O w n e r’s Ma n u a l
Thank you, and congratulations on your choice of the Roland HandSonic HPD-15.
Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY”
(p. 2–3) and “IMPORTANT NOTES” (p. 4). These sections provide important information
concerning the proper operation of the unit. Additionally, in order to feel assured that
you have gained a good grasp of every feature provided by your new unit, Owner’s
manual should be read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
* The D Beam Controller is provided under license from Interactive Light, Inc.
Copyright © 2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without the
written permission of ROLAND CORPORATION.
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010
101b
•
This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
•
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102d
•
Always grasp only the plug or the body of the AC
adaptor when plugging into, or unplugging from,
an outlet or this unit.
..........................................................................................................
103b
..........................................................................................................
•
Whenever the unit is to remain unused for an
extended period of time, disconnect the AC
adaptor.
011
•
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
104
•
Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
012c
..........................................................................................................
•
Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
"Information" page when:
106
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107d
• The AC adaptor or the power-supply cord has
been damaged; or
•
Never handle the AC adaptor body, or its plugs,
with wet hands when plugging into, or
unplugging from, an outlet or this unit.
• Objects have fallen into, or liquid has been
spilled onto the unit; or
..........................................................................................................
108b
• The unit has been exposed to rain (or otherwise
has become wet); or
•
Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
..........................................................................................................
109b
•
Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 13).
013
•
In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
110b
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
014
•
Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
..........................................................................................................
015
•
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 insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
016
•
Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the "Information" page.
..........................................................................................................
3
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IMPO RTAN T N O TES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Po w e r Su p p ly
301
Ad d itio n a l Pre ca u tio n s
551
•
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).
•
Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the
improper operation of the unit. To protect yourself against
the risk of loosing important data, we recommend that
you periodically save a backup copy of important data
you have stored in the unit’s memory in another MIDI
device (e.g., a sequencer).
302
•
The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
552
•
Unfortunately, it may be impossible to restore the contents
of data that was stored in the unit’s memory or another
MIDI device (e.g., a sequencer) once it has been lost.
Roland Corporation assumes no liability concerning such
loss of data.
307
•
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.
553
•
Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
Pla ce m e n t
351
•
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 inter-
ference.
554
•
556
•
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
internal elements.
352
•
This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
558a
•
To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
354a
•
Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
558d
•
This instrument is designed to minimize the extraneous
sounds produced when it’s played. However, since sound
vibrations can be transmitted through floors and walls to
a greater degree than expected, take care not to allow
these sounds to become a nuisance to neighbors,
especially when performing at night and when using
headphones.
355
•
To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
559a
•
When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
Ma in te n a n ce
401a
•
For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
561
•
Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/ or damage to the unit.
562
•
Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
402
•
Never use benzine, 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 manufac-
turer of the cable.
•
Do not strike pads extremely strong. Be careful to prevent
your fingers or hands from injury.
4
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Co n te n ts
Features...................................................................................................8
How To Use This Manual........................................................................9
About the Symbols in This Manual.............................................................................................. 9
Panel Descriptions................................................................................10
Front Panel................................................................................................................................................. 10
Attaching the HPD-15 to the Stand .....................................................12
Chapter 1 Quick Start ...........................................................................13
Turning On/ Off the Power..................................................................................................................... 13
Listening to the Demo Song.................................................................................................................... 14
Slide Your Finger on the Ribbons ............................................................................................... 15
Pass Your Hand over the D Beam .............................................................................................. 16
Sustaining the Sound (ROLL/ HOLD Button) .......................................................................... 16
Playing Various Sounds ............................................................................................................... 17
Controlling Pad Sounds ............................................................................................................... 17
Playing a Scale ............................................................................................................................... 18
Using Knobs to Modify the Tone (Realtime Modify) .............................................................. 19
Adding Effects Such as Reverb or Distortion (Multi-Effects) ............................................................ 20
Turning Multi-Effects On/ Off .................................................................................................... 20
Changing Sounds to Play (Patch Select) ............................................................................................... 21
Changing Patches with the Dial.................................................................................................. 22
Changing Patches with the Panel Switches............................................................................... 22
Changing Patches with the Pads (Pad Patch Select)................................................................ 23
Changing the Settings of a Patch (EZ Edit) .......................................................................................... 24
Playing Back a Preset Pattern ................................................................................................................. 26
Changing the Tempo .................................................................................................................... 27
System Settings ......................................................................................................................................... 28
Adjusting the Display for Best Visibility (LCD Contrast)....................................................... 28
Adjusting the D Beam Sensitivity............................................................................................... 29
If the Sound or Operation Is not as You Expect................................................................................... 30
Rapidly Selecting Parameters or Values ............................................................................................... 31
Key Repeat Function..................................................................................................................... 31
Turbo Repeat Function ................................................................................................................. 31
Skip Function ................................................................................................................................. 32
Try to Play the Conga .............................................................................................................................. 34
Conga - Basic Rhythm .................................................................................................................. 34
Chapter 2 Modifying a Patch................................................................35
Basic procedure in Edit Mode ................................................................................................................ 35
Adjusting Sounds ..................................................................................................................................... 36
Adding Cyclic Change to the Tone........................................................................................................ 38
Effect Settings............................................................................................................................................ 39
Adjusting the Reverb Settings..................................................................................................... 39
Adjusting the Multi-Effect Settings ............................................................................................ 40
Controlling the Tone ................................................................................................................................ 52
Using a Pad to Start a Pattern ................................................................................................................. 54
Set the Volume of the Entire Patch ........................................................................................................ 54
Settings for Other Functions ................................................................................................................... 54
Limiting the Resonance................................................................................................................ 54
5
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Co n te n ts
Adjusting the Sensitivity of the Pads ......................................................................................... 54
Specifying the Roll Speed ............................................................................................................ 55
Setting for MIDI Transmission ............................................................................................................... 55
Saving Your Settings (Write) .................................................................................................................. 56
Duplicating Settings (Copy).................................................................................................................... 56
Basic Procedure for Copy............................................................................................................. 56
Copying a Pad Set (Pad Set Copy).............................................................................................. 57
Copying Pad/ D Beam/ Ribbon Settings (Pad Copy)............................................................... 57
Copying Pad/ D Beam/ Ribbon Settings to All Pads (Pad Copy to All) ............................... 57
Exchanging Patch Settings (Patch Exchange) ........................................................................... 57
Copying a Value to All Pads................................................................................................................... 58
Using Realtime Modify to Adjust Values ............................................................................................. 58
Chapter 3 Recording Your Performance (Sequencer).......................59
Basic Settings for Recording ................................................................................................................... 59
Settings for the Pattern ................................................................................................................. 60
Settings for the Click, and others ................................................................................................ 61
Settings for the Recording (Set in the Recording Stand-by mode) ........................................ 62
Rehearsal Function........................................................................................................................ 62
Basic Settings for Playing Back............................................................................................................... 63
Fast-Forward and Rewind ........................................................................................................... 63
Synchronizing with an External MIDI device (MIDI Sync).................................................... 63
Changing the Settings of Pattern............................................................................................................ 63
Saving the Changed Settings....................................................................................................... 63
Editing a Pattern ....................................................................................................................................... 64
Basic Settings for Editing ............................................................................................................. 64
Copying a Pattern ......................................................................................................................... 64
Connecting Two Patterns............................................................................................................. 64
Deleting a Pattern.......................................................................................................................... 64
Creating a Patch Chain (Chain Edit) ..................................................................................................... 65
Specifying the Last Step of the Patch Chain.............................................................................. 65
Inserting a Chain Step .................................................................................................................. 66
Deleting a Chain Step ................................................................................................................... 66
Playing with a Patch Chain (Chain Play).............................................................................................. 66
Chapter 5 Settings for the Entire HPD-15...........................................67
Settings for basic operation ..................................................................................................................... 67
Settings for the Basic Operation .................................................................................................. 68
Settings for the Controllers .......................................................................................................... 69
Turning On/ Off the D Beam ....................................................................................................... 69
Turning On/ Off the Ribbons ...................................................................................................... 69
Setting the Pad Sensitivity ........................................................................................................... 70
Using the Foot Switches to Control the Tone / Sequencer ................................................................ 71
Settings for the Foot Switches ..................................................................................................... 71
Using the Pedal to Control the Hi-Hat / Tone..................................................................................... 72
Settings for the Pedal.................................................................................................................... 72
Using the External Pads/ Kick Trigger Unit to Trigger a Sound ....................................................... 73
Settings for the External Pads / Kick Trigger Unit .................................................................. 73
More Detailed Settings for the External Pads / Kick Trigger Unit........................................ 74
Setting the Sound of the External Pads / Kick Trigger Unit .................................................. 75
MIDI Settings ............................................................................................................................................ 75
Restoring Settings to Their Default Values (Factory Reset) ............................................................... 75
6
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Chapter 6 Connecting MIDI Devices ...................................................76
Using the HPD-15 to Play External Instruments ................................................................................. 76
Setting for MIDI Transmission .................................................................................................... 76
Setting the MIDI Channels........................................................................................................... 77
Using the HPD-15 As a Sound Module................................................................................................. 78
Setting the MIDI Channel for a Part........................................................................................... 78
Using with the Roland SPD-20 (SOFT THRU)..................................................................................... 79
Using a Sequencer or a Computer to Record/ Play Back the Performance on the HPD-15 .......... 79
(Local Control)............................................................................................................................... 80
Saving Data to an External MIDI Instrument....................................................................................... 80
Transmitting (Bulk Dump) .......................................................................................................... 80
Receiving (Bulk Load) .................................................................................................................. 81
Setting the Device ID .................................................................................................................... 82
Program Change Number List (User Patches) ......................................................................... 82
Troubleshooting....................................................................................83
Problems With the Overall Sound ......................................................................................................... 83
MIDI-related Problems ............................................................................................................................ 84
Sequencer-related Problems ................................................................................................................... 84
Restoring the Factory Settings............................................................85
Messages and Error Messages ...........................................................86
About MIDI.............................................................................................88
Preset Patch List...................................................................................90
Preset Pattern List ................................................................................91
Instrument List......................................................................................92
Pad Set Instrument List ........................................................................................................................... 94
Backing Instrument List .......................................................................................................................... 94
Effect Type List .....................................................................................95
Demo Song List.....................................................................................96
MIDI Implementation.............................................................................97
Specifications......................................................................................112
Index.....................................................................................................113
7
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Fe a tu re s
• The HPD-15 is a compact and lightweight digital hand percussion unit
with built-in sound generator, that you can play with your naked hands.
• A pressure-sensitive pad divided into fifteen sections allows you to play
full-fledged hand percussion without any other equipment.
• 600 versatile sounds including percussion instruments from around the
world with Latin, African, and Asian sounds, as well as drum sets,
dance sounds, and sound effects.
• Numerous controllers including ribbons, D Beam , and realtime modify
knobs allow you to create realtime changes in the sound.
• Kick trigger units and a hi-hat controller can be connected to create a
space-saving drum set.
• Convenient editing functions for the percussionist include an EZ Edit
function and a Guide tone (click note).
• Built-in high-quality reverb and multi-effects selected especially for
percussion let you produce spacious sounds or invent creative new
possibilities.
• Basic rhythm performances are built-in as preset patterns, so that you
can enjoy ensemble playing or use the HPD-15 to keep time in place of a
metronome.
• A convenience sequencer is provided for recording your performance in
realtime — great for practicing or listening to your own playing.
• The HPD-15 can be connected to an external sound module as a MIDI
controller, or used as to input drum parts for music data.
8
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Ho w To Use Th is Ma n u a l
This owner’s manual is organized as follows.
Q u ick Sta rt (Ch a p te r 1 )
This section is intended for those using the HPD-15 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 HPD-15. This will help you
understand most of what you need to know for basic operations.
Ad va n ce d Use (Ch a p te r 2 – Ch a p te r 6 )
This section explains all functions of the HPD-15 and is divided into specific
parts. Basic operations are covered in the Quick Start. The Advanced Use
section assumes you already understand basic procedures, so if anything
unclear, refer to the “Quick Start.”
Chapter 2 Modifying a Patch
This chapter explains how to modify the sounds you play, how to control
the sounds, and how to use effects.
Chapter 3 Recording Your Performance (Sequencer)
This chapter explains how to record and play back your performance.
Chapter 4 Changing Patches in the Desired Sequence
This chapter explains the Patch Chain function that lets you switch patches
in a desired order.
Chapter 5 Settings for the Entire HPD-15
This chapter explains settings that affect the entire HPD-15, such as screen
display, control settings, and how to connect external pads, pedals, or foot
switches for use with the HPD-15.
Chapter 6 Connecting MIDI Devices
This chapter explains MIDI-related functions, such as using the HPD-15 to
play external sound modules, or saving data on an external device.
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
“Messages and Error Messages” and take appropriate action. This section
also provides information related to MIDI, backing instrument list, and the
MIDI implementation charts.
The explanations in this manual
include illustrations that depict
what should typically be shown
by the display. Note, however,
that your unit may incorporate
a newer, enhanced version of
the system (e.g., includes newer
sounds), so what you actually
see in the display may not
always match what appears in
the manual.
Ab o u t th e Sy m b o ls in Th is Ma n u a l
Words of symbols enclosed in [square brackets] indicate panel buttons or dial.
For example, [EDIT] signifies the Edit button.
9
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Pa n e l De scrip tio n s
Fro n t Pa n e l
fig.0-01.e
Se q u e n ce r Se ctio n
You can record and play back
your performance (p. 59).
VO LUME Kn o b
Adjusts the volume of the entire HPD-15.
When this knob is turned fully counterclockwise,
no sound will be output.
PATCH/ VALUE Dia l
Turn to select a patch or change the value.
REALTIME MO DIFY Se ctio n
Turn these knobs to modify the
sound (p. 19).
D BEAM
Pa tch Se le ct
Pass your hand to produce or
control the sound (p. 16).
Se ctio n
Changes the patch (p. 22).
Rib b o n (L)
Rib b o n (R)
Slide your finger
on this ribbon to
produce a sound
or to control the
tone (p. 15).
PATCH SEL Bu tto n
Striking the pad while holding
down this button changes the
patch (p. 23). This button is
used as the shift button of some
operations, too.
RO LL/ HO LD Bu tto n
When this button is lit, the sound
will repeat like rolls while pressing
a pad (p. 16).
Pa d
Strike to produce a
sound or press to
control the tone (p.15).
1 0
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Pa n e l De scrip tio n s
Re a r Pa n e l
fig.0-02.e
EXP PEDAL/ HH CTRL Ja ck
Connect an expression pedal (EV-5), a hi-hat
control pedal (FD-7), or a foot switch (p. 72).
TRIGGER IN PUT Ja ck
Connect the kick trigger units, external pads,
foot switches (p. 73).
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.
FO O T SW ITCH Ja ck
MIX IN STEREO Ja ck
Connect the optional foot switches (BOSS FS-5U).
You can use foot switches to select a patch, to
control the sequencer, and so on (p. 71).
Connect a CD/ MD player or use for the
expanded input at the live performance.
The sound that is input to this jack will
be output from the OUTPUT jacks and
PHONES jack.
MIDI Co n n e cto rs (IN , O UT/ THRU)
Connect the MIDI cable when using the
HPD-15 to play external instruments,
using the HPD-15 as a sound module, or
to save/ load the setting data (p. 76).
O UTPUT Ja ck s
Connect to external audio devices or
amps. If using monaural sound, plug
the cable into the L (MONO) jack only.
AC Ad a p to r Ja ck
PHO N ES Ja ck
Connect the include AC adaptor.
Connect stereo headphones.
Even if headphones are connected,
sound will still be output from the
OUTPUT jacks.
PO W ER Sw itch
Turns the power on/ off.
To prevent the inadvertent
disruption of power to
your unit (should the plug
be pulled out accidentally),
and to avoid applying
undue stress to the AC
adaptor jack, anchor the
power cord using the cord
hook, as shown in the
illustration.
Stereo headphones
Audio cable
Cord hook
PCS-31 (optional)
Speakers with built-in amp, etc.
L
AC adaptor
Use only the specified
expression pedal (EV-5;
sold separately). By
R
connecting any other
expression pedals, you risk
causing malfunction and/
or damage to the unit.
Stereo set, etc.
CD Player, etc.
BOSS FS-5U (optional)
PCS-31 (optional)
For details on connecting
MIDI devices, refer to
“Chapter 6 Connecting
MIDI Devices” (p. 76).
Roland
BOSS FS-5U
(optional)
EV-5 (optional)
FD-7 (optional)
Kick trigger unit, External pad, etc.
1 1
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Atta ch in g th e HPD-1 5 to th e Sta n d
1
Attach the stand holder (included with the optional PDS-15) to
Use the screws provided
the HPD-15.
with the PDS-15. Use of
other screws may result in
damage to the unit.
Using the screws provided with the PDS-15, attach the holder so the unit is
oriented as shown in the diagram.
fig.0-03.e
Wide
Narrow
2
Attach the HPD-15 to the pad stand (PDS-15).
If you attach only the
screws to the HPD-15
without attaching the stand
holder and strike the pads
strongly when it is resting
on the floor or table, the
screw heads may contact
the floor or table and
scratch it.
For details on assembling the pad stand and attaching the HPD-15, refer to
the owner’s manual for the pad stand.
fig.0-04.e
for playing by fingers
for using the heel of your hand
(like a conga player)
Do not slope the stand
excessively. Be careful that
the stand does not lose its
balance.
1 2
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Ch a p te r 1 Q u ick Sta rt
This chapter explains basic operation of the HPD-15.
For details on modifying sounds and settings, refer to “Chapter 2 Modifying
a Patch” (p. 35).
Tu rn in g O n / O ff th e Po w e r
* Once the connections have been completed (p. 11), turn on power to your various
devices in the order specified. By turning on devices in the wrong order, you risk
causing malfunction and/or damage to speakers and other devices.
1
Make sure that all volume controls on the HPD-15 and
connected devices are set to “0.”
2
Turn on the device connected to the MIX IN Jack.
When turns the power on,
be careful not to shut the
window of the D Beam (p.
16) until the patch name (p.
21) is displayed. The HPD-
15 adjusts the sensitivity of
the D Beam automatically
when turns the power on.
3
Turn on the HPD-15’s [POWER] switch.
4
Turn on the device connected to the OUTPUT Jacks.
If you connect the hi-hat
control pedal (FD-7,
optional), do not step on
the pedal until the patch
name is displayed when
the power is turned on. The
HPD-15 will check the
position of the pedal then.
5
Adjust the volume levels for the devices.
Before switching off the power, lower the volume on each of the devices in
your system and then TURN OFF the devices in the reverse order to which
they were switched on.
This unit is equipped with
a protection circuit. A brief
interval (a few seconds)
after power up is required
before the unit will operate
normally.
1 3
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Ch a p te r 1 Q u ick Sta rt
Liste n in g to th e De m o So n g
1
Simultaneously press [SEQUENCER] and [SYSTEM].
fig.1-01
fig.1-02
HPD-15 DEMO PLAY
1.TABLECTRIC
2
Turn [PATCH/ VALUE] or use [PATCH NUMBER
] and
[PATCH NUMBER
to hear.
] to select the demo song that you wish
For details on the demo
songs, refer to “Demo Song
List” (p. 96).
fig.1-03
3
Press [PLAY/ STOP].
fig.1-04
Playback will begin.
To stop playback, press [PLAY/ STOP] once again.
No data for the music that
is played will be output
from MIDI OUT.
4
Press [EXIT].
You will return to the previous screen.
1 4
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Ch a p te r 1 Q u ick Sta rt
Pe rfo rm in g
Hit th e p a d s
The pads of the HPD-15 will produce different volume or tones depending
on where or how strongly they are struck, and you can also vary the tone
and duration of the sounds by continuing to press the pad after striking it or
by pressing another pad.
The pads are divided into 15 sections, which are numbered as follows.
fig.1-05
B5 C1
C2
B4
B3
C3
B2
B1
C4
C5
A2
A4
A3
A1
A5
Pad Set
The pads are in sets of five. Pads A1–A5 are referred to as pad set A, pads
B1–B5 as pad set B, and pads C1–C5 as pad set C.
Slid e Yo u r Fin g e r o n th e Rib b o n s
By sliding your finger on the ribbons located at the left and right of the
HPD-15 you can produce sounds or modify the tone.
fig.1-06
If Ribbon [SOUND] is not
lit, sliding your finger on
the ribbon will not produce
sound. Press [SOUND] to
make it light.
[HOLD] is used when you
control the tone by a
ribbon. Refer to “Turning
On/ Off the Ribbons” (p.
69).
1 5
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Ch a p te r 1 Q u ick Sta rt
Pa ss Yo u r Ha n d o ve r th e D Be a m
By passing your hand over the D Beam located at the top of the panel, you
can produce sounds or modify the tone.
fig.1-07
If D Beam [SOUND] is not
lit, passing your hand over
the D Beam will not
produce sound. Press
[SOUND] to make it light.
If there is no sound even
though [SOUND] is lit,
adjust the sensitivity of the
D Beam.
If D Beam [CONTROL] is
not lit, passing your hand
over the D Beam will not
modify the tone. Press
[CONTROL] to make it
light.
Su sta in in g th e So u n d (RO LL/ HO LD Bu tto n )
1
Press [ROLL/ HOLD] (located at the upper left of the pads) to
make it light.
fig.1-08
Ribbons, D Beam,
connected expression
pedal, and connected hi-hat
control pedal are called
“controller.“
2
Press the pad.
While you press the pad, the sound will be repeated as a roll.
Pressing strongly will increase the volume.
To specify the interval at
which the sound is
repeated, refer to
“Specifying the Roll Speed”
(p. 55).
The sound of the instruments marked with “*H” in the Instrument List (p.
92) will sustain if you remove your hand from the pad.
The sound of the
instrument assigned to the
D Beam, ribbons, external
triggers, or pedal will not
be repeated.
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Ch a p te r 1 Q u ick Sta rt
Pla y in g Va rio u s So u n d s
Let’s use the patch (p. 21) of P0101 Conga to hear various sounds from the
pads, ribbons, and D Beam.
* If the following screen is not shown, turn [PATCH/VALUE] until the following
screen appears.
fig.1-09
P01 LATIN
01 Conga
fig.1-10
If D Beam [SOUND] is not
lit, passing your hand over
the D Beam will not
Bell Tree
produce sound. Press
[SOUND] to make it light.
Shaker Maracas
Timbale
(High)
Tambourine
Claves
Timbale
(Low)
Bongo
(Low)
If [SOUND] located above
the ribbon is not lit,
Cowbell
Agogo
Conga
Conga
rubbing the ribbon will not
produce sound. Press
(Toe/Open) (Low Open)
Bongo
(High)
Conga
(Bass)
[SOUND] to make it light.
Conga
Conga
(Heel/Open)
(Open/Slap)
Conga
Slide
Guiro
Co n tro llin g Pa d So u n d s
Let’s use the patch (p. 21) of P0201 Talking Drm and use the ribbons, D
Beam, and other pads to control the pitch of the pads.
* If the following screen is not shown, turn [PATCH/VALUE] until the following
If D Beam [CONTROL] is
not lit, passing your hand
over the D Beam will not
modify the tone. Press
[CONTROL] to make it
light.
screen appears.
fig.1-10a
P02 AFRICAN
01 TalkingDrm
While striking the pad, rub the ribbons or move your hand over the D Beam
to raise the pitch.
While striking the pad, press one of the pads A1–A5 will also raise the pitch.
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Ch a p te r 1 Q u ick Sta rt
Pla y in g a Sca le
You can use the pads to play the sounds of a pitched instrument such a steel
drum or marimba.
Let’s use the patch (p. 21) of P0501 Vibraphone to play a scale.
* If the following screen is not shown, turn [PATCH/VALUE] until the following
screen appears.
fig.1-10b
P05 ORCH
01 Vibraphone
The pads are assigned to the notes of the keyboard as follows.
fig.1-10c
C2
C3
Simultaneously striking
pads A1–A3 (the left half of
pad set A) will produce a
“C” chord, and
simultaneously striking
A3–A5 (the right half) will
produce a “G” chord.
Helpful Use of the Included Label
G
#
#
G
F
E
#
F
A
A
#
D
B
D
C
#
#
C
C
D
C
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Ch a p te r 1 Q u ick Sta rt
Usin g Kn o b s to Mo d ify th e To n e (Re a ltim e Mo d ify )
The sounds of the HPD-15 have various parameters that determine the
loudness, pitch, and duration, and how the notes are sounded. By
modifying the values of each parameters, you can vary the tone.
In Edit mode (p. 35), you
can also use Realtime
Modify to adjust the
Normally, you will adjust the parameter values to your liking before you
perform. However, some of the parameters can be freely modified while
you play. This is referred to as “realtime modify.”
parameter values (p. 58).
fig.1-11
3
1
1
2
Press [SELECT] to select the parameter that you wish to modify.
Modify Lock
The indicator at the right of the selected parameter will light.
Hold down [SELECT], and
sound the pad (D Beam,
ribbon). It will be fixed to
the target of modification
and other pads cannot
become to the target. (The
[SELECT] indicator will
blink at this time.)
Sound the pad (D Beam, ribbon) for the sound that you wish to
modify.
* The M-FX DEPTH and LFO parameters will apply in the same way to all pads/
ribbons/D Beam.
To unlock, hold down
[SELECT], and press
[EXIT].
3
Turn the [REALTIME MODIFY] knob.
The selected parameter and the value being modified will be displayed, and
the sound will change.
fig.1-12
RTM
When you turn the knobs
too fast, some noise may be
heard from some tones .
A1* PITCH +600
* If the multi-effects (p. 20) is off, turning the [M-FX DEPTH] knob makes no
modification.
* If the LFO Waveform (p. 38) is set to “OFF,” turning the [LFO RATE], [LFO
PITCH] and [LFO FLT/AMP] knobs makes no modification.
Hold down [EXIT/
MODIFY CLEAR], and
press [SELECT]. You can
excute Modify Clear and
cancel the Modify Lock at
the same time.
4
By repeating steps 1–3 you can create numerous variations in
the sound.
* By pressing [EXIT/MODIFY CLEAR] you can cancel any value changes you made
(Modify Clear).
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Ch a p te r 1 Q u ick Sta rt
Ad d in g Effe cts Su ch a s Re ve rb o r
Disto rtio n (Mu lti-Effe cts)
The HPD-15 contains a multi-effect unit that can apply various effects to the
sound.
Tu rn in g Mu lti-Effe cts O n / O ff
1
Press [MULTI-EFFECTS].
fig.1-13
For more on multi-effects,
refer to “Adjusting the
Multi-Effect Settings” (p.
40).
When the effect is on, [MULTI-EFFECTS] will light.
The sound will change according to the selected type of effect.
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Ch a p te r 1 Q u ick Sta rt
Ch a n g in g So u n d s to Pla y (Pa tch Se le ct)
A patch contains settings for the pads, controllers, and effects. The HPD-15
contains 80 User patches that you can rewrite if desired, and 160 Preset
patches that cannot be rewritten. User patches and preset patches are
organized into 10 patch groups.
Names are assigned to preset patch groups.
• GROUP 1
LATIN
Latin-American Percussion instruments
• GROUP 2
AFRICAN
Percussion instruments of Africa and
other regions
• GROUP 3
INDIAN
Percussion instruments of India and the
Middle East
• GROUP 4
ASIAN
ORCH
Percussion instruments of Asia
• GROUP 5
Orchestral percussion instruments, and
mallet instruments (e.g., xylophone,
marimba)
• GROUP 6
• GROUP 7
• GROUP 8
• GROUP 9
DRUMS
DANCE
SFX
Drum sets
Sounds for dance music
Sound effects
OTHERS
Melody instruments (e.g., bass,
synthesizer), and other sounds
• GROUP 10 LOOPS
Preset patterns are assigned to pads B1–
C5. You can listen and compare the preset
patterns.
Each patch is assigned a name (Patch Name).
The currently selected group number, patch number, and patch name are
displayed in the screen.
fig.1-15.e
Group Number Group Name
U: User
P01 LATIN
01 Conga
P: Preset
Patch Number
Patch Name
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Ch a p te r 1 Q u ick Sta rt
Ch a n g in g Pa tch e s w ith th e Dia l
1
Turn [PATCH/ VALUE].
The patch will change as shown in the diagram.
fig.1-16
U0101
U0102
U0108
U0201
P1001
P0901
Ch a n g in g Pa tch e s w ith th e Pa n e l Sw itch e s
fig.1-17
2
3
3
1
1
2
3
Press [USER] or [PRESET] to select either user patches or
preset patches.
The selected button will light.
Use [GROUP -] and [GROUP +] to select the patch group.
The indicator of the selected patch group will light.
If you continue holding a
button, the patch groups/
numbers will change
Use [PATCH NUMBER
] and [PATCH NUMBER
] to
consecutively (p. 31).
select the patch number within the patch group.
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Ch a p te r 1 Q u ick Sta rt
Ch a n g in g Pa tch e s w ith th e Pa d s (Pa d Pa tch Se le ct)
fig.1-18
1, 2
B5
C1
B4
C2
B3
C3
C4
B2
A2
A4
B1
C5
1
2
1
2
Hold down [PATCH SEL], and strike a pad B1–C5 to select a
Use the panel switches to
change between user
patch group.
patches and preset patches.
Hold down [PATCH SEL], and strike pad A2 or A4 to select
the patch number.
Striking pad A4 will increase the patch number, and striking A2 will
decrease it.
* Pads B1–C5 correspond to the patch groups, and pads A2 and A4 correspond to
[PATCH NUMBER
fig.1-19
] and [PATCH NUMBER
] respectively.
While you continue
holding [PATCH SEL], the
indicator for the selected
patch group and the
GROUP
indicator beside the pad
(B1–C5) corresponding to
that group will blink.
B5 C1
C2
B4
5
6
4
7
B3
C3
3
8
B2
B1
C4
C5
2
9
10
1
A2
A4
NUMBER
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Ch a p te r 1 Q u ick Sta rt
Ch a n g in g th e Se ttin g s o f a Pa tch (EZ
Ed it)
The process of modifying a patch is called “editing.” The HPD-15 provides
Easy (EZ) Edit mode for making basic settings, and Edit mode for making
settings in more detail. This section explains EZ Edit mode.
To learn how to make more
detailed settings, refer to
“Chapter 2 Modifying a
Patch” (p. 35).
fig.1-20
4
3
6
1
1
Press [EDIT].
[EDIT] will blink, and you will enter EZ Edit mode.
If you press [EDIT] once
again, [EDIT] will light and
you will be in Edit mode (p.
35).
2
3
Strike a pad to select the pad set (p. 25) that you wish to
modify. You can also select the D Beam or ribbons.
Press [
PARAMETER] or [PARAMETER
] to select the
You can make your
parameter that you wish to modify.
selection rapidly by using
the Key Repeat Function (p.
31) or Skip Function (p. 32).
4
5
6
To modify the value, either turn [PATCH/ VALUE] or use
[PATCH NUMBER ] and [PATCH NUMBER ].
Repeat steps 2–4 to continue editing.
The settings you edit will
return to the original
values when you switch
patches. If you wish to keep
your changes, refer to
“Saving your settings
(Write) / Duplicating
settings (Copy)” (p. 56).
When you are finished editing, press [EXIT].
You will return to normal Play mode.
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Ch a p te r 1 Q u ick Sta rt
fig.1-20a.e
appears if the Value is edited
"A", "B", or "C" appears
when "Pad Set" is selected
Edit Target
(Pad Set, Ribbon, D Beam, etc.)
Patch Number
U0101A* PAD SET
Pitch +200cent
Parameter
Value
fig.1-21.e
EZ Ed it — Pa ra m e te r List
Refer to Pad Set
Instrument List
(p. 94)
PAD SET,
RIBBON L,
RIBBON R,
D BEAM,
PEDAL,
Inst
Selects the instrument for Pad Set A, B, C
(Ribbon, D Beam).
Pads can be selected by five sets.
0 – 127
Level
Pan
Adjusts the volume.
TRIG 1,
TRIG 2
L63 – R63,
Random,
Alternate
Adjusts the pan (localization) of the output sound.
Random: The pan changes randomly each time the pad is struck.
Alternate: The pan alternates left and right each time the pad is struck.
0 – 127
ReverbSend
Pitch
Adjusts the reverb depth.
-2400 – +2400
Adjusts the pitch of the sound.
Adjusts the duration (decay time).
-31 – +31
Decay
OFF, ON,
PadData
MULTI-FX/LFO
Turns the multi-effects and LFO on/off.
If you select PadData, this will be determined
by the on/ off setting in Edit mode (p. 36).
* PadData can be
selected for PAD SET.
Refer to Effect
Type List (p. 95)
REVERB
MULTI-FX
Type
Selects the type of the reverb.
0 – 127
Depth
Adjusts the overall reverb depth.
Refer to Effect
Type List (p. 95)
Type
Selects the type of the multi-effects.
Adjusts the depth of the multi-effects.
Adjusts the output volume of the multi-effects.
0 – 127
0 – 127
0 – 127
Depth
FxOut Volume
Fx Rev Send
Adjusts the depth of reverb applied to the
sound processed by the multi-effects.
0 – 127
PATCH LEV
MasterVolume
Adjusts the volume of the entire patch.
Refer to "Naming
a Patch" (p. 55)
PATCH NAME
Give the pattern a name of up to 10 characters.
* About PEDAL, TRIG 1, and TRIG 2, see p. 72–p. 73.
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Ch a p te r 1 Q u ick Sta rt
Pla y in g Ba ck a Pre se t Pa tte rn
fig.1-22
2
3, 4
5
1, 5
1
Press [SEQUENCER].
[SEQUENCER] will light, and you will enter Sequencer mode.
fig.1-22a.e
Current Measure
Current Beat
Tempo
Pattern Number
U: User
P01 001-01 =100
4/4 Cha-Cha
P: Preset
Time Signature
Pattern Name
2
3
Turn [PATCH/ VALUE] to select the pattern.
For more on preset
patterns, refer to “Preset
Pattern List” (p. 91).
Press [PLAY/ STOP].
The selected pattern will play back.
4
5
To stop playback, press [PLAY/ STOP] once again.
The pattern will stop playing.
Press [SEQUENCER] or [EXIT].
You will return to normal Play mode.
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Ch a p te r 1 Q u ick Sta rt
Ch a n g in g th e Te m p o
fig.1-23
2
1, 3
1
Press [TEMPO].
[TEMPO] will light, current tempo is displayed in the screen.
fig.1-23a
Tempo
=100
2
3
Turn [PATCH/ VALUE] to change the tempo.
The tempo can be changed
either when the pattern is
playing or stopped.
When you have finished making changes, press [TEMPO]
once again.
[TEMPO] will go dark, and you will return to the previous screen.
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Ch a p te r 1 Q u ick Sta rt
Sy ste m Se ttin g s
Settings that are shared by all patches are called “system settings.”
Settings such as the display contrast and the D Beam sensitivity are system
settings.
Ad ju stin g th e Disp la y fo r Be st Visib ility (LCD
Co n tra st)
fig.1-24
2
3
1, 3
1
Press [SYSTEM].
[SYSTEM] will light, and the following screen will appear.
fig.1-25
UTILITY
LCD Contrast 5
2
3
Turn [PATCH/ VALUE] to adjust the contrast of the display
screen.
Increasing the value will darken the display.
When you have finished adjusting, press [SYSTEM] or [EXIT].
When you modify the
system setting, the new
setting is automatically
saved as soon as you make
the change. You do not
have to operate for the
storing.
You will return to normal Play mode.
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Ch a p te r 1 Q u ick Sta rt
Ad ju stin g th e D Be a m Se n sitivity
The sensitivity of the D Beam will change depending on the amount of light
in the vicinity of the unit. If it does not function as you expect, adjust the
sensitivity as appropriate for the brightness of your location.
fig.1-26
The HPD-15 adjusts the
sensitivity of the D Beam
automatically when turns
the power on.
3
2
4
1, 4
1
2
Press [SYSTEM].
[SYSTEM] will light.
Press [PARAMETER
fig.1-27
] to display the following screen.
You can make your
selection rapidly by using
the Key Repeat Function (p.
31) or Skip Function (p. 32).
