | 0FH ||
16 | 10H ||
17 | 11H ||
18 | 12H ||
19 | 13H ||
20 | 14H ||
21 | 15H ||
22 | 16H ||
23 | 17H ||
24 | 18H ||
25 | 19H ||
26 | 1AH ||
27 | 1BH ||
28 | 1CH ||
29 | 1DH ||
30 | 1EH ||
31 | 1FH ||
32 | 20H ||
33 | 21H ||
34 | 22H ||
35 | 23H ||
36 | 24H ||
37 | 25H ||
38 | 26H ||
39 | 27H ||
40 | 28H ||
41 | 29H ||
42 | 2AH ||
43 | 2BH ||
44 | 2CH ||
45 | 2DH ||
46 | 2EH ||
47 | 2FH ||
48 | 30H ||
49 | 31H ||
50 | 32H ||
51 | 33H ||
52 | 34H ||
53 | 35H ||
54 | 36H ||
55 | 37H ||
56 | 38H ||
57 | 39H ||
58 | 3AH ||
59 | 3BH ||
60 | 3CH ||
61 | 3DH ||
62 | 3EH ||
63 | 3FH ||
64 | 40H ||
65 | 41H ||
66 | 42H ||
67 | 43H ||
96 | 60H |
97 | 61H |
98 | 62H |
99 | 63H |
(MIDI ch.4) lower byte of RPN parameter number: 7FH
(MIDI ch.4) upper byte of RPN parameter number: 7FH
68 | 44H || 100 | 64H |
69 | 45H || 101 | 65H |
70 | 46H || 102 | 66H |
71 | 47H || 103 | 67H |
72 | 48H || 104 | 68H |
73 | 49H || 105 | 69H |
74 | 4AH || 106 | 6AH |
75 | 4BH || 107 | 6BH |
76 | 4CH || 108 | 6CH |
77 | 4DH || 109 | 6DH |
78 | 4EH || 110 | 6EH |
79 | 4FH || 111 | 6FH |
80 | 50H || 112 | 70H |
81 | 51H || 113 | 71H |
82 | 52H || 114 | 72H |
83 | 53H || 115 | 73H |
84 | 54H || 116 | 74H |
85 | 55H || 117 | 75H |
86 | 56H || 118 | 76H |
87 | 57H || 119 | 77H |
88 | 58H || 120 | 78H |
89 | 59H || 121 | 79H |
90 | 5AH || 122 | 7AH |
91 | 5BH || 123 | 7BH |
92 | 5CH || 124 | 7CH |
93 | 5DH || 125 | 7DH |
94 | 5EH || 126 | 7EH |
95 | 5FH || 127 | 7FH |
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indi-
cates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +- 12
semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity is ignored,
but the LSB should be transmitted anyway (with a value of 0) so that operation will be cor-
rect on any device.)
Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
transmitted on that same channel will be valid, so after the desired value has been trans-
mitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. This is
the reason for the (B3) 64 7F (B3) 65 7F at the end.
It is not desirable for performance data (such as Standard MIDI File data) to contain many
events with running status as given in <Example 4>. This is because if playback is halted
during the song and then rewound or fast-forwarded, the sequencer may not be able to
transmit the correct status, and the sound source will then misinterpret the data. Take care
to give each event its own status.
+——————+——————++——————+——————++——————+——————++——————+——————+
*
*
Decimal values such as MIDI channel, bank select, and program change are listed as
one(1) greater than the values given in the above table.
It is also necessary that the RPN or NRPN parameter number setting and the value setting
be done in the proper order. On some sequencers, events occurring in the same (or consec-
utive) clock may be transmitted in an order different than the order in which they were
received. For this reason it is a good idea to slightly skew the time of each event (about 1
tick for TPQN=96, and about 5 ticks for TPQN=480).
A 7-bit byte can express data in the range of 128 steps. For data where greater precision
is required, we must use two or more bytes. For example, two hexadecimal numbers aa
bbH expressing two 7-bit bytes would indicate a value of aa x 128 + bb.
In the case of values which have a +- sign, 00H = -64, 40H = +- 0, and 7FH = +63, so that
the decimal expression would be 64 less than the value given in the above chart. In the
case of two types, 00 00H = -8192, 40 00H = +- 0, and 7F 7FH = +8191. For example if aa
bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128 + bb - 64 x
128.
*
*
TPQN : Ticks Per Quarter Note
Example of an Exclusive message and calculat-
ing a Checksum
<Example 1> What is the decimal expression of 5AH ?
From the preceding table, 5AH = 90
Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
determined by the address and data (or size) of the transmitted exclusive message.
<Example 2> What is the decimal expression of the value 12 34H given
as hexadecimal for each 7 bits?
From the preceding table, since 12H = 18 and 34H = 52
18 x 128 + 52 = 2356
How to calculate the checksum
(hexadecimal numbers are indicated by ‘H’)
The checksum is a value derived by adding the address, size and checksum itself and
inverting the lower 7 bits.
Here’s an example of how the checksum is calculated. We will assume that in the exclusive
message we are transmitting, the address is aa bb cc ddH and the data or size is ee ff gg
hhH.
Examples of actual MIDI message
<Example 1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
and velocity 95.
aa + bb + cc + dd + ee + ff + gg + hh = sum
sum / 128 = quotient ... remainder
128 - remainder = checksum
(However, the checksum will be 0 if the remainder is 0.)
<Example 2> C9 20
CnH is the Program Change status, and n is the MIDI channel number. Since 9H = 9 and
20H = 32, this is a Program Change message with MIDI CH = 10, program number 33 (33 -
SockHop).
