TD-10 Om

®
We’d like to take a moment to thank you for purchasing the Roland Percussion
Sound Module TD-10.
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (p. 2), “USING THE UNIT SAFELY” (p. 3, 4), and “IMPORTANT
NOTES” (p. 17). These sections provide important information concerning the
proper operation of the unit. Additionally, in order to feel assured that you have
gained a good grasp of every feature provided by your new unit, this manual should
be read in its entirety. The manual should be saved and kept on hand as a
convenient reference.
Copyright © 1997 ROLAND CORPORATION

All rights reserved. No part of this publication may be reproduced in
any form without the written permission of ROLAND CORPORATION.
The lightning flash with arrowhead symbol, within an
CAUTION
equilateral triangle, is intended to alert the user to the
RISK OF ELECTRIC SHOCK
DO NOT OPEN presence of uninsulated “dangerous voltage” within the
product’s enclosure that may be of sufficient magnitude to
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR constitute a risk of electric shock to persons.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, The exclamation point within an equilateral triangle is
DO NOT REMOVE COVER (OR BACK). intended to alert the user to the presence of important
NO USER-SERVICEABLE PARTS INSIDE. operating and maintenance (servicing) instructions in the
literature accompanying the product.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.
IMPORTANT SAFETY INSTRUCTIONS

SAVE THESE INSTRUCTIONS
WARNING - When using electric products, basic precautions should always be followed, including the following:
1. Read all the instructions before using the product. 8. The power-supply cord of the product should be unplugged
2. Do not use this product near water — for example, near a from the outlet when left unused for a long period of time.
bathtub, washbowl, kitchen sink, in a wet basement, or near 9. Care should be taken so that objects do not fall and liquids
a swimming pool, or the like. are not spilled into the enclosure through openings.
3. This product should be used only with a cart or stand that is 10.The product should be serviced by qualified service
recommended by the manufacturer. personnel when:
4. This product, either alone or in combination with an amplifier A. The power-supply cord or the plug has been damaged; or
and headphones or speakers, may be capable of producing B. Objects have fallen, or liquid has been spilled into the
sound levels that could cause permanent hearing loss. Do product; or
not operate for a long period of time at a high volume level C. The product has been exposed to rain; or
or at a level that is uncomfortable. If you experience any D. The product does not appear to operate normally or
hearing loss or ringing in the ears, you should consult an exhibits a marked change in performance; or
audiologist. E. The product has been dropped, or the enclosure
5. The product should be located so that its location or position damaged.
does not interfere with its proper ventilation. 11.Do not attempt to service the product beyond that described
6. The product should be located away from heat sources such in the user-maintenance instructions. All other servicing
as radiators, heat registers, or other products that produce should be referred to qualified service personnel.
heat.
7. The product should be connected to a power supply only of
the type described in the operating instructions or as marked
on the product.
For the USA
GROUNDING INSTRUCTIONS
This product must be grounded. If it should malfunction or breakdown, grounding provides a path of least resistance for
electric current to reduce the risk of electric shock.
This product is equipped with a cord having an equipment-grounding conductor and a grounding plug. The plug must be
plugged into an appropriate outlet that is properly installed and grounded in accordance with all local codes and ordinances.
DANGER: Improper connection of the equipment-grounding conductor can result in a risk of electric shock. Check with a
qualified electrician or serviceman if you are in doubt as to whether the product is properly grounded.
Do not modify the plug provided with the product — if it will not fit the outlet, have a proper outlet installed by a qualified
electrician.
For the U.K.

WARNING: THIS APPARATUS MUST BE EARTHED
IMPORTANT: THE WIRES IN THIS MAINS LEAD ARE COLOURED IN ACCORDANCE WITH THE FOLLOWING CODE.
GREEN-AND-YELLOW: EARTH, 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 GREEN-AND-YELLOW must be connected to the terminal in the plug which is marked by the
letter E or by the safety earth symbol or coloured GREEN or GREEN-AND-YELLOW.
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.
The product which is equipped with a THREE WIRE GROUNDING TYPE LINE PLUG must be grounded.
2
USING THE UNIT SAFELY
Used for instructions intended to alert The symbol alerts the user to important instructions
the user to the risk of death or severe or warnings.The specific meaning of the symbol is
injury should the unit be used determined by the design contained within the
improperly. triangle. In the case of the symbol at left, it is used for
general cautions, warnings, or alerts to danger.
Used for instructions intended to alert
the user to the risk of injury or material The symbol alerts the user to items that must never
be carried out (are forbidden). The specific thing that
damage should the unit be used
must not be done is indicated by the design contained
improperly. within the circle. In the case of the symbol at left, it
* Material damage refers to damage or means that the unit must never be disassembled.
other adverse effects caused with The ● symbol alerts the user to things that must be
respect to the home and all its carried out. The specific thing that must be done is
furnishings, as well to domestic indicated by the design contained within the circle. In
animals or pets. the case of the symbol at left, it means that the power-
cord plug must be unplugged from the outlet.
• Before using this unit, make sure to read the instruc- • Protect the unit from strong impact.
tions below, and the Owner’s Manual. (Do not drop it!)
........................................................................................................... ...........................................................................................................
• Do not open or perform any internal modifications • Do not force the unit’s power-supply cord to share
on the unit. (The only exception would be where an outlet with an unreasonable number of other
this manual provides specific instructions which devices. Be especially careful when using extension
should be followed in order to put in place user- cords—the total power used by all devices you have
installable options; see p. 43.) connected to the extension cord’s outlet must never
........................................................................................................... exceed the power rating (watts/amperes) for the
extension cord. Excessive loads can cause the insula-
• When using the unit with a rack or stand recom-
tion on the cord to heat up and eventually melt
mended by Roland, the rack or stand must be care-
through.
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 • Before using the unit in a foreign country, consult
unit provides a level surface that will properly sup- with your dealer, or qualified Roland service per-
port the unit, and keep it from wobbling. sonnel.
........................................................................................................... ...........................................................................................................
• Use only the attached power-supply cord. • Always turn the unit off and unplug the power cord
before attempting installation of the circuit board
........................................................................................................... (WAVE & SYSTEM EXPANSION BOARD TDW series; p.
43).
• Avoid damaging the power cord. Do not bend it
...........................................................................................................
excessively, step on it, place heavy objects on it, etc.
A damaged cord can easily become a shock or fire • Do not put anything that contains water (e.g., flower
hazard. Never use a power cord after it has been vases) on this unit. Also, avoid the use of insecti-
damaged. cides, perfumes, alcohol, nail polish, spray cans, etc.,
........................................................................................................... near the unit. Swiftly wipe away any liquid that
spills on the unit using a dry, soft cloth.
• In households with small children, an adult should
...........................................................................................................
provide supervision until the child is capable of fol-
lowing all the rules essential for the safe operation
of the unit.
...........................................................................................................
3
USING THE UNIT SAFELY
• Always grasp only the plug on the power-supply

cord when plugging into, or unplugging from, an
outlet or this unit.
...........................................................................................................
• Try to prevent cords and cables from becoming

entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
...........................................................................................................
• Never climb on top of, nor place heavy objects on

the unit.
...........................................................................................................
• Never handle the power cord or its plugs with wet

hands when plugging into, or unplugging from, an
outlet or this unit.
...........................................................................................................
• Before moving the unit, disconnect the power plug

from the outlet, and pull out all cords from external
devices.
...........................................................................................................
• Before cleaning the unit, turn off the power and

unplug the power cord from the outlet (p. 27).
...........................................................................................................
• Whenever you suspect the possibility of lightning in

your area, pull the plug on the power cord out of
the outlet.
...........................................................................................................
• Install only the specified circuit board(s) (WAVE &

SYSTEM EXPANSION BOARD TDW series).
Remove only the specified screws (p. 43).
...........................................................................................................
4
How to read this owner’s manual
This owner’s manual is organized as follows.
Quick Start
This section is intended for those using the TD-10 for the first time, and explains how to use various
functions in a simple way. Please read Quick Start and follow along by actually operating the TD-
10. This will help you understand most of what you need to know for basic operations. If you find
unfamiliar words or terms, refer to the “Glossary” on p. 169. More advanced ways of using the TD-
10, or details of other operations are explained the Reference section.
Advanced Use
This section explains all functions of the TD-10 in detail and is divided into specific parts. Basic
panel operations and displays are covered in the Quick Start. The Advanced Use section assumes
you already understand basic procedures, so if anything’s unclear, refer to the “Quick Start.”
Chapter 1. Overview of the TD-10 V-drums

This chapter explains the concept of the TD-10 and how it is organized. Read this chapter in order to
understand what the TD-10 is.
Chapters 2–5. Functions for creating sound

If you wish to learn more about the sound creation possibilities introduced in the “Quick Start,”
refer to chapters 2–5.
Chapter 6. Using a sequencer and related functions

This chapter explains sequencer functions such as performance, recording, click settings, and pattern
editing.
Chapter 7. Settings for the entire TD-10

This chapter explains settings that affect the entire TD-10, such as adjusting the overall sound, sav-
ing data to a memory card etc.
Chapters 8 and 9. Convenient functions and how to use them

These chapters explain how to use pads or pedals for pattern play back, and other functions, and
about time-saving operations such as copy and help.
Chapter 10. Functions using MIDI

This chapter explains how to use MIDI—whether it be for saving data to an external device, or for
using the TD-10 as a sound module.
Appendices
If you run into problems, refer to “Troubleshooting” to make sure that the settings are correct. If an
error message appears during operation, refer to “Message/Error Message List” and take appropri-
ate action. This section also provides information related to sound editing, MIDI, various lists, and
the MIDI implementation charts.
* The display screens printed in this owner’s manual are based on the factory settings. However, please be aware
that in some cases they may differ from the actual factory settings.
5
Contents
IMPORTANT SAFETY INSTRUCTIONS ............................................................................2
USING THE UNIT SAFELY.................................................................................................3
How to read this owner’s manual ........................................................................................5
Features ............................................................................................................................12
Front and rear panel..........................................................................................................14
Important notes .................................................................................................................17
About button operations and the screen displays .............................................................18
Quick Start ..............................21

Before you begin playing..........................22
Mounting the TD-10 to the stand.......................................................................................22
Connect your audio system or amp...................................................................................23
Connecting pads and pedals.............................................................................................24
Turning on the power ........................................................................................................26
To turn the power off ... .....................................................................................................................27
Listening to the internal demo playback ............................................................................28
Specify the pads that the TD-10 will use ...........................................................................29
If you have purchased the “V-Basic Kit” or “V-Standard Kit” ....................................................29
If you have purchased the PD-5, PD-7, PD-9, PD-100 or PD-120 individually .........................30
Using triggers on an acoustic drum to play the TD-10 .................................................................33
Check the settings.............................................................................................................34
For a better performance ..........................35

Concerning the performance & expressiveness of the pads.............................................35
Rim shots..............................................................................................................................................35
Choking ................................................................................................................................................35
Positional sensing ...............................................................................................................................36
Playing with brushes..........................................................................................................................36
Hi-hat control pedal ...........................................................................................................................36
TD-10 operating procedure ...............................................................................................37
Adjusting the volume.........................................................................................................................37
Selecting a drum kit............................................................................................................................38
Adjusting the sensitivity of a pad.....................................................................................................39
Master equalizer..................................................................................................................................40
Effect on/off ........................................................................................................................................41
Help function.......................................................................................................................................42
About expansion boards....................................................................................................43
À propos des cartes d’extension .......................................................................................44
(French language for Canadian Safety Standard)
Troubleshooting connections and settings ........................................................................45
Features of the preset drum kits................47

How sounds are created on the V-drums..........................................................................47
No.36: 70’s Rock drum kit .................................................................................................48
No.37: Brush Kit ................................................................................................................50
No.38: Electronic drum kit .................................................................................................52
6
Contents
Modifying a drum kit ................................54

[INST]: Creating drum sounds ..........................................................................................55
Selecting an instrument......................................................................................................................55
Modify the material and depth of the body....................................................................................56
Change the material and tuning of the head ..................................................................................58
Adjust the muffling (muting) and snare strainer tension .............................................................60
[STUDIO]: Adjusting the acoustics of the room.................................................................62
Decide “where” the drums are played ............................................................................................63
Change the size of the room..............................................................................................................64
[CONTROL ROOM]: Adding finishing touches to the sound.............................................65
Using the equalizer to modify the sound........................................................................................65
Adjusting the volume balance of the instruments .........................................................................67
Examples and convenient tips ...................68

Perform with the on-board sequencer ...............................................................................68
Playing back a preset pattern ............................................................................................................68
Play the pads along with a preset pattern.......................................................................................69
Drum Kit Chain—Selecting drum kits in the desired order ................................................70
Using a foot switch to select kits .......................................................................................72
Using a pad to playback patterns ......................................................................................72
Using headphones to hear the click sound .......................................................................73
Using the TD-10 as a MIDI sound module ........................................................................74
Advanced Use .........................75

Chapter 1. Overview of the TD-10 V-drums.......76
How the V-drums system is organized..............................................................................76
How to select pads ............................................................................................................77
Using pads to select the pad/sound for editing ............................................................................77
Using the TD-10 to select the pad/sound for editing....................................................................77
Chapter 2. Settings for the entire drum kit ....78

Selecting a kit ....................................................................................................................78
Selecting kits from the list display .....................................................................................78
Naming a kit ......................................................................................................................78
Making settings for brush performance .............................................................................79
Effect switches for the entire kit.........................................................................................79
7
Contents
Chapter 3. Instrument settings ..................80

Selecting an instrument.....................................................................................................80
Selecting instruments from the list display ........................................................................80
Editing an acoustic drum kit (V-EDIT) ..............................................................................81
Selecting the shell material ................................................................................................................81
Changing the shell depth...................................................................................................................82
Selecting the head material................................................................................................................82
Tuning the head ..................................................................................................................................82
Muffling settings (muting) ................................................................................................................83
Adjusting the snare strainer tension ................................................................................................83
Editing an electronic drum kit (V-EDIT) .............................................................................84
Editing a TR-808/909 (V-EDIT) .........................................................................................85
Editing hi-hat, cymbals and percussion.............................................................................86
Chapter 4. Studio settings .........................87

Settings for the entire drum kit ..........................................................................................87
Selecting the studio/room.................................................................................................................87
Changing the size of the room ..........................................................................................................87
Changing the wall material ...............................................................................................................87
Selecting the ambience mike location ..............................................................................................87
Adjusting the volume and output assignments of the ambience ................................................88
Settings for each instrument..............................................................................................88
Adjusting the amount of ambience ..................................................................................................88
Selecting the type of mike and its location......................................................................................88
Settings for each group .....................................................................................................89
Adjusting the amount of ambience send level for each group ....................................................89
Chapter 5. Control room settings ...............90

Settings for each instrument..............................................................................................90
Adjusting volume (level) ...................................................................................................................90
Adjusting pan (stereo location).........................................................................................................90
Adjusting effect send level ................................................................................................................90
Selecting output assignments............................................................................................................91
Controlling variations in volume (Compressor) ............................................................................91
Customizing the tone (Equalizer).....................................................................................................92
Settings for the entire drum kit ..........................................................................................93
Adjusting effect Return level ............................................................................................................93
Selecting the type of effect .................................................................................................................93
Editing the effects ...............................................................................................................................94
Settings for an entire group ...............................................................................................96
Adjusting effect send level for an entire group..............................................................................96
Adjusting the volume by group .......................................................................................................96
8
Contents
Chapter 6. Sequencer................................97
Basic sequencer operation................................................................................................97
Using Preset Patterns .........................................................................................................................97
Setting the tempo ..............................................................................................................97
Setting the tempo for each pattern ...................................................................................................97
Temporarily changing the tempo of the currently-playing pattern............................................97
Playback functions ............................................................................................................98
Selecting a pattern...............................................................................................................................98
Selecting patterns from the list .........................................................................................................98
Selecting how a pattern will playback.............................................................................................98
Click settings .....................................................................................................................99
Click on/off and volume settings ....................................................................................................99
Setting the tempo ................................................................................................................................99
Setting the time signature and click interval ..................................................................................99
Selecting the click sound..................................................................................................................100
Using ambience .................................................................................................................................100
Using effects ......................................................................................................................................100
Adjusting the pan (stereo location) ................................................................................................100
Selecting the output destination .....................................................................................................100
Recording ........................................................................................................................101
Basic recording procedure...............................................................................................................101
The Rehearsal function ....................................................................................................................102
Using a count-in ................................................................................................................................102
Start recording the moment that you strike a pad .......................................................................102
Correcting timing as you record (Quantize).................................................................................103
Importing data from another sequencer into the TD-10 .............................................................103
Editing a pattern ..............................................................................................................103
Naming a pattern..............................................................................................................................103
Erasing a pattern ...............................................................................................................................104
Erasing selected measures of a pattern..........................................................................................104
Copying a pattern .............................................................................................................................104
Copying selected measures of a pattern........................................................................................105
Clearing a pattern .............................................................................................................................105
Clearing selected measures of a pattern........................................................................................105
Connecting two patterns..................................................................................................................106
Settings for part instruments ...........................................................................................106
Adjusting the master tuning ...........................................................................................................106
Instrument selection and settings for each part ...........................................................................106
Mixer settings for each part.............................................................................................................107
Muting a specific part.......................................................................................................................107
9
Contents
Chapter 7. Settings for the entire TD-10...108

Changing output assignment for audio received by the MIX IN jack...............................108
Specifying the type of pad ...............................................................................................108
Basic settings for the trigger parameters (BASIC) ..........................................................109
Detailed settings for the trigger parameters (ADVNCD)..................................................111
The order in which trigger parameters should be set when using drum triggers.............112
Adjusting the brightness of the display............................................................................113
Setting the master equalizer............................................................................................113
Saving data to a memory card ........................................................................................114
Loading data from a memory card ..................................................................................115
Automatically switching the display (Note Chase)...........................................................115
Chapter 8. Convenient functions ..............116

Selecting kits in the desired order (Drum Kit Chain) .......................................................116
Specifying a Drum Kit Chain ..........................................................................................................116
Naming a Drum Kit Chain ..............................................................................................................116
Copying ...........................................................................................................................117
The UNDO function .........................................................................................................117
Getting help .....................................................................................................................118
Specifying how the Preview button functions ..................................................................118
Chapter 9. Operations using pads and

foot switches ..........................................119
Using pads to play patterns (Pad Pattern) ......................................................................119
Using pads to perform button operations (Pad Switch) ..................................................119
Using foot switches to perform button operations (Foot Switch) .....................................120
Chapter 10. Functions using MIDI ............121

Saving/Loading data to/from an external device (Bulk Dump) ........................................121
Saving data ........................................................................................................................................121
Loading saved data to the TD-10....................................................................................................121
Setting the Device ID—Transmitting saved data to two or more TD-10 units........................122
Using pads to play an external MIDI sound module........................................................122
Selecting the note number transmitted by each pad ...................................................................122
Setting the Gate Time .......................................................................................................................123
Setting the MIDI channel .................................................................................................................123
Using the TD-10 with the Roland SPD-11.......................................................................123
MIDI settings for the entire TD-10 ...................................................................................124
Setting the MIDI channels for each Part........................................................................................124
Turning off Local Control................................................................................................................124
Disabling reception or transmission of Program Changes.........................................................124
Reducing the amount of data transmitted by the FD-7 (Pedal Data Thin) ..............................124
Using the TD-10 as a sound module...............................................................................125
Setting the instrument for each part ..............................................................................................125
Adjusting the mixer settings for each part....................................................................................125
Regarding note numbers for the drum kit sounds ......................................................................125
Using the percussion group ............................................................................................................126
Changing the kit number that is selected by a program change ...............................................128
10
Contents
MIDI messages for detailed performance expressions ...................................................128

Messages for hi-hat control .............................................................................................................128
Messages for positional sensing (snare drum and ride cymbal only).......................................129
Synchronization with external MIDI devices....................................................................129
Appendices............................131
Troubleshooting...............................................................................................................132
Instruments that can be used with each trigger...............................................................136
Restoring the factory settings (INITIALIZE).....................................................................137
Message / error message list ..........................................................................................138
About MIDI ......................................................................................................................140
Using drum triggers .........................................................................................................142
Preset list.........................................................................................................................143
MIDI implementation .......................................................................................................154
MIDI implementation chart ..............................................................................................165
Specifications ..................................................................................................................168
Glossary ..........................................................................................................................169
Index of screen displays..................................................................................................173
Index................................................................................................................................176
* PinStripe is a registered trademark of Remo Inc. U.S.A.
11
Features
● Enhanced tonal quality and expressiveness that rivals acoustic
drums
The TD-10 features a newly developed modeling sound module that relies on COSM technology.
The force and position of the hit are detected, providing sensitive and dynamic expression that is
extremely close to that of acoustic drums. In addition, when PD-100 or PD-120 (optional) pads are
used, you can enjoy excellent response when playing rolls.
* COSM (Composite Object Sound Modeling) is a Roland technology which combines multiple sound model-
ing processes to create new sounds.
* Positional detection is possible on snare drums and ride cymbals.
● With 600 drum sounds and 54 backing instrument provided

A rich array of instrumental sounds are provided, sufficient to cover all styles of music.
● A user interface comfortable for drummers

You can create sounds much in the same way that you would using acoustic drums when you select
a preferred drum head, tune it, and attach muffling (muting) material. With the large display, the
use of graphics and icons to portray parameters being set and their meanings, operation is intuitive
and easily understood.
● High-speed trigger response

The triggering time (time delay from hitting the pad until you hear the sound) is faster than ever,
allowing expressiveness and dynamics to be reproduced accurately.
● Twelve pads can be used simultaneously

Since up to twelve pads can be used simultaneously, you can create large-scale setups bigger than
ever before. This also gives you flexibility for extended applications, such as using pads as switches
(Pad Switch) or for pattern playback (Pad Pattern).
● Simulate the entire process of actual recording

By being able to choose drum materials, sizes, studio location, mike types and their settings, effects
and mixer parameters, the TD-10 allows total flexibility for recording or live applications. All of
these settings can be stored as part of a drum kit,for instant recall at any time.
● Perform using brushes

If you use the PD-100 or PD-120 pads, you can play with brushes, something not possible with any
previous electronic drum system. (Nylon brush only please!).
● Sound processing specially selected for drums

For each instrument assigned to trigger inputs 1–10, individual two-band equalizers and compres-
sors are provided. In addition,(in the control room) —there are digital effects: reverbs, flanger, cho-
rus, delays, pitch shift delay, and phaser. A three-band equalizer is also provided for processing the
sound at the MASTER OUT. Ambience(in the Studio) lets you choose WHERE the drums are being
played. You can change the sound of that space by changing the material of the walls, size of the
room and the position of the ambient mikes. There are individual ambience send levels for all
instruments.
12
Features
● Functions and operations perfect for live performances

The group faders on the front panel let you make quick changes as needed during performance. You
can play drum kits in any desired order (Drum Kit Chain). The INC/DEC buttons are large enough
to be pressed with a drum stick. (Don’t HIT them!) Another very useful function allows you to send
the click sound ONLY to the headphones if desired. An audio input (stereo) for custom monitoring
(MIX IN jack) is also provided.
● Easy-operation sequencer is built-in

With easy, tape recorder-like operations, you can record or play back patterns. In addition to the
drums, three backing parts can be added for ensemble practice or for creating backing patterns via
MIDI keyboard, external sequencer etc.
* Brush swish/sweeping and choke cannot be recorded.
● Previous models of pads can be used

Previous pad models (PD-5, PD-7, PD-9), kick trigger units (KD-5, KD-7) and the hi-hat control
pedal (FD-7) are all compatible. Also, the PD-7 and PD-9 allow positional sensing for the snare drum
and ride cymbal.
● User Installable Expansion boards allow extended functionality

WAVE & SYSTEM EXPANSION BOARD TDW series will bring more instruments and drum kits to
the TD-10, and allows the system to be upgraded through Flash ROM. A memory card (M-512E) can
be used to store all kits and patterns for the TD-10.
● Usable as a MIDI sound module

Percussion groups are provided so these sounds can be accessed via MIDI as with a dedicated mod-
ule, so in addition to sounds assigned to the 12 trigger inputs, a special note map for percussion
allows 72 types of instruments to be accessed simultaneously.
13
Front and rear panel
Front Panel
15 16 17
2 3 18
1 19
8 7 6 5
4 20
21
10
9 11 12 13 14
22
1 Trigger Indicator 5 EXIT Button

This will light when a trigger signal (signal produced when Press this button and you will return to the screen one level
pad is struck) is received from a pad. It allows you to check higher in the hierarchy. Repeated pressing takes you back to
whether the pad has been connected correctly. the “DRUM KIT” page.
2 LED Display 6 TOOLS Button

Displays the number of the currently selected drum kit. Provides access to functions such as Copy, Undo, and Help.
(p. 42, 117)
3 Graphic Display
During performance, this indicates the drum kit name and 7 CHAIN Button
other important information. During editing, various graph- Lets you make Drum Kit Chain settings (a function that
ics and text relative to the editing process is indicated. arranges drum kits in a desired order for successive selec-
* In this owner’s manual, this will be referred to simply as tion) (p. 70, 116).
“the display.”
8 SETUP Button
4 F1-F4 Buttons Here you can make settings that affect the entire TD-10, such
as trigger parameters and MIDI settings (p. 108).
These buttons change their function depending on the con-
tents of the display. The lower part of the display will indi-
cate the function of each button (p. 18).
14
9 GROUP FADERS 20 TRIG SELECT

These allow you to adjust the volume of the kick, snare, hi- Use the lower two buttons to select the pad (trigger number)
hat, other percussion instruments, backing instruments, and for which you wish to make settings. To select the rim of a
the click sound (p. 37). pad, press the RIM button, then the RIM indicator is lit. If
pads are connected to the TD-10, you can also select a pad
10 SEQUENCER by striking it. The PREVIEW button lets you audition the
instrument that is assigned to the selected pad or the sound
Here are the buttons that control sequencer functions (play-
appearing in the display when editing a percussion group
back/recording of performance patterns) (p. 68, 97).
(p. 20).
11 KIT Button
21 PREVIEW Button
Provides access to the basic display page used when playing
Used to audition an instrument. By using TRIG SELECT but-
the TD-10.
tons to select a pad, you can play and edit sound even if no
pads are connected to the TD-10. The button is velocity sen-
12 INST (Instrument) Button sitive (p. 20).
Provides access to the display page in which you can edit
instruments (p. 55, 80). 22 INC Button, DEC Button
These buttons are used to switch drum kits or to modify val-
13 STUDIO Button ues. Pressing the INC button increases the value, and press-
Provides access to the display page where you can choose ing the DEC button decreases it. Since these buttons are
mike types, their positions, ambience types and ambient large, you can also use the tip of your drum stick to press
mike positions (p. 62, 87). them (p. 19).
* Please be aware that hitting the buttons with a stick can
14 CONTROL ROOM Button cause malfunctions.
Allows you to edit mixer, EQ, compressor and effect para-
meters (p. 65, 90).
15 MIX IN Knob
This adjusts the volume of the device connected to the MIX
IN jack. The sound from the MIX IN will be output from the
MASTER out and/or the PHONES jack.
16 PHONES Knob
Adjusts the headphone volume. Even when headphones are
connected, sound will still be output from the various out-
put jacks.
17 MASTER Knob
Adjusts the volume of the MASTER OUT jacks. The volume
of the PHONES jack is adjusted by the PHONES knob.
18 CURSOR Buttons
Used to move the cursor in the display, or to access the next
display page (p. 18).
19 VALUE Dial
This dial has the same function as the INC and DEC buttons.
Use this dial when you wish to make large changes in drum
kit settings or edited values (p. 19).
15
Rear Panel
23
33 28 27
32 31 29 25
24
34 30 26
23 MEMORY CARD Slot 29 PHONES Jack

An M-512E memory card (optional) can be inserted into this A pair of stereo headphones can be connected to this jack.
slot. Each memory card can store all settings of the TD-10, Even if headphones are connected, sound will still be output
such as drum kits and sequencer performance data, etc (p. from the OUTPUT jacks (p. 23).
114).
* The M-512E is the only memory card that can be used by 30 MIX IN Jack
the TD-10. This jack is used to connect a CD or cassette player, or as a
custom monitoring input for live/recording performances.
24 TRIGGER INPUT Jacks The sound that is input to this jack will be output from the
MASTER out jacks and/or the PHONES jack (p. 108).
Accept the pads or kick trigger units you want to connect to
the TD-10. To connect a dual trigger type pad (PD-7, PD-9,
PD-120), use a stereo cable (p. 24). 31 MIDI IN Connector
Use this connector when you wish to use an external MIDI
25 FOOT SWITCH Jack sequencer to play the sounds of the TD-10, or when loading
TD-10 settings (bulk data) that were saved on an external
Accepts connection of an optional foot switch (FS-5U). A
device (p. 121).
foot switch can be used to select kits and start/stop the
sequencer, etc. Use a special PCS-31 cable (optional) (p. 72,
120). 32 MIDI OUT/THRU Connector
Use this connector when you wish to use play sounds in an
26 HH CTRL Jack external MIDI sound module/sampler from the pads, or
when you wish to transmit TD-10 settings (bulk data) to
Accepts connection of a hi-hat control pedal (FD-7) (p. 36).
another MIDI device (p. 121).
27 OUTPUT (MASTER) Jacks

33 POWER Switch
These jacks output the instrumental sounds of the TD-10,
This switch turns the power on/off (p. 26).
and are for connection to external audio devices or amps. If
you are listening in mono, connect to only the MASTER L
(MONO) jack (p. 23). 34 AC Inlet
Connect the included AC power cable to this inlet (p. 23).
28 OUTPUT (DIRECT 1, 2, 3) Jacks
The direct outs allow you to have more “separation,” over
the total kit, and can be used for external effects etc.
Ambience may also be sent from these outputs, but NOT the
digital effects. Output assignments DIRECT 1, 2 or 3 jacks
are found in the Control Room (p. 91).
16
Important notes
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and
“USING THE UNIT SAFELY” on pages 2–4, please read and observe the following:
Power Supply buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
● Do not use this unit on the same power circuit with any
● Never strike or apply strong pressure to the display.
device that will generate line noise (such as an electric
● When connecting / disconnecting all cables, grasp the
motor or variable lighting system).
connector itself—never pull on the cable. This way you
● Before connecting this unit to other devices, turn off the
will avoid causing shorts, or damage to the cable’s inter-
power to all units. This will help prevent malfunctions
nal elements.
and/or damage to speakers or other devices.
● A small amount of heat will radiate from the unit during
normal operation.
Placement ● To avoid disturbing your neighbors, try to keep the unit’s
● Using the unit near power amplifiers (or other equipment
volume at reasonable levels. You may prefer to use head-
containing large power transformers) may induce hum. To
phones, so you do not need to be concerned about those
alleviate the problem, change the orientation of this unit;
around you (especially when it is late at night).
or move it farther away from the source of interference.
● Since sound vibrations can be transmitted through floors
● This device may interfere with radio and television recep-
and walls to a greater degree than expected, take care not
tion. Do not use this device in the vicinity of such
to allow such sound to become a nuisance to neighbors,
receivers.
especially at night and when using headphones.
● Do not expose the unit to direct sunlight, place it near
Although the drum pads and pedals are designed so
devices that radiate heat, leave it inside an enclosed vehi-
there is a minimal amount of extraneous sound produced
cle, or otherwise subject it to temperature extremes.
when they're struck, rubber heads tend to produce louder
Excessive heat can deform or discolor the unit.
sounds compared to mesh heads. You can effectively
reduce much of the unwanted sound from the pads by
Maintenance switching to mesh heads.
● For everyday cleaning wipe the unit with a soft, dry cloth
● When you need to transport the unit, package it in the box
or one that has been slightly dampened with water. To
(including padding) that it came in, if possible. Otherwise,
remove stubborn dirt, use a cloth impregnated with a
you will need to use equivalent packaging materials.
mild, non-abrasive detergent. Afterwards, be sure to wipe
● Use a cable from Roland to make the connection. If using
the unit thoroughly with a soft, dry cloth.
some other make of connection cable, please note the fol-
● Never use benzene, thinners, alcohol or solvents of any
lowing precautions.
kind, to avoid the possibility of discoloration and/or
❍ Some connection cables contain resistors. Do not use
deformation.
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
Repairs and Data to be extremely low, or impossible to hear. For infor-
● Please be aware that all data contained in the unit’s mem- mation on cable specifications, contact the manufactur-
ory may be lost when the unit is sent for repairs. er of the cable.
Important data should always be backed up on a RAM
card/DATA card, in another MIDI device (e.g., a
sequencer), or written down on paper (when possible).
Before Using Cards
During repairs, due care is taken to avoid the loss of data. Using DATA Cards
However, in certain cases (such as when circuitry related ● New M-512E DATA cards do not yet have their battery
to memory itself is out of order), we regret that it may not installed. Before a DATA card can be used, you first need
be possible to restore the data, and Roland assumes no to insert the battery (refer to the instructions supplied
liability concerning such loss of data. with the DATA card).
● M-512E DATA cards are equipped with a PROTECT
Memory Backup switch, which when turned on protects your data from
accidental erasure. It is recommended that the switch be
● This unit contains a battery which powers the unit’s
memory circuits while the main power is off. When this kept at the ON position, and switched to OFF only at the
battery becomes weak, the message shown below will times you wish to write new data onto the card.
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 dealer, or qualified On Off
Roland service personnel. ● When the battery in an M-512E DATA card is nearly
“Backup Battery Low !” worn out, the message below will be shown in the dis-
play. Refer to the instructions supplied with the DATA
Additional Precautions card and promptly replace the battery to avoid the loss of
● Please be aware that the contents of memory can be irre- the data on it.
trievably lost as a result of a malfunction, or the improper “MEMORY CARD Battery Low ! Please Change !”
operation of the unit. To protect yourself against the risk ● Carefully insert the DATA card all the way in—until it is
of loosing important data, we recommend that you peri- firmly in place.
odically save a backup copy of important data you have
stored in the unit’s memory on a RAM card/DATA card,
in another MIDI device (e.g., a sequencer).
● Unfortunately, it may be impossible to restore the con-
tents of data that was stored on a RAM card/DATA card,
in another MIDI device (e.g., a sequencer), in the unit’s
memory once it has been lost. Roland Corporation
assumes no liability concerning such loss of data. ● Never touch the terminals of the DATA card. Also, avoid
● Use a reasonable amount of care when using the unit’s getting the terminals dirty.
17
About button operations and the screen displays
Operations common to all aspects of operating the TD-10 are covered below.
■ Saving your settings

For operations within the TD-10, there is no procedure for “saving settings.” When you modify the
value of a setting, the new value is automatically saved as soon as you make the change.
■ Buttons, sliders and knobs

Buttons, sliders and knobs on the front panel will be printed in square brackets [ ]; e.g., [SETUP].
■ Cursor
fig.00-003e
Cursor
Cursor refers to the highlighted characters indicating an on-screen item that can be set. If the screen
contains more than one item that can be set, use the [CURSOR] buttons to move it to the item that
you wish to set.
fig.00-003a
■ Function buttons ([F1]–[F4])

fig.00-004
The [F1]–[F4] buttons are called the “function buttons.” The bottom part of the display will show the
names of the functions available for [F1]–[F4]. For example, if this owner’s manual makes reference
to [INST]-[F1 (SHELL)], press [INST] , and then press [F1] (in this case, “SHELL” is displayed above
[F1]).
18
■ How to modify settings

fig.00-005e
INC/DEC button VALUE dial
[INC] and [DEC] (referred to in this manual as [INC/DEC]) and the VALUE dial are both used to
modify the values of settings. The two methods have the following advantages.
[INC/DEC]
• Each time [INC] is pressed, the value increases. Each time [DEC] is pressed, the value decreases.
This is convenient for fine adjustments.
• When making an on/off setting, [INC] will turn the setting on and [DEC] will turn it off.
• If you hold down [INC] and press [DEC], the value will increase rapidly. If you hold down [DEC]
and press [INC] the value will decrease rapidly.
VALUE dial
Since the dial allows you to make major changes to the value at once, it’s a convenient way to make
broad adjustments to a parameter quickly.
■ About the upper right of the screen display

fig.00-006e
Trigger number
Instrument name (or Trigger name)
Rim MIDI note number
Head
In pages that allow you to make settings for each pad, you can strike the desired pad to see the set-
ting page for that pad. At this time, the upper right of the display will show the number of the trig-
ger jack to which the selected pad is connected, the instrument that it is using, and the MIDI note
number. The first character (“H” or “R”) indicates whether the head or the rim of the pad is selected.
The numerals at the right are the MIDI note number. You will need to know the MIDI note number
when using the TD-10 as a MIDI sound module.
The “H” or “R” display will indicate whether the head or rim will sound when you press the
Preview button. In cases where settings for the head and rim can be edited separately, the following
characters will also be displayed, letting you know the page in which you are.
fig.00-007
19
■ Selecting pads from the TD-10 front panel

fig.00-008
The trigger select buttons ([TRIG SELECT]) are used when you wish to select a sound for editing
from the front panel of the TD-10, rather than by striking a pad as explained above. You can use
these buttons to select a trigger number and edit the settings.
When you press the button marked “1,” the next lower-numbered trigger will be selected. When
you press the button marked “12,” the next higher-numbered trigger will be selected.
When using a PD-7, PD-9 or PD-120, the rim button ([RIM]) lets you specify whether you are mak-
ing settings for the head or the rim. When the [RIM] indicator is lit, the rim is selected.
By using these buttons in conjunction with the preview button, you can edit without pads connected
to the TD-10.
* Depending on the instrument selection, there will be no distinction between head and rim in some cases. For
details refer to p. 136.
■ About the Preset Drum Kits

When the instrument is shipped from the factory, drum kits 1–50 are already pre-loaded. Even if
you modify the settings of these drum kits, you can restore them to their factory settings at any time.
These drum kits are referred to as the Preset Drum Kits. For details, refer to p. 137.
■ About the basic screen

fig.00-008ae
Screen
name
Effect on/off
Drum kit
name Settings for brushes
This screen is the TD-10’s basic screen, which will appear when you press [KIT].
In addition to the kit name, it displays the status of the memory card (p. 78), the effect on/off setting
(p. 79), and whether or not the kit is for brushes (p. 79) etc.
20
Quick Start
Quick Start
21
Before you begin playing
This section explains the connections and settings that you must make before playing. The explana-
tions here are given, assuming that the TD-10 has its factory settings.
The TD-10 provides a function for restoring the factory settings. Refer to “Restoring the factory settings (INI-
MEMO TIALIZE)” on p. 137.
Mounting the TD-10 to the stand

Attach the stand holder (included with the optional MDS-7U/10) to the TD-10.
fig.00-009e
Wide
Narrow
Using the included screws, attach it so that the unit is oriented as shown in the above diagram.
Use the included screws. Using other screws can cause damage.
NOTE
Next, attach the TD-10 to the drum stand (MDS-7U/10).

