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Information 

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as 
shown below. 



(africa) 

EGYPT 

Al Fanny Trading Office 

9, EBN Hagar Al Askalany Street, 
ARD El Golf, Heliopolis, 
Cairo 11341, EGYPT 
TEL: 20-2-417-1828 

REUNION 

Maison FO - YAM Marcel 

25 Rue Jules Hermann, 
Chaudron - BP79 97 491 
Ste Clotilde Cedex, 
REUNION ISLAND 
TEL: (0262) 218-429 

SOUTH AFRICA 

That Other Music Shop 
(PTY) Ltd. 

11 McIIe St., Braamfontein, 
Johannesbourg, SOUTH AFRICA 

P.O.Box 32918, Braamfontein 2017 
Johannesbourg, SOUTH AFRICA 
TEL: (Oil) 403 4105 

Paul Bothner (PTY) Ltd. 

17 Werdmuller Centre, 
Main Road, Claremont 7708 
SOUTH AFRICA 

P.O.BOX 23032, Claremont 7735, 
SOUTH AFRICA 
TEL: (021) 674 4030 



(asia) 



CHINA 

Beijing Xinghai Musical 
Instruments Co., Ltd. 

6 Huangmuchang Chao Yang 
District, Beijing, CHINA 
TEL: (010) 6774 7491 

Shanghai Xingtong Acoustics 
Equipment CO.,Ltd. 

5F. No.1500 Pingliang Road 

New East Club Plaza, Shanghai, 

CHINA 

TEL: (021) 5580-0800 

HONG KONG 

Tom Lee Music Co., Ltd. 
Service Division 

22-32 Pun Shan Street, Tsuen 
Wan, New Territories, 
HONG KONG 
TEL: 2415 0911 

INDIA 

Rivera Digitec (India) Pvt. Ltd. 

409, Nirman Kendra Mahalaxmi 

Flats Compound Off. Dr. Edwin 

Moses Road, Mumbai-400011, 

INDIA 

TEL: (022) 498 3079 

INDONESIA 

PT Citra IntiRama 

Jl. Cideng Timur No. 15J-150 
Jakarta Pusat 
INDONESIA 
TEL: (021) 6324170 

KOREA 

Cosmos Corporation 

1461-9, Seocho-Dong, 
Seocho Ku, Seoul, KOREA 
TEL: (02) 3486-8855 

MALAYSIA 

BENTLEY MUSIC SDN BHD 

140 & 142, Jalan Bukit Bintang 
55100 Kuala Lumpur, MALAYSIA 
TEL: (03) 2144-3333 

PHIUPPINES 

G.A. Yupangco & Co. Inc. 

339 Gil J. Puyat Avenue 
Makati, Metro Manila 1200, 
PHILIPPINES 
TEL: (02) 899 9801 



SINGAPORE 

Swee Lee Company 

150 Sims Drive, 
SINGAPORE 387381 
TEL: 846-3676 

CRISTOFORI MUSIC PTE 
LTD 

BIk 3014, Bedok Industrial Park E, 
#02-2148, SINGAPORE 489980 
TEL: 243 9555 

TAIWAN 

ROLAND TAIWAN 
ENTERPRISE CO., LTD. 

Room 5, 9fl. No. 112 Chung Shan 
N.Road Sec.2, Taipei, TAIWAN, 
R.O.C. 

TEL: (02) 2561 3339 

THAILAND 

Theera Music Co. , Ltd. 

330 Verng NakornKasem, Soi 2, 
Bangkok 10100, THAILAND 
TEL: (02) 2248821 

VIETNAM 

Saigon Music 

138 Tran Quang Khai St., 

District 1 

Ho Chi Minh City 

VIETNAM 

TEL: (08) 844-4068 



[au 
(ne 



AUS7RAUA/ 
NEW ZEALAND 



AUSTKAUA 

Roland Corporation 
Australia Pty., Ltd. 

38 Campbell Avenue 
Dee Why West. NSW 2099 
AUSTRALIA 
TEL: (02) 9982 8266 

NEW ZEALAND 

Roland Corporation Ltd. 

32 Shaddock Street, Mount Eden, 
Auckland, NEW ZEALAND 
TEL: (09) 3098 715 



CENTKAiy LATIN 
AMERICA 



ARGENTINA 

Instrumentos Musicales S.A. 

Av.Santa Fe 2055 
(1123) Buenos Aires 
ARGENTINA 
TEL: (Oil) 4508-2700 

BRAZIL 

Roland Brasil Ltda 

Rua San Jose, 780 Sala B 
Parque Industrial San Jose 
Cotia - Sao Paulo - SP, BRAZIL 
TEL: (Oil) 4615 5666 

COSTA RICA 

JUAN Bansbach 
Instrumentos Musicales 

Ave.l. Calle 11, Apartado 10237, 
San Jose, COSTA RICA 
TEL: 258-0211 

CHILE 

Comercial Fancy 11 S.A. 

Rut.: 96.919.420-1 
Nataniel Cox #739, 4th Floor 
Santiago - Centro, CHILE 
TEL: (02) 688-9540 

EL SALVADOR 

OMNI MUSIC 

75 Avenida Norte y Final 
Alameda Juan Pablo 11 , 
Edificio No.4010 San Salvador, 
EL SALVADOR 
TEL: 262-0788 

MEXICO 

Casa Veerkamp, s.a. de c.v. 

Av. Toluca No. 323, Col. Olivar 
de los Padres 01780 Mexico D.F. 
MEXICO 
TEL: 668-0480 



PANAMA 

SUPRO MUNDIAL, S.A. 

Boulevard Andrews, Albrook, 
Panama City, REP. DE PANAMA 
TEL: 315-0101 

PARAGUAY 

Distribuidora De 
Instrumentos Musicales 

J.E. Olear y ESQ. Manduvira 
Asuncion PARAGUAY 
TEL: (021) 492-124 

PERU 

VIDEO Broadcast S.A. 

Portinari 199 (ESQ. HALS), 
San Borja, Lima 41, 
REP. OF PERU 
TEL: (01) 4758226 

URUGUAY 

Todo Musica S.A. 

Francisco Acuna de Figueroa 1771 
C.P.: 11.800 
Montevideo, URUGUAY 

TEL: (02) 924-2335 

VENEZUELA 

Musicland Digital C.A. 

Av. Francisco de Miranda, 
Centro Parque de Cristal, Nivel 
C2 Local 20 Caracas 
VENEZUELA 
TEL: (212) 285-8586 



(EUROPE) 



AUSTRIA 

Roland Austria GES.M.B.H. 

Siemensstrasse 4, P.O. Box 74, 
A-6063 RUM, AUSTRIA 
TEL: (0512) 26 44 260 

bhjgium/houand/ 
luxembourg 

Roland Benelux N. V. 

Houtstraat 3, B-2260, Oevel 
(Westerlo) BELGIUM 
TEL: (014) 575811 

DENMARK 

Roland Scandinavia A/S 

Nordhavnsvej 7, Postbox 880, 
DK-2100 Copenhagen 
DENMARK 
TEL: (039)16 6200 

FRANCE 

Roland France SA 
4, Rue Paul Henri SPAAK, 
Pare de I'EspIanade, F 77 462 St. 
Thibault, Lagny Cedex FRANCE 
TEL: 01 600 73 500 

FINLAND 

Roland Scandinavia As, 
Filial Finland 

Lauttasaarentie 54 B 
Fin-00201 Helsinki, FINLAND 
TEL: (9) 682 4020 

GERMANY 

Roland Elektronische 
Musikinstrumente HmbH. 

Oststrasse 96, 22844 Norderstedt, 

GERMANY 

TEL: (040) 52 60090 

GREECE 

STOLLAS S.A. 
Music Sound Light 

155, New National Road 
Patras 26442, GREECE 
TEL: (061) 43-5400 

HUNGARY 

Intermusica Ltd. 

Warehouse Area 'DEPO' Pf.83 
H-2046 Torokbalint, HUNGARY 
TEL: (23) 511011 

IRELAND 

Roland Ireland 

Audio House, Belmont Court, 
Donnybrook, Dublin 4. 
Repubhc of IRELAND 
TEL: (01) 2603501 



ITALY 

Roland Italy S. p. A. 

Viale delle Industrie 8, 
20020 Arese, Milano, ITALY 
TEL: (02) 937-78300 

NORWAY 

Roland Scandinavia Avd. 
Kontor Norge 

Lilleakerveien 2 Postboks 95 
Lilleaker N-0216 Oslo 
NORWAY 
TEL: 273 0074 

POLAND 

P. P. H. Brzostowicz 

UL. Gibraltarska 4. 

PL-03664 Warszawa POLAND 

TEL: (022) 679 44 19 

PORTUGAL 

Tecnologias Musica e Audio, 
Roland Portugal, S.A. 

Cais Das Pedras, 8/9-1 Dto 

4050-465 PORTO 

PORTUGAL 

TEL: (022) 608 00 60 

ROMANIA 

FBS LINES 
Plata Libertatii 1, 
RO-4200 Gheorghehi 
TEL: (095) 169-5043 

RUSSIA 

MuTek 

3-Bogatyrskaya Str. l.k.l 
107 564 Moscow, RUSSIA 
TEL: (095) 169 5043 

SPAIN 

Roland Electronics 
de Espaiia, S. A. 

Calle Bolivia 239, 08020 
Barcelona, SPAIN 
TEL: (93) 308 1000 

SWEDEN 

Roland Scandinavia A/S 
SWEDISH SALES OFFICE 

Danvik Center 28, 2 tr. 
S-131 30 Nacka SWEDEN 
TEL: (08) 702 0020 

SWITZERLAND 

Roland (Switzerland) AG 
Musitronic AG 

Gerberstrasse 5, Postfach, 
CH-4410 Liestal, SWITZERLAND 
TEL: (061) 927-8383 

UKRAINE 

TIC-TAC 

Mira Str. 19/108 

P.O. Box 180 

295400 Munkachevo, UKRAINE 

TEL: (03131) 414-40 

UNITED KINGDOM 

Roland (U.K.) Ltd. 

Atlantic Close, Swansea 
Enterprise Park, SWANSEA 
SA7 9FJ, 

UNITED KINGDOM 
TEL: (01792) 700139 



(middle east) 

BAHRAIN 

Moon Stores 

No. 16, Bab Al Bahrain Avenue, 
P.O.Box 247, Manama 304, 
State of BAHRAIN 
TEL: 211 005 

CYPRUS 

Radex Sound Equipment Ltd. 

17, Diagorou Street, Nicosia, 

CYPRUS 

TEL: (02) 66-9426 

IRAN 

MOCO, INC. 

No. 41 Nike St., Dr.Shariyati Ave., 
Roberoye Cerahe Mirdamad 
Tehran, IRAN 
TEL: (021) 285-4169 



ISRAEL 

Halilit P. Greenspoon & 
Sons Ltd. 

8 Retzif Ha'aliya Hashnya St. 
Tel-Aviv-Yafo ISRAEL 
TEL: (03) 6823666 

JORDAN 

AMMAN Trading Agency 

245 Prince Mohammad St., 
Amman 1118, JORDAN 
TEL: (06) 464-1200 

KUWAIT 

Easa Husain AI-Yousifi 

Abdullah Salem Street, 
Safat, KUWAIT 
TEL: 243-6399 

LEBANON 

A. Chahine & Fils 

Gerge Zcidan St., Chahine BIdg., 
Achrafieh, P.O.Box: 16-5857 
Beirut, LEBANON 
TEL: (01) 20-1441 

QATAR 

Al Emadi Co. (Badie Studio 
& Stores) 
P.O. Box 62, 
Doha, QATAR 
TEL: 4423-554 

SAUDI ARABIA 

aDawliah Universal 
Electronics APL 

Corniche Road, Aldossary Bldg., 
1st Floor, Alkhobar, 
SAUDI ARABIA 

P.O.Box 2154, Alkhobar 31952 
SAUDI ARABIA 

TEL: (03) 898 2081 

SYRIA 

Technical Light & Sound 
Center 

Bldg. No. 47, 
Khaled Ebn Al Walid St. 
Damascus, SYRIA 
TEL: (Oil) 221-1230 

TURKEY 

Barkat muzik aletleri ithalat 
ve ihracat Ltd Sti 

Siraselviler Caddcsi Siraselviler 
Pasaji No:74/20 
Taksim - Istanbul, TURKEY 
TEL: (0212) 2499324 

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 



(north America] 

CANADA 

Roland Canada Music Ltd. 
(Head Office) 

5480 Parkwood Way Richmond 
B. C, V6V 2M4 CANADA 
TEL: (0604) 270 6626 

Roland Canada Music Ltd. 
(Toronto Office) 

Unit 2, 109 Woodbine Downs 
Blvd, Etobicoke, ON 
M9W 6Y1 CANADA 
TEL: (0416) 213 9707 

U. S. A. 

Roland Corporation U.S. 

5100 S. Eastern Avenue 

Los Angeles, CA 90040-2938, 

U.S.A. 

TEL: (323) 890 3700 



TOTAL PERCUSSION RAO 





OWNER'S MANUAL 



Thank you, and congratulations on your choice of the SPD-20 
Total Percussion Pad. The SPD-20 is an electronic percussion unit 
that has eight pads, trigger interfaces, a high-quaHty digital sound 
generator, and on-board digital effects. 

Since the SPD-20 includes a sound generator and effects in one 
lightweight, compact package, you can use it anywhere, anytime. 
A wide variety of options (pads, pedals, drum stand, etc.) are 
available, allowing you to easily create a custom drum kit. By 
adding sequencers or samplers, you can take advantage of the 
possibilities of MIDI percussion. 

The SPD-20 provides the flexibility and expandability that will be 
appreciated by every percussionist, from beginner to professional. 

About the Symbols in This Manual 

Words or symbols enclosed in [square brackets] indicate panel 

buttons or controls. 

For example, [LAYER] signifies the Layer button. 

Items marked by f flEMy are supplementary explanations. 

Items headed by *(^^ explain important points concerning the 
operation of your SPD-20. 

Items preceded by HINT give you useful tips and information 
regarding the use of the SPD-20. 



Before using this unit, carefully read the sections enti- 
tled: "USING THE UNIT SAFELY" and "IMPORTANT 
NOTES" (Owner's manual p. 2; p. 6). These sections pro- 
vi(de important information concerning the proper operation of 
the unit. Additionally, in order to feel assured that you have 
gained a good grasp of every feature provided by your new 
unit, Owner's manual should be read in its entirety. The man- 
ual should be saved and kept on hand as a convenient refer- 
ence. 



As of January 1, 2002 (Roland) 



Roland Corporation 



Copyright © 1998 ROLAND CORPORATION 

All rights reserved. No part of this publication may be reproduced in any 

form without the written permission of ROLAND CORPORATION. 



01453923 '02-2-AE2-61 N 



USING THE UNIT SAFELY 



■For the U.K. 



INSTRUCTIONS FOR THE PREVENTION OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS 



About AWARNING and ACAUTION Notices 



About the Symbols 



AWARNING 


Used for instructions intended to alert 
the user to the risk of death or severe 
injury should the unit be used 
improperly. 


A CAUTION 


Used for instructions intended to alert 
the user to the risk of injury or material 
damage should the unit be used 
improperly. 

* Material damage refers to damage or 
other adverse effects caused with 
respect to the home and all its 
furnishings, as well to domestic 
animals or pets. 



A 



C 



The ^ symbol alerts the user to important instructions 
or warnings. The specific meaning of the symbol is 
determined by the design contained within the 
triangle. In the case of the symbol at left, it is used for 
general cautions, warnings, or alerts to danger. 



The (3 symbol alerts the user to items that must never 
be carried out (are forbidden). The specific thing that 
must not be done is indicated by the design contained 
within the circle. In the case of the symbol at left, it 
means that the unit must never be disassembled. 



The C| symbol alerts the user to things that must be 
carried out. The specific thing that must be done is 
indicated by the design contained within the circle. In 
the case of the symbol at left, it means that the power- 
cord plug must be unplugged from the outlet. 



ALWAYS OBSERVE THE FOLLOWING 



AWARNING 



Before using this unit, make sure to read the yjv 
instructions below, and the Owner's Manual. / • \ 



Do not open (or modify in any way) the unit or its 
AC adaptor. 



Do not attempt to repair the unit, or replace parts /\) 
within it (except when this manual provides spe- ^ — ^ 
cific instructions directing you to do so). Refer all 
servicing to your retailer, the nearest Roland 
Service Center, or an authorized Roland distribu- 
tor, as listed on the "Information" page. 



Never use or store the unit in places that are: 

• Subject to temperature extremes (e.g., direct 
sunlight in an enclosed vehicle, near a heating , 
duct, on top of heat-generating equipment); or 
are 

• Damp (e.g., baths, washrooms, on wet floors); 
or are 

• Humid; or are 

• Dusty; or are 

• Subject to high levels of vibration. 



When using the unit with a rack or stand recom- MA 
mended by Roland, the rack or stand must be care- ^^ 
fully placed so it is level and sure to remain stable. 
If not using a rack or stand, you still need to make 
sure that any location you choose for placing the 
unit provides a level surface that will properly 
support the unit, and keep it from wobbling. 



AWARNING 



Be sure to use only the AC adaptor supplied with MB 
the unit. Also, make sure the line voltage at the ^^ 
installation matches the input voltage specified on /l\ 
the AC adaptor's body. Other AC adaptors may 
use a different polarity, or be designed for a differ- 
ent voltage, so their use could result in damage, 
malfunction, or electric shock. 

Avoid damaging the power cord. Do not bend it (xT) 
excessively, step on it, place heavy objects on it, ^ — ^ 
etc. A damaged cord can easily become a shock or 
fire hazard. Never use a power cord after it has 
been damaged. 







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 hear- 
ing loss or ringing in the ears, you should immedi- 
ately stop using the unit, and consult an audiolo- 
gist. 



Do not allow any objects (e.g., flammable material, /\^ 
coins, pins); or liquids of any kind (water, soft v.y 
drinks, etc.) to penetrate the unit. 



IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. 

BLUE: NEUTRAL 
BROWN: LIVE 

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying 
the terminals in your plug, proceed as follows: 

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. 
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. 
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug. 

For EU Countries - 



Apparatus containing 
Lithium batteries 



CAUTION 

Danger of explosion if battery is 

incorrectly replaced. 

Replace only with the same or 

equivalent type recommended by the 

manufacturer. 

Discard used batteries according to the 

manufacturer's instructions. 



ADVARSEL! 

Lithiumbatteri - Eksplosionsfare ved 

fejiagtig handtering. 

Udskiftning ma kun ske med batteri af 

samme fabrikat og type. 

Lever det brugte batteri tilbage til 

leveranderen. 



VARNING 

Explosionsfara vid felaktigt batteribyte. 
Anvand samma batterityp eller en 
ekvivalent typ som rekommenderas av 
apparattillverkaren. 
Kassera anvant batteri enligt 
fabrikantens instruktion. 



ADVARSEL 

Eksplosjonsfare ved feilaktig skifte av 

batteri. 

Benytt samme batteritype eller en 

tilsvarende type anbefalt av 

apparatfabrikanten. 

Brukte batterier kasseres i henhold til 

fabrikantens instruks joner. 



VAROITUS 

Paristo vol rajahtaa, jos se on 
virheellisesti asennettu. 
Vaihda paristo ainoastaan 
laitevalmistajan suosittelemaan 
tyyppiin. Havita kaytetty paristo 
valmistajan ohjeiden mukaisesti. 



This product complies with the requirements of European Directive 89/336/EEC. 




-For EU Countries - 



-For the USA - 



FEDERAL COMMUNICATIONS COMMISSION 
RADIO FREQUENCY INTERFERENCE STATEMENT 

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the 
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential 
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in 
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee 
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or 
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the 
interference by one or more of the following measures: 

- Reorient or relocate the receiving antenna. 

- Increase the separation between the equipment and receiver. 

- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. 

- Consult the dealer or an experienced radio/TV technician for help. 

Unauthorized changes or modification to this system can void the users authority to operate this equipment. 
This equipment requires shielded interface cables in order to meet FCC class B Limit. 

For Canada — 



NOTICE 

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. 



AVIS 

Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouiileur du Canada. 



^WARNING 



A CAUTION 



Immediately turn the power off, remove the AC /f\ 
adaptor from the outlet, and request servicing by ' > 
your retailer, the nearest Roland Service Center, or 
an authorized Roland distributor, as listed on the 
"Information" page when: 

• The AC adaptor or the power-supply cord has 
been damaged; or 

• Objects have fallen into, or liquid has been 
spilled onto the unit; or 

• The unit has been exposed to rain (or otherwise 
has become wet); or 

• The unit does not appear to operate normally 
or exhibits a marked change in performance. 



The unit and the AC adaptor should be located so /f\ 
their location or position does not interfere with ' ' 
their proper ventilation. 



Always grasp only the plug or the body of the AC mm 
adaptor when plugging into, or unplugging from, ^^ 
an outlet or this unit. 



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



In households with small children, an adult should /f\ 
provide supervision until the child is capable of ' ' 
following all the rules essential for the safe opera- 
tion of the unit. 



Try to prevent cords and cables from becoming /Sv 
entangled. Also, all cords and cables should be ' ' 
placed so they are out of the reach of children. 



Protect the unit from strong impact. 
(Do not drop it!) 



A 



Never climb on top of, nor place heavy objects on ^\) 
the unit. v_y 



Do not force the unit's power-supply cord to share /\) 
an outlet with an unreasonable number of other V_y 
devices. Be especially careful when using exten- 
sion cords — the total power used by all devices 
you have connected to the extension cord's outlet 
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. 



Before using the unit in a foreign country, consult /r\ 
with your retailer, the nearest Roland Service ■ ' 
Center, or an authorized Roland distributor, as list- 
ed on the "Information" page. 



Never handle the AC adaptor body, or its plugs, 
with wet hands when plugging into, or unplug- 
ging from, an outlet or this unit. 



Before moving the unit, disconnect the AC adaptor mm 
and all cords coming from external devices. '^^ 



Before cleaning the unit, turn off the power and fl^ 
unplug the AC adaptor from the outlet (p. 12). '^^ 



Whenever you suspect the possibility of lightning MM 
in your area, disconnect the AC adaptor from the ^^ 
outlet. 



Table of Contents 



USING THE UNIT SAFELY 2 

How to Use This Manual 5 

Important Notes 6 

Main Features of the SPD-20 7 

Panel Descriptions 8 

Attaching the SPD-20 to a Drum Stand 10 

Using the Slit Tape (Included) 10 

How to Restore the Factory Settings 

(System Initialize) 11 



Adjusting the Pad Sensitivity (TRIG SENS) 30 

Setting the Pad's Minimum Level 

(TRIG THRESHOLD) 31 

Copying a Patch (COPY) 32 

Setting Up Your Own Patch Sequences 

(Patch Chain) 33 

What is a Patch Chain? 33 

Setting up a Patch Chain 33 

Using a Patch Chain to Select Patches 34 

Erasing a Patch Chain 34 



CHAPTER 1 Quick Start 



Connection to Audio Equipment 12 

Playing the Pads 12 

Turning the Power On 12 

Turning the Power Off 13 

Adjusting the Volume 13 

Selecting a Patch 14 

What is a Patch? 14 

Using a Footswitch to Select Patches 15 

Comparing Layered Sounds 15 

What is a Pad Bank? 16 

What is the Layer Function? 17 



CHAPTER 2 Using the SPD-20 by Itself 



About the SPD-20's Internal Setup and Parameter 

Settings (Edit) 18 

What Kind of Instrument is the SPD-20? 18 

Internal Organization 18 

Play Mode and Edit Mode 19 

How to Edit 20 

Selecting and Adjusting Sounds 

(Sound Parameters) 22 

Selecting a Sound (INST) 22 

Adjusting the Volume (LEVEL) 23 

Adjusting the Pitch (PITCH) 23 

Adjusting the Decay (DECAY) 23 

Adjusting the Stereo Position (PAN) 23 

Adjusting the Dynamic Volume Response (CURVE) 24 

Adjusting the Effects Depth (FX SEND) 25 

How to Edit Sound Parameters 26 

Adding Reverberation and Other Effects to the Sound 

(Effect Parameters) 28 

Select an Effect (FX TYPE) 28 

Setting Effect Duration and Rate (FX TIME) 28 

Adjust the Effect Depth for the Entire Patch 

(FX LEVEL) 28 

How to Edit Effect Parameters 29 



CHAPTER 3 Connecting External Pads or Pedals 



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

Connecting External Pads or the Special Pedal 35 

Precautions When Connecting a External Pad 37 

Precautions When Connecting 

the PD-100 or PD-120 38 

How to Use the Rim Shot and Cymbal Choke 

Playing Techniques 39 

Precautions When Connecting 

a Hi-Hat Control Pedal 40 

Using a Footswitch as a Hold Pedal 41 

Settings for External Pads or Kick Trigger Units 42 

Setting External Pad Tone and MIDI Parameters 42 

How to Edit the Trigger Parameters 42 

Setting Parameters for Reliable Performance using 
Acoustic Drum Triggers and Other Manufacturers' 
Pads (Advanced Trigger Parameters) 48 

Settings for an External Hi-Hat Control Pedal 54 

Controlling the Tone with the Hi-Hat 

Control Pedal— Pedal Control (PDL CTRL) 54 

Adjusting the Volume of the Pedal Hi-Hat Sound 

(PDL LEVEL) 55 

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

Controller Numbers for Sending and Receiving 

MIDI Data (PDL CC#) 56 



CHAPTER 4 Connecting MIDI Devices 



MIDI Connections 57 

About MIDI 57 

How MIDI Data is Sent and Received 57 

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

MIDI Parameter Settings 61 

How the MIDI Parameters Work 61 

Setting MIDI Parameters 66 

Priority Ranking of Note Number Expression 67 

Using the SPD-20 as a MIDI Sound Module 67 

Setting the Receive Channel (Basic Channel) 67 



Settings for Each Pad 68 

Using External MIDI Devices to Play the Internal 

Sound Generator 69 

Expanding Patches to Allow Reception of Many 

Note Numbers (Patch Expand) 69 

How to Use a Sequencer or a Computer to 

Record/Play back Your Performance 72 

Connecting a Computer (or a Sequencer) 72 

Breaking /Cutting the Connection Between the Sound 

Generator and the Pad Controller (Local Control) 72 

How to Set Up the SPD-20 for Sequencing 74 

Storing the SPD-20's Data in External Devices 

(Bulk Dump) 75 

How to Transmit (Bulk Dump) 75 

How to Receive (Bulk Load) 76 

Reading SPD-11 Data with the SPD-20 71 

What is Device ID 78 



CHAPTER 5 Supplementary Material 



Taking Advantage of the On-board Effects 79 

Troubleshooting 82 

Error Messages 87 

Instrument List 88 

Patch List 93 

Parameter List 94 

Trigger Type Internal Parameters 

(Advanced Trigger Parameters) 94 

Blank Parameter Chart 95 

Roland Exclusive Message 96 

MIDI Implementation 98 

MIDI Implementation Chart 102 

How to Read a MIDI Implementation Chart 103 

Specifications 104 

Index 105 

How-To Index 106 



How to Use This Manual 

This manual provides a step-by-step introduction to the many 
functions of the SPD-20. If this is your first time using elec- 
tronic drums, or a MIDI device, please read the manual from 
beginning to end. If you are already familiar with electronic 
percussion and sequencers, you may not need to read the 
entire manual. Glance briefly over Chapters 1 & 2, then refer 
to other sections as necessary, while you experiment with the 
SPD-20. You will soon learn how the unit works. If you don't 
understand the meaning of a term or how a function works, 
use the index to find the appropriate explanation. 



CHAPTER 1 Quick Start 



Read this chapter first to learn how to play using the SPD-20. 
It guides you quickly through the basics, up to the point 
where you can produce sound. All the fundamental operat- 
ing procedures are also introduced. 



CHAPTER 2 Using the SPD-20 by Itself 



Read this chapter if you wish to use the SPD-20 as a stand- 
alone unit. Here you will find a variety of information, such 
as how the unit is organized internally, as well as how to 
modify the sounds. 



CHAPTER 3 Connecting External Pads or Pedals 



Read this chapter when you wish to connect external pads or 
hi-hat control pedal to the SPD-20. 



CHAPTER 4 Connecting MIDI Devices 



Read this chapter when you wish to use the SPD-20 to play 
an external sound module, to have sequencer performance 
data played through the SPD-20, or to save data from the 
SPD-20 to a sequencer. 



CHAPTER 5 Supplementary Materials 



Supplementary sections provided with this manual include 
"Troubleshooting," a "Instrument List," and the "MIDI 
Implementation" chart. Read this when, for example, you 
need a solution to some difficulty in operating the unit, or 
when you just want to know about MIDI in greater detail. 
You can find both a subject-specific index and general index 
at the end of this manual. 



Ijyou ivill be using the SPD-20 by itself, there is no 
need for you to read Chapters 3 and 4, or the MIDI 
Implementation section in Chapter 5 (p. 98-101). 

The explanations in this manual include illus- 
trations that depict what should typically be 
shown by the display. Note, however, that your 
unit may incorporate a newer, enhanced version 
of the system (e.g., includes newer sounds), so 
what you actually see in the display may not 
always match what appears in the manual. 



NOTE 



Important Notes 



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



Power Supply 



Memory Backup 



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). 

The AC adaptor will begin to generate heat after long 
hours of consecutive use. This is normal, and is not a 
cause for concern. 

Before connecting this unit to other devices, turn off the 
power to all units. This will help prevent malfunctions 
and /or damage to speakers or other devices. 



Placement 

• Using the unit near power amplifiers (or other equip- 
ment containing large power transformers) may induce 
hum. To alleviate the problem, change the orientation of 
this unit; or move it farther away from the source of 
interference. 

• This device may interfere with radio and television 
reception. Do not use this device in the vicinity of such 
receivers. 

• Do not expose the unit to direct sunlight, place it near 
devices that radiate heat, leave it inside an enclosed vehi- 
cle, or otherwise subject it to temperature extremes. 
Excessive heat can deform or discolor the unit. 



Maintenance 

• For everyday cleaning wipe the unit with a soft, dry 
cloth or one that has been slightly dampened with water. 
To remove stubborn dirt, use a cloth impregnated with a 
mild, non-abrasive detergent. Afterwards, be sure to 
wipe the unit thoroughly with a soft, dry cloth. 

• Never use benzine, thinners, alcohol or solvents of any 
kind, to avoid the possibility of discoloration and/or 
deformation. 



Repairs and Data 

• Please be aware that all data contained in the unit's 
memory may be lost when the unit is sent for repairs. 
Important data should always be backed up in another 
MIDI device (e.g., a sequencer), or written down on 
paper (when possible). During repairs, due care is taken 
to avoid the loss of data. However, in certain cases (such 
as when circuitry related to memory itself is out of 
order), we regret that it may not be possible to restore the 
data, and Roland assumes no liability concerning such 
loss of data. 



This unit contains a battery which powers the unit's 
memory circuits while the main power is off. When this 
battery becomes weak, the message shown below will 
appear in the display. Once you see this message, have 
the battery replaced with a fresh one as soon as possible 
to avoid the loss of all data in memory. To have the bat- 
tery replaced, consult with your retailer, the nearest 
Roland Service Center, or an authorized Roland distribu- 
tor, as listed on the "Information" page. 



batLErU La 



Additional Precautions 

• Unfortunately, it may be impossible to restore the con- 
tents of data that was stored in another MIDI device (e.g., 
a sequencer) once it has been lost. Roland Corporation 
assumes no liability concerning such loss of data. 

• Use a reasonable amount of care when using the unit's 
buttons, sliders, or other controls; and when using its 
jacks and connectors. Rough handling can lead to mal- 
functions. 

• Never strike or apply strong pressure to the display. 

• When connecting/disconnecting all cables, grasp the 
connector itself — never pull on the cable. This way you 
will avoid causing shorts, or damage to the cable's inter- 
nal elements. 

• 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). 

• 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. 

• 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. 



Main Features of the SPD-20 



The SPD-20 features 700 different internal instruments, including drum set sounds, percus- 
sion sounds from around the world, dance sounds, sound effects, phrase loops, and more, 
that can be used in a wide variety of musical genres. (Instrument List p. 88) 



Each sound can be edited using a wide variety of sound parameters, including level, pitch, 
decay, pan, velocity curve, and effect send (p. 22). 



Using the Layer function, different Velocity Curves can be assigned to each of two sounds, 
and the two sounds mixed (or switched) by your playing dynamics (p. 17). 



The on-board digital effects unit (Reverb, Delay, Chorus and Flanger) allows you to set the 
effect depth independently for each sound assigned to a pad (p. 28). 



Four external dual trigger inputs are provided, allowing you to connect kick trigger units 
(KD-7s; sold separately) or pads (PD-7, PD-9, PD-5, PD-120, PD-100: sold separately), for 
playing in conjunction with the SPD-20's pads (p. 35). When you connect the PD-7 or PD-9, 
you can enjoy such drum techniques as snare rim shots and cymbal choking (p. 39). With the 
PD-120 connected, you can play rim shots. What's more, you can play the SPD-20's sounds 
using an acoustic drum trigger attached to an acoustic drum (p. 45). 



When a hi-hat control pedal (FD-7; sold separately) is connected, you have continuous con- 
trol (from closed to open) of the hi-hat sounds (p. 54). 



Settings for the SPD-20's 8 pads, 4 external pads, hi-hat control pedal, and the effects unit can 
be stored as one of 99 Patches. This means that a single SPD-20 is able to store and instantly 
recall 99 different percussion "sets," covering virtually any style of music you can imagine. 



Using the Patch Chain function, you can create and store a sequence of up to 16 Patches 
which can be selected in a predetermined order (convenient for use within a song). The SPD- 
20 can store eight such Patch Chains (p. 33). 



For each pad, you can set two independent MIDI transmit channels and Velocity Curves, so 
that your playing dynamics can control external and internal sound generators (p. 61). 



The SPD-20 is fully expandable via MIDI, and is especially powerful when used with a 
sequencer. For example, you might record SPD-20 settings as bulk data (p. 75) at the begin- 
ning of sequencer song data, or allow the sequencer to take care of Patch selection so that you 
can concentrate on playing. 