<Example 1> Setting Shell depth of snare drum in drum kit 1 to 3.5”.
According to the “Parameter Address Map”, the Drumkit No.1 has an address of 01 00 00
00H, Trigger 2 has a offset address of 02 00H and Shell depth has a offset address of 32H.
Thus,
<Example 3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte
(00H=0) is the LSB and the 3rd byte (28H=40) is the MSB, but Pitch Bend Value is a signed
number in which 40 00H ( = 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is
28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072
01 00 00 00
02 00
+)
32
01 00 02 32
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MIDI implementation
and 3.5” is a value of 05,
F0
41
10
00 0A
(4)
12
01 00 02 32
address
05
??
F7
(1)
(2)
(3)
(5)
size
checksum
(6)
(1) Exclusive status
(4) Model ID (TD-10)
(2) ID number (Roland)
(5) Command ID (DT1)
(3) Device ID (17)
(6) EOX
Next we calculate the checksum.
01H + 00H + 02H + 32H + 05H = 1 + 0 + 2 + 50 + 5= 58 (sum)
58 (sum)/ 128 = 0 (quotient) ... 58 (remainder)
checksum = 128 - 58 (remainder) = 70 = 46H
This means that F0 41 10 00 0A 12 01 00 02 32 05 46 F7 is the message we transmit.
<Example 2> Requesting transmission of compressor swich of snare
drum in drum kit 1.
According to the “Parameter Address Map”,the Drumkit No.1 has an address of 01 00 00
00H, Trigger 2 has a offset address of 02 00H and Compressor switch has a offset address
of 20H. Thus,
01 00 00 00
02 00
+)
20
01 00 02 20
Since Size = 00 00 00 01H,
F0
41
10
00 0A
(4)
11
01 00 02 20
address
00 00 00 01
size
??
F7
(1)
(2)
(3)
(5)
checksum
(6)
(1) Exclusive status
(4) Model ID (TD-10)
(2) ID number (Roland)
(5) Command ID (RQ1)
(3) Device ID (17)
(6) EOX
Next we calculate the checksum.
01H + 00H + 02H + 20H + 00H + 00H +00H + 01H = 1 + 0 + 2 + 32 + 0 + 0 + 0 + 1 = 36 (sum)
36 (sum) / 128 = 0 (quotient) ... 15 (remainder)
checksum = 128 - 36 (remainder) = = 92 = 5CH
This means that F0 41 10 00 0A 11 01 00 02 20 00 00 00 01 5C F7 is the message we transmit.
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MIDI im p le m e n ta tio n Ch a rt
PERCUSSION SOUND MODULE (TRIGGER SECTION)
Date : May. 1, 1997
Version : 1.00
Model TD-10
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
1–16, OFF
1–16, OFF
X
X
Memorized (Non-Volatile)
Default
Messages
Altered
MODE 3
X
X
X
Mode
**************
Note
0–127
X
Number :
True Voice
**************
Note ON
Note OFF
O 9nH, v = 1–127
O 8nH, v = 64
X
X
Velocity
After
Touch
Key's
Ch's
O
X
X
X
Pitch Bend
X
X
1
4
X
O
X
X
X
O
O
X
X
*1
*1
X
X
X
X
X
X
X
X
X
Modulation
Foot control
Data entry
6
7
Volume
Panpot
10
16
17
64
*1
*1
General purpose controller 1
General purpose controller 2
Hold 1
Control
Change
100, 101
RPN LSB, MSB
Program
Change
X
X
**************
: True #
Only reception / transmission
of Bulk Data.
System Exclusive
O
O
: Song Pos
: Song Sel
: Tune
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
X
: All sound off
: Reset all controllers
Aux
Message
: Local ON/OFF
: All Notes OFF
: Active Sense
: System Reset
* 1 O X is selectable.
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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MIDI implementation chart
PERCUSSION SOUND MODULE (SOUND MODULE SECTION)
Date : May. 1, 1997
Version : 1.00
Model TD-10
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
X
X
1–16, OFF
1–16, OFF
Memorized (Non-Volatile)
Default
Messages
Altered
X
X
MODE 3
X
Mode
**************
Note
Number :
X
0–127
0–127
True Voice
**************
Note ON
Note OFF
X
X
O 9nH, v = 1–127
O 8nH, v = 64
Velocity
After
Touch
Key's
Ch's
X
X
O
X
Pitch Bend
X
O
*3
1
4
X
X
X
X
X
X
X
X
X
X
*1, 2 Modulation
*1, 2 Foot control
Data entry
O
O
O
O
O
O
O
O
6
7
Volume
10
16
17
64
*3
Panpot
*1, 2
*1, 2
*3
General purpose controller 1
General purpose controller 2
Hold 1
Control
Change
100, 101
*3
RPN LSB, MSB
Program Number
Backing Part : 1-54
Drum Part : 1-128
Program
Change
O
O
O
**************
: True #
System Exclusive
O
: Song Pos
: Song Sel
: Tune
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
X
X
X
X
(120 , 126, 127)
(123 -127)
X
X
X
X
X
X
O
O
X
O
O
X
: All sound off
: Reset all controllers
Aux
Message
: Local ON/OFF
: All Notes OFF
: Active Sense
: System Reset
* 1 O X is selectable.
* 2 Drum part only.
* 3 Backing part only.