For details on assembling the drum stand and attaching the TD-10, refer to the owner’s manual for
the drum stand (MDS-7U/10).
To attach the TD-10 to a cymbal stand (or the like), you may want to make use of the separately available
MEMO APC-33 All Purpose Clamp.
Make sure, though, that the cymbal stand you intend to use has pipes with a diameter of between 10.5 and 30
millimeters.
22
Connect your audio system or amp
Quick Start
To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn
NOTE off the power on all devices before making any connections.
fig.00-010e
Audio cable
Power cord R L
to AC
power outlet Stereo headphones Audio set, etc.
Connect the rear panel MASTER L(MONO) and R jacks to your audio system or amps. If you will be
using headphones, connect them to the PHONES jack.
Be sure that the TD-10’s MASTER L and R jacks are connected respectively to the L and R of your audio sys-
NOTE tem or amps.
In consideration of live performance situations, the headphone output is designed to produce a higher volume
than other electronic musical instruments. Extended listening at high volumes will damage your hearing, so
please pay attention to the volume adjustment.
At the factory settings, no sound will be output from the DIRECT 1, DIRECT 2 or DIRECT 3 jacks.
MEMO
23
Connecting pads and pedals

Using the cables provided, connect your pads, hi-hat control pedals and kick trigger units as shown
in the above diagram. Special jacks are provided for the kick (KICK) and snare (SNARE), so make
the correct connections to these jacks.
fig.00-011e
TD-10 Rear panel
Roland
Roland
24
If you are using a PD-7 or PD-9, move the polarity switch located on the back of the pad to the “-(Roland)”
NOTE position. When using a KD-7, either position will do.
Quick Start
fig.00-012
OUTPUT POLARITY
+ - (Roland)
PD-7, PD-9
To have the most expressive performance, we recommend the use of the Roland pads (PD-5, PD-7, PD-9, PD-
MEMO 100, PD-120) and kick trigger units (KD-7).
25
Turning on the power

Once the connections have been completed (p. 23, 24), turn on power to your various devices in the order spec-
NOTE ified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and
other devices.
fig.00-013
1 3
1 Rotate [MASTER] and [PHONES] all the way to the left to turn down the volume.
2 Turn down the volume of the connected amp or audio system.
3 Turn on the POWER switch located on the rear panel of the TD-10.
NOTE Caution when turning on the power

● After turning on the power, do not press the hi-hat control pedal (FD-7) until the drum kit
name (see the following illustration) appears in the display.
If the pedal was pressed while the power was being turned on, hi-hat open/close operations cannot be per-
formed correctly.
● After turning on the power, do not strike a pad until the drum kit name appears in the dis-
play.
Striking a pad while the power is being turned on will cause poor response when the pad is struck softly.
fig.00-037
26
4 Turn on the power of the connected amp or audio system.
Quick Start
5 Raise the [GROUP FADERS] sliders to the maximum position, and adjust [MASTER] ([PHONES])
to the position shown in the diagram.
fig.00-014a
6 While striking [PREVIEW] with your finger, adjust the volume of the connected amp or audio sys-
tem. If you are using headphones, gradually raise [PHONES] to adjust the volume.
The TD-10 will produce sound. The volume will depend on the force with which you struck [PRE-
VIEW].
If there is no sound when you strike [PREVIEW] ...

Check the following points.
· If you are using headphones, are they connected to the PHONES jack?
· If you are using an external amp, is it connected to the MASTER jacks? Are the
audio cables connected correctly to the input jacks of the external amp, etc.?
· Could there be a problem with the cables connected to the external amp?
· Are the input select settings of the external amp correct?
· Are the [GROUP FADERS] sliders lowered?
· Could the [PHONES] volume be too low?
· Could the [MASTER] volume be too low?
You can use [TRIG SELECT] to select and audition the instrument for each pad.
MEMO
■ To turn the power off ...
1 Make sure that the TD-10 volume controls and the connected external devices are turned to the
minimum position.
2 Turn off the power of the external devices.
3 Turn off the power of the TD-10.
27
Listening to the internal demo playback

The TD-10 contains demo songs that demonstrate its sounds and expressive capabilities. The demo
song is a “rainbow” of 4 short songs, arranged as a medley. It plays back in “loop” (repeating)
mode, yet you can also listen, starting from any of 4 positions, accessed as follows:
fig.00-015
1 54
1 Set each of the [GROUP FADERS] sliders [KICK][SNARE][HI-HAT][OTHERS][BACKING] to the

same volume.
2 Hold down [SETUP] and press [CHAIN].
In this display, the cursor defaults to “Rock.”
3 Use [INC/DEC] or the VALUE dial to select the “section” number.
You can start listening from the beginning of any of the four sections.
4 Press [PLAY].
You can listen to the medley and it will continue to loop.

During playback, the [GROUP FADERS] function normally allowing you to mix the demo song as
you wish. (for more info on the [GROUP FADERS], see page 37.)
5 Press [STOP] to stop playback.
Once you are through listening to the demos, press [EXIT] to return to the “DRUM KIT” page.
All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is a
NOTE violation of applicable laws.
No data for the music that is played will be output from MIDI OUT/THRU.
Drum kit 39–42 are used in the Demo Song.

MEMO
For details of the Demo Song, refer to page 179.
28
Specify the pads that the TD-10 will use
Quick Start
In order for the TD-10 to accurately receive trigger signals from each pad, you must specify the type of
pad that is connected to each TRIGGER INPUT jack.
■ If you have purchased the “V-Basic Kit” or “V-Standard Kit”

Trigger settings for the V-Basic Kit or the V-Standard Kit are provided, so you can call up and select
them.
fig.00-016
1 2
1 Press [SETUP], press [F1 (TRIG)], and then press [F1 (BANK)].
2 Use [CURSOR] to move the cursor to the “BANK” number.
3 Use [INC/DEC] or the VALUE dial to make the setting.
V-Basic Kit: BANK 1 V-Standard Kit: BANK 2
If the settings have been modified and are different than the settings in the above diagram, use the Copy func-
NOTE tion to restore the factory settings (p. 137).
This completes settings for all pads of the V-Basic Kit or V-Standard Kit. If you are using a PD-100 or
PD-120, make settings for the head tension as explained on p. 31.
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT” page.
29
■ If you have purchased the PD-5, PD-7, PD-9, PD-100 or PD-120

individually
Make the following settings for each pad.
fig.00-023
1 2
1 Press [SETUP], press [F1 (TRIG)], and then press [F1 (BANK)].
The following screen will appear:

fig.00-017
This screen shows a list of pad models that are specified
for each TRIGGER INPUT jack.
Display Pad name
PD5 PD-5
PD7 PD-7
PD9 PD-9
10A PD-100
12A PD-120
KD7 KD-7/KD-5
* For details on 10B and 12B, refer to p. 108.
2 Use [CURSOR] to move the cursor to a location other than “BANK.”
3 Strike the pad for which you wish to make settings.
The cursor will move to the edited value of the pad that you struck.
4 Use [INC/DEC] or the VALUE dial to select the model name of the pad.
This completes pad settings. If you are using a PD-100 or PD-120, make settings for the head tension
as explained in the following section.
30
● Adjusting the head tension

For these pads, adjustments are required in order to regularize the tension of the head. Also, the ten-
Quick Start
sion of the head may change when the pad has been used for a long period. If this occurs, use the
following procedure to make adjustments as necessary.
fig.00-025
2 4
1 Make sure that the Trigger Type (pad model name) is set either to “10A” (PD-100) or to “12A” (PD-
120).
2 Press [SETUP], then press [F1 (TRIG)], and then press [F4 (OPTION)].
3 Strike the PD-100 or PD-120 for which you wish to make settings.
The setting page for the pad that you struck will appear.
fig.00-026
4 Use [CURSOR] to move the cursor to “Head Tension Adjustment.”
5 Use [INC/DEC] or the VALUE dial to make the setting.
With a setting of “Loose” it will be adjusted at a weaker tension, and with a setting of “Tight” it will
be adjusted at a stronger tension.
For now, set this to the medium value of “Normal.”
31
6 On the head of the PD-100 or PD-120, accurately strike a location approximately 1 inch (3 cm) from
the tuning bolt.
fig.00-027e
Strike here
Tuning bolt
1 inch (3 cm)
The indicator in the lower right of the display will indicate how far off the adjustment is.
7 Use a tuning key (optional) to turn the all tuning bolt so that the indicator reaches the position shown
in the diagram. fig.00-027ae
Indicator
If the indicator is toward the right, turn the tuning key toward the left to loosen the tension. If the
indicator is toward the left, turn the tuning key toward the right to tighten the tension.
If the indicator moves greatly to the left or right, adjust the tension of the entire head before making this set-
NOTE ting.
The head tension adjustment does not work correctly when the “SCAN TIME” (p. 111) setting is excessively
low. The “SCAN TIME” setting is automatically set to the most efficient values for each pad when you select
the “TRIGGER TYPE” (P.108). If you have changed the “SCAN TIME” setting, select the “TRIGGER
TYPE” again.
For details on adjusting the head tension, refer to the PD-100/120 owner’s manual.
MEMO
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT”
page.
32
■ Using triggers on an acoustic drum to play the TD-10
Quick Start
Set the trigger type to the drum trigger setting, and if notes are not sounded accurately, you’ll need
to make changes in the “advanced” mode of this section. For details, refer to “Detailed settings for
the trigger parameters (ADVNCD)” (p. 111) in the “Advanced Use.”
First refer to p. 142 and attach the drum trigger. When you have done so, make the following set-
tings for each trigger.
fig.00-023
1 2
1 Press [SETUP], then press [F1 (TRIG)], and then press [F1 (BANK)].

fig.00-017
This screen shows a list of the trigger types that are specified for each TRIGGER INPUT jack.
2 Use [CURSOR] to move the cursor to a location other than “BANK.”
3 Strike the drum (or press the kick pedal) for which you wish to make settings.
The cursor will move to the trigger number of the drum that you struck.
4 Use [INC/DEC] or the VALUE dial to specify the trigger type. Make the following settings for each
trigger.
“KIK”: Kick drum “TOM”: Tom
“SNR”: Snare drum “FLR”: Floor tom
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT”
page.
33
Check the settings

This completes the settings. Strike the pads/drums and verify that the appropriate instrument
sounds correctly. If not, check the settings once again, and refer to “Troubleshooting connections
and settings” on p. 45.
34
For a better performance
Concerning the performance & expressiveness of
Quick Start
the pads
This section introduces various performance functions that will help you perform more expressively
on the pads.
Some of these playing techniques and functions are unique to the TD-10, so please be sure to read
this section in order take full advantage of the TD-10’s capabilities.
■ Rim shots
By using the rim, you can play two types of sound from one pad. This can be done with a PD-7, PD-
9 and PD-120.
fig.00-030e
Pad Pad
Rim of the pad
Normal shot Rim shot
To play a rim shot, you must strike both the head (center area) and the rim (outer edge) of the pad
simultaneously. There will be no sound if you strike only the rim. When you play a rim shot, the
instrument assigned to the rim will sound.
When specifying the rim during editing, you will also need to strike the head and rim simultaneously.
NOTE Important: The rim function of the PD-120 ONLY works when connected to trigger input 2 (SNARE). If
you desire rim sounds for the toms etc., please use a PD-7 or PD-9.
■ Choking
This function simulates the muting of a cymbal and can be done with a PD-7 or PD-9.
fig.00-031
By striking a pad and then squeeze the rim portion of the pad while the note is still sounding, you
can mute the sounding note; a performance technique known as choking.
35
■ Positional sensing
This function simulates movement across the snare drum head or ride cymbal surface. A PD-7, PD-
9, PD-100 or PD-120 can be used when connected to trigger jacks number 2 or 10.
fig.00-032e
Tonal differences by strike location
For the snare drum and ride cymbals, differences in striking position between the center of the head
and the rim area will produce a natural change in tone. When the PD-120 is used as a snare, changes
in tone and response will produce playability rivaling that of an acoustic drum.
■ Playing with brushes

The TD-10 allows you to play using brushes when using a PD-100 or PD-120 only . You can use tech-
niques such as swishing or sweeping to trigger that type of sound, as with an acoustic drum. When
using brushes, you must select a drum kit that is intended for brush playing. Press [KIT], and select
a kit that has a symbol like the following at the lower right of the kit name.
fig.00-033
ONLY use nylon/plastic brushes. Metal brushes will damage the head and/or could pierce the fine mesh of the
NOTE head itself.
Of the preset drum kits, numbers 7 and 37 are for brush playing.
MEMO
■ Hi-hat control pedal

A hi-hat control pedal can be used for the following performance techniques, giving you continuous
control from open to closed positions. This can be done with an FD-7.
fig.00-033a
FD-7
Open hi-hat: Strike the pad without pressing the pedal.

Closed hi-hat: Strike the pad while pressing the pedal.
Pedalled closed: Step on the pedal to trigger the “foot close” hi-hat.
Pedalled open: Step on, and quickly release pedal to trigger the “foot open” hi-hat sound.
36
TD-10 operating procedure
Quick Start
This section explains basic operation of the TD-10. Please try out each of these procedures.
■ Adjusting the volume
Adjusting the volume balance

For the kick drum, snare drum and hi-hat, use the [GROUP FADERS] sliders to adjust the volume.
Tom and cymbal, etc. are all adjusted as a group by [OTHERS].
Volume adjustments for each pad of the kit are made by the Control Room settings (p. 90).
fig.00-034
Adjusting the overall volume

Use [VOLUME CONTROL] to adjust the volume of the TD-10’s MASTER output jacks. Rotating it
clockwise increases volume, and rotating it counterclockwise decreases volume.
fig.00-035
[MASTER]: Adjusts the volume output from the MASTER OUT jacks.
[PHONES]: Adjusts the volume output from the headphone jack.
[MIX IN]: Adjusts the volume that is input from the MIX IN jack.
The input from MIX IN is output from the MASTER jacks and the PHONES jack (alter-
natively, only from the PHONES jack).
37
■ Selecting a drum kit

fig.00-036
1 Press [KIT].

fig.00-037
Each drum kit of the TD-10 is a collection of settings for the instrument assigned to each pad, set-
tings for the room and microphones, mixer, effects and other parameters.
2 Use [INC/DEC] or the VALUE dial to select a kit.
The List display makes it easier to select a drum kit. In the above display, press [F1 (LIST)], and ten kit names
MEMO will appear in one screen, allowing you to select the desired kit. Press [F1 (PAGE <)] to move to the previous
page, or [F2 (PAGE >)] to move to the next page. In this display, you can select kits using [INC/DEC], the
VALUE dial, or [CURSOR].
fig.00-038
Press [EXIT] to return to the display page of step 1.
38
■ Adjusting the sensitivity of a pad
Quick Start
You may wish to adjust the sensitivity of the pads to accommodate your personal taste. In this sec-
tion we will explain the easiest way to adjust the TD-10’s sensitivity in order to get the best correla-
tion between your playing velocity (strength) and the response and volume of the sound.
fig.00-047
1 2
1 Press [SETUP], then press [F1 (TRIG)], and then press [F2 (BASIC)].
Trigger indicator
2 Use [CURSOR] to move the cursor to “Sensitivity.”
3 Strike a pad to select the one needing sensitivity adjustment.
4 Use [INC/DEC] or the VALUE dial to adjust the sensitivity.
The numeric value at the cursor will change (within the range from 1 to 16). Lower sensitivity (lower
values) will mean that stronger strikes will not increase the volume very much. Conversely, higher sen-
sitivity will mean that loud volumes will be reached quickly as you play more strongly. In general, it is
best to set the sensitivity so that the indicator reaches the maximum position when you play with your
maximum dynamics.
Overall volume is an important element in adjusting the sensitivity of an electronic drum kit. In particular, if
NOTE you are listening at a low volume you may feel that there is too little change in volume, so you might raise the
sensitivity excessively without really needing to. Try playing at different volume levels (through amps or head-
phones) in order to fine tune the sensitivity. In order to make settings correctly, adjust the volume to an appro-
priate level.
39
■ Master equalizer
This is the master equalizer that is applied to the sound output from the MASTER OUT jacks. It
adjusts the balance of the low, mid, and high frequency ranges. Let’s try adjusting the GAIN (the
amount of boost).
fig.00-043
1 Press [KIT], and then press [F4 (MAS EQ)].

fig.00-044
2 Use [F2]–[F4] or [CURSOR] to select the “GAIN” column.
[F2]: Low range (LOW)

[F3]: Middle range (MID)
[F4]: High range (HIGH)
[F1] functions as an equalizer on/off switch.

MEMO
3 Use the VALUE dial to modify the value, and hear how the sound changes.
Press [EXIT] to return to the “DRUM KIT” display page.
40
■ Effect on/off
Quick Start
If you wish to compare your sounds “with” or “without” ambiance, individual compressors &
equalizers, or digital effects, here they can each be turned on/off for the entire kit.
fig.00-040
1 Press [KIT], and then press [F3 (FX SW)].

fig.00-041
In this page, [F1]–[F4] act as on/off switches. For example, pressing [F1] will turn ambiance on/off.
AMBNCE (Ambience):The size of the room and the type of walls can be adjusted to modify the
sound.
COMP (Compressor): This is used to smooth volume peaks, preventing overload.
EQ (Equalizer): This adjusts the balance of the high, mid and low ranges.
EFFECT (Effect): This adds effects such as reverb or delay.
When these switches are turned off, effects will not apply, regardless of any other settings. Before using ambi-
NOTE ence or effects, make sure that these switches are turned on.
These settings can be made for each drum kit.

MEMO
Press [EXIT] to return to the “DRUM KIT” display page.
41
■ Help function
You can select a keyword for a specific operation and instantly view an explanation or the relative
setting page. For example if you wish to make settings for a function using a foot switch, select the
“FOOT SWITCH” keyword and press the button to access the appropriate setting page.
fig.00-045a
1 3,4
1 Press [TOOLS], and then press [F4 (HELP)].
The following screen (keyword list) will appear:

fig.00-046
2 Use [INC/DEC] or the VALUE dial to select a keyword.
3 Press [F4 (SELECT)], and an explanation of the function will appear.
4 If you wish to go to the setting page for that function, press [F4 (GO NOW)].
Once you have completed your settings, press [EXIT] enough times to get back to the “DRUM KIT” page.
42
About expansion boards
Quick Start
Expansion boards (optional) are cards that allow you to upgrade the system and add new instru-
ments and drum kits.
* Sound expansion boards for the Roland JV/XP series cannot be used.
The bottom panel of the TD-10 has a slot that allows expan- 5. Use the Installation Tool supplied with the Expansion
sion boards to be installed. board to turn the holders in the LOCK direction, so the
Install only the specified circuit board(s) (WAVE & SYSTEM board will be fastened in place.
fig.00-049c
EXPANSION BOARD TDW series).
1. Always turn the TD-10 off and unplug the power cord
before attempting installation of the circuit board (WAVE
& SYSTEM EXPANSION BOARD TDW series).
LOCK
2. Remove only the four screws as indicated below, and
open the cover located on the bottom of the TD-10.
fig.00-049ae
Removal screws
* When Expansion Board installation is complete, double-check

your work.
(To remove the Expansion board, turn the board holders in
the UNLOCK direction, and lift up the board using the pro-
vided tool. Remove the board and secure the cover plate.)
6. Secure the cover plate using the four screws removed in

step 2.
3. Check that the plastic board holders are positioned as

shown figure. Rotate them if necessary.
fig.00-049be
Expansion board
● Immediately turn the power off, and request servic-
ing by your dealer or qualified Roland service per-
sonnel when:
• Objects (such as screws) have fallen into, or liquid has
Connector
been spilled on to the TD-10; or
• The TD-10 has been exposed to rain (or otherwise has
Board holder become wet); or
• The TD-10 does not appear to operate normally or
exhibits a marked change in performance.
Never open the bottom cover of the TD-10 by yourself.
● To avoid the risk of damage to internal components that

4. While positioning the holes on the board over the board
can be caused by static electricity, please carefully observe
holders, carefully insert the connector on the board into
the following whenever you handle the board.
the socket on the TD-10. Make sure the connector is
• Before you touch the board, always first grasp a metal
securely connected, and that all three board holders pro-
object (such as a water pipe), so you are sure that any
ject through the holes.
static electricity you might have been carrying has been
* Do not touch any of the printed circuit pathways or connection discharged.
terminals. • When handling the board, grasp it only by its edges.
* Never use excessive force when installing a Expansion Board. If Avoid touching any of the electronic components or
it doesn’t fit properly on the first attempt, remove the board and connectors.
try again.
43
À propos des cartes d’extension

(French language for Canadian Safety Standard)
Les cartes d’extension (optionnelles) sont des cartes qui vous permettent d’augmenter la puissance
de votre système et d’ajouter de nouveaux instruments ainsi que des batteries.
* Les cartes d’extension de son pour les séries JV/XP de Roland ne peuvent être utilisées.
N’installez que la ou les carte(s) de circuits imprimés spéci- 5. Pour tourner les supports en position LOCK (verrouillé),
fiée(s). (WAVE & SYSTEM EXPANSION BOARD série TDW) utilisez l’outil d’installation de la carte d’extension fournie
Le panneau du dessous du TD-10 a un créneau permettant à cet effet. De cette façon, la carte sera bien fixée à sa
l’installation des cartes d’extension. place.
fig.00-049c
1. Éteignez toujours le TD-10 et débranchez le câble élec-

trique avant toute tentative d’installation de carte de cir-
cuits imprimés (WAVE & SYSTEM EXPANSION BOARD
série TDW).
LOCK
2. Enlevez seulement les quatre vis et ouvrez la plaque
située sous le TD-10.
fig.00-049ae
Vis
* Lorsque votre installation de la carte d’extension est terminée,

revérifiez-la.
(Pour enlever la carte d’extension, faites tourner les supports
dans la direction UNLOCK (déverrouillé) et soulevez la
carte en utilisant l’outil à cet effet. Retirez la carte et remettez
la plaque .)
6. Refermez la plaque en utilisant les quatre vis enlevées à

l’étape 2.
3. Veillez à ce que les supports en plastique pour la carte
soient positionnés tel qu’indiqué. Faites-les pivoter si
nécessaire.
fig.00-049bf
Carte d’extension
● Eteignez immédiatement l’unité, et contactez le
SAV de votre revendeur ou un service de mainte-
nance Roland qualifié lorsque :
Prise • Des objets (vis) sont tombés dans l’unité ou du liquide
s’est répandu à l’intérieur
• L’unité a été exposée à la pluie (ou d’ une façon ou
Support pour la carte d’une autre a été mouillée)
• L’unité ne semble pas fanctionner normalement ou
montre une altération de ses performances.
N’ouvrez jamais vous-même le capot du dessous du TD-10.

4. Pendant que vous alignez les trous de la carte au-dessus
des supports, insérez délicatement le connecteur sur la ● Pour éviter d’endommager les composants internes par
carte dans la prise du TD-10. Assurez-vous que le con- de l’électricité statique, suivez attentivement les régles ci-
necteur est raccordé correctement et que les trois sup- dessous lorsque vous maniez la carte.
ports s’emboîtent bien dans les trous. • Avant de toucher la carte, saisissez toujours un objet
métallique (tel qu’un tuyau d’arrivée d’eau) pour être
* Ne touchez pas à la carte de circuits imprimés ni à aucun des
sûr de vous décharger de toute électricité statique.
terminaux de connexion.
• Quand vous saisissez la carte, ne la prenez que par ses
* Ne forcez jamais excessivement lors de l’installation d’une carte
côtés. Evitez de toucher ses composants électroniques
d’extension. Si elle ne s’ajuste pas correctement au premier
ou connecteures.
essai, enlevez-la et recommencez.
44
Troubleshooting connections and settings
Quick Start
This section will discuss points to check if you experience problems while making basic settings, and
how to solve those that occur easily when you are using electronic drums for the first time.
Before checking or modifying connections, be sure to turn off the power of all devices.
NOTE
For troubleshooting of problems that occurred as a result of editing operations, etc., you will need to check your
MEMO editing, so please refer to “Troubleshooting” (p. 132) in the “Appendices.” Also refer to that section if you are
using acoustic drums to trigger the TD-10, or if you are using pads made by a manufacturer other than Roland.
■ No sound ■ The wrong pad sounds, or

First, make sure that connections have been made according other pads sound inadvertently
to the setup on p. 23–25, and then check the following • Are you using the wrong TRIGGER INPUT jacks?
points. • Are the pads fixed firmly in place?
If the attachment of a pad has loosened, it may receive
● No sound when you strike [PREVIEW] vibrations when a different pad is struck, and trigger
Make sure that the [GROUP FADERS] sliders are not low- sounds unintentionally.
ered. • Is a high-volume speaker sounding nearby the pad?
fig.00-034
Try changing the orientation of the speaker or the pad.
■ When a pad is struck softly, it

does not sound
• Did you touch a pad or press a pedal from the time that
the TD-10 was powered on until the kit name display
appeared?
When the power is turned on, the TD-10 checks the pads.
If pads are struck during this time, the check cannot be
performed correctly.
● [PREVIEW] produces sound, but
striking the pads does not.
Check whether the trigger indicator (TRIGGER) lights when
■ The volume is too small for the
you strike a pad. If it doesn’t light, check the connections of force with which the pads are
the pad and TRIGGER INPUT jack.
fig.00-051
struck
• Are you listening at an appropriate volume?
In the case of electronic drums, listening at low volumes
may give you the impression that the pad sensitivity is
low. If raising the volume (p. 37) does not correct this, then
try adjusting the sensitivity (p. 39).
● You hear sound in the headphones If you are using a PD-5, PD-7, PD-9,
but not from the external amp, etc. PD-100 or PD-120
You can make adjustments for the volume produced relative
Check the connections with the external equipment,its vol-
to the playing velocity (striking force) on the pad. Refer to p.
ume, and make sure that the TD-10’s [MASTER] knob is not
39 and try making this adjustment.
turned down.
fig.00-052
45
If you are using pads made by anoth- ■ Strike location is not detected.
er manufacturer • Are the trigger type settings correct?
If when using pads made by another manufacturer, they do • When using a PD-100 or PD-120, is the head tension
not perform satisfactorily, you will need to adjust the trigger adjusted correctly?
parameters. Refer to “Basic settings for the trigger parame- • When using a PD-7 or PD-9, is the Polarity Switch set to “-
ters (BASIC)” (p. 109) in the “Advanced Use,” and make the (Roland)”?
needed changes or settings. • Strike location can be detected only for trigger number 2
(SNARE) and trigger number 10 (RIDE).
■ Specific pads are too loud or

too soft
• If you are listening in monaural, use the MASTER L
(MONO) jack ONLY, and do not insert a plug into the R
jack.
• Are each of the [GROUP FADERS] sliders in an appropri-
ate position?
Move all the faders to the same volume,then re-adjust for
the desired balance.
■ Rim shots do not sound

• Are you using a PD-7, PD-9 or PD-120 pad?
Rim shots cannot be played on other pads.
• Are you using a monaural cable to connect the pad with
the TD-10?
If so, only the head portion will trigger sound. Use the
stereo cable included with the PD-7, PD-9 or PD-120.
• Are the trigger type settings correct?
■ Rim shots do not sound cor-

rectly
• When playing on the PD-7 or PD-9, strike the rim and
head simultaneously. Simply striking the rim alone will
not produce sound.
• Are the trigger type settings correct?
• If you are using a PD-120 as the snare, check the “Rim
Sensitivity” setting (p.110).
■ Volume is low when you play

using brushes
• Since the impact of a brush is lower than the impact of a
stick, you need to use a drum kit that has trigger settings
geared for brushes, one displaying a symbol such as the
following in the lower right of the KIT display page.
fig.00-053
46
Features of the preset drum kits
How sounds are created on the V-drums
Quick Start
The TD-10 uses a completely new method for generating sounds called Variable Drum Modeling.
The concept of this method is to “model” the important parts or “character” that makes a drum
sound the way it does. This allows editing of parameters that were never available before, thus cre-
ating new and personalized sounds.
fig.00-054e
Instrument Room, Microphone Mixing

Drum shell Room ambience Mixer
Drum head Room type Effect
Snares Mike setting Compressor
Tuning Equalizer
Muffling
1. Instrument (INST)
The materials that make up the drums, their shape, and other elements.
2. Studio (STUDIO)
The type, size and construction material of the room in which the drums are played, positions of the
ambient mikes, and the type and position of the microphones used to pick up the instruments.
3. Control room (CONTROL ROOM)

Here, the finishing touches are made by changing mixer settings such as volume/pan/effect send
level/output assignment/EQ/Compressors and digital effects.
The V-drums concept focuses on these three major areas and three dedicated buttons [INST], [STU-
DIO] and [CONTROL ROOM] are provided for quick access so your creative aspirations can be
immediately translated into reality. As an interface concept for the user, this is also completely new.
Before you actually begin creating sounds, please read the following explanations of some of the
preset drum kits. They will lead you through some easy steps to become familiar with the features
of an acoustic kit, a kit for brushes, and an electronic kit.
47
No.36: 70’s Rock drum kit

This is a rock drum kit with a deep and “fat” sound. Until now, this type of “fatness” could never be
created or edited in drum modules or samplers. However, since the TD-10 uses a model of an
acoustic drum that can be adjusted using the Variable Drum Modeling technology, you can create a
sound of your own and one that responds to your natural dynamics.
Let’s take a look at the instrument parameters of this kit. One of the parameters that creates the rich-
ness of the sound is “Shell Depth” (which adjusts the depth of the drum shell). Let’s experiment by
changing the shell depth of the snare drum.
fig.00-056
3 5
2,6
1 Press [KIT].
The “DRUM KIT” page will appear.
2 Use [INC/DEC] or the VALUE dial to select kit number 36.