Panel Descriptions 



Front 



t 



Roland 




6 7 8 9 10 1112 



^jHH^ ^-miG - 


LIMONOI 


R 


SUUNU miLJI 


A/PtUftL 


SYSItM 


LEVEL NOTEO 






PrrCH BTTIME 






DECAY PAN 


PDL CTRL 


■miG SENS 


PAN CURVE 


PDL LEVEL 


■miG -mPESHOLI 


CURVE SENS 


PDL CC It 


TRIG TYPE 


FX SEND PGM CHG 




TRIG CURVE 



R I IphonIs I voLun e I 



!*TCH CHAIll COPY 



3ANKA/BI LAYER 



FX ON /OFF 



ATCH/VALUE □ ALL/ENTER I 

15 14 13 



,1 







Rear 



\ 



16 17 



18 



19 20 



21 




® (§)® ® 



22 



23 24 25 



(®!ko-Erti, 



J 



ff^ 




Cord Hook 

To prevent the disruption of power to your unit (should the plug be pulled out accidentally), and to 
avoid applying undue stress to the AC adaptor jack, anchor the power cord using the cord hook, as 
shown in the illustration. 



8 



1 Pads 1-8 

Play these pads to trigger the various sounds. The 
pads are velocity sensitive and will respond to your 
playing dynamics. 

2 Patch display 

This display indicates the Patch number or the value 
of each parameter (p. 14). 

3 PAD BANK indicator 

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

4 EFFECT indicator 

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

5 Parameter List 

In the Edit mode, the indicator of the selected para- 
meter will Ught (p. 20). Use the [SELECT] (Parameter 
Group Select) and [▼][A ] (Parameter Select) but- 
tons to choose parameters (p. 21). 

6 Parameter Group Select button [SELECT] 

In the Edit mode, this button selects the desired para- 
meter group: SOUND, MIDI, EX/PEDAL, or SYS- 
TEM (p. 21). 

7 Pa ra meter Select buttons [▼ M^ ] 

In the Edit mode, use these buttons to select a para- 
meter within the parameter group (p. 21). 

8 [PATCH CHAIN] button 

Use this button when setting up or playing a Patch 
Chain (p. 33). 

9 [BANK A/ B] button 

Switches you between pad banks A and B 
(p. 16). 

10 [COPY] button 

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

11 [LAYER] button 

This button allows the sounds assigned to pad banks 
A and B to be played together (p. 15). 

12 [EDIT] button 

This button switches between the Edit and Play 
modes (p. 19). 

13 [FX ON/ OFF] button 

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

14 [ALL/ ENTER] button 

Use this button when setting all pads to the same 
value (p. 27), when performing a copy (p. 32), or 
when storing Patch Chain settings (p. 33). 



15 PATCH/ VALUE [-], [+] buttons 

These buttons are used to select Patches. In the Edit 
mode they are used to modify parameter values 
(p. 14). 

16 VOLUME knob 

Adjusts the volume of the OUTPUT jacks and 
PHONES jack (p. 13). 

17 PHONES jack 

A pair of stereo headphones can be connected to this 
jack. Even with headphones connected, the OUTPUT 
jacks will still be active (p. 12). 

18 OUTPUT (R, L/ MONO) jacks 

These jacks output the sound of the SPD-20. For 
monaural output use the L/MONO jack (p. 12). 

19 [HH CTRL/ TRIG 4] select sw itch 

If a hi-hat control pedal (FD-7; sold separately) is con- 
nected to the hi-hat control pedal jack, set this switch 
to HH CTRL (p. 40). If an external pad is connected, 
set this switch to TRIG 4 (p. 37). 

20 HH CTRL/ TRIG 4 jack 

A hi-hat control pedal (FD-7; sold separately) can be 
connected to this jack. If the external input select 
switch is set to TRIG 4, an external pad can be con- 
nected to this jack (p. 35, 36). 

21. TRIGGER INPUT 1-3 jacks 

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

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



MEMO 



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



22. MIDI IN/ OUT connectors 

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

23. FOOT SW jack 

A footswitch can be connected here allowing you to 
change Patches by remote control. If you use a special 
cable (PCS-31; sold separately) to connect two FS-5U 
switches (sold separately), you can move up or down 
through the Patch numbers. If you connect a DP-2 
switch (sold separately), you can move up (but not 
down) through the Patch numbers (p. 15). 

24. AC adaptor jack 

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



^WARNING 



Use only the included AC 
adaptor. Use of any other AC 
adaptor may cause damage or 
malfunction. 



O 



25. POWER switch 

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



Attaching the SPD-20 to a Drum Stand 

If you are attaching the unit to a cymbal stand etc. with a pipe diameter of 10.5-30 mm, use an all pur- 
pose clamp set (APC-33: sold separately). 



Using a 4 mm wrench, remove the four screws from the bottom of 
the SPD-20. 




*■=■ A 



Use the four screws you removed in step 1 to attach the stand hold- 
er to the bottom of the SPD-20. 




^is^ 



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



Using the Slit Tape (included) 



Place the Slit tape, included with the SPD-20, along the slits, or grooves around each of the pads. The 
Slit tape allows you to clearly distinguish where each pad is, even on stage or in other darkened loca- 
tions. 




NOl^ 



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



10 



How to Restore the Factory Settings (System Initialize) 

When the SPD-20 is shipped, it contains 99 Patches in memory. You can freely overwrite this data. 
However, the same data is also preserved in ROM, and can be restored at any time. This procedure is 
called System Initialize. 



"22 



TC 



ROM 




















This is 


an abbreviation for Read Only Memory, 


which is 


a type 


of 


memory 


that 


can 


only 


be read; 


modification or deletion is not possible. 



















The explanations in this manual assume that the SPD-20 is still in its factory initialized state. We recom- 
mend that before you begin using the unit, you perform this System Initialize operation. 

When you execute the System Initialize operation, all your edited data will be lost. If your SPD-20 
contains important edited data, you should make a note of the settings or store the data in an external 
device such as a sequencer (p. 75). 



While holding down [▼ ] and [AUy ENTER], turn the power on. 

The following display will appear. 



// //_ 



^ Press [AUy ENTER] and the data will be initialized. 

If you wish to quit without initializing, press any key other than [ALL /ENTER]. 
M EMO If 's possible to restore the factory settings of a single patch with Patch Copy (p. 32). 



11 



CHAPTER 1 Quick Start 



Connection to Audio Equipment 



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



Stereo Headphones 




is 



Audio Equipment 
(Stereo set) 



LINE IN 
L R 



ft 

ttJ 



AC adaptor 



^SSs^^Si 



□ 



r" 



IJ] 
+40 




4 


1—1 


ifl 

IL 


4 





Footsw itclies 



To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, 
'f^^ ^ and turn off the power on all devices before making any connections. 



Playing tiie Pads 



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



Turning the Power On 



Hj^ 



The POWER switch is on the rear panel. 

Once the connections have been completed, turn on poioer to your various devices in the order speci- 
fied. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speak- 
ers and other devices. 

Always make sure to have the volume level turned down before sioitching on power. Even with the 
volume all the loay down, you may still hear some sound when the power is switched on, but this is 
normal, and does not indicate a malfunction. 

1 Check that all connections with other devices are correct, and that 

everything is off. 



12 



Press the power switch to turn the unit on. 



On 



Off 



tf^ 



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




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

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

If you turn the power on when a hi-hat control pedal (FD-7) is connected, make sure that the pedal is 
fully open. When you turn the power on, a message "Fd7" will be displayed briefly. (For details see p. 
40.) Do not press the pedal until this message has been displayed. 



B 



Turn on the other devices, but turn the power amp on last. 



Turning the Power Off 



Power down your system in the reverse order. 

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



Function 



Factory setting 



Local Control (p. 72) 
HH Control Pedal (p. 40) 
PATCH CHAIN ON/OFF 



On 

Not set 
Off 



Functions and parameter settings other than these are retained even when the power is turned off. 
/K CAUTION Whenever the unit is to remain unused for an extended period of time, disconnect the AC adaptor. 

Adjusting the Volume 



o 



When you strike a pad, it will trigger the sound that has been assigned to it. Playing harder will pro- 
duce a louder sound. As you play, adjust the overall volume by rotating the VOLUME knob located on 
the rear panel. 




zl\ WARNING This unit, either alone or in combination ivith 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. 







ijia 



TC 



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). 



13 



Selecting a Patch 



When you select a Patch, the sound assigned to each pad and the settings for MIDI, effect and pedal will 
all change instantly. Try each of the 99 factory-preset Patches to hear the different possibilities. 

To select Patches first make sure you are in the Play mode. Then use the PATCH/VALUE [-] or [+] but- 
tons to select Patches. The number of the selected Patch will appear in the display. 

Pressing PATCH/VALUE [+] ivhile holding down PATCH/VALUE [-] (or vice versa) causes the 
L^^j Patch numbers to change more rapidly. 




What is a Patch? 



A Patch contains data determines how each pad sounds, settings for the effects and also MIDI settings. 
The SPD-20 can store 99 different Patches. 



Pad 1 

Sound Parameters 

• Instrument 

• Level 

• Pitch 

• Decay 

• Pan 

• Velocity Curve 

• Effect Send 

MIDI Parameters 

• Transmit Channel 

• Note Number 

• Gate Time 

• Pan 

• Velocity Curve 

• Velocity Sensitivity 

• Program Change 



Patch 99 



Patch 1 



Pad 1 


Pad 2 


Pad 3 


Pad 4 


1 


Pad 5 


Pad 6 


Pad 7 


Pad 8 



Internal Pads 1-8 



External Pads 
1-4 



Cho [fIti 

Effects 




Hi-Hat Control Pedal 



MEMO 



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

You can also use MIDI Exclusive messages to store Patch data in an external sequencer or other 
device (p. 75). 



14 



Using a Footswitch to Select Patches 



By using a special cable (PCS-31; sold separately) to connect two footswitches (FS-5U; sold separately) 
to the FOOT SW jack, you can select Patches by remote control. When you press Footswitch 1 you will 
advance to the next Patch number, and when you press Footswitch 2 you will go back to the previous 
Patch number. If you connect a DP-2, you can move up (but not down) through the Patch numbers. 



FOOT SW 



Stereo 



A 



(Red)- 



(White) 



Mono J U Mono 

8 S 

Footswitch 2 ^|] ^ |] Footswitch 1 

(Previous Patch) lu-Oii I lii-UJJ I (Next Patch) 



You can make the setting with 
the FS-5U polarity switch, as 
shown in the figure below. 



POIAUTY 




B 



Connect the two mono cables of the PCS-31 to the two footswitches. The plug with the white line is for 
Footswitch 1, and the plug with the red line is for Footswitch 2. 



MEMO 



Connecting the model DP-2 pedal switch (sold separately) alloius you to only advance the Patch numbers. 
When using the footswitch as a Hold Pedal, please refer to "Using a Footivitch as a Hold Pedal" on p. 41. 



Comparing Layered Sounds 



Most of the factory-preset Patches use Layer (p. 17). Select a layered Patch and listen to the sounds of 
pad banks A and B. When you select a layered Patch, both PAD BANK indicators (A and B) will light. 



Select a Patch. 



in the Piay mode, press [LAYER] to turn Layer off. 

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

To hear the sound of pad banic B, press [BANK A/B] so that PAD 
BANK indicator B iights. Piay the pads. 



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



15 



What is a Pad Bank? 



The 8 pads of the SPD-20, together with 4 external pads (plus the 4 rims) — for a total of 16 pads — are 
referred to as a pad bank. Each Patch contains two pad bank settings, A and B. 



Pad Bank B 




Pad Bank A 






Pad 1 Pad 2 Pad 3 Pad 4 




Pad 5 Pad 6 Pad 7 Pad 8 


0000 

4 External Pads '"'^ 4 Rims 





When you select a Patch, the PAD BANK indicator will show which pad bank the Patch uses. If the 
Layer function (explained below) is used in that Patch, both PAD BANK indicators (A and B) will be lit. 




16 



What is the Layer Function? 



Layer means that two sounds are played simultaneously. The Layer setting is stored as part of each 
Patch. A Patch for which Layer is enabled will simultaneously play the sounds of both pad banks (A 
and B). In this case, however, you will only be able to play half as many notes simultaneously (a maxi- 
mum of 7). Layering sounds can open the door to creative expression. 



Ways to use the Layer function 



By assigning different Listruments to pad banks A and B, and setting pad banks A and B to different 
Velocity Curves (p. 24), your playing dynamics can be used to cross-fade or switch between the two 
sounds. 



Velocity Mix: Playing dynamics will determine the mix of the two sounds. 
Pad Bank A Pad Bank B 






B 



Velocity 

Velocity Switch: Playing dynamics cause a switch between the two sounds. 

Pad Bank A Pad Bank B 

ai 

E 

3 

I 



jd_ 





Velocity 

Velocity Crossfade: Playing dynamics produce cross-fades between the two sounds. 
Pad Bank A Pad Bank B 






Velocity 



17 



CHAPTER 2 Using the SPD-20 by Itself 



About the SPD-20's Internal Setup and Parameter Settings (Edit) 

This Chapter explains the basic structure of the SPD-20 and how it functions. Before we get into details, 
you should have an overall understanding of the unit. 

What Kind of Instrument is the SPD-20? 

The SPD-20 is an electronic percussion instrument that produces sound when its pads are struck. This 
type of device is usually called a MIDI pad controller. The SPD-20 includes a sound generator (700 
sounds with 16-bit dynamic range) and digital effects unit in a compact and lightweight package. By 
connecting external pads or pedals (sold separately), you can obtain the same musical expressivity from 
the SPD-20 as you might enjoy with an acoustic drum kit. In addition, the SPD-20 is MIDI compatible, 
meaning that it can be connected to any other MIDI-compatible device (sequencer, sampler, etc.) regard- 
less of the manufacturer. This allows you to create a very powerful music system. 



Product Overview 



Self-contained compact MIDI pad controller 
8 dynamics-sensitive pads 
700 sounds with 16-bit dynamic range 
Built-in digital effects 
Expandable with external pads /pedals 
(such as the PD-7, PD-120, KD-7, and FD-7) 
Teams up with various MIDI units 
(such as sequencer, sampler, etc.) 



Internal Organization 



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

Pad section 



TRIGGER INPUT 
1 2 3 



HH CTRL 
/TRIG 4 





^ 



^l 



Trigger Interface section 



Local Control 
On/Off 



-^il '"o]] MIDI OUT 



FX SEND 



Effects section 



T 



FX LEVEL 



Sound Generating 
section 



VOLUME 



MIDI IN 



L(MONO) 



:^ PHONES 



18 



Pad section 



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



Trigger interface section 



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



Sound Generating section 



This section receives signals from the trigger interface or MIDI IN, and produces sound in response. The 
SPD-20 contains 700 sounds and up to 14 can be played simultaneously. 



Effects section 



This section adds effects (Flanger, Chorus, Reverb, Delay) to the sound from the sound generator. You 
can select from 25 effects combinations (p. 28). 



Play Mode and Edit Mode 



B 



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



Play Mode 




(the display is lit) 



Edit Mode 

\ \ I / / 






/ / I \ \ 

(the display is flashing) 



Play Mode 



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



Edit Mode 



In this mode you can make settings for the various parameters. In the Edit mode, the display will show 
the parameter value (which will be flashing). 

In addition to these two modes, there is another, the Advanced Edit mode, for making more detailed 
'[J^J][^ settings for the Trigger parameters, (p. 48) 



19 



How to Edit 



MEMO 



To modify parameter values you must be in the Edit mode. The names of all the parameters you can 
modify are in the Parameter List printed on the front panel. 

"Edit" refers to the process of changing parameter values. 



How to read the parameter list 



The parameter list has four indicators arranged horizontally and seven indicators arranged vertically. In 
the Edit mode, one of the horizontal indicators and one of the vertical indicators will always be lit. This 
shows which parameter is being edited; i.e., the intersection of the indicated column and row is the cur- 
rently selected parameter. The display shows the value of this parameter. To edit a particular parame- 
ter, refer to the parameter list and use the [SELECT] and [ ^ ] [ ▼ ] buttons to select it. 



\ \ I / / 




/ / I I \ \ 

Selected Parameter 
Value (flashing) 



The intersection of the 
indicated column and row 



EZI 
ED 

EZI 
EZI 
(ZZI 



m 

INST 
V LEVEL 
\prTCH 

DECAY 

PAN 

CURVE 

FXSEND 



TXCH 

NOTE# 

GT TIME 

PAN 

CURVE 

SENS 

PGMCHG 



can be set 
to each pad 



FX7YPE 
FXTIME 
FX LEVEL 
PDLCTRL 
PDL LEVEL 
PDLCC# 



can be set to 
each Patch 



CD 

BASIC CH V 

BULK DUMP ' 
PATCH EXPAND 
TRIG SENS 
TRIG THRESHOLD 
TRIG TYPE . 

TRIG CURVE ■ 

can be set to 
the entire system 



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



20 



How to edit 



Press [EDIT! to enter the Edit mode. 



Select the parameter you wish to edit. Press [SELECT! to get the 
appropriate indicator to light, thus selecting a column. Use [▲] or 
[▼ ] to select the desired row, by getting the appropriate indicator 
to light. (The display will show the value of the selected parameter.) 

[SELECT] chooses the parameter group. The parameters of the SPD-20 are organized into 
four groups: SOUND, MIDI, FX/PEDAL, and SYSTEM. With each press of [SELECT], the 
indicator that lights (and the group that is selected), will be the next one in this group. 

The [ ^ ] and [ ▼ ] buttons are used to select parameters within the parameter groups. 
The indicator above the currently lighted one will light when you press [ ^ ], and the one 
below the one currently lighted will light when you press [ ▼ ]• 



SELECT 



t 



i 





m 


1 


INST 


1 


LEVEL 


□ 


pncH 


m 


DECAY 


1 


PAN 


1 


CURVE 


1 


FXSEND 



CD 

TXCH 

NOTE# 

GT TIME 

PAN 

CURVE 

SENS 

PGMCHG 



FXTYPE 
FXTIME 
FX LEVEL 
PDLCTRL 
PDL LEVEL 
PDLCC# 



CD 

BASIC CH 
BULK DUMP 
PATCH EXPAND 
TRIG SENS ■ 
TRIG THRESHOLD 
TRIG TYPE 
TRIG CURVE 



B 



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

3 Use PATCH/ VALUE [-] or [+] to set the value. Ihe previous value of 

the parameter will be discarded. In the case of a numerical value, 
PATCH/ VALUE [+] increases the value, and PATCH/ VALUE [-] 
decreases it. 

M EMO you can speed up the change in values by pressing [+] ivhile holding doion [-] (or vice versa). 



If you wish to edit another parameter, repeat steps 2-3 as neces- 
sary. 

Press [EDIT! to return to the Play mode. 

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



21 



Selecting and Adjusting Sounds (Sound Parameters) 

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

The SOUND group contains 7 parameters: INST, LEVEL, PITCH, DECAY, PAN, CURVE and FX SEND. 
M EMO Sound parameter settings for each pad are stored in each Patch. 



Selecting a Sound (INST) 



MEMO 



Each sound assigned to a pad is called an Instrument. The SPD-20 contains 700 such Instruments, and 
the Instrument assign settings determine which sounds will be played. The 700 Instruments are 
grouped into the following categories. 

Bass Drum 

Snare Drum 

Tom-tom 

Hi-Hat Cymbal 

Hi-Hat Cymbal for pedal control 

Crash/Ride Cymbal 

Latin Percussion (Cuban, Brazilian) 

Indian Percussion 

African /Middle Eastern/Australian/Other Percussion 

Japanese /Korean /Chinese /Southeast Asian Percussion 

Orchestral Percussion 

Melodic Percussion /Melodic Instrument 

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

Dance Sounds 

Artificial Sound Effects 

Natural Sounds, Human Voice 

Ambience, Reversed Sounds 

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

No sound 

The Hi-Hat Cymbals for pedal control "instruments H01-H17" can be used effectively only ivhen a 
Hi-Hat controller (FD-7; separately sold) is used (p. 54). 

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

If you make the Hold Pedal settings (p. 41), then loith some of the sounds, you can use the footsivitch 
to sustain the sound. For the instruments that can be lengthened ivith the footswitch, refer to p. 88. 

When an Instrument is selected, by pressing PATCH/VALUE [+] while holding down [-] (or vice 
versa), you can jump to the next Instrument group. 



bOl - 


b50 


SOI - 


S86 


toi - 


t40 


hOl - 


h33 


HOI - 


H17 


COl - 


C36 


LOl - 


L78 


iOl - 


133 


FOl - 


F37 


JOl - 


J51 


oOl - 


o24 


MOl- 


M59 


AOl - 


A16 


dOl - 


d43 


EOl - 


E46 


nOl - 


n31 


rOl - 


r20 


Mut 




oFF 





About Phrase Loop 

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

When you select a Phrase Loop, you don't just hear single notes; instead, a short phrase typical of 
that musical genre is played. You cannot play more than one Phrase Loop on different pads. You 
can layer two Phrase Loops on one pad and play them simultaneously. To force a Phrase Loop to 
stop sounding, select "Mut" and strike the pad. No sound is heard from a pad that has been set for 
"Mut." 



22 



Adjusting the Volume (LEVEL) 

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

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

"*^ '^ even if the LEVEL parameter is set to 0. 

Adjusting the Pitch (PITCH) 

This parameter determines the pitch of the Instrument ("24-"'"24). Each step will change the pitch by a 
semitone (100 cents). 

HJOTC For some Instruments, ra.s^ng the pUch beyond a certam po^nt wUl not be possible. 



Adjusting the Decay (DECAY) 



This parameter adjusts the decay of the Instrument ("31-''"31). Higher settings will result in a longer 
decay time. 




\ 



Time 



isrtfit 



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

When the connected pedal is assigned to "HH" (p. 54), the decay parameter has no effect on Hi-Hat 
Cymbals for pedal control (instruments H01-H17). 

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



Adjusting the Stereo Position (PAN) 



tf^ 



This parameter determines the stereo position of the Instrument (L7-Ctr-r7/rnd). A setting of L7 is far 
left, Ctr is center, and r7 is far right. At the "rnd" setting, the stereo position will change randomly each 
time you strike the pad. 




Left Speaker 



h L7 ^ 




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



23 



Adjusting the Dynamic Volume Response (CURVE) 

This parameter determines how the Instrument volume will change in response to your playing. You 
can choose from 16 response curves. 




EPH 

Exponential 4 




EP I 




5P I 

Spline 1 




EP^ 



Exponential 1 Exponential 2 




5P^ 

Spline 2 




EP3 



Exponential 3 




5F I 

Soft 1 



5FP 5F3 

Soft 2 Soft 3 




5FH Hd I 

Soft 4 Hard 1 




HdP 

Hard 2 



Hd3 

Hard 3 



HdH 

Hard 4 



E5t 

Constant 




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

Ex. 1: In a layered patch, when you combine SFl and Hdl, or SF2 and Hd2, as the Velocity Curve 
settings for pad bank A and pad bank B, respectively, striking the pad lightly sounds the 
Instrument of pad bank A, and the harder you hit, the louder you can make the sound of the 
pad bank B Instrument become (Velocity Crossfade). 

Ex. 2: In a layered patch, when you combine SF3 and Hd3, or SF4 and Hd4, as the Velocity Curve 
settings for pad bank A and pad bank B, respectively, you can switch the pad bank A and pad 
bank B Instruments with the strength with which you strike the pads (Velocity Switch). 



24 



Pad Bank A 




5F I 

Softl 



Pad Bank B 





Velocity Crossfade 



Pad Bank A 




Pad Bank B 




^ 




U -I J Velocity Switch 

Hard 3 



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



B 



Adjusting the Effects Depth (FX SEND) 



This parameter determines the depth (0-15) of the effect applied to each Instrument assigned to the pad. 
Higher settings will result in a deeper effect. With a setting of there will be no effect. The overall 
effects level for a Patch is determined by FX LEVEL in the FX/PEDAL parameter group. 



FXSEND 

o- 



Effects section 



FX LEVEL 



O 



Sound Generating 
section 



O 



LEVEL 



PAN 



OUTPUT 

-© L/MONO 
-€5) R 



"XS 



■re 



This FX SEND parameter will have an audible result only if the [FX ON/OFF] setting is on, and FX 
LEVEL in the FX/PEDAL parameter group is set above 0. 



25 



How to Edit Sound Parameters 

It is not possible to simultaneously edit the sound parameters of pad banks A and B. Use [BANK A/B] 
to switch between the two pad banks, and edit each bank separately. 



Editing a sound parameter 



In tlie Play mode, use the PATCH/ VALUE [-] or [+] buttons to select 
the Patch (1-99) to edit. 

Press [EDIT! to enter the Edit mode. 



M EMO Selecting and changing parameters is called editing. 



IN^IEIVlb 



strike the pad you wish to edit. 



M Turn Layer on or off if necessary. 

M EMO You can have only one of the Pad Bank Instruments sound by setting Layer to OFF. 
1^ Press [BAN K A/ B] to select the bank you wish to edit. 

The selected PAD BANK indicator will be flashing. 

^ Press [SELECT] to selectthe SOUND parameter group. 



SOUND 

m 

ED INST 

ED LEVEL 

\ZD prrcH 

ii DECAY I 

I I PAN 

I I CURVE 

I I FXSEND 



Press [▲ ] or [▼ ] to select the parameter to be edited. 



8 



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

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



Pressing PATCH/VALUE [+] lohile holding doion PATCH/VALUE [-] (or vice versa) makes this 
change more rapidly. However, ivhen selecting a Parameter Group Instrument (INST), lohen you 
press PATCH/VALUE [+] lohile holding doion PATCH/VALUE [-] (or vice versa), you jump to the 
next Instrument group. 



26 



To edit the other pad bank of the layered sound, repeat steps 5-8. 



10 



When you finish ma Icing settings, press [EDITI to return to the Play 
mode. 



By using a special cable (PCS-31; sold separately) to connect tioo footswitches (FS-5U; sold separate- 
il^^j^ ly) to the FOOT SW jack, you can change parameter values by remote control. While in Edit Mode, 
when you press Footswitch 1 you loill advance to the next higher parameter value, and lohen you press 
Footsioitch 2 you loill go down to the next lower parameter value (p. 15). If you connect a single 
footswitch (DP-2; sold separately) you can only move up to a higher parameter value, not down to a 
lower parameter value. 



Setting all pads to the same parameter value 



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



HLi 



B 



rjEMp 




If you are making settings for one of the SPD-20's pads, the settings will be applied to all 8 pads. If 
you are making settings for an external pad, the settings will be applied to all 4 of the external pads, 
and all 4 of the external rims. 

By assigning the same Instrument to all the pads and setting a different pitch for each, you can play 
melodies. The following procedure is an example using a melodic percussion Instrument (M01-M59). 

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

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

3 . Adjust the PITCH parameter for each pad. 



27 



Adding Reverberation and Otiier Effects to tiie Sound 
(Effect Parameters) 

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



MEMO 

!-■ ■ ■-•■ 



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

Chapter 5 includes a section on "Taking Advantage of the On-board Effects " (p. 79), and we suggest 
that you read this as loell. 



Select an Effect (FX TYPE) 



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

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



EFFECTS 

[Revl [dJ 



Effect Type Explanation 



MEMO 



1-10 Reverb sound Adds reverberation to the sound 

11-14 Cliorus sound Adds breadtli to tlie sound 

15-17 Flanger sound Applies undulations to the sound 

18-25 Delay sound Adds an echo-like effect 

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

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



Setting Effect Duration and Rate (FX TIME) 

This sets the duration of reverberation, or the modulation rate (1-32). The higher the value, the longer 
the reverb duration, or the higher the modulation rate. The result will be different depending on the 
type of effect. Refer to page 79. 

Adjust the Effect Depth for the Entire Patch (FX LEVEL) 

This parameter corresponds to the effect return level on a mixer, and higher settings will result in a 
deeper effect (0-15). At a value of there will be no effect. 

The depth of the effect applied to each Instrument (assigned to a pad) is determined by FX SEND in 
the SOUND parameter group, (p. 25) 

This effect level parameter will have an audible result only if the [FX ON/OFF] setting is on, and if 
the Instrument parameter FX SEND for a pad is set above 0. 



NOTE 



28 



How to Edit Effect Parameters 



In the Play mode, use PATCH/ VALUE [-] or [+] to select a Patch 
(1-99). 



Press [EDIT! to enter the Edit mode. 



Press [SELECn to select the FX/ PEDAL parameter group (p. 21). 



SOUND MIDI FXPEDAL SYSTEM 

a □ ii □ 
lii 

CD 
CD 
CD 
ED 
ED 
EE 



INST 


TXCH 


FXTYPE 


BASIC CH 


LEVEL 


NOTE# 


FXTIME 


BULK DUMP 


PITCH 


GT TIME 


FX LEVEL 


PATCH EXPAND 


DECAY 


PAN 


PDLCTRL 


TRIG SENS 


PAN 


CURVE 


PDL LEVEL 


TRIG THRESHOLD 


CURVE 


SENS 


PDLCC# 


TRIG TYPE 


FXSEND 


PGMCHG 




TRIG CURVE 



Press [A ] or [▼ ] to select the effect parameter you wish to edit. 



B 



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



Repeat steps 3-5 to finish making the effect settings for the Patch. 



If you wish to adjust the effect depth independently for each pad, 
make the appropriate settings for the FX SEND in the SOUND para- 
meter group for each pad (p. 25). 



29 



Adjusting the Pad Sensitivity (TRIG SENS) 

By adjusting the TRIG SENS in the SYSTEM parameter group you can adjust the sensitivity of the pad 
when it is struck (the range of adjustment is 1-16). Higher settings result in higher sensitivity, so that 
the pad will produce a loud volume even when struck softly. This parameter applies to all 8 pads. 



Hj^ 



Factory Trigger Sensitivity (TRIG SENS) settings for the internal pad reflect the average user's pref- 
erences. If these settings produce good results for you, then there is no need to change the Trigger 
Sensitivity values. 



This parameter is set for all 8 pads, i.e., the same value applies to all pads. Hoivever, this parameter 
L^^j can be set independently for each connected external pad. 

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



Press [EDIT] to enter the Edit mode. 



Press [SELECT] to select the SYSTEM parameter group. 



Use [▲ ] or [▼ ] to select TRIG SENS. 




Strike one of the 8 pads. 



MEIMO 



When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display 
on a six-level scale. Striking the pad forcefully sets velocity at a value of 127. 



Hard 




Strength 
of Striking Velocity 



127 



100-126 



75-99 



50-74 



25-49 



1-24 



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



30 



Setting the Pad's Minimum Level ORIG THRESHOLD) 

By adjusting the TRIG THRESHOLD in the SYSTEM parameter group you can have a pad produce a 
trigger signal only when struck with more than a certain level of force (a "threshold"). This can be used 
to prevent a pad from sounding in response to extraneous vibrations from another pad. However, if 
you strike the pad with a force less than the Trigger Threshold, it will not sound. In the diagram below, 
the pad will sound for 2, but not for 1 or 3. This parameter can be set over a range of 0-15. 



O 

sz 
in 
o 






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

1^^ -^ user's preferences. If these settings produce good results for you, then there is no need to change the 
Trigger Sensitivity values. 



B 



MEMO 



This parameter is set for all 8 pads, i.e., the same value applies to all pads. However, this parameter 
can be set independently for each connected external pad. 

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



In the Edit mode, select the SYSTEM parameter group (p. 21). 



Use [▲ ] or [▼ ] to select TRIG THRESHOLD. 



,. / / 



Strike one of the 8 pads. 



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



M EMQ Tor information on editing external Pad Trigger Parameters, please refer to p. 42. 



31 



Copying a Patch (COPY) 



This operation copies Patch settings to another Patch. If you need another Patch that is only slightly dif- 
ferent from an existing one, copy that Patch and then make the changes that you need. 



iN^mMb 



32 



Copy source Copy destination 

Patch P Patch 



User Patch U1-U99 User Patch U1-U99 
Preset Patch P1-P99 



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



In the Play mode, use PATCH/ VALUE [-] or [+] to select the copy des- 
tination Patch (1-99). 

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

Press [EDIT! to enter the Edit mode. 



Press [COPY]. 




Use PATCH/ VALUE [-] or [+] to select the copy source Patch. 

The copy source Patch can be selected from user Patches (U1-U99) or factory- 
preset Patches (P1-P99). 



Play the pads to check the selected copy source Patch. 
To quit without copying, press [COPY]. 



Press [ALL/ ENTER] and the Patch will be copied. 



/_ / _/ 



Press [EDIT] once again to return to the Play mode. 



The external pad's SOUND parameter, MIDI parameter, and FX/PEDAL settings are copied simulta- 
L^^J^ neously. 



Setting Up Your Own Patch Sequences (Patch Chain) 
What is a Patch Chain? 

A Patch Chain is a sequence (that you create) of up to 16 Patches. The SPD-20 can store 8 of these Patch 
Chains (A, b, C, d, e, F, G, H.) 

Step 1 Step 2 Step 3 Step 4 Step 5 ... Step 16 

1^1— -J-^IUZI — r~^-^r~^ — I ^— » ' ' -^CZII-i patch chain A 



1^1 l-^[ I -^ 1^^ — IZ^ — 1^^ — • • • — [Z^— I Patch Chain B 



1^1 l-^[ZZI-^l ] — IZZI -^ CZI -^ ••• -^IZZI— I Patch Chain H 

By setting up a Patch Chain that contains all the Patches needed for a stage set or a song, you can quick- 
ly and easily access the Patches you need. 

Setting up a Patch Chain 

Iln the Edit mode, press [PATCH CHAIN] to select a Chain (A, b, C, d, 
e, F, G, H). 



B 




Use the PATCH/ VALUE [-] or [+] buttons to select the Patch number 
(1-99). 



2 

M EMQ you can also select Patch numbers using afootsivitch connected to the FOOT SW jack. 
■^ Press [ALiy ENTER]. 