Notes
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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MIDI implementation chart
PERCUSSION SOUND MODULE (SEQUENCER SECTION)
Model TD-10
Date : May. 1, 1997
Version : 1.00
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Channel Changed
Default
1–16, OFF
1–16, OFF
1–16, OFF
1–16, OFF
Memorized (Non-Volatile)
Default
Messages
Altered
MODE 3
X
X
X
Mode
**************
Note
Number :
0-127
**************
0-127
0-127
True Voice
Note ON
Note OFF
O 9nH, v = 1–127
O 8nH, v = 64
O 9nH, v = 1–127
O 8nH, v = 64
Velocity
After
Touch
Key's
Ch's
X
X
X
X
Pitch Bend
O
*6
O
*6
1
4
X
*1
*1
X
O
X
X
X
O
O
O
X
*1, 5 Modulation
*1, 5 Foot control
Data entry
O
O
O
O
O
O
O
O
6
7
*2
*2
*1
*1
Volume
10
16
17
64
Panpot
*1, 5
*1, 5
*6
General purpose controller 1
General purpose controller 2
Hold 1
Control
Change
100, 101
*6
RPN LSB, MSB
Program Number
Backing Part : 1-54
Drum Part : 1-128
Program
Change
O
*2
X
**************
: True #
Only reception / transmission
of Bulk Data.
System Exclusive
O
O
(do not record)
: Song Pos
: Song Sel
: Tune
O
O
X
X
O
X
System
Common
*4
System
Real Time : Commands
: Clock
O
O
X
X
*1, *3
*1, *4
X
X
X
X
O
X
O
O
X
O
O
X
: All sound off
: Reset all controllers
Aux
Message
: Local ON/OFF
: All Notes OFF
: Active Sense
: System Reset
(123 -127)
* 1 O X is selectable.
* 2 Only when pattern is selected.
* 5 Drum part only.
* 6 Backing part only.
Notes
* 3 Receives when “Sync Mode” setting is “External,” “Auto,” or “MIDI➝DELAY.”
* 4 Receives when “Sync Mode” setting is “External,” “Auto,” or “Remote.”
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
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Sp e cifica tio n s
TD-10: Percussion Sound Module
➝ So u n d Ge n e ra to r
Variable Drum Modeling
➝ Te m p o
20–260
➝ Ma x im u m Po ly p h o n y
56 Voices
➝ Disp la y
64x160 dots backlit graphic LCD
8-segment, 3-character LED
➝ In stru m e n ts
Drum Instruments: 600
Backing Instruments: 54
➝ Slid e rs
6
Kick, Snare, Hi-Hat, Others, Backing, Click
➝ Dru m Kits
50
➝ Pre vie w Bu tto n
1 (touch sensitive)
➝ Dru m Kit Ch a in s
➝ Co n n e cto rs
16 chains (32 steps per chain)
Trigger Input jack (dual) x 12
Output jack x 8 (4 stereo pairs)
Phones jack
➝ In stru m e n t Pa ra m e te rs
Acoustic Drum: Shell m aterial, Shell d epth, H ead type,
Head tuning, Muffling, Strainer adjust-
ment
Monitor Mix In jack (Stereo)
Hi-Hat control jack
Footswitch jack (dual)
MIDI Connector (IN, OUT/ THRU)
Expansion Board Slot
Memory Card Slot
Electronic Drum: Attack, Tone pitch, Noise pitch, Decay,
Noise tone balance, Pitch bend
TR-808, TR-909: Attack, Tune, Tone, Snappy, Decay
Others:
Pitch, Decay
➝ O u tp u t Se p a ra tio n : 7 6 d B (m in .)
➝ Stu d io Pa ra m e te rs
Studio types: 10
Room size, Wall type, Ambience mic position
Mic type, Mic position
(MASTER L -> DIRECT L, MASTER R -> DIRECT R):45 dB (min.)
(DIRECT L -> Other DIRECT L, DIRECT R -> Other DIRECT R): 45 dB (min.)
➝ N o m in a l O u tp u t le ve l
+4 dBu (Audio Output)
➝ Mix e r Pa ra m e te rs
Volume, Pan, Output select
➝ O u tp u t Im p e d a n ce
330 ohms
➝ Co m p re sso r / Eq u a lize r
Compressor x 10
2-band parametric equalizer x 10
3-band master equalizer
➝ Po w e r Su p p ly
AC 117 V, 230 V, 240 V
➝ Po w e r Co n su m p tio n
18 W
➝ Effe ct Ty p e s
30
Reverb (14 types)
➝ Dim e n sio n s
305 (W) x 245 (D) x 90 (H) mm
12-1/ 16 (W) x 9-11/ 16 (D) x 3-9/ 16 (H) inches
Delay (4 types)
Flanger ➝ Delay (2 types)
Phaser ➝ Delay (2 types)
Chorus ➝ Delay (2 types)
Pitch shift delay (2 types)
3D-Delay (2 types)
➝ W e ig h t
2.3 kg / 5 lbs 2 oz
➝ Acce sso rie s
Owners manual, AC cord, Screws (M5 x 12) x 4
Flying 3D-Delay (2 types)
➝ N o te N u m b e r Ma p (Pe rcu ssio n Gro u p )
➝ O p tio n s
4
Note Number Range: 22–93
Wave & System Expansion Board (TDW-1)
Pad (PD-120, PD-100, PD-80R, PD-80, PD-9, PD-7, PD-6)
Cymbal (CY-15R, CY-14C, CY-12R/ C, CY-12H, CY-6)
Kick Trigger (KD-120, KD-80, KD-7)
Hi-Hat Control Pedal (FD-7)
➝ Trig g e r Pa ra m e te rs
Trigger typ e (Scan tim e, Retrigger Cancel, Mask tim e,
Crosstalk)
Sensitivity, Threshold, Curve
Drum Stand (MDS-10, MDS-8, MDS-7U, MDS-6)
Cymbal Mount (MDY-10U)
Pad Mount (MDH-10U)
Footswitch (BOSS: FS-5U)
Memory Card (M-512E)
➝ Se q e n ce r
Preset Patterns: 50, User Patterns: 50
Tracks: 4
Play Function: One shot, Loop, Tap
Resolution: 192 ticks per quarter note
Recording Method: Real-time
Trigger MIDI Converter (TMC-6)
➝ Me tro n o m e Pa ra m e te rs
0dBu = 0.775Vrms
Tim e Sign atu re, In terval, Volu m e, Ou tp u t select
(Master/ Phones only)
Instruments: 16 (Voice counting, Click, Cowbell, etc.)