fig.00-057
48
3 Press [INST], then [F2 (EDIT)], and then press [F1 (SHELL)].
Quick Start
fig.00-058
4 Strike the pad that you are using as the snare.
The snare settings display page will appear. In this page you can select the materials and depth of
the drum shell.
fig.00-059
5 Use [CURSOR] to move the cursor to “Shell Depth.”

fig.00-060
6 Use [INC/DEC] or the VALUE dial to change the depth of the shell.
In order to produce a powerful sound, this preset has a setting of 8.0 inches, but let’s try changing
this to 3.5 inches.
fig.00-061
How does it sound? The character has changed considerably, and is much lighter. Strike a tom pad,
and try the same adjustment for it.
In order to make the same comparison on acoustic drums, you would two separate drums.
Furthermore, previous models of electronic drums had no way to make this adjustment. However
on the TD-10, such changes are made with simple front panel operations,letting you create the
desired sound in an instant.
49
No.37: Brush Kit

This is a kit for playing with brushes, something that was also not possible with any previous elec-
tronic drum system. Compared with stick playing, brush playing uses an extremely delicate trigger
signal, so we have provided a kit with special trigger settings. The studio and control room settings
are set to take advantage of this delicate character, and emphasize a natural feeling as if the kit were
being played right in front of the listener. Listen to what the effect settings are doing. To avoid
destroying the nuances of the original sound, effects are being used subtly, and do create a signifi-
cant impact on the resonance and tone of the delicate sounds.
fig.00-064
1 3
1 Press [KIT].
The “DRUM KIT” display page will appear.

fig.00-065
50
3 Press [F3 (FX SW)].
Quick Start
fig.00-066
An indication of “ON” appears above each button [F1]–[F4], indicating that all effects are being
used.
4 Press [F1] and [F4].
Ambiance and Effect will be turned off.

fig.00-067
How does it sound? You will notice that the sound has suddenly lost its sense of depth.
Sounds that have a pronounced delicate character respond very sensitively to ambience and rever-
beration. In more advanced applications of these settings, you can control the character of ambiance
and reverb to simulate the exact acoustic space that you have in mind; for example, a “live” and
“spatial” character, while at the same muting some of the resonance.
51
No.38: Electronic drum kit

With this kit we can reproduce the electronic drums that were popular in the early 1980’s. Previous
drum sound modules did not provide for the creation and editing of the unique parameters of an
electronic drum. Since the TD-10 provides these parameters and also reproduces tonal changes
resulting from changes in velocity (striking force), it gives us powerful electronic sounds with great
potentials in today’s dance, hip-hop and rap music scenes.
Let’s experiment by changing the amount of pitch bend,a function that modifies pitch during the
decay (duration) of the sound, and is one feature that characterizes an electronic drum. The pitch
bend parameter specifies the amount of pitch change.
fig.00-070
2, 6
1 3
1 Press [KIT].

fig.00-071
52
3 Press [INST], and then press [F2 (EDIT)].
Quick Start
fig.00-072
4 Strike the pad that is being used as the tom.
The tom setting screen will appear.
5 Press [CURSOR] to move the cursor to “Bend.”

fig.00-073
6 While using [INC/DEC] or the VALUE dial to increase the pitch bend setting, strike the tom pad.
The pitch at the beginning of the note will become higher, and the effect will gradually become more
intense.
fig.00-074e
Bend
127
amount of pitch change
0 Time
53
Modifying a drum kit
In this section we will start with drum kit number 36, and take you through the process of creating
an entirely different kit. Kit number 36 is a distinctive kit intended for rock, but we will turn this
into a sharper and more natural-sounding drum kit that might be suitable for fusion, etc. When
effects are being used, it will be difficult to hear how the instruments really sound, so let’s begin by
turning off all the effects.
fig.00-075
4 3
1 Press [KIT].

fig.00-076
3 Press [F3 (FX SW)].

fig.00-077
4 Where there is an indication of “ON” above the [F1]–[F4] buttons, press the button to turn the indica-
tion “OFF.”
54
[INST]: Creating drum sounds
Quick Start
The settings in this section are for the drums themselves, and they are concerned with the funda-
mental elements that determine the character of the sound. Via easy operations you can proceed
through the process of selecting an instrument, deciding its material and shape, and adjust the tun-
ing, etc.
During the procedures described here, you can use [TRIG SELECT] to select triggers/sounds even if pads are
MEMO not connected, and use [PREVIEW] to audition the sound.
■ Selecting an instrument
fig.00-080
1 Press [INST].

fig.00-081
2 Strike the pad whose instrument you wish to change.
The instrument select page for the specified pad will appear.
3 Use [INC/DEC] or the VALUE dial to select a different instrument. Strike the pad as you select differ-
ent instruments to hear how they sound.
In this example, let’s use “106 Maple1 S” as the snare, and edit this to create our sound.
55
■ Modify the material and depth of the body

By changing the material of the instrument body and listening to the difference, you can find the
sound that you want. This is an editing method that is only possible on the TD-10. It’s just like
choosing between a variety of real snare drums.
Here, let’s modify the material and depth of the snare drum body.
fig.00-082
3,5
4, 6
1 Press [INST], then press [F2 (EDIT)], and then [F1 (SHELL)].
2 Strike the pad being used for the snare.
The snare setting display page appears. Here, you can choose the material and depth of the body.
fig.00-083
3 Use [CURSOR] to move the cursor to “Material.”
56
4 Use [INC/DEC] or the VALUE dial to change the material of the body.
Quick Start
In this example, let’s change the setting from “Steel” to “Wood.” Of the three types, this will pro-
duce the warmest sound.
fig.00-084
This completes our selection of the body material. Next we will specify the depth of the body.
5 Use [CURSOR] to move the cursor to “Shell Depth.”

fig.00-085
6 Use [INC/DEC] or the VALUE dial to modify the depth of the body.
Since the current setting is a bit deep, let’s change this to “3.5".” Notice how the body resonance
decreases.
fig.00-086
57
■ Change the material and tuning of the head

Here, let’s modify the type and tuning of the snare drum head.
fig.00-088
3,5
4,6
1 Press [INST], then press [F2 (EDIT)], and then press [F2 (HEAD)].
The snare setting page appears. Here, you can type and tuning of the head.
fig.00-089
3 Use [CURSOR] to move the cursor to “Head Type.”
4 Use [INC/DEC] or the VALUE dial to change the type of head.
In this example, let’s change the type from “Coated” to “PinStripe®.” The sound will become thicker,
with fewer overtones.
fig.00-090
* PinStripe is a registered trademark of Remo Inc. U.S.A.
58
This completes the head material choice. Next we’ll tune of the head.
Quick Start
5 Use [CURSOR] to move the cursor to “Head Tuning.”
fig.00-091
6 Use [INC/DEC] or the VALUE dial to modify the tuning.
Here we will change the setting from “-30” to “0.”
59
■ Adjust the muffling (muting) and snare strainer tension

You can add muffling to the snare drum or adjust the tension of the snare strainer to reduce unwant-
ed overtones or resonances, creating a tighter sound. You can even turn the snares off!
fig.00-093
3,5
4,6
1 Press [INST], then press [F2 (EDIT)], and then press [F3 (MUFFLE)].
The snare setting page appear. Here, you can choose the muffling method and snare strainer ten-
sion.
fig.00-094
3 Use [CURSOR] to move the cursor to “Muffling.”
60
4 Use [INC/DEC] or the VALUE dial to modify the setting.
Quick Start
For this example, select “Dougnuts1.” The sound will become somewhat more muted.
fig.00-095
This completes the muffling settings. Next we will adjust the tension of the strainer.
5 Use [CURSOR] to move the cursor to “Strainer Adj.”

fig.00-096
For this example, try “Loose.” Listen to the difference.

fig.00-097
61
[STUDIO]: Adjusting the acoustics of the room

One very important element that affects the overall sound of a drum kit is the environment in which
the drums are placed. The same drums are capable of producing a very different sound, depending
on whether they are played in a conventional studio, or in a glass-walled room. Here you can make
such variations in room characteristics with the simple touch of a few buttons.
Here we will try editing Ambience, which is part of the “Studio” settings. First, turn on the
Ambiance that you turned off before selecting the instruments.
fig.00-098

fig.00-099
2 Press [F1] to turn Ambiance “ON.”

fig.00-100
62
■ Decide “where” the drums are played
Quick Start
You can choose locations for your drums from different types of rooms, a cave, a bathroom or even
the beach. You make this selection by “seeing” the icon that represents the actual acoustical environ-
ment.
The factory preset will be “Gymnasium.” Let’s change this to “Studio.” The resonance will change to
that of a more muted room.
fig.00-102
1 Press [STUDIO].
The currently selected studio settings will be displayed.
2 Use [INC/DEC] or the VALUE dial to select “Studio.”

fig.00-102a
63
■ Change the size of the room

You can modify the “ambience” space by selecting one of five different room sizes.
fig.00-103a
1 Press [STUDIO], and then press [F2 (ROOM)].

fig.00-103
2 Use [CURSOR] to move the cursor to “Room Size.”
Small sizes will produce a slight impression of ambient presence, and it will sound as though the
drums are being played right in front of your eyes. Larger sizes will produce a more “live” ambi-
ence. Adjust this setting as desired.
64
[CONTROL ROOM]: Adding finishing touches to the sound
Quick Start
■ Using the equalizer to modify the sound
If you want the selected instrument to sound a little different, such as “a bit brighter” or “a bit
lighter,” etc., you can use the equalizer to make adjustments. The TD-10 has a 2-band (high and low)
equalizer for each instrument, and this can be used to fine tune each sound for the total blend of the
kit. This way, you can customize the contrast between individual sounds such as snare and kick for
example.
First, turn on the Equalizer that you turned off before selecting the instruments.
fig.00-104

fig.00-105
2 Press [F3] to turn the equalizer “ON.”

fig.00-106
65
In this example, let’s assume that we want to make the sound of the snare stand out.
fig.00-107
1 Press [CONTROL ROOM], press [F3 (EQ)], and then press [F4 (HIGH)]

fig.00-108
The snare setting screen will appear.
3 Use [INC/DEC] or the VALUE dial to modify the value. For this example, adjust the setting to “+5.”
fig.00-108
66
■ Adjusting the volume balance of the instruments
Quick Start
Now that we’ve used the equalizer to boost the high range, the snare sounds brighter. With this
change, however,the snare might stand out a bit too much. Let’s lower the volume to correct the bal-
ance.
fig.00-110
1 2
1 Set each of the [GROUP FADERS] sliders [KICK][SNARE][HI-HAT][OTHERS] to the same volume.
2 Press [CONTROL ROOM], press [F1 (MIXER)], and then press [F1 (VOLUME)].

fig.00-111
3 Strike the pad that is being used for the snare.
The snare slider will be selected.
4 Use [INC/DEC] or the VALUE dial to lower the volume slightly.
When setting the volume, make sure that the group faders ([GROUP FADERS]) are all at the same level, and
MEMO use on-screen editing to adjust the volume balance. If you use this method, the same balance will be reproduced
each time you select that kit. It is best to use the group faders when you need to make temporary adjustments to
the volume. (they will NOT overwrite settings in the mixer page)
By using the simple procedures that have been introduced above, you can see how the simple and
friendly interface allows you to create a wide variety of drum kits, easily accessed by just pushing a
button.
67
Examples and convenient tips
This section will highlight things that are possible only with electronic musical instruments such as
the TD-10.
Perform with the on-board sequencer

The TD-10 contains a sequencer that can record and play back accompaniment tracks and/or drum
performances.
The sequencer contains built-in pattern performances (preset patterns). These patterns can be used
as a very helpful practice tool.
■ Playing back a preset pattern

Preset patterns 1–36 will playback several measures repeatedly until [STOP] is pressed. These pat-
terns are convenient for drum practicing.
fig.00-114
1 3
1 Press [PATTERN].
The number of the currently selected pattern will be displayed.

fig.00-115
2 Use [INC/DEC] or the VALUE dial to select a pattern.
3 Press [PLAY].
The pattern will begin playing back. Press [STOP] to stop playback, and press it again to return to
the beginning of the pattern.
68
■ Play the pads along with a preset pattern
Quick Start
When you have found a preset pattern that you like, you can play along with that pattern. While
sounding the click, adjust the volume balance of the drums, backing parts, and the click.
fig.00-117
1,4 2
1 Adjust the [BACKING] and [CLICK] [GROUP FADERS] lower than the other sliders.
2 Press [CLICK].
The click will begin sounding.
3 As described in “Playing back a preset pattern” (p. 68), play back the pattern.
4 Gradually raise the [BACKING] and [CLICK] GROUP FADER sliders to adjust the volume balance
with the drum kit.
69
Drum Kit Chain—Selecting drum kits in the desired order

You can choose the order in which drum kits will be selected.
fig.00-120
1 2,4
3,5
1 Press [CHAIN], and then press [F1 (C.EDIT)].

fig.00-121
In this screen, you can create a list to specify the order in which the drum kits will be selected.
2 Use [CURSOR] to move the cursor to the sequence order in which the drum kits will be selected—
the step number “1” located in the right of the screen. fig.00-121a
3 Use [INC/DEC] or the VALUE dial to select the kit that will be selected first.
4 Use [CURSOR] to move the cursor to “2.”
70
5 Use [INC/DEC] or the VALUE dial to select the kit that will be selected second.
Quick Start
6 In the same way, make settings for the third and subsequent kits.
fig.00-122
To delete an unwanted kit from a step, use [CURSOR] in the “CHAIN” page to select the kit, and then press
MEMO [F2 (DELETE)].
If you wish to add a kit between steps, press [F1 (INSERT)].
7 When you finish making the settings, press [EXIT].
You will return to the “DRUM KIT CHAIN” page.

fig.00-122a
In this page you can use [INC/DEC] to select drum kits in the specified order.
To turn off the Drum Kit Chain function, press [CHAIN] to make the button indicator go dark.
MEMO In addition, you can specify pads or foot switches that can be used to select drum kits easily, even while you
continue playing. For details refer to “Chapter 9. Operations using pads and foot switches” (p. 119) in the
“Advanced Use.”
71
Using a foot switch to select kits

When an FS-5U foot switch (optional) is connected to the FOOT SWITCH jack, you can use it to
select kits, patterns, or as a play/stop button for patterns (p. 120).
fig.00-123e
Foot switch cable PCS-31
FS-5U
FS-5U
Foot switches
FS-5U
The function that the foot switch will have can be selected by the “Mode” setting in the “FOOT SWITCH”
MEMO display (p. 120).
fig.00-123a
Using a pad to playback patterns

In addition to using pads to play drum sounds, it is also possible to make settings so that striking a
pad will start playback of a pattern.(with various possibilities) When this function is used, you can
(for example) strike a pad to start playback of a pattern, and then continue playing along with that
pattern. This is only possible with electronic drums!
Some of the preset drum kits use this function.

MEMO For details on the settings, refer to p. 119.
72
Using headphones to hear the click sound
Quick Start
If you want to listen to a click sound while you play (for example during practice or a live perfor-
mance), you can make settings so that the click is heard only in the headphones, and is not output
from the OUTPUT jacks (MASTER).
fig.00-124
1 2
1 Press [CLICK], and then press [F2 (INST)].

fig.00-125
2 Use [CURSOR] to move the cursor to “Output.”
3 Use [INC/DEC] or the VALUE dial to select “Phones Only.”

fig.00-126
73
Using the TD-10 as a MIDI sound module

The TD-10 can also be used as a sound module for MIDI keyboards or sequencer. When used as a
MIDI sound module, the percussion group (p. 126) can be used so that 72 types of instrument can be
accessed simultaneously in addition to the sounds that are assigned to the 12 trigger inputs (pads).
In addition, three backing parts can be used as sound sources (each with its own individual MIDI
channel) as well as the drums. This means that a single TD-10 can be used as a four-part multi part
multi-timbral sound source with 56 voices of polyphony! For details refer to “Using the TD-10 as a
sound module” (p. 125).
74
Advanced Use
75
Chapter 10 Chapter 9 Chapter 8 Chapter 7 Chapter 6 Chapter 5 Chapter 4 Chapter 3 Chapter 2 Chapter 1
The TD-10 is a drum trigger interface and sound module, providing virtual reproduction of an actu-
al drum set, allowing total control over all aspects of drum sound creation.
When electronic drums were first developed, the technology available was not as advanced as it is
today, so sounds were not really comparable with acoustic drums. However, many people appreci-
ated electronic drums in their own right for their unique sound quality and character. The early elec-
tronic drum systems were fairly expensive, and not that easy to use in a wide musical context. Later,
the appearance of “samplers” (instruments using digital recording technology) brought great
advances in the quality of acoustic instrument simulations and editing potential of those sounds.
Although this technology was developed mostly for synthesizers, it was also applied to rhythm
machines and electronic drums though the operating procedures and the sound creating/editing
processes were simply carried over from synthesizers.
For many drummers, it became necessary to learn new and unfamiliar technical terms and methods
for processing sound, meaning that the “user friendliness” was considerably diminished.
The TD-10 V-drums offers access to the whole family of percussion sounds, including acoustic and
electronic drums, and percussion, and provides a control environment that is specially designed for
the drummer. This includes choosing your instrument, (out of over 600 sounds!) editing the sounds,
and a way to make sure they respond to your style of playing through the advanced and accurate
triggering response. You also have control of “where” the drums are played, the acoustics of that
environment, the types of microphones used on the drums and their positions and all details of the
final mixing process in the “control room.” In other words, the TD-10 alone is a complete drum pro-
duction concept with a studio, effect units and a mixing console. There are 50 preset drum kits that
have been created in this manner, so you can get a feel of the TD-10’s potential once you have com-
pleted the basic setup.
How the V-drums system is organized

The V-drums system can be divided into the following two parts.
● Controllers such as pads and pedals on which you perform

● The sound module that produces sounds in response to your per-
formance on the pads or pedals
fig.01-02e
Controller Sound module (TD-10)

TRIGGER Instrument (instrumental sound)
INPUT Jacks
OUTPUT jacks
PHONES jack
Pad
In this system, the TD-10 is the sound module.

When the TD-10 receives signals (trigger signals) received after pads are hit (or via MIDI) it plays
the corresponding instrumental sounds.
* The term “trigger signal” will appear frequently in this manual, so become familiar with the term as it will
will help you understand the explanations that follow (p. 172).
76
Chapter 1
How to select pads
When making settings, you can specify the pad in one of the following two ways.
■ Using pads to select the pad/sound for editing
Chapter 2
Strike the head (the head and rim simultaneously) of the pad. The setting display for the pad you
struck will appear. Listen to the sound as you strike the head (the head and rim simultaneously),
and use [INC/DEC] or the VALUE dial to modify the setting.
■ Using the TD-10 to select the pad/sound for editing
Chapter 3
Use the “1” button or “12” button located below [TRIG SELECT] to select a trigger signal(corre-
sponds to the 12 trigger inputs). To edit the rim settings, press [RIM] to make the indicator light.
When using [PREVIEW] to audition a sound, use [INC/DEC] or the VALUE dial to modify the set-
ting.
Chapter 4
* When separate settings can be made for the head and the rim, a display such as the following will appear.
For details refer to p. 136.
fig.01-03
Head settings Rim settings
Chapter 5
In this owner’s manual, a symbol such as the following will mark functions that can be set independently for
Chapter 6
head and rim.
fig.(H)(R)
Chapter 7
Chapter 8
Chapter 10 Chapter 9
77
Chapter 2. Settings for the entire drum kit
Selecting a kit Naming a kit
Press [KIT], and the basic display page will appear. In this Each kit can be given a name of up to 8 characters.
page, you can use [INC/DEC],the VALUE dial or a foot fig.03-01
switch (optional) to select drum kits (p. 120).
fig.02-01
2
3 1
Procedure
1. Press [KIT]-[F2 (FUNC)]-[F4 (NAME)].
Area 1 in the above figure indicates whether the selected kit
The “DRUM KIT NAME” page will appear.
contains settings for performance with sticks or for brushes.
To change this setting see “Making settings for brush perfor- 2. Use the left/right [CURSOR] buttons to select the charac-
mance” (p. 79). Area 2 indicates effect on/off settings for the ter that you wish to change.
entire kit. Please refer to “Effect switches for the entire kit” The character at the blinking location is the one that can be
(p. 79). Area 3 will appear if a card is inserted into the TD-10. changed.
If the card’s protect switch is on, a lock symbol will appear.
3. Use the VALUE dial, [INC/DEC], or [CURSOR] (up/down)
* To prevent data from being accidentally modified while you to change the character.
play, it is a good idea to select this display page once you have Characters can be selected in the order of the small charac-
finished making settings. ters displayed in the bottom of the screen.
Function buttons
Selecting kits from the list In this page the [F1]–[F4] buttons can be used to perform the
display following convenient functions for entering characters.
[F1 (INSERT)]: All characters to the right of the cursor will
Here you can select drum kits by accessing the full list of be moved to the right.
available kits. [F2 (DELETE)]: The character at the cursor location will be
fig.02-02
deleted, and all characters to the right of the
cursor will be moved to the left.
[F3 (SPACE)]: A blank space will be inserted at the cursor
location.
[F4 (CHAR)]: Cycle between uppercase/lowercase/sym-
bols.
Procedure
1. Press [KIT]-[F1 (LIST)].
The “DRUM KIT LIST” page will appear.
2. Use the VALUE dial, [INC/DEC], or [CURSOR] to select a

kit.
Function buttons
[F1 (PAGE <)]: The previous page of the list will appear.
[F2 (PAGE >)]: The next page of the list will appear.
78
Chapter 2. Settings for the entire drum kit
Chapter 1
Making settings for brush Effect switches for the
performance entire kit
For each kit you can specify whether sticks or brushes will Ambience, compressors, equalizers, and digital effects can
Chapter 2
be used. When the trigger setting is set to “brush,” pad sen- be turned on/off for the entire kit. This gives you a great
sitivity will be higher. Each kit has settings for sticks and for way to “compare” your sounds with or without those func-
brushes, and the brush settings can be selected as follows. tions.
fig.03-02
Procedure
1. Press [KIT]-[F3 (FX SW)].
Chapter 3
The “EFFECTS SWITCH” page will appear.
2. Each time you press a function button [F1]–[F4], the cor-

responding effect will be switched on/off.
Procedure Function buttons
Chapter 4
1. Press [KIT]-[F2 (FUNC)]-[F3 (SELECT)]. [F1 (AMBNCE)]: Ambience on/off switch
The “SELECT” page will appear. [F2 (COMP)]: Compressor on/off switch
2. Use [INC/DEC] or the VALUE dial to select “Brushes.” [F3 (EQ)]: Equalizers on/off switch
The settings for brush performance will be selected. [F4 (EFFECT)]: Effect on/off switch
* Preset drum kits for brushes are already set for brush perfor- * The settings made here can also be seen in the drum kit name
Chapter 5
mance. The setting discussed here is necessary when you wish to page (“DRUM KIT”).
modify a kit that was created for stick performance in order to fig.03-02ae
play with brushes. If you wish to create a new brush kit, it’s sim-
pler to copy an existing one and then edit it as you wish.
* The setting you make here can also be viewed in the drum kit
Chapter 6
name page (“DRUM KIT”).
* When performing brush swish/sweeping, the following condi- On Off

tions must also be met in addition to the above setting.
Trigger jack 2 must be used. (for the snare drum)
Chapter 7
PD-120 or PD-100 pads must be used.
Make sure that you are using instrument number 113 “Brush1
S,” number 114 “Brush2 S” or 115 “BrushTmbS.”
Chapter 8
79
Chapter 3. Instrument settings
Here you can edit the instruments.(i.e. snare drum kick etc.)
The TD-10 provides separate parameters for editing acoustic
Selecting instruments
or electronic drum sounds. from the list display
Here you can choose the sound from the list of all instru-
Selecting an instrument ments.
fig.04-02
On the TD-10, each sound,is referred to as an “instrument”

(INST). You’ll begin the sound-creating procedure by select-
ing the desired instruments.
fig.04-01
Procedure
1. Press [INST]-[F1 (LIST)].
The “INST LIST” page will appear.
2. Strike the pad whose instrument you wish to change.

The setting page for the pad you struck will appear. The cur-
Procedure
sor will be at the name of the currently selected instrument.
(Example) Changing the snare
3. Use the VALUE dial, [INC/DEC] or [CURSOR] to select
1. Press [INST].
an instrument.
The “INST” page will appear.
4. After you have selected an instrument, press [EXIT].
2. Strike the snare pad.
You will return to the “INST” page.
The name of the instrument being triggered by the snare pad
will appear at “Inst.” The “type” of the currently selected
Function buttons
instrument will appear at “Group.”
[F1 (PAGE <)]: The previous page of the list will appear.
3. Use [INC/DEC] or the VALUE dial to select an instrument. [F2 (PAGE >)]: The next page of the list will appear.
* There are instruments that cannot be selected There are some
You can also use the Function Key to scroll through the
instrument combinations that cannot be selected within the
instrument list at a higher speed.
same kit, or with certain trigger inputs. The V-EDIT process is
To advance quickly Hold down [F2 (PAGE >)] and
not available for all instruments (p. 136).
press [F1 (PAGE <)]
To move in reverse quickly Hold down [F1 (PAGE <)] and
press [F2 (PAGE >)]
* Instruments which cannot be selected for specific triggers are

indicated by a horizontal line as in the following diagram.
fig.04-03e
Instruments which cannot be selected
80
Chapter 1
Editing an acoustic drum kit (V-EDIT)
● V-EDIT and EDIT
Editing procedure for an acoustic snare, kick and tom drums will differ depending on the type of
Chapter 2
instrument and the TRIGGER INPUT jack that you are using.
1. V-EDIT lets you use all the editing capability of the TD-10
2. EDIT lets you edit only the two parameters Pitch and Decay
● VERY IMPORTANT!! When V-EDIT can be used
Chapter 3
“V-EDIT” will appear ONLY when using trigger inputs 1–6 and an instrument from instrument
groups “V-KICK”, “V-SNARE”, or “V-TOM.” (A “V-EDIT” symbol will appear in the setting page.)
When an instrument from another instrument group is assigned, only Pitch and Decay can be edit-
ed. So if you assign a “V” type sound to an input other than 1-6, you cannot use the V-Edit parame-
ters.
For details on assigning instruments, refer to p. 136.
Chapter 4
The parameters available in V-EDIT will differ depending on the trigger input and instrument
selected. The following parameters can be edited.
Trigger Shell Material Shell Depth Head Type Head Tuning Muffling Strainer Adj.
1 (KICK) - o o o o -
Chapter 5
2 (SNARE) o o o o o o
3–6 (TOM) - o o o o -
o: Can be set - : Cannot be set
■ Selecting the shell material
Chapter 6
Changing the material of the snare drum shell produces a different tone. You can select one of three
materials: wood, steel and brass.
fig.04-04
Chapter 7
Instruments that can be edited
Chapter 8
Snare only
Procedure
1. Press [INST]-[F2 (EDIT)]-[F1 (SHELL)].
The “INST EDIT” page will appear.

The snare setting page will appear.
3. Use [CURSOR] to move the cursor to “Material.”
4. Use [INC/DEC] or the VALUE dial to make the setting.
Parameters
Material: Wood, Steel, Brass
Wood: Wood body. This produces a natural and mellow sound.
Steel: Steel body. This produces a sound with metallic resonance.
Brass: Brass body. This produces the unique resonance of brass.
81
■ Changing the shell depth Parameters

Head Type: Clear, Coated, PinStripe
Changing the depth of the drum shell will change the tone.
With the snare drum, the depth can be changed over 39 Clear: A single transparent head.
steps, from 1 to 20 inches! Making the shell deeper will Coated: The most commonly used type of head.
increase the richness of the low range, and make the sound PinStripe®: Characterized by a rich medium and low range
more “fat”. “color.”
fig.04-05 * PinStripe is a registered trademark of Remo Inc. U.S.A.
■ Tuning the head

Here you can tune the drum head very accurately.
fig.04-07

Kick, Snare, Tom
Procedure
1. Press [INST]-[F2 (EDIT)]-[F1 (SHELL)].
2. Strike the pad that you wish to edit. Kick, Snare, Tom
The setting page for the pad you struck will appear.
Procedure
3. Use [CURSOR] to move the cursor to “Shell Depth.”
1. Press [INST]-[F2 (EDIT)]-[F2 (HEAD)].
4. Use [INC/DEC] or the VALUE dial to make the setting. The “INST EDIT” page will appear.
Parameters 2. Strike the pad that you wish to edit.

Shell Depth: Normal, Deep (Kick) The setting page for the pad you struck will appear.
1–20 inch (39 steps) (Snare) 3. Use [CURSOR] to move the cursor to “Head Tuning.”
Normal, Deep (Tom)
■ Selecting the head material Parameters

Changing the “type” of drum head will affect aspects of Head Tuning: -480–+480 (-4–+4 octaves)
attack and tone. You can choose from three type of heads: * For some instruments, raising or lowering the value beyond a
Clear, Coated, and PinStripe® certain point may not produce further change.
fig.04-06

Kick, Snare, Tom
Procedure
1. Press [INST]-[F2 (EDIT)]-[HEAD(F2)].
2. Strike the pad that you wish to edit.

3. Use [CURSOR] to move the cursor to “Head Type.”
82
Chapter 1
■ Muffling settings (muting) ■ Adjusting the Snare strainer
You can literally apply tape or “rings” to dampen the over- tension
tones. The amount of contact between the bottom head and the
fig.04-08
snares themselves can be adjusted to change the tone just
Chapter 2
like with a real acoustic drum. You have a choice between
one of three tensions: Loose, Medium or Tight or you can
turn the snares OFF.
fig.04-09
Chapter 3
Snare, Kick, Tom
Procedure
1. Press [INST]-[F2 (EDIT)]-[F3 (MUFFLE)].
Chapter 4
Snare only
The setting page for the pad you struck will appear. Procedure
1. Press [INST]-[F2 (EDIT)]-[F3 (MUFFLE)].
3. Use [CURSOR] to move the cursor to “Muffling.”
Chapter 5
The snare setting page will appear.
Parameters
Muffling: OFF, Tape 1, Tape 2, Blanket, Weight (Kick) 3. Use [CURSOR] to move the cursor to “Strainer Adj.”
OFF, Tape 1, Tape 2, Doughnuts 1, Doughnuts 2
(Snare)
Chapter 6
OFF, Tape 1, Tape 2, Felt 1, Felt 2 (Tom) Parameters
OFF: No muffling. Strainer Adj.: OFF, Loose, Medium, Tight
Tape 1: one piece of tape. OFF: The sound with no snares.
Tape 2: two pieces of tape. Loose, Medium, Tight:
Blanket: Muffled by placing a blanket inside the kick The strainer tension becomes progressively stronger.
Chapter 7
drum.
Weight: Blanket with a weight on top.
Doughnuts 1: common “ring” type mute.
Doughnuts 2: common “ring” type mute with stronger muf-
fling of overtones.
Felt 1: Conventional felt type mute.
Felt 2: Conventional felt type mute with more pres- Chapter 8
sure on the head.
83
Editing an electronic Parameters

Instruments from the “ELECTRONIC” instrument group
drum kit (V-EDIT) provide the following parameters.
Electronic drum sounds consist of “tone” and “noise.” These Atk (Attack Level ): 0–127
instruments can be assigned only to specific trigger inputs. Adjusts the volume of the attack (the beginning of the
For details on instrument assignments, refer to p. 136. sound).
* With electronic drums, selecting an instrument for the head will Tone (Tone Pitch ): 0–127
assign the same instrument to the rim. It is not possible to Adjusts the pitch of the “tone” component.
change the rim to a different instrument.
Noi (Noise Pitch): 0–127
fig.04-10
Adjusts the pitch of the “noise” component.
Dcy (Decay): 0–127

Adjusts the decay time of the sound.
Bal (Noise Tone Balance): 0–127

Adjusts the volume balance between the “noise” and “tone”
components.
IMPORTANT: Instruments that can be used for specific trig-
Bend (Pitch Bend): 0–127
ger inputs Instruments from the “ELEC” instrument group
Adjusts the extent of the pitch change that occurs during the
can be used ONLY with trigger inputs 1–6. Example: An
sound. This setting adjusts the pitch at which the sound
Electronic Kick can only be used with the trigger input (1)
begins.
dedicated for the Kick. fig.00-074e
Procedure Bend
1. Press [INST]. 127
2. Strike a pad that is connected to a TRIGGER INPUT jack

(1-6). amount of pitch change
3. Use [INC/DEC] or the VALUE dial to select an instru-

ments from the “ELEC” instrument group.
4. Press [F2 (EDIT)]. 0 Time

The setting page for the selected instrument will appear.
5. Use [CURSOR] to move the cursor to the parameter that

you wish to set.
* You can also use the [F1]–[F4] buttons to select parameters.
[F1]: Atk
[F2]: Each time the button is pressed, Tone or Noi will be
selected.
[F3]: Each time the button is pressed, Dcy or Bal will be
selected.
[F4]: Bend
84
Chapter 1
Editing a TR-808/909 (V-EDIT)
This simulates a Roland “TR-808” or “TR-909” Rhythm Composer. Only instruments specified for
each trigger input can be selected. For details on instrument assignments, refer to p. 136.
* For instruments in the TR-808/909 groups, selecting an instrument for the head will assigns the same
Chapter 2
instrument for the rim. It’s not possible to change the rim to a different instrument.
fig.04-12
Chapter 3
Instruments and parameters usable for each trigger input
Instruments in the “TR-808” or “TR-909” instrument group can be used only for trigger inputs 1–6.
Specific trigger jacks are used for specific instruments, such as “a kick instrument for the kick jack.”
Chapter 4
The following parameters can be edited.
* The [F2]–[F4] buttons can be used to select parameters.
TR-808
Trigger [F2] [F3] [F4]
1 (KICK) Tune Decay Tone
Chapter 5
2 (SNARE) Tune Snappy Tone
3–6 (TOM1–4) Tune Decay -
TR-909
Trigger [F2] [F3] [F4]
1 (KICK) Tune Decay Attack
Chapter 6
2 (SNARE) Tune Snappy Tone
3–6 (TOM1–4) Tune Decay -
Procedure
1. Press [INST].
Chapter 7
2. Strike a pad connected to a TRIGGER INPUT jack 1–6.
3. Use [INC/DEC] or the VALUE dial to select the TR-808/909 instrument.
4. Press [F2 (EDIT)].
Chapter 8
5. Use [CURSOR] to move the cursor to the parameter that you wish to set.
Parameters
Attack (Attack Level): 0–127

Adjusts the volume of the attack (the beginning of the sound).
Tone (Tone Pitch): 0–127
On the TR-808/909, this parameter simulated the brightness of the drum.
Snappy: 0–127
This is the TR-808/909 parameter that simulates snare strainer tension.
Decay (Decay Time): 0–127
Tune: 0–127
On the TR-808/909, this parameter simulated the tension of the drum head. The pitch and thickness
of the sound will change.
85
Editing hi-hat, cymbals

and percussion
Only pitch and decay can be edited for instruments that are
assigned to trigger inputs 7–12. Even for trigger inputs 1-6,
only pitch and decay can be edited if the assigned instru-
ment is not V-EDIT capable.
fig.04-14
Procedure
1. Press [INST].
2. Strike a pad connected to a TRIGGER INPUT jack 7–12.