CONTROLLER
DBEAM Sens 100
3
4
Place your hand about 20 inches (50 cm) above the D Beam,
and turn [PATCH/ VALUE] to adjust the sensitivity.
The sensitivity of the D
Beam will be less in a dark
location. In such locations,
it is a good idea to make
the adjustment with your
hand approximately 12
inches (30 cm) above the D
Beam.
Move the meter at the upper right of the screen to the center line as shown
in right screen. The D Beam will respond as far as the position where your
hand was when you made the adjustment.
fig.1-28
CONTROLLER
DBEAM Sens 100
CONTROLLER
DBEAM Sens 64
When you have finished adjusting, press [SYSTEM] or [EXIT].
For details on other system
parameters, refer to
You will return to normal Play mode.
“Chapter 5 Settings for the
entire HPD-15” (p. 67).
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Ch a p te r 1 Q u ick Sta rt
If th e So u n d o r O p e ra tio n Is n o t a s Yo u
Ex p e ct
If, as you modify the settings, the sound or operation is no longer as you
expect and you are unable to restore the correct settings, you can execute the
Factory Reset operation to reset all settings to their factory condition.
fig.1-29
When you execute factory
reset, the edited contents
will be lost.
4, 5
2
3
1
1
2
Press [SYSTEM].
[SYSTEM] will light.
Hold down [PARAMETER
fig.1-30
] to access the following screen.
You can make your
selection rapidly by using
the Skip function (p. 32).
FACTORY RESET
SYSTEM [WRITE]
3
4
Turn [PATCH/ VALUE] to select “ALL.”
fig.1-30a
It is also possible to
initialize specific data, such
as only the patches or only
the system settings. For
details, refer to “Restoring
the Factory Settings” (p.
85).
FACTORY RESET
ALL
[WRITE]
Press [WRITE].
The following screen will appear.
fig.1-31
Are You Sure?
[WRITE/EXIT]
5
If you wish to execute factory reset, press [WRITE].
After the data has been initialized, the following screen will appear.
fig.1-09
P01 LATIN
01 Conga
* If you decide not to execute, press [EXIT].
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Ch a p te r 1 Q u ick Sta rt
Ra p id ly Se le ctin g Pa ra m e te rs o r Va lu e s
Ke y Re p e a t Fu n ctio n
This can also be used when selecting either parameters or values, and when
selecting patch groups or patch numbers.
1
Press and hold either [
PARAMETER],
[PARAMETER
NUMBER
], [PATCH NUMBER
], [PATCH
], [GROUP -], or [GROUP +].
The parameter, value, patch number, or group will change consecutively.
Tu rb o Re p e a t Fu n ctio n
This function can also be used when selecting a value or patch number.
When you select the
instrument or adjust the
pitch, you can use the Skip
function (p. 32) instead of
the Turbo repeat function.
1
Hold down [PATCH NUMBER
[PATCH NUMBER ].
], and press
fig.1-32.e
press
while holding down
The value (value or patch number) will increase rapidly.
1
Hold down [PATCH NUMBER
[PATCH NUMBER ].
], and press
fig.1-33.e
press
while holding down
The value (value or patch number) will decrease rapidly.
Turbo Function of the Dial
1
Hold down [PATCH SEL], and turn [PATCH/ VALUE].
fig.1-33a.e
while
turn
holding
down
If you are changing the value, the value will change in 10 steps.
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Ch a p te r 1 Q u ick Sta rt
Sk ip Fu n ctio n
You can rapidly select parameters or values.
Skipping Parameters
Parameters are grouped into several categories according to the content
that is being edited. By using the skip function you can jump to the first
parameter of the category.
1
Hold down [PARAMETER
], and press and release
[
PARAMETER].
fig.1-34.e
while holding down
press and release
UTILITY
CONTROLLER
LCD Contrast 5
DBEAM Sens 100
The first parameter of the next category will be shown.
1
Hold down [
PARAMETER], and press and release
].
[PARAMETER
fig.1-35.e
while holding down
press and release
CONTROLLER
DBEAM Sens 100
UTILITY
LCD Contrast 5
The first parameter of the previous category will be shown.
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Ch a p te r 1 Q u ick Sta rt
Skipping Values
When selecting an instrument or setting the pitch, you can make the value
jump.
Instruments (sounds) are grouped into several categories. By using the skip
function you can jump to the first sound in each group.
The pitch value can be changed in steps of 100 cent (one semitone).
1
While pressing [PATCH NUMBER
[PATCH NUMBER ].
], press and release
fig.1-36.e
press and
release
while holding down
Pad Inst (p. 36) select screen
P0101A1*PAD INST
L09:Conga Hi /H
P0101A1*PAD INST
F01:Shekere
Pitch adjust screen
P0101A1*PAD INST
Pitch +12cent
P0101A1*PAD INST
Pitch +100cent
If you are selecting instruments, the first sound in the next group will be
displayed.
If you are setting the pitch, the value will increase in 100 cent steps.
1
While pressing [PATCH NUMBER
[PATCH NUMBER ].
], press and release
fig.1-37.e
while holding
down
press and release
Pad Inst (p. 36) select screen
P0101A1*PAD INST
R01:Dry Hard Kik
P0101A1*PAD INST
O01:Sleigh Bell
Pitch adjust screen
P0101A1*PAD INST
Pitch +783cent
P0101A1*PAD INST
Pitch +700cent
If you are selecting instruments, the first sound in the previous group will
be displayed.
If you are setting the pitch, the value will decrease in 100 cent steps.
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Ch a p te r 1 Q u ick Sta rt
Try to Pla y th e Co n g a
Let’s try to play the conga using the HPD-15.
Use the patch P0101 Conga.
• Open (O)
Strike the pad A5 or A4, and remove the hand immediately.
• Closed 1 (C1)
Strike the pad A5 and do not remove the hand.
• Closed 2 (C2)
While pressing the pad A1 by the left hand, strike the pad A5.
• Open Slap (OS)
Strike the edge of the pad A5 powerfully and remove the hand
immediately.
• Closed Slap (CS)
While pressing the pad A1 by the left hand, strike the edge of the pad
A5.
• Heel (H)
Strike the pad A1 by the heel of the left hand.
• Toe (T)
While pressing the PAD A1 by the heel of the left hand, strike the pad
A2 by the toe of the same hand.
• Pitch Bend (PB)
While pressing the pad A3, strike the pad A5.
Co n g a - Ba sic Rh y th m
fig.1-38.e
Pad:
A1 A2 A5 A2 A1 A2 A4 A4
A1 A2 A5 A2 A1 A2 A4 A4
Technique:
H
T CS T
H
T
O O
H
T CS T
H
T
O O
x
x
A2
A1
A4
A5
L
L
R
L
L
L
R R
L
L
R
L
L
L
R R
A3
Pad:
A1 A2 A5 A4 A4 A2 A5 A5
A1 A2 A5 A4 A4 A2 A5 A5
Technique:
H
T CS O O
T
O O
H
T CS O O
T
O O
x
x
L
L
R R R
L
R R
L
L
R R R
L
R R
L: left hand
R: right hand
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Ch a p te r 2 Mo d ify in g a Pa tch
This chapter explains Edit mode, where you can make
detailed settings.
Ba sic p ro ce d u re in Ed it Mo d e
5 . To modify the value, either turn [PATCH/ VALUE] or
1 . Press [EDIT] to make it blink; you will enter EZ Edit
use [PATCH NUMBER
].
] and [PATCH NUMBER
mode.
fig.2-01
fig.2-05.e
U0101A PAD SET
001:Conga
U0101A3 PAD INST
Pad Level 100
2 . Once again press [EDIT] to make it light; you will enter
Edit mode.
Value
* The parameter category will be displayed in the upper
6 . Repeat steps 3–5 to continue editing.
right of the screen.
fig.2-02.e
7 . When you are finished editing, press [EXIT] or [EDIT].
Parameter Category
[EDIT] will go dark, and you will return to normal Play
mode.
fig.2-06
U0101A1 PAD INST
L09:Conga Hi /H
U01 USER01
01* Conga
3 . Strike a pad to select the pad (D Beam, ribbon) that you
wish to edit.
fig.2-03.e
Pad A3 is selected
You can make your selection rapidly (p. 31). You can also use
realtime modify to change the value (p. 58).
U0101A3 PAD INST
L17:Conga HiBass
D Beam is selected
The settings you edit will return to the original values when
you switch patches. If you wish to keep your changes, refer
to “Saving Your Settings (Write) / Duplicating Settings
(Copy)” (p. 56).
U0101DB PAD INST
I35:Bell Tree
Ribbon (right) is selected
U0101RR PAD INST
L18:Conga Slide
If you edit the settings of a user patch, you can keep your
changes in the same patch by pressing [WRITE] twice.
4 . Press [
PARAMETER] or [PARAMETER
] to
select the parameter that you wish to modify.
fig.2-04.e
When you change a value, an “*” will appear beside the
patch number in the screen, indicating that the data is being
edited. If you switch patches or perform the Write or Copy
operation (p. 56), the “*” will disappear.
U0101A3 PAD INST
Pad Level 100
Parameter
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Ch a p te r 2 Mo d ify in g a Pa tch
Sw e e p : -3 1 –+3 1
Ad ju stin g So u n d s
Changes the pitch.
Select the sound that you wish to play by using the pads, D
Beam, or ribbons. You can also adjust the pitch or duration of
the sound.
Positive (+) values will cause the pitch to change from high
to low. Negative (-) values will cause the pitch to change
from low to high.
* Some parameters have relation to the parameters in EZ Edit
mode. If there are problems (e.g., no sound), check the
parameters in EZ Edit mode.
MULTI-FX/ LFO : O FF, O N
Turns the multi-effects and LFO on or off.
Parameter Category: PAD INST
fig.2-07.e
Trig Mo d e : Sh o t, Ga te , Trig (Pa d )
Mo ve , Mo vGa te , To u ch , Tch Ga te ,
Scra p e , Scrp 1 w y (D Be a m , Rib b o n )
(Inst select screen)
U0101A1 PAD INST
L09:Conga Hi /H
Selects how the sound will be played.
•
Pad
Shot * :
When you strike the pad, the sound will
play for the duration specified for that
particular sound.
Inst Group
Inst Name
(Other value select screen)
Gate * :
The sound will play while you continue
pressing the pad. This is effective when
you have selected a sustaining sound.
U0101A1 PAD INST
Pad Level 100
Parameter
Value
Trig:
The sound will play when you strike the
pad, and will stop when you strike the pad
once again. This is effective when you have
selected a sustaining sound.
(In st) : Re fe r to In stru m e n t List (p . 9 2 )
Selects the sound (instrument.)
* You can jump to the first sound in each instrument group by
using the Skip function (p. 33).
•
D Beam, Ribbon
Move: The sound will play when you place your
Pa d Le ve l: 0 –1 2 7
hand above (or touch with your finger) and
move.
Adjusts the volume.
MovGate: The sound will play when you place your
hand above (or touch with your finger) and
move. If a sustaining sound is selected, the
sound will continue playing until you stop
your hand or finger.
Pa n : L6 3 –Ce n te r–R6 3 , Ra n d o m , Alte rn a te
Adjusts the pan (localization) of the output sound.
Random: The pan changes randomly each time the pad is struck.
Alternate: The pan alternates left and right each time the pad is
struck.
Touch:
The sound will play when you place your
hand above (or touch with your finger).
Re ve rb Se n d : 0 –1 2 7
TchGate:
The sound will play when you place your
hand above (or touch with your finger). If a
sustaining sound is selected, it will
continue playing until you move your
hand or finger away.
Adjusts the depth of the reverberation.
Pitch : -2 4 0 0 –+2 4 0 0 ce n t
Adjusts the pitch.
100 cents is a semitone.
Scrape * : The sound will play when you move your
hand or finger. This is used to play sounds
such as guiro.
* You can change the pitch in steps of 100 cent by using the Skip
function (p. 33).
De ca y : -3 1 –+3 1
•
only D Beam
Adjusts the duration (decay time.)
* Some sounds do not change the duration.
Scrp1wy * : The sound will play continuously when
you move your hand. The sound will play
for only one direction.
Co lo r: -3 1 –+3 1
Adjusts the tone.
* Pedal can be specified the value marked with “*.”
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Ch a p te r 2 Mo d ify in g a Pa tch
Ve lo Cu rve : Lin e a r, Ex p 1 –2 , Lo g 1 –2 , Sp lin e ,
Lo u d 1 –2 , Fix 1 –1 6
Selects how striking force will affect the volume.
Linear:
This is the normal setting and most
natural correspondence between
velocity and volume change.
Spline:
Variation in striking force will produce
extreme change.
Loud1, Loud2: Variation in striking force will produce
little change, and a constant volume
will be maintained.
Exp1, Exp2:
Compared to Linear, a wider volume
change will occur for stronger hits.
Log1, Log2:
Compared to Linear, a wider volume
change will occur for softer hits.
Fix1–16:
The sound will play at a fixed volume
regardless of how strongly you strike.
Fix1 will produce the lowest volume,
and Fix16 will produce the highest
volume.
fig.2-08.e
Loudness
Striking force
Exp2
Log1
Linear
Exp1
Log2
Spline
Loud1
Loud2
Fix1
Fix16
Ed it Pa ra m e te rs Blo ck Dia g ra m
fig.2-09.e
Sound
L R
Generator
Pad
D Beam
Ribbon
MULTI-FX/LFO
Pan
Inst
Pad Level
Pitch
Decay
Color
TrigMode
VeloCurve
Reverb Send
+
+
Sweep
REVERB
MasterVolume
OUTPUT
Fx Rev Send
FxOut Volume
+
MULTI-
EFFECTS
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Ch a p te r 2 Mo d ify in g a Pa tch
Re a ltim e 2 : PITCH, EFFECT
Ad d in g Cy clic Ch a n g e to th e
To n e
Selects the LFO parameter which is modified by turning the
middle realtime modify knob. You can modify the
PitchDepth if you select the PITCH, or the EffectDepth if you
select the EFFECT.
You can use the LFO (Low Frequency Oscillator) to cyclically
change the pitch, volume, etc.
* The LFO will apply to all pads / D Beam / ribbons.
Parameter Category: PAD LFO
fig.2-10
This parameter is effective only when the bottom indicator
that at the upper right of the Realtime Modify knobs is lit by
pressing [SELECT].
U0101
LFO
Waveform Triangl
Re a ltim e 3 : FILTER, AMP
W a ve fo rm : O FF, Tria n g l, Sin e , Sa w Rise ,
Sa w Fa ll, Sq u a re , Tra p e , Sm p &Hld ,
Ra n d o m , Ch a o s
Selects the LFO parameter which is modified by turning the
right realtime modify knob. You can modify the FilterDepth
if you select the FILTER, or the AmpDepth if you select the
AMP.
Selects the waveform of the LFO. If you select OFF, there will
be no change, and the following parameters will not be
displayed.
fig.2-11.e
This parameter is effective only when the bottom indicator
that at the upper right of the Realtime Modify knobs is lit by
pressing [SELECT].
Triangl
Sine
SawRise
Triangle wave
SawFall
Sine wave
Square
Sawtooth
wave (Up)
Trape
Sawtooth
wave (Down)
Square wave Trapezoidal wave
Smp&Hld
Random
Chaos
Sample and
hold wave
Random wave
Chaos wave
Ra te : 0 –1 2 7
Adjusts the modulation rate of the LFO waveform.
Pitch De p th : 0 –1 2 7
Adjusts the depth of the pitch modulation.
Filte rDe p th : 0 –1 2 7
Adjusts the depth of the modulation in tone.
Am p De p th : 0 –1 2 7
Adjusts the depth of the modulation in volume.
Effe ctDe p th : 0 –1 2 7
Adjusts the depth of modulation for the effect parameter. For
details on the parameter that will be modulated, refer to
“Adjusting Multi-Effect Settings” (p. 40).
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Ch a p te r 2 Mo d ify in g a Pa tch
HF Da m p : 2 0 0 Hz–8 k Hz, THRU
Effe ct Se ttin g s
Adjusts the currently at which the high range of the
reverberation will be cut. As you lower the frequency, more
of the high range will be cut, producing a softer sound. If you
do not wish to cut the high range, set this to THRU.
You can add reverberation to the sound to create the
sensation of playing in a hall or on stage, apply distortion to
the sound, or add depth, spaciousness, and modulation.
* The effect will apply to all pads / D Beam / ribbons.
Dly Fe e d b a ck : 0 –1 2 7
Ad ju stin g th e Re ve rb Se ttin g s
Adjusts the number of times that the delay sound will be
repeated.
Reverb adds reverberation to the sound to simulate a
spacious ambience.
* This will be displayed only if Algo is Delay or PanDly.
fig.2-13.e
Parameter Category: REVERB
fig.2-12
Algo: Room1–2, Stage, Plate, Hall1–2
U0101 REVERB/DLY
Direct Sound
Type#
Room1
Level
Ty p e : Re fe r to REVERB/ DELAY Ty p e (p . 9 5 )
Reverb Sound
Selects the preset setting of reverb.
Time
If you wish to make even more detailed settings, adjust the
algorithm and parameters below. When you change a value,
a “#” will appear beside the “Type.”
Algo: Delay, PanDly
Direct Sound
Delay Sound
Alg o : O FF, Ro o m 1 –2 , Sta g e , Pla te , Ha ll1 –2 ,
Level
De la y , Pa n Dly
Selects the type (algorithm) of reverb. If you select OFF no
reverb will be applied, and the following parameters will not
be displayed.
Time
Dly Feedback
Room1: Simulation of the reverberation in a room
Room2: Brighter reverb than Room1
If you change the “Type,” the algorithm of the reverb and the
values of the parameters will be changed to the setting of
each type.
Stage: Simulation of on-stage reverberation
Plate:
Hall1:
Hall2:
Simulation of a metal plate reverb
Simulation of a larger space than Room
Brighter reverb than Hall1
Delay: Standard delay (Echo)
PanDly: Delay that pans (moves) the reflection between
left and right
Le ve l: 0 –1 2 7
Adjusts the volume of the reverberation (or delay sound).
Tim e : 0 –1 2 7
If Algo is Room1–Hall2, this adjusts the duration of the
reverberation. If Algo is Delay or PanDly, this adjusts the
delay time.
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Ch a p te r 2 Mo d ify in g a Pa tch
StereoDelay:
Stereo Delay (Delay the sound)
Ad ju stin g th e Mu lti-Effe ct Se ttin g s
Mod Delay:
Modulation Delay (Delay the sound while
modulating it)
Multi-effect (M-FX) allows you to select different algorithms
to obtain a variety of effects.
TimeCtrlDly:
Time Control Delay (Control the delay and
pitch in realtime)
Parameter Category: MULTI-FX
fig.2-14
3TapDlySht:
3-tap delay short (Delay the sound in three
directions)
U0101 MULTI-FX
Type# Hall"A"
3TapDlyLng:
3-tap delay Long
4TapDlySht:
4-tap delay short (Produce four delayed
sounds)
Ty p e : Re fe r to MULTI-FX Ty p e (p . 9 5 )
Selects the preset setting of multi-effects.
4TapDlyLng:
AdvanceRev:
GateReverb:
4-tap delay Long
If you wish to make even more detailed settings, adjust the
algorithm below and parameters on the following pages.
When you change a value, a “#” will appear beside the
“Type.”
Advanced Reverb (Add reverb to the sound)
Gate Reverb (Sharply cut the reverberation)
The parameters of each algorithm are explained on the
following pages.
Alg o :
Selects the algorithm of the effect. The parameters and values
will differ depending on the algorithm.
In the explanation on the following pages, the value of
parameters marked with “RTM” can be controlled by [M-FX
DEPTH] of the Realtime Modify (p. 19).
Stereo EQ:
Stereo Equalizer (Modify the tone)
CompLimiter: Compressor/ Limiter (Make the volume
more consistent)
* If you modify the MULTI-FX DEPTH in EZ Edit Mode (p.
25), the value of these parameters will be changed.
Enhancer:
Spectrum:
Isolator:
Enhancer (Add sparkle to the sound)
Spectrum (Add character to the sound)
Isolator (Cut off a specific frequency range)
In the explanation on the following pages, the value of
parameters marked with “LFO” can be controlled by the
LFO. For details, refer to “Adding Cyclic Change to the
Tone” (p. 38).
DynamicFltr:
Dynamic Filter (Modify the tone according
to the volume)
Sustainer:
Overdrive:
Distortion:
Lo-Fi:
Sustainer (Increase the duration of the sound)
Overdrive (Mildly distort the sound)
Distortion (Severely distort the sound)
Lo-Fi (Simulate a “low-fidelity” sound)
In the explanation on the following pages, the value of
parameters marked by “Ctrl1, Ctrl2, Ctrl3” can be controlled by
the pads, D Beam, and ribbons. For details, refer to the section
on CtrlTx: MFX Ctrl 1–3 in “Controlling the tone” (p. 52).
RingModltr:
Ring Modulator (Give the sound a metallic
character)
Stereo Cho:
Stereo Chorus (Add depth and
spaciousness to the sound)
TetraChorus:
Tetra Chorus (Layer chorus sounds to
create more spaciousness)
Fx O u t Vo lu m e :
Adjusts output volume of the multi-effects.
Tremolo Cho: Tremolo Chorus (Cyclically modulate the
volume to create spaciousness)
Fx Re v Se n d :
Space D:
Space D (Add transparent spaciousness)
Adjusts the depth of reverb applied to the sound processed
by the multi-effects.
Stereo Fln:
Stereo Flanger (Add metallic resonance to
the sound)
StepFlanger:
Phaser:
Step Flanger (Add metallic resonance
while shifting the pitch by steps)
Phaser (Give the sound a “swooshing”
If you change the “Type,” the algorithm of the effect and the
values of the parameters will be changed to the setting of
each type.
character)
FbackPitch:
Feedback Pitch Shifter (Shift the pitch)
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Ch a p te r 2 Mo d ify in g a Pa tch
Ste re o Eq u a lize r (Ste re o EQ )
Co m p re sso r/ Lim ite r (Co m p Lim ite r)
This is a four-band stereo equalizer (low, mid x 2, high).
The Compressor/ Limiter compresses signals that exceed a
specified volume level, smoothing out unevenness in volume
and preventing distortion from occurring.
Low Freq: 100Hz, 200Hz, 400Hz
Selects the frequency of the low range.
Low EQ: -15–+15dB
Threshold: 0–127
Adjusts the volume at which compression will begin.
Ratio: 1:1–100:1, infinite:1 LFO, Ctrl1
Adjusts the compression ratio.
Attack: 0–127 Ctrl2
Adjusts the level of the low frequency.
Mid1Freq: 100Hz–12.5kHz Ctrl3
Adjusts the frequency of mid range 1.
Mid 1 Q: 0.5, 1.0, 2.0, 4.0, 8.0
Adjusts the attack time of an input sound.
Release: 0–127 Ctrl3
Adjusts the width of the area around the Mid1Freq that will
be affected by the Level setting. Higher values of Q will
result in a narrower area being affected.
fig.2-15.e
Adjusts the time from when the volume falls below the
Threshold Level until compression is no longer applied.
Level
Pan: L63–Center–R63
Adjusts the stereo location of the output sound.
TotalLevel: -15–+15dB RTM
Adjusts the output level.
8.0
0.5
Frequency
Mid 1 EQ: -15–+15dB LFO, Ctrl1
Adjusts the level for the area specified by the Mid1Freq and
Q settings.
Mid2Freq: 100Hz–12.5kHz
Adjusts the frequency of mid range 2.
Mid 2 Q: 0.5, 1.0, 2.0, 4.0, 8.0
Adjusts the width of the area around the Mid2Freq that will
be affected by the Level setting. Higher values of Q will
result in a narrower area being affected.
Mid 2 EQ: -15–+15dB Ctrl2
Adjusts the level for the area specified by the Mid2Freq and
Q settings.
HighFreq: 4kHz, 8kHz, 12.5kHz
Selects the frequency of the high range.
High EQ: -15–+15dB
Adjusts the level of the high frequency.
TotalLevel: -15–+15dB RTM
Adjusts the output level.
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Ch a p te r 2 Mo d ify in g a Pa tch
En h a n ce r
Iso la to r
The Enhancer controls the overtone structure of the high
frequencies, adding sparkle and tightness to the sound.
The Isolator is a stronger version of an equalizer, and is able
to completely cut a specific frequency range.
Sens: 0–127 LFO, Ctrl1
Low Level: 0–127 Ctrl3
Adjusts the sensitivity of the enhancer.
Mix: 0–127 RTM, Ctrl2
Adjusts the level of the low frequency.
Mid Level: 0–127 LFO, Ctrl1
Adjusts the level of the middle frequency.
High Level: 0–127 Ctrl2
Adjusts the ratio with which the overtones generated by the
enhancer are combined with the direct sound.
Low EQ: -15–+15dB
Adjusts the level of the high frequency.
Pan: L63–Center–R63
Adjusts the level of the low frequency range.
High EQ: -15–+15dB Ctrl3
Adjusts the stereo location of the output sound.
TotalLevel: -15–+15dB RTM
Adjusts the output level.
Adjusts the level of the high frequency range.
Sp e ctru m
Spectrum is a type of filter which modifies the timbre by
boosting or cutting the level at specific frequencies. It is
similar to an equalizer, but has 5 frequency points fixed at
locations most suitable for adding character to the sound.
Dy n a m ic Filte r (Dy n a m icFltr)
The Dynamic Filter varies the tone by moving a filter
according to the volume.
Filter Type: LPF, BPF
Band 1: -15–+15dB
Selects the type of filter.
Adjusts the 500 Hz level.
Band 2: -15–+15dB LFO, Ctrl1
Adjusts the 1 kHz level.
Band 3: -15–+15dB
LPF: The wah effect will be applied over a wide
frequency range.
BPF: The wah effect will be applied over a narrow
frequency range.
Adjusts the 1.25 kHz level.
Band 4: -15–+15dB Ctrl2
Adjusts the 3.15 kHz level.
Band 5: -15–+15dB
Sens: 0–127 Ctrl2
Adjusts the sensitivity with which the filter is controlled.
Manual: 0–127 RTM, LFO, Ctrl1
Adjusts the center frequency from which the effect is applied.
Peak: 0–127 Ctrl3
Adjusts the 4 kHz level.
Width: 1–5 Ctrl3
Adjusts the amount of the wah effect that will occur in the
area of the center frequency. Lower settings will cause the
effect to be applied in a broad area around the center
frequency. Higher settings will cause the effect to be applied
in a more narrow range.
Simultaneously adjusts the width of the adjusted areas for all
the frequency bands.
Pan: L63–Center–R63
Adjusts the stereo location of the output sound.
TotalLevel: -15–+15dB RTM
Adjusts the output level.
Pan: L63–Center–R63
Adjusts the stereo location of the output sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Su sta in e r
O ve rd rive
The Sustainer restrains loud levels and boosts low levels,
making the sound more consistent and sustaining the sound.
This effect creates a soft distortion similar to that produced
by vacuum tube amplifiers.
Attack: 0–127 LFO, Ctrl1
Drive: 0–127 RTM, LFO, Ctrl1
Adjusts the attack time of an input sound.
Sustain: 0–127 Ctrl2
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
Character: 1–4
Adjusts the degree of boost.
Selects the character of distortion. Increasing the value will
make more sound pressure.
Pan: L63–Center–R63 Ctrl3
Adjusts the stereo location of the output sound.
TotalLevel: -15–+15dB RTM
Adjusts the output level.
Pan: L63–Center–R63 Ctrl2
Adjusts the stereo location of the output sound.
Disto rtio n
This effect produces a more intense distortion than
Overdrive.
Drive: 0–127 RTM, LFO, Ctrl1
Adjusts the degree of distortion. The volume will change
together with the degree of distortion.
Character: 1–4
Selects the character of distortion. Increasing the value will
make more sound pressure.
Pan: L63–Center–R63 Ctrl2
Adjusts the stereo location of the output sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Lo -Fi
Ste re o Ch o ru s (Ste re o Ch o )
This effect intentionally degrades the audio quality to
simulate a Lo-Fi sound.
This is a stereo chorus. A filter is provided so that you can
adjust the timbre of the chorus sound.
Bit Down: 0–7 Ctrl3
PreDelay: 0.0–100ms
Lowers the audio quality. The audio quality will worsen as
this setting is increased.
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
S-Rate Down: 32, 16, 8, 4 Ctrl2
Rate: 0.05–10.0Hz LFO, Ctrl1
Adjusts the rate of modulation.
Depth: 0–127 Ctrl2
Coarsens the output signal. The sound will become coarser
as this setting is lowered.
Low EQ: -15–+15dB
Adjusts the depth of modulation.
Phase: 0–180deg
Adjusts the level of the low frequency.
High EQ: -15–+15dB RTM, LFO, Ctrl1
Adjusts the level of the high frequency.
Output: Mono, Stereo
Adjusts the spatial spread of the sound.
Filter Type: OFF, LPF, HPF
Selects the type of filter.
Specifies how the sound will be output. With a setting of
OFF: A filter will not be used. Cutoff will not be
“Mono,” the output sound will be monaural.
displayed.
LPF: Cut the frequency range above the cutoff
frequency.
Rin g Mo d u la to r (Rin g Mo d ltr)
HPF: Cut the frequency range below the cutoff
frequency.
A ring modulator add the amplitude modulation to the
sound, giving a metallic character.
Cutoff: 200–8kHz Ctrl3
Adjusts the basic frequency of the filter.
Effect Level: 0–127 RTM
Frequency: 0–127 Ctrl1
Adjusts the frequency for modulation.
Character: 0–127 LFO, Ctrl2
Adjusts the output level of chorus sound.
Direct Level: 0–127
Adjusts the tone. The high-frequency range will change.
Effect Level: 0–127 RTM, Ctrl3
Adjusts the output level of effect sound.
Direct Level: 0–127
Adjusts the output level of direct sound.
Adjusts the output level of direct sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Te tra Ch o ru s (Te tra Ch o ru s)
Tre m o lo Ch o ru s (Tre m o lo Ch o )
Tetra chorus uses a four-phase chorus (four layers of
chorused sound) to give richness and spatial spread to the
sound.
Tremolo Chorus is a chorus effect with added Tremolo
(cyclic modulation of volume).
PreDelay: 0.0–100ms
PreDelay: 0.0–100ms
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
Adjusts the time delay from when the direct sound begins
until the chorus sound is heard.
Cho Rate: 0.05–10.0Hz LFO
Rate: 0.05–10.0Hz LFO, Ctrl1
Adjusts the rate of modulation.
Depth: 0–127 Ctrl2
Adjusts the modulation speed of the chorus effect.
Cho Depth: 0–127
Adjusts the modulation depth of the chorus effect.
Trm Phase: 0–180deg Ctrl3
Adjusts the depth of modulation.
Pre Delay Dev: 0–20
Adjusts the spread of the tremolo effect.
Trm Rate: 0.05–10.0Hz Ctrl1
Adjusts the differences in Pre Delay between each chorus
sound.
Adjusts the modulation speed of the tremolo effect.
Trm Depth: 0–127 Ctrl2
Depth Dev: -20–+20
Adjusts the difference in modulation depth between each
chorus sound.
Adjusts the modulation depth of the tremolo effect.
Effect Level: 0–127 RTM
Pan Deviation: 0–20 Ctrl3
Adjusts the output level of tremolo chorus sound.
Direct Level: 0–127
Adjusts the difference in stereo location between each chorus
sound. With a setting of 0, all chorus sounds will be in the
center. Increasing the value will cause the chorus sound to be
panned more expansively.
Adjusts the output level of direct sound.
Effect Level: 0–127 RTM
Adjusts the output level of chorus sound.
Direct Level: 0–127
Adjusts the output level of direct sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Sp a ce D
Ste re o Fla n g e r (Ste re o Fln )
Space D is a multiple chorus that applies two-phase
modulation in stereo. This is a chorus with a transparent
character and minimal sense of modulation.
This is a stereo flanger. (The LFO has the same phase for left
and right.) It produces a metallic resonance that rises and
falls like a jet airplane taking off or landing. A filter is
provided so that you can adjust the timbre of the flanged
sound.
PreDelay: 0.0–100ms
Adjusts the time delay from when the direct sound begins
until the processed sound is heard.
PreDelay: 0.0–100ms
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
Rate: 0.05–10.0Hz LFO, Ctrl1
Adjusts the rate of modulation.
Depth: 0–127 Ctrl2
Rate: 0.05–10.0Hz LFO, Ctrl1
Adjusts the rate of modulation.
Depth: 0–127 Ctrl2
Adjusts the depth of modulation.
Phase: 0–180deg Ctrl3
Adjusts the depth of modulation.
Feedback: -98–+98% Ctrl3
Adjusts the spatial spread of the sound.
Tone: -15–+15
Adjusts the amount (%) of the processed sound that is
returned (fed back) into the input. Positive (+) settings will
return the sound in phase, and negative (-) settings will
return the sound in reverse phase.
Adjusts the tone quality. Positive (+) settings will emphasize
the high range, and negative (-) settings will emphasize the
low range.
Effect Level: 0–127 RTM
Phase: 0–180deg
Adjusts the output level of chorus sound.
Direct Level: 0–127
Adjusts the spatial spread of the sound.
Filter Type: OFF, LPF, HPF
Selects the type of filter.
Adjusts the output level of direct sound.
OFF: A filter will not be used. Cutoff will not be
displayed.
LPF: Cut the frequency range above the cutoff
frequency.
HPF: Cut the frequency range below the cutoff
frequency.
Cutoff: 200–8kHz
Adjusts the basic frequency of the filter.
Effect Level: 0–127 RTM
Adjusts the output level of flanger sound.
Direct Level: 0–127
Adjusts the output level of direct sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Ste p Fla n g e r (Ste p Fla n g e r)
Ph a se r
The Step Flanger effect is a flanger in which the flanger pitch
changes in steps. The speed at which the pitch changes can
also be specified in terms of a note-value of a specified
tempo.
A phaser adds a phase-shifted sound to the original sound,
producing a twisting modulation that creates spaciousness
and depth.
Manual: 100–8kHz
PreDelay: 0.0–100ms
Adjusts the basic frequency from which the sound will be
modulated.
Adjusts the time delay from when the direct sound begins
until the flanger sound is heard.
Rate: 0.05–10.0Hz LFO, Ctrl3
Adjusts the frequency (period) of modulation.
Depth: 0–127 Ctrl2
Rate: 0.05–10.0Hz Ctrl3
Adjusts the rate of modulation.
Depth: 0–127 Ctrl2
Adjusts the depth of modulation.
Resonance: 0–127 Ctrl1
Adjusts the depth of modulation.
Feedback: -98–+98%
Adjusts the amount of feedback for the phaser.
Mix: 0–127 RTM
Adjusts the amount (%) of the flanger sound that is returned
(fed back) into the input. Negative (-) settings will invert the
phase.
Adjusts the ratio with which the phase-shifted sound is
combined with the direct sound.
Phase: 0–180deg
Pan: L63–Center–R63
Adjusts the spatial spread of the sound.
Step Rate: 0.05–10.0Hz, note-value LFO, Ctrl1
Adjusts the stereo location of the output sound.
Adjusts the rate (period) of pitch change. This parameter can
be set as a note-value of the tempo of the sequencer. In this
case, specify the value of the desired note.
Effect Level: 0–127 RTM
Adjusts the output level of flanger sound.
Direct Level: 0–127
Adjusts the output level of direct sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Fe e d b a ck Pitch Sh ifte r (Fb a ck Pitch )
Ste re o De la y (Ste re o De la y )
A Pitch Shifter shifts the pitch of the original sound. This
pitch shifter allows the pitch shifted sound to be fed back
into the effect.
This is a stereo delay.
Delay Left: 0.0–500ms
DelayRight: 0.0–500ms
Coarse: -24–+12semi LFO, Ctrl1
Adjusts the time from the original sound until when the
delay sound is heard.
Adjusts the pitch of the pitch shifted sound in semitone steps
(-2–+1 octaves).
Feedback: -98–+98% Ctrl1
Fine: -100–+100cent
Adjusts the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Makes fine adjustments to the pitch of the pitch shifted
sound in 2-cent steps (-100–+100 cents). One cent is 1/ 100th
of a semitone.