4 



Repeat steps 2-3 to create a Chain of Patches. 



MEMO 



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



When you are finished, press [ALiy ENTER]. 



tnb 



33 



If you press [PATCH CHAIN] to select another Chain before pressing [ALL/ENTER], the Patch 
*^|V **- Chain settings you just made will be lost. 

^ If you wish, you may make settings for another Patch Chain. 



When you finish malcing Patch Chain settings, press [EDITI to return 
to the Play mode. 



Using a Patch Chain to Select Patches 

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



In the Play mode, press [PATCH CHAIN] to select the Patch Chain 
you wish to use (A, b, C, d, e, F, G,H). 



H b 



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



2 Each time you press PATCH/ VALUE [-] or [+]the next Patch in the 

Chain will be selected. 

After the last Patch in the Chain, you will return to the first Patch. 
Afootswitch connected to the FOOT SW jack can also be used to select Patches. 

^ Press [PATCH CHAIN] several times to return to the Play mode. 



MEMO 



Erasing a Patch Chain 

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



Press [EDIT] to enter the Edit mode. 



Use [PATCH CHAIN] to select a Patch Chain, and press [AUy ENTER] 
to erase it. Hie following display will appear. 



/ / . 
/_ /_ / 



34 



Press [EDIT] once again to return to the Play mode. 



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



CHAPTER 3 Connecting External Pads or Pedals 



You can add external pads to the SPD-20. Furthermore, you can connect a hi-hat control pedal (FD-7; 
sold separately) to control the opening and closing of the hi-hat. 



Connecting External Pads or Hi-Hat Control Pedal 



Connecting External Pads or the Special Pedal 



Example 1: Percussion Set 



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




B 



4 Pads (PD-7) 




35 



Example 2: Full Set Kit 



If you wish to connect a hi-hat control pedal (FD-7; sold separately) to the HH CTRL/TRIG 4 jack, set 
the [HH CTRL/TRIG 4] select switch (p. 40) to HH CTRL. If you wish to connect an external pad, set the 
switch to TRIG 4. 




Hi-Hat Control Pedal 



Hi-Hat Control Pedal (FD-7) 

Pad (PD-7) 



Pad (PD-120) 



Kick Trigger Unit (KD-7) 
+ Kick Pedal 





36 



Precautions When Connecting a External Pad 



NOIE 



The external pad and Kick Trigger Unit are 
connected to the Trigger Input jacks 1, 1, and 
3, or the HH CTRL/TRIG 4 jack. (However, 
in this case, the Trigger Input switch is set to 
TRIG 4.) 



YoM may hear a brief sound when you change the position of the switch. This is normal, and should 
not be a cause for concern. 




HS^ 



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

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

When you use these pads, it is necessary to set the pad type with the TRIGGER parameter TRIG TYPE 
(p. 45). 

Use a mono cable when connecting pads from other manufacturers. 

When using a PD-7, PD-9 and KD-7, set the Polarity Switch on the pad to the "-" (negative) side, 
and make connections using the cable included with the pad or Kick Trigger Unit. 

You may hear a brief sound ivhen you change the position of this switch. This is normal, and should 
not be a cause for concern. 

The four Trigger Input jacks provided with the SPD-20 are already Dual Trigger Type. This is to 
allow processing of two types of signals, for when you strike the head and for rim shots, when you con- 
nect a PD-7 or PD-9. 

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



MEMO 



B 



Precautions when connecting a Kick pedal (Kick Trigger Unit) 



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



N^lfe 



Kick Trigger Unit (KD-7) 
+ Kicic Pedal 




A connecting cable and beater are included 
with the KD-7, and you may use a favorite bass 
drum pedal to control the SPD-20 sounds. Set 
the Polarity Switch on the KD-7 to the "-"(neg- 
ative) position, then connect to an TRIGGER 
INPUT jack (1-3), or to the HH CTRL/TRIG 4 
jack. (However, in the later case, be sure to set 
the External input select switch to TRIG 4.) 

By connecting two sets of units and pedals, you can use dual bass druni techniques. There are two 
ways to do this. You can use the mix in jack of one KD-7 and connect the two sets in serial to one SPD- 
20 input, or you can connect each KD-7 to its own SPD-20 Trigger input. The first method uses only one 
SPD-20 TRIGGER INPUT, and the second method uses two SPD-20 TRIGGER INPUTs. However, the 
second method allows you to control two different Instruments, so that you can assign different-sound- 
ing Kick Drums to each side, and change the pitch and Pan settings for a more expressive sound. 

When connecting two KD-7s with the KD-7's Mix In jack, the Kick Trigger signal is slightly weak- 
ened. In such cases, when connecting the KD-7 set the Trigger Input Trigger Sensitivity (TRIG 
SENS, p. 43) slightly higher. 



37 



Using a Footswitch Instead of a Kick Pedal 



IJO 



TC 



Even without a kick pedal, you can play Instruments by connecting a Pedal Switch (DP-2; sold separate- 
ly) to Trigger Input jack 1. The pedal switch will yield one consistent level, regardless of how hard you 
hit the pedal. The level is set with a combination of two parameters. Set the Trigger Sensitivity (TRIG 
SENS) to have enough signal, then you may reduce the volume level with the Sound parameter level 
(LEVEL). Additionally, set the Trigger Threshold (THRESHOLD) between 6 and 8. Setting the Trigger 
Threshold value any lower than this causes the pedal to trigger sounds even when you remove your 
foot; setting it any higher prevents any triggering. 

When triggering a sound module via MIDI, you can set the volume using MIDI parameter SENS. 
When using a Pedal Sivitch (DP-2; sold separately) to play Instruments, use only Trigger Input jack 1. 



Precautions When Connecting the PD-100 or PD-120 

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



Hio-re 



When using models PD-120/PD-100, set the pad type 
(120, 100) with the TRIGGER parameter TRIG TYPE (p. 
45). With the PD-120, setting the Trigger Type makes it 
possible for you to play rim shots. 

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



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



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




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

-* The PD-120's rim shot trigger characteristics differ from those of the PD-7 (or PD-9). Rim shots 
are detected by setting the Trigger Type to the PD-120. 

-* Is it connected to Trigger Input 1 or 2? 

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

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

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

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



M 



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



^ 



Do not play the PD-120 or PD-100 when the head is loose. Striking the head when it is loose 
not only causes sounds to be played incorrectly, but may also result in damage to the internal sensors. 
Furthermore, you'll get better performance if the head is on the stiff side. 



38 



How to Use the Rim Shot and Cymbal Choke Playing Techniques 

If a PD-7 or PD-9 is connected, you will be able to use Rim Shot and Cymbal Choke playing technique. 
If a PD-120 is connected, you will be able to use Rim Shot playing technique. 



Rim Shot 



MEMO 



By playing Rim Shot, you can play two types of sound from one pad. This can be done with a PD-7, PD- 
9, PD-120. 

At the time the unit loas shipped from the factory, the Snare Drum Rim Shot Instrument loas set to 
Patch 1 Trigger Input 2; confirm this by actually striking the pad. 



Normal shot: Strike only the head (center) 

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



NOTE 



NOTE 




Center of Pad 




Pad 



Rim of the Pad 



Rim Shot 



When playing rim shots, striking only the rim does not produce a solid rim shot sound. Be sure to 
strike both the head and rim at the same time. With rim shots how hard the drum is struck is detected 
in the head portion. 



When you play rim shots on the PD-120, with the pad 
OUTPUT jack facing toward you as shown in the figure, 
strike the rim within the range shown. By making rim 
shots outside this range you will not be able to achieve a 
reliable rim shot sound. 

rim shots can be played on the PD-120 only through 
Trigger Input 1 and 2. 

With the SPD-20, you can choose two separate MIDI 
sound modules for a dual trigger pad, i.e. send the "head 
only" to MIDI channel 10, and the "rim" to MIDI chan- 
nel 11. This allows you to control instruments from tioo 
MIDI systems with one PD-7, PD-9, or PD-120 (p. 66). 




B 



Range within 
wliicli rim shots 
can be made 



f 



Toward the player 



Cymbal Choke 



With the PD-7 and PD-9, physically grasping the rim of the pad just after the pad is struck stops the 
sound as it is made. This allows you to make the same sound you get when you stop the cymbal from 
sounding with your hand just after striking it. 




39 



Precautions When Connecting a Hi-Hat Control Pedal 

Connect the hi-hat control pedal (FD-7; sold separately) to the HH CTRL/TRIG 4 jack, and set the 
Trigger input switch to HH CTRL. When using an FD-7 you will be able to control various Instrument 
parameters in real time (p. 54). 




FD-7 



How to set the hi-hat control pedal for the best possible performance results 



Using the cable included with the FD-7, connect the FD-7 to the HH 
CTRLyiRIG 4 jack. 

Make sure that the pedal is fully open. 



Hj^ 



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



Move the external input select switch to TRIG 4 and then move it 
back to HH CTRL When the switch is moved back to HH CTRL the 
following display will appear. This indicates that the FD-7 has been 
"recognized" by the SPD-20 and will now function correctly. 



\ I 

I U I 



isroft 



You may hear a brief sound when you change the position of this sioitch. This is normal, and should 
not be a cause for concern. 

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

The appropriate settings will be made automatically and the same message will be displayed whenever 
the power is turned on with the FD-7 already plugged in. 



Using a Footswitch in Place of the i-ii-i-iat Pedal 



In place of a hi-hat control pedal, you can also control the hi-hat with a footswitch (DP-2 Pedal Switch; 
sold separately) connected to the HH CTRL/TRIG 4 jack. However, with this arrangement, techniques 
such as half open cannot be played. Just as with the hi-hat control pedal, when using the footswitch, it 
is necessary to have the pedal recognized using the previously mentioned procedure. When the pedal 
switch is properly recognized, "dP2" appears in the display. 



40 



Using a Footswitch as a Hold Pedal 



n»^ 



M 



asip 



A footswitch (DP-2/FS-5U; sold separately) connected to the FOOT SW jack can be used as a hold (sus- 
tain) pedal to control specified Instruments and external MIDI sound modules. When you depress the 
pedal, a Control Change message (Hold) will be transmitted, instructing the MIDI sound modules to 
continue sounding the notes that are currently being played. 

If you turn the SPD-20 on while the footswitch is depressed, the following message will scroll across the 
display and the footswitch will act as a hold pedal. 



BEL HoLd PEdBL 



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

The SPD-20's display can only shoiv 3 characters at once. To "scroll" means that the characters auto- 
matically move across the display to shoiv a longer message. The SPD-20 ivill sometimes scroll error 
messages or other helpful information (p. 87). 

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

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



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

When using the footswitch as a Patch Shift Pedal (p. 15), first turn off the power to the unit, then with 
the footswitch depressed, turn the power back on. The following message is displayed, and the 
footswitch is set to function as a Patch Shift Pedal. 

5ft PBLch 5h FL PEdBL 

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

Each time the power is turned on with the footswitch in the depressed position, the function is switched 
between "Patch Shift Pedal" and "Hold Pedal." The footswitch setting is set at the factory to "Patch 
Shift Pedal." 



B 



41 



Settings for External Pads or Kick Trigger Units 



Setting External Pad Tone and MIDI Parameters 

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

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

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

The method for setting external pad tones is the same as that for internal pads. Make settings after 
referring to "Selecting and Adjusting Sounds (Sound Parameters)" (p. 22). With external pads, you can 
make settings for both the head and the rim. To make settings for the head, strike only the head. To 
make settings for the rim, simultaneously strike the rim and head. (Rim settings apply only to the PD-7, 
PD-9, and PD-120. However, the rim for the PD-120 can only be used with Trigger Input 1 and 2.) 
Press the connected pedal when making the Kick Trigger Unit's tone settings. 

Except for the option of making rim settings, MIDI parameter settings for external pads are made the 
same way as those for internal heads. Make settings after referring to "MIDI Parameter Settings" (p. 
61). 



Ni6^ 



It is better not to set and layer two different tones and Velocity Curves using the rim's Pad Bank, 
since the relative strength is difficult to control precisely. 



How to Edit the Trigger Parameters 



You can set the sensitivity and make other settings for external pads (TRIGGER parameters). There are 
four types of TRIGGER parameters available (TRIG SENS, TRIG THRESHOLD, TRIG TYPE, and TRIG 
CURVE). 

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



Parameter 



Internal Pad 



External Pad (4 Independent) 



TRIG SENS 
TRIG THRESHOLD 
TRIG TYPE 
TRIG CURVE 



Common to 8 Pads 
Common to 8 Pads 

No 

No 



OK 
OK 
OK 
OK 



Hj^ 



External and internal pads have shared TRIGGER parameter settings. 



42 



Adjusting the Sensitivity of a Pad or Kicic Trigger Unit (TRIG SENS) 



This parameter adjusts the sensitivity of a pad or Kick Trigger Unit. Higher values will result in higher 
sensitivity (setting range: 1-16). When external pads are connected, you should adjust the relative sensi- 
tivity between the external and on-board pads so as to provide a balanced feel for the entire drum kit. 

^ In the Edit mode, select the SYSTEM parameter group (p. 21). 



Use [▲ ] or [▼ ] to select TRIG SENS. 



-W 



Strike the pad (or depress the Kick Trigger Unit) you wish to edit. 



When you strike the pad, the strength with which the pad is struck (velocity) is shown in the display 
in six levels. Striking the pad hard sets velocity at a value of 127. 




Strength 
of Striking Velocity 

Hard i27 



100-126 



75-99 



50-74 



25-49 



Soft 1-24 



B 



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



About the PD-120's Rim Sensitivity 

Available only when making Trigger Type settings to the PD-120, you can set the Rim Sensitivity in 
Advanced Edit mode (p. 53). 



43 



Setting Minimum Levels for the Pads (TRIG THRESHOLD) 



By setting this parameter, you can make the pad respond with a trigger signal only when it is struck 
with a force above a threshold level. This allows you to prevent the pad from picking up extraneous 
vibrations from neighboring pads. If the striking force is less than the threshold, the pad will not sound. 
In the following diagram, the statement like "2" of the examples will produce sound(setting range: 
0-15.) 



^ 








Am 



NOTE To have the unit sound even when struck lightly, set the TRIGGER THRESHOLD as loiv as possible 
ivithout triggering other connected pads. 



Settings for the internal pads reflect the average user's preferences. If these settings produce good 
results for you, there is no need to change these values. 



In the Edit mode, select the SYSTEM parameter group (p. 21). 



Use [▲ ] or [▼ ] to select TRIG THRESHOLD. 



/ n 



strike the pad (or depress the Kick Trigger Unit) you wish to edit. 



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



Use PATXZH/ VALUE [-] or [+] to set the value. 



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

M EMO Crosstalk Cancel (p. 53). 



44 



Selecting lypes for External Pads CTRIG TY^PE) 



The SPD-20's Trigger Inputs allow you to connect and play using a variety of pad types. While the trigger 
signal output from a pad can have a variety of characteristics depending on the type of pad, you can make 
sure the trigger signal is read correctly by setting the Trigger Type. In addition, when connecting the PD-120 
or other pad models, setting the Trigger Type makes it possible to play rim shots on the PD-120 (p. 39). The 
Trigger Type is set not only for different drum pad types, but for different acoustic drum triggers as well. 



Acoustic Drum Triggers 

These are pickups that are attached to acoustic drums. The strength with which the drum is struck 
is output as a trigger signal, allowing you to play sound modules with Trigger Inputs such as the 
SPD-20's. 



In the Edit mode, select the SYSTEM parameter group (p. 21). 



Use [A ] or [▼ ] to select TRIG TYPE. 



lEMJ 



Strike the External pad (or depress the Kick Trigger Unit) you wish 
to edit. 



U-ll I 

I U I 



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

You cannot make settings for the internal pads. If you try to select the internal head by striking it, 
"'^^Q " is displayed. 



B 



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



Pad Trigger Types 

Displayed Description 



For the PD-5 

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

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

For the PD-100 

For the PD-120 

For other makers' pads (See Note) 

For other makers' pads (See Note) 

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

For other manufacturers' kick pads (see Note) 

For other manufacturers' kick Pads (see Note) 



45 



(Note) This type of Trigger (TRIG TYPE) is for drum pads whose output of the Trigger signal Tvave- 
form's attack is slow. In order to reliably detect the strength with which the pad is struck, the 
time set for detection of the trigger (Scan Time; p. 51) is as slow as 1-2 msec. When using other 
manufacturers' pads, if while playing with the Trigger Type set to "Pd7" you notice the sound 
strength or dynamics are unstable, you should reset the Trigger Type to "PI" or "P2." 

For faster sound expression, set to "PI" or "P2" ("Kl" or "K2"). 



Acoustic Drum Trigger Types 

Displayed Description 



For kick drums (bass drums) 

For snare drums 

For toms 

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



Trigger Type Internal Settings (Advanced TRIGGER Parameters) 

When you make settings for the Trigger Type, a number of internal parameters that do not appear 
on the panel are set automatically. These parameters are known as Advanced TRIGGER parame- 
ters. Normally, no detailed settings are necessary to match the selected Trigger Type, but when 
you get poor sound, even having set the Trigger Type, or when using pads or acoustic drum trig- 
gers not covered by a particular Trigger Type, then set the Advanced TRIGGER parameters as 
needed (p. 48). 

Advanced TRIGGER Parameter Description 



Scan Time 
Retrigger Cancel 

Mask Time 
Crosstalk Cancel 
Rim Sensitivity 



Sets the time for detecting the trigger signal 

Detects the attenuation of the trigger signal and cancels subse- 
quent incorrect triggering 

Cancels secondary sounding of the kick pad and other pads 

Cancels triggering caused by vibration from other pads 

Adjusts the PD-120's Rim Sensitivity 



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



46 



Setting How tiie Strength with Which External Pads Are Strud Changes the Volume (miG CURVE) 



With some external pads and acoustic drum triggers, the relationship between the strength with which 
you strike the pad and the changes in volume output signal is unnatural. To get natural-sounding vol- 
ume changes, set the Trigger Curve. 

^ In Edit mode, selecttfie SYSTEM parameter group (p. 21). 



Press [▲ ] or [▼ ] to select the TRIG CURVE. 



Strike the external pad (or Kick Trigger Unit) to be set. 




MEMO 



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

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



4 



Level 



Using PATCH/ VALUE [+] or [-], set the Trigger Curve (-2, -1, 0, 1, or 2). 

Values correspond to the Trigger Curves shown below. 
"0" denotes the standard Trigger Curve. 





B 




. 2 Striking Force 



(Standard) 



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



Setting the Same Parameter Values to All Pads 



When you press [ALL/ENTER] while in Edit mode, the parameter values that are set in an external pad 
are set to all external pads that are in the selected pad bank at that time. 

For example, loith Trigger Type Pd7 set to Trigger Input 1, by pressing [ALL/ENTER], Pd7 is set to 
INT all four Trigger Inputs. 




If you press [ALL/ENTER] when setting the Trigger Type, the current pad's Advance Trigger para- 



'[J^^j' meter settings (p. 48) are applied to all of the other Trigger Inputs. 



NOTE [ALL/ENTER] does not function in Advanced Edit mode (p. 48). 



47 



Setting Parameters for Reliable Performance using Acoustic Drum 

Triggers and Other Manufacturers' Pads (Advanced Trigger Parameters) 

Sometimes, when you use the SPD-20 with an acoustic drum trigger or a pad from another manufacturer, 
setting only the Trigger Type may result in poor sound or mistakenly played sounds. In such cases, by set- 
ting the Advanced Trigger Parameters, you can make more detailed trigger parameter settings. 

Advanced Trigger Parameters are set automatically when the Trigger Type is set. Normally, when 
*Fj^' "- you set the Trigger Type, no setting of the Advanced Trigger Parameters is necessary. 

The five Advanced Trigger Parameters are as follows: 



Scan Time 



Sets the time for detecting the trigger signal 



Retrigger Cancel Detects the attenuation of the trigger signal, and prevents subsequent 
incorrect triggering 



Mask Time 



Prevents secondary sounding of the kick pad and other pads 



Crosstalk Cancel Prevents triggering caused by vibration from other pads 
Rim Sensitivity Adjusts the sensitivity of the PD-120's rim 



How to Set Advanced Trigger Parameters 



^ 



The process of making settings for the Advanced Trigger Parameters differs from that when making 
other settings. Special procedures are required to set the parameters in Advanced Edit mode. 

The Advanced Trigger Parameters cannot be found in the Parameter List on the front panel. 
You cannot make Advanced Trigger Parameter settings for internal pads. 



There are three modes 



Play mode: 
Edit mode: 

Advanced Edit mode: 



The unit is played in this mode. 

Status in which settings are made for the parameters from the parameter 
list. 

In this mode, settings can be made for the Advanced Trigger Parameters, 
which are not included in the parameter list. 



Nt^lt 



First, set the Trigger Type. When you set the Trigger Type, the most suitable Advanced Trigger 
Parameters values are set automatically. 

If, after having set the Advanced Trigger Parameters, you then change the Trigger Type setting, the 
Advanced Trigger Parameter settings revert to the initial values for that Trigger Type. 



In Edit mode, select the SYSTEM parameter group (p. 21). 



Press [A ] or [▼ ] to select the TRIG TV^PE. 



Strike the external pad (or drum pad) to be set. 



I U I 



48 



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

MEMO 



tf^ 



You cannot make settings for the internal pads. If you try to select the internal head by striking it, 
"^^Q " is displayed. 

M Using PATCH/ VALUE [+] or [-], set the Trigger Type. 

If you don't find the settings most suitable for your Trigger Type, then set the type you 
think is closest. 



Drum Pad: 


Pd7, P1,P2 


Kick Pad: 


Kd7, K1,K2 


Acoustic Drum Trigger: 


KiK, Snr, tolVI, FLr 



M EMO For descriptions of each of the Trigger Types, see p. 45. 



Up to this point, the procedure has been the same as in making normal Trigger Type set- 
tings. 

After setting the Trigger Type, the following operation is used to enter Advanced Edit 
mode. 

Confirm that Trigger Type (TRIG TY^PE) in the SYSTEM parameter 
group has been selected. 

Hold down [EDIT] for several seconds. This takes you into 
Advanced Edit mode. 

(Flashing) 



B 



SVST&^Jl 


BULh DUMP 


PATCH EXPAND 


TRIG SENS 


TRIG THRESHOLD 


TRIG TYPE 


TRIG CURVE 



M EMO In Advanced Edit mode, the SYSTEM Parameter Group indicator flashes. 



One second after "Sen" appears in the display, the value is then displayed. 

About one 
second later 



_ — — ^»B» 1^^ ^1 



This is the Scan Time settings screen. 

If the TRIG TYPE settings screen does not come up, consequently, you can not call up the Advanced 
Edit Mode screens by holding down [EDIT]. 



49 



Press [▲ ] or [▼ ] to select the Advanced Trigger Parameter to be 
set. When you make your selection, the name of the parameter 
appears, followed one second later by the value for that parame- 
ter. 





Sen Scan Time 



rEt Retrigger Cancel 




MSK Mask Time 



iLrri 



CrS Cross Tall< Cancel 



/-/ // 



riM Rim Sensitivity 



EM0 Refer to p. 51 for descriptions of how each of the parameters works. 



8 



Press PATCH/ VALUE [+] or [-] to set the value. 



EMQ When making settings for another pad, strike the pad first. 



When you have finished making settings, press [EDIT]. 

You are returned to the normal Edit mode. 



10 



Ihen press [EDIT] once again to return to Play mode. 



N OTE [ALL/ENTER] does not function in Advanced Edit mode (p. 48). 



Overview of the Process of Making Settings in Advanced Trigger Parameters 



• In Edit mode, select and set the TRIG TYPE. 

• Press [EDIT] for about one second. 

• Press [ A ] or [ ▼ ] to select the parameter to be set. When you select the parameter, then one 
second after the name of the parameter is displayed, the value appears. 

• Press PATCH/VALUE [+] or [-] to set the value. 

• After you finish making the settings, press [EDIT] twice to return to PLAY mode. 



50 



Adjusting the Trigger Signal Detection Time (Scan Time, Sen) 



ben 



(Available Settings) 0.0-0.3 ms (0.1 ms steps) 
NOTt 00-30 appears in the display. 



rJiiMb 



The trigger signal waveforms produced by some types of drum pads or acoustic druni triggers have 
rather long attack times, which can result in unstable volume levels, even when the same force is used 
to strike the pad; or can result in unreliable detection of striking force. In such cases, by adjusting the 
amount of time between the striking of the pad and detection of that strike (Scan Time), you can achieve 
the correct detection of striking force. 



Scan Time 



Scan Time 



PD-7 




A Pad with a slow Trigger 
signal waveform attack 



Time 




Time 



For reliable detection of Trigger signal output, adjust the time for reading the trigger signal (Scan Time). 
For more on how to set these values, refer to p. 48. 

To maximize the speed at which sounds are triggered, set the Scan Time value as low as possible. 

For P 1 and P 2 trigger types, increase the Pd7 Scan Time values. For K 1 and K 2, increase the Kd7 
Scan Time values. 

When you strike the pad, the strength with which the pad is struck (velocity) is shoivn in the display, 
with six possible levels. When the pad is struck hard, the velocity is set to a value of 127. 



B 



Hard 




Strength 
of Strilcing Velocity 



127 



100-126 



75-99 



50-74 



25-49 



1-24 



51 



Detecting Trigger Signal Attenuation and Cancelling Incorrect Triggering (Retrigger Cancel, rEt) 



rth 



(Available Settings) 1-16 



Use this setting when your setup uses mainly acoustic drum triggers. 

Compared with drum pads, the trigger signal that is output from an acoustic drum trigger may have unnec- 
essarily long attenuation times, and erratic waveforms. Multiple soundings from a single strike to the head 
are more likely to occur. You can eliminate such symptoms by increasing the Trigger Cancel value. 




The peak here causes triggering 



Time 



PD-7 Waveform 




Time 



Waveform output from acoustic 
drum triggers and otfier devices 



NOIE 



MEMO 



If the Retrigger Cancel value is extremely high, individual notes may drop out more readily when you 
strike repeatedly or play rolls, so set the value as low as possible. 

The problem of double sounding can also be eliminated using Mask Time. However, Mask Time can- 
not detect trigger signals if they occur ivithin the specified amount of time after the previous trigger 
signal loas received. Retrigger Cancel detects the attenuation of the trigger signal level, and triggers 
the sound after internally determining which trigger signals were actually generated ivhen the head 
loas struck, while weeding out the other false trigger signals that need not trigger a sound. 

Trigger signal attenuation time varies with the type and workings of the connected acoustic drum 
trigger. 

When using acoustic drum triggers, it is recommended that you mute the acoustic drums to suppress 
excess head vibration. 

For more on how to set these values, refer to p. 48. 



Preventing Double Triggering of Kicic Pads and Other Instruments (Mask Time, MSk) 






(Available Settings) 0-64 (in milliseconds) 



Make this setting when using acoustic drum triggers fitted to other manufacturers' kick pads or to 
acoustic drums. 

Sometimes when playing the kick pad or similar instruments, you may be trying to depress the kick 
pedal to have the beater strike the head just once, but the beater ends up striking twice or more, result- 
ing in mistaken triggering. After a trigger signal is detected. Mask time prevents detection of any sub- 
sequent trigger signal only within the set time period, thus eliminating mistaken triggering. 

However, since with Mask Time set, absolutely no trigger signal is detected in the set period, in order 
not to lose any sounds when playing repeated strikes, set the level as low as possible. 



52 



Mask Time (ms) 




Time 



When Mask Time is set, all trigger signals are canceled within the set time. 

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



221? Cancel (p. 52). 



For more on how to set these values, refer to p. 48. 



Preventing Vibrations from Other Pads from Causing Incorrect Triggering (Crosstallc Cancel, CrS) 



tf^ 



irb 



(Available Settings) oFF, 30, 40, 50, 60, 70, 80 



When different pads, for example one used as a tom and another as a cymbal, are attached to the same 
stand, vibrations from the tom may cause incorrect sounding of the cymbal pad (this phenomenon is 
called crosstalk). In this case, you can avoid the problem by setting Crosstalk Cancel on the cymbal 
pad. The higher the value is set, the more difficult it is for external vibrations to mistakenly trigger the 
pad. 

However, if you increase the Crosstalk Cancel value on a pad, then when that pad and another pad are 
struck simultaneously, the sound from the pad that is struck more weakly may be omitted. To prevent 
this from occurring, set Crosstalk Cancel values as low as possible. 

For more on how to set these values, refer to p. 48. 



B 



Setting Rim Sensitivity on the PD-120 (Rim Sensitivity, riM) 



_ / / 
I I I I 



(Available Settings) oFF, 1-15 



MEMO 



You can set the Rim Sensitivity only when using the PD-120. When you find it difficult to get rim shots 
to sound, increase the Rim Sensitivity value. When Rim Sensitivity is set to oFF, striking the rim pro- 
duces the sound of the same Instrument as that of the head. 
With the Trigger Type set to 120 (PD-120), you can play rim shots and set the Rim Sensitivity. 

Rim shots are possible on the PD-120 only with Trigger Inputs 1 and 2. 

You cannot adjust the rim sensitivity of the PD-7 and PD-9. Both rim and head use the same values. 



For more on how to set these values, refer to p. 48. 



53 



Settings for an External Hi-Hat Control Pedal 

You can use the hi-hat control pedal (FD-7; sold separately) not only to open and close the hi-hat, you 
can also use it to control the sound effect level sent in real time, and change the pitch (PDL CTRL; p. 54). 
Additionally, you can send Control Change Data to connected external MIDI devices (PDL CC#; p. 56). 

Hi-Hat Control pedal settings are made with FX/PEDAL Parameter Group PDL CTRL, PDL LEVEL, 
and PDL CC#. Too see how to make these settings, refer to each item shown on the following page. 

For more on how to connect the pedal, refer to "Precautions When Connecting a Hi-Hat Control 
^^^O Pedal" (p. 40). 

Hi-Hat control pedal settings are stored in each Patch. 



Controlling the Tone with the Hi-Hat Control Pedal— Pedal 
Control (PDL CTRL) 

Select from the following settings to determine how the hi-hat control pedal exerts control when 
pressed. 



HH 



Opened/closed hi-hat sounds (p. 54) 



EFS 



Tone Effect Send (p. 55) 



U07, U12, U24, d05, d12, d24 Raising and iowering of the pitch (p. 55) 



In the Edit mode, select the FX/ PEDAL parameter group. 



Use [▲ ] or [▼ ] to select PDL CTRL 



Use PATCH/ VALUE [-] or [+] to select the function you wish to con- 
trol. 



EM0 you can make settings for each Patch independently. 



MEMO 



Controlling the Opening and Closing of the Hi-Hat (HH) 



The pedal works as a hi-hat control pedal controlling sounds (H01-H17) assigned to a pad. Stepping on 
the pedal while striking the pad produces a closed hi-hat sound, and by letting up on the pedal a little at 
a time, you continuously change the tone and length of the sound from closed, to half-opened, to 
opened. Additionally, you can get a "foot close" sound by stepping on the pedal more forcefully. You 
can also get a great "foot open" sound, similar to the sound you get as you lift your foot off the hi-hat. 

Set the volume of the pedal hi-hat sound produced with the pedal in PDL LEVEL. For more on hoio to 
make these settings, refer to "Adjustivg the Volume of the Pedal Hi-Hat Sound" (p. 55). 



If a hi-hat sound (H01-H17) is assigned to two or more pads, the pedal hi-hat will sound for the high- 
*rj^ est-priority pad as shown in next page: 



54 



high priority 






























Pad Bank A 


INTTI 


^ 


iNn-2 


^ 


INT3 


^ 


\m4 


^ 


INT5 


^ 


INTTB 


^ 


iisnv 


^ 


INTTS 


n 


































J 


r 




















^" 


^^^" 




^^^" 








u 


TRIG1 
(Head) 


^ 


TRIG2 
(Head) 


^ 


TRIGS 
(Head) 


^ 


TRIG4 
(Head) 


^ 


TRG1 
(Rim) 


^ 


TRIG2 
(Rim) 


^ 


TRIGS 
(Rim) 


^ 


TRIG4 
(Rim) 


n 














— 


— — 


— 














- — — 








— 





J 


1" 


































Pad Bank B 1^ 


INTTI 


^ 


ii\rT2 


^ 


INTTS 


^ 


ii\rT4 


^ 


INTTS 


^ 


INTTG 


^ 


INTT? 


^ 


INTTS 


n 


































J 


r 


































L 


TRIG1 
(Head) 


^ 


TRIG2 
(Head) 


^ 


TRIGS 
(Head) 


^ 


TRIG4 
(Head) 


^ 


TRIG1 
(Rim) 


^ 


TRIG2 
(Rim) 


^ 


TRIGS 
(Rim) 


^ 


TRIG4 
(Rim) 




INT 1 : Internal pad 1 
TRIG1: Trigger input 1 




























low priority 



NvTt The Velocity Curve (p. 24) and layer (p. 17) settings do not affect the pedal hi-hat sound. 



Control the effect applied to an instrument (EFS) 



When this function is assigned, the hi-hat control pedal will control the effect send level of an 
Instrument. When the pedal is released, the pad takes the values set for the pad (values set in FX 
SEND). When the pedal is depressed, the effect send level will be increased proportionally to the angle 
of the pedal. 



Control instrument pitch (U07/U12/U24/d05/dl2/d24) 



When this function is assigned, the hi-hat control pedal will control the pitch of an Instrument. When 
the pedal is released, the pad takes the pitch set for the pad. When the pedal is depressed, the pitch will 
be modified proportionally to the angle of the pedal. 



B 



U07 


up 


700 cents 


(a perfect fifth) 


U12 


up 


1,200 cents 


(one octave) 


U24 


up 


2,400 cents 


(two octaves) 


d05 


down 


500 cents 


(a perfect fourth) 


d12 


down 


1,200 cents 


(one octave) 


d24 


down 


2,400 cents 


(two octaves) 



tfa 



TC 



Depending on the type of Instrument or on the sound parameter pitch settings, there may be a point 
above which the pitch cannot be raised. 