3. Use [INC/DEC] or the VALUE dial to select a hi-hat, cym-

bal or percussion instrument.
4. Press [F2 (EDIT)].


you wish to set.
Parameters
Pich: -480–+480
Adjusts the pitch of the sound.
Decay: -31–+31
* For some instruments, raising/lowering the value beyond a cer-
tain level will not produce any further change in Decay.
86
Chapter 4. Studio settings
Chapter 1
Here is where you can virtually change the acoustics of the
■ Changing the wall material
room in which you are playing the drums. The parameters
You can choose from Wood, Plaster or Glass covered walls
available here let you select actual room sizes and wall mate-
for the room where the drums are being played.
rials to easily get your desired sound. You can also change
fig.05-03
the positions of the “room” microphones.
Chapter 2
An easy way to understand this is to change the type of stu-
dio as explained below in “Selecting the studio/room” in
“Settings for the entire drum kit.”
Settings for the entire
Chapter 3
drum kit Procedure
1. Press [STUDIO]-[F2 (ROOM)].
■ Selecting the studio/room The “ROOM” page will appear.
You can select one of 10 types of “ambiences” built into the
2. Use [CURSOR] to move the cursor to “Wall Type.”
Chapter 4
TD-10. Before you make detailed settings, use this setting to
select the basic type of acoustic environment in which you 3. Use [INC/DEC] or the VALUE dial to make the setting.
will be playing.
fig.00-102a Parameters
Wall Type: Wood, Plaster, Glass
Wood: Simulates the sound of a wood-walled room pro-
Chapter 5
ducing a warm sound.
Plaster: Simulates a plaster-walled room producing a more
“naturally live” sound.
Glass: Simulates a glass-walled room producing a very
Procedure bright ambience.
Chapter 6
1. Press [STUDIO].
The “STUDIO” page will appear. ■ Selecting the ambience mike
2. Use [INC/DEC] or the VALUE dial to make the setting. location
Ambience microphones are placed at a distance from the
Parameters
instrument in order to pick up the natural acoustics of the
Chapter 7
Studio Select: Beach, Living Room, Bath Room, Studio,
room. Adjusting the height of these mikes allows you to cap-
Garage, Locker Room, Theater, Cave,
ture different characteristics of that room.
Gymnasium, Dome Stadium fig.05-04
■ Changing the size of the room

Chapter 8
You have five sizes to choose from.
fig.05-02
Procedure
1. Press [STUDIO]-[F3 (AMBMIC)].
The “AMBIENCE MIC” page will appear.

Procedure
1. Press [STUDIO]-[F2 (ROOM)].
The “ROOM” page will appear.
2. Use [CURSOR] to move the cursor to “Room Size.”
Parameters
Room Sizes: Tiny, Small, Medium, Large, Huge
87
Parameters
Ambience Mic Positions: Low, High
Settings for each instrument
Low: Often referred to as “floor mikes,” picking up low About the basic procedure
frequencies of the room, producing a warmer charac- In each page,when you hit the pad for which you wish to
ter. make settings, the setting page for that pad will appear. You
High: Often referred to as “overhead mikes” capturing the can also make a selection by pressing [TRIG SELECT] on the
high frequencies and accenting the brightness of the TD-10 itself.
room.
■ Adjusting the amount of ambience
■ Adjusting the volume and output
assignments of the ambience fig.05-06
fig.05-05
Procedure
1. Press [STUDIO]-[F4 (AMBNCE)]-[F1 (AMBSND)].
Procedure
The “AMBIENCE” page will appear.
1. Press [STUDIO]-[F4 (AMBNCE)]-[F3 (AMBLVL)].
The “AMBIENCE” page will appear. 2. Strike the pad that you wish to edit.
The cursor will move to the slider of the pad that you struck.
2. Use [CURSOR] to move the cursor to the output destina-
tion that you wish to set (“MASTER”, “DIR1”, “DIR2”, 3. Use the VALUE dial, [INC/DEC] or [CURSOR] to make
“DIR3” ). the setting.
3. Use [INC/DEC] or the VALUE dial to make the setting. Parameters

If you want the ambience to be output ONLY from a specific Ambience Send Level: 0-127
output, raise the value for that output and set a value of “0” * If you consider Ambience as a type of “effect” used with a mix-
for the others. ing console, this parameter corresponds to the Send Level (the
amount that is sent from the mixer to the effect or in this
Parameters case,the room you’ve selected).
Ambience Output Level: 0–127
MASTER: Adjusts the level of ambience output from the
■ Selecting the type of mike and
MASTER jacks.
DIR1: Adjusts the level of ambience output from the its location
DIRECT 1 jacks. Here you can choose the type of mike used on certain instru-
DIR2: Adjusts the level of ambience output from the ments and its relative position to that instrument.
DIRECT 2 jacks. fig.05-07
DIR3: Adjusts the level of ambience output from the
DIRECT 3 jacks.
* Consider that Ambience is like an effect used with a mixing con-
sole and that these parameters correspond to the “Return Level”
(the amount that is sent from an effect back to the mixer).
* This parameter’s not available for electronic drums, TR-808/909
kits, cymbals or percussion.
Microphone settings can be made for the following trigger

inputs.
Trigger number Mic type Mic location
1, 2 (KICK, SNARE) o o
3–6 (TOM1–4) - o
7–12 - -
o: Can be set - : Cannot be set
88
Chapter 1
● Selecting the type of mike Settings for each group
Procedure
1. Press [STUDIO]-[F1 (MIC)]. Settings can be made for the three main instrument groups:
The “MIC” page will appear. the drum kit,the percussion group, and the backing parts.
Chapter 2
2. Strike the pad that you wish to edit. * The percussion group is a sound map that can be accessed when
The setting page for the pad you struck appears. the TD-10 is being used as a MIDI sound module. For details
refer to “Using the percussion group” (p. 126). Of course, indi-
3. Use [CURSOR] to move the cursor to “Mic Type.” vidual percussion sounds CAN be assigned to the pads.
■ Adjusting the amount of ambi-
Chapter 3
Parameters
Mic Type: Condenser, Dynamic 1, Dynamic 2 (KICK) ence send level for each group
Condenser, Dynamic, Lo-Fi (SNARE) The ambience can be adjusted by groups: the drum kit, the
percussion group (p. 126), and the backing part group. It’s a
(KICK)
convenient way to raise or lower the overall amount of
Condenser: Produces the sound of a condenser mike.
Chapter 4
ambience without adjusting individual ambience send levels
Dynamic 1: Produces the sound of a standard dynamic
for the instruments.
mike.
Dynamic 2: Produces the sound of a dynamic mike that has
Procedure
the mid-to-high-range content emphasized
1. Press [STUDIO]-[F4 (AMBNCE)]-[F2 (GRPSND)].
somewhat.
The “AMBIENCE” page will appear.
Chapter 5
(SNARE)
2. Use [CURSOR] to move the cursor to the group for which
Condenser: Produces the sound of a condenser mike.
you wish to make settings (“DRUMS”, “PERC”, “PART” ).
Dynamic: Produces the sound of a dynamic mike.
Lo-Fi: Emphasizes low range and is a bit “dirty.” 3. Use [INC/DEC] or the VALUE dial to make the setting.
● Specifying the mike placement Parameters
Chapter 6
Ambience Group Send: 0–127
Procedure
1. Press [STUDIO]-[F1 (MIC)]. DRUMS: Adjusts ambience send level for the entire drum
The “MIC” page will appear. kit.
PERC: Adjusts ambience send level for the entire percus-
sion group.
Chapter 7
The setting page for the pad you struck appears.
PART: Adjusts ambience send level for the sequencer
3. Use [CURSOR] to move the cursor to “Mic Position.” parts (Part 1, Part 2, and Bass part).
Parameters
Mic Position: Outside, Standard, Inside Chapter 8
Outside: Placed to capture more “attack.”
Standard: Standard mike location for a natural sound.
Inside: Produces less attack and a bit more “body” of the
drum.
89
Chapter 5. Control room settings
The most important aspect of finalizing the sound in record-
■ Adjusting pan (stereo location)
ing or live performances depends on the mixing console. In
This adjusts the stereo location of each pad.
the Control Room, you’ll find a complete 12-channel mixer
fig.06-02
with 10 individual compressors and EQ’s and digital effects,
finalizing your sound in a CD-quality state.
Abbreviations in the display screen

TRIGGER INPUT jacks
K=Kick
Sn=Snare
Procedure
T1=Tom 1
1. Press [CONTROL ROOM]-[F1 (MIXER)]-[F2 (PAN)].
T2=Tom 2
The “PAN” page will appear.
T3=Tom 3
T4=Tom 4 2. Strike the pad that you wish to edit.
HH=Hi-hat The cursor will move to the slider of the pad that you struck.
C1=Crash 1
3. Use the VALUE dial, [INC/DEC] or [CURSOR] to make
C2=Crash 2
the setting.
Rd=Ride cymbal
Raising the slider (pressing [INC]) will move the sound
A1=AUX1
toward the right, and lowering it (pressing [DEC]) will move
A2=AUX2
the sound toward the left.
Settings for each instrument Parameters

Pan: L15–Center–R15
The basic procedure
In each page, strike the pad for which you wish to make set- ■ Adjusting effect send level
tings, and the setting page for that pad will appear. You can
also use [TRIG SELECT] to make your selection by.
This sets the effect Send Level for each pad/sound.
fig.06-03
■ Adjusting volume (level)
This adjusts the volume of each pad.

fig.06-01
Procedure
1. Press [CONTROL ROOM]-[F4 (EFFECT)]-[F1 (FXSEND)].
The “EFFECT” page will appear.
Procedure 2. Strike the pad that you wish to edit.
1. Press [CONTROL ROOM]-[F1 (MIXER)]-[F1 (VOLUME)]. The cursor will move to the slider of the pad that you struck.
The “VOLUME” page will appear.
3. Use the VALUE dial, [INC/DEC] or [CURSOR] to make
2. Strike the pad that you wish to edit. the setting.
The cursor will move to the slider of the pad that you struck.
3. Use the VALUE dial, [INC/DEC] or [CURSOR] to make Parameters

the setting. Send Level: 0–127
Parameters
Volume: 0–127
90
Chapter 1
■ Selecting output assignments ■ Controlling variations in volume
To change the output destination for the sound of each pad (Compressor)
note that the vertical lines indicate the TRIGGER INPUT 10 compressors are provided (Triggers 1-10 only)
number, and the horizontal lines indicate the OUTPUT Compression is used to “smooth” volume peaks, preventing
Chapter 2
choices. The black dots indicate the OUTPUT assignment “overloads” and as it will also change the character and tone
corresponding to each sound. of the sound in response to the playing dynamics, it’s anoth-
fig.06-04
er useful tool in creating YOUR sound.
fig.06-05
Chapter 3
Procedure
1. Press [CONTROL ROOM]-[F1 (MIXER)]-[F3 (OUTPUT)]. Procedure
Chapter 4
The “OUTPUT” page will appear. 1. Press [CONTROL ROOM]-[F2 (COMP)].
2. Strike the pad that you wish to edit. The “COMPRESSOR/LIMITER” page will appear.
The cursor will move to the vertical line (TRIGGER INPUT 2. Strike the pad that you wish to edit.
jack) of the pad that you struck. The setting page for the pad you struck will appear.
3. Use the VALUE dial, [INC/DEC] or [CURSOR] to make 3. Use [CURSOR] to move the cursor to the parameter that
Chapter 5
the setting. you wish to set.
Abbreviations in the display screen 4. Use [INC/DEC] or the VALUE dial to make the setting.
OUTPUT jacks In this page, [F1] will turn the compressor on/off. Also,
pressing the [F2][F3][F4] buttons will move the cursor direct-
M=MASTER
ly to “Attack,” “Release,” or “Output.”
Chapter 6
1=DIRECT 1
2=DIRECT 2
Parameters
3=DIRECT 3
ATTACK (Attack time): 0.05–50 msec
* The volume of the DIRECT 1, DIRECT 2 and DIRECT 3 jacks Adjusts the volume of the attack (the beginning of the
is not affected by the master volume control located in the upper sound).
Chapter 7
right of the front panel ([MASTER]).
RELEAS (Release time): 0.05–2000 msec
Adjusts the release time of the sound.
Applications
You can also use the DIRECT outputs (6) in mono by select- OUTPUT (Output Level): -60– +12 dB
ing (for example) DIRECT 1, and then panning the chosen Adjusts the volume of the sound processed by the compres-
sound hard right or left (R15/L15) (stereo location; p. 90). If sor. Ideally the volume should be about the same whether
Chapter 8
you are processing all sounds externally, you can also use the compressor is on or off.
the MASTER out in this way, giving you 8 individual mono Threshold (Threshold): -∞, -99–0
outs. When the input exceeds the level that you specify here, the
compressor will begin to hold down the volume.
Output Separation: 76 dB (min.)
(MASTER L -> DIRECT L, MASTER R -> DIRECT R): 45 dB (min.) Ratio (Compression Ratio): 1:1–90:1, ∞:1
(DIRECT L -> Other DIRECT L, DIRECT R -> Other DIRECT R): 45 dB (min.) This decides the degree of volume compression, expressed
as a ratio relative to the original (input) sound.
91
■ Customizing the tone (Equalizer) GAIN Peak

LShelv HShelv
Here you can adjust the high and low frequencies balance
for the instrument assigned to each pad. (TRIGGERS 1-10
only)
* This setting is not available for the AUX1,2 trigger inputs. 0 Frequence
fig.06-06
FREQ
0
Procedure
1. Press [CONTROL ROOM]-[F3 (EQ)]. Q
The “EQ” page will appear.


you wish to set.

In this page, [F1] will turn the equalizer on/off. Pressing [F3]
or [F4] will move the cursor directly to the low range (LOW)
or high range (HIGH) settings.
Parameters
TYPE: Peak, L shelv, H shelv
Peak: The vicinity of the specified frequency range will be
boosted/cut.
L shelv: The entire range below the specified frequency will
be boosted/cut.
H shelv: The entire range above the specified frequency will
be boosted/cut.
Q: 0.5, 1.0–20, 1.0 steps

Adjusts the width of the frequency range that will be boost-
ed/cut. For example, when the “Q” value is small, raising or
lowering the low range “GAIN” will affect a broad area
extending close to the high range.
FREQ (Frequency): 20–20 kHz

Adjusts the point at which the boost/cut will occur.If you
wish to boost/cut a range that is higher than the current
range, you would adjust this setting.
GAIN: -15–0–+15 dB
Adjusts the amount of the boost/cut. Negative (-) settings
produce a cut.
92
Chapter 1
Settings for the entire Gate Reverb 1, 2, 3
Non Linear 1, 2
drum kit These effects cut off the reverberation before its natural
decay, and have broad applications as the sound will change
■ Adjusting effect Return level in different ways over time for Gate Reverb and Non Linear.
Chapter 2
fig.06-09e
You can adjust the effect Return level for the drum kit, per- Level
cussion group, and backing parts.
Procedure
1. Press [CONTROL ROOM]-[F4 (EFFECT)]-[F2 (SNDRTN)]. Gate Non Linear
Chapter 3
The “EFFECT GROUP” page will appear.
2. Use [CURSOR] to move the cursor to “Return Level” Time
3. Use [INC/DEC] or the VALUE dial to make the setting. Delay 1, 2

A repeating-type effect is produced. By changing the time
Parameters
Chapter 4
difference between the left and right delays, you can “spread
Return Level: 0–127 out” the left/right width of the delayed sound.
Beat Delay 1, 2
■ Selecting the type of effect This produces a delay that is synchronized to the tempo of
The TD-10 provides 30 different types of digital effects that the sequencer. This differs from “Delay 1, 2” in that the
are easy to select with the simple push of a button. You can
Chapter 5
delay time can be specified in terms of note values. For
also edit these effects. Refer to “Editing the effects” (p. 94). example with a setting of “16” (16th note), the delay time
fig.06-08 will always be a 16th note length even if you change the
tempo of the sequencer.
Chorus ➝ Delay 1, 2
Chapter 6
Delay is combined with a chorused sound.
Chorus: An effect that adds smoothness and spaciousness
to the sound
Delay: A repeating-type effect
Procedure
1. Press [CONTROL ROOM]-[F4 (EFFECT)]-[F3 (FXTYPE)]. Flanger ➝ Delay 1, 2
Delay is combined to a flanged sound.
Chapter 7
The “EFFECT TYPE” page will appear.
Flanger: An effect that adds a “jet airplane” nuance
2. Use [CURSOR] to move the cursor to where the effect
Delay: A repeating-type effect
name is displayed.
Phaser ➝ Delay 1, 2
Delay is applied to a phased sound.
Phaser: An effect that gives a twisting character to the
Hall Reverb 1, 2, 3
sound Chapter 8
Room Reverb 1, 2, 3
Plate Reverb 1, 2, 3 Delay: A repeating-type effect
These are high quality digital reverbs similar to what you Pitch Shift Delay 1, 2
find in dedicated effects modules. Hall and Room Reverbs These are delays with pitch change.
are more conventional types while Plate simulates the prede-
3D-Delay 1, 2, Flying 3D-Delay 1, 2

cessors of digital effects, where a metal plate was actually
3D-Delay adds a sense of spaciousness to the delay sound.
used. Try them to hear the differences.
Flanging 3D-Delay produces an effect in which the delay
sound appears to rotate front/rear and left/right.
* Listen in a stereo environment to appreciate this 3D-Delay or
Flying 3D-Dealy effect. For the speaker placement locations,
refer to p. 95.
93
■ Editing the effects Parameters for Delay 1, 2

Delay Time: 0–1200 (ms)
Here’s how to set the parameters for each effect type. It’s best
Adjust the time from the original sound until the delay is
to use Ambience to create the basic overall sound of the drum
heard.
kit, and then use the digital effects to enhance specific sounds.
To adjust the depth for each instrument, refer to p. 90. Shift: L1200–0–R1200 (ms)
fig.06-10
Adjust the time difference between the left and right delays.
For example: if Delay Time is set to 400ms, setting Shift to
L100ms will cause the right channel delay to remain at
400ms and the left channel delay will sound at
400+100=500ms. You can not make settings that would cause
the sum of Delay Time and Shift to be greater than 1200ms.
Procedure Feedback Level: 0–127

1. Press [CONTROL ROOM]-[F4 (EFFECT)]. Adjust the number of times that the delay effect repeats.
The “EFFECT TYPE” page will appear. High Damp Freq: 500–20k (Hz)
2. Use [CURSOR] to move the cursor to the parameter that Adjust the tone of the delay to make it brighter/darker.
you wish to set. Lowering this frequency will cut more of the high range,
making the sound darker.
Parameters for Beat Delay 1, 2
Parameters for Hall Reverb 1, 2, 3 / Room Delay Time: 16, 8T, 16F, 8, 4T, 8F, 4, 2T, 4F, 2
Reverb 1, 2, 3 / Plate Reverb 1, 2, 3
Specify the note value at which the delay will repeat.
Reverb Time: 0.1–25 (sec)
Delay Time values
The length of reverberation.
16: 16th notes
Pre Delay: 0–200 (ms) 8T: 8th note triplets
Adjust the time until the reverb begins to sound. This is a 16F: dotted 16th notes
small and precise adjustment and will appear to affect the 8: 8th notes
fatness of the reverb, rather than being felt as a change in the 4T: quarter note triplets
reverb decay time. 8F: dotted 8th notes
High Cut Freq: 500–20k (Hz) 4: quarter note
Adjust the tone of the reverb to make it brighter/darker. 2T: half-note triplets
Lowering this frequency will cut more of the high range, 4F: dotted quarter note
making the sound darker. 2: half note
Spread: 0–15 Shift: L2, L4F, L2T, L4, L8F, L4T, L8, L16F, L8T, L16, 0,
Adjust the left/right spread of the reverb. Higher settings R16, R8T, R16F, R8, R4T, R8F, R4, R2T, R4F, R2
will create a more obvious “spread” in the sound. Specify how much the right or left channel delay will be
later than the Delay Time.
Parameters for Gate Reverb 1, 2, 3 / Non For example if Delay Time is set to “16 (16th note)” and Shift
Linear 1, 2 is set to “L16” (left channel delayed by a 16th note), the right
Gate Time: 10–400 (ms) channel delay will be heard at 16th note timing, and the left
Adjust the length of the reverb. channel will be heard one 16th note later than this. You can
Pre Delay: 0–200 (ms) not make settings that would cause the sum of Delay Time
Adjust the time until the reverb begins to sound. This is a and Shift to be greater than 1200ms.
small and precise adjustment and will appear to affect the
Feedback Level: 0–127
fatness of the reverb, rather than being felt as a change in the
Adjust the number of times that the delay repeates.
reverb decay time.
High Damp Freq: 500–20k (Hz)
High Cut Freq: 500–20k (Hz)
Adjust the tone of the delay to make it brighter/darker.
Adjust the tone of the reverb to make it brighter/darker.
Lowering this frequency will cut more of the high range,
Density: 0–127
Adjust the “fatness” of the reverb. Higher settings produce a
fatter (denser) reverb.
94
Chapter 1
Parameters for Chorus ➝ Delay 1, 2 Parameters for Pitch Shift Delay 1, 2
Rate: 0.1–10.0(Hz) Pitch Shift: -12–0–+12 (semitones)
Adjust the modulation frequency of the chorus. Higher set- Specify the amount of pitch change. A setting of +1 raises the
tings produce faster modulation. pitch a semitone, and +12 raises the pitch one octave.
Chapter 2
Depth: 0–127 Delay Time: 0–500 (ms)
Adjust the modulation depth of the chorus. Higher settings Adjust the time from the original sound until the delay is
produce a stronger effect. heard.
Delay Time: 0–500 (ms) Feedback Level: 0–127

Adjust the time from the original sound until when the Adjust the number of times that the delay repeats. With set-
Chapter 3
delay is heard. tings of 2 or more times, the pitch-shifted sound will be
pitch-shifted again, meaning that the pitch will rise (or fall)
Delay Feedback: 0–127
by the specified Pitch Shift amount each time the delay
Adjust the number of times that the delay repeats.
repeats.
* If you wish to use only the chorus, set Delay Time and Delay
Feedback to 0(off). High Cut Freq: 500–20k (Hz)
Chapter 4
Adjust the tone of the delay to make it brighter/darker.
Parameters for Flanger ➝ Delay 1, 2
Rate: 0.1–10.0 (Hz)
Adjust the modulation frequency of the flanger. Higher set-
Parameters for 3D-Delay 1, 2
tings produce faster modulation.
Chapter 5
Depth: 0–127 Adjust the time from the original sound until the delay is
Adjust the depth of the flanger. Higher settings increase the heard.
effect.
Shift: L1200–0–R1200 (ms)
Delay Time: 0–500 (ms) Relative to the Delay Time, you can lengthen the time until
Adjust the time difference from the original sound until the the right or left channel delay is heard.
Chapter 6
delay is heard. For example if Delay Time is set to 400ms, setting Shift to
Delay Feedback: 0–127 L100ms will cause the right channel delay to remain at
Adjust the number of times that the delay repeats. 400ms and the left channel delay will sound 100 ms later.
You can not make settings causing the sum of Delay Time
* If you want to just use the flanger, set Delay Time & Delay
and Shift to be greater than 1200ms.
Feedback to 0.(off)
Chapter 7
Feedback Level: 0–127
Parameters for Phaser ➝ Delay 1, 2 Adjust the number of times that the delay effect repeats.
Rate: 0.1–10.0 (Hz) Speaker Angle: 0–90
Adjust the modulation frequency of the phaser. Higher set- Leaving the actual speaker locations as they are, you can
tings produce faster modulation. adjust “Angle” in the following diagram to change the direc-
Depth: 0–127 tion from which the sound is heard. Chapter 8
fig.06-11e
Adjust the modulation depth of the phaser. Higher settings
Direction from which the sound is heard
produce a stronger effect.
Actual speaker locations
heard.
Delay Feedback: 0–127

Adjust the number of times that the delay effect repeats. Angle Angle
* If you wish to use just the phaser effect, set Delay Time & Delay 30˚ 30˚
Feedback to 0.
95
Parameters for Flying 3D-Delay 1, 2 ■ Adjusting the volume by group

You can adjust the overall volume of the drum kit and per-
cussion group.
heard.
Feedback Level: 0–127 Procedure

Adjust the number of times that the delay repeateds. 1. Press [CONTROL ROOM]-[F1 (MIXER)]-[F4 (GRPVOL)].
The “GROUP VOLUME” page will appear.
Rotation: -150–0– +150 (R.P.M) (steps of 3)
Specify the number of rotations per minute. Positive (+) set- 2. Use [CURSOR] to move the cursor to the group for which
tings rotate toward the right, negative (-) settings rotate you wish to make settings (“DRUMS” or “PERC” ).
toward the left.
High EQ Gain: 0– +10
This is an equalizer that is applied only to the delay sound. Parameters
Group Volume: 0–127
DRUMS: Adjusts the volume of the entire drum kit.
Settings for an entire group PERC: Adjusts the volume of the entire percussion group.
Broad Settings can be made for the entire drum kit, backing
parts, or percussion group.
* The percussion group is a sound map that can be accessed when
the TD-10 is being used as a MIDI sound module. For details
refer to “Using the percussion group” (p. 126). Of course, indi-
vidual percussion sounds CAN be assigned to the pads.
■ Adjusting effect send level for

an entire group
You can adjust the overall amount of effect send level for the
drum kit, percussion group (p. 126), and backing parts.
Procedure
1. Press [CONTROL ROOM]-[F4 (EFFECT)]-[F2 (SNDRTN)].
2. Use [CURSOR] to move the cursor to the group (“Drums,”

“Perc,” or “Part”) for which you wish to make settings.
Parameters
Group FX Send: 0–127
Drums: The amount of effect send level for the entire drum
kit.
Perc: The amount of effect send level for the entire per-
cussion group.
Part: The amount of effect send level for the sequencer
parts (part 1, part 2, bass part).
96
Chapter 6. Sequencer
Chapter 1
The TD-10’s sequencer consists of four parts (like 4 tracks).
■ Using Preset Patterns
The Drum part is used to record/ play back performance
It is not possible to modify the settings of a preset pattern. If
from the pads or an external MIDI controller. There are three
you attempt to modify the settings when a preset pattern is
other parts for melodic instruments: Part 1, Part 2 and the
selected, the following display will appear.
Bass part.
fig.07-01a
Chapter 2
A set of performances for each of these four parameters is
collectively referred to as a pattern.
The Preset patterns (1–50) contain pre-recorded perfor-
mances for each part and can be used for listening, or as a
practice/performance tool. Preset patterns cannot be erased
Chapter 3
(p. 104) or recorded over. The User patterns (51–100) can be Although the settings can be modified temporarily, the origi-
used for recording. In order to record melodic instruments nal settings will return when you select another pattern. If
on Part 1, Part 2 and the Bass part, you will need to use an you wish to modify the settings of a preset pattern, you must
external MIDI keyboard. Recording the Drum part can be first copy the preset pattern to a User pattern (p. 104).
done from the pads or an external MIDI controller.
Setting the tempo
Chapter 4
Basic sequencer operation
The “SEQENCER” buttons located on the front panel are ■ Setting the tempo for each pattern
used to perform basic operations and access the setting When a pattern is selected, the tempo you specify here will
pages. Pressing [PATTERN] will call up the basic display be set automatically.
Chapter 5
page of the sequencer.
fig.07-01 Procedure
1. Press [PATTERN]-[F2 (FUNC)]-[F2 (SETUP)].
The “PATTERN SETUP” page will appear.
2. Use [CURSOR] to move the cursor to “Pattern Tempo.”
Chapter 6
3. Use [INC/DEC] or the VALUE dial to set the tempo.
[PATTERN]: Select patterns. This is the basic display page Parameters

for the sequencer. Pattern Tempo: 20–260
[PART]: Make settings for each Part.
■ Temporarily changing the tempo
Chapter 7
[TEMPO]: Set the Tempo.
[CLICK]: Turn the click sound on/off. of the currently-playing pattern
[STOP]: Pressing this will stop playback. Pressing it
You can change the tempo of the pattern that is currently
once again returns you to the beginning of the
being played back. When you select a different pattern, this
song.
tempo change will be canceled.
[PLAY]: Start sequencer playback.
[REC]: Access the recording setting page, and enter Chapter 8
Procedure
record-standby mode.
1. Press [TEMPO].
fig.07-01ae
The “TEMPO” page will appear.
Beginning of pattern
Go back one measure Go forward one measure

Parameters
Ending of pattern TEMPO: 20–260
[CURSOR]: Press the left button to rewind, and the right

button to fast-forward. Press the up button to
move to the beginning of the pattern, and the
down button to move to the end.
For details on the operation of each button, refer to the

explanations that follow.
97
Playback functions ■ Selecting how a pattern will

playback
■ Selecting a pattern There are three different ways to make a pattern play back.
Loop: The pattern will playback, repeating until you
Procedure press [STOP].
1. Press [PATTERN]. One Shot: The pattern will playback once and then stop.
Tap: See (p. 119), This allows you to play back a pat-
2. Use [INC/DEC] or the VALUE dial to select a pattern.
tern note by note (step by step) (You can press
[PLAY] to audition this.)
About the screen display
fig.07-02
Procedure
1 1. Press [PATTERN]-[F2 (FUNC)]-[F3 (TYPE)].
2 3 The “PATTERN TYPE” page will appear.
2. Use [CURSOR] to move the cursor to “Play Type.”

4 5
Parameters
1. Currently selected pattern number Play Type: Loop, One Shot, Tap
2. Currently playing measure number.
3. Indicates the beat. Ways to use this function
4, 5 show the status of settings that were made in other set- Loop: Loop is useful for practicing and live perfor-
ting displays. mance.
4. Indicates the playback method setting.
One Shot: One Shot is also a great live performance fea-
5. Indicates the part mute status (p. 107).
ture.
* Function buttons [F1]–[F4] are used for various functions as
With Loop and One Shot-each time you hit the
explained below.
pad to which the pattern is assigned, it will
automatically start from the beginning of the
■ Selecting patterns from the list pattern. It’s a good idea to actually try this out
to see for yourself.
Like the “PATTERN” page, here you can select patterns
You can use an empty pattern assigned to a pad
from a list of names.
to function as a “stop” switch for a pattern trig-
From the left, this indicates pattern name (Name), time sig-
gered from another pad.
nature (Beat), measure length (Len), and pattern type (Type).
fig.07-03 * QuickPlay is a supplementary function for Loop and One Shot.
QuickPlay starts playback of the pattern from the first note (first
event) even if when you recorded the pattern, you left a pause at
the beginning. For example if you had just played/recorded
freely,ignoring the tempo clock.
Procedure
1. Press [PATTERN]-[F1 (LIST)].
The “PATTERN LIST” page will appear.
2. Use the VALUE dial, [INC/DEC] or [CURSOR] to select a

pattern.
Function buttons
[F1 (PAGE ▲)]: The previous page of the list will appear.
[F2 (PAGE ▼)]: The next page of the list will appear.
[F3 (MEMORY)]: This indicates the remaining amount of
memory and the number of patterns.
[F4 (NEW)]: The empty pattern will be selected.
98
Chapter 1
This function is a great performance tool! For
Tap:
example if you specify “Tap” for a pattern
Click settings
which contains a melody line and assign this
pattern to a pad, you can play the notes of the ■ Click on/off and volume settings
melody in order each time you strike the pad. When you press [CLICK], the click will be turned on/off. To
Chapter 2
You can set the “Reset Time” so that the pattern adjust the volume, move the [GROUP FADERS] slider
will automatically return to the beginning if that [CLICK].
time interval elapses without that pad being hit
again. For example, you can play a bass line ■ Setting the tempo
with your kick drum and the two sounds will be
While pattern playback is halted, you can use the click as a
Chapter 3
perfectly “tight.”
metronome. But if a different pattern is selected, the tempo
* Reset Time (Off, 0.1–4.0 seconds) will change to the tempo specified for that pattern.
This is the time interval that resets the pattern being used. If it
is set to “Off,” this function will be disabled. Procedure
1. Press [TEMPO].
Chapter 4
Parameters
TEMPO: 20–260
Chapter 5
■ Setting the time signature and
click interval
Procedure
1. Press [CLICK]-[F1 (INTRVL)].
Chapter 6
The “CLICK” page will appear.

you wish to set.
Chapter 7
* It is not possible to change the time signature of the click while a
pattern is playing back. The click corresponds to the time signa-
ture of the pattern.
Parameters
Time Signature: Numerator = 0–13 (number of beats per
measure), Denominator = 2, 4, 8, 16 (basic Chapter 8
note value)
Interval: 1/2 (half note), 3/8 (dotted quarter note), 1/4 (quar-
ter note), 1/8 (eighth note), 1/12 (12th note), 1/16
(16th note)
99
■ Selecting the click sound ■ Adjusting the pan

You have a choice of sixteen sounds including a human (stereo location)
voice! You can set the pan position of the click. But if you have cho-
sen headphones (Phones Only) as the output destination, the
Procedure
click will be located in the center regardless of this setting.
1. Press [CLICK]-[F2 (INST)].
The “CLICK” page will appear. Procedure
2. Use [CURSOR] to move the cursor to “Inst.” 1. Press [CLICK]-[F2 (INST)].
2. Use [CURSOR] to move the cursor to “Pan.”
Parameters
Inst: Voice, Click, Claves, Wood Block, Triangle, Cowbell,
“L15” is far left, “Center” is center, and “R15” is far right.
Conga, Talking Drum, Maracas, Cabasa, Cuica,
Agogo, Tambourine, Snaps, 909 Snare, 808 Cowbell Parameters
Pan: L15–Center–R15
■ Using ambience
You can also send the click sound to the ambience used in ■ Selecting the output destination
the current kit. You can select the output for the click. (Master and/or
Headphones only)
Procedure
1. Press [CLICK]-[F2 (INST)]. Procedure
The “CLICK” page will appear. 1. Press [CLICK]-[F2 (INST)].
2. Use [CURSOR] to move the cursor to “Ambience Level.” The “CLICK” page will appear.
3. Use [INC/DEC] or the VALUE dial to make the setting. 2. Use [CURSOR] to move the cursor to “Output.”