Fbk Mode: NORMAL, CROSS
Selects the way in which delay sound is fed back into the effect.
NORMAL: The left delay sound will be fed back into the
Pan: L63–Center–R63 Ctrl3
Adjusts the stereo location of the pitch shifted sound.
Pre Delay: 0.0–500ms
left delay, and the right delay sound into the right delay.
fig.2-16.e
L in
L out
Adjusts the time delay from when the direct sound begins
until the pitch shifted sound is heard.
Delay
Feedback
Delay
Mode: 1–5
Lower settings of this parameter will result in faster
response. Higher settings will result in slower response, but
steadier pitch.
R in
R out
CROSS: The left delay sound will be fed back into the
Feedback: -98–+98% Ctrl2
right delay, and the right delay sound into the left delay.
fig.2-17.e
Adjusts the proportion (%) of the processed sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
L in
L out
Delay
Feedback
Delay
Tone: -15–+15
Adjusts the tone quality. Positive (+) settings will emphasize
the high range, and negative (-) settings will emphasize the
low range.
R in
R out
Phase L: NORMAL, INVERSE
Phase R: NORMAL, INVERSE
Effect Level: 0–127 RTM
Adjusts the output level of pitch shifted sound.
Direct Level: 0–127
Selects the phase of the left/ right delay sound.
NORMAL: Phase is not changed.
Adjusts the output level of direct sound.
INVERSE: Phase is inverted.
HF Damp: 200Hz–8kHz, THRU Ctrl2
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to THRU.
Tone:-15–+15
Adjusts the tone quality. Positive (+) settings will emphasize
the high range, and negative (-) settings will emphasize the
low range.
Effect Level: 0–127 RTM, LFO, Ctrl3
Adjusts the output level of delay sound.
Direct Level: 0–127
Adjusts the output level of direct sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Mo d u la tio n De la y (Mo d De la y )
Tim e Co n tro l De la y (Tim e CtrlDly )
This effect adds modulation to the delayed sound, producing
an effect similar to a flanger.
This effect allows you to use pads/ D Beam/ ribbons to
control the delay time and pitch in realtime. Lengthening the
delay will lower the pitch, and shortening it will raise the
pitch.
Delay Left: 0.0–500ms
DelayRight: 0.0–500ms
Delay: 200–1000ms LFO, Ctrl1
Adjusts the time from the original sound until when the right
delay sound is heard.
Adjusts the time delay from the direct sound until when each
delay sound is heard.
Feedback: -98–+98% Ctrl2
Acceleration: 0–15
Adjusts the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
Adjusts the time over which the delay time will change from
the current setting to a newly specified setting. The rate of
change for the delay time directly affects the rate of pitch
change.
Fbk Mode: NORMAL, CROSS
Selects the way in which delay sound is fed back into the effect.
NORMAL: The left delay sound will be fed back into the
Feedback: -98–+98% Ctrl2
left delay, and the right delay sound into the right delay.
Adjusts the proportion (%) of the delay sound that is fed back
into the effect. Negative (-) settings will invert the phase.
fig.2-16.e
L in
L out
Delay
Feedback
Delay
HF Damp: 200Hz–8kHz, THRU
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to THRU.
R in
R out
Pan: L63–Center–R63 Ctrl3
Adjusts the stereo location of the delay sound.
Tone: -15–+15
CROSS: The left delay sound will be fed back into the
right delay, and the right delay sound into the left delay.
fig.2-17.e
L in
L out
Adjusts the tone quality. Positive (+) settings will emphasize
the high range, and negative (-) settings will emphasize the
low range.
Delay
Feedback
Delay
Effect Level: 0–127 RTM
R in
R out
Adjusts the output level of delay sound.
Direct Level: 0–127
Rate: 0.05–10.0Hz LFO, Ctrl1
Adjusts the rate of modulation.
Depth: 0–127 Ctrl3
Adjusts the output level of direct sound.
Adjusts the depth of modulation.
Phase: 0–180deg
Adjusts the spatial spread of the sound.
HF Damp: 200Hz–8kHz, THRU
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to THRU.
Tone:-15–+15
Adjusts the tone quality. Positive (+) settings will emphasize
the high range, and negative (-) settings will emphasize the
low range.
Effect Level: 0–127 RTM
Adjusts the output level of delay sound.
Direct Level: 0–127
Adjusts the output level of direct sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
3 -Ta p De la y (3 Ta p Dly Sh t/ 3 Ta p Dly Ln g )
4 -Ta p De la y (4 Ta p Dly Sh t/ 4 Ta p Dly Ln g )
The 3-Tap Delay produces three delay sounds; center, left
and right. The delay time can be specified as a note value of
the tempo of the sequencer.
The 4-Tap Delay has four delays. Each of the delay time
parameters can be specified as a note value of the tempo of
the sequencer.
* There is no difference between Sht and Lng but the length of
* There is no difference between Sht and Lng but the length of
the delay time.
the delay time.
Delay C: 20–600ms (Sht), 200–1000ms (Lng), note-value
Delay L: 20–600ms (Sht), 200–1000ms (Lng), note-value
Delay R: 20–600ms (Sht), 200–1000ms (Lng), note-value
The stereo location of each delay sound is as follows.
fig.2-18
2
3
4
1
Adjusts the time delay from the direct sound until when the
delay sound is heard. This parameter can be set as a note-
value of the tempo of the sequencer. In this case, specify the
value of the desired note.
R
L
Delay 1: 20–600ms (Sht), 200–1000ms (Lng), note-value
Delay 2: 20–600ms (Sht), 200–1000ms (Lng), note-value
Delay 3: 20–600ms (Sht), 200–1000ms (Lng), note-value
Delay 4: 20–600ms (Sht), 200–1000ms (Lng), note-value
Feedback: -98–+98%
Adjusts the proportion (%) of the center delay sound that is
fed back into the effect. Negative (-) settings will invert the
phase.
Adjusts the time delay from the direct sound until when each
delay sound is heard. These parameters can be set as a note-
value of the tempo of the sequencer. In this case, specify the
value of the desired note.
Center Level: 0–127 LFO, Ctrl1
Left Level: 0–127 Ctrl2
Level 1: 0–127 LFO, Ctrl1
Level 2: 0–127 Ctrl2
Right Level: 0–127 Ctrl3
Adjusts the volume of each delay sound.
HF Damp: 200Hz–8kHz, THRU
Level 3: 0–127 Ctrl3
Level 4: 0–127
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to THRU.
Adjusts the volume of each delay sound.
Feedback: -98–+98%
Tone: -15–+15
Adjusts the proportion (%) of the delay 1 sound that is fed
back into the effect. Negative (-) settings will invert the
phase.
Adjusts the tone quality. Positive (+) settings will emphasize
the high range, and negative (-) settings will emphasize the
low range.
HF Damp: 200Hz–8kHz, THRU
Effect Level: 0–127 RTM
Adjusts the frequency above which sound fed back to the
effect will be cut. If you do not want to cut the high
frequencies of the feedback, set this parameter to THRU.
Adjusts the output level of delay sound.
Direct Level: 0–127
Effect Level: 0–127 RTM
Adjusts the output level of direct sound.
Adjusts the output level of delay sound.
Direct Level: 0–127
Adjusts the output level of direct sound.
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Ch a p te r 2 Mo d ify in g a Pa tch
Ad va n ce d Re ve rb (Ad va n ce Re v)
Ga te Re ve rb (Ga te Re ve rb )
The Reverb effect adds reverberation to the sound,
simulating an acoustic space.
Gate Reverb is a special type of reverb in which the
reverberant sound is cut off before its natural length.
Type: ROOM1–2, STAGE, PLATE, HALL1–2
Selects the type of Reverb effect.
Type: NORMAL, REVERSE, SWEEP1, SWEEP2
Selects the type of reverb.
Room1: Simulation of the reverberation in a room
Room2: Brighter reverb than Room1
NORMAL: conventional gate reverb
REVERSE: backwards reverb
Stage: Simulation of on-stage reverberation
SWEEP1: the reverberant sound moves from right to left
SWEEP2: the reverberant sound moves from left to right
PreDelay: 0.0–100ms Ctrl2
Plate:
Hall1:
Hall2:
Simulation of a metal plate reverb
Simulation of a larger space than Room
Brighter reverb than Hall1
Adjusts the time delay from when the direct sound begins
until the reverb sound is heard.
PreDelay: 0.0–100ms
Gate Time: 5–500ms Ctrl3
Adjusts the time delay from when the direct sound begins
until the reverb sound is heard.
Adjusts the time from when the reverb is heard until when it
disappears.
Time: 0–127 Ctrl2
Effect Level: 0–127 RTM, LFO, Ctrl1
Adjusts the output level of reverb sound.
Direct Level: 0–127
Adjusts the time length of reverberation.
HF Damp: 200Hz–8kHz, THRU Ctrl3
Adjusts the frequency above which the reverberant sound
will be cut. As the frequency is set lower, more of the high
frequencies will be cut, resulting in a softer and more muted
reverberance. If you do not want the high frequencies to be
cut, set this parameter to THRU.
Adjusts the output level of direct sound.
fig.2-20.e
Direct Sound
Direct
Effect
Level
Level
Effect Level: 0–127 RTM, LFO, Ctrl1
Adjusts the output level of reverb sound.
Direct Level: 0–127
Reverb Sound
Gate Time
PreDelay
Adjusts the output level of direct sound.
fig.2-19.e
Direct Sound
Direct
Effect
Level
Level
Reverb Sound
Time
PreDelay
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Ch a p te r 2 Mo d ify in g a Pa tch
Ctrl Rx : O FF, O N
Co n tro llin g th e To n e
Specifies whether control signals other than mute, pitch, and
roll will be received. If you select ON, signals from other
pads or controllers will affect the tone.
By pressing on a pad or moving your hand over the D Beam
or a ribbon, you can control the tone of other pads or
controllers.
* “MFX Ctrl” and LFO control signals are received even if this
parameter is set to “OFF.”
Parameter Category: PAD CTRL
fig.2-21
U0101A1 PAD CTRL
MuteRx
ON
Ro ll Rx : O FF, O N
Specifies whether the sound will be repeated when [ROLL/
HOLD] is lit.
Co n tro l Pa ra m e te rs Blo ck Dia g ra m
fig.2-22.e
* The Controllers other than pads will be displayed as “---” and
cannot be set.
Pad (D Beam, Ribbon, etc.)
Generate
Trigger
Sound
Rx Se lf: O FF, O N
Specifies whether or not the transmitted control signal will
itself be received.
PitchRx
Mute Rx Range
MuteTx PitchTx CtrlTx
Ctrl Rx
Mu te Tx : O FF, O N
Rx Self
Specifies transmission for mute signals. If you select ON, you
will be able to cut the notes of pads or controllers.
+
+
* Mute may have no effect for some sounds.
+
Pitch Tx : O FF, O N
Trigger
Sound
Generate
Specifies transmission for pitch control signals. If you select
ON, you will be able to modify the pitch of pads or
controllers.
Other Pads, D Beam, Ribbons
Mu te Rx : O FF, O N
CtrlTx : O FF, LFO Pitch , LFO Fltr, LFO Am p ,
Specifies how mute signals (to cut the note) will be received.
If you select ON, signals from other pads or controllers will
mute the note.
MFX Ctrl1 –3 (Pa d )
O FF, Le ve l -, Le ve l +, De ca y -, De ca y +,
Cu to ff, Re so n a n ce , Co lo r 1 –2 ,
Re vSe n d -, Re vSe n d +, LFO Ra te ,
LFO Pitch , LFO Fltr, LFO Am p ,
LFO Pc&Rt, LFO Ft&Rt, LFO Am &Rt,
MFX Ctrl1 –3 , Ro llSp e e d , Te m p o -,
Te m p o +, Tu rn Ta b le
* Mute may have no effect for some sounds.
Pitch Rx Ra n g e : -2 4 –O FF–+2 4 , Rd m
Specifies how pitch control signals will be received. With
positive (+) settings, pitch control signals will raise the pitch.
With negative (-) settings, pitch control signals will lower the
pitch. If you select Rdm, the pitch will change randomly each
time a signal is received. If you select OFF, the pitch will not
change even if signals are received.
(D Be a m , Rib b o n , Pe d a l)
Pla y / Sto p (D Be a m , Pe d a l)
Specifies transmission for control signals other than mute
and pitch.
Level -, Level +:
Modifies the volume.
Decay -, Decay +:
Modifies the duration (decay time.)
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Ch a p te r 2 Mo d ify in g a Pa tch
Cutoff:
Play/Stop:
Modifies the cutoff frequency of the filter. The character
of the high-frequency range will change.
Controls sequencer play/ stop. This is the same operation
as pressing [PLAY/ STOP] on the panel.
Resonance:
* This cannot control sequencer start/stop in the Recording
Stand-by Mode (p. 59).
Modifies the resonance of the filter. The range near the
filter cutoff frequency will be emphasized.
Color 1–2:
Simultaneously changes the filter cutoff frequency and
resonance. The tonal character will change.
When CtrlTx is set to any value marked with a "*," the effect
can be obtained even with pads (ribbons, D Beam, etc.) for
which Ctrl Rx has been set to OFF.
RevSend -, RevSend +:
Modifies the depth of the reverberation.
LFO Rate * :
CtrllrTy p e : Po sit, Sp e e d
Modifies the modulation rate of the LFO waveform.
LFO Pitch * :
Specifies how the D Beam, ribbon, and pedal will transmit
signals. If you select Posit, the transmitted signal will change
according to the position at which your hand is located
relative to the controller. If you select Speed, the transmitted
signal will change according to the speed at which you move
your hand.
Modifies the depth of the pitch modulation produced by
the LFO.
LFO Fltr * :
Modifies the depth of the tonal change produced by the
LFO.
* The pad will be displayed as “---” and cannot be set.
LFO Amp * :
Modifies the depth of the volume change produced by
the LFO.
LFO Pc&Rt * :
Modifies the depth of the pitch modulation produced by
the LFO and the speed of modulation.
LFO Ft&Rt * :
Modifies the depth of the tonal change produced by the
LFO and the speed of modulation.
LFO Am&Rt * :
Modifies the depth of the volume change produced by
the LFO and the speed of modulation.
MFX Ctrl1–3 * :
Modifies the parameter value of the multi-effect. The
parameter that will be controlled will depend on the
selected effect. Please refer to “Adjusting Multi-Effect
Settings” (p. 40). If you select MFX Ctrl1, parameters
marked by “Ctrl1” can be controlled. The same applies
to MFX Ctrl2–3.
RollSpeed * :
Changes the speed at which the roll will repeat. The
same effect can be obtained even if [ROLL/ HOLD] is not
lit.
Tempo -, Tempo +:
Adjusts the tempo of the sequencer.
TurnTable * :
An effect will be produced as though you were manually
rotating the turntable of a record player.
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Ch a p te r 2 Mo d ify in g a Pa tch
Usin g a Pa d to Sta rt a
Pa tte rn
Se t th e Vo lu m e o f th e En tire
Pa tch
You can play a sequencer pattern by striking a pad (B1–B5,
You can set the volume of the patch to adjust the volume
balance between patches.
C1–C5).
Parameter Category: PATCH LEV
fig.2-24
Pads A1–A5, the D Beam, and the ribbon controllers can not
U0101 PATCH LEV
MasterVolume 100
play patterns.
Parameter Category: PAD PTN
fig.2-23
Ma ste rVo lu m e : 0 –1 2 7
U0101B1 PAD PTN
PTN Number U01
Se ttin g s fo r O th e r Fu n ctio n s
PTN N u m b e r:
Parameter Category: FUNC
Selects a pattern. If a pattern is not selected, this will be
displayed as “OFF.”
Lim itin g th e Re so n a n ce
* For pads A1–A5, the D-beam, and the ribbons, “---” will be
displayed, and a pattern cannot be selected.
You can set an upper limit for the resonance of the filter.
fig.2-25
If a pattern is selected, the indicator beside the pad will go
red. It will blink while the pattern is playing back.
U0101
FUNC
Reso Limit 100
* If you change the patch while a pattern is playing back, you
can stop the pattern by pressing [PLAY/STOP].
Re so Lim it: 5 0 –1 2 6 , O FF
Te m p o :
Sets the tempo of the pattern.
When using a pad to start a pattern, the tempo which is set to
the pattern (p. 60) is ignored.
If you select OFF, the tonal change produced by the filter will
be greater, but loud sounds may be produced unexpectedly.
* If you change the “PTN Number,” the tempo which is set to
the selected pattern will be set to the value of this parameter.
Ad ju stin g th e Se n sitivity o f th e
Pa d s
Le ve l:
Adjusts the volume at which the pattern will sound.
You can adjust the sensitivity of the pads as suitable for your
playing style.
fig.2-26
U0101
FUNC
For details on a pattern, refer to “Chapter 3 Recording Your
PadSnsType Hand1
Performance (Sequencer)” (p. 59).
Pa d Sn sTy p e : Ha n d 1 –2 , Fin g 1 –2
If you are striking the pads with your hand, select Hand; if
with your fingers, select Fing. “2” is more sensitive than “1.”
If you are using sticks to strike the pad, select Fing1 or Fing2.
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Ch a p te r 2 Mo d ify in g a Pa tch
Sp e cify in g th e Ro ll Sp e e d
N a m in g a Pa tch
You can specify the speed at which notes will be repeated
Each patch can be given a name (Patch Name) of up to 10
when you press [ROLL/ HOLD].
fig.2-27
characters.
Parameter Category: PATCH NAME
fig.2-28.e
U0101
FUNC
Roll Speed 20
U0101 PATCH NAME
[Conga _ ]
Ro ll Sp e e d : 1 .0 –5 0 , 1 / 2 , 1 / 3 , 1 / 4 , 1 / 6 , 1 / 8 ,
1 / 1 2 , 1 / 1 6 , 1 / 2 4 , 1 / 3 2 , 1 / 4 8
Cursor
1–50:
Use [
PARAMETER] or [PARAMETER
] to move
The selected number of notes will be repeated each
second.
the cursor to left or right, and turn [PATCH/ VALUE] to
select the desired characters.
1/2–1/48:
The notes will be played at note value intervals relative
to the sequencer tempo (p. 27, p. 60).
Ch a ra cte rs Ma y Be Use d in a N a m e
fig.2-29.e
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
0123456789!#$%&"’^‘_+-*/=
<>()[]{},.:;?@ ¥| (Blank)
Se ttin g fo r MIDI
Tra n sm issio n
For details, refer to p. 76.
Parameter Category: PAD MIDI
N o te N o . : O FF, 0 :C - –1 2 7 :G 9
Sets the MIDI note number that each pad will transmit. If you
select “OFF,” no MIDI note message will be transmitted.
Ga te Tim e : 0 .1 –8 .0 se c
For each pad, you can specify the length of time the note will
“hold” during transmission from the MIDI OUT.
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Ch a p te r 2 Mo d ify in g a Pa tch
Sa vin g Yo u r Se ttin g s (W rite )
Du p lica tin g Se ttin g s (Co p y )
The settings you modify will be lost if you switch patches or
turn off the power. If you wish to keep your changes, you
must execute the write operation.
Patch or pad settings can be copied to another patch, pad, or
controller. You can also exchange settings between two
patches.
1 . Press [WRITE].
fig.2-30.e
Ba sic Pro ce d u re fo r Co p y
U0101*Conga
U0101 Conga
We will explain the basic copy procedure using the example
of copying patch settings (Patch Copy).
patch number is blinking
1 . Press [WRITE].
2 . Turn [PATCH/ VALUE] to select the write-destination
2 . [PARAMETER
] twice.
patch.
The following screen will appear.
fig.2-33.e
*
If you wish to overwrite the data onto the currently selected
patch, simply proceed to step 3.
copy-source patch
fig.2-31.e
U0101 Conga
current patch
PatchCpy U0101
U0101*Conga
type of copy (blinking)
copy-destination patch number
U0201 TalkingDrm
write-destination patch (patch number is blinking)
For details on the types of copy, refer to the next page.
* It is not possible to select a preset patch as the write-
destination.
4 . Use [
PARAMETER]/ [PARAMETER
] to make
the copy-source / copy-destination patch numbers blink.
3 . Press [WRITE].
5 . Turn [PATCH/ VALUE] to select the copy-source /
The settings will be written into the selected patch. After
the data has been written, the write-destination patch
copy-destination patches.
* It is not possible to select a preset patch as the write-
destination.
will be selected.
fig.2-32
U02 USER02
01 Conga
6 . Press [WRITE] to execute the copy.
* If you decide not to execute the copy operation, press [EXIT].
7 . Press [EXIT] to end the procedure.
* If you decide not to execute the write operation, press [EXIT].
You will return to the previous screen.
For details on selecting patches, refer to “Chapter 1 Quick
Start,” in the section “Changing Sounds to Play (Patch
Select)” (p. 21).
For details on selecting patches, refer to “Chapter 1 Quick
Start,” in the section “Changing Sounds to Play (Patch
Select)” (p. 21).
Never turn the power off while a copying process. If you
turned the power off, the data will be damaged.
Never turn the power off while a writing process. If you
turned the power off, the data will be damaged.
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Ch a p te r 2 Mo d ify in g a Pa tch
Co p y in g a Pa d Se t (Pa d Se t Co p y )
Co p y in g Pa d / D Be a m / Rib b o n
Se ttin g s to All Pa d s
You can copy the settings of a pad set to another pad set. You
(Pa d Co p y to All)
can also copy to a different pad set of the same patch.
fig.2-34.e
You can copy the settings of one pad/ D Beam/ ribbon to
copy-source pad set
every pad/ D Beam/ ribbon.
fig.2-35a.e
U0101B Conga
copy-source pad
PadSetCpy U0201C
U0101A1 Conga
copy-destination pad set (patch number is blinking)
PadCpToAll U0101
1 . In step 3 of “Basic Procedure for Copy” (p. 56), select
copy-destination patch number (blinking)
PadSetCpy.
2 . After selecting the patch in step 5, strike a pad to select a
1 . In step 3 of “Basic Procedure for Copy” (p. 56), select
pad set.
PadCpToAll.
* “PAD MIDI Note No.” cannot be copied.
2 . After selecting the patch in step 5, strike a pad (D Beam,
ribbon) to select it.
* “PAD MIDI Note No.” cannot be copied.
Co p y in g Pa d / D Be a m / Rib b o n
Se ttin g s (Pa d Co p y )
Ex ch a n g in g Pa tch Se ttin g s
(Pa tch Ex ch a n g e )
Pad/ D Beam/ ribbon settings can be copied to another pad/
D Beam/ ribbon.
fig.2-35.e
You can exchange the settings of two patches.
fig.2-36.e
U0101A3 Conga
PadCpy U0101RL
exchange-source patch
copy-destineation pad (patch number is blinking)
Ribbon controller (left) is chosen in this figure.
U0101 Conga
PatchExchg U0102
1 . In step 3 of “Basic Procedure for Copy” (p. 56), select
exchange-destination patch number (blinking)
PadCpy.
1 . In step 3 of “Basic Procedure for Copy” (p. 56), select
2 . After selecting the patch in step 5, strike a pad (D Beam,
PatchExchg.
ribbon) to select it.
* “PAD MIDI Note No.” cannot be copied.
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Ch a p te r 2 Mo d ify in g a Pa tch
Co p y in g a Va lu e to All Pa d s
Usin g Re a ltim e Mo d ify to
Ad ju st Va lu e s
1 . Hold down [PATCH SEL], and press [WRITE] in Edit
mode.
In Edit mode, you can use realtime modify (p. 19) to adjust
The displayed value of the parameter is copied to every
values.
fig.2-37
pad and controller.
fig.2-36a
Value - All
Pad Level 100
* Following parameters can be copied only among either pads or
controllers.
3
1
PAD INST
TrigMode
PAD CTRL Rx Self
Mute Tx
This is effective when used on parameters that have a wide
range of adjustment, such as Pitch.
Pitch Tx
Ctrl Tx
PAD PTN
Number
Tempo
Level
1 . Press [SELECT] to select the parameter that you wish to
edit.
2 . Strike the pad you wish to modify, to select it. You can
also select the D Beam or a ribbon.
* PAD MIDI Note No. cannot be copied.
3 . Turn the [REALTIME MODIFY] knob.
The selected parameter and the modified value will be
displayed, and the sound will also change.
fig.2-38.e
The value you copied in this procedure will return to the
original values when you switch patches. If you wish to keep
your changes, refer to “Saving Your Settings (Write) /
Duplicating Settings (Copy)” (p. 56).
RTM
A3* PITCH +750
parameter
value
If you wish to move to the parameter set screen, hold down
[PATCH SEL] located at the upper right of the pad and turn
the knob. You will jump to the selected parameter set screen.
In the case of M-FX DEPTH, you will jump to the “Type”
select screen.
The values you edit in this procedure will not return to the
original values by pressing [EXIT/ MODIFY CLEAR].
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Ch a p te r 3 Re co rd in g Yo u r Pe rfo rm a n ce (Se q u e n ce r)
You can record your performance in the sequencer.
5 . Press [REC] and you will enter the Recording Stand-by
Mode.
On the HPD-15, your performance will be recorde exactly as
you play it (Realtime Recording).
[PLAY/ STOP] will blink.
fig.3-05.e
U07*001-01 =120
RecStby Perc1
The HPD-15’s sequencer consists of four parts (Percussion 1,
Percussion 2, Melody 1, Melody 2). The collective
performance of these four parts is called a pattern.
Part for Recording
Preset patterns (pattern P01–P99)
* If you press [REC] once again, you will return the previous
screen.
What the various parts should play has already been
recorded.
User patterns (pattern U01–U99)
6 . Press [
PARAMETER] or [PARAMETER
] to
These are patterns that you can record.
select the recording parameter in the Recording Stand-by
Mode.
fig.3-06.e
Ba sic Se ttin g s fo r Re co rd in g
U07*001-01 =120
RecMode Replace
1 . Press [SEQUENCER] to make it light; you will enter the
Parameter
Value
Sequencer mode.
fig.3-01.e
Current Measure Current Beat
7 . Turn [PATCH/ VALUE] to make settings for the
Pattern Number
Tempo
recording.
U: User
P: Preset
U01 001-01 =120
4/4 #User-001
8 . Press [PLAY/ STOP] to start the recording.
Time
Signature
While the recording, [PLAY/ STOP] will light.
Pattern Name
Displayed for an
unrecorded pattern
* It is possible to start/stop the recording by the foot switch (p.
71), but it is not possible by the D Beam or pedal (p. 53).
2 . Turn [PATCH/ VALUE] to select the user pattern for
9 . When you are finished recording, press [PLAY/ STOP]
recording your performance.
once again.
fig.3-02
[REC] and [PLAY/ STOP] will go dark, and the
U07 001-01 =120
4/4 #User-007
recording will stop.
fig.3-07
_
NAME[User-001 ]
3 . Press [
PARAMETER] or [PARAMETER
] to
Write Rec Data?
select the pattern/ click parameter that you wish to set.
fig.3-03.e
1 0 . Naming the pattern, press [WRITE].
Parameter Category
U07
SETUP
How to naming a pattern is the same as naming a patch.
Time Sig. 4/4
Refer to “Naming a Patch” (p. 55).
Parameter
Value
4 . Turn [PATCH/ VALUE] to make settings for the pattern
It is not possible to record to a preset pattern.
or click.
fig.3-04.e
appears if this pattern is edited
* To return to normal Play mode, Press [SEQUENCER] or
[EXIT]; [SEQUENCER] will go dark.
U07*
SETUP
8
Length
Parameter
Value
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Ch a p te r 3 Re co rd in g Yo u r Pe rfo rm a n ce (Se q u e n ce r)
Se ttin g s fo r th e Pa tte rn
fig.3-08.e
Category
SETUP
Parameter
Time Sig.
Value
Numerator:
1 – 13
Denominator:
2, 4, 8, 16
Specifying the Time Signature
Numerator: Number of beats per measure
Denominator: Basic note value
* It is not possible to change after the pattern is recorded.
Length
1 – 999
Specifying the Length (Number of Measures) of the Pattern
When "Replace" is selected for the RecMode (p. 62), it is not necessary to specify
the Length. Recording will continue until you press [PLAY/ STOP], and the number
of measures recorded will automatically become the "Length" setting.
* It is not possible to change while the pattern is playing back.
Tempo
20 – 240, (MIDI)
Specifying the Tempo of the Pattern
When "Ext" is selected for the Seq Sync (p. 68), "MIDI" ( =MID) will appear.
Loop, OneShot,
Tap, TapVelo
PlayType
Choosing a Playing Method
Loop: After the pattern is played back to the end, playback then repeats
and continues until [PLAY/ STOP] is pressed.
OneShot: Playback stops once the end of the pattern is reached.
Tap: Each time the [PLAY/ STOP] is pressed (or pad is struck; refer to p. 54),
the sounds contained in a pattern are played back one at a time in sequence.
TapVelo: Tap playback with changes of the volume depending on how strongly
the pad are struck.
* It is not possible to change while the pattern is playing back.
OFF, 0.1 – 4.0s
Reset Time
Quick Play
Specifying the Time to Return the Pattern to the Beginning
In Tap playback, this returns the pattern to the beginning if the set time
interval elapses without the pad being hit again. If it is set to "OFF," this
function will be disabled.
OFF, ON
Ignoring a pause at the beginning of the pattern
If "ON" is selected, this starts playback of the pattern from the
first note even if a pause is left at the beginning of the pattern.
-24 – +24
TransposeMl1
TransposeMl2
Adjusting the Pitch of Melody Parts
This transposes the key of the melody parts in semitone steps.
Ml1: Melody Part 1, Ml2: Melody Part 2
Perc1, Perc2,
Melo1, Melo2
PART
Select
Selecting the Part
* You can use the pads to sound the tone of the part in the part screen.
PERC1, (Patch)
Selecting the Patch Played by the Part
PERC2
0 – 127
0 – 127
OFF, ON
Level
Adjusting the Volume of the Part
Reverb Send
MULTI-FX/LFO
Adjusting the Depth of Reverb Applied to the Part (when the effect is off)
Turning the Multi-Effects On/Off for the Part
* The same type of the effect which is selected in Play mode will be selected.
It is different from the type which is set in the patch selected for the Part.
1 – 54 (refer to p. 94)
0 – 127
MELO1, Inst
MELO2
Selecting the Instrument of the Part
Adjusting the Volume of the Part
Level
L63 – Center – R63
0 – 24
Pan
Adjusting the Pan (Localization) of the Part
Bend Range
Adjusting the Amount of Change in Pitch
This adjusts the amount of change in pitch with pitch bend
at maximum level in semitone steps.
0 – 127
Reverb Send
MULTI-FX/LFO
PadNote
Adjusting the Depth of Reverb Applied to the Part (when the effect is off)
OFF, ON
C-1 – G9
Turning the Multi-Effects On/Off for the Part
Specifying the Note of Each Pad
You can use the pads to record patterns if you have no MIDI keyboards.
This parameter specifies the note of each pad in this case. Strike (Sound)
the pad (D Beam, ribbon) to select it that you wish to specify the note.
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Ch a p te r 3 Re co rd in g Yo u r Pe rfo rm a n ce (Se q u e n ce r)
Se ttin g s fo r th e Click , a n d o th e rs
fig.3-09.e
Category
CLICK
Parameter
Intrvl
Value
Specifying the Interval
Selecting a Sound
1/2, 1/4, 3/8, 1/8, 1/12, 1/16,
3-2 Son, 2-3 Son, 3-2 Rumba,
2-3 Rumba, 6/8 Clave
Inst
Click, Sticks, Metronome,
Claves, WoodBlock, Triangle,
Cowbell, Conga, TalkingDrum,
Maracas, Cabasa, Cuica,
Agogo, Tambourine, Snaps,
909Snare, 808Cowbell
Adjusting the Volume
Level
0 – 127
Adjusting the Pan (Localization)
Pan
L63 – Center – R63
Reverb Send
Adjusting the Depth of Reverb
0 – 127
Using the reverb makes the click more comfotable to listen to.
Mode
Turning the Click On/Off
OFF, REC Only,
REC/PLAY
OFF: Click doesn't sound while the playback / recording.
REC Only: Click sounds while the recording.
REC/PLAY: Click sounds while the playback / recording.
PlyCountIn
RecCountIn
Available
Adding a Count Sound Before Playback
OFF, 1Meas, 2Meas
OFF: Playback will begin without a count-in.
1Meas: Playback begins after a 1-measure count-in.
2Meas: Playback begins after a 2-measure count-in.
Adding a Count Sound Before Recording
OFF, 1Meas, 2Meas
OFF: Recording will begin without a count-in.
1Meas: Recording begins after a 1-measure count-in.
2Meas: Recording begins after a 2-measure count-in.
(only displayed)
Checking the Remaining Amount of Memory
MEMORY
The remaining amount of memory is displayed.
(up to 10 characters)
Changing the Pattern Name
PATTERN NAME
How to changing the name is same as naming a patch.
Refer to "Naming a Patch" (p. 55).
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Ch a p te r 3 Re co rd in g Yo u r Pe rfo rm a n ce (Se q u e n ce r)
Se ttin g s fo r th e Re co rd in g (Se t in th e Re co rd in g Sta n d -b y m o d e )
fig.3-10.e
Parameter
RecStby
Value
Specifying the Part
Perc1, Perc2,
Melo1, Melo2,
Import
Perc1, Perc2: Percussion Part 1, Percussion Part 2
Melo1, Melo2: Melody Part 1, Melody Part 2
Import: Select this when you will record multiple Parts simultaneously by
using an external sequencer. Each Part will receive the data from
specified MIDI channel (p. 78).
* When you select Perc1, Perc2, Melo1, or Melo2, all channel data is received.
You do not need to change the channel of the MIDI deveice connected to the HPD-15.
Specifying the Recording Method
RecMode
Loop All, Loop 1,
Loop 2, Loop 4,
Loop 8, Replace
Loop All: The entire pattern will be repeated, and on each pass your performance
will be added, ("over-dubbed") and mixed with what you did previously.
Loop 1, Loop 2, Loop 4, Loop 8: This determines the length of the section you are
recording, and 1, 2, 4 or 8 measure section will repeat.
Replace: Recording will continue until you press [PLAY/ STOP]. Any previously
recorded data for all Parts will be erased.
Regularizing the Timing of Performance Data When Recording
This corrects inaccuracies of timing while you record.
Quantize
1/8, 1/12, 1/16, 1/24,
1/32, 1/48, 1/64, OFF
1/8–1/64: Data will be quantized to the note of the tempo of the sequencer.
OFF: The pattern is recorded with the timing used in performance.
HitPadStart
Specifying How to Start the Recording
OFF, ON
OFF: Recording starts when [PLAY/ STOP] is pressed.
ON: Recording starts when you start the performance on pads/ D Beam/ ribbons.
You can start recording by pressing [PLAY/ STOP] at every screen above.
Re h e a rsa l Fu n ctio n
The rehearsal function is a feature that temporarily suspends
Using the controllers (D Beam, ribbons, pad pressure, etc.)
too much will increase the consumption of memories. If you
wish to reduce the data, refer to the explanation of “Data
Thin” in “Settings for the Controllers” (p. 69).
recording during recording. This allows you to practice the
phrase while Loop recording is in progress.
1 . Start recording.
2 . Press [REC] while recording.
[REC] will blink, and the rehearsal function will be on.
Performances cannot be recorded.
3 . Press [REC] to resume recording.
[REC] will light and the rehearsal function will be off.
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Ch a p te r 3 Re co rd in g Yo u r Pe rfo rm a n ce (Se q u e n ce r)
Sy n ch ro n izin g w ith a n Ex te rn a l
MIDI d e vice (MIDI Sy n c)
Ba sic Se ttin g s fo r Pla y in g Ba ck
1 . Press [SEQUENCER] to make it light; you will enter the
You can play the sequencer of the HPD-15 with an external
MIDI device. For details, refer to “Chapter 6 Connecting
MIDI Devices” (p. 76).
Sequencer mode.
fig.3-11.e
Pattern Number
U: User
U01 001-01 =120
P: Preset
4/4 #User-001
Ch a n g in g th e Se ttin g s o f
Pa tte rn
Pattern Name
2 . Turn [PATCH/ VALUE] to select the pattern that you
You can modify the length of the pattern, tempo, or the
instrument of the part.
wish to play back.
fig.3-12
U07 001-01 =120
4/4 User-007
1 . Select the pattern you wish to modify the settings.