Adjusting the Volume of the Pedal Hi-Hat Sound (PDL LEVEL) 

When one of the Hi-Hat Cymbals for pedal control (H01-H17) sounds is assigned to the pad, you can 
control the pedal hi-hat volume when the hi-hat control pedal is pressed. Higher values will result in a 
louder sound. At a setting of 0, there will be no sound. 

^ In the Edit mode, select the FX/ PEDAL parameter group. 



Use [▲ ] or [▼ ] to select PDL LEVEL 



Use PATCH/VALUE [-] or [+] to set the volume (0-15). 



55 



Using the Hi-Hat Control Pedal's Action to Set Controller 
Numbers for Sending and Receiving MIDI Data (PDLCC#) 

When not using an external MIDI device. Setting Pedal Controller Numbers is unnecessary. 

You can transmit the action of the hi-hat control pedal as Control Change messages sent to external 
MIDI devices and have Control Change messages sent from external sources act as pedal movements. 
A main way to use this setup is by controlling one more SPD-20 hi-hat, and by continuously pressing 
the pedals, you can do things like add modulation to the sounds from external MIDI sound modules. 

However, there is no need to be able to receive the Controller Numbers set here to external MIDI 
devices. 

M EMO For explanations of Control Change messages and Controller numbers, refer to p. 59. 



Send and Receive Controller Numbers are as shown below. 
Controller Number 



MEMO 



NOl^ 



1 


Modulation 


4 


Foot 


10 


Pan 


11 


Expression 


16 


General Purpose 1 


17 


General Purpose 2 


64 


Hold 


OFF 


No Transmission 



The Controller Number is set at the factory to 4 (Foot). You can control the SPD-20, TD-10, TD-7, 
and TD-5 hi-hats with this setting. For control of the SPD-11 hi-hat, set the number to 1 
(Modulation). 

When recording SPD-20 a performance to a sequencer, and playing back the same performance, set the 
Controller Number to 4 (Foot). This way, you can faithfully reproduce the action of the hi-hat control 
pedal. 



In Edit mode, select the FX/ PEDAL parameter group. 



Press [ A ] or [▼ ] to select PDL CC#. 



■^ Using PATCH/ VALUE [+] or [-], select the Controller N umber. 

Refer to the above Controller Number. 

If you switch to a Patch set loith a different Pedal Controller Number while the hi-hat control pedal is 
pressed, the connected external sound module ends up being set with the Control Change message 
value set in the immediately preceding Patch. For example. Modulation will constantly be applied to 
the external sound module. 

When each Patch is set with a different Controller Number, we recommend that you not switch Patches 
with the pedal depressed. If you do switch Patches while the pedal is pressed, the external sound mod- 
ule is then set with the Control Change message value just as it is. When you then revert to the original 
Patch by releasing the pedal, the Control Change message value reverts to its initial setting. 



56 



CHAPTER 4 Connecting MIDI Devices 



MIDI Connections 



When connected to other MIDI devices, the SPD-20 can be used in a wide variety of musically creative 
ways. For example, it can be connected to a sequencer as a pad controller for realtime input, and its on- 
board sound generator can be layered with external sound modules. Other applications include using a 
sequencer to automatically select SPD-20 Patches, or to store SPD-20 data in a sequencer or other MIDI 
Bulk storage device. 

Example of one way to connect when using the SPD-20 to control an external sound 
module 



SPD-20 



Sampler 



ig) ® ® 



® 



MIDI OUT f 






MIDI IN ^■ 




D] 
ITT 



AC adaptor 



O Roland S-TBD 

o °0 


aiEOBL sa;.,p^r 




ol 




^^o^^ 


[£S^=^ 


n 






ui 



□ 



About MIDI 



LINE IN 
L R 



ft 



LJ| 



iO 



Audio Equipment 
(Stereo Set) 



1 



MIDI is an acronym for "Musical Instrument Digital Interface," and is a standard by which electronic 
musical Instruments and computers can exchange musical data. The SPD-20 conforms to the MIDI spec- 
ification and can be connected to other devices to either control, or be controlled. 



B 



How MIDI Data is Sent and Received 

First, we will briefly explain how MIDI data is sent and received. 



MIDI connectors 



NtSlfe 



MIDI data is sent and received through the following connectors. Use a MIDI cable to connectors these 
connectors to other devices. 

MIDI IN: receives data from other MIDI devices 

MIDI OUT: transmits data to other MIDI devices 

MIDI THRU: re-transmits the data received via MIDI IN 



The SPD-20 does not have a MIDI THRU connector. 

It is possible to connect ("daisy chain") several MIDI devices 
using the MIDI THRU connectors, but you should keep the 
total length of MIDI cables loithin 10 meters, to prevent possible 
reception errors. 




* 4^ t 



57 



MIDI channels 



MIDI allows you to independently control two or more devices over a single MIDI cable. This is possi- 
ble because MIDI provides for multiple channels of control. You can think of MIDI channels as being 
similar to television channels. Although many broadcast channels are in the air at any one time (many 
channels of MIDI data are moving through a single cable), a television set receives only the channel to 
which it is set (the MIDI device receives only the channel to which it is set). 



Select the channel of the TV Station 
you wish to watch. 





J 



TV messages from various TV Stations are sent through the antenna's cable. 

MIDI provides sixteen channels, 1-16, and the receiving device will only receive data when its receive 
channel matches the Transmit Channel. In the following diagram, playing the keyboard will cause only 
sound module B to play. 



MIDI OUT 



Sound Module A MIDI IN 



U 



MIDI THRU 



Transmit channel: 1 



o 1 


— , 


, , O 


o o 1 




= u„ 






Receive channel: 


2 




nd Module B 


\^ MIDI IN 




o 




, , o 

^ Do 


o o 1 


] = = = = ^ '^^ 




— 



Receive channel: 1 



r--^^-^ With the SPD-20, you can set the Transmit Channel (TX CH) for each pad (p. 61). Settings for the 
Vl CVlyJ receiving end are made with the Basic Channel (BASIC CH) (p. 67). 



Main lypes of MIDI Data Used by the SPD-20 

A wide variety of musical data can be transmitted by MIDI, with a different type of MIDI message pro- 
vided for each type of data. MIDI messages can be broadly categorized into two groups: information 
that is differentiated by channel (Channel messages) and information that is not differentiated by chan- 
nel (System messages). 



Data differentiated by channel (Channel messages) 



These messages carry musical performance data. Normally, these messages do most of the work. The 
result that each type of message produces will depend on the settings of the sound module. 

Note messages 

These messages notify the sound generator that a pad has been struck. (A keyboard would transmit 
these messages when keys are played.) Note messages convey the following information. 

Note Number: Each note message (Note On or Note Off) carries the Note Number which was 
assigned to that pad (a number indicating the note position on a keyboard). 

Note On: This message is transmitted when a pad is struck (when a key is played). 

Note Off: This message is transmitted when the specified Gate Time has elapsed after the Note 

On message (when a key is released). 

Velocity: Each note message contains data indicating how strongly the pad was struck (how 

strongly the key was played). 



58 



r^iEMb 



The Note Numbers fall within the range of 0-127, with middle C (C4) as number 60 (p. 62). 

Note numbers usually specify the pitch of the sound to be produced, but for rhythm sound generators, 
they specify the type of drum sound (the Instrument) which is to be played. 

With the SPD-20, Note Numbers for transmitting and receiving are set with the MIDI parameter 
NOTE #. 



Aftertouch messages 

Aftertouch messages are transmitted by some keyboards when you press down on the keyboard after 
playing a note. The degree of pressure (aftertouch) can thus be used to control various aspects of the 
sound. There are two types of aftertouch n\essages. Data which is transmitted independently for each 
key is called Polyphonic Key Pressure, and data which is transmitted for the overall keyboard (without 
differentiating between individual keys) is called Channel Key Pressure. 

The SPD-20 transmits Polyphonic Key Pressure messages lohen the rim area of a pad (PD-7, PD-9) is 



MEMO 



squeezed or released. When the SPD-20 receives Polyphonic Key Pressure messages from another 
MIDI device, its sound loill be affected in the same loay as when the rim area of a pad is squeezed. 



MEMO 



Program Change messages (1-128) 

These messages are usually used to select sounds. 

The SPD-20 can transmit Program Change messages to select Patches on external sound modules (p . 
65). When the SPD-20 receives a Program Change message from another MIDI device, the Patch will 
change (p. 69). 



|S[IEMp 



Control Change messages 

These messages convey various types of information that make a musical performance more expressive. 
Each message carries a control number that indicates which function it is to control. The result will 
depend on the MIDI device. 

With the SPD-20, you can transmit PAN Control Change messages to each pad individually. 

The SPD-20 transmits movements of the hi-hat control pedal as Control Change messages (p. 56). 
When it receives Control Change messages from another MIDI device, its sound will be affected in the 
same way as when the pedal is moved. 



B 



MEMO 



Data not differentiated by channel (System messages) 



System n\essages include Exclusive messages as well as other messages that keep a MIDI system run- 
ning smoothly. 

• Exclusive messages 

Exclusive messages are used to transmit and receive data which is unique to a particular device (such as 
Patch data). This type of data can be received and transmitted between devices of identical type and 
manufacturer. For details, refer to the MIDI Implementation (p. 98). 

• Start 

This message starts playback of a song on a sequencer from the beginning of the song. 

• Stop 

This message stops playback of the sequencer song. 

• Continue 

This message is for starting playback of a sequencer song from the current location. 

With the SPD-20, you can make external sequencers start, stop, and continue by striking the pads (p. 
61). 



59 



INJiEMb 



• Song Position Point 

This message tell the connected sequencer to move the current location in the song. 

With the SPD-20, you can return to the first measure of a sequencer song by striking the pad (p. 61). 



• Active sensing 

These messages are used to monitor the integrity of MIDI connections. If no MIDI messages are 
received within a specific length of tinie, the device assumes that the connection has been broken (e.g., a 
cable disconnected) and will reset itself according to a specific procedure. 



How to Read the MIDI Implementation Chart 



MIDI has made it possible for a wide variety of devices to exchange information, but it is not always 
true that all types of MIDI messages can be exchanged between all types of devices. 

To help you quickly determine what types of MIDI messages can be exchanged between master and 
slave, the manual of each MIDI device includes a MIDI Implementation chart. By looking at this chart, 
you can quickly see what messages the device is able to transniit and receive. MIDI Implementation 
charts are standardized, so you can fold the charts together to see at a glance how the two devices will 
comniunicate. 



MIDI Implementation 
Chart for the transmitter 



MIDI Implementation 
Chart for the receiver 













Function 


Transmitted 


Recognized 


Remarks 





















































































M EMO ^ MIDI Implementation chart for the SPD-20 is included in -page 102 . 



60 



MIDI Parameter Settings 



If you wish to use the SPD-20 to control another MIDI sound module, or use another MIDI device to 
control the SPD-20, you will need to set the MIDI parameters. 

f — ^^^ You can set MIDI parameters for each pad in a pad bank (A and B), alloiving you to control external 
IW sound modules on two channels. Additionally, MIDI parameters canhe set to Patches. 



For more on how to set MIDI parameters, refer to p. 66. 

How the MIDI Parameters Work 



Transmit Channel (TX CH) 



Set this parameter to match the receive channel of the MIDI sound module you have connected. If you 
want a pad to play only the SPD-20's sounds, set this parameter to "oFF." 

Besides the Transmit Channel, settings for transmitting Program Numbers by striking the pad, and for 
transmitting Start and Stop messages to external sequencers are also made in the TX CH settings. 

Using the Pads to Play External Sound Modules 

1—16: When playing external sound modules. Note messages are sent through the Transmit 
Channels set here. If you find it unnecessary to make any special setting for this, just set it to 
10 (the initial value). 

If you switch Patches lohile setting Program Changes (PGM CHG; p. 65), the Program Number is 
sent through the TX CH (1-16) set here. 



EM< 



tf^ 



When You Are Not Sending l\/IIDI l\/lessages 
oFF: MIDI messages are not transmitted. 

Using the Pads to Control External Devices 

With these settings Note messages are not transmitted. 

PI— PI 6: Set this when using the pad to switch external sound module tones. The Program Number 
set to Program Change (PGM CHG; p. 65) is sent via the MIDI channel 1-16 (P1-P16) accord- 
ing to the timing with which you strike the pad. 

S-S: Controls external sequencers and other devices by mutual transmission of MIDI Start and 

Stop messages when the Pad is struck. 

C-S: Controls external sequencers and other devices by mutual transmission of MIDI Continue 

and Stop messages when the pad is struck. 

toP: Returns the external sequencer's Song Position to the first measure of the song. 

External sound modules cannot be played when you set oFF, P1-P16, S-S, C-S, or toP, since the Note 
Numbers are not transmitted. Pads set with these parameters are dedicated pads for controlling exter- 
nal sound modules or external MIDI devices. 



B 



61 



Note Number (NOTE #) 



Set this parameter to the sound (note) of the MIDI sound module you want to play from that pad 
(0-127/oFF). 



Correspondence between Note Numbers and Note Names 



Note Name: C-l< 
Note Number: < 



T 



T 

C4 

60 



T 
^108 



• G9 
-127 



MEMO 



When setting the same Note Numbers to a number of pads within the same Patch, the same Note 
Numbers and Note Messages are transmitted from each pad. However, when identical Note Numbers 
and Note Messages are received, only the tone set to the highest priority pad (p. 67) is expressed. 
When making settings such as these, the indicator flashes more quickly, informing you that there are 
non-effective settings. 



About Note Numbers for Hl-Hats Controlled with Pedals 

Normally one Instrument will be assigned one Note Number. However, a hi-hat sound (H01-H17) 
controlled by a hi-hat control pedal will automatically be given three note numbers; the displayed 
Note Number and the two note numbers immediately below it. Only the highest Note Number 
will be displayed. 



Sound of an Instrument 
Pad 



Hi-Hat sound controlled 



by a Pedal 



Pad 







46 
44 
42 



Only the highest 
■ note number will 
be shown 



For example, suppose that HOI has Note Number 46 assigned to it. With the pedal depressed, if 
you strike the pad to which HOI is assigned. Note Number 42 will be sent. If you strike the pad 
without depressing the pedal. Note Number 46 will be sent. If you depress the pedal without 
striking the pad. Note Number 44 will be sent. 



62 



Gate Time (GTTIME) 



This parameter determines the length of time that the MIDI sound module will produce sound (0.1 sec- 
ond-4.0 seconds, ALt). 

M QTE Settings values shoivn in the display are 01-40 and ALt (0.1-4.0 seconds and Alternate). 



tf^ 



rJiEMb 




This Gate Time parameter corresponds to the length of time a note is held (on a MIDI keyboard) before 
it is released. 

When you set "ALt", Note On and Note Off are alternately transmitted when you strike the pad. When 
using samplers and other such devices, you can strike a pad to start a sampler phrase loop, and stop the 
phrase loop the next you strike the same pad. 

If the MIDI sound module ignores Note Off messages, this Gate Time parameter will not affect the 
length of the note (Drum sound modules and other sound modules). 

The actual length of time the note sounds ivill depend on the settings of the MIDI sound module. 

If you are using a pad to play a sound that has a slow attack, the note may be too quiet or may be cut 
off too quickly. If so, increase the Gate Time. 



Pan (PAN) 



If you have connected a MIDI sound module that can receive Pan Control Change messages (control 
number 10), this parameter allows you to specify the stereo position (L7-Ctr-r7/rnd/oFF). With a set- 
ting of "rnd" the stereo position will change randomly each time you strike the pad. With a setting of 
"oFF," Pan messages will not be transmitted. 



B 




Left Speaker 



Right Speaker 



h L7 ^ 



Ctr 
(Center) 



■> r7 4 




NtSlfe 



If the MIDI sound module ignores Pan Control Change messages (control number 10), this Pan para- 
meter loill not affect the stereo position. 



63 



MIDI Velocity Curve (CURVE) 



When changing the strength with which you strike the pad, select from the following 16 types of veloci- 
ty curves for transmitting Velocity values (volume changes) from MIDI OUT. 




Exponential 1 Exponential 2 Exponential 3 




EPH 




Hd9 

Hard 2 



SP I 



Exponential 4 Spline 1 



SF3 

Soft 3 



Hd3 

Hard 3 



SPE 

Spline 2 



HdH 

Hard 4 



SF I 

Soft 1 




Hd I 

Hard 1 



est 

Constant 



If this parameter is set to "CSt" (constant), the volume will be the same for each note — regardless of 
how strongly or softly you strike the pad. In this case, you will adjust the velocity Sensitivity parameter 
to set the volume. 



Velocity Sensitivity (SENS) 



When striking the pad, you can adjust the Velocity Sensitivity (1-15) transmitted to a MIDI device. 
Sensitivity increases as the value is raised, allowing you to transmit high Velocity levels even when 
striking the pad softly. 

If the Velocity Curve parameter has been set to "CSt," velocity will be transmitted with the following 
value. 



Sensitivity 


Velocity 


Sensitivity 


Velocity 


1 


1 


9 


73 


2 


10 


10 


82 


3 


19 


11 


91 


4 


28 


12 


100 


5 


37 


13 


109 


6 


46 


14 


118 


7 


55 


15 


127 


8 


64 







64 



Program Change (PGM CHG) 



By transmitting Program Change messages, the SPD-20 can select sounds on another MIDI device. This 
parameter specifies the Program Number transmitted when Patches are switched (1-128, oFF). In the 
Edit mode, each time you modify this parameter, a Program Change message will be transmitted imme- 
diately from MIDI OUT, so that you can then strike the pad to check the external sound module. If you 
do not wish to transmit Program Change messages, set this parameter to "oFF." 

Each Pad will transmit a Program Change message on its assigned MIDI channel whenever a Patch is 
selected in the Play mode. If two or more pads are assigned to the same MIDI channel and have been set 
to transmit different Program Numbers, only the highest-priority pad will transmit the Program 
Change (p. 67). 



M 



ABAp 



If while editing you attempt to make such a conflicting setting, the display ivill flash more rapidly to 
warn you. Also, Program Change messages for the lowest-priority pad loill not be transmitted from 
the conflicting pad. 



w 



IE 



]Nhen transmitting Program Numbers set with Program Change (PGM CHG) by striking the pad, set 
the Transmit Channel (TX CH) to (P 1-P16) (p. 61). However, Note Numbers from a pad set like this 
are not transmitted, so you cannot use them to play an external sound module. 



The following table shows how the numeric display (1-128) corresponds to the GBN 
(Group/Bank/Number) Program Number scheme used in Roland devices. 



Group A 



Number 



Group B 



Number 



\ 


12 3 4 5 6 7 8 


1 


12 3 4 5 6 7 8 


2 


9 10 11 12 13 14 15 16 


3 


17 18 19 20 21 22 23 24 


4 


25 26 27 28 29 30 31 32 


5 


33 34 35 36 37 38 39 40 


6 


41 42 43 44 45 46 47 48 


7 


49 50 51 52 53 54 55 56 


8 


57 58 59 60 61 62 63 64 



\ 


12 3 4 5 6 7 8 


1 


65 66 67 68 69 70 71 72 


2 


73 74 75 76 77 78 79 80 


3 


81 82 83 84 85 86 87 88 


4 


89 90 91 92 93 94 95 96 


5 


97 98 99 100 101 102103104 


6 


105106107108109110111 112 


7 


113114115116117118119120 


8 


121 122 123124 125 126127128 



GBN system 

This is a way of organizing Patch memory select buttons into Groups (A/B), Banks (1-8) 
and Numbers (1-8), which is used on many Roland synthesizers and sound modules. 



B 



65 



Setting MIDI Parameters 



Since MIDI parameters can be set independently for each pad bank (A and B), each pad can control two 
external sound modules. 

Iln the Play mode, use PATCH/ VALUE [-] or [+] to select the Patch 
(1-99) for which you wish to make settings. 

^% Press [EDIT] to enter the Edit mode. 



^ Use [SELECT] to select the MIDI parameter group. 

Jt Use [▲ ] or [▼ ] to select the parameter you wish to set. 

1^ Press [BANK A/ B] to select the pad bank you wish to set. 

£^ Strike the pad you wish to set. 

If you have a PD-7, PD-9, or PD-120 connected, you can make independent settings to the pad and 
V^y^M t yI^ When making MIDI parameter settings to the rim, play a rim shot to call up the trigger settings. 

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

M EMO The value will change more rapidly if you press [+] while holding [-]. 

If you press [ALL/ENTER] at this point, the currently displayed value will be set for all 
pads. If you are making settings for an internal pad, this will apply to all 8 internal pads. 
If you are making settings for an external pad, this will apply to the 4 external pads and 
rims. 

You can strike the pad to hear the edited sound. If you have layered two sounds, it is 
probably a good idea to press [LAYER] to turn Layer off. 



8 



To set parameters for the other pad bank, repeat steps 5-7. 



If you wish to set the same parameters for other pads, repeat steps 
6-7. If you wish to set different parameters for the other pads, 
repeat steps 4-8. 



10 



Press [EDIT] once again to return to the Play mode. 



Layer 

When Layer is on, two note messages will be transmitted each time you strike a pad. By making appro- 
priate MIDI Velocity Curve settings for each pad bank (A and B), you can create effects such as velocity 
crossfades for external sound modules. 



66 



if yoM set Layer to Velocity Switch, be sure that the SENS parameter is set to the same value for both 

^ pad banks (A/B). By changing the SENS value, you can shift the switching point of two sounds other- 



wise. 



Priority Ranlcing of Note Number Expression 



When there are two or more sounds corresponding to Note Numbers that are received, only the sound 
that is set to the highest priority Pad (according to the following chart) is played. 



high priority 



Pad Bank A 



IMTI 



ll\rT2 



INTTS 



ll\n"4 



INTTB 



INTTS 



INn7 



INTTS 



: 



Pad Bank B 



r- 


^^^ 












^^^ 


^ 


^^^ 










^ 


^^^ 


^ 


U 


TRIG1 
(Head) 


^ 


"miG2 

(Head) 


^ 


TRIG3 
(Head) 


^ 


TRIG4 
(Head) 


^ 


TRG1 
(Rim) 


^ 


TRIG2 
(Rim) 


^ 


TRIGS 
(Rim) 


^ 


TRIG4 
(Rim) 


n 


— 











— 





— 





— 

















— 





J 


f 


































u 


INTTI 


^ 


ii\n"2 


^ 


INTTS 


^ 


ii\n"4 


^ 


INTTB 


^ 


INTTS 


^ 


INTT7 


^ 


INTT8 


n 


































J 



TRIG1 
(Head) 



TRIG2 
(Head) 



TRIGS 
(Head) 



TRIG4 
(Head) 



TRG1 
(Rim) 



TRIG2 
(Rim) 



TRIGS 
(Rim) 



TRIG4 
(Rim) 



INT 1 : Internal pad 1 
TRIG 1: Trigger input 1 



MEMO 



low priority 

If different Program Numbers are set to multiple pads that are set to the same Transmit Channel, then 
when you switch Patches, the Program Number of the highest priority pad is transmitted. 



Using the SPD-20 as a MIDI Sound Module 

Incoming MIDI messages from an external device can also trigger the SPD-20's sounds. The Instruments 
specified by the sound parameters for each pad will be played by incoming note messages of the Note 
Number specified for each pad. Incoming note messages are received on the Basic Channel. 



B 



Setting the Receive Channel (Basic Channel) 



The SPD-20 receives MIDI messages (note messages. Program Change messages. Control Change mes- 
sages) on its Basic Channel. When using an external MIDI device to play the SPD-20's sound generator, 
set the Transmit Channel of the external MIDI device to match the Basic Channel of the SPD-20. 

Iln the Edit mode, press [SELECT] to select the SYSTEM parameter 
group. 

^ Use [▲] or [▼] to select BASIC CH. 



Use PATCH/ VALUE [-] or [+] to specify the channel number (1-16). 



Press [EDIT] to return to the Play mode. 



67 



Settings for Each Pad 



Here's how to specify the Instrument (and its Note Number) that will be played by incoming MIDI mes- 
sages. 

Iln the Play mode, use PATCH/ VALUE [-] or [+] to select the Patch 
(1-99) for which you wish to make settings. 

^% Press [EDIT] to enter the Edit mode. 



Strike the pad you wish to set. 



Select an Instrument using INST in the SOUND parameter group (p. 
22). 

Select the note number (0-127) by using NOTE # in the MIDI para- 
meter group (p. 62). 

Now when the specified Note Number is received from the external device, you will be 
able to check the sound. 

If you wish to make settings for other pads, repeat steps 3-5. 



^9 Press [EDIT! to return to the Play mode. 

if you have specified the same Note Number for two or more pads, each pad ivill transmit the same 

^ Note Number. However, if a note message of that number is received, only the Instrument assigned to 
the highest-priority pad will sound (p. 67). If you attempt to make such a conflicting setting, the dis- 
play will flash more rapidly to inform you that the setting is invalid. 



MfSlt 



MEMO 



If the Patch Expand function (p. 69) is on and more than tioo same note numbers are included in these 
five Patches, the display will also flash more rapidly. 

Remember that three note numbers are assigned to each Hi-Hat Cymbal for pedal control sound 
(H01-H17). If even one of these three note numbers coincides loith a Note Number assigned to another 
pad, only the highest-priority pad loill sound. For example, if Note Number 38 has been assigned to 
the SOI sound for pad number 1, and Note Number 42 has been assigned to the HOI sound for Pad 
number 2, the HOI sound loill not be heard. If you attempt to make such a conflicting setting, the dis- 
play will flash more rapidly to inform you that the setting is invalid. 

By switching the Layer on/off, the way of note message processing will be changed; 

Layer Off: Each of the Note Numbers set to pad banks A and B are transmitted when received. 

Layer On: When received, the Note Number in pad bank B is ignored, while the Note Number in 
pad bank A is played. 



68 



Using External MIDI Devices to Play the Internal Sound 
Generator 

ISet tfie Transmit Channel for the external MIDI device to match the 
Basic Channel of the SPD-20 (p. 67). 

^ If necessary, use PATCH/ VALUE [-] or [+] to select a Patch. 

^ When you play the external MIDI device, the SPD-20 will sound. 

When a note message is received from the external MIDI device, the Instrument selected 
for the pad set to the corresponding Note Number will sound. 



MEMO 



If a Program Change message is received on the Basic Channel (p. 67), the corresponding Patch (1-99) 
will be selected. (Only in the Play mode.) 

The SPD-20 will not respond to incoming Program Numbers 100-128 for patch changes. 



Expanding Patches to Allow Reception of Many Note 
Numbers (Patch Expand) 

For each Patch of the SPD-20, 32 sounds can be selected. (If Layer is on, 16 sounds.) However, when 
using the unit as a MIDI sound module to play drum parts in GM System, GS Format, and other for- 
mats, this is an insufficient number of sounds. Therefore, the Patch Expand function is provided to 
make more sounds available for control from an external MIDI device. When Patch Expand is turned 
on, the sounds selected for Patches 96-99 will also be available, in addition to the currently selected 
Patch. (This provides a total of five Patches that can be played simultaneously via MIDI.) Note Numbers 
27-90 are set at the factory to each of the pads with Patch Numbers 96-99 (p. 70). 



tf^ 



The settings for the FX/PEDAL and FX/ON OFF will apply to the settings of currently selected 
Patch. 



How to turn the Patch Expand function on 



In the Edit mode, press [SELECT] to select the SYSTEM parameter 
group. 

Use [▲ ] or [▼ ] to select PATCH EXPAND. 



Use PATCH/ VALUE [-] or [+] to turn the Patch Expand function on. 



Press [EDIT! to return to the Play mode. 

When the Patch Expand function is on, an "E" will be displayed to the left of the Patch 
number when you are in the Play mode. 



/_ / / 



B 



69 



When you make settings for the Patch Chain (p. 33) while the Patch Expand function is on, the dis- 

^ play will indicate the selected patch chain (A, h, c, d, e, F, G, H) only. 

In order to make distinct the "E" indicating Patch Expand, a loioer case "e" is used to indicate Patch 




Patch Expand function is On 




Patcli Chain 



Contents of the Patches used for the Patch Expand function 



The contents of the Patches used for the Patch Expand function (Patch numbers 96-99) are initially set 
as follows: 



Patch Number 96 


Patch Num 


ber 98 


pad 


note* 

27 


instrument 
d19 High-Ql 


pad 


note* 


instrument 


AOl 


AOl 


59 


C31 


Brush Ride Cymbal 


A02 


28 


E25 


Shot 4 


A02 


60 


LOS 


Bongo High 


A03 


29 


d06 


Scratch Push 


A03 


61 


L04 


Bongo Low 1 


A04 


30 


d07 


Scratch Pull 


A04 


62 


L09 


Conga High Mute 


A05 


31 


S81 


Hall Cross Stick 


AOS 


63 


L11 


Conga High Open 


A06 


32 


AOl 


DR-SS Claves 


A06 


64 


L12 


Conga Low Open 1 


A07 


33 


A03 


CR-78 Metallic Beat 


A07 


65 


L30 


Timbale High 


A08 


34 


A03 


CR-78 Metallic Beat 


AOS 


66 


L31 


Timbale Low 


BOl 


3S 


b23 


Mondo Kick 


BOl 


67 


L38 


Agogo 3 


B02 


36 


b01 


Dry Kick 


B02 


6S 


L38 


Agogo 3 


B03 


37 


S80 


Ambient Cross Stick 


B03 


69 


L39 


Cabasa 


B04 


38 


S37 


L.A. Fat Snare 


B04 


70 


L23 


Maracas 


BOS 


39 


d01 


Hand Clap 1 


BOS 


71 


L64 


Samba Whistle Short 


B06 


40 


S46 


Rock Snare 


B06 


72 


L65 


Samba Whistle Long 


B07 


41 


t22 


Real Tom 2 


B07 


73 


L21 


Guiro Short 


BOS 


42 


h01 


Pop Closed Hi-Hat Inner 


BOS 


74 


L22 


Guiro Long 


Patch Number 97 


Patch Num 


ber 99 


pad 


note* 


instrument 


pad 


note* 


instrument 


AOl 


43 


t22 


Real Tom 2 


AOl 


75 


L19 


Claves 1 


A02 


44 


h05 


Pop Pedal Hi-Hat 


A02 


76 


o07 


Wood Block 


A03 


4S 


t22 


Real Tom 2 


A03 


77 


o07 


Wood Block 


A04 


46 


h04 


Pop Open Hi-Hat Outer 


A04 


7S 


L43 


Cuica Mute 1 


A05 


47 


t21 


Real Tom 1 


AOS 


79 


L45 


Cuica Open 


A06 


48 


t21 


Real Tom 1 


A06 


SO 


o03 


Triangle Mute 


A07 


49 


C01 


Crash Cymbal 1 


A07 


81 


o04 


Triangle Open 


A08 


50 


t21 


Real Tom 1 


AOS 


82 


L24 


Shaker 1 


BOl 


51 


C15 


Ride Cymbal 1 


BOl 


S3 


o01 


Sleigh Bell 


B02 


52 


C06 


Chinese Cymbal 2 


B02 


84 


F15 


Bell Tree 


BOS 


53 


C16 


Ride Bell Cymbal 1 


B03 


85 


o05 


Castanets 


B04 


54 


L27 


Tambourine 1 


B04 


86 


L54 


R-8 Surdo Mute 


BOS 


55 


C02 


Crash Cymbal 2 


BOS 


87 


L55 


R-8 Surdo Open 


B06 


56 


L14 


Cowbell 1 


B06 


88 


L10 


Conga High Slap 


B07 


57 


C02 


Crash Cymbal 2 


B07 


89 


J40 


Small Gong 


BOS 


58 


L33 


Vibra-Slap 


BOS 


90 


J39 


Large Gong 



70 



MEMO 



In the contents of Patch Expand Patches, note numbers 35-81 are compatible with GM Percussion 
Map which can be used to select Percussion sounds under the General MIDI System, and note num- 
bers 27-87 are compatible with GS Standard Set which can be used under the GS Format. 



General MIDI System 

The General MIDI system is a set of recommendations which seeks to provide a way to go beyond 
the limitations of proprietary designs, and standardize the MIDI capabilities of sound generating 
devices. Sound generating devices and music files that meets the General MIDI standard bears the 
General MIDI logo ( miDI ). Music files bearing the General MIDI logo can be played back using any 
General MIDI sound generating unit to produce essentially the same musical performance. General 
MIDI supports the GM Percussion Map in channel 10. 

GS i=brmat 

The GS Format ( ^S ) is Roland's set of specifications for standardizing the performance of sound 

generating devices. In addition to including support for everything defined by the General MIDI 

System, the highly-compatible GS Format additionally offers an expanded number of sounds, 

provides for the editing of sounds, and spells out many details for a wide range of extra features, 

including effects such as reverb and chorus. 

Designed with the future in mind, the GS Format can readily include new sounds and support new 

hardware features when they arrive. 

Since it is upwardly compatible with the General MIDI System, Roland's GS Format is capable of 

reliably playing back GM Scores equally as well as it performs GS Music Files (music files that has 

been created with the GS Format in mind). The GS Standard set is one of the percussion sets which 

can be used in GS drum part. (Default; ch 10.) 



Uj-^^-^ The contents of the Patches used by the Patch Expand function (Patches 96-99) can be modified in the 
Ivi same way as other Patches. 



Sounding Priority when Patch Expand is On 



If more than two sounds are set to the same note number and they receive the corresponding note num- 
ber, only one sound will play, in the priority shown in the following diagram. 



B 



high 
priority 



low 
priority 



Ihe currently I 
selected Patch I 



96 



97 



98 




99 



71 



How to Use a Sequencer or a Computer to 
Record/ Play back Your Performance 

When you wish to record or play back the musical performance of your SPD-20, you must make con- 
nections properly and make settings (such as Local Control off) before you begin recording. 



Connecting a Computer (or a Sequencer) 



Computer or Sequencer 




Stereo 
Headphones 



MIDI OUT ^d 
MIDI IN ^[J 














^^( ) 













Audio Equipment 
(Stereo Set) 



LINE IN 
L R 



ft 



MIDI OUT 






MIDI IN 



[TJ] 



□ 



AC adaptor 



Breaking/ Cutting the Connection Between the Sound 
Generator and the Pad Controller (Local Control) 

The Local Control setting allows you to disconnect the pad section from the sound generating section. 
When you wish to record and playback your SPD-20 performances using a MIDI sequencer or comput- 
er, set Local Control to off (Local Control Off). 