* In the interest of product improvement, the specifications and/or
appearance of this unit are subject to change without prior
notice.
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Glo ssa ry
This section explains terms that appear in this owner’s manual.
Aco u stic Dru m
Co m p re sso r
This refers to conventional/ acoustic drum sounds in the TD-
10, different of course from the Electronic sounds also avail-
able.
This is an effect unit found in all studios, used in controlling
volume peaks to maintain a desired listening level. It’s also
used to change the tonal character and is an important tool
in final sound finishing work.
Am b ie n ce
Co n tro lle r
This is the actual environment WHERE the drums are being
played, with the possibility to change the size of the room,
the wall materials and the positions of the ambience mikes.
Controllers are devices which are used to input MIDI perfor-
mance data, such as keyboards, guitar controllers, and pad
controllers. (SPD-11/ PAD-80 etc.)
Am b ie n ce O u tp u t Le ve l
CO N TRO L RO O M
This refers to the total level of ambience for the entire drum
kit. It’s similar to the “return level” of effect units routed
back to a mixer.
This is where you’ll find the mixing console, compressors,
EQ’s and digital effects. It’s one of the three key elements
(instrument, studio, control room) which make up the TD-
10’s operating structure.
Am b ie n ce Se n d Le ve l
This refers to the individual send level of each instrument to
the ambience itself.
Cu rso r
This is the highlighted portion in the display, indicating the
parameter being edited at that moment. Use the VALUE dial
or [INC/ DEC] to adjust the highlighted parameter.
Ap p e n d
This is an editing function of the TD-10’s sequencer, which
joins or combines two patterns into one pattern.
DEC Bu tto n
Each time this button is pressed, the on-screen value at the
cursor location will decrease in steps of 1, useful when mak-
ing fine adjustments. When making on/ off settings, pressing
this bu tton w ill tu rn the setting OFF. If m aking large
changes in the value of a setting,the VALUE dial is quicker.
AUX1 , 2 ja ck s
These are trigger input jacks for additional pads. Pads con-
nected to these jacks can be used as pad “switches” for vari-
ous functions as well as for triggering sounds, though the
equalizer and compressor cannot be used with sounds trig-
gered from these inputs.
De ca y
This parameter is used in sound editing , adjusting the decay
time (length).
Bu lk Du m p
This is a function that transmits various types of TD-10 data
from the MIDI OUT connector for storage or “back up” on
an external device. To do so, you will need a MIDI cable and
an external sequencer. This data can be only be used by the
TD-10.
DIRECT 1 , 2 , 3
These jacks can be used for individual outputs (in stereo or
mono) for more “separation control” or when using external
effect devices, mixers etc. or for outputting just the ambience
alone. Digital effects are output only from the MASTER out-
puts.
Ch a in
Refer to “Drum Kit Chain.”
Dru m Kit
Ch o k in g
The combination of all settings for instruments, studio,and
control room are referred to as a drum kit.
This is a performance technique whereby, after a PD-7 or
PD-9 has been hit, the edge of the pad is pinched by hand to
mute the decay (length) of the triggered sound. (similar to
choking a real cymbal by grabbing it)
Dru m Kit Ch a in
You can u se the Dru m Kit Chain fu nction to create a
sequence of up to 32 kits, allowing you use them in the
desired order or preference.
Click
This is the sound the metronome makes. It can be used as a
“stand alone” tempo reference or when the sequencer is
recording or playing back.
Dru m Trig g e r
A drum trigger is a sensor attached directly on an acoustic
drum, sending a signal that will trigger sounds from the TD-
10.
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Glossary
EDIT
IN C Bu tto n
Editing is modifying a sound, effect, or musical data in the
sequencer.
Each time this button is pressed, the on-screen value at the
cursor location will increase in steps of 1, useful when mak-
ing fine adjustments. When making on/ off settings, pressing
this button will turn the setting ON. If making large changes
in the value of a setting, the VALUE dial is quicker.
Effe cts
The TD-10 has a variety of digital effects such as reverb,
delay, flanger, chorus, and phaser.It’s sometimes abbreviat-
ed in the TD-10’s display as “FX.”
In itia lize
This operation returns all settings to their factory values.
Eq u a lize r (EQ )
An equalizer usually divides sound into high, mid & low
frequency ranges, allowing their balance to be adjusted. The
TD-10 provides 2-band equalizers for the instruments (not
usable with instruments assigned to the AUX1, 2 jacks), and
a 3-band equalizer for the total sound of the TD-10.
IN ST
This refers to whole family of drum and percussion sounds.
(In the case of “parts” used in a pattern,they are referred to
with their actual names such as piano, guitar etc.)
KD-7
Ex p a n sio n Bo a rd
This is a Kick Trigger Unit. (ROLAND)
This is a board (optional) containing more instrumental
sounds to be added to the TD-10, and is installed in the slot
on the bottom panel.
Kick Trig g e r Un it
A kick drum triggering device.
M-5 1 2 E
FD-7
A memory card that can be used with the TD-10, and other
Roland instruments.
A hi-hat controller pedal.