2 . Press [
PARAMETER] or [PARAMETER
] to
3 . Press [PLAY/ STOP] to start playing back.
select the parameter.
While the playing back, [PLAY/ STOP] will light.
3 . Turn [PATCH/ VALUE] to modify the value.
4 . Press [PLAY/ STOP] once again to stop playback.
* If you wish to keep your changes, refer to next “Saving the
[PLAY/ STOP] will go dark, and the pattern returns you to
the beginning of the pattern.
Changed Settings.”
You can change the tempo by pressing [TEMPO] and turning
[PATCH/ VALUE] (p. 27).
After step 2, if you nedd, make settings for the pattern or
click. For details on making settings, refer to “Basic Settings
for Recording,” in step 3–5 (p. 59).
It is not possible to change the time signature (Time Sig.) of
the recorded patterns.
* To return to normal Play mode, Press [SEQUENCER] or
[EXIT]; [SEQUENCER] will go dark.
Sa vin g th e Ch a n g e d Se ttin g s
Pa u se
1 . Press [WRITE] in Sequencer mode.
1 . Hold down [PATCH SEL], and Press [PLAY/ STOP]
fig.3-13
during playback of a pattern.
U01 PTN WRITE
[WRITE/EXIT]
Playback will stop.
2 . Press [PLAY/ STOP] once again to begin playback again.
Playback begins from the beginning of the measure.
2 . Press [WRITE] once again.
The modified settings are saved.
* If you decide not to execute, press [EXIT].
Fa st-Fo rw a rd a n d Re w in d
When playback of pattern is stopped, you can do the following.
You can write the modified settings to another pattern. For
•
•
•
•
Advance to the next measure
details, refer to “Editing a Pattern” (p. 64).
Press [GROUP +].
Return to the previous measure
Press [GROUP -].
It is not possible to write the modification to a preset pattern.
If you press [WRITE] at a preset pattern, copy-destination
select screen will appear.
Advance to the end of the pattern
Hold down [PATCH SEL], and press [GROUP +].
Return to the beginning of the pattern
Hold down [PATCH SEL], and press [GROUP -].
6 3
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Ch a p te r 3 Re co rd in g Yo u r Pe rfo rm a n ce (Se q u e n ce r)
Era sin g Pa rts
Ed itin g a Pa tte rn
You can erase performance data from specified measures of a
part or pattern. The erased position will become blank
You can edit either copy/ delete the patterns or erase the part.
measures.
fig.3-16
Ba sic Se ttin g s fo r Ed itin g
U01 PTN ERASE
Meas:001-999 Pc1
1 . Press [WRITE] in Sequencer mode.
fig.3-14.e
when [WRITE] is pressed at the preset pattern
Me a s: ALL, 0 0 1 –9 9 9 -0 0 1 –9 9 9
Pattern Number
Function
ALL: This erases the data from all measures.
001–999-001–999: This erases the data from specified area.
U: User
P01
PTN COPY
ALL
P: Preset
Dst:U01
ALL, Pc1 , Pc2 , Ml1 , Ml2
Select the part to be erased.
Parameters
ALL: All parts are erased.
when [WRITE] is pressed at the user pattern
Pc1: Percussion Part 1 is erased.
Pc2: Percussion Part 2 is erased.
Ml1: Melody Part 1 is erased.
Ml2: Melody Part 2 is erased.
U01 PTN WRITE
[WRITE/EXIT]
2 . Press [
PARAMETER] or [PARAMETER
] to
select the editing function or parameter.
3 . Turn [PATCH/ VALUE] to set the value.
Co n n e ctin g Tw o Pa tte rn s
4 . Press [WRITE] to execute.
You can connect the currently selected pattern to the end of
the selected pattern.
fig.3-17
* If you decide not to execute, press [EXIT].
U01 PTN APPEND
Dst Pattern U01
Co p y in g a Pa tte rn
You can copy selected part of currently selected pattern.
fig.3-15
Dst Pa tte rn : U0 1 –U9 9
Select the append-destination pattern.
U01
PTN COPY
Dst:U01 Perc1
De le tin g a Pa tte rn
Dst: U0 1 –U9 9
You can delete specified measures from a pattern. Later
Select the copy-destination user pattern.
measures are moved forward.
fig.3-18
ALL, Pe rc1 , Pe rc2 , Me lo 1 , Me lo 2
Select the part that you wish to copy.
ALL: All parts are copied.
U01 PTN DELETE
Measure ALL
Perc1: Percussion Part 1 is copied.
Perc2: Percussion Part 2 is copied.
Melo1: Melody Part 1 is copied.
Melo2: Melody Part 2 is copied.
Me a s: ALL, 0 0 1 –9 9 9 -0 0 1 –9 9 9
ALL: This deletes all measures.
001–999-001–999: This deletes the specified measures.
It is not possible to select a preset pattern as the copy /
append-destination, or execute the erase / delete at a preset
pattern.
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Ch a p te r 4 Ch a n g in g Pa tch e s in th e De sire d Se q u e n ce
This allow you to step through the patches of your choice
and in the order you want. The HPD-15 lets you create and
6 . Turn [PATCH/ VALUE] or use Pad Patch Select (p. 23) to
select the patch.
store 10 different groups of up to 32 steps each.
fig.4-01.e
7 . Repeat Steps 5–6 to continue editing.
32 Steps
8 . Press [EDIT] or [EXIT].
[EDIT] will go dark, and you will return to Chain Play
Chain
Group 1
Patch Patch Patch
U0107 U0504 P0802
Patch
U0306
mode.
fig.4-07
Chain
Group 2
U02 CHAIN 05-01
01 TalkingDrm
Chain
Group 10
When you modify the setting of a patch chain, the new
setting is automatically saved as soon as you make the
change.If you need to return to the factory settings, refer to
“Restoring the Factory Settings” (p. 85).
Cre a tin g a Pa tch Ch a in
(Ch a in Ed it)
Sp e cify in g th e La st Ste p o f th e
Pa tch Ch a in
1 . Press [CHAIN].
[CHAIN] will light, and you will enter Chain Play mode.
fig.4-02
Specify one of the following as the last step in the patch
chain. If you have specified patched up to step 32, you can
specify it at step 33.
U01 CHAIN 01---
01 Conga
2 . Press [EDIT].
It is not possible to specify a patch at step 33.
[EDIT] will light, and you will enter Chain Edit mode.
fig.4-03
EN D:
CHAIN EDIT 01-01
(EMPTY CHAIN)
When you reach the last step, the progression of steps will
end.
fig.4-08.e
Chain Step
3 . Press [GROUP -] or [GROUP +] to select the chain group
1
2
3
4
5 (6 = END)
which you wish to edit.
fig.4-04
LO O P:
CHAIN EDIT 05-01
(EMPTY CHAIN)
If you advance a step from the last step, you will return to
step 1.
fig.4-09.e
4 . Turn [PATCH/ VALUE] or use Pad Patch Select (p. 23) to
Chain Step
select the patch that will be selected first.
1
2
3
4
5 (6 = LOOP)
fig.4-05
CHAIN EDIT 05-01
U0201 TalkingDrm
JUMP TO CH0 1 –1 0 :
If you advance a step from the last step, you will jump to step
1 of the specified chain group.
fig.4-10.e
5 . Press [PATCH NUMBER
] to move to the next step.
fig.4-06
Chain Step
1
1
2
2
3
4
5 (6 = JUMP TO CH10)
CHAIN EDIT 05-02
-----[LOOP]-----
(Chain Group 10)
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Ch a p te r 4 Ch a n g in g Pa tch e s in th e De sire d Se q u e n ce
In se rtin g a Ch a in Ste p
Pla y in g w ith a Pa tch Ch a in
(Ch a in Pla y )
This operation inserts a patch into the specified location of a
chain.
fig.4-11
1 . Press [CHAIN].
[CHAIN] will light, and you will enter Chain Play mode.
fig.4-15
1
1
2
2
3
23
4
4
5
5
U01 CHAIN 01-01
01 Conga
6
2 . Press [GROUP +] or [GROUP -] to select the chain group
to be used. You can select the chain group by striking a
pad B1–C5 while holding down [PATCH SEL]. Pads B1–
A maximum of 32 steps can be set in a chain. If the chain
already contains 32 steps, the patch at step 32 will be deleted.
C5 correspond to chain groups 1–10 respectively.
fig.4-16
1 . Press [PATCH NUMBER
] or [PATCH NUMBER
U02 CHAIN 05-01
01 TalkingDrm
] to select the step in which the patch is to be inserted.
2 . Press [PARAMETER
].
fig.4-12
In the case of a chain group which has no patch, “--” will be
01-02 InsertStep
OK? [WRITE/EXIT]
displayed at the upper right of the screen.
3 . Press [PATCH NUMBER
] or [PATCH NUMBER
3 . Press [WRITE].
] or turn [PATCH/ VALUE] to call up the patches to
be used in each selected step in the chain. You can call up
the patches by striking a pad A2 or A4 while holding
down [PATCH SEL]. Striking the pad A2 will decrease
the chain step, and striking the pad A4 will increase it.
The step is inserted with the same patch, and later steps
are each moved back one place.
* If you decide not to execute, press [EXIT].
4 . Turn [PATCH/ VALUE] to select the patch in the new step.
fig.4-17
U05 CHAIN 05-02
01 Vibraphone
De le tin g a Ch a in Ste p
This operation deletes an unneeded patch from a chain.
fig.4-13
4 . When the performance is finished, press [CHAIN]; you
1
2
3
4
5
6
will return to normal Play mode.
[CHAIN] will go dark.
* [EXIT/MODIFY CLEAR] operates as modify clear (p. 19),
and cannot make Chain Play mode off.
1
2
3
4
5
1 . Press [PATCH NUMBER
] or [PATCH NUMBER
]
to select the step from which the patch is to be deleted.
You can use foot switches to call up patch chains. For details,
2 . Press [ PARAMETER].
refer to “Settings for the Foot Switches” (p. 71).
fig.4-14
01-02 DeleteStep
OK? [WRITE/EXIT]
3 . Press [WRITE].
The step is deleted, and later steps are each moved
forward one place.
* If you decide not to execute, press [EXIT].
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Settings that affect the entire HPD-15 are called system
settings. This chapter explains how to modify the system
settings (System Edit).
Se ttin g s fo r b a sic o p e ra tio n
1 . Press [SYSTEM] to make it light; you will enter System
Edit mode.
* The upper line of the screen will show the parameter
category, and the lower line will show the parameter and
value.
fig.5-01.e
Parameter Category
UTILITY
LCD Contrast 5
Parameter
Value
2 . Press [
PARAMETER] or [PARAMETER
] to
select the parameter that you wish to modify.
fig.5-02
CONTROLLER
DBEAM Sens 100
3 . Turn [PATCH/ VALUE] to modify the value.
fig.5-03
CONTROLLER
DBEAM Sens 64
4 . Repeat steps 2–3 to continue system edit.
5 . When you finished editing, press [EXIT] or [SYSTEM].
[SYSTEM] will go dark, and you will return to normal
Play mode.
You can make your selection rapidly. See p. 31.
When you modify the system setting, the new setting is
automatically saved as soon as you make the change. You do
not have to operate for the storing. If you need to return to
the factory settings, refer to “Restoring the Factory Settings”
(p. 85).
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Se ttin g s fo r th e Ba sic O p e ra tio n
fig.5-04.e
Category
UTILITY
Parameter
Value
Adjusting the Contrast of the Display
LCD Contrast
1 – 16
Increasing the value will darken the display.
Adjusting the Volume of the Operating Sound
Beep Level
MasterTune
0 – 15
When set to "0," no operating sound will be heard.
Tuning the Instruments
415.3 – 466.2 (Hz)
This adjusts the pitch of instruments marked with "*T" in the
Instrument List (p. 92) and backing instruments (p. 94).
* 440.0Hz is the standard tuning.
Specifying How a Pad Will be Selected for Editing
Pad Chase
OFF, ON
OFF: The pad last struck in Play mode will be edited. This is convenient when
you wish to compare the response with other pads. If you hold down
[PATCH SEL] and strike a pad, the pad you struck will be edited.
ON: The pad you strike will be selected for editing each time.
Specifying the Patch Selected at Power-On
Power ON
RESET, LAST
RESET: Patch P0101 will always be selected.
LAST: The patch last-selected when the power was turned off will be selected.
Locking Patch Selection From the Dial
Dial Lock
Roll Sync
OFF, ON
OFF, ON
If this is turned "ON," turning [PATCH/ VALUE] will not change the patch.
This lets you prevent the patch from being accidently changed when you
touch the dial during a performance.
Synchronizing Rolls Between Pads
OFF: The roll will start when you press the pad, and will not synchronize
with other pads.
ON: Rolls of other pads will synchronize to the roll of the first-pressed pad.
Synchronizing the Internal Sequencer with an External MIDI Device
Seq Sync
Int, Ext, Remote
Int: The HPD-15's tempo setting will be used for playback / recording.
When shipped from factory, this setting is selected.
Ext: The HPD-15's sequencer will operate in accordance with tempo data
(MIDI Clock) from the external device.
Remote: The HPD-15 will obey start / pause / stop messages from an external
device, but will playback according to its own tempo setting.
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Se ttin g s fo r th e Co n tro lle rs
fig.5-05.e
Category
Parameter
Value
Adjusting the Sensitivity of the D Beam
CONTROLLER DBEAM Sens
0 – 127
Place your hand at the height at which you want the D Beam to start to take
effect (about 20 inches = 50cm), and adjust the setting so that the meter in the
upper right of the screen is at the center line. When the power is turned on,
this will be adjusted automatically according to the brightness of the surroundings.
Adjusting the D Beam Response
DBEAM Trim
Data Thin
1 – 5
Make adjustments so that the D Beam triggers sound and outputs control data
smoothly. Adjust the setting so that the meter in the upper right of the screen
moves smoothly when you move your hand up or down.
Reducing the Transmitted Data
OFF, 1, 2
This function allows you to prevent an excessive amount of data from being
transmitted from the controllers (pads, D Beam, ribbons, hi-hat control pedal, etc.)
to the internal sequencer or via the MIDI OUT. This will be used if you wish to
conserve sequencer memory, it will cause tonal changes to become rougher.
OFF: Data sent from the controllers is not reduced.
1: This reduce the data sent from the controllers.
2: This reduce the data sent from the controllers. This setting results in even less
data than when "1" is selected.
* When you want to make smooth changes in pitch control with Hi-Hat control Pedal,
set this to "1" or "OFF."
Tu rn in g O n / O ff th e D Be a m
Tu rn in g O n / O ff th e Rib b o n s
fig.5-05a
fig.5-05b
Pressing ribbon [SOUND] turns on/ off the producing sound
by using the ribbons.
Pressing D Beam [SOUND] turns on/ off the producing
sound by using the D Beam.
When ribbon [SOUND] is not lit, sliding your finger on the
ribbon will not produce sound.
When D Beam [SOUND] is not lit, passing your hand over
the D Beam will not produce sound.
Press ribbon [HOLD] to make it light; if you move your
finger away, the control signal keeps the value which is
transmitted at the location where you move it away.
Pressing D Beam [CONTROL] turns on/ off the controlling
the tone by using the D Beam.
When D Beam [CONTROL] is not lit, passing your hand over
the D Beam will transmit no control signals (p. 52).
You can set these settings on each patch.
You can set these settings on each patch.
When you control the tone too fast, some noise may be heard
from some tones.
When you control the tone too fast, some noise may be heard
from some tones.
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Se ttin g th e Pa d Se n sitivity
If you wish to make more detailed settings, set the following parameters.
fig.5-06.e
Category
PAD
Parameter
Sens
Value
Adjusting the Sensitivity
1 – 16
Increasing this value will raise the sensitivity and produce the larger sound
even if the striking force is the same.
Setting Minimum Levels
Threshold
1 – 16
A trigger signal to be transmitted only when the pad is struck harder than a
specified force. This allows you to prevent the pad from picking up extraneous
vibrations from neighboring pads. If the striking force is less than the threshold,
the pad will not sound.
* To have the unit sound even when struck lightly, set the threshold as low as possible.
Preventing Double Triggering
Mask Time
0 – 64ms
Once a pad has been hit, any additional trigger signals occuring within
the specified Mask Time will be ignored.
* Increasing this value will lose certain notes if you play very fast. Set this value
as short as possible.
Adjusting Pad Pressure Sensitivity
Pressure Sens
Edge Level
1 – 16
Adjust the sensitivity of pad to pressure. Increasing the value will increase the
sensitivity, so that it will be easier to transmit mute or pitch control signals.
Adjusting the Volume of the Edge Sound
1 – 16
Adjust the volume of the sound that is heard when you strike the edge of pads
A1 or A5.
Adjusting the Edge Area
Edge Area
1 – 16
Adjust the size of the area that will trigger the edge sound of pads A1 or A5.
Increasing this value will broaden the area that triggers the edge sound.
To set Sens, Threshold, Mask Time, and Pressure Sens, strike
the pad that you wish to set. The selected pad number will
appear in the display.
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Usin g th e Fo o t Sw itch e s to Co n tro l th e To n e / Se q u e n ce r
You can connect two foot switches (BOSS FS-5U, optional) to the FOOT SWITCH jack with the special cable (PCS-31, optional).
See p. 11.
Se ttin g s fo r th e Fo o t Sw itch e s
fig.5-07.e
Category
Parameter
Value
Specifying the Function of the Foot Switch
FOOT SW
SW 1, SW 2
OFF,
FUNCTION
PATCH DOWN,
PATCH UP,
Specify the function of the foot switches connected to the
FOOT SWITCH jack.
REV OFF/ON,
M-FX OFF/ON,
ROLL/HOLD,
PLAY/STOP,
Mdfy SEL DN,
Mdfy SEL UP
OFF: No function is assigned to the foot switch.
PATCH DOWN: In normal Play mode, this goes back to the previous patch number.
In Chain Play mode, this goes back to the previous chain step.
In Sequencer Play mode, this goes back to the previous pattern
number.
PATCH UP: In normal Play mode, this advances to the next patch number.
In Chain Play mode, this advances to the next chain step.
In Sequencer Play mode, this advances to the next pattern.
REV OFF/ON: This turns the reverb on/ off.
M-FX OFF/ON: This turns the multi-effects on/ off.
ROLL/HOLD: This turns the [ROLL/ HOLD] (p. 16) on/ off.
PLAY/STOP: Play/ stop the sequencer.
Mdfy SEL DN: Select the parameter that will be adjusted by realtime modify (p. 19).
The indicator that at the upper right of the realtime modify knobs will
move from top to bottom. This is the same operation as pressing [SELECT].
Mdfy SEL UP: Select the parameter that will be adjusted by realtime modify (p. 19).
The indicator that at the upper right of the realtime modify knobs will
move from bottom to top; the opposite of pressing [SELECT] (Mdfy SEL DN).
The white plug of the PCS-31 is the SW 1, and the red one is
the SW 2.
If you connect one foot switch with a monaural cable, you
can use it as the SW 1. It is not possible to use the SW 2 in this
case.
You can use the pedal switch DP-2 (optional) as the SW 1. It
is not possible to use the SW 2 in this case.
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Usin g th e Pe d a l to Co n tro l th e Hi-Ha t / To n e
You can use a expression pedal / hi-hat control pedal connected to the EXP PEDAL/ HH CTRL jack to control the tone or play the
hi-hat with continuous control from open to closed positions.
Se ttin g s fo r th e Pe d a l
fig.5-08.e
Category
PEDAL
Parameter
Select
Value
Specifying the Pedal
EXP PEDAL,
HI-HAT,
SW +, SW -
Select the type of the pedal that connected to the EXP PEDAL/ HH CTRL jack.
EXP PEDAL: Select this when connecting an expression pedal (EV-5: optional).
HI-HAT: Select this when connecting a hi-hat control pedal (FD-7: optional).
SW +, SW -: Select this when connecting a foot switch. Select either SW + or SW -
so that the sound will play when you press it.
* If you connect a foot switch, you cannot use the half-open hi-hat.
Usin g a Pe d a l to Co n tro l th e Hi-Ha t
Co n tin u o u sly
Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals, you
risk causing malfunction and/ or damage to the unit.
1 . In Edit mode, assign the instrument marked with “*F” in
the Instrument List (p. 92) to the pad which you wish to
use as the hi-hat.
fig.5-08a
P0606A3*PAD INST
R70:13" Hi-Hat
2 . Depress the pedal connected to the EXP PEDAL/ HH
CTRL jack to display the pedal setting screen, and select
PEDAL(A1)–PEDAL(C5) (the pad which is assigned the
hi-hat sound in step 1) to PadInst of the pedal.
fig.5-08b
P0606PL*PAD INST
PEDAL(A3)
You can use the pedal to play the hi-hat with continuous
control from open to closed positions and trigger the
“foot close” hi-hat sound.
* PEDAL(A1)–PEDAL(C5) appear last when you select the
instruments.
If you connect the hi-hat control pedal (FD-7, optional), do
not step on the pedal until the patch name is displayed when
the power is turned on. The HPD-15 will check the position
of the pedal then.
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Usin g th e Ex te rn a l Pa d s/ Kick Trig g e r Un it to Trig g e r a So u n d
You can connect two external pads (PD-7, PD-9, PD-80, PD-80R, PD-100, or PD-120; optional) or kick trigger units (KD-7, KD-80,
or KD-120; optional) to the TRIGGER INPUT jack with the special cable (PCS-31, optional). See p. 11.
Se ttin g s fo r th e Ex te rn a l Pa d s / Kick Trig g e r Un it
fig.5-09.e
Category
Parameter
Value
Select Whether or NotYou Will Use Rim Shots
TRIGGER InputMode
INPUT
HD/RM, TRIGx2
Select whether you will connect a pad that allows rim shots to be played,
or whether you will connect two pads.
HD/RM: Select this if connecting a pad that allows rim shots to be played
(PD-7, PD-9, PD-80R, PD-120).
TRIGx2: Select this if connecting two pads or kick pedals.
* If two pads are connected, it will not be possible to play rim shots.
Select the Type of the Connecting Pad
Trig Type
PD-5, PD-7, PD-9,
PD-80, PD-80R,
PD-100, PD-120,
P-1, P-2, KD-7,
KD-80, KD-120,
K-1, K-2, KICK,
SNARE, TOM,
FLOOR, SW +,
SW -
PD-5, PD-7, PD-9, PD-80,
PD-80R, PD-100, PD-120: Select this when connecting each pad.
P-1, P-2: Select this when connecting a pad made by another manufacturer.
KD-7, KD-80, KD-120: Select this when connecting each kick trigger unit.
K-1, K-2: Select this when connecting a kick pad made by another manufacturer.
KICK, SNARE, TOM, FLOOR: Select this when using an acoustic drum trigger.
SW +, SW -: Select this when connecting a foot switch. Select either SW + or SW -
so that the sound will play when you press it.
When you connect two pads with the PCS-31, the white plug
of the PCS-31 is the TRIG 1, and the red one is the TRIG 2.
When using a pad made by another manufacturer, first select
“PD-7” and try playing the pad. If, with this setting, the pad
striking force does not produce a stable volume, try a setting
of “P-1.” A setting of “P-2” will be even more stable, but the
interval from when the pad is struck until the sound is heard
will be slightly (approximately 0.003 seconds) longer.
To use the external pad for rim shots, connect with the PCS-
33. In this case, it is not possible to use two external pads.
(For a kick, select “KD-7,” and if the result is not stable, try
“K-1” or “K-2.”)
If you wish to make even more detailed settings, refer to the
explanation in the following section “More Detailed Settings
for the External Pads/ Kick Trigger Units.” 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.
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Mo re De ta ile d Se ttin g s fo r th e Ex te rn a l Pa d s / Kick Trig g e r Un it
When you are using pads made by other manufacturers, try adjusting the following parameters.
fig.5-10.e
Category
Parameter
Value
Adjusting the Sensitivity
Increasing this value will raise the sensitivity and produce the larger sound
even if the striking force is the same.
TRIGGER Trig Sens
INPUT
1 – 16
Curve
Selecting How Striking Force Will Affect the Volume (see figure on p. 37)
Linear, Exp1,
Exp2, Log1,
Log2, Spline,
Loud1, Loud2
Adjusts this curve until the response feels as natural as possible.
Linear: This is the normal setting and most natural correspondence
between velocity and volume change when using the
PD-5/ 7/ 9/ 80/ 80R/ 100/ 120.
Exp1, Exp2: Compared to Linear, a wider volume change will occur for stronger hits.
Log1, Log2: Compared to Linear, a wider volume change will occur for softer hits.
Spline: Variation in striking force will produce extreme change.
Loud1, Loud2: Variation in striking force will produce little change, and a constant
volume will be maintained. When using drum triggers, these settings
help maintain stable levels.
Setting Minimum Levels
Threshold
Scan Time
1 – 16
A trigger signal to be transmitted only when the pad is struck harder than a
specified force. This allows you to prevent the pad from picking up extraneous
vibrations from neighboring pads. If the striking force is less than the threshold,
the pad will not sound.
* To have the unit sound even when struck lightly, set the threshold as low as possible.
Adjusting the Trigger Signal Detection Time
1 – 3ms
By adjusting the amount of time between the striking of the pad and detection
of that strike, you can achieve the correct detection of striking force if your pad
have rather long attack times.
* To maximize the speed at which sounds are triggered, set this time as short as possible.
Cancelling Incorrect Triggering
Increasing this value will eliminate multiple soundings from single strike.
Retrig Cancel
Mask Time
1 – 16
* If this value is extremely high, individual notes may drop out more readily
when you strike repeatedly or play rolls, so set the value as low as possible.
Preventing Double Triggering
0 – 64ms
Once a pad has been hit, any additional trigger signals occuring within
the specified Mask Time will be ignored.
* Increasing this value will lose certain notes if you play very fast. Set this time
as short as possible.
Preventing Vibrations from Other Pads
X-Talk Rate
OFF, 20 – 80%
When two pads are mounted on the same stand, the vibration produced
by hitting one pad may trigger the sound from another pad unintentionally
(This is called crosstalk.) Increasing this value will prevent such problems.
* If this value is too high, then when two pads are struck simultaneously, the sound
from the pad that is struck more weakly may be omitted.
* In some cases, you can prevent crosstalk between two pads you have connected by
increasing the distance between the pads.
Setting Rim Sensitivity
Rim Sens
OFF, 1 – 15
When using a pad that can be used rim shots, you can adjust the sensitivity of
the rim. Increasing this value will raise the sensitivity of the rim. With a setting
of "OFF," omly the head will sound.
* Increasing the value excessively may cause the rim instrument to sound as well
when the head is struck.
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Ch a p te r 5 Se ttin g s fo r th e En tire HPD-1 5
Se ttin g th e So u n d o f th e Ex te rn a l
Pa d s / Kick Trig g e r Un it
MIDI Se ttin g s
Parameter Catgory: MIDI
The settings of the sound of the external pads or the kick
trigger unit on each patch are same as the pads/ D Beam/
ribbons. Refer to “Chapter 2 Modifying a Patch” (p. 35).
fig.5-11
MIDI
Pad CH
10
For details on MIDI Settings, refer to “Chapter 6 Connecting
Some parameters are not possible to be set the external pads
or kick trigger units.
MIDI Devices” (p. 76).
Re sto rin g Se ttin g s to Th e ir
De fa u lt Va lu e s (Fa cto ry
Re se t)
Parameter Category: FACTORY RESET
fig.5-12
FACTORY RESET
SYSTEM [WRITE]
For details on factory reset, refer to “Restoring the Factory
Settings” (p. 85).
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Ch a p te r 6 Co n n e ctin g MIDI De vice s
fig.6-02.e
There are many possibilities when using MIDI, such as:
Note Number setting display
Use th e HPD-1 5 to p la y e x te rn a l in stru m e n ts
U0101A1 PAD MIDI
Note No. 60:C 4
Use th e HPD-1 5 a s a so u n d m o d u le
Use a n e x te rn a l se q u e n ce r to re co rd / p la y
Gate Time setting display
b a ck th e p e rfo rm a n ce o n th e HPD-1 5 .
U0101A1 PAD MIDI
Use a n e x te rn a l se q u e n ce r to sa ve / lo a d p a tch
d a ta , p a tte rn d a ta , e tc. (Bu lk d u m p )
Gate Time 0.1sec
For more on MIDI, refer to “About MIDI” (p. 88).
You can make your selection rapidly by using the Skip
Function (p. 32).
3 . Strike a pad to select the pad (D Beam, ribbon) that you
Usin g th e HPD-1 5 to Pla y
Ex te rn a l In stru m e n ts
wish to edit.
fig.6-03
U0101C5 PAD MIDI
Note No. 73:C#5
Make settings for using the pads, D Beam, and ribbons to
play external MIDI sound modules.
By making these settings, you can simultaneously play the
HPD-15 and external sound modules.
4 . Turn [PATCH/ VALUE] to modify the value.
5 . Repeat steps 3–4 to continue setting on each pad.
6 . When you are finished editing, press [EDIT] or [EXIT].
Use a MIDI cable to connect the HPD-15’s MIDI OUT
connector to the MIDI IN connector of the external MIDI
sound module.
fig.6-01.e
N o te N o .: O FF, 0 :C-1 –1 2 7 :G 9
Set the MIDI note number that each pad will transmit. If you
select “OFF,” no MIDI note message will be transmitted.
MIDI IN
MIDI OUT
N o te N u m b e r o f Ea ch Pa d (Fa cto ry Se ttin g s)
fig.6-03a.e
F#4 G#4
F4
65
A4
69
MIDI sound module
66 68
D#4
A#4
63
70
D4
C5
62
61
72
73
64:E4
60:C4
71:B4
74:D5
C#4
C#5
67:G4
HPD-15
Se ttin g fo r MIDI Tra n sm issio n
1 . Press [EDIT] twice, and you will enter Edit mode.
D Beam
Ribbon L
Ribbon R
Trigger 1
Trigger 2
Pedal
79:G5
59:B3
78:F#5
77:F5
57:A3
58:A#3
2 . Press [
PARAMETER] or [PARAMETER
] to
display the MIDI setting screen.
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Ch a p te r 6 Co n n e ctin g MIDI De vice s
Se ttin g th e N o te N u m b e r W h e n Co n n e ctin g to th e Dru m So u n d Mo d u le
Select the patch of P0606 Studio, specify the Note No. as below.
fig.6-03b.e
Pad
Instrument
Note No. TD-10 Pad
Note No. TD-8 Pad
Snare Head
Note No. GM Percussion
A1
A2
A3
A4
A5
B1
B2
B3
B4
B5
C1
C2
C3
C4
C5
D Beam
Ribbon L
Beech Snare
Dbl Head T 1
13" Hi-Hat
38
45
46
43
41
37
52
49
57
55
32
53
51
33
34
84
74
56
36
35
44
Snare Head
Tom 2 Head
Hi-Hat Head
Tom 3 Head
Tom 4 Head
Cross Stick
Crash 2 Rim
Crash 1 Head
Crash 2 Head
Crash 1 Rim
Aux 1 Rim
Ride Rim
Ride Head
Aux 2 Head
Aux 2 Rim
Bell Tree
38
48
46
45
41
37
52
49
57
55
32
53
51
59
90
91
39
56
36
35
44
38
45
46
43
41
37
52
49
57
55
54
53
51
59
42
58
39
56
36
35
44
Acoustic Snare
Low Tom
Open Hi-Hat
High Floor Tom
Low Floor Tom
Side Stick
Chinese Cymbal
Crash Cymbal 1
Crash Cymbal 2
Splash Cymbal
Tambourine
Tom 1 Head
Hi-Hat Head
Tom 2 Head
Tom 3 Head
Cross Stick
Crash 2 Rim
Crash 1 Head
Crash 2 Head
Crash 1 Rim
Aux 2
Ride Rim
Ride Head
Ride Edge
Tiny Gong
Gong
Dbl Head T 2
Dbl Head T 2
Hall CrosStk
Pgy Crash C1
Crash Cymbal
Crash Cymbal
Splash Cym 1
Splash Cym 1
Ride Bell C
Ride Cymbal
Chinese Cym
Cowbell 1
Large Gong
Hand Clap 2
Ride Bell
Ride Cymbal 1
Ride Cymbal 2
Close Hi-Hat
Vibraslap
Hand Clap
Cowbell
Bass Drum 1
Acoustic Bass Drum
Pedal Hi-Hat
Giro Long 1
Cowbell
Kick Head
Kick Rim
Clap
Cowbell
Kick 1
Kick 2
Ribbon R Cowbell 2
Trigger 1
Trigger 2
Pedal
Dry Hard Kik
Jazz Kick
PEDAL(A3)
Foot Pedal
Foot Pedal
fig.6-03c
Large Gong
Splash Splash
Cym 1 Cym 1
Ride
Bell C
Crash
Cymbal
Ride
Cymbal
Crash
Cymbal
Chinese
Cym
Pgy Crash
C1
Dbl Head Dbl Head
T 1
T 2
Cowbell
1
Hall
CrosStk
Ga te Tim e : 0 .1 –8 .0 se c
13"
Hi-Hat
For each pad, you can specify the length of time the note will
Beech
Snare
Dbl Head
T 2
“hold” during transmission from the MIDI OUT.
Hand Clap 2
Cowbell 2
Gate Time settings are valid if the pad trigger mode
(TrigMode) is set to “Shot.” For details on trigger mode, refer
to “Adjusting Sounds” (p. 36).
K1
K2
PDL
PEDAL(A3)
Dry Hard Kik Jazz Kick
Do not change the note numbers in the patch that is used for
the recording to the external sequencer. The pattern cannot
be played back correctly if they are changed.
The settings you edit will return to the original values when
you switch patches. If you wish to keep your changes, refer
to “Saving Your Settings (Write) / Duplicating Settings
(Copy)” (p. 56).
Se ttin g th e MIDI Ch a n n e ls
For setting the MIDI channel, refer to “Using the HPD-15 As
a Sound Module” (p. 78). Performance on the pads is
transmitted on the channel setting for the “Pad CH.”
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Ch a p te r 6 Co n n e ctin g MIDI De vice s
Se ttin g th e MIDI Ch a n n e l fo r a
Pa rt
Usin g th e HPD-1 5 As a
So u n d Mo d u le
For each part, you can specify the channel on which the
HPD-15 will receive and transmit MIDI messages.
Make settings for playing the HPD-15 as a sound module
from a MIDI keyboard or other device.
1 . Press [SYSTEM] and make it light.
Use a MIDI cable to connect the HPD-15’s MIDI IN connector
to the MIDI OUT connector of an external keyboard,
2 . Press [
PARAMETER] or [PARAMETER
] to
sequencer, etc.
fig.6-04.e
display the following screen.
fig.6-05
MIDI
Pad CH
10
3 . Turn [PATCH/ VALUE] to specify the channel.
MIDI OUT
MIDI IN
Pa d CH: 1 –1 6 , O FF
Specify the channel on which performance data of the pad
controller section (pads, D Beam, ribbons, external triggers)
will be transmitted and received. Normally you will set this
to channel 10.
MIDI keyboard
Pe rc 1 CH: 1 –1 6 , O FF
Specify the channel for percussion part 1 of the internal
sequencer. Normally you will set this to channel 11.
HPD-15
Pe rc 2 CH: 1 –1 6 , O FF
Specify the channel for percussion part 2 of the internal
sequencer. Normally you will set this to channel 12.
Me lo 1 CH: 1 –1 6 , O FF
Specify the channel for melody part 1 of the internal
sequencer. Normally you will set this to channel 5.
Me lo 2 CH: 1 –1 6 , O FF
Specify the channel for melody part 2 of the internal
sequencer. Normally you will set this to channel 6.
At a setting of “1” through “16,” MIDI messages will be
transmitted and received on that channel. A setting of “OFF”
lets you turn off transmission and reception for that part, so
that notes are not received.
* When you are finished setting, press [SYSTEM] or [EXIT].
For more on synchronization with external sequencer, refer
to “Synchronizing the Internal Sequencer with an External
MIDI Device” in “Settings for the Basic Operation” (p. 68).