MIDI OUT 



MIDI IN 



Local Control 
Off 

o 



Pad section + 

Trigger Interface section 



Sound Generating 
section 



SPD-20 



72 



Turn off the power switch. 



^ While pressing [PATCH CHAIN], turn the power switch back on. 

The following message will scroll across the display, and Local Control will be turned off. 

LooBL EonLroL dFF 

When Local Control is set to "Off," the internal sound generator does not sound, even 
when the Pad is struck, and in PLAY mode, the MIDI Indicator lights. 

N OTE Local Control Off is lifted and Local Control On restored the next time the poiver is turned on. 



Regardless of the Local Control setting, messages received at MIDI IN will play the internal sound 

^ generator, and the pads and pedals will transmit messages from MIDI OUT. 



MIDI OUT, 



MIDI IN 



MIDI OUT 



MEMO 



Local Control 
Off 

o 



Pad section + 
Trigger Interface section 



Sound Generating 
section 



SPD-20 




MIDI Sequencer 



If you have connected the SPD-20 to a MIDI sequencer (or a personal computer running MIDI 
sequencing softivare) that has a "soft(ware) thru" function, set the SPD-20 to Local Off. 



B 



Soft Thru 

"Soft thru" is a function (provided in most MIDI sequencers) by which the messages received at 
MIDI IN of the sequencer are re-transmitted from MIDI OUT. (For details, refer to the manual of 
your sequencer or sequencer software.) 

When the sequencer's soft thru is turned on, messages it receives at its MIDI IN will be re-trans- 
mitted from its MIDI OUT. If the connected SPD-20 is set to Local On, it would sound each note 
twice: once in response to the message from the pad section, and once again in response to the 
MIDI message sent via the software thru function of the sequencer. 



It is also useful to set Local Off when using the SPD-20 as a pad controller to play only external sound 
l^^j modules. 



73 



How to Set Up the SPD-20 for Sequencing 



If you wish to record and playback an SPD-20 performance on a MIDI sequencer or 
computer, make the following settings, (these are the factory settings.) 

• For each pad you wish to use, set TX CH (p. 61) to the same channel as the Basic Channel. 

• For each pad you wish to use, set Note # (p. 62) for the pads so that they don't overlap. 

• For each pad you wish to use, set CURVE (p. 64) to "Lnr". 

• For each pad you wish to use, set SENS (p. 64) to 8. 

If you wish to record and playback Patch changes made during a performance, you will 
need to make the following settings as well. 

• For only one pad, set a Program Number that matches the Patch number (p. 65). 

If you wish to record and playback the pedal controller hi-hat sound (H01-H17) layered 
with another instrument, following setting will be necessary. 

• Assign a hi-hat cymbal for pedal control instrument (H01-H17) to pad bank A. 

If you assign these instruments to pad bank B, recording will be correct, but since the SPD-20 ignores 
incoming note messages for pad bank B, the Pedal hi-hat will not be heard during playback. 



74 



storing the SPD-20's Data in External Devices (Bullc Dump) 

The Patch data in the SPD-20 can be transmitted either singly or collectively to another SPD-20 (or to a 
sequencer). SPD-20 data is transmitted and received according to the Device ID number which has been 
set for each unit. (In the SPD-20, the Basic Channel number is also used as the Device ID number, p. 78) 
The operation of transmitting this data is called a "Bulk Dump"; receiving this data is called a "Bulk 
Load." 

How to Transmit (Bulk Dump) 

The SPD-20 transn\its stored data. 




] 



MIDI IN 






Computer or Sequencer 



SPD-20 



Connect the MIDI OUT of the SPD-20 to the MIDI IN of the sequencer. 



Set the ID (the same as the Basic Channel's; p. 67) of the device 
transmitting the Exclusive Messages. 



Press [EDIT] to enter the Edit mode. 



Use [▲ ] or [▼ ] to select the BULK DUMP in the SYSYBM parameter 
group. 



B 



Use PATCH/ VALUE [-] or [+] to select the Patch data you wish to 
transmit (Am 1-99). 

If ALL is selected, all Patch data. Patch Chain data, and system parameter data will be 
transmitted at once. If you wish to save an individual patch, select the patch number you 
wish to send with the value buttons. 

Set the receiving MIDI device so that it will be able to receive 
Exclusive messages. 



Press [ALL/ ENTER] and data transmission will begin. 



-^1 lU 



If you wish to stop the operation during transmission, press [EDIT]. 



75 



If you wish to transmit other Patch data, repeat steps 3-5. 



Press [EDIT! to return to tfie Play mode. 



How to Receive (Bulk Load) 



IJQ 



■re 



Here's how to receive Patch data that was stored in another SPD-20 (or in a sequencer). 




Computer or Sequencer 



SPD-20 

Connect the MIDI OUT of the transmitting device to the MIDI IN of the SPD-20. 
When data is received, the previously existing patch settings ivill be lost. 



Make sure that the MIDI channel of the transmitting device matches 
the Basic Channel of the receiving SPD-20 (p. 67). 

If you transfer Exclusive data from another SPD-20, set the basic channels on both units 
match. If you receive the Exclusive data that was stored in a sequencer, set the basic chan- 
nel to match the same number which was set when you saved data in the sequencer. 

Transmit the Exclusive data from the other MIDI device. When 
reception begins, "Lod" appears in the SPD-20's display. 

You are returned to the previous display as soon as the Bulk Load has been completed. 



r fJEM^ 



When Patch data is received, the bulk dumped Patch data is written to identical Patch numbers. 

For example, if you save Patch Number 21 using bulk dump, then when the Patch data is bulk loaded, 
it is stored in Patch Number 21. 



n6t^ 



Exclusive Messages cannot be received while Patch Copy and Patch Chain are being received. 

Exclusive data transmission and reception requires a great deal of processing, so it is best to avoid 
playing or editing ivhile transmission is going on. Also, Exclusive data transmission can require a sig- 
nificant amount of time, so allow a reasonable time for these operations. Data cannot be transmitted 
while incoming Bulk data is being processed, nor can data be received while Bulk data is being trans- 
mitted. 



76 



Reading SPD-11 Data with the SPD-20 



You can use the SPD-20 to receive bulk data (bulk load) from the SPD-11. The SPD-20 has all of the 
Listruments from the SPD-11 built in, allowing you to play back Patches and other data created on the 
SPD-11. 




1 



MIDI IN 





»--^™-^a S 1 II ||i|:|^f 1 






1 


















L 




^^ 




L_^ 



SPD-11 



SPD-20 



w 



TE 



When SPD-11 data is sent to the SPD-20, Patches 1-64 from the SPD-11 are stored in Patches 1-64. 

When data is received by the SPD-11, the SPD-20's Patch data is overivritten. 
Yon cannot transmit SPD-20 data to the SPD-11. 



Using a MIDI cable, connect the MIDI OUT of the SPD-11 to the MIDI 
IN of the SPD-20. 

Match the SPD-ll's Basic Channel with the Basic Channel the SPD- 
20. (p. 67) 

Put the SPD-11 in Edit mode and select the BULK DUMP SYSTEM 
parameter. 

Select the SPD-11 Patches (ALL, 1-64) to be forwarded. 



B 



Ntflfe 



When transmitting data, the SPD-ll's Patch Number is written as is to the same Patch Number on 
the SPD-20. When ALL is selected, then Patches 1-64 from the SPD-11 are written to Patches 1-64 
on the SPD-20. 



MEMO 



5 When you press [AUV ENTER] on the SPD-11, the data is forwarded 

from the SPD-11 to the SPD-20. 

#^ When reception begins, "Lod" appears in the SPD-20's display. 

Bulk Load is then completed. 

When transferring Patches 1-64 used for Patch Expand on the SPD-11 (p. 70) to the SPD-20, you 
must then use Patch Copy to copy Patches 1-64 on the SPD-11, to Patches 96-99 on the SPD-20. 



77 



What is Device ID 



NOTE 



According to the explanation on page 58 of this manual. Exclusive data is not differentiated by channel. 
However, this would mean that in a complex MIDI system that contained two or more SPD-20s, it 
would not be possible to transmit Exclusive data to only a specific SPD-20. To get around this problem, 
each SPD-20 has its own Device ID number (1-16) on which it transmits and receives Exclusive data. 
Exclusive data can be received only when the Device ID number of the receiving device matches the 
Device ID number of the transmitting device. 

In the SPD-20, the Basic Channel number is also used as the Device ID number. 

In some devices, the MIDI channel number and the Device ID number can be set independently, and 
will not necessarily be the same. When transferring Bulk data to another device, refer to the operation 
manual for that device. 



If you are using a sequencer to control two or more SPD-20s, you can set each unit to a different 
Device ID so that sel 
will also be different. 



r — V — ^ 

IW Device ID so that select data can be sent to each unit. But remember that the Basic Channel numbers 



78 



CHAPTER 5 Supplementary Materials 



Here you will find materials that are useful in helping you get the most out of your SPD-20. Read the 
sections as needed. 



Taking Advantage of the On-board Effects 











Explanation 








Effect list 








FX 
TYPE 


Name 




The parameter 
affected by "Time" 


1. 


Room (Bright) 


A bright-sounding room reverb 


Reverb Time 


2. 


Room (Standard) 


A standard room reverb 


Reverb Time 


3. 


Room (Dark) 


A dark-sounding room reverb 


Reverb Time 


4. 


Hall (Bright) 


A bright-sounding hall reverb 


Reverb Time 


5. 


Hall (Standard) 


A standard hall reverb 


Reverb Time 


6. 


Hall (Dark) 


A dark-sounding hall reverb 


Reverb Time 


7. 


Plate (Bright) 


A bright-sounding plate reverb 


Reverb Time 


8. 


Standard Plate 


A standard plate reverb 


Reverb Time 


9. 


Chorus + Reverb 


Chorus and reverb 


Reverb Time 


10. 


Tremolo Reverb 


Tremolo and reverb 


Reverb Time 


11. 


Chorus 


A standard chorus 


Chorus Rate 


12. 


Chorus + Room 


Chorus and room reverb 


Reverb Time 


13. 


Chorus + Hall 


Chorus and hall reverb 


Reverb Time 


14. 


Chorus + Plate 


Chorus and plate reverb 


Reverb Time 


15. 


Flanger 


A standard flanger 


Flanger Rate 


16. 


Flanger + Reverb 


Flanger and reverb 


Reverb Time 


17. 


Flanger + Reverb 


Flanger and reverb 


Flanger Rate 


18. 


Pitched Delay + Reverb 


Pitch-shifted delay and reverb 


Delay Pitch 


19. 


Pitched Delay + Reverb 


Pitch-shifted delay and reverb 


Delay Rate 


20. 


Stereo Delay 


Stereo delay (without feedback) 


Delay Time 


21. 


Stereo Delay 


Stereo delay (with feedback) 


Delay Time 


22. 


Panning Delay 


Panned delay (without feedback) 


Delay Time 


23. 


Panning Delay 


Panned delay (with feedback) 


Delay Time 


24. 


Chorus + Delay 


Chorus + stereo delay (without feedback) 


Delay Time 




25. 


Chorus + Delay 


Chorus + stereo delay (with feedback) 


Delay Time 



B 



79 



Explanation of Terms 



Room Reverb 



A simulation of the reverberation in a small room. 



Hall Reverb 
Plate Reverb 



A simulation of the reverberation in a room with a high ceiling. 

A simulation of a plate reverb (a reverb device which uses a metal plate), pro- 
ducing bright reverberation. 



Chorus 
Flanger 
Pitched Delay 
Delay Feedback 



An effect of enhanced spaciousness. 

An effect blending sounds reminiscent of a jet ascending and descending. 

An effect in which the delayed sound is pitch-shifted. 

This term refers to when the delayed signal is returned to the input of the cir- 
cuit. Delay effects marked "with feedback" will have more repetitions of the 
delayed sound. 



Panning Delay 



The delayed sound will be panned back and forth between the left and right 
speakers (if you are listening in stereo). Even if you select a Panning Delay 
marked "without feedback," there will be one delay for each position of right, 
center, and left. 



Reverb Time 
Chorus Rate 



This sets the length of the reverberation. 

This sets the modulation speed of the chorus effect. Higher settings result in 
faster chorusing. 



Flanger Rate 



This sets the modulation speed of the flanger effect. Higher settings result in 
faster flanging. 



Pitched Delay Pitch 



This sets the amount of pitch change applied to the delayed sound. Higher set- 
tings result in greater pitch change. 



Pitched Delay Rate 



This sets the modulation speed of the delayed sound. Higher settings result in 
faster modulation. 



Delay Time 



This sets the Delay time. Higher settings result in a longer delay. For the exact 
Delay times, refer to the table below. 



Delay Time: 0-450 (msec) 

The following chart shows the correspondence between Effect Time values and actual time (msec) when 
Delay is the Effect Type. 



FXTIME 


1 


2 


3 


4 


5 


6 


7 


8 


9 


10 


11 


12 


13 


14 


15 


16 


TIME [msec] 


5 


10 


20 


30 


45 


60 


75 


90 


105 


120 


135 


150 


165 


180 


195 


210 


FXTIME 


17 


18 


19 


20 


21 


22 


23 


24 


25 


26 


27 


28 


29 


30 


31 


32 


TIME [msec] 


225 


240 


255 


270 


285 


300 


315 


330 


345 


360 


375 


390 


405 


420 


435 


450 



80 



Hints on Using Reverb 



Reverb gives presence and spaciousness to any sound, whether solo or background. However, exces- 
sively high effects levels and long effects times may make the performance difficult to follow (because 
sounds are blurred), or make the rhythm less precise. There is a definite relationship between effect 
time and effect level. Here are two hints on using Reverb, based on that relationship. 

• If you want to use a long effect time, decrease the effect level to reduce muddiness. 

• If you want to use a high effect level, shorten the effect time to reduce muddiness. 



Hints on Using Delay 



While Reverb creates a lingering resonance. Delay creates quite a different effect. For Delay effects, the 
effect time setting can create significant differences in the resulting sound. For example, when playing a 
melodic solo using a mallet-type Instrument, an extremely short Delay time can be used to thicken the 
sound. On the other hand, a longer repeating Delay can be set to a Delay time of a half-note or quarter- 
note that matches the tempo of the song. 

If you are listening to the SPD-20 in stereo, it can also be interesting to select effect type 22 or 23 (Panned 
Delay) and select a Pan setting of "random." 



Hints on Using Chorus/ Flanger 



For Chorus /Flanger effects, the Time parameter determines the rate (the speed of modulation). 

For Chorus, lower settings of the time parameter will result in a more spacious sound, and higher set- 
tings will result in a more tremolo-like effect. Flanging is often used on metallic sounds such as cymbals 
or Hi-Hats to produce a frequently-heard effect. 



Hints on Maicing Parameter Settings 



Effects provide many possibilities, but if you always use the same heavily-applied Reverb or Chorus, all 
the Patches will sound the same. It is important to choose effect settings that are appropriate for the 
song or suited to the role of the Instrument (solo, backing, special effects, etc.). 

The FX SEND in the SOUND parameter group allows you to set the effect depth independently for the 
Instrument assigned to each pad, so it is possible, for instance, to apply flanging only to the cymbals. In 
the case of Reverb, higher settings of FX SEND will create the impression of the Instrument being 
played further away, so you might set the FX SEND parameter to a different value for each Instrument 
to create spatial contrast. By utilizing the Pan setting (the stereo position) and the Chorus effect, you can 
control a vast performance space. 



Hints on Not Using Effects 



Speaking of contrast, it can also be very "effective" to not use effects. Some possibilities are as follows. 

• To apply effects to certain Instruments and not to others. 

• To switch to a non-effect Patch at a strategic moment. 

As an example of the first possibility, you might try using an ethnic percussion Instrument — such as a 
surdo — without any effects for a feeling of authenticity. As an example of the second possibility, you 
could switch from a Patch with deep Reverb to a Patch with no effects (or vice versa) to reinforce musi- 
cal movement or development within a song. 



B 



81 



Troubleshooting 



When playing the internal sound generator 



• No sound 

Is the volume set to 0? 

-* Check the SPD-20 volume, and the volume of the amp system and mixer. 

Can you here sound through the headphones? 

-* If there is sound through the headphones, the problem may be that a connecting cable is dam- 
aged, or there is a problem with the amp or mixer. Check the amplification system and the audio 
connections. 

Is Layer Off selected? 

-* When Layer Off is selected, the sound from only one side is played. 

Could LEVEL in the SOUND parameter group be set to 0? 

-* Set the levels to an appropriate value (p. 23). 
Is INST (Instrument Assign) in the SOUND parameter group set to "oFF"? 

-* A pad will not sound if its Instrument Assign parameter is set to "oFF" (p. 22). 

Is Local Control turned off? 

-* If Local Control is turned off, the pad section is disconnected from the sound generator, so play- 
ing the Pads will not produce sound (p. 72). 

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate? 

-* Make appropriate settings for the Velocity Curve parameter (p. 24). 



Hj^ 



• No power/ Power on, but unit does not operate 

Are you using the supplied AC adaptor? 

-* Other AC adaptors may not work properly. If the SPD-20 does not operate even with the correct 
AC adaptor, check whether the correct AC line voltage is being supplied. 

It is best to avoid connecting many devices of high power consumption to the same AC outlet, or using 
an excessive number of AC outlet expansion plugs. 



• The volume is too low 



Is the volume turned down? 

-* Check the SPD-20 volume, and the volume of the amp system and /or mixer. 
Are LEVEL in the SOUND parameter group set too low? 

-* Set the LEVEL to appropriate levels (p. 23). 

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate? 

-* Make appropriate settings for the Velocity Curve parameter(p. 24). 

Is SENS (Velocity Sens) in the MIDI parameter group set too low? 

-* Make appropriate settings for the Velocity Sensitivity parameter. 



• The sound is wrong 



Are the SOUND parameters set correctly? 

-» Modify the SOUND parameters (p. 22). 



82 



• You hear sounds that you did not select 



Is the layer function on? 

-» Set Layer to Off (p. 15). 

Is an external MIDI sound module being played from that pad? 

-* If you do not wish to trigger an external MIDI sound module, set the Transmit Channel in the 
MIDI parameter to "oFF" (p. 61). 



• Soft strikes does not produce sound 



MEMO 



Is the TRIG THRESHOLD setting too high? 

-» Set TRIG THRESHOLD to an appropriate value (p. 44). 

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate? 

-* Make appropriate settings for the Velocity Curve parameter (p. 24). 

When two pads are struck simultaneously, only one of the sounds is played 

Are you striking the center of the pad? 

-* When striking two pads simultaneously, you should hit them both in the center. Furthermore, 
you can be more sure of sounding both pads if you strike them with the timing slightly off. 

With the SPD-20, the prevention of crosstalk (incorrect actions caused by the vibration from another 
pad) is processed internally. Thus, ifivhen tioo pads are struck at the same time the signal output by 
one of the pads is extremely weak, then that sound is prevented from sounding. Being sure to strike 
both pads in their centers, with the same force/strength makes it difficult for the sound difficult to be 
omitted. 



When external pads are connected 



EMQ V\[hen using external pads, set the TRIG TYPE (p. 45). 

The volume can't be controlled by adjusting the striking strength 

-» Make the TRIG TYPE match (p. 45). 

-» Make the TRIG SENS and TRIG CURVE match (p. 43, p. 47). 

When striking repeatedly, some sounds are lost 

-» Make the TRIG TYPE match (p. 45). 

In some cases, when using pads or acoustic drum triggers from other manufacturers, you should make 
L^^j your settings in Advanced Trigger Parameters (p. 48). 

There is no sound when rim shots are played 

-* Play the rim shot correctly (p. 39). 

Are stereo cables used to connect the pads? 

-* Connect using stereo cables. 

-* On the PD-120, rim shots can be played when you use Trigger Inputs 1 and 2. 



B 



83 



When playing external MIDI sound modules 



• No sound 

Are MIDI connections correct? 

-» Check that the SPD-20 MIDI OUT is connected to the MIDI IN of the external sound module, and 
that the MIDI cable is not dan\aged. 

Is the volume of the MIDI sound module turned down? 

-* Raise the volume. 

Is TX CH (Transmit Channel) in the MIDI parameter group set correctly? 

-* Make sure that the Transmit Channel is not set to "oFF" and that the MIDI channel of the pad 
and the sound module match (p. 61). Additionally, if the Transmit Channel is set to P1-P16, S-S, 
C-S, or toP, Note Messages are not transmitted. 

Is NOTE # (Note Number) in the MIDI parameter group set correctly? 

-* Check the note numbers of the MIDI sound module (p. 62). 

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate? 

-* Make appropriate settings for the Velocity Curve parameter (p. 64). 

• The sound is too soft 

Is GT TIME (Gate Time) set too low? 

-* If you are playing a sound with a soft attack, set a longer Gate Time (p. 63). 

Is CURVE in the MIDI parameter group set to an inappropriate value? 

-* Set Velocity Curve to an appropriate value (p. 64). 

Is SENS in the MIDI parameter group too low? 

-* Set Velocity Seneitivity to an appropriate value (p. 64). 

• The volume does not change in response to playing dynamics 

Is CURVE in the MIDI parameter group set to "CSt"? 

-* Set Velocity Curve to an appropriate value (p. 64). 

• The note duration of the MIDI sound module does not change 
even though you adjusted GTTIME 

Does the MIDI sound module recognize Note Off messages? Or has it been set to a mode in 
which it does not recognize Note Off messages? 

-* Refer to the operation manual of the MIDI sound module. 

• When you select a Patch, the sound of the MIDI sound module also changes 

Has PGM CHG (Program Change) in the MIDI parameter group been set for a pad? 

-* Set Program Change to "oFF" (p. 65). 

• The MIDI sound module does not change sounds in response to 
Program Change messages 

Is PGM CHG in the MIDI parameter group set to "oFF"? 

-* Make Program Change settings (p. 65). 

Are the Transmit Channel of the pad and the MIDI channel of the MIDI sound module set appropriately? 

-* Check the Transmit Channel of the pad and the MIDI channel of the MIDI sound niodule (p. 61). 

Is the MIDI sound module able to respond to Program Change messages? Or is it set to a mode 
in which it does not recognize Program Change messages? 

-* Refer to the operation manual of the MIDI sound module. 



84 



• Two sounds are played 



Is the Layer function set to On? 

-* Turn the Layer function off (p. 15). 

• When the pad is struck, the sound is intermittent 

Is the Gate Time set to ALt? 

-* Set the Gate Time to something other than ALt (p. 63). 



When playing the internal sound generator of the SPD-20 



• No sound 

Does the Basic Channel of the SPD-20 match the Transmit Channel of the external MIDI device? 

-* Set both devices to the same channel (p. 67). 

M EMO Set the Basic Channel (BASIC CH; p. 67) as the SPD-20's Receive Channel. 

Is the layer function on? 

-* When the layer function is on, note messages assigned to pad bank B will be ignored. Turn the 
layer function off. 

Is the Instrument you wish to play assigned to a pad? 

-* Assign the Instrument to a pad (p. 22). 

Is the Note Number set correctly? 

-* The SPD-20 will not produce sound if it receives a Note Number which has not been assigned to a pad. 
Modify the Note Number, or select a Patch which has different note numbers assigned to it (p. 62). 

Have you assigned the same Note Number to more than one pad? 

-* Even if you assign the same Note Number to more than one pad, only one Instrument will 
sound. Set different note numbers for each pad (p. 62). 

• Note Numbers not set to a Patch are played 

Is Patch Expand on? 

-» Set Patch Expand to Off (p. 69). 



When a footswitch is connected 



• The footswitch does not work 

Is the footswitch connected correctly? 

-* Connect the footswitch properly (p. 15). 

• The MIDI sound module does not sustain notes when you press 
the Footswitch 

Is the Hold Pedal function set? 

-* Turn on the Hold Pedal function (p. 41). 

Is the MIDI sound module able to respond to Hold messages? 

-* Refer to the operation manual of the MIDI sound module. 



B 



85 



NOl^ 



• The internal sound generator does not hold notes when pressed 

Have you chosen an instrument that can hold tones? 

-* Holding with the internal sound generator is limited to certain specific Instruments (p . 88). 



Others 



• The Patch you set in a Patch Chain is not selected 

Is the Patch Chain set correctly? 

-* Check whether the Patch Chain is set correctly (p. 33). 

If you do not press [ENTER] after entering all of the Patch Numbers, the Patch Chain setting will not 
be completed. 

Is the SPD-20 in the Play mode? 

-* The Patch Chain function works only in the Play mode. 

Is the SPD-20 in the Patch Chain Play mode? 

-* While in Patch Chain Play mode, letters of the alphabet (A, h, C, d, e, F, G, H) appear to the left 
of the Patch Numbers. 

• Exclusive messages are not received 

Does the Device ID number of the transmitting MIDI device match the Basic Channel (Device ID 
number) of the SPD-20? 

-* Set the basic channel (p. 67). 
M EMO Set the SPD-20' s Device ID to the Basic Channel. 

• The effect does not work 

Is [FX ON/OFF] turned off? 

-» Press [FX ON/OFF] to on (p. 9). 

Is the FX LEVEL at 0? 

-* Set the FX LEVEL to an appropriate level (p. 28). 

Is the FX SEND at 0? 

-» Set the FX SEND LEVEL to an appropriate level (p. 25). 

• The display flashes rapidly during setting of the Note Numbers 

-* This indicates that during setting of Note Numbers the same Patch is being set to different pads 
(including pad bank A/B). If you set the same Note Numbers to different pads, the Note 
Number of the pad determined to have higher priority (p. 67) will take precedence. 



MEMO 



When Patch Expand is in effect, check to see if the same Note Number is used in any more than one of 
the five patches. 



• The sound recorded to a sequencer is not the same as that played back 

Are the pad's Note Numbers overlapping with those of another pad? 

-* Make all Note Numbers on the pads you are using different. The Note Number flashes rapidly 
when Note Numbers from different pads overlap (p. 62). 



86 



Error Messages 



If a problem occurs during operation, an error message will be displayed. Take the appropriate action 
as described in this section. 

RoL 5En5 Err 

A MIDI cable is not connected properly or may be damaged. 

-» Check the MIDI cable(s) and the connections with the other clevice(s). 



Load Err 



Data loading was not successful. 

-* Try loading once again. Pressing any button will return to the previous display. 

5Eri ai Err 

MIDI data was received incorrectly. 

Press any button on the front panel and the previous display will appear. 

-» If this message appears repeatedly, consult your dealer or the nearest Roland Service 
Center. 



bUFFEr FULL 



Too much MIDI data was received from another MIDI device. 

-* Reduce the amount of MIDI data transmitted by the other device. Or, re-transmit the data 
after a pause to reduce the amount of MIDI data transmitted all at once. Pressing any but- 
ton will return you to the previous display. 



ran LE5L Err 



t^ 



The internal memory data has been lost. 

-* Press any button on the front panel. All data will be initialized, and the previous display will 
reappear. 

If this happens, all the data in the SPD-20 ivill be reset to the factory presets. 



fln^LoC '-'^^'- 



This message indicates that there is an irregularity in the voltage of the pad detection circuit. Press any 
button on the front panel and the previous display will reappear. 

-* If the previous display does not reappear, no matter which button you press, contact the 
nearest Roland Service Center. Sometimes this error message will appear if you strike a 
pad while turning on the power. In this event, turn the power off and then on again. 



baLLErU La 



The memory-backup battery is exhausted. 

-* If the backup battery runs down completely, the data in internal memory will be lost. 
Contact your dealer or the nearest Roland Service Center as soon as possible to have the 
battery replaced. 

Press any button on the panel to return to the previous display. 



B 



87 



Instrument List 



Loop: After Phrase Loop plays for several measures, the volume then 

decreases (p. 22). 

Exc No.: You cannot sound the instrument that has the same number (#). 

Hold: You can use the foot switch to hold notes (p. 41). 

SPD-11: Indicates one of the SPD-ll's internal instruments. 



DRUMS 

Bass Drum (Kick) 

No. Instrument 



Loop Exc No. Hold SPD-11 



b01 Dry Kick 


/■ 


b02 Dry Medium Kicl< 


b03 Dry Hard Kick 


b04 Meat Kick 


b05 Pillow Kick 


• 


b06 Jazz Kick 1 


b07 Jazz Kick 2 


b08 Maple Kick 


b09 Real Kick 


if 


b10 Vintage Kick 1 


b11 Vintage Kick 2 


b12 26" Deep Kick 
b13 Medium Kick 


b14 Oyster Kick 


b15 Open Kick 


b16 Big Low Kick 


b1 7 Wood Beater Kick 


b18 Deep Kick 


• 


b19 Room Kick 1 


• 


b20 Room Kick 2 


• 


b21 Reverb Kick 


• 


b22 Deep Reverb Kick 

b23 MondoKick '777^^'^^^77^^'^^^77^. 

b24 Mondo Deep Kick 


• 


b25 Mondo Reverb Kick 


• 


b26 Solid Kick 


^ 


b27 Reverb Solid Kick 


^ 


b28 House Kick 


• 


b29 Dance Kick 

bao Deep Dance Kick 


• 


b31 Rap Kick 1 


^ 


b32 Rap Kick 2 


b33 Plastic Kick 1 


b34 Plastic Kick 2 


b35 GabbaKick 


b36 Jungle Kick 
b37 Electronic Kick 1 


b38 Electronic Kick 2 


• 


b39 TR-808Kick1 


• 


b40 TR-808Kick2 


b41 TR-808 Kick 3 


b42 808 Electronic Kick 


• 


b43 808 Boom Kick 1 
b44 808 Boom Kick 2 


b45 TR-909Kick1 


• 


b46 TR-909Kick2 


b47 TR-909Kick3 


b48 909 Hard Kick 


Y 


b49 TR-606 Distortion Kick 


b50 CR-78Kick 


Snare Drum 

No. Instrument Loop 


Exc No. Hold SPD-11 


501 Piccolo Snare Soft 

502 Piccolo Snare Hard 


S03 Piccolo Snare Rim Shot 


504 Beech Snare Soft 

505 Beech Snare Hard 


506 Beech Snare Rim Shot 

507 Acoustic Snare Soft 

508 Acoustic Snare Hard 


S09 Acoustic Snare Rim Shot 


S10 Steel Snare Soft 


S11 Steel Snare Hard 


812 Steel Snare Rim Shot 



No. Instrument Loop Exc No. Hold SPD-11 

513 Loose Snare Soft 

514 Loose Snare Hard f 

515 Loose Snare Rim Shot 

516 Medium Snare 1 Soft 

517 Medium Snare 1 Hard 

SI 8 Medium Snare 1 Rim Shot 

519 Medium Snare 2 Soft 

520 Medium Snare 2 Hard 

521 Medium Snare 2 Rim Shot 

522 Concert Snare Soft Exc 1 

523 Concert Snare Hard Exc 1 

524 Concert Snare Rim Shot Exc 1 

525 Concert Snare Roll Exc 1 

526 Concert Snare Buzz Exc 1 

527 Roll Snare .._*,._ 

528 Brass Snare Soft 

529 Brass Snare Hard 

530 Ring Snare Soft 

531 Ring Snare Hard f 

532 High Piccolo Snare 

533 Medium Fat Snare 

534 TD-7 Acoustic Snare ^ 

535 Real Snare * 

536 L.A. Snare /• 

537 L.A. FatSnare .111111.'. 111111111111111. ^■'.1! 

538 FatSnare * 

539 Brush Roll Snare 1 Exc 2 if 

540 Brush Roll Snare 2 Exc 2 ■/ 

541 Brush Swish Snare Exc 2 ^ 

542 Brush Slap Snare 1 * 

543 Brush Slap Snare 2 /'l 

544 Brush Slap Snare 3 11111. 11111... 1...1... 11111. <■.... ^ 

545 Brush Slap Snare 4 

546 Rock Snare ■/■ 

547 Rocker Snare if 

548 Rockin' Snare /; 

549 Rock Light Snare •/■ 

550 Rock Rim Shot Snare ■/■ 

551 Rock Splatter Snare * 

552 Light Snare ■/ 

553 Big Shot Snare •/■ 

554 Hyper Snare f 

555 Splatter Snare f 

556 Super Light Snare ■/ 

557 Super Whack Snare < 

558 Cracker Snare /; 

559 Cruddy Snare * 

560 Dopin' Snare ■/ 

561 House Snare ■'■ 

562 House Dopin' Snare f 

563 Reggae Snare 1 ■/ 

564 Reggae Snare 2 ■/ 

565 Swing Snare ■f 

566 90's Snare * 

567 Digital Snare /• 

568 FXSnare 111111111... 1... 1111111... l.l. ■'....! 

569 Rage Snare 

570 Jungle Tiny Snare 

571 Jungle Rim Snare 

572 Electronic Snare 1 

573 Electronic Snare 2 /• 

574 TR-808 Snare 1 /■ 

575 TR-808 Snare 2 

576 TR-909 Snare ■/ 
Sn TR-707Snare 

578 TR-606 Snare 

579 CR-78 Snare 

580 Ambient Cross Stick /• 

581 Hall Cross Stick /• 

582 Analog Cross Stick 

583 Ragga Cross Stick 

584 TR-808 Cross Stick /• 

585 TR-909 Cross Stick 

586 CR-78 Cross Stick 



88 



Tom -Tom 

No. Instrument Loop Exc No. Hold SPD-11 

t01 Big Tom 1 Soft 

t02 Big Tom 1 Hard ^••^••^••^••^••^••^••^••^••^••^••^••^••^••^••^••^••^••^ • • • • • • • 

t03 Big Tom 2 Soft 

t04 Big Tom 2 Hard 

t05 Studio Tom 1 Soft 

t06 Studio Tom1 Hard 

t07 Studio Tom 2 Soft 

t08 Studio Tom 2 Hard 

t09 JazzTom 1 Soft 

tlO JazzTomI Hard 

t1 1 Jazz Tom 2 Soft 

t12 JazzTom2Hard ^ ^ 

t13 Vintage Tom 1 Soft 

t14 Vintage Tom 1 Hard 

t15 Vintage Tom 2 Soft 

t16 Vintage Tom 2 Hard 

t17 Double Head Tom 1 ^ 

t18 Double Head Tom 2 ^ 

t19 Fusion Tom 1 

t20 Fusion Tom 2 

t21 Real Tom 1 ^ 

t22 Real Tom 2 ^ 

t23 Bircfi Tom 1 

t24 Birch Tom 2 

t25 Bowl Tom 1 

t26 Bowl Tom 2 

t27 Room Tom 1 

t28 Room Tom 2 

t29 Acoustic Tom 1 <^ 

t30 Acoustic Tom 2 <f 

t31 Rook Tom 1 ^ 

t32 Rock Tom 2 ^ 

t33 Brusfi Slap Tom 1 •f 

t34 Brusfi Slap Tom 2 ^ 

t35 Electronic Tom 

t36 2-Tone Electronic Tom 

t37 Brigfit Electronic Tom 

t38 TR-808Tom ^ 

t39 TR-909Tom 

t40 909WfiackTom '^ '^ ' '^ ' ^ ' ^ ^ ' ' '^ 

Hi-Hat Cymbal 

No. Instrument Loop Exc No. Hold SPD-11 

ti01 Pop Closed Hi-Hat Inner Exc 31 •' 

h02 Pop Closed Hi-Hat Outer Exc 31 /■ 

h03 Pop Open Hi-Hat Inner Exc31 ^ 

ti04 Pop Open Hi-Hat Outer Exc31 <f 

ti05 Pop Pedal Hi-Hat ExoSI /■ 

ti06 Real Closed Hi-Hat Inner ExcSI ^ 

ti07 Real Closed Hi-Hat Outer ...Exc.SI ^ 

ti08 Real Open Hi-Hat Inner Exc31 ^ 

ti09 Real Open Hi-Hat Outer Exc 31 ^ 

tilO Real Pedal Hi-Hat ............. .^^ 

h11 Brusfi Closed Hi-Hat Exq31 <^ 

h12 Brusfi Open Hi-Hat Exc31 ^ 

Ii13 Pure Closed Hi-Hat Inner Exc31 

Ii14 Pure Closed Hi-Hat Outer Exc 31 

Ii15 Pure Half Open Hi-Hat Exc 31 

fil 6 Pure Open Hi-Hat Exc 31 

fi17 Heavy Closed Hi-Hat Exc31 

h18 Heavy Open Hi-Hat Exc31 

h19 Medium Closed Hi-Hat Exc31 

h20 Medium Open Hi-Hat Exc.31 

h21 Tambourine Closed Hi-Hat Exc 31 

h22 Tambourine Open Hi-Hat Exc31 

h23 Wheel Closed Hi-Hat ^Z^^'^^^^^Z^^' .^^^ Excsr^"^^^'^^^^^^^"^^^'^^^^^^ "^^ 

ti24 Wheel Open Hi-Hat Exc31 

fi25 Wheel Pedal Hi-Hat \.^\..^^ .^^Exc3V^ ^^ ^^ ^^ ^^ 

fi26 TR-808 Closed Hi-Hat Inner Exc 31 ^ 

ti27 TR-808 Closed Hi-Hat Outer ...Exc 31 • 

fi28 TR-808 Open Hi-Hat Inner ' 'Exc31 ' ' ,^' 

fi29 TR-808 Open Hi-Hat Outer Exc31 /■ 

h30 TR-909 Closed Hi-Hat '^ Excsr^ 

h31 TR-909 Open Hi-Hat ! Exc31^^ 

h32 CR-78 Closed Hi-Hat .Exc31 /■ 

h33 CR-78 Open Hi-Hat Exc 31 ^ 



Hi-Hat Cymbal for pedal control 



No. Instrument 



Loop Exc No. Hold SPD-11 



HOI 
H02 
H03 
H04 
H05 
H06 
H07 
H08 
H09 
H10 
H11 
H12 
H13 
H14 
H15 
H16 
H17 



Pop Hi-Hat Inner 
Pop Hi-Hat Outer 
Real Hi-Hat Inner 
Real Hi-Hat Outer 
Brusfi Hi-Hat 
Pure Hi-Hat Inner 
Pure Hi-Hat Outer 
Heavy Hi-Hat 
Medium Hi-Hat 
Wtieel Hi-Hat 
TR-808 Hi-Hat Inner 
TR-808 Hi-Hat Outer 
TR-909 Hi-Hat 
CR-78 Hi-Hat 
Ctienchen Hi-Hat 
Shekere Hi-Hat 
Hand Cymbal Hi-Hat 



Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 
Exc 31 



Crash/ Ride Cymbal 




















No. Instrument Loop Exc No. Hold SPD-11 


C01 Crash Cymbal 1 • 


C02 Crash Cymbal 2 


<r 


C03 Ouick Crash Cymbal 




















C04 Crash Cymbal Soft 




















COS Chinese Cymbal 1 




















C06 Chinese Cymbal 2 


















/■ 


C07 Chinese Cymbal 3 


















/■ 


COS Sizzle Chinese Cymbal 




















C09 Splash Cymbal 1 




















CIO Splash Cymbal 2 




















C11 Pgy Crash Cymbal 1 




















CI 2 Pgy Crash Cymbal 2 




















CI 3 Pgy Chinese Cymbal 




















CI 4 Pgy Splash Cymbal 




















CIS Ride Cymbal 1 


















/■ 


CI 6 Ride Bell Cymbal 1 


















/■ 


CI 7 Ride Cymbal 2 




















CIS Ride Bell Cymbal 2 




















CI 9 Ride Cymbal 3 




















C20 Ride Bell Cymbal 3 




















C21 Sizzle Ride Cymbal 1 




















C22 Sizzle Ride Bell Cymbal 1 




















C23 Sizzle Ride Cymbal 2 




















C24 Sizzle Ride Bell Cymbal 2 




















C2S Sizzle Ride Cymbal 3 




















C26 Sizzle Ride Bell Cymbal 3 




















C27 Pgy Ride Cymbal 1 




















C2S Pgy Ride Cymbal 2 




















C29 Brush Crash Cymbal 




















C30 Brush Sizzle Crash Cymbal 




















C31 Brush Ride Cymbal 


















/■ 


C32 Brush Sizzle Ride Cymbal 




















C33 Hand Cymbals 


















< 


C34 Mallet Cymbal 




















CSS TR-808 Cymbal 


















/■ 


C36 TR-606 Cymbal 





















PERCUSSION 

Latin Percussion (Cuban, Brazilian) 

No. Instrument Loop Exc No. Hold SPD-11 

L01 R-8 Bongo High 

L02 R-8 Bongo Low 

LOS Bongo High ^ 

L04 Bongo Low 1 i^ 

LOS Bongo Low 2 ..' 

L06 R-8 Conga High Mute 

L07 R-8 Conga High Open 

LOS R-8 Conga Low Open 

L09 Conga High Mute f 

L10 Conga High Slap < 

L11 Conga High Open /■ 

LI 2 Conga Low Open 1 /■ 

LIS Conga Low Open 2 ^ 

L14 Cowbell 1 ^ 

LIS Cowbell2 /■ 

L16 Cowbells ^^T.'^T.'^T^^r^^^'Zr.'^T.'r.^r^^r^^r^^rT'^^^'^^r 

L17 CowbelU 

L18 Cowbells 



B 



89 



No. Instrument 
L19 Clavesl 
L20 Claves2 


Loop Exc No. He 


Id SPD-11 
■f 
■f 


No. 
120 
121 
122 
123 
124 
125 
126 
127 
128 
129 
130 
131 
132 
133 

Afr 

No. 

<A 

F01 
F02 
F03 
F04 
F05 
F06 
F07 
F08 
F09 
F10 
F11 
F12 
F13 
F14 

<^ 

F15 
F16 
F17 
F18 
F19 
F20 
F21 
F22 
F23 
F24 
F25 
F26 
F27 
F28 
F29 
F30 
F31 
F32 
F33 

<A 

F34 
F35 

<0 

F36 

<A 

F37 

Jap 

No. 

<J. 

J01 
J02 
J03 
J04 
J05 
J06 
J07 
J08 
J09 
J10 
J11 
J12 
J13 
J14 
J15 


Instrument Loop Exc No. Hold SPD-11 
Pot Drum 2 Short Exc 33 
Dholak Ga 


L21 Guiro Short 


Exc 3 


Dholak Ta Exc 34 


L22 Guiro Long 


Exc 3 


• 


Dholak Tun Exc 34 


L23 Maracas 




• 


Dholak Na Exc 34 


L24 Shaken 
L25 Shaker2 




• 


Madal Da 

Madal Din Exc 35 


L26 Shakers 






Madal Ta Exc 35 


L27 Tambourine 1 




• 


Khole 


L28 Tambourine 2 






Dholl Exc 15 


L29 TimbaleHigh 






Dhol2 Exc 15 


L30 Timbale High Rim Shot 




• 


Dhol3 Exc 16 


L31 Timbale Low 




^ 


Dhol 4 Exc 1 6 


L32 Timbale Paila 




^ 


TabIa Baya Loop ISi Exc 30 ■/ 


L33 VibraSlap 




• 




L34 Agogo 1 High 
L35 Agogo 1 Low 






ican/ Middle Eastern/ Australian/ Other Percussion 


L36 Agogo2High 
L37 Agogo 2 Low 






Instrument Loop Exc No. Hold SPD-11 

frica > 


L38 Agogo 3 




^ 


Shekere ■/ 


L39 Cabasa 

L40 TD-10CuicalVlute1 


Exc4 


^ 


Djembe 1 Center 
Djembe 1 Rim 


L41 TD-10CuicalVlute2 


Exc 4 




Djembe 2 /• 


L42 TD-10CuicaOpen 


Exc 4 




Djembe 3 ■/ 


L43 Cuica IVIute 1 


Exc 5 


• 




L44 Cuica IVIute 2 


Exc 5 


• 


Talking Drum 1 Down Exc 17 


L45 Cuica Open 


Exc 5 


V 


Talking Drum 1 Up Exc 17 


L46 Pandeiro 1 IVIute 


Exc 6 




Talking Drum 2 ^f 


L47 Pandeiro 1 Slap 


Exc 6 




Afro Drum Open 1 


L48 Pandeiro 1 Open 


Exc 6 




Afro Drum Open 2 


L49 Pandeiro 2 Mute 


Exc 7 


^ 




L50 Pandeiro 2 Slap 


Exc 7 


• 


Afro Drum Rattle 


L51 Pandeiro 2 Open 


Exc7 


• 


Metal Castanets 


L52 Pandeiro 3 




L53 R-8 Surdo Rim 




• 


liddle East > 


L54 R-8 Surdo Mute 


Exc 8 


• 


Bell Tree /■ 


L55 R-8 Surdo Open 


Exc 8 


V 


SagatClosed Exc18 


L56 Surdo Mute 


Exc 9 




SagatOpen Exc18 


L57 Surdo Open 


Exc 9 




Darbuka 1 Dom 


L58 Tamborim 1 Mute 






Darbuka 1 Tak 


L59 Tamborim 1 Slap 






Darbuka 2 * 


L60 Tamborim 1 Open 
L61 Tamborim 2 Open 




• 
• 


Doira Dun 


Doira Tik 


L62 TD-1 Samba Whistle Short 


Exc 10 




Doholla Dom 


L63 TD-10Samba Whistle Long 
L64 Samba Whistle Short 


Excip 
Exc 11 


• 


DohollaSak 
Doholla Tak 


L65 Samba Whistle Long 


Exc 11 


^ 


Doholla Roll Exc 19 


L66 Caxixi 






DohollaStop Exc19 


L67 Berimbau Mute 
L68 Berimbau Open 


Exc12 
Exc12 




Rek Dom 


L69 Berimbau Up 


Exc 12 




Rek Open 


L70 Berimbau Down 


Exc 12 




Rek Trill 


L71 Caixa Mute 






Bendir 


L72 Caixa Open Soft 
L73 Caixa Open Hard 






Dawul 
ustralia > 


L74 Caixa Roll 








L75 Rain Stick 






Boomerang 


L76 Samba Bateria 


ISI Exc 30 « 

IBI Exc 30 * 

Loop Exc No. He 

Exc 13 
Exc13 
Exc 13 






L77 Samba Loop 


ther > 


L78 Shaker Loop 

Indian Percussion 

No. Instrument 
i01 Sarna Bell 
i02 Baya 1 Slide 
i03 Baya1 Gin 
i04 Baya 1 Ka 


Id SPD-11 


Bloom Bell 


frica > 

Afro Loop CDS Exc 30 •f 


tanese/ Korean/ Chinese/ Southeast Asian Percussion 

Instrument Loop Exc No. Hold SPD-11 

apart > 


i05 Baya 1 Ge 


Exc 13 




Biwa 


i06 Baya 2 Ge 


Exc 13 


^ 


Atarigane 


i07 Tabia 1 Na 


Exc 14 




Hyoshigi 


i08 TabIa 1 Tin 


Exc 14 




Ohkawa 


i09 TabIa 1 Tun 


Exc 14 




Tsuzumi 1 High 


i10 TabIa 1 Ti 


Exc 14 




Tsuzumi 1 Low 


i1 1 TabIa 2 Te 


Exc 14 


• 


Tsuzumi 2 'f 


i12 Tabla2Na1 


Exc 14 


^ 


Shime Taiko 1 


i13 TabIa 2 Na 2 


Exc 14 
Exc14 


• 


Shime Taiko 2 


i14 Tabla2Tun 


Matsuri Taiko 


i15 Pot Drum 1 Low 


Exc 32 




Matsuri Taiko Rim 


i16 Pot Drum 1 High 


Exc 32 




Taiko 1 /• 


i17 Pot Drum 1 Accent 






Taiko 2 /■ 


i18 Pot Drum 2 Mute 






Taiko Rim ^f 


i19 Pot Drum 2 Long 


Exc 33 




Matsuri ■f^^ 



90 



No. Instrument Loop Exc No. Hold SPD-11 

J16 Yyoo Dude 

< Korea > 

J17 Buk 

J18 Buk Rim 

J19 Jang-Gu 

J20 Jing Mute Exc28 

J21 JingSoft ixc28 

J22 Jing Hard 1x9.28 

J23 Gengari IVIute ...Exc. 29 

J24 Gengari Soft Exc 29 

J25 Gengari Hard Exc 29 

< China > 

J26 Ban Gu 1 
J27 Ban Gu2 
J28 BanGu3 
J29 Gu Roll .............. .^^ 

J30 GuHigh Exc2p 

J31 Tang Gu Mute Exc 21 

J32 Tang Gu Exc.21 

J33 Hu Yin Luc Mute Exc22 

J34 HuYinLuo Exc22 

J35 Nao Bo 

J36 Xiao Bo 

J37 Small Tam-Tam 

J38 Large Tam-Tam 

J39 Large Gong ■/ 

J40 Small Gong ■/ 

J41 Tiny Gong 

J42 Bend Gong 

< Southeast Asia > 

J43 Finger Cymbal 

J44 Rama Cymbal 

J45 Chenctien Closed Exc 23 

J46 Chenctien Open Exc 23 

J47 Bali Cymbal Closed Exc24 

J48 Bali Cymbal Open Exc 24 

J49 Thai Gong 

J50 Jaws Harp Open Exc25 

J51 Jaws Harp Wow Exc25 

Orchestral Percussion 

No. Instrument Loop Exc No. Hold SPD-11 

001 Sleigti Bell ^ 

002 Tree Chimes 

003 Triangle Mute Exc 26 ■/ 

004 Triangle Open Exc26 •f 

005 Castanets < 

006 Castanets with Hall Ambience •f 

007 WoodBlock ■f 
ooa Slapstick 

009 Concert Bass Drum Mute Exc27 ■/ 

010 Concert Bass Drum Open Exc27 •f 

011 Timpani 1 Soft 

012 Timpani 1 Hard 

013 Timpani 2 i^ 

014 Timpani Bend ^ 

015 Church Bell /• 

016 Percussion Hit 1 

017 Percussion Hit 2 

018 Percussion Hit 3 

019 Orchestra Hit Major 1 

020 Orchestra Hit Major 2 

021 Orchestra Hit Diminish 1 

022 Orchestra Hit Diminish 2 

023 Orchestra Hit 1 ■/ 

024 Orchestra Hit 2 • 

Melodic Percussion/ Melodic Instruments 

No. Instrument Loop Exc No. Hold SPD-11 

M01 Glockenspiel ■/ 

M02 Vibraphone • • 

M03 Xylophone * 

M04 Marimba 1 i^ 

M05 Marimba 2 * 

M06 Bass Marimba 

M07 Celesta 

M08 Tubular Bells 1 •f 

M09 Tubular Bells 2 * 



No. Instrument 



Loop Exc No. Hold SPD-11 



< Central America > 

M10 Steel Drum 1 
M11 Steel Drum 2 

< India > 

Ml 2 Sitar 

Ml 3 Sitar Gliss 

Ml 4 Santoor Upper 

Ml 5 Santoor Lower 

Ml 6 Tambura 

Ml 7 Tambura Drone 

< Middle East > 

Ml 8 Hammer Dulcimer Upper 
Ml 9 Hammer Dulcimer Lower 

< Africa > 

M20 Kalimba < 

M21 Log Drum < 

M22 Balaphone 
M23 Afro Zither 



< China > 

M24 Yang Gin 

< Southeast Asia > 

M25 Bonang 
M26 Gender 
M27 Saron 
M28 Angklung 

< Melodic Instruments > 

M29 Gamelan 1 

M30 Gamelan 2 

M31 Glass 

M32 Iron Hammer 

M33 Bamboo 

M34 Drip 

M35 Synth Strings 1 

M36 Synth Strings 2 

Brass Hit 1 Short 

Brass Hit 1 Long 

Brass Hit 2 Short 

Brass Hit 2 Long 

Brass Hit 3 Short 

Brass Hit 3 Long 

Brass Fall 
M44 Choir Soprano 
M45 Choir Alto 
M46 Choir Bass 
M47 Choir Unison 1 
M48 Choir Unison 2 
M49 Choir 5th 1 

M50 Choir5th2 • • • 

M51 Choir 4th 1 
M52 Choir 4th2 
M53 Acoustic Bass 
M54 Fingered Bass 
M55 Picked Bass 
M56 Slap Bass 
M57 Funky Bass 

M58 TB-303Bass ""',',"Z ''■,",■ 
M59 SH-101 Bass 



M37 
M38 
M39 
M40 
M41 
M42 
M43 



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

No. Instrument Loop Exc No. Hold SPD-11 

A01 DR-55 Claves •' 

A02 CR-78Cowbell *' 

A03 CR-78 Metallic Beat /■ 

A04 CR-78Guiro ^ 

A05 CR-78 Tambourine * 

A06 CR-78 Maracas ■f 

Nyi CR-78 Bongo 

A08 CR-78 Claves 

A09 TR-707 Cowbell ' 

A10 TR-727Agogo 

All TR-808 Conga ■f_ 

A12 TR-808 Claves mmimimi^'iiimi-'L^^ 

A13 TR-808 Maracas ■f 

A14 TR-808 Cowbell Z''.Z''.Z''.Z''.Z''.Z''.Z''.Z''.Z''.Z''.Z''^^ 

A15 TR-808 Hand Clap ..-^-..- . 

A16 TR-909 Hand Clap " 



\ 



91 



SOUND EFFECTS 



Dance Sounds 

No. Instrument 



Loop ExcNo. Hold SPD-11 



d01 Hand Clap 1 

d02 Hand Clap 2 ^^^^^^^^^^^^^^^^^^^^^^, < 

d03 Little Clap 

d04 Hip Clap ••■•••••■•••••■•••••■•••••■•••••■•••••■•••••■•••••■•••••■•••••■••■••■••■• 

d05 Afro Clap 

d06 Scratch Push • 

d07 Scratch Pull •' 

d08 Scratch Stereo f 

d09 DR-550 Scratch Push 

dIO DR-550 Scratch Pull 

d1 1 Scratch Bass Drum Push 

d12 Scratch Bass Drum Pull 

d13 Scratch Snare 

d14 Jungle Hat 

d15 Jungle Cymbal 

die Dance Shaker 

d17 Tape Rewind 

d18 Vinyl Stop ^ 

d19 High-Q 1 7 T 7 T 7 T " T 7 T T "7 T •' 

d20 High-Q2 ' • 

d21 Beam High-Q 

d22 Air Blip 

d23 Techno Snap 

d24 Organ Chord 

d25 Distortion Guitar 

d26 Auh Voice 

d27 Techno Chord 

d28 Techno Scene 

d29 Synth Hit ,7,7777777777777777777777777 

dao Distortion Hit 

d31 Thin Beef 

d32 Techno Hit 

d33 Tao Hit 

d34 PhillyHit 

d35 Analog Bird 

d36 Retro UFO ,777777777777777777777777777 

d37 MetalSweep 

d38 Bounce 

d39 Distortion Swish 

d40 PCM Press 

d41 Jungle Roll Kick 

d42 Jungle Roll Snare 

d43 Techno Loop CDS Exc 30 ^ 



Artificial Sound Effects 



No. Instrument 



Loop Exc No. Hold SPD-11 



E01 Burt 

E02 Boing 1 

E03 Boing 2 

E04 Onkey 

E05 Tom Noise 

E06 Lazer 

E07 Feedback Wave 

E08 Atmosphere 

E09 Bend Synth 

E10 Toy Gun 

E11 Eddy 

E12 R-8 Spark 

E13 Rattle < 

E14 Anvil f 

El 5 Chop «' 

E16 Metall f 

E17 Metal2 ■/■ 

E18 Metal Cross Stick .' 

E19 Crash 1 • 

E20 Crash 2 • 

E21 Explosion 

E22 Shoti ' <-' 

E23 Shot 2 • 

E24 shot3 ,, 7, ,.77, 7,,^^ ,, ^. ,, ^. ,77, .77^^ ,, ^. ,, ^. ,, ^. ,, ^. ,, ^. ,, ' 

E25 Shot4 V 

E26 stickHit 7...7...7---7..-7..-7..-7---7---7..-7..-7..-7---<. 

E27 Noise Accent 1 ■' 

E28 Noise Accent 2 f 

E29 Noise Accent 3 • 

E30 Noise Accent 4 f 

E31 Random Noise 1 f 

E32 Random Noise 2 ^ 



No. Instrument Loop Exc No. Hold SPD-11 

E33 Random Noise 3 •' 

E34 Random Noise 4 • 

E35 Slide 

E36 uut? 7 77 77 77 77 77 77 77 77 77 77 77 77 7'<7^ 

E37 Drop •^ ,^ 

E38 Emergency ■'■ 

E39 Woody 1 .7 .7 .7 .7 .7 .7 .7 .7 .7 .7 .7 .7 .7 .'^..^ 

E40 Woody2 /• 

E41 Monster Drum •' 

E42 Can Drum /; 

E43 Wah Guitar Down 1 

E44 Wah Guitar Up 1 

E45 Wah Guitar Down 2 

E46 Wah Guitar Up 2 77777777777777777777777777 
Natural Sounds, Human Voice 

No. Instrument Loop Exc No. Hold SPD-11 

n01 Telephone 1 

n02 Telephone 2 

n03 Doorbell 

n04 Dog Bark 

n05 Bird 

n06 Car Door 

n07 CarStop 

n08 Horn 

n09 Punch 

nIO Glass Crash 

nil Door Close 

n12 Metallic Lid 

n13 Machine Gun 

n14 Pistol 

n15 Siren 

n16 Drum Major Whistle 

n17 Afro Feet 

n18 Afro Stomp 

n19 Thunder 

n20 Stream 

n21 Snaps f 

n22 Human Whistle 

n23 Oww! 

n24 woa! 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,, 7,,,^ 

n25 Ooh! 

n26 chiki! 7..7...7...7...7---7...7...7...7...7...7...7...7...7...7...7...! 

n27 Hey! 

n28 Ou! 

n29 OulUp 

n30 Scream 

n31 Voice Loop G 



Exc 30 



Ambience, Reversed Sounds 



No. Instrument 



Loop Exc No. Hold SPD-11 



rOI Kick Ambience 

r02 Snare Ambience ■'' 

r03 Tom Ambience 'f 

r04 Concert Ambience ■'' 

r05 Reverse Bend Gong 

r06 Reverse Analog Bird 

r07 Reverse Laser 

r08 Reverse Boing 

r09 Reverse Bend Synth 

rIO Reverse High-0 ■■' 

r1 1 Reverse Beat 'f 

r12 Reverse Sitar Gliss 

r1 3 Reverse Yyoo Dude 

r14 Reverse Ambience "^ 

r1 5 Reverse Clap f 

r16 Reverse Cymbal i^ 

r1 7 Reverse Kick •' 

r18 Reverse Shot ^ 

r19 Reverse Snare 'f 

r20 Reverse Tom 'f 



Forces Phrase Ljoop Instrument to stop (MUTE) 



No. Instrument 



Mut Phrase Loop Mute 

No sound 

No. Instrument 



Loop Exc No. 



Hold SPD-11 



OFF Off 



Exc 30 



Loop Exc No. Hold SPD-11 



92 



Patch List 



No. 


Patch Name 


Description 


1 


Drums & Shaker * 


Demo Kit 


2 


Latin Set * 


Demo Kit 


3 


Orchestral 


Demo Kit 


4 


Groove * 


Demo Kit 


5 


Amazon * 


Demo Kit 


6 


Brushes * 


Demo Kit 


7 


Delay 


Demo Kit 


8 


Dance Chord 


Demo Kit 


9 


Indian * 


Demo Kit 


10 


Tex- M ex 


Demo Kit 


11 


Standard 1 


Acoustic Drum Kit 


12 


Standard 2 


Acoustic Drum Kit 


13 


Big Rock 


Acoustic Drum Kit 


14 


Jazz 


Acoustic Drum Kit 


15 


Funk 


Acoustic Drum Kit 


16 


Power 


Acoustic Drum Kit 


17 


Rock 


Acoustic Drum Kit 


18 


Electronic 


Electronic Drum Kit 


19 


Vintage Hex 


Electronic Drum Kit 


20 


TR-909 


Electronic Drum Kit 


21 


TR-808 


Electronic Drum Kit 


22 


CR-78/TR-808 


Electronic Drum Kit 


23 


Dance Scratch 


Electronic Drum Kit 


24 


Dance Mix * 


Electronic Drum Kit 


25 


Techno 


Electronic Drum Kit 


26 


Techno Beat 


Electronic Drum Kit 


27 


Techno Hit * 


Electronic Drum Kit 


28 


Hip Hop 


Electronic Drum Kit 


29 


Jungle * 


Electronic Drum Kit 


30 


Drums & Synth 


Electronic Drum Kit 


31 


Bongo & Conga 


Cuban Percussion 


32 


Timbales * 


Cuban Percussion 


33 


Cabasa & Cuica 


Brazilian Percussion 


34 


Berimbau * 


Brazilian Percussion 


35 


Samba * 


Brazilian Percussion 


36 


Tabia Baya 


Indian Percussion 


37 


Pot Drums 


Indian Percussion 


38 


Madal & Dholak * 


Indian Percussion 


39 
40 


Sitar * 
Santoor 


Indian Stringed Instrument 
Indian Struck Stringed Instrument 


41 


Tambura 


Indian Stringed Instrument 


42 


African * 


African Percussion 


43 


Kalimba 


African Percussion 


44 


Balaphone 


African Percussion 


45 


Darbuka 


Percussion 


46 


Doholla 


Percussion 


47 


Hammer Dulcimer 


Struck Stringed Instrument 


48 


Japanese 


Japanese Percussion 


49 


Korean 


Korean Percussion 


50 


Chinese 


Chinese Percussion 



No. 


Patcli Name 


Description 


51 


Yang Qin 


Chinese Struck Stringed Instrument 


52 


Southeast Asian 


Southeast Asian Percussion 


53 


Gamelan 


Southeast Asian Percussion 


54 


Timpani 


Orchestral Percussion 


55 


Chimes & Bells 


Orchestral Percussion 


56 


Orchestra Hits 


Orchestral Percussion 


57 


Marimba 


Melodic Percussion 


58 


Bass Marimba 


Melodic Percussion 


59 
60 


Celesta 
Vibraphone 


Melodic Percussion 
Melodic Percussion 


61 


Xylophone 


Melodic Percussion 


62 
63 


Tubular Bells 
Steel Drum 


Melodic Percussion 
Melodic Percussion 


64 


Melodic Gong 


Melodic Sound 


65 


Oriental 


Melodic Sound 


66 


Choir 


Melodic Sound 


67 


Choir & Bass 


Melodic Sound 


68 


Strings & Bass 


Melodic Sound 


69 


Brass 


Melodic Sound 


70 


Melodic 1 


Melodic Sound 


71 


Melodic 2 


Melodic Sound 


72 


Melodic 3 


Melodic Sound 


73 


Melodic 4 


Melodic Sound 


74 
75 


Whole Tone 
One Shot Delay 


Melodic Sound 
Sound Effects 


76 


Chorus + Delay 


Sound Effects 


77 


Flanger + Reverb 


Sound Effects 


78 


Metal Head 


Sound Effects 


79 


Chorus Chord 


Sound Effects 


80 


Wack-0 


Sound Effects 


81 


Flying 


Sound Effects 


82 


Crime Scene 


Sound Effects 


83 


Holler 


Sound Effects 


84 


Voices * 


Sound Effects 


85 


Loop Menu * 


Sound Effects 


86 


Reversed Sounds 


Sound Effects 


87 


Ambience 


Sound Effects 


88 


Deep (Full Set) 


Full Set Kit 


89 


Recording (Full Set) 


Full Set Kit 


90 


Vintage (Full Set) 


Full Set Kit 


91 


Jazz (Full Set) 


Full Set Kit 


92 


Jazz Brushes (Full Set) 


Full Set Kit 


93 


Analog (Full Set) 


Full Set Kit 


94 


Kit Copy 




95 


Kit Copy 




96 


for Patch Expand 1 




97 


for Patch Expand 2 




98 


for Patch Expand 3 





B 



99 for Patch Expand 4 



JEMp 



Patches marked with an asterisk "*" are made using phrase-loop Instruments. 



93 



Parameter List 



GROUP 


PARAMETER 


VALUE (DISPLAY) 


PAGE 


SOUND 


INST 


b01-b50, S01-S86, t01-t40, h01-h33, H01-H17, C01-C36, 
L01-L78, i01-i33, F01-F37, J01-J51, o01-o24, M01-M59, 
A01-A16, d01-d43, E01-E46, n01-n31, r01-r20, Mut, oFF 


22 


LEVEL 


0-15 


23 


PITCH 


-24-24 


23 


DECAY 


-31-31 


23 


PAN 


L7-L1,Ctr, r1-r7, rnd 


23 


CURVE 


Lnr, EP1-EP4, SP1, SP2, SF1-SF4, Hd1-Hd4, CSt 


24 


FXSEND 


0-15 


25 


MIDI 


TXCH 


1-16, OFF P1-P16, S-S, C-S, toP 


61 


NOTE* 


0-127, OFF 


62 


GTTIME 


01-40, ALt 


63 


PAN 


L7-L1,Ctr, r1-r7, rnd, oFF 


63 


CURVE 


Lnr, EP1-EP4, SP1, SP2, SF1-SF4, Hd1-Hd4, CSt 


64 


SENS 


1-15 


64 


PGM CHG 


1-128, OFF 


65 


FX/ PEDAL 


FX TYPE 


1-25 


28 


FXTIME 


1-32 


28 


FX LEVEL 


0-15 


28 


PDL CTRL 


HH, EFS, U07, U12, U24, d05, d12, d24 


54 


PDL LEVEL 


0-15 


55 


PDLCC* 


OFF 1,4, 10, 11, 16, 17, 64 


56 


SYSTEM 


BASIC CH 


1-16 


67 


BULK DUMP 


ALL, 1-99 


75 


PATCH EXPAND 


oFF, on 


69 


TRIG SENS 


1-16 


43 


TRIG THRESHOLD 


0-15 


44 


TRIG TYPE 


Pd5, Pd7, Pd9, 1 00, 1 20, PI , P2, Kd7, K1 , K2, KiK, Snr, toM, FLr 


45 


TRIG CURVE 


-2,-1,0,1,2 


47 



GROUP 


PARAMETER 


VALUE (DISPLAY) 


PAGE 


ADVANCED 

TRIGGER 

PARAMETER 


SCAN TIME [X 0.1ms] 


00-30 


51 


RETRIGGER CANCEL 


1-16 


52 


MASK TIME [ms] 


00-64 


52 


CROSSTALK CANCEL 


OFF 30, 40, 50, 60, 70, 80 


53 


RIMSENS(PD-120) 


OFF 1-15 


53 



Trigger Type Internal Parameters (Advanced Trigger Parameters) 

Refer to the chart for the Advanced Trigger Parameter values, which are set automatically when the 
Trigger Type is set. 



ADVANCED 

TRIGGER 

PARAMETER 




for DRUM PAD 


for DRUM TRIGGER 1 


Pd5 


Pd7 


Pd9 


100 


120 


PI 


P2 


Kd7 


K1 


K2 


KiK 


Snr 


toM 


FLr 


SCAN TIME [X 0.1ms] 


15 


00 


00 


00 


10 


10 


20 


00 


10 


20 


10 


10 


10 


20 


RETRIGGER CANCEL 


1 


1 


1 


1 


1 


1 


1 


7 


7 


7 


7 


5 


7 


9 


MASK TIME [ms] 


12 


12 


12 


12 


12 


12 


12 


12 


28 


28 


28 


28 


28 


28 


CROSSTALK CANCEL 


50 


40 


40 


30 


30 


50 


50 


OFF 


OFF 


OFF 


40 


40 


40 


30 


RIM SENSITIVITY 


— 


... 


... 


... 


9 


... 


... 


— 


— 


— 


... 


... 


... 


... 