Fo o t Sw itch
MASTER O UTPUT
These jacks output all sounds as well as the TD-10’s internal
effects. (Except when using individual outputs of course)
A separately sold foot switch (BOSS FS-5U) can be used to
select kits, and perform operations such as sequencer play-
back/ stop etc.
MEMO RY CARD
FS-5 U
An external storage media on which TD-10 drum kits or
sequencer data can be saved. It is inserted into the memory
card slot (MEMORY CARD) located on the rear panel of the
TD-10. The TD-10 can use “M-512E” memory cards.
A general-purpose pedal that can be used with the TD-10,
and as a foot switch for other devices or instruments.
FX
This is an abbreviation for EFFECTS, indicating the on board
effects unit.
MIDI (Mu sica l In stru m e n t Dig ita l In te rfa ce )
An international standard for allowing electronic musical
instruments to communicate. Virtually all electronic musical
instruments sold today support MIDI, allowing those instru-
m en ts (even on es m ad e by m an u factu rers oth er th an
Roland) to be used to play the TD-10. Pads connected to the
TD-10 can also play external sound modules or samplers as
well via MIDI.
FX Se n d Le ve l
This adjusts the volume of the instrument sent to the effect
unit.
Fu n ctio n Bu tto n s
These are the four buttons [F1][F2][F3][F4] located below the
display. The function of these buttons will change depend-
ing on what’s in the screen, and the names of their current
functions are shown in the bottom of the display.
MIDI co n n e cto r
These connectors are used to expand the TD-10’s functionali-
ty, such as synchronizing (the tempo) with other devices, to
record performances, and to store data. Use a MIDI cable to
connect other MIDI-compatible instruments or devices to the
TD-10. MIDI connectors are used ONLY if you are using an
external MIDI device.
Hi-Ha t Co n tro l Pe d a l (FD-7 )
A pedal for controlling the hi-hat.
1 7 0
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Glossary
MIDI So ft Th ru
PD-5
The MIDI OUT/ THRU connector of the TD-10 normally
functions as MIDI OUT. When the MIDI Soft Thru setting is
turned on, messages received at MIDI IN will be re-transmit-
ted from the OUT/ THRU connector.
A single trigger pad - 8-3/ 4 inch (222 mm) diameter. No
“rim” function.
PD-7
A dual trigger pad - 7-9/ 16 inch (192 mm) diameter. The
head surface and rim send independent trigger signals.
System exclusive messages will not be transmitted.
MIX IN
PD-9
An external sound source or CD player can be connected to
this jack, so that it can be monitored with the TD-10’s sound
from the MIX out and/ or the headphone jack. (or sent to the
headphone only-switchable) Use the [MIX IN] knob on the
front panel to adjust the volume.
A dual trigger pad - 10 inch (254 mm) diameter. The head
surface and rim send independent trigger signals.
PD-1 0 0
A single trigger pad - 11-13/ 16 inch (300 mm) diameter. The
head is a unique “mesh” type material allowing perfor-
mance with brushes. No “rim” function.
Mu fflin g
This is a technique in which the vibrations of a drum head
are dampened with tape or other materials in order to adjust
the overtones of the sound. On the TD-10 you can select var-
ious types of muffling: unmuted, muting with tape, a ring
mute, felt or a blanket. (depending on the choice of drum)
PD-1 2 0
A dual trigger pad - 13-13/ 16 inch (350 mm) diameter. The
head is a unique “mesh” type material allowing perfor-
mance with brushes. The head surface and rim send inde-
pendent trigger signals.
N o te N u m b e r
Every instrumental sound is assigned to a note of the key-
board , inclu d ing the d ru m sou nd s and the p ercu ssion
groups.
Pe rcu ssio n Gro u p
When the TD-10 is triggered from an external MIDI con-
troller source, (MIDI pad, sequencer or keyboard) 60 instru-
m ents are available in ad d ition to the 12 instru m ents
assigned to the pads. For each drum kit, you can assign any
one of the 4 percussion groups.
Pa d Sw itch
This function allows a pad to be used for operations such as
selecting d ru m kits, starting/ stopping playback of the
sequencer,etc.
Po sitio n a l se n sin g
When an acoustic drum is hit, the sound will differ depend-
ing on whether it is played at the center of the head or
towards the rim. The TD-10 gives you this capability by
allowing the tone to change as the playing position changes,
relative to the center or rim of the pad. (Snare drum or ride
cymbal ONLY).
Pa d Pa tte rn
This function allows you to specify a pattern that will be
played when a pad is struck even though hitting a pad nor-
mally triggers a sound. With the TD-10 you can do both!
Pa ra m e te r
“Shell Depth” or “Volume” are examples of sound-related
“parameters.” “Tempo,”and “Measure length” are examples
of sequencer “parameters.” The process of modifying any
parameter is referred to as “editing.”
Pre vie w
The [PREVIEW] button on the TD-10’s front panel lets you
audition a sound as you edit even if no pads are connected.
(Velocity sensitive)
Pa rt Mu te
Q u ick Pla y
This function temporarily silences a part during sequencer
playback.
This is a playback function of the TD-10’s sequencer that
skips over any blank portion or pause at the beginning of
sequence data so that playback begins immediately with the
first MIDI event in the pattern.
Pa n p o t
This is the adjustment that determines the left/ right place-
ment of the sound in the stereo field. On the TD-10 the
sound can be moved to left or right in 7 steps respectively.
Pa tte rn
In the sequencer, a pattern is a unit of performance data con-
taining data for any one or all of the four parts (Part 1, Part 2,
Bass part, Drum part).