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Ch a p te r 6 Co n n e ctin g MIDI De vice s
Usin g w ith th e Ro la n d SPD-
2 0 (SO FT THRU)
Usin g a Se q u e n ce r o r a
Co m p u te r to Re co rd / Pla y
Ba ck th e Pe rfo rm a n ce o n th e
HPD-1 5
This section explains how you can use the Roland SPD-20 (a
MIDI controller) together with the HPD-15 to play internal
sounds and an external sound module.
HPD-15 performance data can be saved on an external
sequencer or computer.
Performance data of the HPD-15 and performance data of the
SPD-20 will both be sent to the external sound module.
For details on the settings for the recording, refer to “Using
the HPD-15 to Play External Instruments” (p. 76), for details
on the settings for the playing back, refer to “Using the HPD-
15 As a Sound Module” (p. 78).
fig.6-06.e
To the MIDI IN of another
sound module or sampler
Use MIDI cables to connect the HPD-15’s MIDI OUT
connector to the MIDI IN connector of the external
sequencer, and connect the HPD-15’s MIDI IN connector to
MIDI
OUT/THRU
MIDI OUT
MIDI IN
the MIDI OUT connector of the external sequencer.
fig.6-08.e
SPD-20
MIDI IN
MIDI OUT
MIDI IN
MIDI OUT
HPD-15
1 . Press [SYSTEM] to make it light.
2 . Press [
PARAMETER] or [PARAMETER
] to
display the following screen.
External Sequencer
fig.6-07
MIDI
HPD-15
Soft Thru OFF
3 . Turn [PATCH/ VALUE] to select ON/ OFF.
When you make connections as shown, turn off Local
Control (p. 80) and Soft Thru. For details, refer to “Cutting
the Connection Between the Sound Generator and the Pad
Controller (Local Control)” (p. 80).
4 . When you are finished setting, press [SYSTEM] or
[EXIT].
So ft Th ru : O FF, O N
The messages (except for System Exclusive) received at the
MIDI IN will also be transmitted from the MIDI OUT/ THRU
connector when Soft Thru is set to “ON.”
When you use an external sequencer for Loop recording, it
may not be possible to completely play back the
modifications of the tone controlled by realtime modify.
If this setting is not used, leave it “OFF” as the trigger
response of the pads will be faster.
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Ch a p te r 6 Co n n e ctin g MIDI De vice s
Cu ttin g th e Co n n e ctio n Be tw e e n
th e So u n d Ge n e ra to r a n d th e
Pa d Co n tro lle r (Lo ca l Co n tro l)
Sa vin g Da ta to a n Ex te rn a l
MIDI In stru m e n t
The data in the HPD-15 can be transmitted either singly or
collectively to a sequencer (or another HPD-15). The
operation of transmitting this data is called a “Bulk Dump”;
receiving this data is called a “Bulk Load.”
This setting is required when you wish to record your pad
performance on an external MIDI sequencer.
The performance data from the pad, rather than being sent
directly to the sound module section (Local Control Off), is
first sent to the external sequencer, and then on to the HPD-
Tra n sm ittin g (Bu lk Du m p )
15’s sound module.
fig.6-09.e
Use a MIDI cable to connect the HPD-15’s MIDI OUT
HPD-15
connector to the MIDI IN connector of the external sequencer
MIDI OUT/THRU
Trigger
MIDI
or the other HPD-15.
Converter
fig.6-11.e
Local Control: OFF
Soft Thru: OFF
MIDI IN
MIDI OUT
Sound Generator
External
Sequencer
MIDI IN
: Performance data flow route
If you make connections and record as shown, with a setting
of Local On, duplicate notes will be re-transmitted to the
HPD-15 and will not be played correctly. If you turn on Soft
Thru (p. 79) and make connections as shown in the diagram,
MIDI messages will create a loop, and the system will not
play correctly. Be sure to turn off Soft Thru as well.
External Sequencer
HPD-15
1 . Press [SYSTEM] to make it light.
2 . Press [
PARAMETER] or [PARAMETER
] to
1 . Press [SYSTEM] to make it light.
display the following screen.
fig.6-12.e
2 . Press [
PARAMETER] or [PARAMETER
] to
display the following screen.
MIDI
[WRITE]
ALL
fig.6-10
BlkDmp
MIDI
or
LocalControl ON
MIDI
[WRITE]
3 . Turn [PATCH/ VALUE] to select ON/ OFF.
BlkDmpU0101-0101
4 . When you are finished setting, press [SYSTEM] or
blinking
[EXIT].
3 . Turn [PATCH/ VALUE] to select the contents that you
Lo ca lCo n tro l: O FF, O N
wish to transmit.
4 . Put the receiving sequencer in record mode. When you
wish to transmit to another HPD-15, put the receiving
HPD-15 in play mode.
When Local Control is set to “OFF,” the internal sound
generator does not sound, even when the pad is struck.
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Re ce ivin g (Bu lk Lo a d )
Refer to the owner’s manual of the receiving device.
The HPD-15 receives data that was stored in a sequencer.
Use a MIDI cable to connect the HPD-15’s MIDI IN connector
5 . Press [WRITE] to begin data transmitting.
to the MIDI OUT connector of the external sequencer or the
* If you wish to stop transmission, press [EXIT].
other HPD-15. Set the HPD-15 play mode.
fig.6-13.e
Blk Dm p : ALL, SYS, SEQ ALL, PATCH ALL,
GRO UP0 1 –1 0 , U0 1 0 1 –1 0 0 8 , TEMPO RARY,
U0 1 0 1 –1 0 0 8 -U0 1 0 1 –1 0 0 8
ALL:
Transmit all settings.
MIDI OUT
MIDI IN
* The settings of the current patch which is not written into
memory (TEMPORARY) will not be transmitted.
SYS:
Transmit system settings (p. 67).
SEQ ALL:
Transmit all data for the user patterns (p. 59) of the
sequencer.
External Sequencer
PATCH ALL:
Transmit all user patch settings.
GROUP01–10:
HPD-15
Send the data from the external sequencer to the HPD-15.
Transmit the settings of all patches in the selected patch
group.
The transmitted settings are reproduced.
U0101–1008:
Transmit the settings of the selected user patch.
TEMPORARY:
When data is received, the data that was previously in the
HPD-15’s memory will be lost.
Transmit the settings of the current patch. This allows
you to transmit the state of the settings before pressing
[WRITE] to write them into memory.
Never turn the power off while receiving the bulk data and
writing the data into memory. If the power is turned off, the
data will be lost.
U0101–1008-U0101–1008:
Transmit the settings of the specified area of user
patches.
Select “Int” for the “Seq Sync” in system settings (p. 68). If
you select other than “Int,” the internal sequencer will begin
playback and won’t receive the data.
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Ch a p te r 6 Co n n e ctin g MIDI De vice s
Se ttin g th e De vice ID
Pro g ra m Ch a n g e N u m b e r List
(Use r Pa tch e s)
The setting described here is necessary only when you wish
to transmit separate data to two or more HPD-15 units at the
same time. Do not change this setting in any other case.
Bank Select: 1
fig.6-16.e
Patch
Number
Program
Change
Number
Patch
Number
Program
Change
Number
At the factory settings, the Device ID is set to “17.”
1 . Press [SYSTEM] and make it light.
U0101
U0102
U0103
U0104
U0105
U0106
U0107
U0108
U0201
U0202
U0203
U0204
U0205
U0206
U0207
U0208
U0301
U0302
U0303
U0304
U0305
U0306
U0307
U0308
U0401
U0402
U0403
U0404
U0405
U0406
U0407
U0408
U0501
U0502
U0503
U0504
U0505
U0506
U0507
U0508
1
2
U0601
U0602
U0603
U0604
U0605
U0606
U0607
U0608
U0701
U0702
U0703
U0704
U0705
U0706
U0707
U0708
U0801
U0802
U0803
U0804
U0805
U0806
U0807
U0808
U0901
U0902
U0903
U0904
U0905
U0906
U0907
U0908
U1001
U1002
U1003
U1004
U1005
U1006
U1007
U1008
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
2 . Press [
PARAMETER] or [PARAMETER
] to
display the following screen.
3
fig.6-14
4
MIDI
Device ID
5
17
6
7
3 . Turn [PATCH/ VALUE] to change the Device ID.
8
4 . When you are finished modifying, press [SYSTEM] or [EXIT].
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
DEVICE ID: 1 –3 2
Ex a m p le :
Suppose that when data was saved via bulk dump, the HPD-
15’s Device ID was set to “17.” When re-transmitting this
data back to the HPD-15, it won’t receive if the Device ID is
set to something other than “17.”
fig.6-15.e
Transmit data
Device ID: 17
MIDI IN
MIDI OUT
External Sequencer
HPD-15
Device ID: 17
MIDI IN
System Exclusive
is not received
HPD-15
Device ID: 16
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.
* Program change numbers of the preset patches are written in
the Preset Patch List (p. 90).
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Tro u b le sh o o tin g
This chapter outlines points to check if you experience
problems, and what to do about them.
Is “ O ff” se le cte d fo r th e Pa d In st? (p . 3 6 )
Select a instrument other than “Off.”
Is “ O FF” se le cte d fo r th e Lo ca l Co n tro l? (p . 8 0 )
Pro b le m s W ith th e O ve ra ll
So u n d
Select “ON.”
Is n o t th e [SO UN D] b u tto n o f D Be a m o r
rib b o n lig h t?
Press [SOUND] to make it light.
In te n d e d So u n d N o t Pro d u ce d
Are th e ca b le s co n n e cte d to th e co rre ct ja ck s?
Are th e p a d se n sitivity se ttin g s co rre ct?
Connect the cables to the OUTPUT jacks.
Make sure that the following parameters are set to correct
value.
System Settings:
Th e Vo lu m e Le ve l o f th e
Ja ck s is To o Lo w
PAD Sens (p. 70), DBEAM Sens (p. 69)
Patch Settings:
PadSnsType (p. 54), TrigMode (p. 36)
Co u ld y o u b e u sin g a co n n e ctio n ca b le th a t
co n ta in s a re sisto r?
Use a connection cable that does not contain a resistor.
The HPD-15 adjusts the sensitivity of the D Beam
autmatically for the brightness of its location when the power
is turned on. Do not shut the window of the D Beam until the
patch name is displayed.
So u n d Do e s N o t Sto p
Is th e [RO LL/ HO LD] b u tto n lig h t? (p . 1 6 )
If you connect the hi-hat control pedal (FD-7, optional), the
HPD-15 check the position of the pedal when the power is
turned on. Do not step on the pedal until the patch name is
displayed.
Is “ Ga te ” o r “ Trig ” se le cte d fo r th e
“ Trig Mo d e ? ” (p . 3 6 )
Select “Shot.”
Is th e w in d o w o f th e D Be a m sh u t? (p . 1 6 )
Be careful not to shut the window of the D Beam.
N o So u n d
Ha s th e [VO LUME] k n o b (p . 1 0 ) tu rn e d fu lly
co u n te rclo ck w ise ?
Mo d ifica tio n Do e s n o t Ch a n g e
th e So u n d
Turn the [VOLUME] knob clockwise.
Is th e se le cte d p a d co rre ct?
Ha s th e le ft re a ltim e m o d ify k n o b (p . 1 9 )
tu rn e d fu lly co u n te rclo ck w ise ?
The pad which is hit last becomes edit target.
Press [SELECT] to make the upper indicator light. Then turn
the left realtime modify knob ([LEVEL]) clockwise to increase
the level.
Is “ O FF” se le cte d fo r th e “ Pa d Ch a se ? ” (p . 6 8 )
When “OFF” is selected, edit target does not change. Select
“ON” for the Pad Chase or Strike the pad to select it while
holding down [PATCH SEL].
Are th e PAD SET Le ve l (p . 2 5 ), Pa d Le ve l (p .
3 6 ), a n d Ma ste rVo lu m e (p . 5 4 ) in th e p a tch
lo w e re d ?
Is Mo d ify Lo ck (p . 1 9 ) o n ?
Raise the values.
When the [SELECT] indicator is blinking, there is a pad
which is fixed to the target of modification. Hold down
[SELECT], and press [EXIT] to unlock.
Are th e Effe ct Le ve l, Dire ct Le ve l, a n d Fx O u t
Vo lu m e (p . 4 0 ) in th e m u lti-e ffe cts lo w e re d ?
Raise the values.
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Tro u b le sh o o tin g
Mu lti-Effe cts / Re ve rb / LFO Do e s
n o t Ap p lie d
Se q u e n ce r-re la te d Pro b le m s
Is n o t th e [MULTI-EFFECTS] b u tto n lig h t? (p . 2 0 )
N o So u n d W h e n [PLAY/ STO P] is
Pre sse d
Press [MULTI-EFFECTS] to make it light.
Is “ O FF” se le cte d fo r th e REVERB Ty p e (p . 2 5 )
o r MULTI-FX/ LFO (p . 2 5 , p . 3 6 ) ?
Is it a b la n k p a tte rn th a t is b e in g p la y e d
b a ck ?
Select a setting other than “OFF.”
Play back a pattern containing performance data.
Is th e Re ve rb Se n d in th e PAD SET o r PAD (p .
2 5 , p . 3 6 ) lo w e re d ?
Is “ Ex t” se le cte d fo r th e “ Se q Sy n c? ” (p . 6 8 )
Select “Int.”
Raise the values.
Pla y b a ck Sto p s Im m e d ia te ly
Afte r Be g in n in g
MIDI-re la te d Pro b le m s
Is “ Ta p ” o r “ Ta p Ve lo ” se le cte d fo r th e
p a tte rn ’s Pla y Ty p e ?
N o So u n d w h e n u sin g a n
e x te rn a l co n tro lle r (se q u e n ce r,
k e y b o a rd e tc.)
Select “Loop” or “OneShot” (p. 60).
“Tap” and “TapVelo” refer to the convenient playback
function in Pad Pattern (tapping the pad causes the pattern
to be played back).
Is th e MIDI ca b le co n n e cte d p ro p e rly ? (p . 7 8 )
Is th e MIDI ch a n n e l co rre ct? O r is th e
ch a n n e lse t to “ O FF? ”
Select the correct MIDI channel (p. 78).
Bu lk Du 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,
connect the HPD-15’s MIDI OUT/ THRU connector to the
external sequencer’s MIDI IN connector (p. 80).
Ha s th e “ N o re ce p tio n o f MIDI Ex clu sive
Me ssa g e s” se ttin g b e e n se le cte d o n th e
e x te rn a l MIDI d e vice ?
Refer to the owner’s manual for the external MIDI device.
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Re sto rin g th e Fa cto ry Se ttin g s
You can restore patch and pad settings as well as pattern
data stored in the HPD-15 to the settings in effect when the
unit was shipped from the factory.
PTN ALL:
Erases all user pattern (p. 59) data and restores
sequencer settings (p. 60–p. 62) to their factory presets.
ALL:
Restores all settings to their factory presets.
All data and settings in the restored part are lost. Follow the
procedures described in “Bulk Dump” (p. 80) to save any
data and settings you need to keep to an external MIDI
device.
While executing factory reset, do not turn the power off. Data
in the HPD-15’s memory will be corrupted.
Pro ce d u re fo r Fa cto ry Re se t
1 . Press [SYSTEM].
fig.7-01
UTILITY
LCD Contrast 5
2 . Press [PARAMETER
] to display the following
screen.
fig.7-02
FACTORY RESET
SYSTEM [WRITE]
You can make your selection rapidly by using the Skip
Function (p. 32).
3 . Turn [PATCH/ VALUE] to select the part that you wish
to restore.
fig.7-03
FACTORY RESET
ALL
[WRITE]
4 . Press [WRITE] to execute factory reset.
* If you decide not to execute, press [EXIT].
FACTO RY RESET:SYSTEM, CHAIN ALL, PATCH
ALL, PTN ALL, ALL
SYSTEM:
Restores all system settings (p. 67) to their factory
presets.
CHAIN ALL:
Erases all patch chain (p. 65) settings.
PATCH ALL:
Restores all user patch (p. 21) settings to their factory
presets.
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Me ssa g e s a n d Erro r Me ssa g e s
fig.7-09
This section lists the messages (error messages) that the
HPD-15 produces and explains the meaning of each message,
Max 999 Measures
giving you to appropriate action to take.
Aborted! [EXIT]
The maximum number of measures that can be recorded to
one pattern has been exceeded; no further recording or
editing that adds measures can be carried out. Press exit.
Erro r Me ssa g e s
fig.7-04
fig.7-10
System Error!
PRESET PATTERN!!
Select User PTN
A problem has occured with the internal system. Contact
your dealer or a nearby Roland service center.
This is a Preset pattern; it cannot be edited or recorded. Select
a User pattern.
fig.7-05
fig.7-10a
Memory Damaged!!
Reset [WRITE]
No Empty Pattern
Data in the HPD-15’s memory is corrupted. Press [WRITE] to
There are no empty patterns for recording.
execute factory reset
Delete unneeded pattern or select a recorded pattern that can
be used for recording.
If you turned the power off when the HPD-15 is writing data
into memory, the data will be damaged. Never turn the
power off while the HPD-15 is executing a writing process.
fig.7-11
Data Overload!
[EXIT]
fig.7-06
No Enough Memory
Aborted! [EXIT]
Pattern contained an excessive amount of data, and as a
result could not be played back or recorded. Press [EXIT].
Pattern recording or editing could not be carried out because
there was not enough internal memory. Press [EXIT].
Try eliminating a part that has too much data.
Try deleting patterns that are no longer needed (p. 64).
fig.7-12
BULK Receive
fig.7-07
Error! [EXIT]
Empty Pattern!
Aborted!
Reception of bulk dump failed. Press [EXIT].
This pattern contains no performance data; it cannot be
edited.
Make sure that all MIDI cables are firmly connected (p. 81).
fig.7-13
fig.7-08
Checksum Error!
[EXIT]
PTN Write Error!
The checksum value of a system exclusive message was
incorrect. Press [EXIT].
Writing a pattern data failed.
Correct the checksum value.
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Me ssa g e s a n d Erro r Me ssa g e s
fig.7-14
Me ssa g e s
MIDI Buffer Full
fig.7-17
Now Writing.....
A large amount of MIDI messages were received in a short
time, and could not be processed completely.
KEEP POWER ON!!
The HPD-15 is writing data into memory. Do not turn the
power off.
Confirm that the external MIDI device is properly connected
(p. 78). If the problem persists, reduce the amount of MIDI
messages sent to the HPD-15.
fig.7-18
Now Copying.....
KEEP POWER ON!!
fig.7-15
MIDI Offline!!
The HPD-15 is copying data. Do not turn the power off.
fig.7-19
A MIDI cable was disconnected. (Or communication with the
external MIDI device stopped for some reason.)
Now Exchange....
KEEP POWER ON!!
The HPD-15 is executing an exchange function. Do not turn
the power off.
Make sure that MIDI cables have not been pulled out or
broken.
fig.7-23
fig.7-16
Now Executing...
KEEP POWER ON!!
Device ID is
Different!
The HPD-15 is executing a process. Do not turn the power
off.
Due to an incorrect Device ID, the system exclusive message
could not be received.
fig.7-20
Set the correct Device ID. (p. 82)
Now Resetting...
KEEP POWER ON!!
The HPD-15 is restoring the factory settings. Do not turn the
power off.
fig.7-21
BULK DATA
Transmitting...
Bulk data is now being transmitted.
fig.7-22
BULK Receiving..
KEEP POWER ON!!
Bulk data is now being received. Do not turn the power off.
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Ab o u t MIDI
MIDI (Musical Instruments Digital Interface) is a standard
specification that allows musical data to be exchanged
between electronic musical instruments and computers.
MIDI With a MIDI cable connecting MIDI devices that are
equipped with MIDI connectors, you can play multiple
instruments with a single keyboard, have multiple MIDI
instruments perform in ensemble, program the settings to
change automatically to match the performance as the song
progresses, and more.
MIDI Ch a n n e ls a n d Mu 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 made 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
different stations. In the same way, MIDI also allows a device
to select the information intended for that device out of the
While using only pads with the HPD-15, there is no need to
have any detailed knowledge of MIDI. For those who wish to
use MIDI keyboards to record patterns on the HPD-15, use it
as a sound module with external sequencers, or learn the
HPD-15 at a more advanced level, the following explains
such matters related to MIDI.
variety of information that is being transmitted to it.
fig.7-25.e
The cable from the antenna carries the TV
signals from many broadcast stations.
Station A
Station B
Station C
Ab o u t MIDI Co n n e cto rs
The HPD-15 is equipped with the two types of MIDI
The TV is set to the channel of the station
you wish to watch.
connectors, each which works differently.
fig.7-24
MIDI uses sixteen channels; 1 through 16. Set the receiving
device so that it will receive only the channel that it needs to
receive.
Ex a m p le :
Set MIDI keyboard to send Channel 1 and Channel 2, then set
sound module A to receive only Channel 1 and sound
module B only Channel 2. With this setup, you can get an
ensemble performance, with, for example, a guitar sound
MIDI IN Co n n e cto r
This connector receives messages from external MIDI devices
(keyboards, sequencers controllers etc.) to play the HPD-15’s
instruments or change its settings.
from sound module A and bass from sound module B.
fig.7-26.e
MIDI OUT
MIDI IN
MIDI THRU
MIDI O UT/ THRU Co n n e cto r
The HPD-15 uses both the MIDI OUT and MIDI THRU
connector are combined. The “Soft Thru” setting (p. 79)
changes the function. As shipped from the factory, this is set
to “Soft Thru OFF.”
Transmit channel: 1, 2
Receive channel: 1
Sound
Module
A
Receive channel: 2
MIDI IN
MIDI keyboard
Sound
Module
B
Soft Thru OFF
This connector transmits MIDI messages to external
MIDI devices. MIDI messages received at MIDI IN are
not transmitted.
When used as a sound module, the HPD-15 can receive on
up to five of the sixteen MIDI channels. Sound modules like
the HPD-15 which can receive multiple MIDI channels
simultaneously to play different sounds on each channel are
called “multi-timbral sound modules.”
Soft Thru ON
HPD-15’s MIDI messages and MIDI messages received
at MIDI IN are transmitted from this connector.
8 8
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Ab o u t MIDI
Ho w th e In te rn a l Se q u e n ce r
O p e ra te s
A sequencer is an electronic instrument used for recording
and playback of performances. The HPD-15 features such a
sequencer function. The HPD-15 comes with built-in
performance patterns (Preset patterns) which can be used for
drum practice and other purposes. You can also create your
own patterns.
fig.7-27.e
External sound module
HPD-15
Internal sequencer
Percussion Part 1
MIDI keyboard
Percussion Part 2
Melody Part 1
Melody Part 2
Pad
Internal sound generator
For playback, the performance data that has been recorded to
the sequencer is sent to the sound generator, which produces
the sound. The data for each of the sequencer’s parts causes
the corresponding part in the internal sound generator to be
played. When performance data is recorded, the
performance data from pads and MIDI keyboards is sent to
the sequencer; the data recorded here is then sent to the
sound module for playback.
8 9
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Pre se t Pa tch List
#: Patch Change via MIDI
P0509 LightOrch
P0510 OrchPerc
P0511 Aux Perc
2-80
2-81
2-82
P0719 SynthDrums
P0720 Discotica
2-122
2-123
2-124
2-125
2-126
2-127
IN DIAN
#
(Bank No.) - (Program No.)
P0301 Tabla
2-40
2-41
2-42
2-43
2-44
2-45
2-46
2-47
2-48
2-49
2-50
2-51
2-52
2-53
2-54
2-55
2-56
2-57
P0721 Dance 6
LATIN
P0101 Conga
#
P0302 Dholak
P0303 Madal
P0722 Lock Out
2-1
2-2
P0723 DanceMenu1
P0724 DanceMenu2
DRUMS
P0601 Standard
P0602 Jazzbrush
P0603 Analog
#
P0304 Dhol
P0102 Bongo
2-83
2-84
2-85
2-86
2-87
2-88
2-89
2-90
2-91
2-92
2-93
2-94
2-95
2-96
2-97
2-98
2-99
2-100
2-101
2-102
2-103
P0305 DrmOfIndia
P0306 MadalTalan
P0307 Tabla II
P0308 Tabla III
P0309 TABLATIX
P0310 Sitar
P0103 Timbales
P0104 LatinToys
P0105 CONGAbongo
P0106 TimbaleMix
P0107 Conga II
P0108 Bongo II
P0109 TimbalesII
P0110 BONGO-BRS-
P0111 TimbalSong
P0112 Steel Drum
P0113 Pandeiro
P0114 Surdo
2-3
2-4
SFX
P0801 PsycoDrama
#
2-5
P0604 TR-808
2-128
3-1
2-6
P0605 TR-909
P0802 Forest
2-7
P0606 Studio
P0803 GrandBlue
P0804 NoiseSonic
P0805 ArpegPerc
P0806 CartoonFX
P0807 Silly FX
3-2
2-8
P0607 Rock Stage
P0608 Swing
3-3
P0311 SantoorMaj
P0312 SantoorMin
P0313 Tambura
P0314 Darabukka
P0315 Rek
2-9
3-4
2-10
2-11
2-12
2-13
2-14
2-15
2-16
2-17
2-18
2-19
2-20
2-21
2-22
P0609 Brushes
P0610 Orch Set
P0611 Mexi-Set
P0612 Hi-Boy
3-5
3-6
P0808 Rol&FiltMe
P0809 MetalMania
P0810 ChaosSoniq
P0811 SFX Menu 1
P0812 SFX Menu 2
P0813 SFX Menu 3
3-7
3-8
P0316 Doholla
P0317 Doira
P0613 Low&Dry
P0614 Jazz Mix
P0615 JzBrush&Bs
P0616 BluesClub
P0617 Drum&Horns
P0618 TechnoGate
P0619 FlangeDrms
P0620 JunkyDrums
P0621 Brush Box
3-9
P0115 ESCOLA
P0116 Berimbau
P0117 PandeiroII
P0118 Surdo II
3-10
3-11
3-12
P0318 Turk-Mltry
ASIAN
P0401 JAPAN
#
P0119 Brazil Mix
P0120 Perc Echos
P0121 SpaceConga
P0122 808 Latin
2-58
2-59
2-60
2-61
2-62
2-63
2-64
2-65
2-66
2-67
2-68
2-69
2-70
2-71
O THERS
#
P0402 MATSURI
P0403 CHINA
P0404 Yang Qin
P0405 Korean4Drm
P0406 Gamelan
P0407 JavaGameln
P0408 BaliGameln
P0409 Bali&Java
P0410 Gongs
P0901 Laserwave
P0902 Heavy Gtr
P0903 Acous Bass
P0904 SH101 Bass
P0905 Flute
3-13
3-14
3-15
3-16
3-17
3-18
3-19
3-20
3-21
3-22
3-23
3-24
AFRICAN
#
DAN CE
#
P0201 TalkingDrm
P0202 Djembe S
P0203 Djembe L
P0204 Frame Drum
P0205 Pot Drum
P0206 Kalimba
2-23
2-24
2-25
2-26
2-27
2-28
2-29
2-30
2-31
2-32
2-33
2-34
2-35
2-36
2-37
2-38
2-39
P0701 Clap&Scrch
P0702 FILTERED
P0703 Trash Beat
P0704 LatinHouse
P0705 Techey
2-104
2-105
2-106
2-107
2-108
2-109
2-110
2-111
2-112
2-113
2-114
2-115
2-116
2-117
2-118
2-119
2-120
2-121
P0906 Syn String
P0907 Saw Wave
P0908 Juno Rave
P0909 Fantasia
P0411 Angklung
P0412 Bonang
P0910 Thick Pad
P0911 Calliope
P0912 Melody-808
P0706 TechDance
P0707 EthniDance
P0708 Cosmo 21
P0709 Industrial
P0710 UndaGround
P0711 StreetBeat
P0712 909-2000
P0413 Gender
P0207 Log Drum
P0208 Balaphone
P0209 Gyilli
P0414 Saron
LO O PS
#
ORCH
#
P0210 AfroZither
P0211 MonguDrum
P0212 AfricaToys
P0213 Gyilli&Cng
P0214 NaturePerc
P0215 GyliBalaph
P0216 TalkDrm II
P0217 PotDrum II
P1001 Latin Loop
P1002 Samba Loop
P1003 AfricaLoop
P1004 IndianLoop
P1005 Asian Loop
P1006 FusionLoop
P1007 Dance Loop
P1008 Shot & Tap
3-25
3-26
3-27
3-28
3-29
3-30
3-31
3-32
P0501 Vibraphone
P0502 Glockenspl
P0503 Xylophone
P0504 Marimba
P0505 Bs Marimba
P0506 TubularBel
P0507 Timpani
2-72
2-73
2-74
2-75
2-76
2-77
2-78
2-79
P0713 AlienDance
P0714 TechNow
P0715 Sweep 808
P0716 Revolution
P0717 Backbeat
P0508 Orch Hit
P0718 AmberWater
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Pre se t Pa tte rn List
P53
P54
P55
P56
P57
P58
P59
P60
P61
P62
P63
P64
P65
P66
P67
P68
P69
P70
P71
P72
P73
P74
P75
P76
P77
P78
P79
P80
P81
P82
P83
P84
MATSURISM
OHAYASHI 1
OHAYASHI 2
SamulNori1
SamulNori2
China-Mood
Polynesian
Javanese
Pla y Ty p e : Lo o p
P01
P02
P03
P04
P05
P06
P07
P08
P09
P10
P11
P12
P13
P14
P15
P16
P17
P18
P19
P20
P21
P22
P23
P24
P25
P26
P27
P28
P29
P30
P31
P32
P33
P34
P35
P36
P37
P38
P39
P40
P41
P42
P43
P44
P45
P46
P47
P48
P49
P50
P51
P52
Cha-Cha
ChaChaLite
MamboBreak
ComparSlow
ComparFast
SonMontuno
Merengue
Latin 6/ 8
Balinese
ForestSong
FILTERTIV
Sevenate
Mozambique
Salsa
Salsa-Med
Guaguanco
6/ 8 Groove
Descarga1
Descarga2
Baion
A.O.R.
AcidFusion
ElecFusion
Fusion-3/ 4
HardFusion
Funk
BahiaGroov
Samba-Med
SambaSao
Slow Samba
Samba-Roda
SambaBasic
EscolaRthm
GyilliSong
PotDrumPtn
Djembeat
JazzFunk
LatinJazz
AfroJazz
Reggae
Mambo w/ b
Salsa w/ b
Samba w/ b
Carrib
House
TechnoPop
Locomotive
KiddyDisco
Night-Bird
Drops
2Bt-Afro
12/ 8-Afro
Funky Afro
7Bt-Clay
4Bt-Clay
4BtRl-Clay
TurkMarch
BellyDance
Arabic10Bt
Arabic4Bt
Silkroad
Pla y Ty p e : O n e Sh o t
P85
P86
P87
P88
P89
P90
P91
P92
LatinFill1
LatinFill2
Cha-Fill1
Cha-Fill2
Cha-Fill3
Ending1
Ending2
Ending3
Tabla-Med
Tabla-Slow
Bhairavi
Kashimir
Santoor
IndianFolk
DholakBeat
BengalRthm
BanglaBeat
Madal Seq.
5Bt-Indian
7Bt-Indian
4Bt-Indian
Spanish-12
Asian-12/ 8
Pla y Ty p e : Ta p
P93
P94
P95
P96
P97
P98
P99
SantoorTap
BassTap1
BassTap2
AcoGuitTap
AdlibTap
WahGtTap
CodeMenu
(C, C , C , C
, C , C , C
, C )
7sus4
m
m7
maj7
6
dim
7
9 1
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In stru m e n t List
*M: Mute switching sound
*P: Responds to positional sensing when assigned to pad A1 or A5.
*D: The ribbons/ D Beam will produce different tones depending on the direction of the movement of your hand when TirgMode is set to “Move” or “MovGate.” The
pads can switch the sound when TrigMode is set to “Gate” or “Trig.”
*F: These are hi-hat sounds that can be controlled by the hi-hat control pedal (FD-7, optional).
*H: The sound will sustain by pressing [ROLL/ HOLD] button when TrigMode is set to “Gate” or “Trig.”
*T: The pitch of these sounds can be adjusted by MasterTune in system setting.