Parameters
Ambience Level: 0–127 Parameters
Output: Master, Phones Only
■ Using effects Master: Output from the MASTER OUT and PHONES
You can also “send” the click sound to the effect in use, and jacks.
sometimes this makes it more comfortable to listen to. Phones Only: Output only from the PHONES jacks.
When using this, make sure that the master effect switch is
ON (p. 41).
Procedure
1. Press [CLICK]-[F2 (INST)].
2. Use [CURSOR] to move the cursor to “FX Send Level.”
Parameters
FX Send Level: 0–127
* The effect is the one assigned to the kit ([CONTROL ROOM]-
[F4 (EFFECT)]).
100
Chapter 1
Recording Parameters
Time Signature: Numerator = 1–13, Denominator = 2, 4, 8, 16
Performance on the pads or on an external MIDI keyboard Length (bars): 1–99
can be recorded. On the TD-10, your performance will be * When the denominator is 16, you cannot set a numerator of
recorded exactly as you play it, including hi-hat control from 1 through 3. Also, with a denominator of 8, a numerator of
Chapter 2
pedal movements and Positional Sensing. 1 cannot be set.
* Brush swish/sweeping and choke (p. 35) cannot be recorded. * If you are using Replace recording (p. 102), it is not necessary to
* Please keep in mind that even though there are 50 user patterns, specify the Length. Recording will continue until you press
the amount of memory available will be determined by how [STOP], and the number of measures recorded will automatical-
much data is recorded into each pattern. ly become the “Length” setting.
Chapter 3
If you are recording from the pads, disregard paragraphs 3
■ Basic recording procedure and 4 of this section.
The procedure is the same when recording with pads or
with a MIDI keyboard. 3. Select a MIDI channel
Chapter 4
Be sure that the transmit channel on your keyboard corre-
1. Select an empty pattern sponds to the MIDI channel of the part you wish to
fig.07-05 play/record.
Each of the 4 parts has it’s own MIDI channel. The factory
preset channels are as follows:
Chapter 5
All Drums = MIDI 10
Part 1 = MIDI Ch 5
Part 2 = MIDI Ch 6
Bass Part = MIDI Ch 2
Procedure
Chapter 6
1. Press [PATTERN]-[F4 (NEW)]. (You can change the MIDI channels if you wish-Press
An empty pattern is automatically selected. [SETUP], then [F2 (MIDI)].)
* If all of the patterns have been used,this can’t be selected. Refer

to “Clearing a pattern” (p. 105) and erase an unwanted pattern
4. Select an instrument
fig.07-07
before you record.
Chapter 7
2. Set the time signature and the num-
ber of measures
fig.07-06
Procedure
Chapter 8
1. Press [Part]-[F1 (INST)].
The “PART INST” page will appear.
2. Press [F1]–[F3] to select the part that you wish to record.

Procedure
The [F1]–[F3] buttons select Part 1, Part 2, and Bass part

1. Press [PATTERN]-[F2 (FUNC)]-[F2 (SETUP)].
respectively.
The “PATTERN SETUP” page will appear.
3. Use [CURSOR] to move the cursor to “INST.”
you wish to set. 4. Use [INC/DEC] or the VALUE dial to select a backing
instrument or drum kit.
101
5. Specify the recording method ■ The Rehearsal function

fig.07-09
During recording you can press [REC] to switch between
recording and rehearsal modes. This allows you to try out
different sounds,fills or phrases without stopping the play-
back of the sequencer.
Procedure
1. Begin recording.
Procedure
2. During recording, press [REC].
1. Press [PATTERN]-[REC].
The [REC] indicator will begin blinking. In this condition,
The “REC STANDBY” page will appear.
your performance on the pads (or MIDI keyboard) will not
2. Use [CURSOR] to move the cursor to “Rec Mode.”
be recorded.
3. Use [INC/DEC] or the VALUE dial to specify the recording
3. Press [REC] once again to return to recording mode.
method.
Parameters ■ Using a count-in

Rec Mode: Loop All, Loop 1, Loop 2, Loop 4, Loop 8, You can set a “count-in” (1 or 2 measures) to be heard before
Replace playback or recording.
Loop All: The entire pattern will be repeated, and on each
pass your performance will be added, (“over- Procedure
dubbed”) and mixed with what you did previous- 1. Press [CLICK]-[F3 (COUNT)].
ly. 2. If you want a count-in for playback, select “PLAY.” For
Loop 1, Loop 2, Loop 4, Loop 8: recording, select “REC.”
This determines the length of the section you are
recording, and 1,2,4 or 8 measure sections will
repeat.
Parameters
Replace: Recording will continue until you press [STOP].
PLAY: OFF, 1 meas, 2 meas
Any previously recorded data for all Parts will be
REC: OFF, 1 meas, 2 meas
erased.
OFF: Playback/recording will begin without a count-in.
6. Set the tempo 1 meas: Playback/recording begins after a 1-measure count-
fig.07-10 in.
2 meas: Playback/recording begins after a 2-measure count-
in.
■ Start recording the moment

that you strike a pad
This function starts the recording process the instant you
Procedure
strike a pad.
1. Press [TEMPO].
Procedure
2. Use [INC/DEC] or the VALUE dial to set the tempo. 1. Press [PATTERN]-[REC].
The “REC STANDBY” page will appear and you are in
7. Record record-standby mode as the click starts to play.
Procedure 2. Use [CURSOR] to move the cursor to “Hit Pad Start.”
1. In record-standby mode (the “REC STANDBY” page),
press [PLAY]. 3. Use [INC/DEC] or the VALUE dial to turn the setting “ON.”
Recording will begin.
Usage
2. When you finish recording, press [STOP]. In record-standby mode, recording starts the instant you
strike a pad.
102
Chapter 1
■ Correcting timing as you record 9. When the portion to be imported has been recorded, stop
playback on the external sequencer and the TD-10 will
(Quantize) stop recording.
Quantize is a function that corrects inaccuracies of timing
while you record. Specify the basic note value before you
Editing a pattern
Chapter 2
begin recording,and your performance will be quantized
automatically to the set interval.
fig.07-11 ■ Naming a pattern
Each pattern can be given a name of up to 8 characters.
Procedure
Chapter 3
1. Press [PATTERN]-[F2 (FUNC)]-[F4 (NAME)].
The “PATTERN NAME” page will appear.
2. Use [CURSOR] (left/right) to select the character you

Procedure wish to change. The blinking location is the character that
can be changed.
Chapter 4
The “REC STANDBY” page appears and you’re in record-
The blinking location is the character that can be changed.
standby mode as the click starts to play.
3. Use the VALUE dial, [INC/DEC], or [CURSOR] (up/down)
2. Use [CURSOR] to move the cursor to “Quantize.”
to change the character.
3. Use [INC/DEC] or the VALUE dial to make the setting. Characters can be selected in the order shown in the bottom
of the screen.
Chapter 5
Parameters
Quantize: (8th note), (8th note triplets), (16th Function buttons
note), (16th note triplets), (32nd note), In this page, the [F1]–[F4] buttons perform convenient func-
(32nd note triplets), (64th note), OFF tions for entering characters.
Chapter 6
■ Importing data from another be moved to the right.
[F2 (DELETE)]: The character at the cursor location will be
sequencer into the TD-10 deleted, and all characters to the right of the
Data created on another sequencer can be imported via the cursor will be moved to the left.
MIDI IN and recorded on the TD-10’s sequencer. The three [F3 (SPACE)]: A blank space will be inserted at the cursor
melodic tracks and one drum track can be imported simulta- location.
Chapter 7
neously. You will need to make settings for MIDI channels [F4 (CHAR)]: Cycle between uppercase/lowercase/sym-
and MIDI synchronization. bols.
Procedure
1. Press [SETUP]-[F2 (MIDI)].
The “MIDI” page will appear.
Chapter 8
2. Set the MIDI channel of the TD-10 to match the MIDI
channel of the transmitting device (refer to p. 124).
3. Press [PATTERN]-[F2 (FUNC)]-[F1 (GLOBAL)].

The “PATTERN GLOBAL” page will appear.
4. Use [INC/DEC] or the VALUE dial to select “Auto.”
The “REC STANDBY” page appears and you’re in record-
standby mode as the click starts to play.
6. Use [CURSOR] to move the cursor to “Rec Mode.”
7. Use [INC/DEC] or the VALUE dial to “Replace.”
8. Begin playback on the transmitted device. The TD-10 will

begin recording in synchronization.
103
■ Erasing a pattern Procedure

1. Press [PATTERN]-[F3 (EDIT)]-[F1 (ERASE)]-[F3 (MEAS)].
This function erases ONLY the performance data; other set-
The “ERASE PATTERN MEASURE” page will appear.
tings (such as the number of measures and the time signa-
ture) stay the same. 2. Select the portion you wish to erase. Use [CURSOR] to
fig.07-12e move the cursor to the various settings.
From the left, the display indicates the pattern, part, first
measure, and last measure.
4. Press [F4 (ERASE)]

A confirmation display will appear.
1 2 3 4 5 6 5. Press [F4 (EXEC)] and the data will be erased from the
specified area (Press [F1 (CANCEL)] to return to the pre-
1 2 3 4 5 6 vious page without executing the operation.)
Blank measures
■ Copying a pattern
Procedure fig.07-14
1. Press [PATTERN]-[F3 (EDIT)]-[F1 (ERASE)].
The “ERASE PATTERN” page will appear.
2. Use [CURSOR] to move the cursor to “Pattern.”
3. Use [INC/DEC] or the VALUE dial to select a pattern

number.
4. Use [CURSOR] to move the cursor to “Part.” Src

5. Use [INC/DEC] or the VALUE dial to select the part that 1 2 3 4 5 6
you wish to erase.
6. Press [F4 (ERASE)]

A confirmation display will appear. Dst
1 2 3 4 5 6
7. Press [F4 (EXEC)] and the data will be erased from the
selected pattern. (Press [F1(CANCEL)] to return to the
Procedure
previous page without executing the operation.)
1. Press [PATTERN]-[F3 (EDIT)]-[F2 (COPY)].
The “COPY PATTERN” page will appear.
■ Erasing selected measures of a
2. Use [CURSOR] to move the cursor to “Src.”
pattern
3. Use [INC/DEC] or the VALUE dial to select the copy
Performance data can be erased from specified measures of a
source pattern.
part or pattern. The erased portion will become blank mea-
sures allowing you to re-record in the same area 4. Use [CURSOR] to move the cursor to “Dst.”
fig.07-13e
5. Use [INC/DEC] or the VALUE dial to select the copy des-
tination pattern.
6. Press [F4 (COPY)]

7. Press [F4 (EXEC)] and the selected pattern will be

copied. (If you press [F1(CANCEL)], you will return to the
1 2 3 4 5 6 previous page without executing the operation.
1 2 3 4 5 6
Blank measures
104
Chapter 1
■ Copying selected measures of ■ Clearing a pattern
a pattern This operation deletes ALL data from a pattern, returning all
You can copy selected measures of a part or pattern. Unlike parameters (time signature,length, tempo) to their default
copying an entire pattern, settings such as instrument and values.
fig.07-15ae
Chapter 2
part volume etc. will not be copied; only the performance
data will be copied.
fig.07-15
Chapter 3
B
1 2 3 4 5 6
Src 1
1 2 3 4 5 6 (Part settings to their default values.)
Chapter 4
Procedure
Dst 1. Press [PATTERN]-[F3 (EDIT)]-[F3 (CLEAR)].
1 2 3 4 5 6 The “CLEAR PATTERN” page will appear.
2. Use [INC/DEC] or the VALUE dial to select the pattern

Procedure
Chapter 5
number that you wish to clear.
1. Press [PATTERN]-[F3 (EDIT)]-[F2 (COPY)]-[F3 (MEAS)].
The “COPY PATTERN MEASURE” page will appear. 3. Press [F4 (CLEAR)]
2. In location “A” of the screen, select the data you wish to
copy. Use [CURSOR] to move the cursor to the various 4. Press [F4 (EXEC)] and the contents of the selected pat-
Chapter 6
settings. tern will be erased. (Press [F1 (CANCEL)] to return to the
From the left, the display will indicate the pattern, part, first previous page without executing the operation.)
measure, and last measure.
3. Use [INC/DEC] or the VALUE dial to make the settings. ■ Clearing selected measures of
4. In location “B” of the screen, select the copy destination. a pattern
Chapter 7
Use [CURSOR] to move to the various settings. This operation lets you clear (delete) selected measures in a
The display indicates the pattern number, track, and starting pattern. After executing CLEAR, the length of the pattern
measure. will become shorter.
fig.07-15b
* Beginning at the first measure which you specify here, the num-
ber of measures that the copy source occupies will be overwrit-
Chapter 8
ten.
5. Use [INC/DEC] or the VALUE dial to make the settings.
6. Press [F4 (COPY)]

1 2 3 4 5 6
7. Press [F4 (EXEC)] and the specified portion of perfor-

mance data will be copied. (Press [F1 (CANCEL)] to
1 2 3 4
return to the previous page without executing the opera-
tion.)
Procedure
1. Press [PATTERN]-[F3 (EDIT)]-[F3 (CLEAR)]-[F3 (MEAS)].
The “CLEAR PATTERN MEASURE” page will appear.
2. Select the pattern and measures that you wish to clear.

Use [CURSOR] to move the cursor to the various set-
tings.
From the left, the display indicates the pattern, the first mea-
sure, and the last measure.
105
3. Use [INC/DEC] or the VALUE dial to make the settings.

Settings for part instruments
4. Press [F4 (CLEAR)]
A confirmation display will appear. * Drum part settings cannot be made here. These settings are
made in the Control Room of the drum kit. (refer to p. 90–96).
5. Press [F4 (EXEC)]and the contents of the selected mea- fig.07-17
sures will be cleared. (Press [F1 (CANCEL)] to return to

the previous page without executing the operation.)
■ Connecting two patterns

This operation connects two patterns to create one pattern.
The pattern specified as “Dst” will be first, and the pattern
specified as “Src” will be connected to it. The new pattern ■ Adjusting the master tuning
will be created in “Dst.”
fig.07-16 Here you can adjust the overall tuning for Part 1, Part 2, and
the Bass part.
Procedure
1. Press [PART]-[F3 (M TUNE)].
The “MASTER TUNE” page will appear.

Dst Src
1 2 3 4 + 1 2 3 4 Parameters
Master Tune: 415.3–466.2, 0.1 Hz steps
* Pressing [F4 (440 HZ)] will set this to standard pitch (440.0 Hz).
APPEND
Dst
1 2 3 4 5 6 7 8 ■ Instrument selection and set-
tings for each part
Procedure Here you can select the instrument that will be used by each
1. Press [PATTERN]-[F3 (EDIT)]-[F4 (APPEND)]. part, and make settings for Ambience, Key Shift (pitch
The “APPEND PATTERN” page will appear. adjustment in semitone steps) and Bend Range.
2. Use [CURSOR] to move the cursor to “Src.”
Procedure
3. Use [INC/DEC] or the VALUE dial to select the pattern
1. Press [PART]-[F1 (INST)].
that will come later.
The “PART INST” page will appear.
4. Use [CURSOR] to move the cursor to “Dst.”
2. Press [F1]–[F3] to select the part that you wish to set. The
5. Use [INC/DEC] or the VALUE dial to select the pattern [F1]–[F3] buttons select Part 1, Part 2, and the Bass part
that will come first. respectively.
6. Press [F4 (APPEND)] 3. Use [CURSOR] to move the cursor to the parameter that
A confirmation display will appear. you wish to set.
7. Press [F4 (EXEC)] and the patterns will be connected as 4. Use [INC/DEC] or the VALUE dial to make the setting.
specified above. (Press [F1 (CANCEL)] to return to the
previous page without executing the operation.) Parameters
Inst: 1–54
* If the result of connecting the patterns would exceed 99 mea-
Select the instrument that you wish to use.
sures, the display will indicate “99 MEASURE MAXIMUM,”
and the APPEND operation will not be executed. Ambience: 0–127
Adjust the amount of ambience.
Keyshift: -24–0–+24
Specify a pitch change in semitone steps.
Bend Range: 0–+24

Specify the maximum pitch change (in semitone steps) that
will occur when pitch bend messages are received.
106
Chapter 1
■ Mixer settings for each part ■ Muting a specific part
Procedure Procedure
1. Press [PART]-[F2 (MIXER)]. 1. Press [PART]-[F4 (MUTE)].
The mixer setting page will appear. The “PART MUTE” page will appear.
Chapter 2
2. Press [F1]–[F4] to select the parameter that you wish to 2. Press [F1]–[F4] to turn muting on/off.
set. The [F1]–[F4] buttons correspond to Part 1, Part 2, Bass part,
and the Drum part. Muting will be switched on/off each
3. Use [CURSOR] to move the cursor to the part that you
time you press the button.
wish to set.
Chapter 3
Parameters
VOLUME ([F1]): 0–127
Adjusts the volume.
PAN ([F2]): L15–CENTER–R15
Chapter 4
Adjusts the left/right(pan) position of the sound. “L15” is
far left, “C” is center, “R15” is far right.
* If you have chosen headphones (Phones Only) as the output des-
tination, the sound will be located in the center regardless of this
setting.
Chapter 5
FXSEND ([F3]): 0–127
Adjusts the effect send level.
OUTPUT ([F4]): MASTER, PHONES

Select the output destination of the sound. The sound cannot
Chapter 6
be output from the DIRECT 1, 2, 3 outputs.
MASTER: Output from the MASTER OUT and PHONES
jacks
PHONES: Output only from the PHONES jacks
Chapter 7
Chapter 8
107
Changing output assign- Procedure
fig.08-02e
ment for audio received by Model name
the MIX IN jack
Selecting the output destination of the sound input from the
MIX IN jack.
Procedure 1. Press [SETUP]-[F1 (TRIG)]-[F1 (BANK)].

1. Press [SETUP]-[F3 (CTRL)]-[F4 (OPTION)]. The “TRIGGER” page will appear.
The “OPTION” page will appear. 2. Use [CURSOR] to move the cursor to a location other
2. Use [CURSOR] to move the cursor to “Mix In Output.” than “BANK.”
3. Use [INC/DEC] or the VALUE dial to make the setting. 3. Strike the pad for which you wish to set the Trigger Type.
The cursor will move to the trigger number of the pad that
Parameters you hit.
Monitor Mix In: Master, Phones Only 4. Use [INC/DEC] or the VALUE dial to make the setting.
Master: Output from the MASTER output and the Refer to the following table, and specify the type of pad.
PHONES jack. Display Model used
Phones Only: Output only from the PHONES jack. PD5 PD-5
PD7 PD-7
Specifying the type of pad PD9 PD-9
12A PD-120 (Strike location is detected)
So that the TD-10 will be able to accurately receive the sig- 12B PD-120 (Strike location is not detected)
nals from the pads or pedals, use the following settings to 10A PD-100 (Strike location is detected)
specify the type of pads that you are using. In addition to the 10B PD-100 (Strike location is not detected)
content covered in “Specify the pads that the TD-10 will use” KD7 KD-7/KD-5
(p. 29) of the “Quick Start,” the section below will discuss P1, P2 When using a pad made by another manu-
Trigger Banks, and how to use acoustic drums with triggers facturer
or pads made by other manufacturers. K1, K2 When using a kick pad made by another
Press [SETUP]-[F1 (TRIG)]-[F1 (BANK)], and the following manufacturer
setting page will appear.
fig.08-01 * If you want the tone to be affected by the strike location on a PD-
100/120, select 10A/12A. The 10B/12B does not detect the strike
location, but more rapid trigger response can be achieved.
* If you wish to make even more detailed settings, refer to the

explanation in the following section “Basic settings for the trig-
ger parameters (BASIC).” Normally you don’t need to adjust
these parameters, but you may use them if you wish to make
What is the Trigger Type?
more accurate settings for your playing style.
So that optimal settings can be made for each pad being
used, you need to specify the type of pads being used. * Use the KIK, SNR, TOM, and FLR settings when you use
Indications such as “3 PD7” in the above display correspond acoustic drums to sound the TD-10. For details refer to p.142.
to this. This indication means “a PD-7 pad is being used for
* When using a pad made by another manufacturer, first select
TRIGGER INPUT number 3.”
“PD7” and try playing the pad. If, with this setting, the pad
striking force does not produce a stable volume, try a setting of
What is a Trigger Bank?
“P1.” A setting of “P2” will be even more stable, but since the
Trigger Banks allow you to store the 12 trigger settings as a
Scan Time (p.111) will be even longer, the interval from when
single unit of information. The large number at the left edge
the pad is struck until the sound is heard will be slightly
of the above display is the Trigger Bank number. Move the
(approximately 0.003 seconds) longer.
cursor to this area to select the Trigger Bank.
(For a kick, select “KD7,” and if the result is not stable, try
“K1” or “K2.”)
108
Chapter 1
Basic settings for the trig- 4. Use [INC/DEC] or the VALUE dial to make the setting.
Gradually raise the Threshold value until the kind of unin-
ger parameters (BASIC) tentional triggering shown above no longer occurs. However
if this value is raised too far, playing softly on the pad will
When you are using pads made by other manufacturers, try not be detected. Check this and adjust accordingly. Repeat
Chapter 2
adjusting the following parameters. this process until you get the perfect setting for your playing
style.
● Sensitivity
Adjust the sensitivity of the pad to regulate the pad Parameters
response. Threshold: 0–15
Chapter 3
Procedure ● Curve
1. Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)]. This is another fine adjustment of sensitivity other than the
The “TRIGGER BASIC” page will appear. Trigger Sensitivity parameter, controlling the relation
2. Use [CURSOR] to move the cursor to “Sensitivity.” between the velocity (striking force) and changes in volume
(the dynamic curve) Adjust this curve until the response
Chapter 4
3. Strike the pad for which you wish to make settings.
feels as natural as possible.
The setting display for the pad you struck will appear, and
an input indicator will move in the lower part of the screen. Procedure
4. Use [INC/DEC] or the VALUE dial to make the setting. 1. Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)].
Adjust the Sensitivity value so that the strongest strikes The “TRIGGER BASIC” page will appear.
Chapter 5
cause the input indicator to reach nearly all the way to the 2. Use [CURSOR] to move the cursor to “Curve.”
maximum level (far right). Increasing this value will raise
the sensitivity. 3. Strike the pad for which you wish to make settings.
The setting page for the pad you struck will appear, and the
Parameters input indicator will move.
Sensitivity: 1–16 4. Use [INC/DEC] or the VALUE dial to make the setting.
Chapter 6
● Threshold Parameters
This setting allows a trigger signal to be received only when Curve: Linear, EXP1, EXP2, LOG1, LOG2, Spline, Loud1,
the pad is struck harder than a specified force. This helps Loud2
prevent unintentional triggering caused by vibrations that Linear: This is the normal setting when using a PD-7, PD-9,
Chapter 7
reach a pad when an adjacent pad is hit. In the following PD-100 or PD-120, and produces the most natural
example, signal 2 will sound, but signals 1 and 3 will not correspondence between velocity and volume
sound. change.
fig.08-04e fig.08-06ae
Threshold Level
Chapter 8
1 2 3
loudness
striking force
Linear
Procedure
1. Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)].
The “TRIGGER BASIC” page will appear.
2. Use [CURSOR] to move the cursor to “Threshold.”
3. Strike the pad for which you wish to make settings.

The setting page for the pad you struck will appear, and an
input indicator will move in the lower part of the screen.
109
EXP1, EXP2: Compared to Linear, a wider volume change ● Head Tension Adjustment
will occur for stronger hits. The Head Tension Adjustment parameter regulates the fol-
fig.08-06be
lowing two adjustments for the PD-100 and PD-120. Press
[SETUP]-[F1 (TRIG)]-[F4 (OPTION)] and the setting page
loudness
will appear.
* The setting page for this setting will appear only if the Trigger
Type (p. 108) is set to “10A” or “12A” for trigger number 2
(SNARE) and trigger number 10 (RIDE).
striking force
EXP1 EXP2 Adjust the head to an even tension
This setting allows the strike location to be accurately detect-
LOG1, LOG2: Compared to Linear, wider volume change
ed. For the procedure refer to p. 31.
will occur for softer hits.
fig.08-06ce
Adjust the tension of the head
Adjusting the Head Tension Adjustment value to the stan-
loudness
dard value of “Normal” will provide an average head ten-

sion. If you wish to loosen this, select “Loose.” To tighten it,
select “Tight.” Then refer to the procedure of p. 32. and
adjust the tension.
striking force * Unlike tuning an acoustic drum, this setting will not affect the
LOG1 LOG2 pitch. It affects only the tension of the head. But this is VERY
important to achieve the best results for positional sensing, and
Spline: Variation in striking force will produce extreme to make sure that the head tension is even. For tuning the pitch
change. of the sound, refer to p. 82.
fig.08-06de
Parameters
loudness
Head Tension Adjustment: Loose, Normal, Tight
● Rim Sensitivity
When a PD-120 is used with trigger number 2 (SNARE), you
striking force can adjust the sensitivity of the rim. Higher settings will
Spline increase the sensitivity of the rim. With a setting of Off, only
the head will sound.
Loud1, Loud2: Variation in striking force will produce little
change, and a constant volume will be main- Procedure
tained. When using drum triggers, these set- 1. Set the trigger type to “12A.”
tings help maintain stable levels. For this setting, refer to p. 108.
fig.08-06ee
2. Press [SETUP]-[F1 (TRIG)]-[F4 (OPTION)].
The “TRIGGER OPTION” page will appear.
loudness
3. Use [CURSOR] to move the cursor to “Rim Sensitivity.”
striking force Parameters

Loud1 Loud2 Rim Sensitivity: Off, 1–15
* Increasing the value excessively may cause the rim instrument

to sound as well when the head is struck.
110
Chapter 1
Detailed settings for the trig- ● Retrigger Cancel (RetrigCancel)
fig.08-07
ger parameters (ADVNCD) A
The following parameters (ADVANCED EDIT) are automat-
Chapter 2
ically set to the most efficient values for each pad when you B
select the Trigger Type (p. 108), and don’t require adjust-
ment, except if you experience any of the problems that are
discussed in the explanation of each parameter. Press
[SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)] and the setting page
will appear.
Chapter 3
● Scan Time
Since the rise time of the trigger signal waveform may differ
slightly depending on the characteristics of each pad or
Sometimes in the case of a snare drum or other drum to
drum trigger (drum pickup) (TSC-10: optional), you may
which an acoustic drum trigger is attached, sound will occur
Chapter 4
notice that identical hits (velocity) may produce sound at
at point “A” (as desired) but will also occur again at point
different volumes. If this occurs, you can adjust the Scan
“B” (undesired) due to distortions in the waveform. This is
Time so that your velocity of playing can be detected more
called “retriggering,” and occurs in particular at the decay-
precisely.
ing edge of the waveform. Retrigger Cancel detects such dis-
tortion in and prevents retriggering from occurring.
Procedure
Chapter 5
1. Press [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)].
Procedure
The “TRIGGER ADVANCED” page will appear.
2. Use [CURSOR] to move the cursor to “Scan Time.” The “TRIGGER ADVANCED” page will appear.
3. Hit the pad for which you wish to make settings. 2. Use [CURSOR] to move the cursor to “RetrigCancel.”
Chapter 6
3. Hit the pad (or acoustic drum if using triggers) for which
4. Use [INC/DEC] or the VALUE dial to make the setting. you wish to make settings and the setting page for the
While repeatedly hitting the pad at a constant force, gradual- pad you struck will appear.
ly raise the Scan Time value from 0.0 msec, until the result-
4. Use [INC/DEC] or the VALUE dial to adjust the setting.
ing volume stabilizes at the loudest level. At this setting, try
While repeatedly striking the drum, raise the RetrigCancel
Chapter 7
both soft and loud strikes, and make sure that the volume
value until retriggering no longer occurs. Raising this value
changes appropriately. If the Scan Time setting is excessively
will strengthen retrigger canceling, but will also mean that
high, there will be a longer delay until the note is heard, so
notes may be lost during fast playing (a drum roll for exam-
set this to as low a value as possible.
ple) Set this to as low a value as possible.
Parameters
Scan Time: 0–4.0ms (0.1ms steps)
Parameters
Chapter 8
RetrigCancel: 1–16
* The “SCAN TIME” setting is automatically set to the most effi-

cient values for each pad when you select the “TRIGGER
TYPE” (p. 108). If you have lowered the “SCAN TIME”, the
head tension adjustment (p.110) does not work correctly.
111
● Mask Time (MaskTime) 2. Use [CURSOR] to move the cursor to “Crosstalk.”

On a kick pad, for example, if the beater bounces back and 3. Hit the pad for which you wish to make settings and the
strikes the pad a second time immediately after the intended setting page for the pad you struck will appear.
stroke - (or,like with acoustic drums if you leave the bass
drum beater against the head) this can cause a single strike 4. Use [INC/DEC] or the VALUE dial to adjust the setting.
to “double trigger”. (two sounds instead of the intended If for example,if when hitting a tom pad, the ride cymbal
“one”) The Mask Time setting helps to prevent such prob- also sounds,then raise the Crosstalk setting for the ride cym-
lems. Once a pad has been hit, any additional trigger signals bal pad from “Off” through “30”, “40” ... until crosstalk no
occurring within the specified MaskTime (0–64 msec) will be longer occurs. As this value is raised, the ride cymbal pad
ignored. will be less prone to receive crosstalk from other pads.
Increasing the Crosstalk value may cause a different prob-
* Playing electronic bass drum triggers requires that you realize
lem when playing two pads simultaneously, as the pad
this-as “laying into the head,” as you might do with a real bass
receiving the weaker hit may fail to respond. So be careful
drum, will not work here, and can cause this double triggering
and set this parameter to the minimum value required to
problem. This occurs most often with the bass drum trigger.
prevent such crosstalk. With a setting of “Off,” crosstalk pre-
With other pads, it only occurs if you leave the stick pressing
vention does no function.
against the head immediately after hitting it. Though technology
today can perform many miracles, you still have to play with
Parameters
good technique.
Cross Talk: OFF, 30, 40, 50, 60, 70, 80
Procedure
1. Press [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)]. The order in which trigger
The “TRIGGER ADVANCED” page will appear. parameters should be set
2. Use [CURSOR] to move the cursor to “MaskTime.”
when using drum triggers
3. Hit (or kick) a pad for which you wish to make settings
If you are using drum triggers, make settings following the
and the setting page for that pad appears.
sequence given below to ensure the best results. For details
4. Use [INC/DEC] or the VALUE dial to make the setting. on each parameter, refer to p. 109–112.
While playing the kick pad, try kicking and leaving the beat-
er against the pad. If you hear the second note being trig- Procedure
gered, raise the MaskTime. But in doing so, it also means 1. Refer to the explanation on p. 108 and select the Trigger
that if you play very fast, certain notes may be lost. It may be Type.
easier for you to understand how mask time works by using
2. Set the Threshold and Curve parameters to “normal” val-
a snare or tom pad, and playing a single handed “buzz”
ues.
stroke. Raise the mask time to see how it affects this tech-
Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)] to access the setting
nique.
page. Use [CURSOR] to move the cursor to the parameters,
* Never forget that your own playing technique has a lot to do and use [INC/DEC] or the VALUE dial to make the follow-
with these potential problems. ing settings.
Threshold: 0
Parameters Curve: Linear
MaskTime: 0–64 ms (4 ms steps)
3. Sensitivity
In the setting page of step 2, use [CURSOR] to move the cur-
● Crosstalk
sor to “Sensitivity.” Make settings so that the input indicator
When two pads are mounted on the same stand, the vibra-
in the left part of the display reaches the maximum level
tion produced by hitting one pad may trigger the sound
when the pad is struck strongly.
from another pad unintentionally. (This is called crosstalk.)
The settings below can be made in the setting page accessed
The Crosstalk setting lets you prevent such problems.
by pressing [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)].
Normally this won’t happen if the pads are not too close to
each other and mounted on a solid stand. Playing technique 4. Scan Time
is also an influence. Strike the head several times with the same force, and adjust
this parameter if the volume is uneven.
Procedure
5. Retrigger Cancel (RetrigCancel)
This prevents multiple notes from sounding when a drum is
The “TRIGGER ADVANCED” page will appear.
struck once (mainly for a snare drum or toms).
112
Chapter 1
6. Mask Time
Mainly for bass drums so please refer to the explanation
Setting the master equalizer
above. The master equalizer allows balancing the high, mid, and
7. Crosstalk low frequencies.
Same principle as with using pads as as explained above.
Chapter 2
* This equalizer is not applied to the sound which is output from
Once again, press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)] and the the DIRECT 1, 2, 3 jacks.
setting page will appear. fig.08-08
8. Threshold
If notes are unintentionally sounded even after you have
adjusted the Crosstalk setting, adjust the Threshold. If this
Chapter 3
parameter is raised excessively, playing softly may NOT
trigger the TD-10, so keep the value as low as possible.
9. Curve
Procedure
If changes in playing dynamics do not produce a natural
1. Press [KIT]-[F4 (MAS EQ)].
change in the volume of the TD-10 instrument, adjust this
Chapter 4
The “MASTER EQ” page will appear.
parameter.
2. Use [CURSOR] to move the cursor to the frequency you
wish to adjust.
Adjusting the brightness
of the display In this page, [F1] will switch the equalizer on/off. Pressing
Chapter 5
[F2][F3][F4] will move the cursor directly to the low (LOW),
The display contrast is strongly influenced by the location of
mid (MID), and high (HIGH) settings respectively.
the TD-10 and the lighting of the room it’s in. Adjust this
parameter when needed.
Parameters
The following parameters can be set for each of the three
Procedure
Chapter 6
points (low, mid, high).
1. Press [SETUP]-[F3 (CTRL)]-[F3 (DISPLY)].
The “DISPLAY CONTRAST” page will appear. GAIN: -15–0–+15
Specify the amount of boost/cut. Negative (-) settings will
produce a cut.
* OR You can do this by holding down [KIT] and rotating the
VALUE dial. FREQ (Frequency):20–500 (Low), 100–4k (Mid),
Chapter 7
500–20k (High)
Select the frequency you wish to boots or cut.
The following parameter can be set only for the mid range.
Q: 0.5, 1.0–20 (1.0 steps)

Adjust the width of the frequency range. Depending on the
“Q” value, raising the “GAIN” may boost both the low and Chapter 8
high ranges.
113
Saving data to a memory ■ Saving data to a memory card

card All data (drum kits, patterns, percussion group, and setup)
will be saved.
An optional memory card (M-512E) can be used to save TD-
10 settings and sequencer data. Procedure
1. Press [SETUP]-[F4 (UTIL)]-[F1 (SAVE)].
* The Roland M-512E is the ONLY memory card which can be
The “Save to CARD” page will appear.
used.
2. Move the protect switch on the memory card to the “OFF”
position.
● About the Protect switch
When the protect switch of the M-512E is turned on, it will 3. Insert the memory card into the MEMORY CARD slot
not be possible to write data from the TD-10 to the memory located on the rear panel.
card. Normally you should leave the protect switch turned * If you insert a card being used for the first time or a card that
on, and turn it off only when you wish to write data into the has been used by another device, the “INITIALIZE CARD”
card. page will appear. Refer to “When using a card for the first time”
fig. protect.e
and initialize it.
4. Press [F4 (SAVE)].