1 7 1
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Glossary
Rim Sh o t
Trig g e r
A “rim shot” refers to striking the rim of a drum with a stick
at the same time as hitting the head. Rim shots played with
the TD-10 will trigger just the instrument assigned to the
rim.
When a pad is struck, a waveform of the vibration is output
and transmitted to the sound module of the TD-10. This
waveform is called the trigger signal. The trigger jacks on
the rear panel receive these signals. The trigger indicator in
the upper left of the panel indicates the reception status of
the trigger signals.
Re co rd in g
In this owner’s manual, “recording” refers to recording a
performance onto the sequencer, which only records the
n ote n u m ber,velocity (force) an d gate tim e(len gth -
adjustable) of the strike. It does NOT record sound itself.
VALUE Dia l
This dial provides a convenient way to make large changes
in the value at the cursor location. For changing values in
steps of 1, [INC/ DEC] is easier.
Re se t Tim e
This is a parameter in the sequencer’s Tap playback func-
tion, and specifies the duration of time after which playback
can resume.
V-d ru m s Sy ste m
This refers to the drum system based on the TD-10,including
the pads, pedals and rack.
Se q u e n ce r
V-EDIT
A sequencer is either a hardware-type device (such as MC-
50MKII etc) or m u sical softw are in a com p u ter w hich
records/ plays back MIDI performances. Sequencers allow
you to record using either a method referred to as “realtime
recording,” (similar to conventional (audio) recording) or a
method in which individual performance events are entered
manually one after the other, (called “step recording.”) The
TD-10’s sequencer only provides realtime recording.
This refers to the Variable Drum Modeling process which
allows extensive editing parameters to be utilized. V-EDIT is
available only for instruments supporting “V-EDIT” and
only those assigned to trigger inputs 1–6.
V-SN ARE, V-KICK, V-TO M
These are instrument groups which allow V-EDIT. If you
select one of these instruments for TRIGGER INPUT jacks
1–6, you will be able to perform V-EDIT operations (refer to
p. 136).
Sim u la tio n
This means to “imitate” or “copy” something. The TD-10 is a
sound module that simulates a set of drums and its sur-
roundings.
So u n d Mo d u le
This is an electronic musical instrument containing sounds
to be triggered by separate controllers (pad, keyboards,
sequencer etc.) via MIDI. The TD-10 can also be used as a
sound module.
STEP
In a Drum Kit Chain, “step” refers to the order in which the
drum kits are selected. Since up to 32 drum kits can be speci-
fied, a chain of 32 steps can be created for recall.
STUDIO
This is WHERE the drums are played and is one of the three
main elements (instrument, studio,control room) in the TD-
10’s sound producing structure. Here, the room itself can be
modified (i.e. room size, wall material, ambience mic posi-
tion) and the type and position of m icrophones on the
instruments can also be selected.
1 7 2
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In d e x o f scre e n d isp la y s
Here are the screen displays that will appear as a result of operations on the TD-10, in order of the
buttons that are pressed.
The page on which the main explanation for each display appears is listed, so you can refer to the
appropriate page for details.
KIT
CHAIN
P.78
P.116
P.78
P.79
P.113
P.116
P.126
P.79
P.78
INST
P.80
Trigger 1–6 (except V-EDIT)
and Trigger 7–12
P.80
P.119
P.122, 123
TR-808
V-EDIT EDIT
P.86
P.81 - P.85
V-EDIT
Accoustic
Electronic
TR-909
Trigger
1
Trigger
2
Trigger
3–6
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Index of screen displays
STUDIO
P.87
P.88
P.87
P.87
P.88
P.89
P.88
CONTROL ROOM
P.90
P.90
P.96
P.90
P.93
P.93, 96
P.91
P.91
P.92
SETUP
P.108
P.109
P.114
P.137
P.111, 112
P.124
P.31, 110
P.115
P.43
P.115, 122, 124
P.121 P.72, 120
P.108, 118
P.128, 129
P.128
P.119
P.113
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Index of screen displays
SEQUENCER
PATTERN
PART
P.97
P.106
P.98
P.103–106
P.107
P.107
P.107
P.107
P.129
P.97, 101
P.106
P.98
P.103
P.107
REC Standby
RECORDING
CLICK
TEMPO
P.102
P.99
P.100
P.102
P.97
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In d e x
A
E
ADVNCD ................................................................................111
Ambience...................................................................................87
Ambience (Percussion Group) .............................................127
Ambience Group Send ............................................................89
Ambience Mic...........................................................................87
Ambience Output Level ..........................................................88
Ambience Send (Click) ..........................................................100
Ambience Send (Pad) ..............................................................88
Ambience Send (Part)............................................................107
Append ....................................................................................106
Atk (Attack).........................................................................84, 85
Auto (SYNC)...........................................................................129
AUX1, 2 Jack ...........................................................................119
Depth....................................................................................57, 82
Device ID .................................................................................122
DIRECT 1, 2, 3 Jack.............................................................16, 91
Display .....................................................................................113
Drum Kit........................................................................20, 38, 78
Drum Kit Chain ................................................................70, 116
Drum Kit List ......................................................................38, 78
Drum Trigger ............................................................33, 112, 142
EDIT ...........................................................................................81
EFFECT (Click) .......................................................................100
EFFECT (Drum Kit) .................................................................93
EFFECT SWITCH ...............................................................41, 79
EFFECT TYPE...........................................................................93
Electronic Drum kit..................................................................52
EQ (Drum Kit) ....................................................................66, 92
EQ (Master) .............................................................................113
Erase Pattern ...........................................................................104
Error message .........................................................................138
[Exit]...........................................................................................14
Expansion Board ......................................................................43
External....................................................................................129
B
Backing INST ..................................................................101, 106
Bal (Balance)..............................................................................84
BANK (Trigger Bank) ......................................................29, 108
Basic (Trigger setting)............................................................109
Beat Delay............................................................................93, 94
Bend......................................................................................53, 84
Bend Range .............................................................................106
Brushes.................................................................................36, 50
Bulk Dump ..............................................................................121
F
Flanger Delay .................................................................93, 95
Flying 3D-Delay..................................................................93, 96
FOOT SWITCH ...........................................................16, 72, 120
FREQ (EQ/ Master) ................................................................113
FREQ (EQ/ Pad)........................................................................92
Function Button ..................................................................14, 18
FX Send Level ...........................................................................90
FX Send (Group).......................................................................96
FX Send (Pad) ...........................................................................90
FX Send (Part).........................................................................107
FX Send (Percussion Group).................................................127
FX SW...........................................................41, 51, 54, 62, 65, 79
C
CARD .................................................................................17, 114
[CHAIN]............................................................................70, 116
Chain Name ............................................................................116
Choking .....................................................................................35
Chorus Delay..................................................................93, 95
Clear pattern ...........................................................................105
[CLICK]..........................................................................73, 97, 99
Compressor ...............................................................................91
Control Change ..............................................................128, 129
[CONTROL ROOM] ....................................................47, 65, 90
Copy (TOOLS) ........................................................................117
Copy Pattern (Measure) ................................................104, 105
Count In ...................................................................................102