Pd5: PD-5 


100: PD-100 


P2: PAD 2 


K2: KICK PAD 2 


toM: TOMTOM 


Pd7: PD-7 


120: PD-120 


Kd7: KD-7 


KiK: KICK 


FLr: FLOOR TOM 


Pd9: PD-9 


P1: PAD1 


K1: KICK PAD 1 


Snr: SNARE 





94 



Blank Parameter Chart 



PATCH PARAMETER 



PATCH No. 




PATCH NAME 






PAD BANK 


A B 


LAYER 


ON OFF 


FX ON/ OFF 


ON OFF 



FX/ PEDAL 


FXTYPE 




FXTIME 




FX LEVEL 




PDLCTRL 




PDL LEVEL 




PDLCC# 





INTERNAL PAD 







PAD 1 


PAD 2 


PADS 


PAD 4 


PADS 


PAD 6 


PAD 7 


PADS 




BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


SOUND 


INST 


































LEVEL 


































PITCH 


































DECAY 


































PAN 


































CURVE 


































FXSEND 


































MIDI 


TXCH 


































NOTE* 


































GTTIME 


































PAN 


































CURVE 


































SENS 


































PGM CHG 



































EXTERNAL PAD 







HEAD 1 


RIM 1 


HEAD 2 


RIM 2 


HEADS 


RIMS 


HEAD 4 


RIM 4 




BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


BANK A 


BANKB 


SOUND 


INST 


































LEVEL 


































PITCH 


































DECAY 


































PAN 


































CURVE 


































FXSEND 


































MIDI 


TXCH 


































NOTE* 


































GTTIME 


































PAN 


































CURVE 


































SENS 


































PGM CHG 



































B 



TRIGGER PARAMETER 





TRIG1 


TRIG 2 


TRIG 3 


TRIG 4 


INTERNAL PAD 


BASIC 


TRIG SENS 












TRIG THRESHOLD 












TRIG TYPE 












TRIG CURVE 












ADVANCED 


SCAN TIME 












RETRIGGER CANCEL 












MASK TIME 












CROSSTALK CANCEL 












RIM SENSITIVITY (PD-120) 













95 



Roland Exclusive Message 



1. Data Format for Exclusive Messages 

Roland's MIDI implementation uses the following data format for all 
Exclusive messages (type IV): 



Byte 


Description 


FOH 


Exclusive Status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


CMD 


Command ID 


[BODY] 


Main data 


F7H 


End of exclusive 



•MIDI status: FOH, F7H 

An Exclusive message must be flanked by a pair of status codes, starting 
with a Manufacturer ID immediately after FOH (MIDI version 1.0). 

•Manufacturer ID: 41H 

The Manufacturer ID identifies the manufacturer of a MIDI instrument that 
sends an Exclusive message. Value 41H represents Roland's Manufacturer ID. 

•Device ID: DEV 

The Device ID contains a unique value that identifies individual devices in 
the implementation of several MIDI instruments. It is usually set to 
OOH-OFH, a value smaller by one than that of a basic channel, but value 
OOH-IFH may be used for a device with several basic chamiels. 

•Model ID: MDL 

The Model ID contains a value that identifies one model from another. 
Different models, however, may share an identical Model ID if they handle 
similar data. 

The Model ID format may contain OOH in one or more places to provide an 
extended data field. The following are examples of valid Model IDs, each 
representing a unique model: 

OIH 

02H 
03H 

OOH, OIH 
OOH, 02H 
OOH, OOH, OIH 

•Command ID: CMD 

The Command ID indicates the function of an Exclusive message. The 
Command ID format may contain OOH in one or more places to provide an 
extended data field. The following are examples of valid Command IDs, 
each representing a unique function: 

OIH 
02H 

03H 

OOH, OIH 
OOH, 02H 
OOH, OOH, OIH 

•Main data: BODY 

This field contains a message to be exchanged across an interface. The exact 
data size and content will vary with the Model ID and Command ID. 

2. Address-mapped Data Transfer 

Address mapping is a technique for transferring messages conforming to the 
data format given in Section 1. It assigns a series of memory -resident 
records — waveform and tone data, switch status, and parameters, for 
example, to specific locations in a machine-dependent address space, thereby 
allowing access to data residing at the address a message specifies. 

Address-mapped data transfer is therefore independent of models and data 
categories. This technique allows use of two different transfer procedures: 
one-way transfer and handshake transfer. 



•One-way transfer procedure (See Section 3 
for details.) 

This procedure is suited to the transfer of a small amount of data. It sends out 
an Exclusive message completely independent of the receiving device's status. 

Connection Diagram 



Device A 




Device B 


MIDI OUT 
MIDI IN 




MIDI IN 
MIDI OUT 


......2 





Connection at point 2 is essential for "Request data" procedures. (See Section 3.) 

•Handshalce-transfer procedure (This device 
does not use this procedure) 

This procedure initiates a predetermined transfer sequence (handshaking) 
across the interface before data transfer takes place. Handshaking ensures that 
reliability and transfer speed are high enough to handle a large amount of data. 

Connection Diagram 



Device A 


1 


Device B 


MIDI OUT 
MIDI IN 


MIDI IN 
MIDI OUT 


2 





Connection at points 1 and 2 is essential. 

Notes on the above procedures 

* There are separate Command IDs for different transfer procedures. 

'^ Devices A and B cannot exchange data unless they use the same transfer procedure, 
share identical Device ID and Model ID, and are ready for communication. 

3. One-way Transfer Procedure 

This procedure sends out data until it has all been sent and is used when the 
messages are so short that answerbacks need not be checked. 

For longer messages, however, the receiving device must acquire each 
message in time with the transfer sequence, which inserts 20 milliseconds 
intervals. 

Types of Messages 



Message 


Command ID 


Request data 1 
Data set 1 


RQ1 (11H) 
DTI (12H) 



• Request data #1: RQl (IIH) 

This message is sent out when there is a need to acquire data from a device 
at the other end of the interface. It contains data for the address and size that 
specify designation and length, respectively, of data required. 

On receiving an RQl message, the remote device checks its memory for the 
data address and size that satisfy the request. 

If it finds them and is ready for communication, the device will transmit a 
"Data set 1 (DTI)" message, which contains the requested data. Otherwise, 
the device won't send out anything. 



Byte 


Description 


FOH 


Exclusive Status 


41 H 


Manufacturer ID (Roland) 


DEV 


Device ID 


MDL 


Model ID 


11H 


Command ID 


aaH 


Address MSB 
I 




1 
LSB 


ssH 


Size MSB 
1 




1 
LSB 


sum 


Check sum 


F7H 


End of exclusive 



96 



* The size of the requested data does not indicate the number of bytes that will make 
up a DTI message, but represents the address fields where the requested data 
resides. 

* Some models are subject to limitations in data format used for a single transaction. 

Requested data, for example, may have a limit in length or must be divided into 
predetermined address fields before it is exchanged across the interface. 

* The same number of bytes comprises address and size data, which, however, vary 
with the Model ID. 

* The error-checking process uses a checksum that provides a bit pattern where the 
last 7 bits are zero when values for an address, size, and that checksum are 
summed. 

•Data setl: DTI (12H) 

This message corresponds to the actual data transfer process. 

Because every byte in the data is assigned a unique address, a DTI message 
can convey the starting address of one or more bits of data as well as a series 
of data formatted in an address-dependent order. 

The MIDI standards inhibit non real-time messages from interrupting an 
Exclusive one. This fact is inconvenient for devices that support a "soft-thru" 
function. To maintain compatibility with such devices, Roland has limited 
the DTI to 256 bytes so that an excessively long message is sent out in 
separate 'segments'. 



Byte 


Description 


FOH 


Exclusive Status 


41H 


IVlanufacturer iD (Roiand) 


DEV 


Device iD 


MDL 


IVIodel ID 


12H 


Command ID 


aaH 
1 


Address MSB 
1 


1 


1 
LSB 


ddH 
1 


Data MSB 
1 


1 


1 
LSB 


sum 


Check sum 


F7H 


End ot exclusive 



* A DTI message is capable of providing only the valid data among those specified by 

an RQl message. 

* Some models are subject to limitations in data format used for a single transaction. 

Requested data, for example, may have a limit in length or must be divided into 
predetermined address fields before it is exchanged across the interface. 

* The number of bytes comprising address data varies from one Model ID to another. 

* The error-checking process uses a checksum that provides a bit pattern where the 
last 7 bits are zero when values for an address, size, and that checksum are 
summed. 

•Example of Message Transactions 

•Device A sending data to Device B 

Transfer of a DTI message is all that takes place. 



I Device A | 
[Data set 1] 



I Device B | 



* More than 20m sec time interval. 
[Data set 1] 



[Data set 1] 



B 



• Device B requesting data from Device A 

Device B sends an RQl message to Device A. 

Checking the message, Device A sends a DTI message back to Device B. 



I Device A | 



[Data set 1] 



I Device B | 
[Request data] 



* More than 20m sec time interval. 
[Data setl] 



[Data set 1] 



97 



MIDI Implementation 



TOTAL PERCUSSION PAD 
Model SPD-20 



Date: Dec. 4 1997 
Version: 1.00 



1. TRANSMITTED DATA 
[Channel Voice Message] 



(1) Note off 

Status Second 

9nH kkH 

n = MIDI Channel: 
kk = Note number: 

(2) Note on 

Status Second 

9nH kkH 

n = MIDI Channel: 
kk = Note number: 
vv = Velocity: 



Third 

OOH 

OH-FH (ch.l-ch.l6) 

00H-7FH (0-127) 



Third 

vvH 

OH-FH (ch.l-ch.l6) 

00H-7FH (0-127) 

01H-7FH (1-127) 



The SPD-2Q transmits through the MIDI Channels set to each Pad's Transmit Channel (TX 

CH). However, there is no transmission if the Transmit Channel is set to P1-P16, S-S, C-S, 

or loP. 

When the Gate Time is set to 01^0, after Note On is transmitted, Note Off is transmitted 

after the set time has elapsed. However, if a new sound is produced by the same Pad 

before Note Off is transmitted, then Note Off is transmitted at that time. 

With Gate Time set to ALt, Note On and Note Off messages are alternately transmitted 

when you strike the Pad. However, when switching Patches, 

When the Layer function is on, settmgs for both Bank A and Bank B are transmitted. 



(3) Polyphonic Key Pressure 



Status 



Second 



AnH kkH 

n = MIDI Channel: 
kk = Note number: 
vv = Value: 



Third 

vvH 

OH-FH (ch.l-ch.l6) 

00H-127H (0-127) 

OOH, 7FH (0, 127) 



These are transmitted via the MIDI Channel that is set to each Pad's Transmit Channel. 

However, if the Transmit Channel is set to P1-P16, S-S, C-S, or toP, the settings are not 

transmitted. 

This message is transmitted with value 7FH when grab the rim of the pad or value OOH 

when release the rim. Note number to be transferred is content of the head/rim of grabbed 

pad. 

When the "SOUND" is set from "h**", the note number of the head, rim, note number of 

head minus 2, note number of head minus 4, note number of rim minus 2, note number of 

rim minus 4 are transferred. 

When the "LAYER" is set at "ON", the note number of "BANK A" and "BANK B" are 

transmitted. 

(4) Control Change 

Modulation Depth (Controller number 1) 



status 
BnH 



Second Third 

OIH vvH 



Foot Control (Controller number 4) 



Status Second Third 

BnH 04H vvH 



Expression (Controller number 11) 



Status 
BnH 



Second Third 

OBH vvH 



General purpose controller 1 (Controller number 16) 



Status 
BnH 



Second Third 

lOH vvH 



General purpose controller 2 (Controller number 17) 



Status Second Third 

BnH IIH vvH 

n = MIDI channel: OH-OFH (ch.l-ch.l6) 

vv = Parameter Value: 00H-7FH (0-127) 



This transmits the Hi-Hat Controller position message as one of the Control Messages set 

in POL CC#. 

When the Footswitch function is set as a hold pedal, then if the pedal is pressed, 7FH is 

transmitted; when the pedal is released, OOH is transmitted. 

It is transmitted via the MIDI Channel set to the Basic Channel. 

Holdl (Controller number 64) 



Status Second 

BnH 40H 

n = MIDI channel: 



Third 

vvH 

OH-OFH (ch.l-ch.l6) 



vv = Parameter Value: 00H-7FH (0-127) 

This transmits the Hi-Hat Controller position message as one of the Control Messages set 

in PDL CC#. 

It is transmitted via the MIDI Channel set to the Basic Channel. 

Panpot (Controller number 10) 



Status Second 

BnH OAH 

n = MIDI channel: 
vv = Panpot: 



Third 
vvH 

OH-OFH (ch.l-ch.l6) 
00H-7FH (0-127) 



This transmits the Hi-Hat Controller position message as one of the Control Messages set 
in PDL CC#. 

It is transmitted via the MIDI Channel set to the Basic Channel. 

These are transmitted via the MIDI Channel that is set to each Pad's Transmit Channel. 
However, if the Transmit Channel is set to P1-P16, S-S, C-S, or toP, the settings are not 
transmitted. 

When the Pad is struck, the Panpot value corresponding to the MIDI PAN set to the Pad is 
transmitted. 

The Panpot message is not transmitted when the Transmit Channel and the Panpot value 
of a Pad that is tapped are the same as those of the most recently tapped Pad. 

The Panpot value 

MIDI PAN w 



L7 
L6 
L5 
L4 
L3 
L2 
LI 
Ctr 
R1 
R2 
R3 
R4 
R5 
R6 
R7 
rnd 





9 

18 

27 

36 

45 

54 

64 

73 

82 

91 
100 
109 
118 
127 
one of upper value 



(5) Program Change 



Status Second 

CnH ppH 

n = MIDI channel: 
pp = Program number: 



OH-FH (ch.l-ch.l6) 

00H-7FH (prog.l-prog.128) 



With the Transmit Channel set to 1-16, when you switch Patches, the Transmit Channel 
and Program Changes set to each of the Pads in Banks A and B are transmitted. 
With the Transmit Chamiel set to P1-P16, when you strike Pads, the Transmit Channel and 
Program Changes set to each of the Pads in Banks A and B are transmitted. 



[System Exclusive Message] 

Status 

FOH: System Exclusive 

F7H: FOX (End Of Exclusive) 

With the SPD-20, the System Exclusive Message can be used to transmit Bulk Dump of 

patch data, instrument data, system data, chain data and sequence data. 

For details refer to "3. Exclusive Communications" and "Roland Exclusive Message." 



98 



[System Common Message] 

(1) Song Position Pointer 



Status 
F2H 



Second Third 

OOH OOH 



When "toP" is selected as the Transmit Channel, messages are transmitted when the Pad is 
struck. 



[System Realtime Message] 



(1) start 



status 
FAH 

When "S-S" is selected as the Transmit Channel, messages are transmitted when the Pad is 
struck. Afterwards, striking the Pad alternately transmits Stop and Start messages. 



(2) Continue 



Status 
FBH 

When "C-S" is selected as the Transmit Channel, messages are transmitted when the Pad is 
struck. Afterwards, striking the Pad alternately transmits Stop and Continue messages. 



(3) Stop 



Status 
FCH 

When "S-S" or "C-S" is selected as the Transmit Channel, striking the Pad after transmit- 
ting Start or Continue messages transmits. 



(4) Active Sensing 



status 
FEH 



Foot Control (Controller number 4) 

Status Second Third 

BnH 04H vvH 

Panpot (Controller number 10) 

Status Second Third 

BnH OAH vvH 

Expression (Controller number 11) 

Status Second Third 

BnH OBH vvH 

General purpose controller 1 (Controller number 16) 

Status Second Third 

BnH lOH vvH 

General purpose controller 2 (Controller number 17) 

Status Second Third 

BnH IIH vvH 

n = MIDI channel: OH-OFH (ch.l-ch.l6) 

vv = Parameter Value: 00H-7FH (0-127) 

Any one of the Control Messages set in PDL CC# is received as a Hi-Hat Control pedal 
Position Message. The result of receiving the message depends on the parameter of "PDL 
CTRL". The SPD-20 receives the message on the basic channel. 

Holdl (Controller number 64) 



Status Second 

BnH 40H 

n = MIDI channel: 
vv = Parameter Value: 



Third 
vvH 

OH-OFH (ch.l-ch.l6) 
00H-7FH (0-127) 



Any one of the Control Messages set in PDL CC# is received as a Hi-Hat Control pedal 
Position Message. Effects are determined in the PDL CTRL settings. When Hold is selected 
for the PDL CC# setting, with vv = 40H-7FH, Hold is turned on, and when vv = 00H-3FH, 
Hold is ti.irned off. This is received via the channel set to the Basic Channel. 



Normal transmission takes approximately 240 ms. 



2.RECEIVED DATA 
[Channel Voice Message] 



(1) Note On 

Status Second 

9nH kkH 

n = MIDI channel: 
kk = Note number: 
vv = Velocity: 



Third 

vvH 

OH-OFH (ch.l-ch.l6) 

00H-7FH (0-127) 

01H-7FH (1-127) 



The SPD-20 receives Note on messages on the basic channel. If the received Note number is 
assigned to any pad, the instrument which is assigned to that pad will sound. If there are 
two (or more) pads which are assigned the same Note number, the instrument priority is 
given to the lower (lowest) pad number. When the Layer is set at "ON", the note number of 
"BANK B" is ignored. 



(4) Program Change 

Status Second 

CnH ppH 

n = MIDI channel: OH-OFH (ch.l-ch.l6) 

pp = Program number: 00H-62H (0-98) 

The SPD-20 receives the message on the basic channel. The program change number 0-S 
correspond to the patch number 1-99. 



[Channel Mode Message] 
(1) Reset All Controllers 



Status Second 

BnH 79H 

n = MIDI channel: 



Third 

OOH 

OH-FH (ch.l-ch.l6) 



The SPD-20 receives the message on the basic channel. The SPD-20 initializes the controller 
on receiving this message. 



B 



(2) Polyphonic Key Pressure 



Status Second 

AnH kkH 

n = MIDI channel: 
kk = Note number: 
vv = Value: 



Third 

vvH 

OH-FH (ch.l-ch.l6) 

00H-7FH (0-127) 

00H-7FH (0-127) 



The SPD-20 receives the message on the basic channel. If the value is greater than or equal 
to 40H(64), the decay of the instrument whitch corresponds to the Note number is made 
shorter. 

(3) Control Change 

Modulation Depth (Controller number 1) 

Status Second Third 

BnH OIH vvH 



Modulation Depth 
Foot Controller 






Panpot 

Expression 

General Purpose Controller 1 

General Purpose Controller 2 

Hold 1 











[System Real Time Message] 

(1) Active Sensing 

Status 
FEH 

Whenever the SPD-20 receives this message, it monitors the interval of the coming data. If 
the subsequent message has not arrived within 300ms after the previous data, it process as 
though it has received Reset All Controllers and stops monitoring receiving interval. 



99 



[System Exclusive Message] 

Status 

FOH: System Exclusive 

F7H: EOX {End Of Exclusive) 

When using Exclusive Messages with the SPD-20, you can bulk dump Patch data. System 

data, and Chain data. 

For details refer to "Roland Exclusive Message" and paragraph "3. Exclusive 

Communications." 



3.Exclusive Communications 



[Parameter base addresses] 



[General] 



SPD-20 can do one-way communications to send and receive parameters for sequence and 

setup. 

Model ID included in the exclusive message should be OOH ODH. The device ID code 

should be BASIC CH of System. Note that the actual value that set in the device ID field is 

smaller by one than the value set at parameter BASIC CH of System. 



[One Way Communications] 
Request data RQ1 11 H 



Bvte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer's ID (Roland) 


DEV 


Device ID (OOH-OFH) 


OOH ODH 


Model ID (SPD-20) 


IIH 


Command ID (RQl) 


aaH 


Address MSB 


aaH 


Address 


aaH 


Address 


aaH 


Address LSB 


ssH 


size MSB 


ssH 


size 


ssH 


size 


ssH 


size LSB 


sxjm 


Checksum 


F7H 


EOX (End of Exclusive) 



Data set DT1 12H 



Byte 


Description 


FOH 


Exclusive status 


41H 


Manufacturer's ID (Roland) 


DEV 


Device ID (OOH-OFH) 


OOH ODH 


Model ID (SPD-20) 


12H 


Command ID (DTI) 


aaH 


Address MSB 


aaH 


Address 


aaH 


Address 


aaH 


Address LSB 


ddH 


data 



sum Checksum 

F7H EOX (End of Exclusive) 

[Transmission] 

The SPD-20 transmit exclusive messages only when MIDI Bulk dump is performed by 
panel operation on menu of System function. 

[Receive] 

When the SPD-20 is using One Way Communication, parameters are received when Bulk 
Dump is not executed. 

The SPD-20 can receive SPD-11 Patch parameter System Exclusive messages. When this is 
done, the SOUND INST Sound parameter is shifted and saved to the SPD-20 Instrument 
Number having the same tone as the one received from the SPD-11. 

4. Parameter address map 

Addresses are shown in every 7-bit hexadecimal. 



I Address | MSB 
I- 



LSB 



I Binary | Oaaa aaaa | Obbb bbbb i Occc cccc | Oddd dddd | 
I 7-bit hex. I AA I BB I CC I DD I 



Start 
Address 



DO 00 00 00 
I 

01 00 00 00 

I 

02 00 00 00 



Description 



Patch parameters *4-1 

I 
System parameters *4-2 

I 
Chain setup *4-3 



Table 4-1 Patch parameters 

* p: Patch No. (0-98), t: Pad No. (1-32) 

The correspondence of the "t" value to internal and external pads is as follows. 



00H(1): 
I 
07H (8): 

08H (9): 
I 
OBH (12): 

0CH(13): 
I 
0FH(16): 

10H(17): 

I 
17H (24): 

18H(25): 
I 
1BH (28): 

1CH(29): 

I 
1FH (32): 

Offset 
Address 



BANK A INTERNAL PAD1 
BANK A INTERNAL PADS 
BANK A EXTERNAL HEAD1 
BANK A EXTERNAL HEAD4 
BANK A EXTERNAL RIM1 
BANK A EXTERNAL RIM4 
BANKB INTERNAL PAD1 
BANK B INTERNAL PAD8 
BANK B EXTERNAL HEAD1 
BANK B EXTERNAL HEAD4 
BANK B EXTERNAL RIM1 
BANK B EXTERNAL RIM4 



Description 



pp 00 00 


BANKA/B 


0-1 


(0:A, 1:B) 


00 01 


LAYER 


0-1 


(0:OFF, 1:0N) 


00 02 


FX ON/OFF 


0-1 


(0:OFF, 1:0N) 


00 03 


FX TYPE 


0-24 




00 04 


FXTIME 


0-31 




00 05 


FX LEVEL 


0-15 




00 06 


PDL CTRL 


0-7 


(0: HH, 1 : EPS, 2: U07, 3: U1 2, 4: U24, 
5:d06, 6:d12, 7:d24) 


00 07 


PDL LEVEL 


0-15 




00 08 


PDL CC# 


0-7 




tt 00 
tt 01 


SOUND INST Upper 3bits 
SOUND INST Lower 7bits 


0-701 (700: Mut, 701: OFF) 


tt 02 


SOUND LEVEL 


0-15 




tt 03 


SOUND PITCH 


0-48 




tt 04 


SOUND DECAY 


-31-+31 


Lower 7bits of 2's complement 


tt 05 


SOUND PAN 


0-15 


(0-14:L7-R7, 15:RND) 


tt 06 


SOUND CURVE 


0-15 




tt 07 


SOUND FX SEND 


0-15 




tt 08 


MIDITXCH 


0-35 


(16: OFF, 17-32: P1-P16, 33: S-S, 
34: C-S, 35: toP) 


tt 09 


MIDI NOTE # 


0-127 




tt OA 


MIDI NOTE # 


0-1 


(1:0FF) 


tt OB 


MIDI GT TIME 


1-41 


(41 : ALt) 


tt OC 


MIDI PAN 


0-16 


(0-14: L7-R7, 15: RND, 16: OFF) 


tt CD 


MIDI CURVE 


0-15 




tt OE 


MIDI SENS 


0-14 




tt OF 


MIDI PGM CHG 


0-127 




tt 10 


MIDI PGM CHG 


0-1 


(1:0FF) 


Table 4-2 System parameters 


OHset 








Address 


Description 







00 
01 
02 

03 



04 
05 
06 
07 
08 
09 
OA 
OB 



OD 
OE 
OF 
10 
11 
12 



PATCH EXPAND 

TRIG SENS (INTERNAL) 

TRIG THRESHOLD (INTERNAL) 

EPAD1 Trig Type 



EPAD1 
EPAD1 
EPAD1 
EPAD1 
EPAD1 
EPAD1 
EPAD1 
EPAD1 



Trig Sens 
Trig Threshold 
Trig Curve 
Scan Time 
Retrigger Cance 
Mask Time 
Crosstalk Cancel 
Rim Sens 



EPAD2 Trig Type 



EPAD2 Trig Sens 
EPAD2 Trig Threshold 
EPAD2Trig Curve 
EPAD2 Scan Time 
EPAD2 Retrigger Cancel 
EPAD2 Mask Time 



0-1 

0-15 

0-15 

0-13 



0-15 

0-15 

0-4 

0-30 

0-15 

0-16 

0-6 

0-15 

0-13 



0-15 

0-15 

0^ 

0-30 

0-15 

0-16 



(0:OFF, 1:0N) 



(0:Pd5, 1:Pd7, 2:Pd9, 3:100, 
4: 120, 5: PI, 6: P2, 7: Kd7, 
8: K1, 9: K2, 10: KiK, 11:Snr, 
12:toM, 13:FLr) 



(0:Pd5, 1:Pd7, 2:Pd9, 3:100, 
4: 120, 5: P1, 6: P2, 7: Kd7, 
8: K1, 9: K2, 10: KiK, 11:Snr, 
12:toM, 13:FLr) 



100 



13 


EPAD2 Crosstalk Cancel 


0-6 


14 


EPAD2 Rim Sens 


0-15 


15 


EPAD3 Trig Type 


0-13 


16 


EPAD3 Trig Sens 


0-15 


17 


EPAD3 Trig Threshold 


0-15 


18 


EPAD3 Trig Curve 


0-4 


19 


EPAD3 Scan Time 


0-30 


1A 


EPAD3 Retrigger Cancel 


0-15 


IB 


EPAD3 Mask Time 


0-16 


1C 


EPAD3 Crosstalk Cancel 


0-6 


ID 


EPAD4 Trig Type 


0-13 


IE 


EPAD4 Trig Sens 


0-15 


IF 


EPAD4 Trig Threshold 


0-15 


20 


EPAD4 Trig Curve 


0-4 


21 


EPAD4 Scan Time 


0-30 


22 


EPAD4 Retrigger Cancel 


0-15 


23 


EPAD4 Mask Time 


0-16 


24 


EPAD4 Crosstalk Cancel 


0-6 



Table 4-3 Chain setup 



If you want to send Data Request to the SPD-20 in this area, set the address and the size as 

follows. 

Other data requests specifying address or size are ignored. 

Moreover, you cannot choose the address to which the data in this section is transmitted, 

nor can you choose the address from which it is received. 

address = 02 00 00 00 

size = 00 00 01 00 



Address Map 



Address 


Block 






Sub block 


Reference 


00 00 00 00 








1 Patch Param 


1 Patch#0 1 


14-1 




1 
1 
1 
1 
1 
1 
1 
1 




1 Patch#1 1 






1 1 






1 Patch#97 1 






. |Patch#98| 












1 System setup | 




|4-2 1 




1 Chain 


setup 


-+.... 




|4-3 1 
... + h 



S.Useful Information 

[Decimal and Hexadecimal] 



It is common to use 7-bit Hexadecimal numbers in MIDI communication. 

The following is a conversion table between decimal numbers and 7-bit Hexadecimal num- 





Hexa- 




Hexa- 




Hexa- 




Hexa- 


Decimal 


decimal 


Decimal 


decimal 


Decimal 


decimal 


Decimal 


decimal 





OOH 


32 


20H 


64 


40H 


96 


60H 


1 


OIH 


33 


21 H 


65 


41H 


97 


61H 


2 


02H 


34 


22H 


66 


42H 


98 


62H 


3 


03H 


35 


23H 


67 


43H 


99 


63H 


4 


04H 


36 


24H 


68 


44H 


100 


64H 


5 


05H 


37 


25H 


69 


45H 


101 


65H 


6 


06H 


38 


26H 


70 


46H 


102 


66H 


7 


07H 


39 


27H 


71 


47H 


103 


67H 


8 


08H 


40 


28H 


72 


48H 


104 


68H 


9 


09H 


41 


29H 


73 


49H 


105 


69H 


10 


OAH 


42 


2AH 


74 


4AH 


106 


6AH 


11 


OBH 


43 


2BH 


75 


4BH 


107 


6BH 


12 


OCH 


44 


2CH 


76 


4CH 


108 


6CH 


13 


ODH 


45 


2DH 


77 


4DH 


109 


6DH 


14 


OEH 


46 


2EH 


78 


4EH 


110 


6EH 


15 


OFH 


47 


2FH 


79 


4FH 


111 


6FH 


16 


lOH 


48 


30H 


80 


50H 


112 


70H 


17 


IIH 


49 


31H 


81 


51H 


113 


71H 


18 


12H 


50 


32H 


82 


52H 


114 


72H 


19 


13H 


51 


33H 


83 


53H 


115 


73H 


20 


14H 


52 


34H 


84 


54H 


116 


74H 


21 


15H 


53 


35H 


85 


55H 


117 


75H 


22 


16H 


54 


36H 


86 


56H 


118 


76H 


23 


17H 


55 


37H 


87 


57H 


119 


77H 


24 


18H 


56 


38H 


88 


58H 


120 


78H 


25 


19H 


57 


39H 


89 


59H 


121 


79H 


26 


lAH 


58 


3AH 


90 


5AH 


122 


7AH 


27 


IBH 


59 


3BH 


91 


5BH 


123 


7BH 


28 


ICH 


60 


3CH 


92 


5CH 


124 


7CH 


29 


IDH 


61 


3DH 


93 


5DH 


125 


7DH 


30 


lEH 


62 


3EH 


94 


5EH 


126 


7EH 


31 


IFH 


63 


3FH 


95 


5FH 


127 


7FH 



* The resolution of 7-bit Hexadecimal numbers is 128. Use several bytes for values which 
require more resolution. 

i.e. The number "aa bbH" in 7-bit Hexadecimal is "aa x 128 + bb" in Decimal form. 

* A signed number is indicated as OOH = -64, 40H = ±0, 7FH = -t63. 
So the signed number "aaH" in 7-bit Hexadecimal is "aa - 64". 

A signed number using two bytes is indicated as 00 OOH = -8192, 40 OOH = ±0, 7F 7FH = 

-1^8191. 

So the signed number "aa bbH" in 7-bit Hexadecimal is "aa bbH - 40 OOH = aa x 128 + 

bb - 64 X 128" 

* The data indicated as "nibbled" is a 4-bit Hexadecimal number, 
i.e. "Oa ObH" is "a x 16 + b". 

<EXAMPLE 1> Convert "5AH" in Hexadecimal to a Decimal number. 

(By using the table) 5AH = 90 

<EXAMPLE 2> Convert "12 34H" in 7-bit Hexadecimal to a Decimal number. 

(By using the table) 12H = 18, 34H = 52 
So, 18 X 128 + 52 = 2356 
<EXAMPLE 3> Convert "OA 03 09 OD" in nibblized form to a Decimal number. 

(By using the table) OAH = 10, 03H = 3, 09H = 9, ODH = 13 

So, 1(10 X 16 + 3) X 16 + 9| X 16 + 13 = 41885 



[Example of actual MIDI messages] 

<EXAMPIE> C9 49 

"Cn" is a status of a Program change message, and "n" is a MIDI channel number. 

The second byte is a Program number. 9H = 9, 49H = 73 

So, this is a Program change message of MIDI channel=10. Program number = 74. 



[Checksum of Roland System Exclusive 
messages] 

Roland System Exclusive messages {RQl and DTI) have a Checksum at the end of the data 

(before EOX) to be able to check for commimication errors. 

The Checksum results from address and data (or size) included in the message. 

How to calculate Checksums ("H" indicates Hexadecimal.) 

The error checking process uses a Checksum and provides a bit pattern where the last sig- 
nificant 7 bits are zero when values for an address, data (or size) and the Checksum are 
summed. 

If the address is "aa bb ccH" and the data( or the size) is "dd ee ffH" 
aa + bb + cc + dd + ee + ff = sum 
sum -r- 128 = quotient — remainder 
128 - remainder = checksum 

<EXAMPLE 1> Set "FX TYPE" of patch2 to 10 

See the "Parameter address map" 

Address: 00 01 00 03H the value of FX TYPE = 10 is 09H 

FO 41 09 00 OD 12 00 01 00 03 09 ?? F7 

(1) (2) (3) (4) (5) address data checksum (6) 

(1) Exclusive Status 

(2) ID (Roland) 

(3) Device ID (09H) 
The Checksum is: 

OOH + OIH + OOH + 03H + 09H = + 1 + + 3 + 9 = 13 (sum) 
13 (sum) + 128 = (quotient)— 13 (remainder) 
checksum = 128 - 13 (remainder) = 115 = 73H 

Therefore, the message to send is: FO 41 09 60 12 00 01 00 03 09 73 F7. 



(4) Model ID (SPD-20) 

(5) Command ID (DTI) 

(6) End of Exclusive 



B 



To indicate a decimal number for the MIDI channel and Program number, add 1 to the 
Decimal number in the table. 



<EXAMPLE 2> Request to transfer the "MIDI CH" of Padl (BANK A), Patch 3. 