On Off 5.Press [F4 (EXEC) ] and the data will be saved to the
memory card. (Press [F1 (CANCEL)] to return to the pre-
vious page without executing the operation.)
● When using a card for the first time
When a card is being used for the first time, or if the card has * You can also save individual kits to a memory card. To do so,
been used by another device, you must execute the follow- use the Copy function (p. 117).
ing procedure to initialize the card. (This prepares the card
for use with the TD-10.)
* When a card is initialized, all data on that card will be lost.
Make sure that it does not contain data you wish to keep for
another device.
1. Press [KIT].
2. Set the protect switch located at the top of the memory

card to the “Off” position.
3. Insert the memory card into the MEMORY CARD slot

located on the rear panel.
The “INITIALIZE CARD” page will appear.
fig.08-10
4. Press [F4 (INIT)].

5. Press [F4 (EXEC)] and the memory card will be initialized.

(Press [F1 (CANCEL)] to return to the previous page with-
out carrying out the operation.)
114
Chapter 1
Loading data from a Automatically switching
memory card the display (Note Chase)
Data saved on a memory card can be loaded into the TD-10. When editing sounds, the TD-10’s display will switch corre-
Chapter 2
sponding to the sound that is used when a pad is hit (or
Procedure when a MIDI message is received). This function is called
1. Press [SETUP]-[F4 (UTIL)]-[F2 (LOAD)]. Note Chase.
The “LOAD from CARD” page will appear. Note Chase will always be ON for notes that are struck on a
pad. This function can be turned off for notes received from
2. Insert the memory card into the MEMORY CARD slot.
MIDI IN.
Chapter 3
3. Press [F4 (LOAD)].
A confirmation display will appear. Procedure
4. Press [F4 (EXEC)]and the data will be loaded from the 1. Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
memory card. (Press [F1 (CANCEL)] to return to the pre- The “MIDI GLOBAL” page will appear.
vious page without excecuting the operation.) 2. Use [CURSOR] to move the cursor to “Note Chase.”
Chapter 4
3. Use [INC/DEC] or the VALUE dial to turn the setting
* You can also load individual kits from a memory card. To do so,
on/off.
use the Copy function (p. 117).
* Note Chase will NOT function while the INTERNAL sequencer
is playing.
Chapter 5
Chapter 6
Chapter 7
Chapter 8
115
Chapter 8. Convenient functions
Selecting kits in the desired How to use the CHAIN
1. Press [CHAIN] to make the button indicator light
order (Drum Kit Chain) The Drum Kit Chain function will be turned on.
2. Use the left/right [CURSOR] or [INC/DEC] to select kits in

■ Specifying a Drum Kit Chain the order that you specified in the chain. You can use the
This allows you to step through the drum kits of your choice up/down [CURSOR] to select chains.
and in the order you want. (via the INC/DEC buttons or * Press [CHAIN] to make the indicator go dark and the Drum Kit
footswitch operation). TD-10 lets you create and store 16 dif- Chain function will be turned off.
ferent chains of up to 32 steps each.
fig.09-01e
Applications
32 steps
When this function is used together with the Pad Switch
Chain 1 Kit Kit Kit Kit
function or the Foot Switch function, you can use a pad or
7 2 5 10 foot switch to select drum kits in a drum kit chain. To do
this, set the MODE setting of the Pad Switch function or Foot
Chain 2
Switch function to “KIT SELECT.” For details refer to
“Operations using pads and foot switches” (p. 119).
Chain 16
■ Naming a Drum Kit Chain
You can assign a name of up to 8 characters to each chain.
fig.09-03
fig.09-02
Procedure
Procedure 1. Press [CHAIN]-[F1 (C EDIT)]-[F4 (NAME)].
1. Press [CHAIN]-[F1 (C EDIT)]. The “CHAIN NAME” page will appear.
The “CHAIN EDIT” page will appear.
2. Use the left/right [CURSOR] to move the cursor to the
2. Use [CURSOR] to move the cursor to the large number character that you wish to change.
(the chain number) in the left of the display. The blinking character is the one that can be changed.
3. Use [INC/DEC] or the VALUE dial to select the chain 3. Use either the VALUE dial, [INC/DEC], or [CURSOR] to
number you wish to work on. change the character. Characters can be selected in the
4. Use [CURSOR] to move the cursor to the “step” number order shown in the bottom of the screen.
within the selection sequence, shown at the right of the
page. Function buttons
In this page, the [F1]–[F4] buttons perform convenient func-
5. Use [INC/DEC] or the VALUE dial to select the drum kits
tions for entering characters.
in the order in which you wish to play them.
be moved to the right.
Function buttons
[F2 (DELETE)]: The character at the cursor location will be
[F1 (INSERT)]: Inserts the kit after the cursor location, mov-
deleted, and all characters to the right of the
ing the subsequent items of the chain one
cursor will be moved to the left.
step toward the end.
[F3 (SPACE)]: A blank space will be inserted at the cursor
[F2 (DELETE)]: Deletes the kit at the cursor location, moving
location.
the subsequent items of the chain one step
[F4 (CHAR)]: Cycle between uppercase/lowercase/sym-
toward the beginning.
bols.
[F3 (NEXT)]: Advances to the next step.
[F4 (NAME)]: Assigns a name to the chain. For details see
the following section.
116
Chapter 1
Copying “COMPRESSOR/LIMITER” page ([CONTROL ROOM]-[F2
(COMP)])
You can copy drum kits,instruments, mixer & effect settings Compressor settings can be copied to another kit for
etc. to the destination of your choice. However, doing so will TRIGGER INPUT jacks 1–10 as a group.
erase (overwrite) the data that was in the new destination. “EQ” page ([CONTROL ROOM]-[F3 (EQ)])
Chapter 2
So be careful before you perform this operation. Equalizer settings can be copied to another kit for TRIG-
* Some display pages do not allow copy. In such cases, pressing GER INPUT jacks 1–10 as a group.
[TOOLS] will not produce “COPY” above [F1] in the display. “EFFECT” page ([CONTROL ROOM]-[F1 (EFFECT)])
Procedure The UNDO function
Chapter 3
(Example) Copying a kit
Select the copy source. The UNDO function allows you to recall original parameters
of any function you have edited, but ONLY from the “pre-
1. Press [KIT].
sent” cursor position. If you change the cursor position, or
page in the display, UNDO will not work.
Chapter 4
2. Press [TOOLS].
The function names for [F1]–[F4] appear in the lower part of Example: If when choosing an instrument, you scroll
the display. through many sounds not finding the one you want.
“UNDO” can bring back the “original” setting. Only changes
3. Press [F1 (COPY)].
made with the [INC/DEC] buttons or the VALUE dial can
The display (“COPY DRUM KIT”) shows the source and
be “undone.” And ONLY in Pages where pressing [TOOLS]
Chapter 5
destination position. Use the [INC/DEC] or the VALUE dial
calls up [F3(UNDO)] in the display.
to select the source and destination.
* [PRESET] refers to the drum kits that were stored in the unit at Procedure
the factory. [USER] refers to drum kits that currently can be (Example: Undoing an instrument selection)
used. And, [CARD] refers to drum kits stored on memory card.
1. Press [INST].
Chapter 6
4. Press [F4 (COPY)]. The “INST” page will appear.
A confirmation display will appear. 2. Use [INC/DEC] or the VALUE dial to select a different
5. Then press [F4 (EXEC)] and the kit will then be copied instrument.
(Press [F1 (CANCEL)] to return to the previous page with- If you want to bring back the original instrument just exe-
out excecuting out the operation.) cute UNDO.
Chapter 7
* If you press [F3 (EXCHNG)], the contents of the new destina- 3. Press [TOOLS].
tion and copy source will be exchanged, a convenient way to The function names for [F1]–[F4] will appear in the lower
rearrange or organize drum kits. part of the display.
4. Press [F3 (UNDO)].

A display in which Copy can be used
The instrument that had been selected in step 1 will reap-
“DRUM KIT” page ([KIT])
pear. Chapter 8
“INST” page ([INST])
Instrument Copy will be done only to the same TRIG- * If while editing, you accidentally touch another pad or rim, you
GER INPUT jack of the other kit. cannot “undo” the parameter you were working on. Also, Bulk
“STUDIO” page ([STUDIO]) Load, Kit Copy/Exchange cannot be “undone.”
“CONTROL ROOM” page ([CONTROL ROOM])

“TRIGGER BANK” page ([SETUP]-[F1 (TRIG)]-[F1
(BANK)])
“PERC GROUP” page ([KIT]-[F2 (FUNC)]-[F1 (PRCGRP)])
“MIXER” page ([CONTROL ROOM]-[F1 (MIXER)])
117
Getting help Specifying how the

The TD-10 comes with a built in “help page” using key- Preview button functions
words to select various functions, and a “jump” mode to
To audition and edit instruments, tap [PREVIEW]. Press
take you to that setting page instantly.
[TRIG SELECT] in the “INST” page to select the trigger
input number corresponding to the pad/sound you wish to
Procedure
listen to. The trigger number and instrument will appear in
1. Press [TOOL]-[F4 (HELP)].
the upper right of the display. The [RIM] indicator will show
A list of help keywords (“HELP INDEX”) will appear.
whether the head or the rim is selected. Or call up a sound in
2. Use [F1 (UP)] or [F2 (DOWN)] to select a keyword. the percussion group.
3. Press [F4 (SELECT)]. You have various choices of how the [PREVIEW] button will
respond.
4. If you wish to jump to the setting page for the displayed
function, press [F4 (GO NOW)]. To return to the keyword Procedure
select page, press [F1 (INDEX)]. 1. Press [SETUP]-[F3 (CTRL)]-[F4 (OPTION)].
The “PREVIEW SETTINGS” page will appear.
2. Use [CURSOR] to move the cursor to “Preview Button.”

ON: The volume will be fixed, regardless of the force of
your tap.
OFF: The strength of your tap will affect the volume.
4. With a setting of “OFF,” you can specify the volume. Use

[CURSOR] to move the cursor to “Velocity.”
5. Use [INC/DEC] or the VALUE dial to specify the volume.

With a setting of “1” will produce the minimum volume. A
setting of “127” will produce the maximum volume.
118
Chapter 9. Operations using pads and foot switches
Chapter 1
By changing the function of controllers or the way in which they are used, you can perform a variety
of convenient operations. This opens up some very interesting performance possibilities.
Using pads to play patterns (Pad Pattern)
Chapter 2
You can make settings so that striking a pad will playback a previously selected pattern. This func-
tion provides a very convenient way to use patterns during a live performance.
* If different patterns have been assigned to two or more pads, striking another pad while a pattern is playing
back will cause pattern playback to switch to the newly selected pattern. If you have switched to a pattern
whose instrument settings are different, the sound may be interrupted for an instant.
Chapter 3
Procedure
1. Press [INST]-[F4 (CTRL >)]-[F3 (PATTERN )].
The “INST CTRL” page will appear.
Chapter 4
3. Use [INC/DEC] or the VALUE dial to select the pattern number.

With a setting of “OFF,” the Pad Pattern function will be off.
* The symbol on the right side of the pattern name indicates how the pattern will be played back. For details
on this setting, refer to p. 98.
Chapter 5
4. The pattern will playback when you hit the pad.
* If you do not want to hear the instrument assigned to that pad, press [CONTROL ROOM]-[F1 (MIXER)]-
[F1 (VOLUME)] and set the volume to “0.”
* Pad patterns cannot be used during sequencer recording.
Chapter 6
Using pads to perform button operations (Pad Switch)
fig.10-01
Chapter 7
Chapter 8
Procedure
1. Connect pads to TRIGGER INPUT jacks AUX 1 and AUX 2.
2. Press [SETUP]-[F3 (CTRL)]-[F2 (PAD SW)].

The “PAD SWITCH” page will appear.
3. Use [INC/DEC] or the VALUE dial to select the combination of functions for the AUX 1 and AUX 2
jacks (refer to the following).
4. Press [EXIT] to exit this page.
5. Strike the selected pads, and they will function as switches.
Parameters
Mode (function name) Function of the pad connected to the AUX1 jack Function of the pad connected to the AUX2 jack
OFF Pad switch is off Pad switch is off
KIT SELECT Pad switch is off Select the next kit
PATTERN SEL Pad switch is off Select the next pattern
KIT SELECT (2) Select the previous kit Select the next kit
PATTERN SEL (2) Select the previous Pattern Select the next pattern
119
Chapter 9. Operations using pads and pedals
* If you do not want to trigger instrument sounds assigned to the pads, press [CONTROL ROOM]-[F1
(MIXER)]-[F1 (VOLUME)], and set the volumes of AUX 1 and AUX 2 to “0.”
* If the “Mode” setting is “KIT SELECT” or “PATTERN SEL,” striking the rim of the pad will have the
same function as pressing [DEC].
* If you wish to use Drum Kit Chain (p. 70) to select kits, set the above “MODE” parameter to “KIT
SELECT,” and press [CHAIN] to make the button indicator light. (Create your Drum Kit Chain settings
first.)
Using foot switches to perform button opera-

tions (Foot Switch)
Two foot switches (BOSS FS-5U, optional) and a special cable (PCS-31) can be used to operate the
TD-10. Set “Mode” to specify the function of the two pedals.
fig.10-03
Foot switch SW1 SW2

FS-5U x 2 (PCS-31) o (red) o (white)
DP-2 - o
o: Function -: Not function
Procedure
1. Connect the foot switch to the FOOT SWITCH jack.
2. Press [SETUP]-[F3 (CTRL)]-[F1 (FOOTSW)].

The “FOOT SWITCH” page will appear.
3. Use [INC/DEC] or the VALUE dial to select the combination of functions that the foot switch will
perform (refer to the following table).
4. Press [EXIT] to exit this page.
5. Press the foot switches, and they will function as switches.
Parameters
Mode (function name) SW1 SW2
KIT SELECT Select the previous kit Select the next kit
PATTERN SEL Select the previous pattern Select the next pattern
PATTERN PLAY Select the next pattern Playback/stop the pattern
* To use foot switches to select kits using a Drum Kit Chain (p. 70), set the above “MODE” parameter to
“KIT SELECT,” and press [CHAIN] to make the button indicator light. (Create your Drum Kit Chain set-
tings first.)
120
Chapter 1
There are many possibilities when using MIDI, such as: ALL: All data (drum kits, patterns, percus-
sion groups, and setup) will be trans-
1. Use an external sequencer to save/load mitted.
drum kits, pattern data etc. SETUP: Trigger and pad settings. will be trans-
mitted.
Chapter 2
2. Use the pads to play external instruments ALL DRUM KITS: Drum kits 1–50 will be transmitted.
As the TD-10 is a pad-to-MIDI interface, using external mod- ALL PERC GROUP: Data for percussion groups 1–4 will be
ules, samplers etc. can expand your potential (p. 122). transmitted.
ALL PATTERN: Data for patterns 51–100 will be trans-
3. When using an external sequencer, the TD- mitted.
10 is a powerful drum sound module espe-
Chapter 3
cially when accessing the Percussion group 3. Press [F4 (EXEC)] and data transmission will begin.
for an even wider variety of instruments (Press [F1 (CANCEL)] to return to the previous page with-
(p. 126). out carrying out the operation.)
Saving/Loading data * Bulk dump is a type of system exclusive (SYSEX) data. Use an
Chapter 4
external MIDI sequencer and be sure that it can receive and
to/from an external record SYSEX data.
device (Bulk Dump)

■ Loading saved data to the TD-10
■ Saving data As shown in the following diagram, use a MIDI cable to con-
Chapter 5
To save data, use the external sequencer as you would when nect the TD-10’s MIDI IN connector to the MIDI OUT con-
recording musical data, and perform the following steps on nector of the external sequencer.
fig.11-01ae
the TD-10 as shown in the following diagram. Use a MIDI
cable to connect the TD-10’s MIDI OUT jack to the MIDI IN
jack of the external sequencer.
fig.11-01e
Chapter 6
MIDI OUT MIDI IN
MIDI IN MIDI OUT
Chapter 7
Sequencer
TD-10
Chapter 8
Sequencer No special settings are required for the TD-10 to receive data
TD-10 from an external sequencer. Everything is done automatically.
* When doing so,the data that was previously in the TD-10’s
Procedure memory will be lost. Be sure you have a backup!
1. Press [SETUP]-[F2 (MIDI)]-[F4 (BULK)].

The “BULK DUMP” page will appear.
2. Use [INC/DEC] or the VALUE dial to select the data that

will be transmitted.
121
■ Setting the Device ID Using pads to play an

—Transmitting saved data to external MIDI sound
two or more TD-10 units
The setting described here is necessary only when you wish
module
to transmit separate data to two or more TD-10 units at the Here’s how to make settings.
same time. Do not change this setting in any other case. If
* You can play the TD-10 sounds with external sounds (called
you lose track of the Device ID setting that was used when
“layering”)
saving data via a bulk dump,it will no longer be possible to
As shown in the following diagram, use a MIDI cable to con-
reload the bulk data that was saved.
nect the TD-10’s MIDI OUT to the MIDI IN connector of the
* With the factory settings, the device ID is set to 17.
external MIDI sound source.
fig.11-02ae
Procedure
1. Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
The “MIDI GLOBAL” page will appear.
2. Use [CURSOR] to move the cursor to “DEVICE ID.”

MIDI IN MIDI OUT
3. Use [INC/DEC] or the VALUE dial to make the setting. POWER VOLUME
PART INSTRUMENT
ALL
PART
LEVEL
INSTRUMENT
PAN
MUTE
PREVIEW (PUSH) REVERB CHORUS

SC-55
MAP
KEY SHIFT MIDI CH
SC-88
MAP
DELAY PART
MIDI IN B PHONES DELAY
Parameters
VIB RATE VIB DEPTH VIB DELAY
CUTOFF RESONANCE
USER
INST SELECT ATTACK DECAY RELEASE
EFX ON/OFF EFX TYPE EFX PARAM

PARAM EFX VALUE
VALUE
Device ID: 1–32 MIDISound module
Usage
(Example) Suppose that when data was saved via bulk
dump, the TD-10’s Device ID was set to “17.” When re-trans-
mitting this data back to the TD-10, it won’t receive if the TD-10
Device ID is set to something other than 17.
fig.11-02e
■ Selecting the note number trans-
mitted by each pad
You can select the MIDI note number (key number) that
MIDI OUT each pad will transmit. Set this to the note number of the
MIDI IN
sound that you wish to play on the external sound module
or sampler.
Procedure
1. Press [INST]-[F4 (CTRL)]-[F4 (MIDI)].
Transmit data The “INST CTRL” page will appear.
Device ID:17
Device ID: 17
The note that is assigned to the pad will be indicated on the
MIDI IN keyboard in the screen. Also, the note number will appear in
“Note No.”
System exclusive is 3. Use [CURSOR] to move the cursor to “Note No.”
not received
4. Use [INC/DEC] or the VALUE dial to select the note num-
ber.
Device ID: 16 Parameters

Note No.: 0 (C -)–127 (G 8)
122
Chapter 1
* For the hi-hat, make the setting only for the note number for the
Open Hi-hat (default setting is 46 (A#2)). This setting will
Using the TD-10 with the
adjust the closed and pedal sounds as well. Roland SPD-11
(Example) If you decrease the Open Hi-hat note number by “2,”
This section explains how you can use the Roland SPD-11 (a
the Close and Pedal settings will also decrease by “2.”
Chapter 2
MIDI controller) together with the TD-10’s pads to play
internal sounds and an external sound Module. Connect the
■ Setting the Gate Time SPD-11 and TD-10 as shown below.
fig.11-11e
For each pad, you can specify the length of time the note will
Pad or pedal SPD-11
Chapter 3
“hold” during transmission from the MIDI OUT.
Drum sound modules normally produce sound only in

response to “note-on” messages, and ignore “note-off” mes-
sages. However general-purpose sound modules or sam-
plers do receive the note-off messages that are transmitted MIDI OUT
Chapter 4
and respond by turning off the sound. For example, if you
are triggering a “loop” in a sampler, or other sounds then
the gate time parameter is very important. With the factory
defaults (preset values), the transmitted gate time is set to
the minimum value.
Chapter 5
Procedure
TRIGGER MIDI
1. Press [INST]-[F4 (CTRL)]-[F4 (MIDI)].
INPUT MIDI IN OUT/THRU
The “INST CTRL” page will appear.
2. Use [CURSOR] to move the cursor to “Gate Time.” 3.Use
Chapter 6
[INC/DEC] or the VALUE dial to specify the duration of
the notes.
Parameters
Gate Time: 0.1–8.0 seconds
Chapter 7
■ Setting the MIDI channel To the MIDI IN of another
For setting the MIDI channel, refer to the section below, sound module or sampler
“MIDI settings for the entire TD-10.” Performance on the
pads is transmitted from MIDI OUT on the same channel as Procedure
the channel setting for the Drum part (“All Drums” in the 1. Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
setting page). The “MIDI GLOBAL” page will appear. Chapter 8
2. Use [CURSOR] to move the cursor to “Soft Thru.”
3. Use [INC/DEC] or the VALUE dial to turn the setting “ON.”

The messages (except for System Exclusive) received at
MIDI IN will also be transmitted from the MIDI
OUT/THRU connector.
* If this setting is not used, leave it “OFF” as the trigger response
of the pads will be faster.
Parameters
Soft Thru: OFF, ON
123
MIDI settings for the Procedure

1. Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)].
entire TD-10 The “MIDI GLOBAL” page will appear.
2. Use [CURSOR] to move the cursor to “Local Control.”

■ Setting the MIDI channels for
3. Use [INC/DEC] or the VALUE dial to turn the setting
each Part “OFF.”
For each part, you can specify the channel on which the TD-
10 will receive and transmit MIDI messages. * If you make connections and record as shown figure with a set-
ting of Local On, duplicate notes will be re-transmitted to the
Procedure TD-10 and will not be played correctly.
1. Press [SETUP]-[F2 (MIDI)].
The “MIDI” page will appear. Parameters
2. Use [CURSOR] to move the cursor to the part whose Local Control: OFF, ON
MIDI channel you wish to set.
3. Use [INC/DEC] or the VALUE dial to specify the channel ■ Disabling reception or trans-
number. mission of Program Changes
With a setting of “1” through “16,” MIDI messages will be You can specify whether or not the TD-10 will transmit
transmitted and received on that channel. A setting of “OFF” and/or receive program change messages to/from an exter-
lets you turn off reception for that part, so that notes are not nal device.
received.
Procedure
Parameters 1. Press [SETUP]-[F2 (MIDI)]-[F3 (PROG)].
Channel: ch 1–ch 16, OFF The “MIDI Program Change” page will appear.
2. Each time you press [F1], reception will be turned on/off.

■ Turning off Local Control Each time you press [F2], transmission will be turned
This setting is required when you wish to record your pad on/off.
performance on an external MIDI sequencer.
fig.11-03e
■ Reducing the amount of data
transmitted by the FD-7
(Pedal Data Thin)
This function allows you to prevent an excessive amount of
TD-10 Trigger input data from being transmitted from the pedal to the internal
sequencer or via the MIDI OUT.
MIDI OUT/THRU
Trigger➝MIDI Procedure
converter
1. Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)]. The “MIDI
GLOBAL” page will appear.
Local off
2. Use [CURSOR] to move the cursor to “Pedal Data Thin.”

Sound module With a setting of “1” or “2,” pedal data will be thinned out.
MIDI IN Sequencer
“2” will reduce the amount of data more drastically than
“1.” Normally you should use a setting of “1,” and select “2”
when you need greater data reduction. With a setting of
“Normal” the data will not be thinned.
: Performance data flow route
* Leave this at the normal setting if you are being extremely pre-
cise with how you are using the FD-7 controller.
So that the performance data from the pads is NOT sent
directly to the sound generating section of the TD-10 (Local
Parameters
Control off), but is instead sent first to the external sequencer
Pedal Data Thin: OFF, 1, 2
via the MIDI OUT, and then re-transmitted to the TD-10,
please refer to the above diagram.
124
Chapter 1
Using the TD-10 as a ■ Regarding note numbers for
sound module the drum kit sounds
Refer to “Selecting the note number transmitted by each
As shown in the following diagram, use a MIDI cable to con- pad” (p. 122).
Chapter 2
nect the TD-10’s MIDI IN to the MIDI OUT connector of an
external sequencer,keyboard or pad controller (such as SPD- Example of settings for General MIDI score
fig.11-04e
11).
fig.11-01ae
TRIGGER No. C2 TRIGGER No.
H1
Chapter 3
H2
R2 R6
H6
MIDI OUT MIDI IN H5 H7
H4 H7
H7
R4
Chapter 4
H3
R3 H8
R9 H10
R10
R8
H9
Sequencer
Chapter 5
TD-10
The settings discussed here are necessary only when using

the TD-10 as a MIDI sound module.
* When using the TD-10 as a 4-part sound module, the sounds
Chapter 6
you select must be assigned to a PATTERN as the pattern para-
meters store which sounds you are using. In this case it’s best to
use an empty pattern to make these settings. (Press [PAT-
TERN]-[F4 (NEW)] to select an empty pattern containing no
performance.)
Chapter 7
■ Setting the instrument for each
part
Refer to “Chapter 6. Sequencer” in the section “Settings for
part instruments” (p. 106).
If you wish to select instruments for the backing parts (Part
Chapter 8
1, Part 2 , Bass part) from an external MIDI device, transmit
program changes (PG) 1–54. These correspond to instru-
ments 1–54 of the TD-10’s backing parts.
■ Adjusting the mixer settings

for each part

Refer to “Chapter 6. Sequencer” in the section “Settings for
part instruments” (p. 106).
125
■ Using the percussion group ● Selecting a percussion group

The percussion group is used only when playing the TD-10 The TD-10 contains four percussion groups and you can
from an external MIDI controller, keyboard or sequencer. assign one group per kit. When editing sounds in the per-
fig.11-05e cussion group, you can play them from an external MIDI
controller or use the (PREVIEW) button. The position of the
TRIGGER No. C2 TRIGGER No. cursor will determine which sound is assigned to the PRE-
VIEW button.
H1 fig.11-07
H2
R2 R6
H6
H5 H7
H4 H7
H7
R4
H3
R3 H8
R9 R10 Procedure
R10 1. Press [KIT]-[F2 (FUNC)]-[F1 (PRCGRP)].
R8
The “PERC GROUP” page will appear.
H9
2. Use [CURSOR] to move the cursor to the “GROUP” num-
ber.
3. Use [INC/DEC] or the VALUE dial to select the group.
Parameters
Group: 1–4
● Selecting percussion instruments

: An instrument of the percussion Here’s how to select the instrument for each note number of
group will sound.
the percussion group.
fig.11-08
The sounds in the percussion groups have their own inde-
pendent note number “map” in order to be played from an
external MIDI controller, and can be changed if you want.
* If the same note number is assigned to both a pad and an instru-
ment in the percussion group, the pad has “priority” and you
will only hear the sound assigned to that pad.
Procedure
* For details on note number assignments, refer to the table on p.
1. Press [KIT]-[F2 (FUNC)]-[F1 (PRCGRP)].
150.
The “PERC GROUP” page will appear.
2. Use [CURSOR] (left/right) to move the cursor to the

instrument name.
3. Use [CURSOR] (up/down) to move the cursor to the note

number whose instrument you wish to change.
* Instruments whose group name includes “ELEC,” “TR-808” or
“TR-909” cannot be used.
* If an indication such as “H1” is displayed at the instrument

name, a drum kit instrument is selected. For these note num-
bers, select an instrument in the “INST” page.
* When an external MIDI controller connected, playing a note on

the keyboard will move the cursor to the note number that you
played. “Note Chase” needs to be “ON” (p. 115).
126
Chapter 1
Function buttons ● Percussion group editing
When the cursor is located at the instrument name, you can Each instrument in the percussion group can be edited.
press [F1 (LIST)] to access the instrument list page. Press [F2 fig.11-10
(EDIT)] to access the instrument edit page. For details on
edit functions, refer to “Percussion group editing.”
Chapter 2
● Adjusting the volume balance
between the drum kit and the per-
cussion group
The volume (Group Volume) and effect send (Group Send Procedure
Chapter 3
Level) can be adjusted for all the drums and for the entire 1. Press [KIT]-[F2 (FUNC)]-[F1 (PRCGRP)]-[F2 (EDIT)].
percussion group. The “PERC INST EDIT” page will appear.
fig.11-09
2. Play the external MIDI controller connected to the MIDI IN
to select the note number you wish to edit and the corre-
sponding setting page will appear.
Chapter 4
you wish to set.

Procedure (Group Volume)
1. Press [CONTROL ROOM]-[F1 (MIXER)]-[F4 (GRPVOL)]. Parameters
Chapter 5
The “GROUP VOLUME” page will appear. Note
2. Use [CURSOR] to move the cursor to the group that you Move the cursor to the left to select the note number for edit-
wish to set. ing. Move the cursor to the right to select the instrument.
“DRUMS” adjusts the volume of the drum kit, and “PERC” Volume: 0–127
adjusts the volume of the percussion group. Adjusts the volume.
Chapter 6
3. Use [INC/DEC] or the VALUE dial to make the setting. Pan: L15–CENTER–R15
Adjusts the left/right position.
Parameters
Pitch: -480–0–+480
DRUMS, PERC: 0–127
Adjusts the pitch of the sound.
Chapter 7
Procedure (Group Send Level) Decay: -31–0–31
1. Press [CONTROL ROOM]-[F4 (EFFECT)]-[F2 (SNDRTN)]. Adjusts the decay time of the sound.
Ambience: 0–127
2. Use [CURSOR] to move the cursor to the group that you Adjusts the ambience send level.
wish to set.
Fx Send: 0–127
“Drums” adjusts the effect send level of the whole drum kit,
Adjusts the effect send level. Chapter 8
“Perc” adjusts the effect send level of the percussion group,
and “Part” adjusts the send level of the backing part. Output: Master, Phones Only
You can select “MASTER OUT “PHONES jack only” as out-
put destinations for the percussion group.
Parameters
Send Level: 0–127
127
■ Changing the kit number that is MIDI messages for

selected by a program change detailed performance
You can freely select the correspondence between program
changes and drum kits, so that (for example) drum kit 10 expressions
could be selected when program change number 5 is
received. ■ Messages for hi-hat control
* This would only be used in special cases when using a lot of The TD-10’s hi-hat controller also transmits the depth to
MIDI information from a sequencer, and using the same pro- which the pedal is pressed, using control change messages.
gram change MIDI channel to change patches in other modules, By default (factory preset), control change 4 is used.
effect units etc. Reception/transmission to/from an external MIDI
sequencer will use this number.
Procedure * If the MIDI device that you are using already uses control
1. Press [SETUP]-[F2 (MIDI)]-[F3 (PROG)]. change number 4 for another function then you can set the hi-
The “MIDI Program Change” page will appear. hat to use a different control change number.
2. Use [CURSOR] to move the cursor next to the kit name
for which you wish to select a program change number. Procedure
1. Press [SETUP]-[F2 (MIDI)]-[F2 (CTRL)].
3. Use [INC/DEC] or the VALUE dial to select the program The “MIDI Control Change” page will appear.
change number.
2. Use [CURSOR] to move the cursor to “Pedal CC.”
3. Use [INC/DEC] or the VALUE dial to specify the control

change number.
Parameters
Pedal CC: OFF, Modulation (1), Foot Ctrl (4), General1 (16),
General2 (17)
OFF:Hi-hat data control will not be received or transmitted
via MIDI IN or MIDI OUT.
Modulation (1), Foot Ctrl (4), General1 (16), General2 (17):
The specified control change will be used for hi-hat
control. This setting will be used both for reception at
MIDI IN and for transmission from MIDI OUT.
128
Chapter 1
■ Messages for positional sens- Synchronization with
ing (snare drum and ride cym- external MIDI devices
bal only)
This section discusses the settings that allow an external
The TD-10 uses control change messages to indicate the
Chapter 2
MIDI sequencer and the TD-10’s sequencer to be synchro-
position a snare pad or ride cymbal pad was hit. The loca-
nized. The device that is playing back is called the “master”
tion from the center of the pad outward to the rim is indicat-
and the device that is synchronizing to the playback is called
ed by control change 16 for the snare drum (TRIGGER
the “slave”.
INPUT jack 2), and by control change 17 for the ride cymbal
(TRIGGER INPUT jack 10). These numbers are used for both About the SYNC parameters
Chapter 3
transmission and reception to/from an external MIDI Internal: The TD-10’s tempo setting will be used for
device. playback/recording. When shipped from the
* If a MIDI device that you are using already uses control change factory, this setting is selected.
numbers 16 and 17, you can change these numbers. External: The TD-10’s sequencer will operate in accor-
dance with tempo data (MIDI Clock) from
the external device.
Chapter 4
Procedure
1. Press [SETUP]-[F2 (MIDI)]-[F2 (CTRL)]. Auto: This is a convenient setting that combines
The “MIDI Control Change” page will appear. features of both the Internal and External set-
tings. If the TD-10’s [PLAY] is pressed when
2. Use [CURSOR] to move the cursor to “SNARE” to make
no synchronization signal is being received,
the snare setting, or “RIDE” to make the ride cymbal set-
pressing the [PLAY] will playback according
Chapter 5
ting.
to the internal setting. When a synchroniza-
3. Use [INC/DEC] or the VALUE dial to specify the control tion signal is being received from an external
change number. device, the TD-10 will sync to that signal.
Remote: The TD-10 will obey start/pause/stop mes-
Parameters sages from an external device, but will play-
Chapter 6
Zone CC: OFF, Modulation (1), General1 (16), General2 (17) back according to its own tempo setting.
OFF:Positional sensing data will not be received or transmit- MIDI ➝ Delay: Tempo messages will be received to control
ted via MIDI IN and MIDI OUT. the “Beat Delay” of the effect. Since Song
Modulation (1), General1 (16), General2 (17): Select and playback start/pause/stop mes-
Positional sensing data will be handled using the speci- sages will not be received, use this setting
fied control change. This setting is applied to reception when you do not want the internal
Chapter 7
via MIDI IN and transmission from MIDI OUT. sequencer to playback in synchronization.
● Synchronizing the TD-10 to the

playback of an external sequencer
In this case, the TD-10 will be the slave. As shown in the fol-
lowing diagram, use a MIDI cable to connect the MIDI OUT
Chapter 8
of the external MIDI device to the TD-10’s MIDI IN connec-
tor.
fig.11-01ae
MIDI OUT MIDI IN
Sequencer
TD-10
129
Procedure
1. Press [PATTERN]-[F2 (FUNC)]-[F1 (GLOBAL)].
2. Use [CURSOR] to move the cursor to “Sync Mode.”
3. Use [INC/DEC] or the VALUE dial to select “External” or

“Auto.”
4. Begin playback on the transmitting device (master).