No. Inst
Remarks
L72 Cuica 1 Open
L73 Cuica 1 Mut1
L74 Cuica 1 Mut2
L75 Cuica 2
L76 Cuica 2 Open
L77 Cuica 2 Mut1
L78 Cuica 2 Mut2
L79 Pandeiro
L80 Pandeiro Mut
L81 Pandeiro Slp
L82 Pandeiro Lo
L83 Pand Lo Mut
L84 Pand Lo Slp
L85 R-8 Surdo
L86 R-8 Surdo Mt
L87 R-8 Surdo Rm
L88 Surdo
*M
F20 Afro Dr Rttl
F21 Metal Casta
F22 PotDrm 1 Lo
F23 PotDrm 1 Hi
F24 PotDrm 1 Acc
F25 PotDrm 2
F26 PotDrm 2 Mut
F27 PotDrm 2 Lng
F28 PotDrm 2 Sht
F29 PotDrm 3 Slp
F30 PotDrm 3 Bas
F31 PotDrm 3 BsE
F32 Kalimba
I31 Santoor Lowr
I32 Santoor Uppr
I33 Tambura
I34 Tambura Dron
I35 Bell Tree
*T
*T
*T
*H, *T
LATIN
L01 Bongo Hi
*M, *D
*M
*M, *P
*M, *P
*M
*M
I36 Sagat Open
I37 Sagat Closed
I38 Sagat OpCls
I39 Darbuka1 Dom
I40 Darbuka1 Tak
I41 Darbuka2
I42 Doira Dun
I43 Doira Tik
I44 Doholla Dom
I45 Doholla Sak
I46 Doholla Tak
I47 Doholla Roll
I48 Doholla Stop
I49 Dohol RolStp
I50 Rek Dom
I51 Rek Tek
I52 Rek Open
I53 Rek Trill
I54 Bendir
I55 Dawul
I56 HmrDlcmr Lwr
I57 HmrDlcmr Upr
L02 Bongo Hi / H
L03 Bongo Hi / T
L04 Bongo Hi Cls
L05 Bng HiHndSlp
L06 Bongo Lo
L07 R-8 Bongo Hi
L08 R-8 Bongo Lo
L09 Conga Hi / H
L10 Conga Hi / T
L11 Conga Hi
L12 CongaHiOpSlp
L13 Conga Hi Cls
L14 CongaHiClSlp
L15 Conga HiHeel
L16 Conga Hi Toe
L17 Conga HiBass
L18 Conga Slide
L19 Conga Lo / H
L20 Conga Lo / T
L21 Conga Lo
L22 CongaLoOpSlp
L23 Conga Lo Cls
L24 CongaLoClSlp
L25 Conga LoHeel
L26 Conga Lo Toe
L27 Conga LoBass
L28 R-8 Conga Hi
L29 R-8Cng HiCls
L30 R-8 Conga Lo
L31 Cowbell 1
*M
*M
*M
*P
*D
*T
*P
*P
*M, *P
*M
*M, *P
*M, *P
*P
F33 Log Drum
F34 Gyilli A
F35 Gyilli D
F36 Gyilli G
*T
*T
*T
*T
*T
*T
*T
*D, *T
*T
*T
*T
*T
*T
*T
*D, *T
*T
*M, *P
*P
*M, *P
*P
L89 Surdo Mute
L90 Tamborim
F37 Gyilli C
F38 Gyilli Hi G
F39 Gyli GlissUp
F40 Gyli GlissDn
F41 Gyli GlsUpDn
F42 Balaphone A
F43 Balaphone F#
F44 Balaphone E
F45 Balaphone B
F46 Balphn GlsUp
F47 Balphn GlsDn
F48 Balphn UpDn
F49 Balaphone 2
F50 Afro Zither
F51 Afro Feet
F52 Afro Stomp
F53 Hand Drum
F54 Hand Drum Bs
F55 MonguDrm Hi
F56 MngDrm Hi Bs
F57 MonguDrm Lo
F58 Clapstick
*M, *D
*P
L91 Tamborim Mut
L92 Tamborim Slp
L93 Tamborim 2
L94 Whistle Long
L95 Whistle Shrt
L96 Whstl LngSht
L97 Caxixi
*M, *P
*M
*M, *P
*M, *D
*T
*T
L98 Berimbau
*M, *T
*T
*T
*T
*D, *T
*P
L99 Berimbau Mut
l01 Berimbau Up
l02 Berimbau Dn
l03 BerimbauUpDn
l04 Caixa
l05 Caixa Rim
l06 Caixa Roll
l07 Rain Stick
l08 RainStk Soft
l09 SambaBateria
l10 Space Conga
l11 SpaceCng Bas
l12 E.Conga
l13 E.Conga Bass
l14 DR-55 Claves
l15 CR-78 Cowbel
l16 CR-78 MetalB
l17 CR-78 Guiro
l18 CR-78 Tambrn
l19 CR-78 Maracs
l20 CR-78 Bongo
l21 CR-78 Claves
l22 TR-808 Conga
l23 TR-808 Clavs
l24 TR-808 Marcs
l25 TR-808 Cow
ASIAN
A01 Biwa
A02 Atarigane
A03 Hyoshigi
A04 Ohkawa
A05 Tsuzumi Hi
A06 Tsuzumi Lo
A07 Shime Taiko1
A08 Shime Taiko2
A09 MatsuriTaiko
A10 Matsuri TkRm
A11 Buk
A12 Buk Rim
A13 Jang-Gu
A14 Jing
A15 Jing Mute
A16 Gengari
A17 Gengari Mute
A18 Ban Gu 1
A19 Ban Gu 2
A20 Ban Gu 3
A21 Gu Roll
*T
*T
*M
*M
*M
*M, *P
*P
L32 Cowbell 1 Mt
L33 Cowbell 2
L34 Cowbell 3
L35 Claves 1
L36 Claves 2
L37 Guiro Long
L38 Guiro Short
L39 Guiro LngSht
L40 Guiro 1notch
L41 Maracas
*M, *P
*M, *P
*P
*P
F59 Boomerang
F60 Bamboo
F61 Bloom Bell
*M
*P
IN DIAN
I01 Sarna Bell
I02 Tabla Na
I03 Tabla Tin
I04 Tabla Tun
I05 Tabla Ti
I06 Tabla TinNa
I07 Tabla TiNa
I08 Tabla TunTin
I09 Tabla 2 Te
I10 Baya Slide
I11 Baya Gin
I12 Baya Ka
*M
*M
L42 Shaker 1
L43 Shaker 2
L44 Shaker 3
L45 Tambourine 1
L46 Tambourine 2
L47 Timbale Hi
L48 Timbale HiRm
L49 Timble+Crash
L50 Timbale Lo
L51 Timbale LoRm
L52 TimblHiPaila
L53 TmblHiPilaMt
L54 TimblLoPaila
L55 TmblLoPilaMt
L56 Timbl Hi Hnd
L57 TimblHiHndMt
L58 Timbl Lo Hnd
L59 TimblLoHndMt
L60 Vibra-slap
L61 Steel Drum 1
L62 Steel Drum 2
L63 Agogo 1 Hi
L64 Agogo 1 Lo
L65 Agogo 1 HiLo
L66 Agogo 2 Hi
L67 Agogo 2 Lo
L68 Agogo 2 HiLo
L69 Agogo 3
*P
*P
*M
A22 Gu High
A23 Gu Roll-Stop
A24 Tang Gu
A25 Tang Gu Mute
A26 Hu Yin Luo
A27 HuYinLuo Mut
A28 Nao Bo
*M, *D
*M
*P
AFRICAN
F01 Shekere
F02 Djembe / H
F03 Djembe / T
F04 Djembe
F05 Djembe Mute
F06 Djembe Slap
F07 Djembe Bass
F08 SmallDjmb / H
F09 SmallDjmb / T
F10 Small Djembe
F11 SmallDjmb Mt
F12 SmallDjmbSlp
F13 SmallDjmb Bs
F14 TalkingDrm 1
F15 TalkingDrm 2
F16 TalkingDrm 3
F17 Afro Drum 1
F18 Afro Drum 2
F19 Afro Dr Flam
*M
*M
*M
*M
*M
*M, *P
*M
*M, *P
*P
I13 Baya Ge
I14 Baya GeKa
I15 Dholak Ga
I16 Dholak Ta
I17 Dholak Tun
I18 Dholak Na
I19 Dholak TunNa
I20 Madal Da
I21 Madal Din
I22 Madal Ta
I23 Madal DinTa
I24 Khole
I25 Dhol Ga
I26 Dhol Slide
I27 Dhol Ka
I28 Dhol Da
I29 Sitar
*P
*P
A29 Xiao Bo
A30 Large TamTam
A31 Large Gong
A32 Small Gong
A33 Bend Gong
A34 Yang Qin
A35 Finger Cym
A36 Fingr Cym Mt
A37 Rama Cymbal
A38 Chenchen Opn
A39 Chenchen Cls
A40 Chenchn OpCl
A41 Bali Cym Opn
A42 Bali Cym Cls
A43 BaliCym OpCl
A44 Thai Gong
A45 JawsHarp Opn
*M, *P
*M
*M, *P
*P
*T
*M
*T
*T
*P
*M, *D
*M, *D
*M, *D
*M
*M
*M
L70 Cabasa
L71 Cuica 1
*T
*T
I30 Sitar Gliss
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In stru m e n t List
A46 JawsHarp Wow
A47 JawsHrp OpWo
A48 Bonang
A49 Gender
A50 Saron
A51 Angklung
A52 Gamelan 1
A53 Gamelan 2
R47 Room Tom 1
R48 Room Tom 2
R49 Brush Slp T1
R50 Brush Slp T2
R51 Electronic T
R52 2-Tone ElecT
R53 Bright ElecT
R54 TR-808 Tom
R55 TR-909 Tom
R56 909 Whack T
R57 Pure CHH
D27 Techno Chord
D28 Techno Scene
D29 Synth Hit
D30 Distort Hit
D31 Techno Hit
D32 Philly Hit
D33 Funk Hit
D34 Funny Hit
D35 Cuica Hit
D36 Rev Cuica Ht
D37 Thin Beef
D38 Bounce
D39 Dist Swish
D40 PCM Press
D41 Reverse Beat
D42 Monster Drum
D43 Can Drum
D44 Jungle Rol K
D45 Jungle Rol S
*H, *T
*T
O THERS
T01 Ac.Piano
T02 E.Piano
T03 60’s EP
T04 Soft FM EP
T05 Clavinet
T06 Even Bar
*M, *D
*T
*T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*T
*T
*T
*T
*T
*T
*T
*T
T07 Organ
O RCH
O01 Sleigh Bell
O02 Tree Chimes
O03 Triangle
O04 Triangle Mut
O05 Castanets
O06 Wood Block
O07 WdBlock HiLo
O08 Slapstick
T08 Nylon Guitar
T09 Steel Guitar
T10 Jazz Guitar
T11 Clean Guitar
T12 Muted Guitar
T13 Pop Guitar
T14 Funk Guitar
T15 Overdrive Gt
T16 Heavy Guitar
T17 Muted DistGt
T18 Rock Rhythm
T19 Wah Gtr Dn 1
T20 Wah Gtr Up 1
T21 Wah Gtr Dn 2
T22 Wah Gtr Up 2
T23 Cut Gtr Dn
T24 Cut Gtr Up
T25 Gtr Scratch1
T26 Rev Gtr Scr1
T27 Gtr Scrach2
T28 Rev Gtr Scr2
T29 Bass Slide
T30 Rev Bs Slide
T31 Acoustic Bs
T32 E.AcousticBs
T33 Fingered Bs
T34 Funk Bass
T35 Pick Bass
*P
R58 PureCHH Edge
R59 Pure HalfOHH
R60 Pure OHH
*M
R61 Tamburn CHH
R62 Tamburn OHH
R63 TR-808 CHH
R64 808 CHH Edge
R65 TR-808 OHH
R66 808 OHH Edge
R67 TR-909 CHH
R68 TR-909 OHH
R69 Pure Hi-Hat
R70 13” Hi-Hat
R71 Hand Cym HH
R72 Tambourin HH
R73 Maracas HH
R74 Chenchen HH
R75 TR-808 HiHat
R76 TR-909 HiHat
R77 Metal 808 HH
R78 Metal 909 HH
R79 Crash Cymbal
R80 Chinese Cym
R81 Szl ChineseC
R82 Splash Cym 1
R83 Splash Cym 2
R84 Pgy Crash C1
R85 Ride Cymbal
R86 Ride Bell C
*P
*P
*M, *D
*M
O09 Concert BsDr
O10 Conc BsDrMut
O11 Timpani
SFX
S01 Burt
*T
*T
*T
*T
*F
*F
*F
*F
*F
*F
*F
*F
*F
*F
O12 Perc Hit
O13 Orch Hit 1
O14 Orch Hit 2
O15 DrmMaj Whstl
O16 Glockenspiel
O17 Vibraphone
O18 Xylophone
O19 Marimba 1
O20 Marimba 2
O21 Bass Marimba
O22 Celesta
S02 Boing
*M
*M
S03 ReverseBoing
S04 Tom Noise
S05 Laser
S06 ReverseLaser
S07 Toy Gun
S08 Eddy
S09 Congerin
S10 Moment
S11 Toy Chat
S12 Second Tick
S13 Drip
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*T
*H, *T
*H, *T
*H, *T
*H, *T
*T
O23 Tubular Bell
O24 Glass
O25 Iron Hammer
S14 Click
S15 Metronm Bell
S16 Metronm Clk
S17 R-8 Spark
S18 Anvil
S19 Chop
S20 Metal 1
S21 Metal 2
S22 Crash
S23 Shot 1
S24 Shot 2
T36 Muted PickBs
T37 Fretless Bs
T38 Slap Bass
DRUMS
R01 Dry Hard Kik
R87 Ride X Bell
T39 Synth Bass
T40 TB-303 Bass
T41 SH-101 Bass
T42 Orch Strings
T43 Syn Strings
T44 OB Strings
T45 Brass Hit L
T46 Brass Hit S
T47 Brass Hit LS
T48 Brass Fall
T49 Octave Brass
T50 Poly Brass
T51 Tenor Sax
T52 Flute
R88 Sizzl Ride C
R89 Sizzl Rd Bel
R90 Pgy Ride Cym
R91 Brush Ride C
R92 Brsh Szl RdC
R93 Hand Cymbals
R94 Mallet Cymbl
R95 TR-808 Cymbl
R96 TR-606 Cymbl
R97 Wheel Pedal
R98 KickCymbal 1
R99 KickCymbal 2
r01 KickCymbal 3
r02 Voice Kick
R02 Jazz Kick
R03 Vintage Kick
R04 26” Deep Kik
R05 Wood Beatr K
R06 HipHop Kick
R07 Plastic Kick
R08 Electronic K
R09 TR-808 Kick
R10 808 Boom Kik
R11 TR-909 Kick
R12 CR-78 Kick
R13 Beech Snare
R14 BeechS RmSht
R15 Loose S Hrd
R16 Loose S Rim
R17 Concert Snr
R18 Concrt S Rol
R19 Concrt S Buz
R20 Hi Piccolo S
R21 L.A. Snare
R22 Brush Snare
R23 Brush Rol S1
R24 Brush Rol S2
R25 Brush Swsh S
R26 Brush Slp S1
R27 Brush Slp S2
R28 House Dopn’S
R29 Swing Snare
R30 Quinto Snare
R31 Electronic S
R32 TR-808 Snare
R33 TR-909 Snare
R34 CR-78 Snare
R35 Amb CrossStk
R36 Hall CrosStk
R37 Stick Hit
S25 Shot 3
S26 Shot 4
S27 Noise Acc 1
S28 Noise Acc 2
S29 Noise Acc 3
S30 Noise Acc 4
S31 Random Noiz1
S32 Random Noiz2
S33 Random Noiz3
S34 Random Noiz4
S35 White Noise
S36 Pink Noise
S37 Rev Vibraslp
S38 RevSitar Gls
S39 Rev Bend Gng
S40 Rev Voice K
S41 Rev Voice S
S42 Cabasa 1shot
S43 Matsuri
*M, *H, *T
*T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*H, *T
*P
*P
T53 Sine Wave
T54 Saw Wave 1
T55 Saw Wave 2
T56 Square Wave
T57 Buzzer
r03 Voice Snare
r04 Voice Hi-Hat
*F
*H, *T
*H, *T
DAN CE
D01 TR-808 Clap
D02 Hand Clap 1
D03 Hand Clap 2
D04 Hand Clap 3
D05 Afro Clap
D06 Scratch Push
D07 Scratch Pull
D08 ScrhPushPull
D09 Scrch Stereo
D10 Scr BsDr Psh
D11 Scr BsDr Pul
D12 Scr Bs PshPl
D13 Jungle Cymbl
D14 Dance Shaker
D15 Trash body
D16 Trash edge
D17 Trash lid
D18 Trash bottom
D19 High-Q 1
D20 High-Q 2
D21 Rev High-Q
D22 Air Blip
D23 Techno Snap
D24 Organ Chord
D25 Dist Guitar
D26 Auh Voice
T58 Beep
T59 JU-2 Sub OSC
T60 Poly OSC
T61 Juno Rave
T62 JP Hoover
T63 Feedback Wav
T64 Atmosphere
T65 Syn Calliope
T66 Fantasia
*M
*P
S44 Uut?
S45 Drop
*D
S46 Emergency
S47 Woody 1
S48 Woody 2
S49 Punch
S50 Metallic Lid
S51 Glass Crash
S52 Door Close
S53 Bomb
S54 Reverse Bomb
S55 Explosion
S56 Thunder
S57 Stream
T67 Thick Pad
T68 80’s PolySyn
T69 Off
*P
*D
*P
(Pe d a l O n ly )
PEDAL(A1)
:
PEDAL(C5)
R38 Sticks
R39 TR-808 Stick
R40 TR-909 Stick
R41 CR-78 Stick
R42 Metal Stick
R43 Vintage Tom1
R44 Vintage Tom2
R45 Dbl Head T 1
R46 Dbl Head T 2
*D
S58 Snaps
S59 Foot Step
S60 Human Whistl
S61 Chiki!
S62 Hey!
S63 Voice Ahhh
S64 Rev Voc Ahhh
*H, *T
*H, *T
*H, *T
9 3
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In stru m e n t List
Pa d Se t In stru m e n t List
No.
Name
No.
Name
No.
Name
1
2
3
4
5
6
7
8
9
Conga
Conga II
Bongo
Timbales
Paila Lo
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
Dholak
Madal
Dhol
Darabukka
Rek
Doholla
Doira
JAPAN
MATSURI
CHINA
Yang Qin
Korean4Drm A
Korean4Drm B
Korean4Drm C
Gender
Bonang
Saron
Gamelan
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
91
92
93
94
95
96
97
98
99
Jazz Drum
BrushRideSet
Timpani&S.D.
OrchPerc
CymbalSet
Paila Hi
Junk Drums
JunkCymbal 1
JunkCymbal 2
Brush Box
Claps
Scratches
Giro&Cowbel
Latin Perc 1
Latin Perc 2
Latin Perc 3
Agogo
Cuica
Surdo
Pandeiro
Tamborim
Caixa
Berimbau
Space Conga
808 Latin A
808 Latin B
808 Latin C
Djembe S
Djembe L
TalkingDrum
TalkingDrmII
Pot Drum A
Pot Drum B
Pot Drum C
Afro Drum
MonguDrum
Balaphon
Gyilli
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
Trash Beat
StreetRhythm
LatinHouseDr
Dance Drum 1
Dance Drum 2
Dance Drum 3
AnalogPerc.
LaserWave
Metal SFX 1
Metal SFX 2
Metal SFX 3
Industrial 1
Industrial 2
Industrial 3
OneShotSFX 1
OneShotSFX 2
Long SFX 1
Long SFX 2
SFX & Hit
Bali Cymbal
Thai Gong
Asian Cymbal
Timpani
Orch Hit
Drum Basic 1
Drum Basic 2
Brush Drum
Elec.Drum
Elec.Tom 1
Elec.Tom 2
TR-808 Drum
TR-909 Drum
CrashCymSet
RideCymSet
Forest SFX
GrandBlue 1
GrandBlue 2
Tabla
Ba ck in g In stru m e n t List
Program
Display
Inst Name
Program
Display
Inst Name
Program
Display
Inst Name
Change No.
Change No.
Change No.
1
2
Ac.Piano
E.Piano
Acoustic Piano
Electric Piano
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
Clean Gt
Clean Guitar
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
Saw Bass
TB303 Bs
SH101 Bs
Syn.Str.
OB Str.
Saw Bass
TB303 Bass
SH101 Bass
Synth Strings
OB Strings
Brass 1
ChorusGt Chorus Guitar
Muted Gt Muted Guitar
3
FM+SA EP FM+SA E.Piano
4
60’s EP
60’s E.Piano
Pop Gt
Pop Guitar
5
St.FM EP
St.FM E.Piano
Funk Gt
Funk Guitar
6
Br.FM EP Bright FM E.Piano
OvrdrvGt Overdrive Guitar
Heavy Gt Heavy Guitar
Brass 1
7
Clav.
Clavinet
Brass 2
Brass 2
8
Celesta
Celesta
MutDstGt Muted Distortion Guitar
RokRhytm Rock Rhythm
Syn. Brs
Poly Brs
TenorSax
Flute
Synth Brass
Poly Brass
Tenor Sax
Flute
9
Glcknspl
Vibraphn
Marimba
Glockenspiel
Vibraphone
Marimba
10
11
12
13
14
15
16
17
18
Wah Gt
Aco.Bass
El.Ac.Bs
FingerBs
Wah Guitar
Acoustic Bass
Xylophon Xylophone
Electric Acoustic Bass
Fingered Bass
Saw Wave Saw Wave
Tublrbel
Organ 1
Organ 2
Nylon Gt
Steel Gt
Jazz Gt
Tubular-bells
Organ 1
Calliope
Fantasia
ThickPad
80’sPoly
Kalimba
SteelDrm
Synth Calliope
FunkBass Funk Bass
PickBass Pick Bass
MutPikBs Muted Pick Bass
Fantasia
Organ 2
Thick Pad
80’s Poly Synth
Kalimba
Nylon Guitar
Steel Guitar
Jazz Guitar
FrtlesBs
Fretless Bass
Slap Bass
SlapBass
Steel Drums
9 4
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Effe ct Ty p e List
* REVERB/DELAY Type and MULTI-FX Type are common to EZ Edit mode and Edit mode.
REVERB/ DELAY Ty p e
OFF
No reverb
EmptyHall
BigTube
Reverberation of an unoccupied hall
Reverb resembling that produced within a large tube
Reverb with rich reflections
WarmRoom
DarkRoom
BrightRoom
Club
Room reverb featuring a milder ambiance
Room reverb that imparts a darker mood
Room reverb featuring a rougher, gritty feeling
Room reverb that lends a relaxed ambiance to the sound
Simulates the reverberation of a gymnasium
Reverb that makes sounds seem to be coming from
under the ground
RichAmb
ShortDelay
MedDelay
LongDelay
PanDelaySht
Single delay with short delay time
Adds a slight repeat of the sound
GymStage
Underground
Effect resembling mountain echoes
Single delay with panned delayed sound
PanDelayMed Delayed sound with added lateral breadth
ThinPlate
Plate reverb with slow decay
PanDelayLng
Delayed sound that crosses between the left and right sides
ThickPlate
Plate reverb with rapid decay
MULTI-FX Ty p e
Low Boost
Low Cut
Boosts the low end
Stereo Fln
Wind Fln
Standard flanger settings
Cuts the low end
Produces an effect like that of a refreshing breeze
Layers on the sound of a human voice
Adds a jet-like sound effect
Mid Boost
Mid Cut
Boosts the midrange
Cuts the midrange
Grumble Fln
Jet Fln
High Boost
High Cut
Limiter
Boosts the high end
StepFlanger
AnalogCyber
Phaser
Standard step-flanger settings
Cuts the high end
Sound like the oscillation of an analog synthesizer
Standard phaser settings
Standard limiter settings
Keeps sound volume in a uniform range
Compressor
Rubbing
Adds a grinding sound
ComPRESSED! Creates a very bound, constricted sound
Arpeggio
Sounds pitch-shifted by five semitones are layered on,
one after another
Enhancer
Radio
Emphasizes the high-end harmonics
Makes sounds as produced from a radio
Creates a sound like that found in public recordings
Sound like that produced in a tiled room
Produces a heard-outside-the-door kind of sound
Eliminates the high end
Warp
Pitch rises three semitones at a time
Gliss-down effect
Bandit
OnAir
PitchShift
StereoDelay
Sounds shifted by five semitones are layered on
The delayed sound is played at the same position as the
instrument
TiledRoom
Outside
NoHighs
Only Lows
Only Mids
Only Highs
DynamicFltr
Doubling
Doubling effect which layers the sound
Sound like the playing of a high-tension string is added
Triple rhythmic delay
Leaves only the low end
Booming
Leaves only the midrange
RhythmDly1
RhythmDly2
Mod Delay
Leaves only the high end
Rhythmic delay differing from RhythmDly1
Delay with modulation
Filter’s cutoff frequency changes in response to the
volume of the strike
CrossModDly Delay with modulation, with the sound alternately
Ctrl Wah
The wah effect is added in response to M-FX DEPTH
and CtrlTx
crossing between left and right
TimeCtrlDly
When CtrlTx is used to change “Time,” an effect similar
to that produced by changing an analog delay’s Time
can be obtained
Sustainer
RadioOD
SmallOD
BigOD
Effect appears to stretch the sound’s envelope
Light distortion from a cheap amp
Mild distortion from a small amp
Mild distortion from a large-size amp
Mild distortion with more sound pressure
Strong distortion from a cheap amp
Hard distortion from a small amp
Hard distortion from a large-size amp
Hard distortion with more sound pressure
Creates a rough, broken sound
3TapDlySht
3RhythmSht
3TapDlyLng
3RhythmLng
3TempoDly
4TapDlySht
4RhythmSht
4TapDlyLng
4RhythmLng
4TempoDly
SoftRoom
HardRoom
RoomCorner
Stage
Three-tap delay with short delay time
Triple pattern using delay
LoudOD
Produces sound at center, left, and right, in that order
Rhythmic delay
RadioDST
SmallDST
BigDST
Three-sound delay synchronized to the sequencer’s tempo
Four-tap delay with short delay time
Provides an effect like the clicking of castanets
Delay sounds start on the right and move to the left
Rhythmic delay
LoudDST
Lo-Fi
Lo-Fi(mono)
RingModltr
Bell
Rough sound output monaurally
Gives the sound a metallic quality
Adds a bell-like sound
Four-sound delay synchronized to the sequencer’s tempo
Room reverb with mild reverberation
Gritty room reverb
Buzz
Adds a bee-like buzzing quality to the sound
Adds a sound like that of a metal bar being struck
Standard chorus settings
MetalBar
Stereo Cho
Glossy Cho
Phasy Cho
TetraChorus
Bamboo Cho
TremoloCho
Giddy Cho
Sigh Cho
Space D
Room reverb with first reflections emphasized
Simulates the reverb on a small stage
Gritty plate reverb
Warm chorus sound
Plate
Chorus with a heavy modulation
Chorus with great breadth
Hall”A”
Simulates the reverberation of a hall with a low ceiling
Simulates the reverberation of a large hall
Reverberation like that in a tunnel
Simulates the reverberation of a stadium
Standard gated reverb settings
Hall”B”
Chorus with fluttering reflections
Chorus with tremolo added
Tunnel
Stadium
Spinning chorus that make the listener dizzy
Chorus with a slight crying sound
Effect that fattens the sound
GateReverb
ReverseGate
Reverse gated reverb
9 5
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De m o So n g List
1. TABLECTRIC
2. Forest Trip
3. NewSalsa2000
4. Escola!
Music by Ikuo Kakehashi
Copyright © 2000 Roland Corporation
Copyright © 2000 Roland Corporation
Copyright © 2000 Roland Corporation
Copyright © 2000 Roland Corporation
Copyright © 2000 Roland Corporation
Copyright © 2000 Roland Corporation
Music by Ikuo Kakehashi
Music by Efrain Toro
Music by Ikuo Kakehashi
Music by Efrain Toro
5. Asian Delight
6. Nightmare
Music by Ikuo Kakehashi
* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a violation of applicable laws.
* No data for the music that is played will be output from MIDI OUT.
Pro file s o f Co m p o se rs
Ikuo Kakehashi majored in Percussion at Tokyo College of Music and studied under Prof. Makoto Ariga and Prof. Tadahiro
Wakabayashi. He has also done extensive research on world music (especially Asian and Arabic). He is involved as a non-border
percussionist (Ethnic Music - contemporary music - electronics, pop music) in session and studio work. He also produces
Computer Music Software and advises Roland on new musical instruments.
Efrain Toro is one of the world’s most versatile drummer/ percussionists, and his unique approach to rhythm and education is a
musical revolution in the making. His career began in his native Puerto Rico. Efrain later moved to the New England
Conservatory. While in Boston, he studied with Alan Dawson. He moved to Los Angeles in 1979, where he has played on
countless film and TV scores. Efrain has also worked with a variety of great artists that include Stan Getz, George Benson, Los
Lobos, Chicago, Placido Domingo and many others. Efrain has taught at the renowned Musician’s Institute, California Institute of
the Arts and UCLA. He has authored five books for musicians and artists that explain his theories and skills on topics like rhythm,
hand-finger technique, Latin styles, and odd meters.
9 6
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MIDI Im p le m e n ta tio n
Model HPD-15
●Modulation (Controller number 1)
Version 1.00
Status
BnH
2nd byte
01H
3rd byte
vvH
March.23 2000
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
1. Receive data
●Channel Voice Messages
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the data of the [LFO PITCH] knob.
*
The following channel voice messages are received on the channel specified as the
[SYSTEM]-(MIDI).
When recording, this is recorded in the sequencer data itself.
●Foot Control (Controller number 4)
●Note Off
Status
BnH
2nd byte
04H
3rd byte
vvH
Status
2nd byte
kkH
3rd byte
vvH
8nH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
9nH
kkH
00H
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
*
*
Only the pad part the and percussion parts can be received.
This is used as the position data of the pedal connected to the EXP PEDAL/ HH CTRL
jack.
vv = note off velocity:
*
When recording, this is recorded in the sequencer data itself.
*
*
In the melody parts, the velocity values of Note Off message are ignored.
When the Trigger Mode of the pad is set to "Shot", the pad part and the percussion parts
will ignore the velocity values of Note Off message.
●Data Entry (Controller number 6)
*
*
When the Trigger Mode of the pad is set to "Gate" or "Trig", the pad part and the
percussion parts will receive only the note numbers which are specified by the patch,
and the same processing will be carried out as when pad is released.
When recording, this is recorded in the sequencer data itself.
Status
BnH
2nd byte
06H
3rd byte
mmH
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
mm = The value of the parameter specified by RPN.
●Note On
*
*
Only the melody parts can be received.
Not recorded in the sequencer.
Status
2nd byte
kkH
3rd byte
vvH
9nH
On the normal mode of HPD-15, RPN can be used to modify the following parameters.
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
RPN
Data entry
MSB LSB
mmH ---
vv = note on velocity:
MSB LSB
00H 00H
Explanation
Pitch Bend Sensitivity
*
*
The pad part and the percussion parts will receive only the note numbers which are
specified by the patch.
mm: 00H - 18H (0 - 24 semitones)
LSB: ignored (processed as 00H)
specify up to 2 octaves in semitone steps
RPN null
When recording, this is recorded in the sequencer data itself.
7FH 7FH
--- ---
●Polyphonic Key Pressure
set condition where RPN is unspecified. The data
entry messages after set RPN null will be
ignored. (No Data entry messages are required
after RPN null).
Status
2nd byte
3rd byte
AnH
kkH
vvH
n = MIDI channel number:
kk = note number:
vv = pressure:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Settings already made will not change.
MSB,LSB of data entry: ignored
●Volume (Controller number 7)
*
*
Only the pad part and the percussion parts can be received.
The pad part and the percussion parts will receive only the note numbers which are
specified by the patch.
Status
BnH
2nd byte
07H
3rd byte
vvH
*
*
This is used as the pad pressure data.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
When recording, this is recorded in the sequencer data itself.
●Control Change
*
*
In the melody parts, it is used as the part level of the sequencer pattern data.
When recording, this is recorded in the sequencer data itself if it is received on the
melody parts.
●Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
mmH
llH
*
*
In the percussion parts, it is used as the part level of the sequencer pattern data.
Not recorded in the sequencer if it is received on the percussion parts.
BnH
20H
●Pan (Controller number 10)
n = MIDI channel number:
mm = Bank number MSB:
ll = Bank number LSB:
0H - FH (ch.1 - ch.16)
Status
BnH
2nd byte
0AH
3rd byte
vvH
00H - 02H (bank1: User Patch bank2, 3: Preset Patch)
processed as 00H
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
*
*
*
Only the pad part and the percussion parts can be received.
00H - 40H - 7FH (Left - Center - Right)
Bank select processing will be suspended until a program change message is received.
Not recorded in the sequencer.
*
*
*
In the melody parts, it is used as the part panpot of the sequencer pattern data.
In the pad part or the percussion parts, it is used as the data of the [PAN] knob.
When recording, this is recorded in the sequencer data itself.
9 7
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MIDI Im p le m e n ta tio n
●Expression (Controller number 11)
●Sound Controller 1 (Controller number 70)
Status
BnH
2nd byte
0BH
3rd byte
vvH
Status
BnH
2nd byte
46H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the data of the [LEVEL] knob.
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the data of the [SWEEP] knob.
When recording, this is recorded in the sequencer data itself.
When recording, this is recorded in the sequencer data itself.
●Effect Control 1 (Controller number 12)
●Sound Controller 5 (Controller number 74)
Status
BnH
2nd byte
0CH
3rd byte
vvH
Status
BnH
2nd byte
4AH
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the data of the [M-FX DEPTH] knob.
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the data of the [COLOR] knob.
When recording, this is recorded in the sequencer data itself.
When recording, this is recorded in the sequencer data itself.
●General purpose controller 1 (Controller number 16)
●Sound Controller 7 (Controller number 76)
Status
BnH
2nd byte
10H
3rd byte
vvH
Status
BnH
2nd byte
4CH
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the position data of the pad A1.
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the data of the [LFO RATE] knob.
When recording, this is recorded in the sequencer data itself.
When recording, this is recorded in the sequencer data itself.
●General purpose controller 2 (Controller number 17)
●General purpose controller 6 (Controller number 81)
Status
BnH
2nd byte
11H
3rd byte
vvH
Status
BnH
2nd byte
51H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the position data of the pad A5.
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the position data of the d beam controller.
When recording, this is recorded in the sequencer data itself.
When recording, this is recorded in the sequencer data itself.
●Hold 1 (Controller number 64)
●General purpose controller 7 (Controller number 82)
Status
nH
2nd byte
40H
3rd byte
vvH
Status
BnH
2nd byte
52H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
0-63 = OFF, 64-127 = ON
*
When recording, this is recorded in the sequencer data itself.
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the position data of the ribbon controller L.
When recording, this is recorded in the sequencer data itself.
●Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte
vvH
●General purpose controller 8 (Controller number 83)
Status
BnH
2nd byte
53H
3rd byte
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 = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
Only the pad part and the percussion parts can be received.
If the value is 64 and over, the Modify Lock will be done. If the value is 63 and under, the
Modify Lock will be canceled.
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the position data of the ribbon controller R.
When recording, this is recorded in the sequencer data itself.
*
When recording, this is recorded in the sequencer data itself.
●Soft (Controller number 67)
●Effect 1(Reverb Send Level) (Controller number 91)
Status
BnH
2nd byte
43H
3rd byte
00H
Status
BnH
2nd byte
5BH
3rd byte
vvH
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
*
*
Only the pad part and the percussion parts can be received.
When this message is received, the Modify Clear will be done.
When recording, this is recorded in the sequencer data itself.
*
*
*
Only the percussion parts and the melody parts can be received.
This is used as the part reverb send level of the sequencer pattern data.
Not recorded in the sequencer.
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●Effect 2(Tremolo Depth) (Controller number 92)
●Program Change
Status
BnH
2nd byte
5CH
3rd byte
vvH
Status
2nd byte
CnH
ppH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - ch.16)
00H - 7FH (prog.1 - prog.128)
*
*
*
Only the pad part and the percussion parts can be received.
This is used as the data of the [LFO FLT/ AMP] knob.
When recording, this is recorded in the sequencer data itself.
*
*
The sound will change beginning with the next note-on after the program change is
received.
Not recorded in the sequencer.
●Effect 4(Celeste Depth) (Controller number 94)
●Pitch Bend Change
Status
BnH
2nd byte
5EH
3rd byte
vvH
Status
2nd byte
3rd byte
mmH
EnH
llH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
mm,ll = Pitch Bend value:
0H - FH (ch.1 - ch.16)
0-63=OFF, 64-127=ON
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
*
In the melody parts and the percussion parts, it is used as the multi effects switch of the
sequencer pattern data.
*
In the melody parts, it is used as the part pitch bend change of the sequencer pattern
data.
*
*
In the pad part, it is used as the data of the [MULTI EFFECTS] button.
When recording, this is recorded in the sequencer data itself if it is received on the pad
part or the percussion parts.
*
*
In the pad part or the percussion parts, it is used as the data of the [PITCH] knob.
When recording, this is recorded in the sequencer data itself.
●Channel Mode Messages
●RPN MSB/LSB (Controller number 101, 100)
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
●All Sounds Off (Controller number 120)
Status
2nd byte
3rd byte
BnH
64H
BnH
78H
00H
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
mm = upper byte of parameter number specified by RPN (MSB)
ll = lower byte of parameter number specified by RPN (LSB)
*
*
When this message is received, all currently-sounding notes on the corresponding
channel will be silenced. However, the status of channel messages will not change.
Not recorded in the sequencer.
*
*
Only the channel assigned to the melody part can be received.
The value specified by RPN will not be reset even by messages such as program change
or reset all controllers.
*
Not recorded in the sequencer.
●Reset All Controllers (Controller number 121)
Status
2nd byte
3rd byte
**RPN**
BnH
79H
00H
The RPN (Registered Parameter Number) messages are expanded control changes,and each
function of an RPN is described by the MIDI Standard.
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
To use these messages, you must first use RPN (controller number 100 and 110, their order
does not matter) to specify the parameter to be controlled, and then use Data Entry
messages (controller number 6, 38) to specify the value of the specified parameter. Once an
RPN parameter has been specified, all data entry messages received on that channel will
modify the value of that parameter. To prevent accidents, it is recommended that you set
RPN null (RPN number = 7FH 7FH) when you have finished setting the value of the desired
parameter. Refer to "Examples of actual MIDI messages" <Example 4> (p. 109).
*
*
When this message is received, the following controllers will be set to their reset values.
When recording, a control message carrying the reset value will be created and recorded.
Controller
Reset value
Pitch Bend Change
Polyphonic Key Pressure
Modulation
+/ -0 (center)
0 (off)
0 (off)
On the normal mode of HPD-15, RPN can be used to modify the following parameters.
Regarding the value of each parameter, refer to Data Entry (Controller number 6).
Foot Control
0 (off)
General Purpose Controller 1
General Purpose Controller 2
General Purpose Controller 6
General Purpose Controller 7
General Purpose Controller 8
Hold 1
0 (off)
0 (off)
RPN
0 (off)
mm ll
Parameter
0 (off)
00H 00H
7FH 7FH
Pitch Bend Sensitivity
RPN null
0 (off)
0 (off)
RPN
unset; previously set data will not change
●All Notes Off (Controller number 123)
Status
2nd byte
3rd byte
BnH
7BH
00H
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
*
*
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.
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●OMNI OFF (Controller number 124)
●System Exclusive Message
Status
2nd byte
3rd byte
BnH
7CH
00H
*
Following System Exclusive Messages cannot be recorded.
n = MIDI channel number:0
H - FH (ch.1 - ch.16)
Status
F0H
Data byte
Status
iiH, ddH, ......, eeH F7H
*
The same processing will be carried out as when All Notes Off is received.
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).