Crosstalk ..................................................................................112
[CURSOR]......................................................................15, 18, 97
Curve........................................................................................109
G
Gain (EQ/ Master) ..................................................................113
Gain (EQ/ Pad)..........................................................................92
Gate Reverb...............................................................................93
Gate time..................................................................................123
[Group Faders]........................................................15, 28, 37, 67
Group FX send ..........................................................................96
Group Volume ..........................................................................96
D
Dcy (Decay)...............................................................................84
[DEC]....................................................................................15, 19
Decay (INST).................................................................84, 85, 86
Decay (Percussion Group) ....................................................127
Delay ....................................................................................93, 94
Delete Pattern..........................................................................105
Demo ..................................................................................28, 179
H
Hall Reverb .........................................................................93, 94
Head .....................................................................................19, 77
Head Tension Adjustment ..............................................31, 110
Head Tuning .......................................................................59, 82
Head Type ...........................................................................58, 82
1 7 6
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Index
Help ....................................................................................42, 118
HH CTRL Jack ..........................................................................16
Hi-Hat Control Pedal...............................................36, 124, 128
Hit Pad Start............................................................................102
Muffling ...............................................................................60, 83
Mute (Part) ..............................................................................107
N
NAME (Chain)........................................................................116
NAME (Drum Kit) ...................................................................78
NAME (Pattern)......................................................................103
Noi (Noise)................................................................................84
Non Linear ..........................................................................93, 94
Note Chase ..............................................................................115
NOTE NO. (Pad) ............................................122, 125, 126, 127
I
[INC].....................................................................................15, 19
Initialize ...................................................................................137
[INST]...........................................................................55, 80, 136
INST (Backing Part) .......................................................106, 125
INST (Click).............................................................................100
INST (Percussion Group)......................................................126
INST LIST ..................................................................................80
Internal.....................................................................................129
Interval.......................................................................................99
O
One Shot ....................................................................................98
Output (Click).........................................................................100
Output (Pad) .............................................................................91
Output (Part)...........................................................................107
Output (Percussion Group) ..................................................127
Output Jack (DIRECT 1–3)......................................................16
Output Jack (MASTER) ...........................................................16
K
Keyshift (Part).........................................................................106
[KIT] .........................................................................15, 20, 38, 78
L
P
LIST (Drum Kit)..................................................................38, 78
LIST (INST) ...............................................................................80
LIST (Pattern)............................................................................98
LIST (Percussion Group).......................................................126
Local Control...........................................................................124
Loop (Play)................................................................................98
Loop (Recording)....................................................................102
PAD PATTERN ................................................................72, 119
PAD SWITCH .........................................................................119
Pan (Click) ...............................................................................100
Pan (Pad) ...................................................................................90
Pan (Part).................................................................................107
Pan (Percussion Group).........................................................127
Parameter ................................................................................171
[PART] .......................................................................97, 101, 106
Part Mute .................................................................................107
Part Volume ............................................................................107
[PATTERN] ...........................................................68, 97, 98, 101
Pattern List ................................................................................98
PD-7..........................................................................24, 25, 35, 36
PD-9..........................................................................24, 25, 35, 36
PD-100......................................................................24, 30, 31, 36
PD-120................................................................24, 30, 31, 35, 36
Pedal CC ..................................................................................128
Pedal Data Thin ......................................................................124
Percussion Group ...................................................................126
Phaser Delay...................................................................93, 95
[PHONES] .....................................................................15, 27, 37
PHONES Jack............................................................................16
Pitch (Pad) .................................................................................86
Pitch (Percussion Group) ......................................................127
Pitch Shift Delay .................................................................93, 95
Plate Reverb ........................................................................93, 94
[PLAY] .................................................................................68, 97
Play Type...................................................................................98
POLARITY ................................................................................25
Positional Sensing ............................................................36, 129
Preset Drum Kit........................................................................20
M
M-512E .....................................................................................114
MAS EQ (Master EQ).......................................................40, 113
MaskTime................................................................................112
[MASTER] .....................................................................15, 37, 45
MASTER OUTPUT Jack ....................................................16, 23
Master Tune ............................................................................106
Material ...............................................................................56, 81
MDS-10 ................................................................................22, 24
MDS-7U .....................................................................................22
Memory (Pattern).....................................................................98
Memory Card..................................................................114, 115
Memory Card Protect ............................................................114
Memory Card Slot..............................................................16, 17
Mic Position.........................................................................87, 88
Mic Type ....................................................................................89
MIDI .................................................................................121, 140
MIDI Channel .................................................................124, 140
MIDI IN Jack .....................................................................16, 140
MIDI OUT/ THRU Jack ...................................................16, 140
MIDI Delay .........................................................................129
[MIX IN].......................................................................16, 37, 108
MIX IN Output .......................................................................108
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Index