See the "Parameter address map" 
Address: 00 02 01 08H 
Size: 00 00 00 OIH 

See the "Parameter address map" 

Address: 00 01 00 03H the value of FX TYPE = 10 is 09H 

FO 41 09 00 OD 11 00 02 01 08 00 00 00 01 ?? F7 
(1)(2)(3)(4) (5) address data checksum (6) 

(1) Exclusive Status (4) Model ID (SPD-20) 

(2) ID (Roland) (5) Command ID (RQl ) 

(3) Device ID (09H) (6) End of Exclusive 
The Checksum is: 

OOH + 02H + OIH + 08H + OOH + OOH +00H + OIH =0 + 2+1+8 + 0h 
+ 1 = 12 (sum) 

12 (sum) -i- 128 = (quotient)— 12 (remainder) 
checksum = 128 - 12 (remainder) = 116 = 74H 
Therefore, the message to send is: FO 41 09 60 11 00 02 01 08 00 00 00 01 74 F7. 



101 



MIDI Implementation Chart 



TOTAL PERCUSSION PAD Date : Dec. 4, 1 997 

Model sPD-20 MIDI Implementation Chart version :i.oo 



Function... 


Transmitted 


Recognized 


Remarks 


Basic Default 
Channel Changed 


Off, 1-16 *1 
Off, 1-16 *1 


1-16 
1-16 


Memorized 
(Non-volatile) 


Default 
Mode Messages 
Altered 


Modes 
X 

************** 


Mode 3 
X 




Note 

Number: True Voice 


Off, 0-127 *2 


Off, 0-127 *2 




Note ON 
Velocity Note OFF 


9n v = 1-127 
X 9n v = 


9b v = 1-127 
X 


n = Pad ch. 
b = Basic ch. 


After Key's 
Touch Ch's 


0,127 
X 


0, 127 
X 




Pitch Bend 


X 


X 




1 

4 

10 
11 

Control 

Change 16 

17 

64 

121 


X *3 

*3 

X *3 
X *3 

X *3 
X *3 

X *3 *4 

X 


X *3 

*3 

X *3 
X *3 

X *3 
X *3 

*3 




Modulation 

Foot 

Pan 
Expression 

General Purpose 1 
General Purpose 2 

Holdl 

Reset all controllers 


Program 

Change : True # 


*1 

Off, 0-127 



0-98 




System Exclusive 










System ' ^""^^ ^"^ 
sysiem 

Common „ ^ 
: Tune 


X *1 

X 

X 


X 
X 
X 




System : Clock 
Real Time : Commands 


X 

X *1 


X 
X 




Aux 
Message 


Local ON/OFF 
All Notes OFF 
Active Sense 
System Reset 


X 
X 

X 


X 
X 

X 




Notes 


* 1 Can be set and stored for each pad. 

* 2 Common to "Transmitted" and "Recognized." 

* 3 Select one to use as the Hi-hat Control pedal. 

* 4 Transmitted when Footswitch is set to "Hold pedal." 



Model : OMNI ON, POLY 
Mode 3 : OMNI OFF, POLY 



Mode 2 : OMNI ON, MONO 
Mode 4 : OMNI OFF, MONO 



0:Yes 
X :No 



102 



How to Read a MIDI Implementation Chart 

O: MIDI messages that can be transmitted or received 
X: MIDI messages that cannot be transmitted or received 

• Basic Channel 

This is the range of MIDI channels on which MIDI messages can be transmitted (received). The MIDI 
channel setting will be retained even when the power is turned off. 

• Mode 

Most keyboards today use mode 3 (omni off, poly). This means that MIDI messages will only be 
received on a specific MIDI channel, and will be played polyphonically. 

M OTE The MIDI "mode" setting is relevant only to reception. 



• Note Number 

This is the range of note numbers that can be transmitted (received). Note Number 60 is middle C (C4). 

• Velocity 

This is the range of velocity values which can be transmitted (received) as part of each Note On or Note 
Off message. 

• Aftertouch 

Polyphonic: aftertouch is independent for each key in the channel. 
Channel: aftertouch applies equally to all keys in the channel. 

• Pitch Bend 

The SPD-20 does not transmit /receive this data. 

• Control Change 

These are the Control Change numbers which can be transmitted (received), and the control functions 
they can have. For details refer to the MIDI Implementation. 

• Program Change 

The Program Numbers in the chart are the actual data values. The Patch numbers will be one number 
higher. 

• Exclusive 

Patch data can be transmitted and received as an Exclusive message. 

• Common, Realtime 

This MIDI message is used when the SPD-20 plays concurrently with a sequencer or rhythm machine, 
or when Start/Stop/Continue messages are in effect. 

• Other 

This category includes messages such as Active Sensing (to monitor the integrity of MIDI connections), 
which help keep a MIDI system running properly. 



B 



103 



Specifications 



SPD-20: Total Percussion Pad 



•Pads 

Built-in Pads: 8 

Four external trigger inputs (dual) are provided, allowing 
you to connect Pads. 

•Maximum Polyphony 

14 voices 

•Instruments 

700 

•Memory 

Patches: 99 
Patch Chains: 8 

•Sound Parameters 

Instrument 

Level 

Pitch 

Decay 

Pan 

Curve 

Effect Send Level 

•Effects 

Reverb 
Delay 
Chorus 
Flanger 

• Display 

7 segments, 3 characters (LED) 



•Power Supply 

AC 12 V: AC Adaptor 

•Current Draw 

420 mA 

• Dimensions 

450 (W) X 350 (D) x 70 (H) mm 

17-3/4 (W) X 13-13/16 (D) x 2-13/16 (H) inches 

•Weight 

2.8 kg 

6 lbs 3 oz 

(excepting AC adaptor) 

•Accessories 

Owner's Manual 

AC Adaptor (BOSS BRA Series) 

Slit Tape 

•Options 

Pads (PD-120, PD-100, PD-9, PD-7, PD-5) 
Kick Trigger Unit (KD-7) 
Hi-Hat Control Pedal (FD-7) 
Footswitch (BOSS FS-5U) 
Footswitch Cable (BOSS PCS-31) 
Pedal Switch (DP-2/6) 
All-purpose Clamp Set (APC-33) 



In the interest of product improvement, the specifica- 
tions and/or appearance of this unit are subject to 
change without prior notice. 



•Connectors 

Output Jacks (L [Mono], R) 
Phones Jack (Stereo) 
Trigger Input Jacks (Dual): 3 
HH CTRL/TRIG 4 Jack (Dual) 
MIDI Connectors (IN, OUT) 
Foot Sw Jack (Dual) 

Trigger inputs 1 and 2 accept rim shots from the PD-7, PD-9 
and PD-120 while inputs 3 and 4 accept rim shots from the 
PD-7 and PD-9. 



104 



Index 



A 

Acoustic Drum Trigger 45, 48 

Advanced Edit Mode 48 

Advanced Trigger Parameter 48 

Aftertouch Messages 59 

ALL 27,47 

All Purpose Clamp Set 10 

ALt 63 

APC-33 10 

B 

BASIC CH 67 

Basic Channel 67 

Bulk Dump 75 

Bulk Load 76 

C 

Chorus 81 

Closed Hi-Hat 54 

Control Change Messages 59 

COPY 32 

Cord Hook 8 

Crosstalk Cancel 53 

CURVE (Velocity Curve) 24 

Cynrbal Choke 39 

D 

DECAY 23 

Delay 81 

Device ID 78 

Drum Trigger 45, 48 

E 

Edit Mode 19 

Effect Level 28 

Effect List 79 

Effect Parameter 28 

Effect Section 18 

Effect Send Level 25 

Effect Time 28 

Effect Type 28,79 

Error Message 87 

Exclusive Messages 59 

External Pad 37 

F 

Factory Initialized State 11 

FD-7 36,40,54 

Foot Close 54 

Foot Open 54 

Footswitch 15,38,40,41 

Franger 81 

FS-5U 15 

Full Set Kit 36 

EX LEVEL 28 

FX SEND(Effect Send Level) 25 

FXTIME 28 

G 

Gate Time 63 

CBN System 65 

General MIDI System 71 

GS Format 71 

GTTIME 63 

H 

Half Open Hi-Hat 54 

Head 39 

Hi-Hat Control Pedal 40,54 

Hi-Hat Cymbals for Pedal Control 22 

Hold Pedal 41 

INST 22 

Instrument Group 22 

Instrument List 88 

Instruments 22 

K 

KD-7 36,37,45 

Kick Pedal 37 

Kick Trigger Unit 37 

L 

Layer 15,17 

LEVEL 23 

Local Control 72 

M 

Mask Time 52 

MIDI 57 

MIDI Channels 58 



MIDI Implementation 98 

MIDI Implementation Chart 102 

MIDI Parameter 61 

MIDI Connector 57 

MIDI Velocity Curve 64 

N 

NOTE# 62 

Note Number 58,62 

Note Off 58 

Note On 58 

O 

Open Hi-Hat 54 

P 

Pad Bank 16 

Pad Section 18 

PAN 23,63 

Parameter List 20,94 

Patch 14 

Patch Chain 33 

Patch Expand 69 

Patch List 93 

PD-100 38,45 

PD-120 36, 37, 38, 39, 45 

PD-5 37,45 

PD-7 35, 36, 37, 39, 45 

PD-9 37,39,45 

PDLCC# 56 

PDLCTRL 54 

PDL LEVEL 55 

Pedal Control 54 

Pedal Controller Numbers 56 

Pedal Hi-Hat 54 

Pedal Level 55 

Pedal Switch 38,40 

Percussion Set 35 

PGMCHG 65 

Phrase Loop 22 

PITCH 23 

Play Mode 19 

Program Change 61, 65 

Program Change Messages 59 

PSC-31 15 

R 

Receive Channel 67 

Retrigger Cancel 52 

Reverb 81 

Rim 39 

Rim Sensitivity 53 

Rim Shot 39 

ROM 11 

S 

Scan Time 51 

SENS 64 

Slit Tape 10 

Soft Thru 73 

Sound Generator Section 18 

Sound Parameter 22 

Specifications 104 

System Initialize 11 

T 

The Patch used for the Patch Expand Function 70 

Transmit Channel 61 

TRIG CURVE 47 

TRIG SENS 30,43 

TRIG THRESHOLD 31,44 

TRIG TYPE 45 

Trigger Curve 47 

Trigger Interface Section 18 

Trigger Parameter 42 

Trigger Sensitivity 30, 43 

Trigger Signal 51 

Trigger Threshold 31, 44 

Trigger Type 45 

TXCH 61 

V 

Velocity 58 

Velocity Crossfade 17 

Velocity Curve 24 

Velocity Mix 17 

Velocity Sensitivity 64 

Velocity Switch 17 



B 



105 



How -To Index 



Internal pad settings 



While playing 



• When playing the SPD-20's pads, how to ... 

Adjust the Seneitivity of the pads 30, 43 

Adjust the volume of each pad 23 

Change the decay 23 

Change the depth of the effect applied to the sound 

of each pad 25 

Change the Instrument triggered by a pad 22 

Change the Pan setting 23 

Change the pitch 23 

Change the way playing dynamics affects volume ...24, 47 
Force the internal tone Phrase Loop to stop using 

the pads 22 

Play two Instruments simultaneously 17 

Prevent improper triggering of the pads 31 

• When playing an external MIDI sound module, how to ... 

Adjust pad sensitivity 64 

Change sounds using Program Change messages 65 

Change the length of time that the note is sounded 63 

Change the MIDI channel 61 

Change the Note Number 62 

Change the way playing dynamics affects volume 64 

Use the SPD-20 as a pad controller to play only 

external sound 61 

Use the pads to transmit Program Changes to 

external devices 65 

Use the pads to start and stop a sequencer 61 

Use the pads to alternately transmit Note On and 

Note Off 63 

• When using the SPD-20 as a MIDI sound module, how to ... 

Make more sounds available from an external controller ...69 

Set each Instrument's note number 62 

Set the receive channel 67 

Use a Sequencer to record/playback 72 

Adjust the sensitivity of an external pad 43 

Adjusting the Trigger Signal Detection Time 51 

Prevent double triggering of an external pad 52 

Prevent improper triggering of an external pad 48 

Use external pads 35 

Set minimum levels for external pads 44 

Set the Trigger Type for external pads 45 

Set the Dynamics Curve for external pads 47 

Set Rim Sensitivity on the PD-120 53 

Copy Patch settings to another Patch 32 

Set all pads to the same parameter value 27 



Adjust the overall volume of the SPD-20 13 

Get half-open sounds with connected FD-7 54 

Select Patches 14 

Select Patches in a preset order (Patch Chain) 33 

Select Patches using footswitches 15 

Select Patches using Program Change messages 65 

Use choke playing technique with connected PD-7 39 

Use dual bass drum tequniques with connected KD-7s ....37 
Use rim shot with connected PD-7, PD-9, PD-120 39 



Footsw itch 



Use a footswitch to hold a sound of an external 

sound module 41 

Use footswitches to select Patches 15 

Use a footswitch in place of the kick pedal 38 

Use a footswitch in place of the hi-hat control pedal.... 40 



Hi-Hat Control Pedal 



Adjust the hi-hat volume with the pedal 55 

Control the hi-hat with the pedal 54 

Control the Effect Send level, pitch, etc., with the pedal 55 

Transmit Control Changes to external devices with 
the pedal 56 



Effect 



Adjust the effect depth for each Instrument assigned 

to the pad 25 

Adjust the overall effect depth for a Patch 28 

Change the effect type 28 

Control the effect send by using a hi-hat control pedal 55 

Taking advantage of the on-board effects 79 

Adjust the overall volume 13 

Attach the SPD-20's tom stand and cymbal stand 10 

Create a custom drum kit 36 

Create a custom percussion set 35 

Read MIDI Implementation Chart 60 

Read the parameter list 94 

Read this manual 5 

Receive Patch data stored in a sequencer 76 

Reset all parameters to the factory settings 11 

Reset one patch to the factory settings 32 

Transmit Patch data as an Exclusive message 75 

Turn the power off 13 

Turn the power on 12 

Use the cord hook 8 

Move Patch data from the SPD-11 to the SPD-20 71 



106 



USING THE UNIT SAFELY 



■For the U.K. 



INSTRUCTIONS FOR THE PREVENTION OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS 



About AWARNING and ACAUTION Notices 



About the Symbols 



AWARNING 


Used for instructions intended to alert 
the user to the risk of death or severe 
injury should the unit be used 
improperly. 


A CAUTION 


Used for instructions intended to alert 
the user to the risk of injury or material 
damage should the unit be used 
improperly. 

* Material damage refers to damage or 
other adverse effects caused with 
respect to the home and all its 
furnishings, as well to domestic 
animals or pets. 



A 



C 



The ^ symbol alerts the user to important instructions 
or warnings. The specific meaning of the symbol is 
determined by the design contained within the 
triangle. In the case of the symbol at left, it is used for 
general cautions, warnings, or alerts to danger. 



The (3 symbol alerts the user to items that must never 
be carried out (are forbidden). The specific thing that 
must not be done is indicated by the design contained 
within the circle. In the case of the symbol at left, it 
means that the unit must never be disassembled. 



The C| symbol alerts the user to things that must be 
carried out. The specific thing that must be done is 
indicated by the design contained within the circle. In 
the case of the symbol at left, it means that the power- 
cord plug must be unplugged from the outlet. 



ALWAYS OBSERVE THE FOLLOWING 



AWARNING 



Before using this unit, make sure to read the yjv 
instructions below, and the Owner's Manual. / • \ 



Do not open (or modify in any way) the unit or its 
AC adaptor. 



Do not attempt to repair the unit, or replace parts /\) 
within it (except when this manual provides spe- ^ — ^ 
cific instructions directing you to do so). Refer all 
servicing to your retailer, the nearest Roland 
Service Center, or an authorized Roland distribu- 
tor, as listed on the "Information" page. 



Never use or store the unit in places that are: 

• Subject to temperature extremes (e.g., direct 
sunlight in an enclosed vehicle, near a heating , 
duct, on top of heat-generating equipment); or 
are 

• Damp (e.g., baths, washrooms, on wet floors); 
or are 

• Humid; or are 

• Dusty; or are 

• Subject to high levels of vibration. 



When using the unit with a rack or stand recom- MA 
mended by Roland, the rack or stand must be care- ^^ 
fully placed so it is level and sure to remain stable. 
If not using a rack or stand, you still need to make 
sure that any location you choose for placing the 
unit provides a level surface that will properly 
support the unit, and keep it from wobbling. 



AWARNING 



Be sure to use only the AC adaptor supplied with MB 
the unit. Also, make sure the line voltage at the ^^ 
installation matches the input voltage specified on /l\ 
the AC adaptor's body. Other AC adaptors may 
use a different polarity, or be designed for a differ- 
ent voltage, so their use could result in damage, 
malfunction, or electric shock. 

Avoid damaging the power cord. Do not bend it (xT) 
excessively, step on it, place heavy objects on it, ^ — ^ 
etc. A damaged cord can easily become a shock or 
fire hazard. Never use a power cord after it has 
been damaged. 







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 hear- 
ing loss or ringing in the ears, you should immedi- 
ately stop using the unit, and consult an audiolo- 
gist. 



Do not allow any objects (e.g., flammable material, /\^ 
coins, pins); or liquids of any kind (water, soft v.y 
drinks, etc.) to penetrate the unit. 



IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE. 

BLUE: NEUTRAL 
BROWN: LIVE 

As the colours of the wires in the mains lead of this apparatus may not correspond with the coloured markings identifying 
the terminals in your plug, proceed as follows: 

The wire which is coloured BLUE must be connected to the terminal which is marked with the letter N or coloured BLACK. 
The wire which is coloured BROWN must be connected to the terminal which is marked with the letter L or coloured RED. 
Under no circumstances must either of the above wires be connected to the earth terminal of a three pin plug. 

For EU Countries - 



Apparatus containing 
Lithium batteries 



CAUTION 

Danger of explosion if battery is 

incorrectly replaced. 

Replace only with the same or 

equivalent type recommended by the 

manufacturer. 

Discard used batteries according to the 

manufacturer's instructions. 



ADVARSEL! 

Lithiumbatteri - Eksplosionsfare ved 

fejiagtig handtering. 

Udskiftning ma kun ske med batteri af 

samme fabrikat og type. 

Lever det brugte batteri tilbage til 

leveranderen. 



VARNING 

Explosionsfara vid felaktigt batteribyte. 
Anvand samma batterityp eller en 
ekvivalent typ som rekommenderas av 
apparattillverkaren. 
Kassera anvant batteri enligt 
fabrikantens instruktion. 



ADVARSEL 

Eksplosjonsfare ved feilaktig skifte av 

batteri. 

Benytt samme batteritype eller en 

tilsvarende type anbefalt av 

apparatfabrikanten. 

Brukte batterier kasseres i henhold til 

fabrikantens instruks joner. 



VAROITUS 

Paristo vol rajahtaa, jos se on 
virheellisesti asennettu. 
Vaihda paristo ainoastaan 
laitevalmistajan suosittelemaan 
tyyppiin. Havita kaytetty paristo 
valmistajan ohjeiden mukaisesti. 



This product complies with the requirements of European Directive 89/336/EEC. 




-For EU Countries - 



-For the USA - 



FEDERAL COMMUNICATIONS COMMISSION 
RADIO FREQUENCY INTERFERENCE STATEMENT 

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the 
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential 
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in 
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee 
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or 
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the 
interference by one or more of the following measures: 

- Reorient or relocate the receiving antenna. 

- Increase the separation between the equipment and receiver. 

- Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. 

- Consult the dealer or an experienced radio/TV technician for help. 

Unauthorized changes or modification to this system can void the users authority to operate this equipment. 
This equipment requires shielded interface cables in order to meet FCC class B Limit. 

For Canada — 



NOTICE 

This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations. 



AVIS 

Cet appareil numerique de la classe B respecte toutes les exigences du Reglement sur le materiel brouiileur du Canada. 



Information 

When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as 
shown below. 



(africa) 

EGYPT 

Al Fanny Trading Office 

9, EBN Hagar Al Askalany Street, 
ARD El Golf, Heliopolis, 
Cairo 11341, EGYPT 
TEL: 20-2-417-1828 

REUNION 

Maison FO - YAM Marcel 

25 Rue Jules Hermann, 
Chaudron - BP79 97 491 
Ste Clotilde Cedex, 
REUNION ISLAND 
TEL: (0262) 218-429 

SOUTH AFRICA 

That Other Music Shop 
(PTY) Ltd. 

11 McIIe St., Braamfontein, 
Johannesbourg, SOUTH AFRICA 

P.O.Box 32918, Braamfontein 2017 
Johannesbourg, SOUTH AFRICA 
TEL: (Oil) 403 4105 

Paul Bothner (PTY) Ltd. 

17 Werdmuller Centre, 
Main Road, Claremont 7708 
SOUTH AFRICA 

P.O.BOX 23032, Claremont 7735, 
SOUTH AFRICA 
TEL: (021) 674 4030 



(asia) 



CHINA 

Beijing Xinghai Musical 
Instruments Co., Ltd. 

6 Huangmuchang Chao Yang 
District, Beijing, CHINA 
TEL: (010) 6774 7491 

Shanghai Xingtong Acoustics 
Equipment CO.,Ltd. 

5F. No.1500 Pingliang Road 

New East Club Plaza, Shanghai, 

CHINA 

TEL: (021) 5580-0800 

HONG KONG 

Tom Lee Music Co., Ltd. 
Service Division 

22-32 Pun Shan Street, Tsuen 
Wan, New Territories, 
HONG KONG 
TEL: 2415 0911 

INDIA 

Rivera Digitec (India) Pvt. Ltd. 

409, Nirman Kendra Mahalaxmi 

Flats Compound Off. Dr. Edwin 

Moses Road, Mumbai-400011, 

INDIA 

TEL: (022) 498 3079 

INDONESIA 

PT Citra IntiRama 

Jl. Cideng Timur No. 15J-150 
Jakarta Pusat 
INDONESIA 
TEL: (021) 6324170 

KOREA 

Cosmos Corporation 

1461-9, Seocho-Dong, 
Seocho Ku, Seoul, KOREA 
TEL: (02) 3486-8855 

MALAYSIA 

BENTLEY MUSIC SDN BHD 

140 & 142, Jalan Bukit Bintang 
55100 Kuala Lumpur, MALAYSIA 
TEL: (03) 2144-3333 

PHIUPPINES 

G.A. Yupangco & Co. Inc. 

339 Gil J. Puyat Avenue 
Makati, Metro Manila 1200, 
PHILIPPINES 
TEL: (02) 899 9801 



SINGAPORE 

Swee Lee Company 

150 Sims Drive, 
SINGAPORE 387381 
TEL: 846-3676 

CRISTOFORI MUSIC PTE 
LTD 

BIk 3014, Bedok Industrial Park E, 
#02-2148, SINGAPORE 489980 
TEL: 243 9555 

TAIWAN 

ROLAND TAIWAN 
ENTERPRISE CO., LTD. 

Room 5, 9fl. No. 112 Chung Shan 
N.Road Sec.2, Taipei, TAIWAN, 
R.O.C. 

TEL: (02) 2561 3339 

THAILAND 

Theera Music Co. , Ltd. 

330 Verng NakornKasem, Soi 2, 
Bangkok 10100, THAILAND 
TEL: (02) 2248821 

VIETNAM 

Saigon Music 

138 Tran Quang Khai St., 

District 1 

Ho Chi Minh City 

VIETNAM 

TEL: (08) 844-4068 



[au 
(ne 



AUS7RAUA/ 
NEW ZEALAND 



AUSTKAUA 

Roland Corporation 
Australia Pty., Ltd. 

38 Campbell Avenue 
Dee Why West. NSW 2099 
AUSTRALIA 
TEL: (02) 9982 8266 

NEW ZEALAND 

Roland Corporation Ltd. 

32 Shaddock Street, Mount Eden, 
Auckland, NEW ZEALAND 
TEL: (09) 3098 715 



CENTKAiy LATIN 
AMERICA 



ARGENTINA 

Instrumentos Musicales S.A. 

Av.Santa Fe 2055 
(1123) Buenos Aires 
ARGENTINA 
TEL: (Oil) 4508-2700 

BRAZIL 

Roland Brasil Ltda 

Rua San Jose, 780 Sala B 
Parque Industrial San Jose 
Cotia - Sao Paulo - SP, BRAZIL 
TEL: (Oil) 4615 5666 

COSTA RICA 

JUAN Bansbach 
Instrumentos Musicales 

Ave.l. Calle 11, Apartado 10237, 
San Jose, COSTA RICA 
TEL: 258-0211 

CHILE 

Comercial Fancy 11 S.A. 

Rut.: 96.919.420-1 
Nataniel Cox #739, 4th Floor 
Santiago - Centro, CHILE 
TEL: (02) 688-9540 

EL SALVADOR 

OMNI MUSIC 

75 Avenida Norte y Final 
Alameda Juan Pablo 11 , 
Edificio No.4010 San Salvador, 
EL SALVADOR 
TEL: 262-0788 

MEXICO 

Casa Veerkamp, s.a. de c.v. 

Av. Toluca No. 323, Col. Olivar 
de los Padres 01780 Mexico D.F. 
MEXICO 
TEL: 668-0480 



PANAMA 

SUPRO MUNDIAL, S.A. 

Boulevard Andrews, Albrook, 
Panama City, REP. DE PANAMA 
TEL: 315-0101 

PARAGUAY 

Distribuidora De 
Instrumentos Musicales 

J.E. Olear y ESQ. Manduvira 
Asuncion PARAGUAY 
TEL: (021) 492-124 

PERU 

VIDEO Broadcast S.A. 

Portinari 199 (ESQ. HALS), 
San Borja, Lima 41, 
REP. OF PERU 
TEL: (01) 4758226 

URUGUAY 

Todo Musica S.A. 

Francisco Acuna de Figueroa 1771 
C.P.: 11.800 
Montevideo, URUGUAY 

TEL: (02) 924-2335 

VENEZUELA 

Musicland Digital C.A. 

Av. Francisco de Miranda, 
Centro Parque de Cristal, Nivel 
C2 Local 20 Caracas 
VENEZUELA 
TEL: (212) 285-8586 



(EUROPE) 



AUSTRIA 

Roland Austria GES.M.B.H. 

Siemensstrasse 4, P.O. Box 74, 
A-6063 RUM, AUSTRIA 
TEL: (0512) 26 44 260 

bhjgium/houand/ 
luxembourg 

Roland Benelux N. V. 

Houtstraat 3, B-2260, Oevel 
(Westerlo) BELGIUM 
TEL: (014) 575811 

DENMARK 

Roland Scandinavia A/S 

Nordhavnsvej 7, Postbox 880, 
DK-2100 Copenhagen 
DENMARK 
TEL: (039)16 6200 

FRANCE 

Roland France SA 
4, Rue Paul Henri SPAAK, 
Pare de I'EspIanade, F 77 462 St. 
Thibault, Lagny Cedex FRANCE 
TEL: 01 600 73 500 

FINLAND 

Roland Scandinavia As, 
Filial Finland 

Lauttasaarentie 54 B 
Fin-00201 Helsinki, FINLAND 
TEL: (9) 682 4020 

GERMANY 

Roland Elektronische 
Musikinstrumente HmbH. 

Oststrasse 96, 22844 Norderstedt, 

GERMANY 

TEL: (040) 52 60090 

GREECE 

STOLLAS S.A. 
Music Sound Light 

155, New National Road 
Patras 26442, GREECE 
TEL: (061) 43-5400 

HUNGARY 

Intermusica Ltd. 

Warehouse Area 'DEPO' Pf.83 
H-2046 Torokbalint, HUNGARY 
TEL: (23) 511011 

IRELAND 

Roland Ireland 

Audio House, Belmont Court, 
Donnybrook, Dublin 4. 
Repubhc of IRELAND 
TEL: (01) 2603501 



ITALY 

Roland Italy S. p. A. 

Viale delle Industrie 8, 
20020 Arese, Milano, ITALY 
TEL: (02) 937-78300 

NORWAY 

Roland Scandinavia Avd. 
Kontor Norge 

Lilleakerveien 2 Postboks 95 
Lilleaker N-0216 Oslo 
NORWAY 
TEL: 273 0074 

POLAND 

P. P. H. Brzostowicz 

UL. Gibraltarska 4. 

PL-03664 Warszawa POLAND 

TEL: (022) 679 44 19 

PORTUGAL 

Tecnologias Musica e Audio, 
Roland Portugal, S.A. 

Cais Das Pedras, 8/9-1 Dto 

4050-465 PORTO 

PORTUGAL 

TEL: (022) 608 00 60 

ROMANIA 

FBS LINES 
Plata Libertatii 1, 
RO-4200 Gheorghehi 
TEL: (095) 169-5043 

RUSSIA 

MuTek 

3-Bogatyrskaya Str. l.k.l 
107 564 Moscow, RUSSIA 
TEL: (095) 169 5043 

SPAIN 

Roland Electronics 
de Espaiia, S. A. 

Calle Bolivia 239, 08020 
Barcelona, SPAIN 
TEL: (93) 308 1000 

SWEDEN 

Roland Scandinavia A/S 
SWEDISH SALES OFFICE 

Danvik Center 28, 2 tr. 
S-131 30 Nacka SWEDEN 
TEL: (08) 702 0020 

SWITZERLAND 

Roland (Switzerland) AG 
Musitronic AG 

Gerberstrasse 5, Postfach, 
CH-4410 Liestal, SWITZERLAND 
TEL: (061) 927-8383 

UKRAINE 

TIC-TAC 

Mira Str. 19/108 

P.O. Box 180 

295400 Munkachevo, UKRAINE 

TEL: (03131) 414-40 

UNITED KINGDOM 

Roland (U.K.) Ltd. 

Atlantic Close, Swansea 
Enterprise Park, SWANSEA 
SA7 9FJ, 

UNITED KINGDOM 
TEL: (01792) 700139 



(middle east) 

BAHRAIN 

Moon Stores 

No. 16, Bab Al Bahrain Avenue, 
P.O.Box 247, Manama 304, 
State of BAHRAIN 
TEL: 211 005 

CYPRUS 

Radex Sound Equipment Ltd. 

17, Diagorou Street, Nicosia, 

CYPRUS 

TEL: (02) 66-9426 

IRAN 

MOCO, INC. 

No. 41 Nike St., Dr.Shariyati Ave., 
Roberoye Cerahe Mirdamad 
Tehran, IRAN 
TEL: (021) 285-4169 



ISRAEL 

Halilit P. Greenspoon & 
Sons Ltd. 

8 Retzif Ha'aliya Hashnya St. 
Tel-Aviv-Yafo ISRAEL 
TEL: (03) 6823666 

JORDAN 

AMMAN Trading Agency 

245 Prince Mohammad St., 
Amman 1118, JORDAN 
TEL: (06) 464-1200 

KUWAIT 

Easa Husain AI-Yousifi 

Abdullah Salem Street, 
Safat, KUWAIT 
TEL: 243-6399 

LEBANON 

A. Chahine & Fils 

Gerge Zcidan St., Chahine BIdg., 
Achrafieh, P.O.Box: 16-5857 
Beirut, LEBANON 
TEL: (01) 20-1441 

QATAR 

Al Emadi Co. (Badie Studio 
& Stores) 
P.O. Box 62, 
Doha, QATAR 
TEL: 4423-554 

SAUDI ARABIA 

aDawliah Universal 
Electronics APL 

Corniche Road, Aldossary Bldg., 
1st Floor, Alkhobar, 
SAUDI ARABIA 

P.O.Box 2154, Alkhobar 31952 
SAUDI ARABIA 

TEL: (03) 898 2081 

SYRIA 

Technical Light & Sound 
Center 

Bldg. No. 47, 
Khaled Ebn Al Walid St. 
Damascus, SYRIA 
TEL: (Oil) 221-1230 

TURKEY 

Barkat muzik aletleri ithalat 
ve ihracat Ltd Sti 

Siraselviler Caddcsi Siraselviler 
Pasaji No:74/20 
Taksim - Istanbul, TURKEY 
TEL: (0212) 2499324 

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 



(north America] 

CANADA 

Roland Canada Music Ltd. 
(Head Office) 

5480 Parkwood Way Richmond 
B. C, V6V 2M4 CANADA 
TEL: (0604) 270 6626 

Roland Canada Music Ltd. 
(Toronto Office) 

Unit 2, 109 Woodbine Downs 
Blvd, Etobicoke, ON 
M9W 6Y1 CANADA 
TEL: (0416) 213 9707 

U. S. A. 

Roland Corporation U.S. 

5100 S. Eastern Avenue 

Los Angeles, CA 90040-2938, 

U.S.A. 

TEL: (323) 890 3700 



TOTAL PERCUSSION RAO 





OWNER'S MANUAL 



Thank you, and congratulations on your choice of the SPD-20 
Total Percussion Pad. The SPD-20 is an electronic percussion unit 
that has eight pads, trigger interfaces, a high-quaHty digital sound 
generator, and on-board digital effects. 

Since the SPD-20 includes a sound generator and effects in one 
lightweight, compact package, you can use it anywhere, anytime. 
A wide variety of options (pads, pedals, drum stand, etc.) are 
available, allowing you to easily create a custom drum kit. By 
adding sequencers or samplers, you can take advantage of the 
possibilities of MIDI percussion. 

The SPD-20 provides the flexibility and expandability that will be 
appreciated by every percussionist, from beginner to professional. 

About the Symbols in This Manual 

Words or symbols enclosed in [square brackets] indicate panel 

buttons or controls. 

For example, [LAYER] signifies the Layer button. 

Items marked by f flEMy are supplementary explanations. 

Items headed by *(^^ explain important points concerning the 
operation of your SPD-20. 

Items preceded by HINT give you useful tips and information 
regarding the use of the SPD-20. 



Before using this unit, carefully read the sections enti- 
tled: "USING THE UNIT SAFELY" and "IMPORTANT 
NOTES" (Owner's manual p. 2; p. 6). These sections pro- 
vi(de important information concerning the proper operation of 
the unit. Additionally, in order to feel assured that you have 
gained a good grasp of every feature provided by your new 
unit, Owner's manual should be read in its entirety. The man- 
ual should be saved and kept on hand as a convenient refer- 
ence. 



As of January 1, 2002 (Roland) 



Roland Corporation 



Copyright © 1998 ROLAND CORPORATION 

All rights reserved. No part of this publication may be reproduced in any 

form without the written permission of ROLAND CORPORATION. 



01453923 '02-2-AE2-61 N