●OMNI ON (Controller number 125)
Status
2nd byte
3rd byte
BnH
7DH
00H
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
dd,..., ee = data:
F7H:
00H - 7FH (0 - 127)
EOX (End Of Exclusive)
*
The same processing will be carried out as when All Notes Off is received.
The System Exclusive Messages received by the normal mode of HPD-15 are; Universal
Non-realtime System Exclusive Messages, Data Requests (RQ1), and Data Set (DT1).
●MONO (Controller number 126)
Status
2nd byte
3rd byte
BnH
7EH
mmH
●Universal Non-realtime System Exclusive Messages
●Identity Request
n = MIDI channel number:
mm = mono number:
0H - FH (ch.1 - ch.16)
00H - 10H (0 - 16)
Status
F0H
Data byte
Status
F7H
7EH, dev, 06H, 01H
*
The same processing will be carried out as when All Sound Off or All Notes Off is
received.
Byte
Explanation
F0H
Exclusive status
7EH
ID number (universal non-realtime message)
Device ID (dev:00H - 1FH (1 - 32) Initial value is 10H (17))
Identity request
●POLY (Controller number 127)
dev
Status
2nd byte
3rd byte
06H, 01H
F7H
BnH
7FH
00H
EOX (End Of Exclusive)
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
*
*
Even if the Device ID is 7FH (Broadcast), Identity reply message will be transmitted.
When Identity Request is received, Identity reply message will be transmitted (p. 104).
*
The same processing will be carried out as when All Sound Off or All Notes Off is
received.
●Data transmission
HPD-15 can transmit and receive the various parameters using System Exclusive messages.
The exclusive message of HPD-15's data has a model ID of 00H 2EH and a device ID of 10H
(17). Device ID can be changed in HPD-15.
●System Realtime Message
*
Following System Realtime Messages cannot be recorded in recording mode.
●Request data 1
RQ1 (11H)
●Timing Clock
This message requests the other device to send data. The Address and Size determine the
type and amount of data to be sent.
Status
F8H
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 [SYSTEM]-(UTILITY) Seq Sync is set to "Ext".
●Start
Status
F0H
Data byte
Status
F7H
Status
41H, dev, 00H, 2EH, 11H, aaH, bbH,
ccH, ddH, ssH, ttH, uuH, vvH, sum
FAH
*
Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext" or "Remote".
Byte Explanation
F0H
41H
dev
Exclusive status
ID number (Roland)
●Continue
Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
Status
00H 2EH
11H
aaH
bbH
ccH
Model ID (HPD-15)
FBH
Command ID (RQ1)
Address MSB: upper byte of the starting address of the requested data
*
Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext" or "Remote".
Address 2nd: 2nd byte of the starting address of the requested data
Address 3rd: 3rd byte of the starting address of the requested data
●Stop
Status
ddH
ssH
Address LSB: lower byte of the starting address of the requested data
Size MSB
FCH
ttH
Size 2nd
uuH
vvH
sum
F7H
Size 3rd
*
Recognized only when the [SYSTEM]-(UTILITY) Seq Sync is set to "Ext" or "Remote".
Size LSB
Checksum
●Active Sensing
Status
EOX (End Of Exclusive)
FEH
*
*
The amount of data that can be transmitted at once time will depend on the type of data,
and data must be requested using specific starting address and size. Refer to the
a
*
When Active Sensing is received, the unit will begin monitoring the intervals of all
further 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.
Address and Size listed in "Parameter Dump Request" (p. 108).
Regarding the checksum please refer to p. 109.
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●Data set 1
DT1 (12H)
2. Transmit data
This is the message that actually performs data transmission, and is used when you wish to
transmit the data.
*
When [SYSTEM]-(MIDI) Soft Thru is set to "ON", messages received in addition to the
following messages are also sent.
Status
F0H
Data byte
Status
F7H
41H, dev, 00H, 2EH, 12H, aaH, bbH,
ccH, ddH, eeH,... ffH, sum
●Channel Voice Messages
*
The following channel voice messages are transmitted on the channel specified as the
[SYSTEM]-(MIDI).
Byte
F0H
Explanation
Exclusive status
ID number (Roland)
41H
dev
Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
●Note off
00H 2EH
12H
Model ID (HPD-15)
Status
2nd byte
kkH
3rd byte
vvH
Command ID (DT1)
8nH
aaH
Address MSB: upper byte of the starting address of the transmitted
9nH
kkH
00H
data
bbH
ccH
ddH
eeH
Address 2nd : 2nd byte of the starting address of the transmitted data
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
Address 3rd: 3rd byte of the starting address of the transmitted data
Address LSB: lower byte of the starting address of the transmitted data
vv = note off velocity:
Data: The actual data to be transmitted. Multiple bytes of data are
transmitted in order starting from the address.
*
*
*
*
With the Trigger Mode is set to "Shot", 9n kk 00H is transmitted afetr the set time has
elapsed.
:
:
ffH
sum
F7H
Data
With the Trigger Mode is set to "Gate", 8n kk vvH is transmitted when you release the
pad.
Checksum
EOX (End Of Exclusive)
With the Trigger Mode is set to "Trig", Note On and 8n kk vvH are alternately
transmitted when you strike the pad.
*
The amount of data that can be transmitted at once time will depend on the type of data,
and data must be requested using specific starting address and size. Refer to the
On the channel assigned to the pad part and the percussion parts, the note numbers
specified by the patch will be transmitted.
a
Address and Size listed in "Parameter Dump Request" (p. 108).
If "Data Set 1" is transmitted successively, there must be an interval of at least 40ms.
Regarding the checksum please refer to p. 109.
*
*
●Note on
Status
2nd byte
kkH
3rd byte
vvH
9nH
n = MIDI channel number:
kk = note number:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
01H - 7FH (1 - 127)
vv = note on velocity:
*
*
*
*
With the Trigger Mode is set to "Shot", Note On message is transmitted when you strike the
pad.
With the Trigger Mode is set to "Gate", Note On message is transmitted when you strike the
pad.
With the Trigger Mode is set to "Trig", Note On and Note Off messages are alternately
transmitted when you strike the pad.
On the channel assigned to the pad part and the percussion parts, the note numbers
specified by the patch will be transmitted.
●Polyphonic Key Pressure
Status
2nd byte
3rd byte
AnH
kkH
vvH
n = MIDI channel number:
kk = note number:
vv = pressure:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
00H - 7FH (0 - 127)
*
*
*
The HPD-15 tramsmits a value corresponding to the pressing force of the pad.
This will not be transmitted if the MuteTx, PitchTx and CtrlTx are set to "OFF".
This is transmitted only on the channel which is assigned to the pad part and the
percussion parts.
*
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
●Control Change
●Bank Select (Controller number 0, 32)
Status
BnH
2nd byte
00H
3rd byte
mmH
llH
BnH
20H
n = MIDI channel number:
mm = Bank number MSB:
ll = Bank number LSB:
0H - FH (ch.1 - ch.16)
00H - 02H (bank1:user patch bank bank2,3:preset patch)
processed as 00H
*
*
Bank Select corresponding to patch are sent when patch are selected.
Bank Select corresponding to each part's instrument are sent when patterns is selected.
Also, when instruments are selected for parts,bank select for the respective instruments
are sent.
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*
This is transmitted only on the channel which is assigned to the pad part and the
percussion parts.
*
*
*
When the [LEVEL] knob is turned, the corresponding value will be transmitted.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
●Modulation (Controller number 1)
●Effect Control 1 (Controller number 12)
Status
BnH
2nd byte
01H
3rd byte
vvH
Status
BnH
2nd byte
0CH
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH
*
*
*
When the [LFO PITCH] knob is turned, the corresponding value will be transmitted.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
*
*
When the [M-FX DEPTH] knob is turned, the corresponding value will be transmitted.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
●Foot control (Controller number 4)
●General purpose controller 1 (Controller number 16)
Status
BnH
2nd byte
04H
3rd byte
vvH
Status
BnH
2nd byte
10H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
*
The HPD-15 tramsmits a value corresponding to the position of the pedal connected to
the EXP PEDAL/ HH CTRL jack.
*
*
*
The HPD-15 tramsmits a value corresponding to the strike position of the pad A1.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
●General purpose controller 2 (Controller number 17)
●Data Entry (Controller number 6)
Status
BnH
2nd byte
11H
3rd byte
vvH
Status
BnH
2nd byte
06H
3rd byte
mmH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
mm = The value of the parameter specified by RPN.
*
*
*
The HPD-15 tramsmits a value corresponding to the strike position of the pad A5.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
*
When a pattern is selected or adjust the Bend Range setting, the pitch bend sensitivity of
the sequencer pattern data will be transmitted.
This is transmitted only on the channel which is assigned to the melody parts.
●Hold 1 (Controller number 64)
Values for the RPN parameter, on the normal mode of HPD-15, are as follows.
Status
BnH
2nd byte
40H
3rd byte
vvH
RPN
Data entry
MSB LSB
mmH ---
MSB LSB
00H 00H
Explanation
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
Pitch Bend Sensitivity
mm: 00H - 18H (0 - 24 semitones)
RPN null
7FH 7FH
--- ---
*
*
This message is transmitted with the value 7FH when turned on the [ROLL/ HOLD]
button or value 00H when turned off.
set condition where RPN is unspecified.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
●Volume (Controller number 7)
Status
BnH
2nd byte
07H
3rd byte
vvH
●Sostenuto (Controller number 66)
Status
BnH
2nd byte
42H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H, 7FH (0:release Modify Lock, 127:Modify Lock)
*
When the [LEVEL] knob is turned in the melody parts, the corresponding value will be
transmitted.
*
This message is transmitted with the value 7FH when the Modify Lock is done or
transmitted with the value 00H when the Modify Lock is canceled.
*
This is transmitted only on the channel which is assigned to the melody parts and the percussion parts.
When a pattern is selected, the part level of the sequencer pattern data will be transmitted.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
*
*
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
●Pan (Controller number 10)
●Soft 1 (Controller number 67)
Status
BnH
2nd byte
0AH
3rd byte
vvH
Status
BnH
2nd byte
43H
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H (0)
00H - 40H - 7FH (Left - Center - Right)
*
*
*
This message is transmitted with the value 00H when the Modify Clear is done.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
*
*
When the [PAN] knob is turned, the corresponding value will be transmitted.
When a pattern is selected, the part panpot of the sequencer pattern data will be transmitted.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
●Sound Controller 1 (Controller number 70)
●Expression (Controller number 11)
Status
BnH
2nd byte
46H
3rd byte
vvH
Status
BnH
2nd byte
0BH
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0, 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH
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MIDI Im p le m e n ta tio n
*
*
*
When the [SWEEP] knob is turned, the corresponding value will be transmitted.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
*
*
When the [LFO FLT/ AMP] knob is turned, the corresponding value will be transmitted.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
●Sound Controller 5 (Controller number 74)
●Effect 4 (Celeste Depth) (Controller number 94)
Status
BnH
2nd byte
4AH
3rd byte
vvH
Status
BnH
2nd byte
5DH
3rd byte
vvH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0, 127)
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H, 7FH (0, 127)
*
*
*
When the [COLOR] knob is turned, the corresponding value will be transmitted.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
*
*
*
This message is transmitted with the value 7FH when turned on the [MULTI EFFECTS]
button or value 00H when turned off.
When
a
pattern is selected, the part M-FX of the sequencer pattern data will be
transmitted.
●Sound Controller 7 (Controller number 76)
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
Status
BnH
2nd byte
4CH
3rd byte
vvH
●RPN MSB/LSB (Controller number 101,100)
Status
BnH
2nd byte
65H
3rd byte
mmH
llH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0, 127)
BnH
64H
*
*
*
When the [LFO RATE] knob is turned, the corresponding value will be transmitted.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
n = MIDI channel number:
0H - FH (ch.1 - ch.16)
mm = upper byte of parameter number specified by RPN (MSB)
ll = lower byte of parameter number specified by RPN (LSB)
●General Purpose Controller 6 (Controller number 81)
*
*
Only the channel assigned to the melody parts are sent.
When a pattern is selected, the pitch bend sensitivity of the sequencer pattern data will
be transmitted.
Status
BnH
2nd byte
51H
3rd byte
vvH
*
Regarding the RPN please refer to p. 99.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0, 127)
Values for the RPN parameter, on the normal mode of HPD-15, are as follows. Regarding
the value of each parameter, refer to Data Entry (Controller number 6).
*
*
*
The HPD-15 tramsmits a value corresponding to the position of the d beam controller.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
RPN
mm ll
Parameter
00H 00H
7FH 7FH
Pitch Bend Sensitivity
RPN null
●General Purpose Controller 7 (Controller number 82)
Status
BnH
2nd byte
52H
3rd byte
vvH
●Program Change
Status
2nd byte
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0, 127)
CnH
ppH
n = MIDI channel number:
pp = Program number:
0H - FH (ch.1 - ch.16)
*
*
*
The HPD-15 tramsmits a value corresponding to the position of the ribbon controller L.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
00H - 7FH (prog.1 - prog.128) preset patch
00H - 4FH (prog.1 - prog.80) user patch
00H - 35H (prog.1 - prog.54) melody part's instrument
●General Purpose Controller 8 (Controller number 83)
*
*
Program changes corresponding to patch are sent when patch is selected.
Status
BnH
2nd byte
53H
3rd byte
vvH
Program changes corresponding to each part's instrument are sent when pattern is
selected. Also, when instruments are selected for parts, program changes for the
respective instruments are sent.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0, 127)
●Pitch Bend Change
*
*
*
The HPD-15 tramsmits a value corresponding to the position of the ribbon controller R.
This is transmitted only on the channel which is assigned to the pad part and the percussion parts.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
Status
2nd byte
3rd byte
mmH
EnH
llH
n = MIDI channel number:
mm,ll = Pitch Bend value:
0H - FH (ch.1 - ch.16)
●Effect 1 (Reverb Send Level) (Controller number 91)
00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Status
BnH
2nd byte
5BH
3rd byte
vvH
*
*
When the [PITCH] knob is turned, the corresponding value will be transmitted.
Transmitted when the HPD-15 is in play for pattern in which this message is recorded.
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
●System Realtime Message
*
*
When a pattern is selected, the part reverb send level of the sequencer pattern data will
be transmitted.
●Timing Clock
This is transmitted only on the channel which is assigned to the melody parts and the
percussion parts.
Status
F8H
●Effect 2 (Tremolo Depth) (Controller number 92)
●Start
Status
BnH
2nd byte
5CH
3rd byte
vvH
Status
FAH
n = MIDI channel number:
vv = Control value:
0H - FH (ch.1 - ch.16)
00H - 7FH (0 - 127)
●Continue
Status
1 0 3
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MIDI Im p le m e n ta tio n
FBH
3. Parameter address map
(Model ID = 00H 2EH)
●Stop
Status
This map indicates address, size, range of data (value) and description of parameters which
can be transferred using "Data set 1 (DT1)".
FCH
All the numbers of address and size are indicated in 7-bit Hexadecimal-form. All the
numbers of data are indicated in Decimal-form.
●Active Sensing
Status
Addresses marked at "#" cannot be used as starting addresses.
FEH
●Parameter Address Block
*
This will be transmitted constantly at intervals of approximately 250ms.
HPD-15 (Model ID = 00H 2EH)
+—————————————————————————————————————————————————————————————————+
●System Exclusive Messages
|Start
|
|
|
| address
| Description
|—————————————+———————————————————————————————————————————————————|
*
Regarding the system exclusive message refer to p. 100.
| 00 00 00 00 | SYSTEM
|—————————————+———————————————————————————————————————————————————|
| 01 00 00 00 | TEMPORARY PATCH (Individual) 1-2|
|—————————————+———————————————————————————————————————————————————|
| 10 00 00 00 | SYSTEM (Bulk) 1-1|
|—————————————+———————————————————————————————————————————————————|
| 11 00 00 00 | TEMPORARY PATCH (Bulk) 1-2|
(Individual)
1-1|
Identity reply and Data Set 1 (DT1) are the only System Exclusive messages transmitted by
HPD-15.
When an appropriate Identity Request or Data Request 1 (RQ1) message is received, the
requested internal data will be transmitted.
|—————————————+———————————————————————————————————————————————————|
| 12 00 00 00 | USER PATCH 01-01
(Bulk)
1-2|
|
|
:
|
:
| 12 4F 00 00 | USER PATCH 10-08
(Bulk)
1-2|
●Universal Non-realtime System Exclusive Messages
●Identity Reply
|—————————————+———————————————————————————————————————————————————|
| 20 00 00 00 | USER PATTERN
(Bulk)
1-3|
+—————————————————————————————————————————————————————————————————+
Status
F0H
Data byte
Status
F7H
1-1 SYSTEM
7EH, dev, 06H, 02H, 41H, 2EH, 01H,
00H, 00H, 00H, 02H, 00H, 00H
+—————————————————————————————————————————————————————————————————+
|Offset
|
|
|
| address
| Description
|—————————————+———————————————————————————————————————————————————|
|
00 00 00 | UTILITY
|—————————————+———————————————————————————————————————————————————|
01 00 00 | FOOT SW 1-1-2|
|—————————————+———————————————————————————————————————————————————|
02 00 00 | MIDI 1-1-3|
|—————————————+———————————————————————————————————————————————————|
03 00 00 | CONTROLLER 1-1-4|
1-1-1|
Byte
Explanation
F0H
Exclusive status
|
7EH
ID number (universal non-realtime message)
Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
Identity Reply
|
dev
|
06H 02H
41H
|—————————————+———————————————————————————————————————————————————|
ID number(Roland)
|
|
|
04 00 00 | PAD A1
1-1-5|
|
1-1-5|
:
|
:
2EH 01H
00H 00H
Device family code
04 0E 00 | PAD C5
Device family number code
|—————————————+———————————————————————————————————————————————————|
|
05 00 00 | TRIG COMMON
|—————————————+———————————————————————————————————————————————————|
05 01 00 | TRIG 1 1-1-6-2|
|—————————————+———————————————————————————————————————————————————|
05 02 00 | TRIG 2 1-1-6-2|
1-1-6-1|
00H 02H 00H 00H software revision level
F7H EOX (End Of Exclusive)
|
|
*
When Identity Request (p. 100) is received, Identity Reply message will be transmitted.
|—————————————+———————————————————————————————————————————————————|
|
|
|
06 00 00 | PATCH CHAIN GROUP 1
1-1-7|
|
1-1-7|
:
|
:
06 09 00 | PATCH CHAIN GROUP 10
●Data Transmission
+—————————————————————————————————————————————————————————————————+
●Data set 1
DT1 (12H)
1-1-1 UTILITY
Status
Data byte
Status
F7H
|Offset
|
|
|
F0H
41H, dev, 00H, 2EH, 12H, aaH, bbH,
ccH, ddH, eeH,... ffH, sum
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
|
|
00 00 | 0000 aaaa | LCD Contrast
0 - 15
(1 - 16)
|
|
|
|
Byte
F0H
41H
Explanation
|—————————————+———————————+———————————————————————————————————————|
|
00 01 | 0000 aaaa | Beep Level
0 - 15
|
Exclusive status
ID number (Roland)
|—————————————+———————————+———————————————————————————————————————|
|
|
00 02 | 0000 000a | Dial Lock
0 - 1
(OFF,ON)
|
|
|
|
dev
Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
Model ID (HPD-15)
|—————————————+———————————+———————————————————————————————————————|
00H 2EH
12H
|
|
00 03 | 0000 000a | Power On Mode
0 - 1
|
|
|
(RESET,LAST) |
Command ID (DT1)
|—————————————+———————————+———————————————————————————————————————|
aaH
Address MSB: upper byte of the starting address of the transmitted
|
|
00 04 | 0000 000a | Pad Chase
0 - 1
(OFF,ON)
|
|
|
|
data
bbH
ccH
|—————————————+———————————+———————————————————————————————————————|
Address 2nd: 2nd byte of the starting address of the transmitted data
|
|
00 05 | 0000 000a | Roll Sync Mode
0 - 1
(OFF,ON)
|
|
|
|
Address 3rd: 3rd byte of the starting address of the transmitted data
|—————————————+———————————+———————————————————————————————————————|
ddH
eeH
Address LSB: lower byte of the starting address of the transmitted data
|
|
00 06 | 0000 00aa | Sequencer Sync Mode
0 - 2
|
|
|
(Int,Ext,Remote) |
Data: The actual data to be transmitted. Multiple bytes of data are
|—————————————+———————————+———————————————————————————————————————|
transmitted in order starting from the address.
|
00 07 | 0000 aaaa | (Reserved)
|
|—————————————+———————————+———————————————————————————————————————|
:
:
|
|
00 08 | 0000 000a | Pedal Select
0 - 3
|
ffH
sum
F7H
Data
|
|
(EXP PEDAL,HI_HAT,SW +, SW -) |
|—————————————+———————————+———————————————————————————————————————|
Checksum
|
00 09 | 0000 aaaa | Master Tune
0 - 509
|
EOX (End Of Exclusive)
|#
|#
|#
00 0A | 0000 bbbb |
00 0B | 0000 cccc |
00 0C | 0000 dddd |
(415.3 - 466.2Hz, 0.1Hz step) |
|
|
*
*
*
The amount of data that can be transmitted at once time will depend on the type of data,
and data must be requested using specific starting address and size. Refer to the
+—————————————————————————————————————————————————————————————————+
1-1-2 FOOT SW
a
+—————————————————————————————————————————————————————————————————+
Address and Size listed in "Parameter address map" (p. 104).
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
packets.
|Offset
|
|
|
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
|
00 00 | 0000 aaaa | Foot Sw1
0 - 8 (*1)
|
|—————————————+———————————+———————————————————————————————————————|
|
00 01 | 0000 aaaa | Foot Sw2
0 - 8 (*1)
|
Regarding the checksum please refer to p. 109.
+—————————————————————————————————————————————————————————————————+
(*1) OFF, PATCH DOWN, PATCH UP, REV OFF/ ON, M-FX OFF/ ON, ROLL/ HOLD,
PLAY/ STOP, Mdfy SEL DN, Mdfy SEL UP
1 0 4
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MIDI Im p le m e n ta tio n
1-1-3 MIDI
1-1-7 PATCH CHAIN GROUP
+—————————————————————————————————————————————————————————————————+
+—————————————————————————————————————————————————————————————————+
|Offset
|
|
|
|Offset
|
|
|
| address
| Size
| Description
Data (Value) |
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
00 00 | 000a aaaa | Melo1 MIDI Ch
0 - 16
|
|
00 | 0000 aaaa | Patch Number (step1)
01 | 0000 bbbb |
0 - 251 (*5) |
|
|
|
(1 - 16,OFF) |
|#
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
00 01 | 000a aaaa | Melo2 MIDI Ch
0 - 16
|
|
02 | 0000 aaaa | Patch Number (step2)
03 | 0000 bbbb |
0 - 251
|
|
|
|
|
|
|
(1 - 16,OFF) |
|#
|
|—————————————+———————————+———————————————————————————————————————|
: |
:
|
|
|
00 02 | 000a aaaa | Perc1 MIDI Ch
0 - 16
|
|
40 | 0000 aaaa | Patch Number (step33)
41 | 0000 bbbb |
240 - 251
|
|
(1 - 16,OFF) |
|#
|—————————————+———————————+———————————————————————————————————————|
+—————————————————————————————————————————————————————————————————+
|
|
00 03 | 000a aaaa | Perc2 MIDI Ch
0 - 16
|
(*5) P0101 - U1008, JUMP TO CH01 - JUMP TO CH10, LOOP, END
|
|
(1 - 16,OFF) |
|—————————————+———————————+———————————————————————————————————————|
|
|
00 04 | 000a aaaa | Pad MIDI Ch
0 - 16
|
1-2 USER PATCH and TEMPORARY PATCH
|
|
(1 - 16,OFF) |
+—————————————————————————————————————————————————————————————————+
|—————————————+———————————+———————————————————————————————————————|
|Offset
|
|
|
|
|
00 05 | 0000 000a | Local Control
0 - 1
(OFF,ON)
|
|
| address
| Description
|
|
|—————————————+———————————————————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
00 00 | PAD SET A
|—————————————+———————————————————————————————————————————————————|
01 00 | PAD SET B 1-2-1|
|—————————————+———————————————————————————————————————————————————|
02 00 | PAD SET C 1-2-1|
|—————————————+———————————————————————————————————————————————————|
| 10 00 | PAD A1 1-2-2-1|
1-2-1|
|
|
00 06 | 0000 000a | Soft Thru
0 - 1
(OFF,ON)
|
|
|
|
|
+—————————————————————————————————————————————————————————————————+
1-1-4 CONTROLLER
|
+—————————————————————————————————————————————————————————————————+
|Offset
|
|
|
| address
| Size
| Description
Data (Value) |
|—————————————+———————————————————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
11 00 | PAD A2
1-2-2-1|
|
1-2-2-1|
|
|
00 00 | 0000 00aa | Data Thin
0 - 2
(OFF,1,2)
|
|
:
|
:
|
|
1E 00 | PAD C5
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————————————————————————————————————————————|
|
|
00 01 | 0000 0000 | Edge Level
0 - 15
(1 - 16)
|
|
|
1F 00 | PEDAL
|—————————————+———————————————————————————————————————————————————|
20 00 | D BEAM 1-2-2-2|
|—————————————+———————————————————————————————————————————————————|
21 00 | RIBBON L 1-2-2-2|
|—————————————+———————————————————————————————————————————————————|
22 00 | RIBBON R 1-2-2-2|
|—————————————+———————————————————————————————————————————————————|
23 00 | TRIG 1 1-2-2-1|
|—————————————+———————————————————————————————————————————————————|
24 00 | TRIG 2 1-2-2-1|
|—————————————+———————————————————————————————————————————————————|
30 00 | EFFECT 1-2-3|
|—————————————+———————————————————————————————————————————————————|
38 00 | LFO 1-2-4|
|—————————————+———————————————————————————————————————————————————|
1-2-2-2|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
00 02 | 0000 0000 | Edge Area
0 - 15
(1 - 16)
|
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
00 03 | 0000 0000 | (Reserved)
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
00 04 | 0000 0aaa | D Beam Curve
0 - 4
(1 - 5)
|
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
00 05 | 0000 aaaa | (Reserved)
|
|—————————————+———————————+———————————————————————————————————————|
|
|
00 06 | 0aaa aaaa | D Beam Sense
0 - 127
|
+—————————————————————————————————————————————————————————————————+
|
1-1-5 PAD
|
40 00 | COMMON
1-2-5|
+—————————————————————————————————————————————————————————————————+
+—————————————————————————————————————————————————————————————————+
|Offset
|
|
|
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
1-2-1 PAD SET
|
|
00 | 0000 aaaa | Sens
0 - 15
(1 - 16)
|
|
+—————————————————————————————————————————————————————————————————+
|
|
|Offset
|
|
|
|—————————————+———————————+———————————————————————————————————————|
| address
| Size
| Description
Data (Value) |
|
01 | 000a aaaa | Threshold
1 - 16
|
|—————————————+———————————+———————————————————————————————————————|
|
|—————————————+———————————+———————————————————————————————————————|
00 | 0000 aaaa | Inst
01 | 0000 bbbb |
0 - 98 (*6) |
|
|
|
02 | 0aaa aaaa | Mask Time
0 - 32
|
|#
|
|
(0 - 64ms, 2ms step) |
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
02 | 0000 aaaa | Pitch
03 | 0000 bbbb |
04 | 0000 cccc |
05 | 0000 dddd |
0 - 960
|
|
|
03 | 0000 aaaa | Pressure Sens
0 - 15
(1 - 16)
|
|
|#
|#
|#
(-2400 - +2400cent, 5cent step) |
|
|
|
|
+—————————————————————————————————————————————————————————————————+
1-1-6-1 TRIG COMMON
|—————————————+———————————+———————————————————————————————————————|
+—————————————————————————————————————————————————————————————————+
|
06 | 0aaa aaaa | Level
0 - 127
|
|Offset
|
|
|
|—————————————+———————————+———————————————————————————————————————|
| address
| Size
| Description
Data (Value) |
|
07 | 0000 aaaa | Pan
08 | 0000 bbbb |
1 - 129 (*7) |
|
|—————————————+———————————+———————————————————————————————————————|
|#
|
|
00 00 | 0000 000a | Trigger Input Mode
0 - 1
|
|—————————————+———————————+———————————————————————————————————————|
|
|
(HD/RM,TRIGx2) |
|
|
09 | 00aa aaaa | Decay
0 - 62
(-31 - +31)
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
|
00 01 | 0000 aaaa | Trigger Rim Sens
0 - 15
|
|—————————————+———————————+———————————————————————————————————————|
|
|
(OFF,1 - 15) |
|
0A | 0aaa aaaa | ReverbSend
0 - 127
|
+—————————————————————————————————————————————————————————————————+
|—————————————+———————————+———————————————————————————————————————|
1-1-6-2 TRIG
|
|
0B | 0000 00aa | M-FX SW
0 - 2
|
|
|
(OFF,ON,PadData) |
+—————————————————————————————————————————————————————————————————+
+—————————————————————————————————————————————————————————————————+
|Offset
|
|
|
(*6) Conga, Latin1.....etc.
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
(*7) L63 - Center - R63, Random, Alternate
|
00 | 000a aaaa | Trigger Type
0 - 19 (*2) |
|—————————————+———————————+———————————————————————————————————————|
|
|
01 | 0000 aaaa | Trigger Sens
0 - 15
(1 - 16)
|
|
1-2-2-1 PAD A1 - PAD C5, TRIG 1, TRIG 2
|
|
+—————————————————————————————————————————————————————————————————+
|—————————————+———————————+———————————————————————————————————————|
|Offset
|
|
|
|
02 | 0000 0aaa | Trigger Curve
|—————————————+———————————+———————————————————————————————————————|
03 | 000a aaaa | Trigger Threshold 1 - 16
0 - 7
(*3) |
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
|
|
|
00 | 0000 aaaa | Inst
01 | 0000 bbbb |
02 | 0000 cccc |
03 | 0000 dddd |
0 - 600
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|#
|#
|#
|
|
04 | 0000 00aa | Trigger Scan Time
0 - 2
|
|
|
(1 - 3ms, 1ms step) |
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
05 | 0000 aaaa | Trigger Retrig Cancel
0 - 15
(1 - 16)
|
|
|
04 | 0000 aaaa | Pitch
05 | 0000 bbbb |
06 | 0000 cccc |
07 | 0000 dddd |
0 - 4800
|
|
|
|#
|#
|#
(-2400 - +2400cent, 1cent step) |
|—————————————+———————————+———————————————————————————————————————|
|
|
|
|
06 | 0aaa aaaa | Trigger Mask Time
0 - 32
|
|
|
(0 - 64ms, 2ms step) |
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
08 | 0aaa aaaa | Level
0 - 127
|
|
07 | 0000 aaaa | Trigger Crosstalk Rate 0 - 13 (*4) |
|—————————————+———————————+———————————————————————————————————————|
+—————————————————————————————————————————————————————————————————+
|
09 | 0000 aaaa | Pan
0A | 0000 bbbb |
1 - 129 (*8) |
|
(*2) PD-5, PD-7, PD-9, PD-80, PD-80R, PD-100, PD-120, P-1, P-2, KD-7, KD-80, KD-120, K-1,
|#
K-2, KICK, SNARE, TOM, FLOOR, SW +, SW -
|—————————————+———————————+———————————————————————————————————————|
|
|
0B | 00aa aaaa | Decay
0 - 62
(-31 - +31)
|
|
(*3) Linear, Exp1, Exp2, Log1, Log2, Spline, Loud1, Loud2
(*4) OFF, 20%, 25%, 30%, 35%, 40%, 45%, 50%, 55%, 60%, 65%, 70%, 75%, 80%
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
0C | 00aa aaaa | Sweep
0 - 62
(-31 - +31)
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
0D | 00aa aaaa | Color
0 - 62
(-31 - +31)
|
|
|
|
1 0 5
Download from Www.Somanuals.com. All Manuals Search And Download.
MIDI Im p le m e n ta tio n
|—————————————+———————————+———————————————————————————————————————|
|
|
|
18 | 0000 0000 | (Reserved)
19 | 0000 0000 | (Reserved)
1A | 0000 0000 | (Reserved)
|
|
|
|
0E | 0aaa aaaa | ReverbSend
0 - 127
|
|—————————————+———————————+———————————————————————————————————————|
|
|
0F | 0000 000a | M-FX SW
0 - 1
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
(OFF,ON)
|
|
1B | 00aa aaaa | Ctrl Tx
0 - 24 (*17) |
0 - 25 (*18) |
|—————————————+———————————+———————————————————————————————————————|
|
|
|
|
10 | 0000 00aa | Trigger Mode
0 - 2
(Shot,Gate,Trig) |
|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
|
1C | 0000 000a | Pitch Tx
0 - 1
(OFF,ON)
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
11 | 000a aaaa | Velocity Curve
0 - 23 (*9) |
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
1D | 0000 000a | Mute Tx
0 - 1
(OFF,ON)
|
|
|
|
12 | 0000 000a | Roll Rx
0 - 1
(OFF, ON)
(*10) |
|
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
1E | 0000 000a | Ctrl Rx
0 - 1
(OFF,ON)
|
|
|
|
|
|
|
|
|
|
13 | 0000 0000 | (Reserved)
14 | 0000 0000 | (Reserved)
15 | 0000 0000 | (Reserved)
16 | 0000 0000 | (Reserved)
17 | 0000 0000 | (Reserved)
18 | 0000 0000 | (Reserved)
19 | 0000 0000 | (Reserved)
1A | 0000 0000 | (Reserved)
|
|
|
|
|
|
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
1F | 00aa aaaa | Pitch Rx Range
0 - 49 (*11) |
|—————————————+———————————+———————————————————————————————————————|
|
|
20 | 0000 000a | Mute Rx
0 - 1
(OFF/ON)
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
21 | 0000 000a | Rx Self
0 - 1
(OFF/ON)
|
|
|—————————————+———————————+———————————————————————————————————————|
1B | 00aa aaaa | Ctrl Tx 0 - 6 (*11) |
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
22 | 0000 000a | Controller Type
0 - 1
(*19) |
(Posit,Speed) |
|
|
1C | 0000 000a | Pitch Tx
0 - 1
(OFF,ON)
|
|
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
23 | 0000 aaaa | MIDI Note Number
24 | 0000 bbbb |
0 - 128
|
|
|
1D | 0000 000a | Mute Tx
0 - 1
(OFF,ON)
|
|
|#
(OFF,C-1 - G9) |
|
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
25 | 0aaa aaaa | Gate Time
0 - 79
|
|
|
1E | 0000 000a | Ctrl Rx
0 - 1
(OFF,ON)
|
|
|
|
(0.1 - 8.0, 0.1 step) |
|
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
|
|
26 | 0000 0000 | (Reserved)
27 | 0000 0000 | (Reserved)
28 | 0000 0000 | (Reserved)
29 | 0000 0000 | (Reserved)
2A | 0000 0000 | (Reserved)
|
|
|
|
|
|
1F | 00aa aaaa | Pitch Rx Range
0 - 49 (*12) |
|—————————————+———————————+———————————————————————————————————————|
|
|
20 | 0000 000a | Mute Rx
0 - 1
(OFF,ON)
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
+—————————————————————————————————————————————————————————————————+
|
|
21 | 0000 000a | Rx Self
0 - 1
(OFF,ON)
|
|
(*14) PEDAL:
|
|
Shot, Gate, Scrape, Scrp1Wy
|—————————————+———————————+———————————————————————————————————————|
|
22 | 0000 0000 | (Reserved)
|
|—————————————+———————————+———————————————————————————————————————|
(*15) D BEAM:
|
23 | 0000 aaaa | MIDI Note Number
24 | 0000 bbbb |
0 - 128
|
|#
(OFF,C-1 - G9) |
Move, MovGate, Touch, TchGate, Scrape, Scrp1Wy
|—————————————+———————————+———————————————————————————————————————|
|
|
25 | 0aaa aaaa | Gate Time
0 - 79
|
|
|
(0.1 - 8.0, 0.1 step) |
(*16) RIBBON L, RIBBON R:
|—————————————+———————————+———————————————————————————————————————|
Move, MovGate, Touch, TchGate, Scrape
|
26 | 0000 aaaa | Pattern Number
27 | 0000 bbbb |
0 - 198 (*13) |
(OFF,P01 - U99) |
|#
|—————————————+———————————+———————————————————————————————————————|
(*17) RIBBON L, RIBBON R:
|
28 | 0000 aaaa | PadPattern Tempo
29 | 0000 bbbb |
0 - 220 (*13) |
(20 - 240)
|#
|
OFF, Level -, Level +, Decay -, Decay +, Cutoff, Resonance, Color 1, Color 2,
RevSend -, RevSend +, LFO Rate, LFO Pitch, LFO Fltr, LFO Amp, LFO Pc&Rt,
LFO Ft&Rt, LFO Am&Rt, MFX Ctrl1, MFX Ctrl2, MFX Ctrl3, RollSpeed, Tempo -,
Tempo +, Turntable
|—————————————+———————————+———————————————————————————————————————|
|
2A | 0aaa aaaa | PadPattern Level
0 - 127 (*13) |
+—————————————————————————————————————————————————————————————————+
(*8) L63 - Center - R63, Random, Alternate
(*9) Linear, Exp1, Exp2, Log1, Log2, Spline, Loud1, Loud2, Fix1 - Fix16
(*10) PAD A1 - PAD C5 omly.