Preset Pattern ............................................................................97
[PREVIEW]..................................................................15, 27, 118
Program Change.............................................................124, 128
PROTECT (Card)..............................................................17, 114
Trigger Jack ...............................................................................24
TRIGGER TYPE........................................................30, 108, 142
[TRIG SELECT]...................................................................15, 20
Tune (TR-808/ 909)...................................................................85
Tuning..................................................................................59, 82
Type (Effect)..............................................................................93
Type (EQ) ..................................................................................92
Type (Pad) .........................................................................30, 108
Type (Studio) ............................................................................87
Q
Q..........................................................................................92, 113
Quantize ..................................................................................103
Quick Play .................................................................................98
U
R
Undo.........................................................................................117
[REC]..................................................................................97, 102
Rec Mode .................................................................................102
Remote .....................................................................................129
Replace.....................................................................................102
Reset Time .................................................................................99
RetrigCancel............................................................................111
Return Level........................................................................93, 94
[RIM] ..............................................................................19, 20, 77
Rim Sensitivity........................................................................110
Rim Shot ....................................................................................35
Room Reverb.............................................................................93
Room Size............................................................................64, 87
V
[VALUE] .............................................................................15, 19
V-Basic Kit .................................................................................29
V-Drums System ......................................................................76
V-EDIT .......................................................................................81
V-Standard Kit ..........................................................................29
Volume (Drum Kit)................................................................127
Volume (Pad)......................................................................67, 90
Volume (Part)..........................................................................107
Volume (Percussion Group) .................................................127
Volume (Master).......................................................................15
S
W
ScanTime .................................................................................111
SELECT......................................................................................79
Sensitivity ..........................................................................39, 109
[SETUP]......................................................................................14
Shell Depth ..............................................................49, 57, 81, 82
Shell Material ......................................................................56, 81
Snappy .......................................................................................85
Soft Thru ..................................................................................123
SPD-11......................................................................................123
Step .....................................................................................70, 116
[STOP]........................................................................................97
Strainer Adj. ........................................................................61, 83
[STUDIO].................................................................15, 47, 63, 87
SYNC (MIDI)...........................................................................129
System Initialize .....................................................................137
Wall Type ..................................................................................87
Z
Zone CC...................................................................................129
O th e rs
10A......................................................................................30, 108
10B ............................................................................................108
12A......................................................................................30, 108
12B ............................................................................................108
3D-Delay..............................................................................93, 95
T
Tap ..............................................................................................98
[TEMPO]......................................................................97, 99, 102
Threshold.................................................................................109
Time signature ..................................................................99, 101
Tone......................................................................................84, 85
[TOOLS].....................................................................................14
TR-808 ........................................................................................85
TR-909 ........................................................................................85
TRIGGER BANK ..............................................................29, 108
TRIGGER Indicator ............................................................14, 45
1 7 8
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Ab o u t d e m o so n g
Song title
Composer
Copyright
Rainbow
Roland Corporation
© 1997, Roland Corporation
For EU Countries
CAUTION
Danger of explosion if battery is
incorrectly replaced.
Replace only with the same or
equivalent type recommended by the
manufacturer.
Apparatus containing
Lithium batteries
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
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
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.
1 7 9
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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: 6846-3676
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: 6243-9555
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: 2273 0074
KUW AIT
Easa Husain Al Yousifi Est.
Abdullah Salem Street,
Safat, KUWAIT
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
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
Chahine S.A.L.
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
PO RTUGAL
THAILAN D
VEN EZUELA
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
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
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
VENEZUELA
TEL: (212) 285-8586
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
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
EURO PE
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
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
TEL: (0512) 26 44 260
ASIA
AUSTRALIA
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
CHIN A
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai, CHINA
TEL: (021) 5580-0800
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
SYRIA
Technical Light & Sound
TEL: (93) 308 1000
TEL: (02) 9982 8266
Center
DEN MARK
SW EDEN
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 Anhuaxili
Chaoyang District, Beijing,
CHINA
Khaled Ebn Al Walid St.
Bldg. No. 47, P.O.BOX 13520,
Damascus, SYRIA
TEL: (011) 223-5384
N EW ZEALAN D
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
TEL: 3916 6200
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/ 20
TEL: (010) 6426-5050
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
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
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
ARGEN TIN A
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
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
FIN LAN D
Roland Scandinavia As,
Filial Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
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
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
UN ITED KIN GDO M
N O RTH AMERICA
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 2493 9051
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: (604) 270 6626
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
TEL: (040) 52 60090
UNITED KINGDOM
TEL: (01792) 702701
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
MIDDLE EAST
KO REA
Roland Canada Music Ltd.
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
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
HUN GARY
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
TEL: (905) 362 9707
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
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
75 Avenida Norte y Final
Alameda Juan Pablo
,
PHILIPPIN ES
Edificio No.4010 San Salvador,
EL SALVADOR
TEL: 262-0788
TEL: (323) 890 3700
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (022) 66-9426
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
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 April 1, 2003 (Roland)
TEL: (55) 5668-6699
01127534 '03-5-GN
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