Synchronized playback will begin.
● Synchronizing an external
sequencer to the TD-10
In this case, the TD-10 will be the master. As shown in the
following diagram, use a MIDI cable to connect the MIDI
OUT of the TD-10 to the MIDI IN connector of the external
device.
fig.11-01e
MIDI IN MIDI OUT
Sequencer
TD-10
Procedure
1. Press [PATTERN]-[F2 (SETUP)]-[F1 (GLOBAL)].
2. Use [CURSOR] to move the cursor to “Sync Mode.”
3. Use [INC/DEC] or the VALUE dial to “Internal” or “Auto.”
4. Make settings on the external sequencer so that it will

synchronize.
5. Press [PLAY] to start playback on the TD-10.

Synchronized playback will begin.
130
Appendices
Appendices
131
Troubleshooting
This section outlines points to check if you experience prob- Has a non-volume parameter been set so that
lems, and what to do about them. For matters related to very no sound can be output?
basic settings, refer to the “Quick Start,” “Troubleshooting Check the following points.
connections and settings.” • If you are using brushes, have you selected a special
brush kit? ([KIT])
Problems with the overall ➝ When selecting the drum kit, select one that has the fol-
lowing symbol in the lower right of the display.
sound fig.12-01
● Does not sound right.

Is pad sensitivity adjusted correctly?
➝ First refer to the “Quick Start” “Specify the pads that the
TD-10 will use” (p. 29), and make sure that trigger set- • Has the output assignment been changed? ([CONTROL
tings are correct. If you wish to make additional adjust- ROOM]-[F1 (MIXER)]-[F3 (OUTPUT)])
ments to the sensitivity, refer to “Adjusting the sensitivity ➝ Hit the pad that does not sound, so that the cursor moves
of a pad” (p. 39). If you are using drum triggers or pads to the setting for that pad. Use [INC/DEC] or the VALUE
made by another manufacturer, refer to the “Advanced dial to select the correct output.
Use” “Basic settings for the trigger parameters (BASIC)”
(p. 109) and “Detailed settings for the trigger parameters • Is the instrument number set to 600 (OFF)?
(ADVNCD)” (p. 111). ➝ Press [INST], and in the screen display which appears,
select an instrument numbered 1–559.
● No sound
● No sound when you tap the [PREVIEW]
Is the volume setting off or too low?
Press the buttons in the order given in the parentheses ( ) to Do you have Local Control (p. 124) set to "OFF"?
access the appropriate setting page. Things should be connected/set so performance data that
• Has the [VOLUME CONTROL] (MASTER) been low- has been routed through the external sequencer (or other
ered? device) will be input to the TD-10, as illustrated on p. 124.
➝ Rotate the [VOLUME CONTROL] knob to be sure. Local Control should be set to “ON” if an external sequencer
• Have the [GROUP FADERS] been lowered? is not being used.
➝ Raise the [GROUP FADERS] sliders.
• Have the Control Room volumes for each instrument ● Changes in the settings are not
been lowered? ([CONTROL ROOM]-[F1 (MIXER)]-[F1 reflected in the sound
(VOLUME)]) Is the head/rim selection incorrect?
➝ Hit the pad that is not sounding, so that the cursor moves Some parameters can be set independently for the head and
to the slider for that pad. Use [INC/DEC] or the VALUE the rim. In such cases, take note of the “HEAD” or “RIM”
dial to raise the value. indication in the display screen.
• Have compressor “Level” settings for each instrument
been lowered? ([CONTROL ROOM]-[F2 (COMP)]) ● Volume settings don’t seem right
➝ Hit the pad that is not sounding, to access the setting Check the group faders
page. Press [F4] to select “Level,” and use [INC/DEC] or If you wish to reproduce the volume balance that was set for
the VALUE dial to raise the value. the drum kit in the Control Room, set all of the front panel
• Has the Control Room (GROUP VOLUME) setting for the [GROUP FADERS] to the same position.
overall kit been lowered? ([CONTROL ROOM]-[F1
(MIXER)]-[F4 (GRPVOL)]) ● There is no sound when a pad is
➝ Select “DRUM” in the setting page, and use [INC/DEC] struck softly
or the VALUE dial to raise the value. If a pad was struck while the power was being turned on,
the pad will respond poorly when struck softly. Turn off the
Are the pads connected correctly?
power. Then turn on the power once again, and do not strike
Make sure that the pad connections are correct, and that
a pad until the drum kit is displayed.
each pad is connected to the proper input.
The minimum output level of the pad is detected when the
power is turned on. If the pad is struck at this time, the out-
put level of the pad will be detected incorrectly, causing the
pad to have poor response.
132
Troubleshooting
● Rotating [MASTER] does not change ● Equalizer doesn’t work (individual

the volume or MASTER)
The [MASTER] knob adjusts the volume level from the Check the following points by pressing the buttons in the
MASTER jacks, and does not affect the volume of the output order given in parentheses ( ) and you’ll access the appro-
from the headphones or the DIRECT 1, 2, 3 outputs. priate setting page.
• Has the switch that turns the equalizer on/off for each kit
● No Effects been turned off? ([KIT]-[F3 (FX SW)])
Check the following points by pressing the buttons in the ➝ Press [F3] to turn it “ON.”
order given in parentheses ( ) and you’ll access the appro- • Has the master equalizer switch been turned off? ([KIT]-
priate setting page. [F4 (MAS EQ)])
• Has the master effect switch been turned off? ([KIT]-[F3 ➝ Press [F1] to turn it “ON.”
(FX SW)]) • Has the equalizer switch for each pad been turned off?
➝ Press [F4] to turn it “ON.” ([CONTROL ROOM]-[F3 (EQ)])
➝ Hit the pad for which no equalizion is heard and the set-
• Has the “send” level for each instrument been turned
ting page for that pad will appear.
down?(for digital effects) ([CONTROL ROOM]-[F4
Press [F1] to turn the setting “ON.”
(EFFECT)]-[F1 (FXSEND)])
➝ Hit the pad for which no effect is sounding, and the cur-
● Compressor doesn’t work
sor will move to the slider for that pad. Use [INC/DEC] • Has the switch which turns the compressor on/off for
or the VALUE dial to raise the value. each kit been turned off? ([KIT]-[F3 (FX SW)])
• Has the master level of the effect been turned down? (In ➝ Press [F2] to turn it “ON.”
the page accessed by [CONTROL ROOM]-[F4 (EFFECT)]- • Has the compressor switch for each pad been turned off?
[F2 (SNDRTN)], select “Output Level”) ([CONTROL ROOM]-[F2 (COMP)])
➝ In the setting page, select “Output Level” and use ➝ Hit the pad for which no compression is heard so that the
[INC/DEC] or the VALUE dial to raise the value. setting page for that pad appears. Press [F1] to turn the
setting “ON.”
• Are the compressor settings correct? ([CONTROL
● No Ambience
ROOM]-[F2 (COMP)])
Check the following points by pressing the buttons in the
➝ Refer to the explanations on p. 91 and correct the com-
order given in parentheses ( ) and you’ll access the appropri-
pressor settings.
ate setting page.
• Has the master ambience switch been turned off? ([KIT]-
[F3 (FX SW)]) Concerning pads and pedals
➝ Press [F1] to turn it “ON.”
• Has the “send” level for each instrument been turned
● Playing velocity doesn’t correspond
down? ([STUDIO]-[F4 (AMBNCE)]-[F1 (AMBSND)])
to the resulting sound
First refer to the “Quick Start” “Specify the pads that the TD-
➝ Hit the pad for which no ambience is heard, and the cur-
10 will use” (p. 29) and make sure that the basic settings are
sor will move to the slider for that pad. Use [INC/DEC]
correct. If this does not solve the problem or if you are using
or the VALUE dial to raise the value. pads made by another manufacturer, refer to “Adjusting the
• Has the ambience group send level been turned down? sensitivity of a pad ” (p. 39) and make detailed settings.
([STUDIO]-[F4 (AMBNCE)]-[F2 (GRPSND)])
➝ Select the group to which ambience does not apply ● An instrument other than the one
(“DRUMS”, “PERC”, “PART” ), and use [INC/DEC] or assigned is heard
the VALUE dial to raise the value. When you hit a pad have the head/rim assignments been
• Has the level of the ambience output destination been inverted? Also, simultaneously striking the head and rim
lowered? ([STUDIO]-[F4 (AMBNCE)]-[F3 (AMBLVL]) (Rim Shot) will trigger the instrument assigned to the rim. If
➝ Select the output destination (“MASTER”, “DIR1”, you wish to play the sound that is assigned to the head, be
Appendices
“DIR2”, “DIR3” ), and use [INC/DEC] or the VALUE dial sure to strike only the head.
to raise the value.
• The volume level of the instrument connected to MIX IN ● Have you changed the “SCAN
jack is too low. TIME” setting (p. 111) after selecting
➝ Could you be using a connection cable that contains a the “TRIGGER TYPE” (p. 108)?
The head tension adjustment (p. 110) does not work correct-
resistor?
ly when the “SCAN TIME” setting is excessively low. This
Use a connection cable that does not contain a resistor.
setting is automatically set to the most efficient values for
each pad when you select the “TRIGGER TYPE” again.
133
Troubleshooting
● Hi-hat control pedal (FD-7) does not Sequencer-related problems

operate correctly
The hi-hat control pedal was not detected correctly at ● Pressing [PLAY] does not start play-
power-on. Turn off the power. Then turn on the power once back
again, and do not operate the hi-hat control pedal (FD-7)
Are you playing back an empty pattern?
until the drum kit display appears.
Playback a pattern which contains musical data.
The position of the pedal when open is detected when the
power is turned on. If the pedal was pressed while the
Is a part muted?
power was being turned on, the pedal position will be
In the page that appears when you press [PART]-[F4
detected incorrectly, and the pedal will not operate correctly.
(MUTE)], if “MUTE” is indicated for any parts, press
[F1]–[F4] to switch these settings to “PLAY.”
MIDI-related problems
● Did playback occur for a moment
● No Sound when using an external and then stop immediately?
controller (sequencer,keyboard etc.) Is the playback type (PLAY TYPE) set to
Has an internal volume setting been lowered? “Tap”?
Check the following points. Pressing the buttons in the order This type is used mainly when pads are used to playback a
given in parentheses ( ) will access the appropriate setting pattern step by step. In the page that appears when you
page. press [PATTERN]-[F2 (FUNC)] [F3 (TYPE)], set “Play Type”
• Has the individual volume for each instrument in the per- to a setting other than “Tap.”
cussion group been lowered? ([KIT]-[F2 (FUNC)]-[F1
(PRCGRP)]-[F2 (EDIT)])
➝ Move the cursor to “Note,” and select the note which is
Click-related problems
not sounding. Next select “Volume,” and use [INC/DEC]
● Click does not sound
or the VALUE dial to increase the value.
Is the [CLICK] indicator lit?
• Has the Control Room volume for the entire percussion
If it is not lit, press [CLICK] to make it light. At this time, the
group been lowered? ([CONTROL ROOM]-[F1 (MIXER)]-
click setting page appears,and you should hear the click
[F4 (GRPVOL)])
sound. If not, then see below or press [EXIT] to exit the page.
➝ In the setting page select “PERC,” and use [INC/DEC] or
the VALUE dial to raise the value.
Has the [GROUP FADERS] slider [CLICK] been
• Have output assignments been changed? ([CONTROL lowered?
ROOM]-[F1 (MIXER)]-[F3 (OUTPUT]) (With the factory ➝ Raise the [CLICK] slider.
settings, the sound will be output only from the MASTER
OUT and PHONES jacks.) Is the output destination of the click sound
➝ Use [INC/DEC] or the VALUE dial to specify the correct correct?
output destination (“MASTER”, “DIR1”, “DIR2”, “DIR3” ). In the page that appears when you press [CLICK]-[F2
• Has the MIDI channel of the part been turned off or (INST)], move the cursor to “Output.” If this is set to “MAS-
changed? ([SETUP]-[F2 (MIDI)]) TER,” the click will be output from MASTER OUT and the
➝ If the “Channel” column of the setting page indicates PHONES. If set to “PHONES,” the click will be output from
“OFF,” move the cursor to that value and use [INC/DEC] the headphones ONLY.
or the VALUE dial to specify the MIDI channel.
● Bulk dump is not transmitted.

Is the MIDI cable connected properly?
If you wish to save a bulk dump on an external device, con-
nect the TD-10’s MIDI OUT/THRU connector to the external
sequencer’s MIDI IN connector. Also, make sure that recep-
tion of system exclusive messages is not turned off on the
external sequencer. System exclusive data is data unique to
individual devices, so verify all settings.
134
Troubleshooting
Display-related problems Other

● Trigger indicators light on their own ● Hitting [PREVIEW] plays back a pat-
If a monitor speaker or the like is sounding at a high volume tern.
nearby a pad, the vibration can sometimes be detected by Is a pad pattern assigned to the pad?
the pad as a trigger signal. If this occurs, either move the In this case, using [PREVIEW] to play this pad will have the
speaker, or change the angle of the pad. Also verify the same result as striking the pad, and the pattern will play-
mounting of the pads and that the stand is stable in order to back. To stop playback, press [STOP].
eliminate excess vibrations.
● Sounds of other instruments are
● Display is too light or too dark audible when using the DIRECT
The visibility of the display will change depending on the
jacks
viewing angle and on room lighting conditions. Re-adjust
The ambience component of the tone being
the setting in the page that is displayed when you press
output from a DIRECT jack is being heard from
[SETUP]-[F3 (CTRL)]-[F3 (DISPLY)], or hold down [KIT] and
the MASTER jack. Turn the ambience to "OFF"
rotate the VALUE dial to make the setting.(easiest way). (p. 41), or set the "AMBIENCE Output Level" to
"0" (p. 88).
Regardless of the sound output assignments (Output Assign;
p. 91), all of the ambience sounds are mixed into two chan-
nels, (L) and (R), and sent to the outputs selected with the
"AMBIENCE Output Level" setting (p. 88). Therefore,
sounds may be audible through a different output than the
output assigned for the instrument itself due to the "AMBI-
ENCE Output Level" setting.
For example, if the factory settings are changed so that the
kick is output from the DIRECT jack, the ambience sounds
are still to be output from the MASTER jack; as a result, the
kick sound could be perceived as seeping from the MASTER
jack.
Low-level crosstalk (-45 dB or lower) is per-

ceived at another output connector.
This is within the TD-10's specifications, so it should not be a
source for concern.
Output Separation:76 dB (min.)

(MASTER L -> DIRECT L, MASTER R -> DIRECT R): 45 dB (min.)
(DIRECT L -> Other DIRECT L, DIRECT R -> Other DIRECT R): 45 dB (min.) Appendices
135
Instruments that can be used with each trigger
The instruments that can be assigned to each trigger are as follows.
●: The instrument can be assigned and V-EDIT is possible
▲: The instrument can be assigned, but V-EDIT is not possible
✕: Cannot be assigned
Trigger number 1 2 3 4 5 6 7 8 9 10 11 12
Inst group \ KICK SNARE TOM1 TOM2 TOM3 TOM4 HI-HAT CRASH1 CRASH2 RIDE AUX1 AUX2
V-KICK ● ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲
V-SNARE ▲ ● ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲
V-TOM ▲ ▲ ● ● ● ● ▲ ▲ ▲ ▲ ▲ ▲
ELEC KICK ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
ELEC SNARE ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
ELEC TOM1 ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
ELEC TOM2 ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
ELEC TOM3 ✕ ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕
ELEC TOM4 ✕ ✕ ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕
808 KICK ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
808 SNARE ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
808 TOM1 ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
808 TOM2 ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
808 TOM3 ✕ ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕
808 TOM4 ✕ ✕ ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕
909 KICK ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
909 SNARE ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
909 TOM1 ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
909 TOM2 ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕ ✕
909 TOM3 ✕ ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕ ✕
909 TOM4 ✕ ✕ ✕ ✕ ✕ ● ✕ ✕ ✕ ✕ ✕ ✕
Other ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲ ▲
* On instruments with a group name that includes “ELEC”, “808”, or “909,” the combination of head and
rim cannot be modified.
VERY IMPORTANT: If you assign two different “V” sounds from the same instrument group, to the head
and rim, the choices made when editing (shell depth, head type etc.) will apply for both sounds. For the sound
assigned to the rim, the ONLY individual edit parameter available is head tuning.
■ Parameters that can be set independently for the head

and rim
[INST] parameters:
Pitch, Decay (except for “V-EDIT” sounds)
[STUDIO] parameters:
Amb Send Level (except for ELEC, 808 or 909 sounds)
[CONTROL ROOM] parameters:

MIXER/Volume, MIXER/Fx Send (except for ELEC, 808 or 909 sounds)
[INST]-[F4 (CTRL)]-[F4 (MIDI)] parameters:

TRIGGER to PATTERN, Gate Time, Note No.
[INST]-[F4 (CONTROL)]-[F3 (PATERN)] parameters:

TRIGGER to PATTERN
136
Restoring the factory settings (INITIALIZE)
If you wish to restore all internal settings to the factory pre- How to recall original factory presets for individual drum
set values use the Initialize operation explained below. All kits, percussion groups and trigger banks.
internal settings will be lost when you perform the Initialize fig.12-01ae
operation, so if necessary, save your data to a memory card
or on an external MIDI device before initializing.
source
destination
Procedure
1. Press [SETUP]-[F4 (UTIL)]-[F4 (INIT)].
The “SYSTEM INITIALIZE” page will appear.
(Example)
2. Press [F4 (INIT)]. Initializing individual Drum kits.
1. Press [KIT].
3. Press [F4 (EXEC)] and the TD-10’s data will be initialized. The “DRUM KIT” page appears.
2. Press [TOOLS]-[F1 (Copy)].
out executing the operation.)
The “COPY DRUM KIT” page appears, showing the source
and destination positions.
3. Use [INC/DEC] or the VALUE dial to, scroll until you see
“PRESET” in front of the drum kit you wish to recall.
4. Press [F4 (COPY)].

5. Then press [F4 (EXEC)] and the data will be restored.

out executing out the operation.)
Appendices
137
Message / error message list
This section lists the messages (error messages) that the TD- BULK DATA Receive Completed !
10 produces and explains the meaning of each message, giv- Bulk data reception has ended.
ing you the appropriate action to take. If the TD-10 is not
able to operate correctly or if an incorrect operation was per- Empty Pattern
formed, a message window will appear in the screen. Read You attempted to perform an editing operation on an empty
this section and take the appropriate action. pattern.
When an indication of “ACCEPT” is shown above [F4] as in
the following figure, pressing that button will close the mes-
EXPANSION BOARD Not Ready or
sage window.
fig.12-02 Unavailable !
Either the expansion board has been removed or was not
installed correctly (p. 43).
ILLEGAL CARD
This message may be due to one of the following two rea-
sons:
1. Check whether the card has been used by a different
Roland device.
Check whether the card has been used by a different Roland
Backup Battery Low ! device. If you wish to erase the contents of the card and use
The internal backup battery of the TD-10 (a battery that it with the TD-10, press [F4 (ACCEPT)]. The card initialize
maintains data in the user memory) has run down. Contact page will appear. In this page, press [F4 (INIT)] and you will
your dealer or a nearby Roland service center to have the be asked whether it is OK to erase the contents of the card.
battery replaced. To initialize the card, press [F4].To cancel, press [F1].
2. Make sure that you are using an “M-512E” card ONLY.
BACKUP NG !
The backup battery has run down completely, and the inter- MEMORY CARD Battery Low ! Please
nal data has been lost. Contact your dealer or a nearby Change !
Roland service center to have the battery replaced. The backup battery of the memory card has run down. Refer
to the owner’s manual for your memory card, and replace
BULK DUMP Aborted by User ! the battery.
Bulk data transmission was halted.
MEMORY CARD Data Error !
Check Sum Error ! There is a problem in the data of the memory card. If the
The checksum value of a system exclusive message was power is turned off or the card removed while data is being
incorrect. written into the card (SAVE), the data in the card will be
damaged. Format the card once again before using it (p.
BULK DUMP Data Transmit Completed ! 114).
Bulk data transmission was completed.
MEMORY CARD Data Load Completed !
BULK DATA DEVICE ID Error ! Data has been loaded from the memory card.
Due to an incorrect Device ID, the system exclusive message
could not be received. Set the correct Device ID (p. 122). MEMORY CARD Data Save Completed !
Data has been saved to the memory card.
BULK DATA Load Error !
Reception of bulk dump failed. Make sure that all MIDI MEMORY CARD Not Ready !
cables are firmly connected (p. 122). A pattern or drum kit chain attempted to access data from a
memory card. Insert the memory card.
BULK DATA Receiving ... Please, Wait.
Bulk data is now being received. (Don’t touch any buttons or MEMORY CARD Write Protected.
pad during this process). The memory card is write protected (switch in the “write
prohibit” position), and data could not be saved. Move the
write protect switch of the card to allow data to be saved (p.
114).
138
Message / error message list
MIDI Buffer Full !

A large amount of MIDI messages were received in a short
time, and could not be processed completely. Make sure that
a problem has not occurred with the MIDI cable connection
or with your external MIDI device.
Data Overload
Pattern contained an excessive amount of data, and as a
result could not be output successfully from MIDI OUT. Try
eliminating a track that has too much data.
MIDI Offline !
A MIDI cable was disconnected. (Or communication with
the external MIDI device stopped for some reason.)
PATTERN DATA Not enough memory !

The internal memory for pattern storage is full. Save the pat-
terns either to a memory card (p. 114) or to an external
device via bulk dump, (p. 121) and then delete some or all of
the internal patterns (p. 105).
SYSTEM ERROR
A problem has occurred with the internal system. Contact
your dealer or a nearby Roland service center.
SYSTEM INITIALIZE Completed !

Initialization of the TD-10’s internal data has been complet-
ed.
No Empty Pattern
There are no more empty patterns. Clear unneeded patterns
before using this function (p. 105).
Not Enough Memory

Pattern recording or editing could not be carried out because
there was not enough internal memory. Try again after
deleting patterns that are no longer needed.
Appendices
139
About MIDI
MIDI means “Musical Instrument Digital Interface”. By
using MIDI you can play and/or control multiple instru-
MIDI channels and multi-
ments from a single MIDI controller, keyboard or sequencer, timbral sound sources
and is a world-wide standard, allowing communication
between MIDI equipped instruments, no matter who manu- MIDI transmits many types of data over a single MIDI cable.
factured them. This is made possible by the concept of MIDI channels
If you wish to use a MIDI keyboard to record on the TD-10, which allow a device to distinguish the data that is or is not
or to use an external sequencer to play the TD-10, we sug- intended for it. In some ways, MIDI channels are similar to
gest that you understand the explanations that follow. television channels. By changing the channel on a television
set, you can view the programs that are being broadcast by
different stations. In the same way, MIDI also allows a
MIDI connectors device to select the information intended for that device out
fig.12-03a of the variety of information that is being transmitted to it.
MIDI fig.12-03be
THRU OUT IN The cable from the antenna carries the TV
signals from many broadcast stations.
Station A
Station B
MIDI IN Station C
This connector receives messages from external MIDI The TV is set to the channel of the station
you wish to watch.
devices ( keyboards, sequencers controllers etc.) to play the
TD-10’s instruments or change its settings.
MIDI uses sixteen channels; 1 through 16. Set the receiving
MIDI OUT device so that it will receive only the channel that it needs to
The TD-10 transmits musical data from its sequencer or pads receive. In the example below, the transmitting device is
via the MIDI OUT, and can also use this connector save transmitting on channels 1 and 2, but sound module A has
internal song data and settings to an external sequencer for been set to receive only channel 1, and sound module B has
back-up purposes. been set to receive only channel 2. In this way, sound mod-
ule A plays the guitar part and sound module B plays the
MIDI THRU bass part.
fig.12-03ce
All messages received at MIDI IN are re-transmitted from
MIDI OUT MIDI IN MIDI THRU
this connector. (if Soft Thru is “ON”) refer to “Chapter 10.
Transmit channel : 1, 2 Receive
Functions using MIDI,” and read the section “Using the TD- channel : 1
Sound
10 with the Roland SPD-11” (p. 123). This connector is used Module A
when you wish to transmit the same stream of MIDI data to Receive
MIDI keyboard channel : 2 MIDI IN
Sound
other devices. With the factory settings, this connector will Module B
function as MIDI OUT only.

When the TD-10 is used as a sound module, it can function
on four different channels simultaneously. This means that a
single TD-10 can play a four-part ensemble. Sound modules
like the TD-10 which can receive multiple
MIDI channels at once to play different sounds on each
channel are called “multi-timbral sound modules.”
140
About MIDI
How the sequencer operates

A sequencer is an electronic musical device that records and
plays back performance data, meaning the note you play,
how long it is held (gate time) and velocity with which you
play, and various controller functions. The TD-10 contains a
built-in sequencer with 50 preset patterns containing pre-
programmed musical data. You can also create your own
patterns.
fig.12-04e
External sound generator
TD-10
Pattern 1 - 100
Part 1
MIDI keyboard Part 2
Pad Bass part
Drum part
Internal sound generator
During playback, data recorded in the sequencer is transmit-

ted to the sound module and played. As shown in the dia-
gram above, each track is transmitted to the respective part;
track 1 plays part 1 and track 2 plays part 2, and so forth.
During recording, the performance information from the
pads or MIDI keyboard is transmitted to the sequencer, and
the data is then transmitted to the sound module for play-
back.
A percussion group allows 60 types of instrument to be
played via MIDI in addition to all the instruments of the
drum kit. You can use instruments of the percussion group
when using an external MIDI controller or keyboard to
record on to the drum track.
Appendices
141
Using drum triggers
This section explains how to attach an acoustic drum trigger. 2. Use a monaural cable to connect the drum trigger to the
TD-10’s TRIGGER INPUT jack.
Procedure
Drum TRIGGER INPUT jack
1. Attach the drum trigger to the acoustic drum.
fig.12-05a Kick 1
Snare drum 2
Tom tom 3–6
3. Make trigger settings on the TD-10.

Press [SETUP]-[F1 (TRIG)]-[F1 (BANK)] to access the setting
page. Next, use [CURSOR] to move the cursor to the trigger
number that you wish to set, and use [INC/DEC] or the
VALUE dial to set the trigger parameters as shown in the
following display.
fig.12-07
fig.12-05be
Snare drum Tom tom
4. When you hit the drum, the TD-10 will will be

triggered.inverted? If it does not sound correctly, try
changing the position of the drum trigger, or refer to “The
order in which trigger parameters should be set when
using drum triggers” (p. 112) and make adjustments.
* So that the drum trigger does not pick up extraneous vibrations,
do not allow it’s cable to contact the rim or shell (body).
* Be sure to mute the bass drum and snare drum. If you use a ring
mute, cut away part of the ring mute, so the drum trigger con-
Floor tom tacts the head directly.
Kick
fig.12-05e * For details on adjusting the correspondence between playing
velocity and the TD-10’s volume, refer to p. 37 of the “Quick
Start,” and “Basic settings for the trigger parameters” (p. 109).
Make sure that the wire does not touch
Drum Where to Install

Kick On the playing head (5 to 10 cm from the rim)
Snare drum On the playing head (2 to 3 cm from the rim)
Tom tom On the shell (next to a lug located about 1 cm
from the playing head rim)
Floor tom On the shell (next to a lug located about 1 cm
from the playing head rim)
* If the drum trigger of a tom has a low output level, attach it to
the head.
142
Preset list
■ Drum kit list
No. Kit name Percussion group Remark No. Kit name Percussion group Remark
1 StudioV 1 26 Far East 1

2 BigRock 1 27 SnareBuz 1
3 Tight 1 28 HEAVy 1
4 JazzSizl 1 29 NextDoor 1
5 SuperBwl 1 30 Latin 3D 1
6 Freak'n 1 31 Vintage 1
7 OldScool 1 *1 32 MIDIbrsh 1
8 TexMex 1 *2 33 SockHop 1
9 GroovIn 1 34 Woody 1
10 BtDelayy 1 35 GoFigure 1
11 LatinSet 1 36 70'sRock 1
12 Orch Set 1 37 Brushes 1 *1
13 BrasRing 1 38 Electro 1 *2
14 TR-808 1 *2 39 Rock 1
15 TR-909 1 *2 40 Analog 1 *2
16 Dr Spin 1 41 Fusion 1
17 Memphis 1 42 Jazz 1
18 Cartoon 3 43 SLAPBACK 1
19 KornBall 1 *2 44 COMpress 1
20 X-Stick 1 45 LivnRoom 1
21 BIG Band 1 46 KitCopy1 1
22 lowFI 1 47 KitCopy2 1
23 CarTUNE 1 48 KitCopy3 1
24 Natural 1 49 KitCopy4 1
25 Dirty 1 50 KitCopy5 1
*1 indicates a kit to be played with brushes.
*2 indicates a kit using sounds referred to “#” on page 144–147. When these sounds are used a bit more time is needed when changing kits.
Appendices
143
Preset list
■ Drum instrument list

No. Inst name Inst group Remark No. Inst name Inst group Remark
1 VintageK V-KICK 51 MondVrbK V-KICK

2 26"DeepK V-KICK 52 Sizzle K V-KICK
3 ThickHdK V-KICK 53 NailHitK V-KICK
4 Round K V-KICK 54 Box K V-KICK
5 Medium K V-KICK 55 Dance K V-KICK
6 BigRoomK V-KICK 56 House K V-KICK
7 Big K V-KICK 57 Pillow K V-KICK
8 BigLow K V-KICK 58 Rap K V-KICK
9 Studio1K V-KICK 59 Hard808K V-KICK
10 Studio2K V-KICK 60 Boom808K V-KICK
11 Studio3K V-KICK 61 Noiz808K V-KICK
12 Studio4K V-KICK 62 Real909K V-KICK
13 Studio5K V-KICK 63 Wood909K V-KICK
14 Studio6K V-KICK 64 909HdAtK V-KICK
15 Studio7K V-KICK 65 ElephntK V-KICK
16 Studio8K V-KICK 66 Cattle K V-KICK
17 Room 1 K V-KICK 67 Giant K V-KICK
18 Room 2 K V-KICK 68 Door K V-KICK
19 Room 3 K V-KICK 69 Punch K V-KICK
20 Room 4 K V-KICK 70 MachineK V-KICK
21 Room 5 K V-KICK 71 Broken K V-KICK
22 Room 6 K V-KICK 72 BendUp K V-KICK
23 Solid1 K V-KICK 73 HrdNoizK V-KICK
24 Solid2 K V-KICK 74 Trip K V-KICK
25 Jazz 1 K V-KICK 75 Splat K V-KICK
26 Jazz 2 K V-KICK 76 Scrach1K V-KICK
27 18"JazzK V-KICK 77 Scrach2K V-KICK
28 BrshHitK V-KICK 78 Hi-Q K V-KICK
29 Wood 1 K V-KICK 79 Space K V-KICK
30 Wood 2 K V-KICK 80 SynBassK V-KICK
31 Wood 3 K V-KICK 81 Elec K ELEC KICK #
32 Maple1 K V-KICK 82 TR808 K TR808 KICK #
33 Maple2 K V-KICK 83 TR909 K TR909 KICK #
34 Oak K V-KICK 84 Picolo1S V-SNARE *2
35 Birch K V-KICK 85 Pco1RimS V-SNARE
36 RoseWodK V-KICK 86 Picolo2S V-SNARE *2
37 OnePly K V-KICK 87 Pco2RimS V-SNARE
38 WdBeatrK V-KICK 88 Picolo3S V-SNARE *2
39 TakaokaK V-KICK 89 Pco3RimS V-SNARE
40 Oyster K V-KICK 90 Medium1S V-SNARE *2
41 Open K V-KICK 91 Med1RimS V-SNARE
42 26"HardK V-KICK 92 Medium2S V-SNARE *2
43 Dry K V-KICK 93 Med2RimS V-SNARE
44 DryMed K V-KICK 94 Medium3S V-SNARE *2
45 DryHardK V-KICK 95 Med3RimS V-SNARE
46 DeepDryK V-KICK 96 Medium4S V-SNARE *2
47 Fusion K V-KICK 97 Med4RimS V-SNARE
48 Meat K V-KICK 98 Fat1 S V-SNARE *2
49 SandBagK V-KICK 99 Fat1RimS V-SNARE
50 BsktBalK V-KICK 100 Fat2 S V-SNARE *2
144
Preset list
101 Fat2RimS V-SNARE 153 Fat5 S SNARE