(*18) D BEAM, PEDAL:
(*11) OFF, LFO Pitch, LFO Fltr, LFO Amp, MFX Ctrl1, MFX Ctrl2, MFX Ctrl3
(*12) -24 - OFF - +24, Random
OFF, Level -, Level +, Decay -, Decay +, Cutoff, Resonance, Color 1, Color 2,
RevSend -, RevSend +, LFO Rate, LFO Pitch, LFO Fltr, LFO Amp, LFO Pc&Rt,
LFO Ft&Rt, LFO Am&Rt, MFX Ctrl1, MFX Ctrl2, MFX Ctrl3, RollSpeed, Tempo -,
Tempo +, Turntable, Play/ Stop
(*13) PAD B1 - PAD C5 only.
1-2-2-2 PEDAL, D BEAM, RIBBON L, RIBBON R
+—————————————————————————————————————————————————————————————————+
(*19) D BEAM, RIBBON L, RIBBON R only
|Offset
|
|
|
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
1-2-3 EFFECT
|
00 | 0000 aaaa | Inst
01 | 0000 bbbb |
02 | 0000 cccc |
03 | 0000 dddd |
0 - 600
|
|#
|#
|#
(PEDAL: 0-615) |
+—————————————————————————————————————————————————————————————————+
|
|
|Offset
|
|
|
| address
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
04 | 0000 aaaa | Pitch
05 | 0000 bbbb |
06 | 0000 cccc |
07 | 0000 dddd |
0 - 4800
|
|
00 | 0000 0aaa | ReverbType
|—————————————+———————————+———————————————————————————————————————|
01 | 000a aaaa | (Reserved) |
0 - 17
|
|#
|#
|#
(-2400 - +2400cent, 1cent step) |
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
|
|
02 | 0000 0aaa | ReverbAlgorithm
03 | 0aaa aaaa | ReverbLevel
04 | 0aaa aaaa | ReverbTime
05 | 000a aaaa | Reverb HF Damp
06 | 0aaa aaaa | DelayFeedback
0 - 8
0 - 127
0 - 127
(*20) |
|
08 | 0aaa aaaa | Level
0 - 127
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
09 | 0000 aaaa | Pan
0A | 0000 bbbb |
1 - 129 (*8) |
|
0 - 17 (*21) |
|#
0 - 127
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
0B | 00aa aaaa | Decay
0 - 62
(-31 - +31)
|
|
|
|
07 | 000a aaaa | M-FX Type
08 | 000a aaaa | M-FX Depth(for EZ Edit) 0 - 127
0 - 84
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|—————————————+———————————+———————————————————————————————————————|
|
|
0C | 00aa aaaa | Sweep
0 - 62
(-31 - +31)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
09 | 000a aaaa | M-FX Algorithm
0 - 27 (*22) |
|
|
0A | 0aaa aaaa | M-FX Output Volume
0 - 127
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
0B | 0aaa aaaa | M-FX Reverb Send Level 0 - 127
|
|
0D | 00aa aaaa | Color
0 - 62
(-31 - +31)
|
|
0C | 0aaa aaaa | M-FX Parameter 1
0D | 0aaa aaaa | M-FX Parameter 2
0E | 0aaa aaaa | M-FX Parameter 3
0F | 0aaa aaaa | M-FX Parameter 4
10 | 0aaa aaaa | M-FX Parameter 5
11 | 0aaa aaaa | M-FX Parameter 6
12 | 0aaa aaaa | M-FX Parameter 7
13 | 0aaa aaaa | M-FX Parameter 8
14 | 0aaa aaaa | M-FX Parameter 9
15 | 0aaa aaaa | M-FX Parameter 10
16 | 0aaa aaaa | M-FX Parameter 11
17 | 0aaa aaaa | M-FX Parameter 12
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
0 - 127
|
|
|—————————————+———————————+———————————————————————————————————————|
|
0E | 0aaa aaaa | ReverbSend
0 - 127
|
|—————————————+———————————+———————————————————————————————————————|
|
|
0F | 0000 000a | M-FX SW
0 - 1
(OFF,ON)
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
|
10 | 0000 00aa | Trigger Mode
0 - 3
0 - 5
0 - 4
(*14) |
(*15) |
(*16) |
|
|
|
|
|—————————————+———————————+———————————————————————————————————————|
|
11 | 000a aaaa | Velocity Curve
0 - 23 (*9) |
+—————————————————————————————————————————————————————————————————+
|—————————————+———————————+———————————————————————————————————————|
(*20) OFF, Room1, Room2, Stage, Plate, Hall1, Hall2, Delay, PanDly
|
|
|
|
|
|
12 | 0000 0000 | (Reserved)
13 | 0000 0000 | (Reserved)
14 | 0000 0000 | (Reserved)
15 | 0000 0000 | (Reserved)
16 | 0000 0000 | (Reserved)
17 | 0000 0000 | (Reserved)
|
|
|
|
|
|
(*21) 200Hz, 250Hz, 315Hz, 400Hz, 500Hz, 630Hz, 800Hz, 1kHz, 1.25kHz, 1.6kHz, 2kHz,
2.5kHz, 3.15kHz, 4kHz, 5kHz, 6.3kHz, 8kHz, THRU
(*22) Stereo EQ, CompLimiter, Enhancer, Spectrum, Isolator, DynamicFltr, Sustainer,
Overdrive, Distortion, Lo-Fi, RingModltr, Stereo Cho, TetraChorus, TremoloCho,
1 0 6
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MIDI Im p le m e n ta tio n
Space D, Stereo Fln, StepFlanger, Phaser, FbackPitch, StereoDelay, Mod Delay,
TimeCtrlDly, 3TapDlySht, 3TapDlyLng, 4TapDlySht, 4TapDlyLng, AdvanceRev,
GateReverb
●Parameter Address Block Map
An outlined address map of the Exclusive Communication is as follows;
1-2-4 LFO
Address(H) Block Sub block Reference
+—————————————————————————————————————————————————————————————————+
=========== =========== ============================ =========
|Offset
| address
|
|
|
| Size
| Description
Data (Value) |
00 00 00 00 +—————————+...+——————————————+...............+———————+
|—————————————+———————————+———————————————————————————————————————|
|SYSTEM
|
|UTILITY
|
|1-1-1 |
|
00 | 0000 aaaa | LFO Waveform
|—————————————+———————————+———————————————————————————————————————|
01 | 0aaa aaaa | LFO Rate 0 - 127
|—————————————+———————————+———————————————————————————————————————|
02 | 0aaa aaaa | LFO Pitch Depth 0 - 127
|—————————————+———————————+———————————————————————————————————————|
03 | 0aaa aaaa | LFO Filter(Cutoff)Depth 0 - 127
|—————————————+———————————+———————————————————————————————————————|
04 | 0aaa aaaa | LFO Amplitude Depth 0 - 127
|—————————————+———————————+———————————————————————————————————————|
05 | 0aaa aaaa | LFO Effect Depth 0 - 127
|—————————————+———————————+———————————————————————————————————————|
06 | 0000 000a | LFO Realtime2 0 - 1
|—————————————+———————————+———————————————————————————————————————|
0 - 9
(*23) |
+—————————+. +——————————————+...............+———————+
: . +——————————————+...............+———————+
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
|
|
: . |FOOT SW
|
|1-1-2 |
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|
|
: . |MIDI
|
|1-1-3 |
|
|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|
|
: . |CONTROLLER
|
|1-1-4 |
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|
|
: . |PAD A1
|
|1-1-5 |
|
|
: . +——————————————+...............+———————+
: . |
: . +——————————————+...............+———————+
:
|
|
:
|
|
07 | 0000 000a | LFO Realtime3
0 - 1
|
+—————————————————————————————————————————————————————————————————+
: . |PAD C5
|
|1-1-5 |
(*23) OFF, Triangl, Sine, SawRise, SawFall, Square, Trape, Smp&Hld, Random, Chaos
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
: . |TRIG COMMON
|
|1-1-6-1|
1-2-5 COMMON
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
+—————————————————————————————————————————————————————————————————+
: . |TRIG 1
|
|1-1-6-2|
|Offset
| address
|
|
|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
| Size
| Description
Data (Value) |
|—————————————+———————————+———————————————————————————————————————|
: . |TRIG 2
|
|1-1-6-2|
|
00 | 0aaa aaaa | Master Volume
0 - 127
|
: . +——————————————+...............+———————+
: . +——————————————+...+———————+...+———————+
|—————————————+———————————+———————————————————————————————————————|
|
|
01 | 0aaa aaaa | Resonance Limit
50 - 127
|
: . |CHAIN GROUP 1 |
|STEP 1 |
|1-1-7 |
|
|
(50 - 126,OFF) |
: . +——————————————+. +———————+...+———————+
: . | | . |
|—————————————+———————————+———————————————————————————————————————|
:
:
|
|
|
02 | 0000 000a | D BEAM SOUND
0 - 1
(OFF,ON)
|
|
: . +——————————————+ . +———————+
: . |CHAIN GROUP 10| . |STEP 33|
: .+——————————————+ .+———————+
:
|
|
|—————————————+———————————+———————————————————————————————————————|
|
|
03 | 0000 000a | D BEAM CONTROL
0 - 1
(OFF,ON)
|
|
|
|
01 00 00 00 +—————————+...+——————————————+...............+———————+
|—————————————+———————————+———————————————————————————————————————|
|TEMPORARY|
| PATCH |
|PAD SET A
|
|1-2-1 |
|
|
04 | 0000 000a | RIBBON L SOUND
0 - 1
(OFF,ON)
|
|
+——————————————+...............+———————+
|
|
+—————————+. +——————————————+...............+———————+
|—————————————+———————————+———————————————————————————————————————|
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
:
: . |PAD SET B
|
|1-2-1 |
|
|
05 | 0000 000a | RIBBON L HOLD
0 - 1
(OFF,ON)
|
|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|
|
|—————————————+———————————+———————————————————————————————————————|
: . |PAD SET C
|
|1-2-1 |
|
|
06 | 0000 000a | RIBBON R SOUND
0 - 1
(OFF,ON)
|
|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|
|
|—————————————+———————————+———————————————————————————————————————|
: . |PAD A1
|
|1-2-2-1|
|
|
07 | 0000 000a | RIBBON R HOLD
0 - 1
(OFF,ON)
|
|
: . +——————————————+...............+———————+
: . |
: . +——————————————+...............+———————+
|
|
:
|
|
:
|
|—————————————+———————————+———————————————————————————————————————|
|
|
08 | 0000 000a | MULTI EFFECTS
0 - 1
(OFF,ON)
|
|
: . |PAD C5
|
|1-2-2-1|
|
|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|—————————————+———————————+———————————————————————————————————————|
|
|
09 | 0000 000a | Pad Sens Type
0 - 3
|
: . |PEDAL
|
|1-2-2-2|
|
|
(Hand1,Hand2,Fing1,Fing2) |
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|—————————————+———————————+———————————————————————————————————————|
|
0A | 0000 aaaa | Roll Speed
0 - 127 (*24) |
: . |D BEAM
|
|1-2-2-2|
|—————————————+———————————+———————————————————————————————————————|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|
0B | 0aaa aaaa | Patch Name 1
0C | 0aaa aaaa | Patch Name 2
0D | 0aaa aaaa | Patch Name 3
0E | 0aaa aaaa | Patch Name 4
0F | 0aaa aaaa | Patch Name 5
10 | 0aaa aaaa | Patch Name 6
11 | 0aaa aaaa | Patch Name 7
12 | 0aaa aaaa | Patch Name 8
13 | 0aaa aaaa | Patch Name 9
14 | 0aaa aaaa | Patch Name 10
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
32 - 127
|
|
|
|
|
|
|
|
|
|
|#
|#
|#
|#
|#
|#
|#
|#
|#
: . |RIBBON L
|
|1-2-2-2|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
: . |RIBBON R
|
|1-2-2-2|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
: . |TRIG 1
|
|1-2-2-1|
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
+—————————————————————————————————————————————————————————————————+
: . |TRIG 2
|
|1-2-2-1|
(*24) 1.0 - 3.0 (0.1 step), 3.2 - 16.0 (0.2 step), 16.5 - 20 (0.5 step), 21 - 38 (1 step), 40 - 50 (2 step),
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
1/ 2, 1/ 3, 1/ 4, 1/ 6, 1/ 8, 1/ 12, 1/ 16, 1/ 24, 1/ 32, 1/ 48
: . |EFFECT
|
|1-2-3 |
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
1-3 USER PATTERN
: . |LFO
|
|1-2-4 |
+—————————————————————————————————————————————————————————————————+
: . +——————————————+...............+———————+
: . +——————————————+...............+———————+
|Offset
| address
|
|
|
| Description
: . |COMMON
|
|1-2-5 |
|—————————————+———————————————————————————————————————————————————|
: .+——————————————+...............+———————+
:
|
00 00 00 | All User Pattern Request
|—————————————+———————————————————————————————————————————————————|
7F 7F 7F | User Pattern Data End
+—————————————————————————————————————————————————————————————————+
|
10 00 00 00 +—————————+...................
|
|
|SYSTEM
|
^
+—————————+
|
:
:
|
11 00 00 00 +—————————+
|TEMPORARY|
|
|
|PATCH
|
|
+—————————+
|
:
:
Bulk area
12 00 00 00 +—————————+
|
|
|
|
|
|
|
v
|USER
|
|
|PATCH
+—————————+
:
:
20 00 00 00 +—————————+
|USER
|PATTERN |
|
+—————————+...................
1 0 7
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MIDI Im p le m e n ta tio n
4. Bulk Dump
5. Supplementary material
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.
●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.
●Parameter Dump Request
The following table shows how these correspond to decimal numbers.
Address(H)
10 00 00 00
11 00 00 00
Size(H)
+——————————————————————————————————————————————————————————+
| Dec. | Hex. || Dec. | Hex. || Dec. | Hex. || Dec. | Hex. |
|——————+——————++——————+——————++——————+——————++——————+——————|
01 00 00 00 (SYSTEM: dump request for all system parameters)
01 00 00 00 (TEMPORARY PATCH: dump request for temporary
patch)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
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 |
12 mm 00 00
20 00 00 00
00 01 00 00 (USER PATCH: single patch dump request specified by
"mm")
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 |
00 00 00 00 (ALL USER PATTERN: dump request for all user patterns)
mm = 00 - 4FH (U0101 - U1008)
*
*
Data of preset patch (P0101 - P1008) and preset pattern (P01 - P99) cannot be transmitted.
Make sure to set "00 00 00 00" for the data size.
+——————————————————————————————————————————————————————————+
*
*
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.
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.
Data marked "nibbled" is expressed in hexadecimal in 4-bit units. A value expressed as a
2-byte nibble 0a 0bH has the value of a x 16 + b.
<Example 1> What is the decimal expression of 5AH ?
From the preceding table, 5AH = 90
<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
<Example 3> What is the decimal expression of the nibbled value 0A 03 09 0D ?
From the preceding table, since 0AH = 10, 03H = 3, 09H = 9, 0DH = 13
((10 x 16 + 3) x 16 + 9) x 16 + 13 = 41885
<Example 4> What is the nibbled expression of the decimal value 1258 ?
16) 1258
16)
16)
78 ...10
4 ...14
0 ... 4
Since from the preceding table, 00H = 0, 04H = 4, 14H = 0E, 10H = 0A , the answer is 00 04
0E 0A
1 0 8
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MIDI Im p le m e n ta tio n
● Example of an Exclusive message and calculating a
●Examples of actual MIDI message
Checksum
<Example 1> 95 3E 5F
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.
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 = 6, note number 62 (note name is D4),
and velocity 95.
●How to calculate the checksum
<Example 2> C9 20
(hexadecimal numbers are indicated by "H")
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.
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.
<Example 3> E4 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
aa + bb + cc + dd + ee + ff + gg + hh = sum
sum / 128 = quotient ... remainder
128 - remainder = checksum
If we assume that the Pitch Bend Sensitivity is set to two semitones, the pitch will change
only -200 cents for a Pitch Bend value of -8192 (00 00H). Thus, this message is specifying a
Pitch Bend of -200 x (-3072) / (-8192) = -75 cents on MIDI channel 5.
(However, the checksum will be 0 if the remainder is 0.)
<Example 1> Setting Trigger Mode of Pad A5 in temporary patch to "Gate".
According to the "Parameter address map", the temporary patch has an address of 01 00 00
00H, Pad A5 has a offset address of 14 00H and Trigger Mode has a offset address of 10H.
Thus,
<Example 4> B4 64 00 65 00 06 0C 26 00 64 7F 65 7F
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 provision 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.
01 00 00 00
14 00
+)
10
01 00 14 10
B4 64 00
(B4) 65 00
(B4) 06 0C
(B4) 26 00
(B4) 64 7F
(B4) 65 7F
MIDI ch.5, lower byte of RPN parameter number:
(MIDI ch.5) upper byte of RPN parameter number:
(MIDI ch.5) upper byte of parameter value:
00H
00H
0CH
00H
7FH
7FH
and "Gate" is a value of 01H,
F0
41
10
00 2E
(4)
12
01 00 14 10
address
01
??
F7
(MIDI ch.5) lower byte of parameter value:
(1)
(2)
(3)
(5)
data
checksum
(6)
(MIDI ch.5) lower byte of RPN parameter number:
(MIDI ch.5) upper byte of RPN parameter number:
(1) Exclusive status, (2) ID number (Roland), (3) Device ID (17)
(4) Model ID (HPD-15), (5) Command ID (DT1), (6) EOX
In other words, the above messages specify a value of 0C 00H for RPN parameter number
00 00H on MIDI channel 5, and then set the RPN parameter number to 7F 7FH.
Next we calculate the checksum.
RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indicates
01H + 00H + 14H + 10H + 01H = 1 + 0 + 20 + 16 + 1 = 38 (sum)
38 (sum) / 128 = 0 (quotient) ... 38 (remainder)
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 correct
on any device.)
checksum = 128 - 38 (remainder) = 90 = 5AH
This means that F0 41 10 00 20 12 01 00 14 10 01 5A F7 is the message we transmit.
<Example 2> Requesting transmission of Resonance Limit of temporary patch.
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
transmitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents.
This is the reason for the (B4) 64 7F (B4) 65 7F at the end.
According to the "Parameter address map",the temporary patch has an address of 01 00 00
00H, patch common parameter has a offset address of 40 00H and Resonance Limit has a
offset address of 01H. Thus,
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.
01 00 00 00
40 00
+)
01
01 00 40 01
Since Size = 00 00 00 01H,
F0
41
10
00 2E
(4)
11
01 00 40 01 00 00 00 01
address size
??
F7
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
consecutive) 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).
(1)
(2)
(3)
(5)
checksum
(6)
(1) Exclusive status, (2) ID number (Roland), (3) Device ID (17)
(4) Model ID (HPD-15), (5) Command ID (RQ1), (6) EOX
Next we calculate the checksum.
*
TPQN : Ticks Per Quarter Note
01H + 00H + 40H + 01H + 00H + 00H +00H + 01H = 1 + 0 + 64 + 1 + 0 + 0 + 0 + 1 = 67 (sum)
67 (sum) / 128 = 0(quotient) ... 67 (remainder)
checksum = 128 - 67 (remainder) = 61 = 3DH
This means that F0 41 10 00 2E 11 01 00 40 01 00 00 00 01 3D F7 is the message we transmit.
1 0 9
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MIDI Im p le m e n ta tio n
PERCUSSION SOUND MODULE (Except Sequencer Section)
Date : Mar. 23, 2000
Version : 1.00
Model HPD-15
MIDI Implementation Chart
Function...
Transmitted
Recognized
Remarks
Basic
Default
1–16, OFF
1–16, OFF
Memorized (Non-Volatile)
Channel Changed
1–16, OFF
1–16, OFF
Default
Messages
Altered
Mode 3
X
Mode 3
X
Mode
**************
**************
Note
0–127
0–127
Number :
0–127
True Voice
**************
Note On
Note Off
O
O
O
O
Velocity
*1
*1
After
Touch
Key's
Channel's
O
X
*1
O
X
Pitch Bend
O
O
0, 32
1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
*1
*1
*1
*2
*2
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
*1
*1
*1
*2
*3
Bank select
Modulation
4
Foot Control
6
7
Data entry
Volume
10
11
12
16
17
64
66
67
70
74
76
81
82
83
91
92
94
Panpot
*1
*1
*1
*1
*1
*1
*1
*1
Expression
Effect Control 1
General Purpose Controller 1
General Purpose Controller 2
Hold 1
Control
Change
*1
*1
*1
*1
*1
*1
*1
*1
*3
*1
*1
*1
*1
*1
*1
*1
*1
*1
*3
*1
Sostenuto
Soft
Sound Controller 1
Sound Controller 5
Sound Controller 7
General purpose controller 6
General purpose controller 7
General purpose controller 8
Effect 1
Effect 2
Effect 4
RPN LSB, MSB
100, 101
*2
*2
Program
Change
O
0–127
O
0–127
: True Number
Program No. 1–128
System Exclusive
O
O
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
X
X
X
X
X
X
X
X
O
X
O (120, 126, 127)
: All Sound Off
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O (123–127)
O
X
* 1 Pad part and percussion part only.
* 2 Melody part only.
Notes
* 3 Percussion part and melody part only.
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
1 1 0
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MIDI Im p le m e n ta tio n
PERCUSSION SOUND MODULE (Sequencer Section)
Model HPD-15
Date : Mar. 23, 2000
MIDI Implementation Chart
Version : 1.00
Function...
Transmitted
Recognized
Remarks
Basic
Default
1–16, OFF
1–16, OFF
Memorized (Non-Volatile)
Channel Changed
1–16, OFF
1–16, OFF
Default
Messages
Altered
Mode 3
X
X
X
Mode
**************
**************
Note
0–127
0–127
Number :
0–127
True Voice
**************
Note On
Note Off
O
O
O
O
Velocity
*1
*1
*1
*1
After
Touch
Key's
Channel's
O
X
O
X
Pitch Bend
O
O
0, 32
1
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
*1
*1
*1
*2
X
Bank select
O
O
X
*1
*1
Modulation
4
Foot Control
6
7
Data entry
O
O
O
O
O
O
O
O
O
O
O
O
O
O
O
X
*2
Volume
10
11
12
16
17
64
66
67
70
74
76
81
82
83
91
92
94
Panpot
*1
*1
*1
*1
*1
*1
*1
*1
Expression
Effect Control 1
General Purpose Controller 1
General Purpose Controller 2
Hold 1
Control
Change
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
*1
Sostenuto
Soft
Sound Controller 1
Sound Controller 5
Sound Controller 7
General purpose controller 6
General purpose controller 7
General purpose controller 8
Effect 1
*1
*2
O
O
X
*1
Effect 2
Effect 4
RPN LSB, MSB
100, 101
Program
Change
O
0–127
X
: True Number
0–127
Program No. 1–128
System Exclusive
O
O (do not record)
: Song Position
: Song Select
: Tune Request
X
X
X
X
X
X
System
Common
System
Real Time : Commands
: Clock
O
O
O
O
*3
*3, *4
X
X
X
X
X
X
X (120, 126, 127)
: All Sound Off
O
: Reset All Controllers
Aux
Messages
X
: Local On/Off
: All Notes Off
: Active Sensing
: System Reset
O (123–127)
O
X
* 1 Percussion part only. * 3 Receives when "Seq Sync" setting is "Ext."
Notes
* 2 Melody part only.
* 4 Receives when "Seq Sync" setting is "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
1 1 1
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Sp e cifica tio n s
Co n n e cto rs
HPD-1 5 : Ha n d So n ic
Output Jacks (L (MONO), R)
Phones Jack (stereo)
Ma x im u m Po ly p h o n y
64 Voices
Mix In Jack (stereo)
In stru m e n ts
Expression Pedal / Hi-Hat Control Jack
Trigger Input Jack (dual)
Foot Switch Jack (dual)
Pad Instruments: 600
Backing Instruments: 54
MIDI Connectors (IN, OUT/ THRU)
Use r Pa tch e s
80
O u tp u t Im p e d a n ce
1 k ohms
Pre se t Pa tch e s
160
Po w e r Su p p ly
AC Adaptor (DC 9V)
Pa tch Ch a in s
10 chains (32 steps per chain)
Cu rre n t Dra w
1000 mA
Effe ct Ty p e
Reverb, Multi-Effects
Dim e n sio n s
406 (W) x 405 (D) x 98 (H) mm
16 (W) x 16 (D) x 3-7/ 8 (H) inches
Se q u e n ce r
User Patterns: 99 (Maximum)
Preset Patterns: 99
W e ig h t
Tracks: 4
2.9 kg / 6 lbs 7 oz (Excluding AC Adaptor)
Play Functions: OneShot, Loop, Tap
Resolution: 96 ticks per quarter note
Recording Method: Real-time
Acce sso rie s
Owner’s Manual
AC Adaptor (ACI/ ACB Series)
Scale Label
Te m p o
20–240
O p tio n s
Disp la y
Pad (PD-5, PD-7, PD-9, PD-80, PD-80R, PD-100, PD-120)
Kick Trigger Unit (KD-7, KD-80, KD-120)
Hi-Hat Control Pedal (FD-7)
Expression Pedal (EV-5)
16 characters, 2 lines (backlit LCD)
Co n tro ls
Volume Knob
Realtime Modify Knob 1/ 2/ 3
Ribbon L/ R
Foot Switch (BOSS: FS-5U)
Pad Stand (PDS-15)
D Beam
Pa d
* In the interest of product improvement, the specifications and/
or appearance of this unit are subject to change without prior
notice.
10 inches, 15 sections, Pressure-Sensitive
1 1 2
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In d e x
Numerics
F
3-Tap Delay (3TapDlySht/ 3TapDlyLng) ............................. 50
4-Tap Delay (4TapDlySht/ 4TapDlyLng) ............................. 50
Fx Out Volume ................................................................... 25, 40
A
Advanced Reverb (AdvanceRev) .......................................... 51
Algo ..................................................................................... 39–40
Amp Depth ............................................................................... 38
APPEND ................................................................................... 64
Available ................................................................................... 61
G
B
Gate ............................................................................................ 36
BEEP .......................................................................................... 68
Bend Range ............................................................................... 60
Bulk Dump ............................................................................... 80
Bulk Load .................................................................................. 81
H
C
Category .............................................................................. 35, 67
Chain ......................................................................................... 65
Chorus ................................................................................. 44–46
Click ........................................................................................... 61
Color .......................................................................................... 36
CompLimiter ............................................................................ 41
Compressor .............................................................................. 41
Contrast ............................................................................... 28, 68
Copy .................................................................................... 56, 64
Count ......................................................................................... 61
Count In .................................................................................... 61
Ctrl Rx ....................................................................................... 52
Ctrl Tx ....................................................................................... 52
Ctrllr Type ................................................................................ 53
Cursor ........................................................................................ 55
I
Insert .......................................................................................... 66
Inst ............................................................................................. 25
K
D
L
D Beam ................................................................................ 16, 69
D BEAM Sens ..................................................................... 29, 69
D BEAM Trim .......................................................................... 69
Data Thin .................................................................................. 69
Decay ................................................................................... 25, 36
Delay ............................................................................. 39, 48–50
Delete ......................................................................................... 64
Delete Step ................................................................................ 66
Depth ......................................................................................... 25
Device ID .................................................................................. 82
Dial Lock ................................................................................... 68
Distortion .................................................................................. 43
Dly Feedback ............................................................................ 39
Dynamic Filter ......................................................................... 42
DynamicFltr ............................................................................. 42
Local Control ............................................................................ 80
Lo-Fi ........................................................................................... 44
Log ............................................................................................. 37
Loud .......................................................................................... 37
M
Mask Time ................................................................................ 70
Master Tune .............................................................................. 68
Master Volume ......................................................................... 25
Memory ..................................................................................... 61
M-FX .......................................................................................... 40
MFX Ctrl ................................................................................... 53
MIDI .................................................................................... 76, 88
MIDI Channel .......................................................................... 78
Modify Clear ............................................................................ 19
Modify Lock ............................................................................. 19
Modulation Delay (Mod Delay) ............................................ 49
Move .......................................................................................... 36
MovGate ................................................................................... 36
Multi-Effects ............................................................................. 40
MULTI-FX ........................................................................... 25, 40
Mute ........................................................................................... 52
Mute Rx ..................................................................................... 52
Mute Tx ..................................................................................... 52
E
Edge Area ................................................................................. 70
Edge Level ................................................................................ 70
Edit ............................................................................................. 35
Effect .......................................................................................... 39
Effect Depth .............................................................................. 38
Enhancer ................................................................................... 42
Erase .......................................................................................... 64
Error Message .......................................................................... 86
Exchange ................................................................................... 57
Exp ............................................................................................. 37
Expression Pedal (EXP Pedal) ............................................... 72
External Pad ....................................................................... 73–74
EZ Edit ...................................................................................... 24
1 1 3
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In d e x
N
Note No. .................................................................................... 76
O
Overdrive .................................................................................. 43
S
Scrape ........................................................................................ 36
Sens ............................................................................................ 70
Seq Sync .................................................................................... 68
Shot ............................................................................................ 36
Soft Thru ................................................................................... 79
Spectrum ................................................................................... 42
Stage .................................................................................... 39, 51
Stereo Chorus (Stereo Cho) .................................................... 44
Stereo Delay .............................................................................. 48
Sustainer ................................................................................... 43
Sweep ........................................................................................ 36
P
Pad ............................................................................................. 15
Pad Chase ................................................................................. 68
Pad Data .................................................................................... 25
Pad Level .................................................................................. 36
Pad Note ................................................................................... 60
Pad Patch Select ....................................................................... 23
Pad Pattern ............................................................................... 54
PAD PTN .................................................................................. 54
Pad Set ....................................................................................... 15
Pad Sns Type ............................................................................ 54
Pan ....................................................................................... 25, 36
Pan Dly ...................................................................................... 39
Parameter .................................................................................. 19
Part ............................................................................................. 59
Patch .......................................................................................... 21
Patch Chain .............................................................................. 65
Patch Group ............................................................................. 21
Patch Name .................................................................. 21, 25, 55
Patch Select ............................................................................... 21
Pattern ....................................................................................... 59
Pattern Name ........................................................................... 61
PCS-31 ................................................................................. 71, 73
PCS-33 ....................................................................................... 73
Pedal .......................................................................................... 72
Phaser ........................................................................................ 47
Pitch ..................................................................................... 25, 36
Pitch Depth ............................................................................... 38
Pitch Rx Range ......................................................................... 52
Pitch Shifter .............................................................................. 48
Pitch Tx ..................................................................................... 52
Plate ..................................................................................... 39, 51
Play Type .................................................................................. 60
Power ON ................................................................................. 68
Preset Patch .............................................................................. 21
Pressure Sens ............................................................................ 70
PTN Number ............................................................................ 54
T
Trig Mode ................................................................................. 36
Trig Type ................................................................................... 73
Turbo Repeat ............................................................................ 31
Turn Table ................................................................................ 53
Type ........................................................................................... 25
Q
Quantize .................................................................................... 62
Quick Play ................................................................................ 60
U
R
User Patch ................................................................................. 21
Rate .......................................................................... 38, 44–47, 49
Realtime .................................................................................... 38
Realtime Modify ...................................................................... 19
Realtime Recording ................................................................. 59
Rec Mode .................................................................................. 62
Rec Stby ..................................................................................... 62
Reset Time ................................................................................ 60
Reso Limit ................................................................................. 54
Resonance ................................................................................. 54
Reverb ................................................................................. 39, 51
Reverb Send ........................................................................ 25, 36
Ribbon ................................................................................. 15, 69
Ring Modulator (RingModltr) ............................................... 44
Roll Rx ....................................................................................... 52
Roll Speed ........................................................................... 53, 55
Roll Sync ................................................................................... 68
V
Value .......................................................................................... 19
Velo Curve ................................................................................ 37
W
Waveform ................................................................................. 38
1 1 4
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For EU Countries
For the USA
This product complies with the requirements of European Directive 89/336/EEC.
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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In fo rm a tio n
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
PAN AMA
ITALY
ISRAEL
SIN GAPO RE
AFRICA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Swee Lee Company
150 Sims Drive,
Sons Ltd.
SINGAPORE 387381
TEL: 846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 243 9555
N O RW AY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
JO RDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
TEL: 20-2-417-1828
REUN IO N
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
TAIW AN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: 273 0074
KUW AIT
Easa Husain Al-Yousifi
Abdullah Salem Street,
Safat, KUWAIT
PERU
VIDEO Broadcast S.A.
Portinari 199 (ESQ. HALS),
San Borja, Lima 41,
REP. OF PERU
TEL: (01) 4758226
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
REUNION ISLAND
TEL: (0262) 218-429
TEL: 243-6399
TEL: (02) 2561 3339
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
LEBAN O N
PO RTUGAL
THAILAN D
A. Chahine & Fils
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/ 9-1 Dto
4050-465 PORTO
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
TEL: (01) 20-1441
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
PORTUGAL
TEL: (022) 608 00 60
Q ATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
Doha, QATAR
TEL: 4423-554
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
VEN EZUELA
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
RO MAN IA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (212) 285-8586
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
AUSTRALIA/
N EW ZEALAN D
EURO PE
ASIA
AUSTRALIA
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
CHIN A
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
TEL: (0512) 26 44 260
SYRIA
TEL: (93) 308 1000
Technical Light & Sound
Center
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
TEL: (02) 9982 8266
SW EDEN
Bldg. No. 47,
N EW ZEALAN D
Shanghai Xingtong Acoustics
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
Khaled Ebn Al Walid St.
Damascus, SYRIA
TEL: (011) 221-1230
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
Equipment CO.,Ltd.
5F. No.1500 Pingliang Road
New East Club Plaza, Shanghai,
CHINA
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/ 20
DEN MARK
TEL: (021) 5580-0800
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 927-8383
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
TEL: (039)16 6200
ARGEN TIN A
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
FRAN CE
Roland France SA
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai, U.A.E.
TEL: (04) 3360715
UKRAIN E
TEL: 2415 0911
TIC-TAC
Mira Str. 19/ 108
IN DIA
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
FIN LAN D
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
UN ITED KIN GDO M
N O RTH AMERICA
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 498 3079
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
UNITED KINGDOM
TEL: (01792) 700139
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
MIDDLE EAST
KO REA
Roland Canada Music Ltd.
(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
TEL: (040) 52 60090
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: (061) 43-5400
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
TEL: 211 005
U. S. A.
EL SALVADO R
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
OMNI MUSIC
HUN GARY
75 Avenida Norte y Final
Intermusica Ltd.
Alameda Juan Pablo
Edificio No.4010 San Salvador,
EL SALVADOR
,
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
PHILIPPIN ES
TEL: (323) 890 3700
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 66-9426
TEL: 262-0788
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
MEXICO
TEL: (02) 899 9801
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (021) 285-4169
As of January 1, 2002 (Roland)
TEL: 668-0480
01909823
’02-3-E2-51N
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