102 AcusticS V-SNARE *2 154 Fat5RimS SNARE
103 AcusRimS V-SNARE 155 DynamicS SNARE
104 VintageS V-SNARE *2 156 DynmcRmS SNARE
105 VntgRimS V-SNARE 157 Roll S SNARE
106 Maple1 S V-SNARE *2 158 Buzz S SNARE
107 Mpl1RimS V-SNARE 159 NoSnareS SNARE
108 Jazz S V-SNARE *2 160 Dopin1 S SNARE
109 JazzRimS V-SNARE 161 Dopin2 S SNARE
110 Elec S ELEC SNARE # 162 Reggae S SNARE
111 TR808 S TR808 SNARE # 163 HrdNoizS SNARE
112 TR909 S TR909 SNARE # 164 Cruddy S SNARE
113 Brush1 S SNARE *1 165 Dance1 S SNARE
114 Brush2 S SNARE *1 166 Dance2 S SNARE
115 BrshTmbS SNARE *1 167 Anvil S SNARE
116 MIDIBr1S SNARE 168 House S SNARE
117 MIDIBr2S SNARE 169 HousDpnS SNARE
118 Ballad S SNARE 170 HipHop S SNARE
119 Ring S SNARE 171 Real808S SNARE
120 RingRimS SNARE 172 Real909S SNARE
121 13" S SNARE 173 Chu-Hi S SNARE
122 13" RimS SNARE 174 Clap! S SNARE
123 Rock S SNARE 175 R70Pwr S SNARE
124 RockRimS SNARE 176 Whack S SNARE
125 TD7MpleS SNARE 177 CrsStk 1 SNARE
126 TDMplRmS SNARE 178 CrsStk 2 SNARE
127 R8MapleS SNARE 179 CrsStk 3 SNARE
128 R8MplRmS SNARE 180 CrsStk 4 SNARE
129 Funk S SNARE 181 CrsStk 5 SNARE
130 FunkRimS SNARE 182 CrsStk 6 SNARE
131 Bop S SNARE 183 808Crstk SNARE
132 Bop RimS SNARE 184 Fibre T1 V-TOM
133 Bronze S SNARE 185 Fibre T2 V-TOM
134 BrnzRimS SNARE 186 Fibre T3 V-TOM
135 Picolo4S SNARE 187 Fibre T4 V-TOM
136 Pco4RimS SNARE 188 Dry T1 V-TOM
137 Picolo5S SNARE 189 Dry T2 V-TOM
138 Pco5RimS SNARE 190 Dry T3 V-TOM
139 Picolo6S SNARE 191 Dry T4 V-TOM
140 Pco6RimS SNARE 192 NaturlT1 V-TOM
141 Medium5S SNARE 193 NaturlT2 V-TOM
142 Med5RimS SNARE 194 NaturlT3 V-TOM
143 Medium6S SNARE 195 NaturlT4 V-TOM
144 Med6RimS SNARE 196 StudioT1 V-TOM
Appendices
145 Medium7S SNARE 197 StudioT2 V-TOM

146 Med7RimS SNARE 198 StudioT3 V-TOM
147 Medium8S SNARE 199 StudioT4 V-TOM
148 Med8RimS SNARE 200 Maple T1 V-TOM
149 Fat3 S SNARE 201 Maple T2 V-TOM
150 Fat3RimS SNARE 202 Maple T3 V-TOM
151 Fat4 S SNARE 203 Maple T4 V-TOM
152 Fat4RimS SNARE 204 Jazz T1 V-TOM
145
Preset list
205 Jazz T2 V-TOM 257 AttackT2 V-TOM

208 Buzz T1 V-TOM 260 Hall T1 V-TOM
212 Slap T1 V-TOM 264 Birch T1 V-TOM
216 Rock T1 V-TOM 268 Beech T1 V-TOM
220 Room T1 V-TOM 272 Micro T1 V-TOM
224 Big T1 V-TOM 276 Hand T1 V-TOM
228 Punch T1 V-TOM 280 Bend T1 V-TOM
232 Brsh1 T1 V-TOM 284 Bowl T1 V-TOM
236 Brsh2 T1 V-TOM 288 Dirty T1 V-TOM
240 Oak T1 V-TOM 292 Space T1 V-TOM
244 VintgeT1 V-TOM 296 AnalogT1 V-TOM
248 Dark T1 V-TOM 300 Noise T1 V-TOM
252 FusionT1 V-TOM 304 Elec T1 ELEC TOM1 #
256 AttackT1 V-TOM 308 TR808 T1 TR808 TOM1 #
146
Preset list
309 TR808 T2 TR808 TOM2 # 361 China20" CRASH

310 TR808 T3 TR808 TOM3 # 362 SzlChina CRASH
311 TR808 T4 TR808 TOM4 # 363 SwlChina CRASH
312 TR909 T1 TR909 TOM1 # 364 PgyzBack CRASH
313 TR909 T2 TR909 TOM2 # 365 PgyCrsh1 CRASH
316 Pure HH HI-HAT 368 PgyCrsh4 CRASH
317 BrightHH HI-HAT 369 PgyCrsh5 CRASH
318 Jazz HH HI-HAT 370 PgyCrsh6 CRASH
319 Thin HH HI-HAT 371 PgSplsh1 CRASH
320 Pop HH HI-HAT 372 PgSplsh2 CRASH
321 Heavy HH HI-HAT 373 PhaseCym CRASH
322 Dark HH HI-HAT 374 Jazz Rd RIDE *2
323 Light HH HI-HAT 375 Jazz RdB RIDE
324 12" HH HI-HAT 376 Jazz RdX RIDE *2
325 13" HH HI-HAT 377 Pop Rd RIDE *2
326 14" HH HI-HAT 378 Pop RdB RIDE
327 15" HH HI-HAT 379 Pop RdX RIDE *2
328 HandC HH HI-HAT 380 Rock Rd RIDE *2
329 Brush1HH HI-HAT 381 Rock RdB RIDE
330 Brush2HH HI-HAT 382 Rock RdX RIDE *2
331 SizzleHH HI-HAT 383 Lite Rd RIDE *2
332 TambrnHH HI-HAT 384 Lite RdB RIDE
333 MaracsHH HI-HAT 385 Lite RdX RIDE *2
334 TR808 HH HI-HAT 386 Quick Rd RIDE
335 TR909 HH HI-HAT 387 Brsh1 Rd RIDE
336 CR78 HH HI-HAT 388 Brsh2 Rd RIDE
337 Mtl808HH HI-HAT 389 SzlBr Rd RIDE
338 Mtl909HH HI-HAT 390 Szl1 Rd RIDE *2
339 Mtl78 HH HI-HAT 391 Szl1 RdB RIDE
340 Med16 Cr CRASH 392 Szl1 RdX RIDE *2
341 Med18 Cr CRASH 393 Szl2 Rd RIDE *2
342 Quik16Cr CRASH 394 Szl2 RdB RIDE
343 Quik18Cr CRASH 395 Szl2 RdX RIDE *2
344 Dark16Cr CRASH 396 Szl3 Rd RIDE *2
345 Dark18Cr CRASH 397 Szl3 RdB RIDE
346 Rock16Cr CRASH 398 Szl3 RdX RIDE *2
347 Rock18Cr CRASH 399 Szl4 Rd RIDE
348 Brsh1 Cr CRASH 400 Pgy Rd1 RIDE *2
349 Brsh2 Cr CRASH 401 Pgy Rd1B RIDE
350 SzlBr Cr CRASH 402 Pgy Rd1X RIDE *2
351 Swell Cr CRASH 403 Pgy Rd2 RIDE *2
352 Splsh 8" CRASH 404 Pgy Rd2B RIDE
Appendices
353 Splsh10" CRASH 405 Pgy Rd2X RIDE *2

354 Splsh12" CRASH 406 Cowbell1 PERCUSSION
355 HdSpl 8" CRASH 407 Cowbell2 PERCUSSION
356 HdSpl10" CRASH 408 CowblDuo PERCUSSION
357 DkSpl10" CRASH 409 Tambrn 1 PERCUSSION
358 China10" CRASH 410 Tambrn 2 PERCUSSION
359 China12" CRASH 411 Tambrn 3 PERCUSSION
360 China18" CRASH 412 CongaHMt PERCUSSION
147
Preset list
413 CongaHOp PERCUSSION 465 Sleibell PERCUSSION

414 CongaHSl PERCUSSION 466 TablaNa PERCUSSION
415 CongaMMt PERCUSSION 467 TablaTin PERCUSSION
416 CongaMOp PERCUSSION 468 TablaTun PERCUSSION
417 CongaMSl PERCUSSION 469 TablaTe PERCUSSION
418 CongaLMt PERCUSSION 470 TablaTi PERCUSSION
419 CongaLOp PERCUSSION 471 BayaGe PERCUSSION
420 CongaLSl PERCUSSION 472 BayaKa PERCUSSION
421 BongoHMt PERCUSSION 473 BayaGin PERCUSSION
422 BongoHOp PERCUSSION 474 BayaSl PERCUSSION
423 BongoHSl PERCUSSION 475 TlkinDrm PERCUSSION
424 BongoLMt PERCUSSION 476 BellTree PERCUSSION
425 BongoLOp PERCUSSION 477 BendGong PERCUSSION
426 BongoLSl PERCUSSION 478 TinyGong PERCUSSION
427 Timbal1H PERCUSSION 479 Gong PERCUSSION
428 Timbal1L PERCUSSION 480 TemplBel PERCUSSION
429 Timbal2H PERCUSSION 481 Taiko PERCUSSION
430 Timbal2L PERCUSSION 482 Caxixi PERCUSSION
431 VibraSlp PERCUSSION 483 Kalimba PERCUSSION
432 Maracas PERCUSSION 484 SteelDrm PERCUSSION
433 Shaker PERCUSSION 485 Glcknspl PERCUSSION
434 Claves PERCUSSION 486 Vibraphn PERCUSSION
435 CabasUp PERCUSSION 487 Marimba PERCUSSION
436 CabasDwn PERCUSSION 488 Xylophon PERCUSSION
437 PandroMt PERCUSSION 489 Tublrbel PERCUSSION
438 PandroOp PERCUSSION 490 Celesta PERCUSSION
439 PandroSl PERCUSSION 491 808Clap PERCUSSION
440 SurdoHMt PERCUSSION 492 808Cwbl1 PERCUSSION
441 SurdoHOp PERCUSSION 493 808Cwbl2 PERCUSSION
442 SurdoLMt PERCUSSION 494 808Marcs PERCUSSION
443 SurdoLOp PERCUSSION 495 808Clavs PERCUSSION
444 WhislLng PERCUSSION 496 808CongH PERCUSSION
445 WhislSht PERCUSSION 497 808CongM PERCUSSION
446 Agogo H PERCUSSION 498 808CongL PERCUSSION
447 Agogo L PERCUSSION 499 78 Cowbl PERCUSSION
448 GiroLng1 PERCUSSION 500 78 Guiro PERCUSSION
449 GuiroSht PERCUSSION 501 78 Marcs PERCUSSION
450 GiroLng2 PERCUSSION 502 78 MBeat PERCUSSION
451 CuicaMt1 PERCUSSION 503 78 Tmbrn PERCUSSION
452 CuicaOpn PERCUSSION 504 AirDrive OTHER
453 CuicaLow PERCUSSION 505 Burt OTHER
454 CuicaMt2 PERCUSSION 506 Biwa OTHER
455 ConcrtBD PERCUSSION 507 Boing1 OTHER
456 Timpani PERCUSSION 508 RvsBoin1 OTHER
457 TmpHndMt PERCUSSION 509 Boing2 OTHER
458 MuteTimp PERCUSSION 510 RvsBoin2 OTHER
459 Hand Cym PERCUSSION 511 Bounce OTHER
460 Castanet PERCUSSION 512 CarDoor OTHER
461 TringlOp PERCUSSION 513 CarHorn OTHER
462 TringlMt PERCUSSION 514 Glass OTHER
463 WdBlockH PERCUSSION 515 Hammer OTHER
464 WdBlockL PERCUSSION 516 Hi-Q OTHER
148
Preset list
517 MtlNoise OTHER 559 SawWave OTHER

518 MtlPhase OTHER 560 Click OTHER
519 Orch Hit OTHER 561 Bucket OTHER
520 OnKey OTHER 562 TrashCan OTHER
521 Punch OTHER 563 Hoo! OTHER
522 TapeStop OTHER 564 ElecBird OTHER
523 RvsTStop OTHER 565 Gun Shot OTHER
524 TechTamb OTHER 566 Mystery OTHER
525 TechNoiz OTHER 567 Monster OTHER
526 AfStmp OTHER 568 KnockDwn OTHER
527 Barrel OTHER 569 TimeTrip OTHER
528 ChinaDuo OTHER 570 RvsKick1 OTHER
529 Ou! OTHER 571 RvsKick2 OTHER
530 Ou! Up OTHER 572 RvsSnr 1 OTHER
531 Nope! OTHER 573 RvsSnr 2 OTHER
532 Snaps OTHER 574 RvsAnvil OTHER
533 Scrach 1 OTHER 575 RvsTom OTHER
534 Scrach 2 OTHER 576 RvsCrash OTHER
535 Scrach 3 OTHER 577 RvsChina OTHER
536 Scrach 4 OTHER 578 RvsBelTr OTHER
537 Scrach 5 OTHER 579 Rvs Hi-Q OTHER
538 Gt Slide OTHER 580 RvsMFaze OTHER
539 RvsGtSld OTHER 581 RvsAirDr OTHER
540 GtScrach OTHER 582 Count 1 OTHER
541 RvsGtScr OTHER 583 Count 2 OTHER
542 BsSlide OTHER 584 Count 3 OTHER
543 RvsBSlid OTHER 585 Count 4 OTHER
544 WahGtDw1 OTHER 586 Count 5 OTHER
545 WahGtUp1 OTHER 587 Count 6 OTHER
546 WahGtDw2 OTHER 588 Count 7 OTHER
547 WahGtUp2 OTHER 589 Count 8 OTHER
548 CutGtDwn OTHER 590 Count 9 OTHER
549 CutGtUp OTHER 591 Count 10 OTHER
550 Chord 1 OTHER 592 Count 11 OTHER
553 BrsFall1 OTHER 595 CountAnd OTHER
554 BrsFall2 OTHER 596 Count E OTHER
555 BrsFall3 OTHER 597 Count A OTHER
556 BrsFall4 OTHER 598 Count Ti OTHER
557 TB Bass OTHER 599 Count Ta OTHER
558 SlapBass OTHER 600 OFF OTHER
Appendices
*1 Can be played using a “sweep” or “swish” technique (p. 79).
*2 Responds to positional sensing (p. 36).
* An “X” at the end of an instrument name means that it is a “cross-faded” type of sound. With velocity, you can control two sounds.
* When selecting instruments indicated by the following mark “#,” a bit more time is needed before you will hear the sound, especially if you
are playing constantly while choosing them.
IMPORTANT: Please remember that there are limitations regarding instruments and their trigger assignments. Please see page 136.
149
Preset list
■ Note number (factory settings)

* For details refer to p. 126.
Percussion group Drum kit

Perc group 1 Perc group 2 Perc group 3 Perc group 4 Preset drum kit 1–50
Note no.
(General MIDI) (Other perc.) (Sound effects 1) (Sound effects 2) (Trigger input jack)
22 OFF OFF OFF OFF 7/HI-HAT Rim (Close)

23 Ou! 808Clavs TB Bass 78 Cowbl
WahGtDw1 808Cwbl1 BsSlide 78 Guiro
C1 24
25 WahGtUp1 808Clap RvsBSlid 78 Marcs
26 OFF OFF OFF OFF 7/HI-HAT Rim (Open)
27 Hi-Q ConcrtBD Gt Slide 78 MBeat
28 MtlNoise Roll S RvsGtSld 78 Tmbrn
WahGtDw2 Timpani GtScrach 808CongH
29
30 WahGtUp2 Timpani RvsGtScr 808CongM
31 OFF OFF OFF OFF 11/AUX1
32 OFF OFF OFF OFF 11/AUX1 Rim
33 OFF OFF OFF OFF 12/AUX2
34 OFF OFF OFF OFF 12/AUX2 Rim
35 OFF OFF OFF OFF 1/KICK Rim
OFF OFF OFF OFF 1/KICK
C2 36
37 CrsStk 5 CrsStk 4 808Crstk Click
38 OFF OFF OFF OFF 2/SNARE
39 OFF OFF OFF OFF 6/TOM4 Rim
40 OFF OFF OFF OFF 2/SNARE Rim
OFF OFF OFF OFF 6/TOM4
41
42 OFF OFF OFF OFF 7/HI-HAT (Close)
43 OFF OFF OFF OFF 5/TOM3
44 OFF OFF OFF OFF 7/HI-HAT (Pedal)
45 OFF OFF OFF OFF 4/TOM2
46 OFF OFF OFF OFF 7/HI-HAT (Open)
OFF OFF OFF OFF 3/TOM1
C3 48
49 OFF OFF OFF OFF 8/CRASH1
51 OFF OFF OFF OFF 10/RIDE
52 OFF OFF OFF OFF 9/CRASH2 Rim
OFF OFF OFF OFF 10/RIDE Rim
53
54 Tambrn 1 Tambrn 3 Tambrn 2 TechTamb
55 OFF OFF OFF OFF 8/CRASH1 Rim
56 Cowbell1 Cowbell2 808Cwbl2 CowblDuo
57 OFF OFF OFF OFF 9/CRASH2
59 Pop RdX BongoHMt AirDrive Bucket
C4 60 BongoHOp BongoHOp Burt TrashCan
61 BongoLOp BongoLOp Biwa Hoo!
62 CongaHMt CongaHOp Boing1 ElecBird
63 CongaHOp CongaMMt RvsBoin1 Gun Shot
64 CongaLOp CongaMOp Boing2 Mystery
Timbal1H CongaMSl RvsBoin2 Monster
65
66 Timbal1L CongaLMt Bounce KnockDwn
67 Agogo H CongaLOp CarDoor TimeTrip
68 Agogo L CongaLSl CarHorn RvsKick1
150
Preset list
Percussion group Drum kit

Perc group 1 Perc group 2 Perc group 3 Perc group 4 Preset drum kit 1–50
Note no.
(General MIDI) (Other perc.) (Sound effects 1) (Sound effects 2) (Trigger input jack)
69 CabasUp CabasUp Glass RvsSnr 2

70 Maracas CabasDwn Hammer RvsAnvil
71 WhislSht Castanet MtlNoise RvsChina
WhislLng VibraSlp MtlPhase RvsBelTr
C5 72
73 GuiroSht GuiroSht Orch Hit Rvs Hi-Q
74 GiroLng1 GiroLng1 OnKey RvsMFaze
75 Claves GiroLng2 Punch RvsAirDr
76 WdBlockH CuicaLow TapeStop Count 1
WdBlockL CuicaOpn RvsTStop Count 2
77
78 CuicaMt1 CuicaMt1 TechTamb Count 3
79 CuicaOpn CuicaMt2 TechNoiz Count 4
80 TringlMt TablaNa Barrel Count 5
81 TringlOp TablaTin Ou! Count 6
82 Shaker TablaTun Ou! Up Count 7
83 Sleibell TablaTe Nope! Count 8
BellTree BayaGe BrsFall1 Count 9
C6 84
85 Castanet BayaKa BrsFall4 Count 10
86 SurdoLMt BayaGin Chord 1 Count 11
87 SurdoLOp BayaSl Chord 2 Count 12
88 CongaHSl Kalimba SlapBass Count 13
BayaKa Marimba TB Bass CountAnd
89
90 BayaGe BendGong RvsKick2 Count E
91 PandroMt TinyGong RvsSnr 1 Count A
92 PandroOp Gong RvsTom Count Ti
93 PandroSl TemplBel RvsCrash Count Ta
* For preset drum kit instruments, note numbers are assigned to each trigger input jack.
* If the same note number is assigned to both a pad and instrument in a percussion group, the pad has “priority” and you will only hear the
sound assigned to that pad.
Appendices
151
Preset list
■ Backing inst list

No. Display Inst name No. Display Inst name
1 Ac.Piano Ac. Piano 28 Wah Gt Wah Guitar

2 E.Piano E.Piano 29 Aco.Bass Acoustic Bass
3 FM+SA EP FM+SA EP 30 El.Ac.Bs Electric Acoustic Bass
4 60's EP 60's EP 31 FingerBs Fingered Bass
5 St.FM EP St.FM EP 32 FunkBass Funk Bass
6 Br.FM EP Bright FM EP 33 PickBass Pick Bass
7 Clav. Clav. 34 MutPikBs Muted Pick Bass
8 Celesta Celesta 35 FrtlesBs Fretless Bass
9 Glcknspl Glockenspiel 36 SlapBass Slap Bass
10 Vibraphn Vibraphone 37 Saw Bass Saw Bass
11 Marimba Marimba 38 TB303 Bs TB303 Bass
12 Xylophon Xylophone 39 SH101 Bs SH101 Bass
13 Tublrbel Tubular-bells 40 Syn.Str. Synth Strings
14 Organ 1 Organ 1 (Even Bar) 41 OB Str. OB Strings
15 Organ 2 Organ 2 42 Brass 1 Brass 1
16 Nylon Gt Nylon Guitar 43 Brass 2 Brass 2
17 Steel Gt Steel Guitar 44 Syn. Brs Synth Brass
18 Jazz Gt Jazz Guitar 45 Poly Brs Poly Brass
19 Clean Gt Clean Guitar 46 TenorSax Tenor Sax
20 ChorusGt Chorus Guitar 47 Flute Flute
21 Muted Gt Muted Guitar 48 Saw Wave Saw Wave
22 Pop Gt Pop Guitar 49 Calliope Synth Calliope
23 Funk Gt Funk Guitar 50 Fantasia Fantasia
24 OvrdrvGt Overdrive Guitar 51 ThickPad Thick Pad
25 Heavy Gt Heavy Guitar 52 80'sPoly 80's Poly Synth
26 MutDstGt Muted Distortion Guitar 53 Kalimba Kalimba
27 RokRhytm Rock Rhythm 54 SteelDrm Steel Drums
152
Preset list
■ Preset pattern list

No. Pattern name Tempo Length Play type No. Pattern name Tempo Length Play type
1 Drums 120 6 Loop 26 HipHop 91 4 Loop

2 SlowR 72 4 Loop 27 Techno 140 4 Loop
3 Sfl'R 120 4 Loop 28 Jungle 170 4 Loop
4 FunkyHR 100 2 Loop 29 Latin 125 8 Loop
5 SpeedHR 236 4 Loop 30 Bossa 74 8 Loop
6 8bt'R 140 4 Loop 31 Songo 109 4 Loop
7 16bt'R 112 4 Loop 32 Samba 110 2 Loop
8 16bt'Bld 75 4 Loop 33 Salsa 108 4 Loop
9 C'Rock 106 12 Loop 34 Reggae 132 8 Loop
10 Blues 55 8 Loop 35 Ska 132 4 Loop
11 Swing 130 12 Loop 36 PercLoop 120 8 Loop
12 BigBand 140 4 Loop 37 JzIntro 140 3 One Shot
13 JzWaltz 160 4 Loop 38 JzFnkBrk 125 2 One Shot
14 UKacid 86 4 Loop 39 RockBrk 120 1 One Shot
15 GngRap 90 4 Loop 40 FunkyBrk 105 1 One Shot
16 T Groove 100 4 Loop 41 PercFill 120 1 One Shot
17 Funky 105 4 Loop 42 DrumFill 240 2 One Shot
18 JazzFunk 125 4 Loop 43 Kickin16 128 1 One Shot
19 S.Soul 154 4 Loop 44 BrsSect 140 2 Tap
20 PopShfl 114 8 Loop 45 FunkHit 112 1 Tap
21 Fusion 120 12 Loop 46 PianoRun 120 1 Tap
22 TechFsn 106 4 Loop 47 Chord 120 2 Tap
23 Fsn in 5 140 3 Loop 48 BassLine 120 1 Tap
24 N.J.S. 107 4 Loop 49 PercTap 120 8 Tap
25 House 113 4 Loop 50 SfxTap 60 2 Tap
Appendices
153
MIDI Implimentation May. 1 1997
Model TD-10 Version 1.00
❍ Data Entry MSB (Controller number 6)

Section 1. Receive data Status 2nd byte 3rd byte
BnH 06H mmH
■ Channel Voice Messages
n = MIDI channel number: 0H - FH (ch.1 - ch.16)
* Following Channel Voice Messages can be recorded in SETUP MIDI TX/RX Channel. mm = Control value: 00H - 18H (0 - 24semitone) Initial value = 02H (2 semitone)
● Note Off * If RPN was previously specified as 00H 00H (Pitch Bend Sensitivity), you can specify
Status 2nd byte 3rd byte the pitch bend sensitivity. This can be specified in semitone steps up to a maximum of 2
8nH kkH vvH octaves. (Refer to the RPN item.)
9nH kkH 00H * In the Drum part, ignored This message.
* Not recorded in the sequencer.
kk = note number: 00H - 7FH (0 - 127) ❍ Volume (Controller number 7)
vv = note off velocity: 00H - 7FH (0 - 127) Status 2nd byte 3rd byte
BnH 07H vvH
* In the Drum part, ignored This message.
* The Velocity Values of Note Off message are ignored. n = MIDI channel number: 0H - FH (ch.1 - ch.16)
* When recording, this is recorded in the sequencer data itself. vv = Volume: 00H - 7FH (0 - 127)
* Volume messages are used to adjust the volume balance of each track.
● Note On
Status 2nd byte 3rd byte
9nH kkH vvH
❍ Pan (Controller number 10)
n = MIDI channel number: 0H - FH (ch.1 - ch.16) Status 2nd byte 3rd byte
kk = note number: 00H - 7FH (0 - 127) BnH 0AH vvH
vv = note on velocity: 00H - 7FH (0 - 127)
* A channel which is assigned to the drum part will receive only the note numbers which vv = pan: 00H - 40H - 7FH (Left - Center - Right)
are specified by the drum kit or the percussion group.
* When recording, this is recorded in the sequencer data itself. * In the Drum part, ignored This message.
● Polyphonic Key Pressure

❍ General purpose controller 1 (Controller number 16)
AnH kkH vvH
BnH 10H vvH

kk = note number: 00H - 7FH (0 - 127)
vv = Control value: 00H - 7FH (0 - 127) Initial value = 00H (0)
vv = Value: 00H - 7FH (0 - 127) Initial value = 00H (0)
* Only the channel assigned to the drum part can be received.

* A channel which is assigned to the drum part will receive only the note numbers which
* If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to General Purpose
are specified by the drum kit.
Controller 1, the effect will apply to the specified parameter.
* If the value is greater than 40H (64), the decay of the note sounded by the received note
* During recording, this will be recorded in the sequencer data as Pedal Ctrl Chg data or
number will be shortened.
Zone Ctrl Chg data.

● Control Change Status 2nd byte 3rd byte
BnH 10H vvH
❍ Modulation (Controller number 1)
Status 2nd byte 3rd byte n = MIDI channel number: 0H - FH (ch.1 - ch.16)
BnH 01H vvH vv = Control value: 00H - 7FH (0 - 127) Initial value = 00H (0)
n = MIDI channel number: 0H - FH (ch.1 - ch.16) * Only the channel assigned to the drum part can be received.
vv = Modulation depth: 00H - 7FH (0 - 127) Initial value = 00H (0) * If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to General Purpose
Controller 2, the effect will apply to the specified parameter.
* Only the channel assigned to the drum part can be received. * During recording, this will be recorded in the sequencer data as Pedal Ctrl Chg data or
* If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to MODULATION, the Zone Ctrl Chg data.
effect will apply to the specified parameter.
* During recording, this will be recorded in the sequencer data as Pedal Ctrl Chg data or
❍ Hold 1 (Controller number 64)
Zone Ctrl Chg data.
BnH 40H vvH
❍ Foot Control (Controller number 4)
Status 2nd byte 3rd byte n = MIDI channel number: 0H - FH (ch.1 - ch.16)
BnH 04H vvH vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF, 64-127 = ON
n = MIDI channel number: 0H - FH (ch.1 - ch.16) * In the Drum part, ignored This message.
vv = Control value: 00H - 7FH (0 - 127) Initial value = 00H (0) * When recording, this is recorded in the sequencer data itself.
* Only the channel assigned to the drum part can be received.

* The effect will be obtained when SETUP MIDI CTRL Pedal CC is set to FOOT CON-
TROL.
* When recording, this will be recorded as Pedal Ctrl Chg data in the sequencer data
itself.
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MIDI implementation
❍ RPN MSB/LSB (Controller number 100, 101) Controller Reset value

Status 2nd byte 3rd byte Pitch Bend Change +/-0 (center)
BnH 65H mmH Modulation 0 (off)(When set to Ctr Chg.)
BnH 64H llH Foot Control 0 (off)(When set to Ctr Chg.)
General Purpose Controller 1 0 (off)(When set to Ctr Chg.)
n = MIDI channel number: 0H - FH (ch.1 - ch.16) General Purpose Controller 2 0 (off)(When set to Ctr Chg.)
mm = upper byte of parameter number specified by RPN Hold 1 0 (off)
ll = lower byte of parameter number specified by RPN RPN unset; previously set data will not change
* In the Drum part, ignored This message. ● All Notes Off (Controller number 123)
* The value specified by RPN will not be reset even by messages such as Program Change Status 2nd byte 3rd byte
or Reset All Controller. BnH 7BH 00H
RPN Data entry
MSB LSB MSB LSB Explanation * When All Notes Off is received, all notes on the corresponding channel will be turned
00H 00H mmH —- Pitch Bend Sensitivity off. However if Hold 1 is ON, the sound will be continued until these are turned off.
mm: 00H - 18H (0 - 24 semitones) * In the recording mode, “Note OFF message” will be created for corresponding Note
Initial Value = 02H (2 semitones) ON message, and will be recorded.
ll: ignored (processed as 00H)
specify up to 2 octaves in semitone steps
7FH 7FH —- —- RPN null
● OMNI OFF (Controller number 124)
set condition where RPN and NRPN are unspecified. The data
BnH 7CH 00H
entry messages after set RPN null will be ignored.
(No Data entry messages are required after RPN null).
Settings already made will not change.
mm,ll: ignored
* The same processing will be carried out as when All Notes Off is received.
● Program Change
Status 2nd byte
● l OMNI ON (Controller number 125)
CnH ppH
BnH 7DH 00H
1. Drum Part
pp = Program number: 00H - 7FH (prog.1 - prog.128)
* OMNI ON is only recognized as “All notes off”.
2. Part 1, Part 2, Bass Part

● MONO (Controller number 126)
pp = Program number: 00H - 35H (prog.1 - prog.54)
BnH 7EH mmH
* The sound will change beginning with the next note-on after the program change is
received. Voices which were already sounding before the program change was received
mm = mono number: 00H - 10H (0 - 16)
will not be affected.
* The same processing will be carried out as when All Sound Off or All Notes Off is
received.
● Pitch Bend Change
EnH llH mmH
● POLY (Controller number 127)
BnH 7FH 00H
mm,ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
Initial value = 40H 00H (Center)
* The same processing will be carried out as when All Sound Off or All Notes Off is
* When recording, this is recorded in the sequencer data itself.
received.
■ Channel Mode Messages

■ System Common Messages
● All Sounds Off (Controller number 120)
● Song Select
BnH 78H 00H
Status 2nd byte
F3H ppH
Appendices
pp = Pattern Number: 00H-63H (PATTERN01-PATTERN100)

* When this message is received, all currently-sounding notes on the corresponding chan-
nel will be silenced. However, the status of channel messages will not change.
* Reception does not take place when the Sync Mode for PATTERN GLOBAL is set to
* When recording, this is recorded in the sequencer data itself.
Internal or MIDI ➝ Delay.
* This is recognized only in Pattern Play when playback is stopped.
● Reset All Controllers (Controller number 121) * Not recorded in the sequencer.
BnH 79H 00H
* When this message is received, the following controllers will be set to their reset val-
ues.When recording, a control message carrying the reset value will be created and
recorded.
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MIDI implementation
■ System Realtime Message ● Data transmission

TD-10 can transmit and receive the various parameters using System Exclusive messages.
* Following System Realtime Messages cannot be recorded in recording mode. The exclusive message of TD-10’s data has a model ID of 00H 0AH and a device ID of 10H
(17). Device ID can be changed in TD-10.
● Timing Clock
Status ❍ Request data 1 RQ1 (11H)
F8H This message requests the other device to send data. The Address and Size determine the
type and amount of data to be sent.
* Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT” When a Data Request message is received, if the device is ready to transmit data and if the
or “MIDI ➝ DELAY”. address and size are appropriate, the requested data will be transmitted as a “Data Set 1
(DT1)” message. If not, nothing will be transmitted.
● Start Status Data byte Status

Status
F0H 41H, dev, 00H, 0AH, 11H, aaH, bbH, ccH, ddH, F7H
FAH
ssH, ttH, uuH, vvH, sum
* Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT”
Byte Explanation
or REMOTE.
F0H Exclusive status
41H ID number (Roland)
● Continue dev Device ID (dev: 00H - 1FH Initial value is 10H (17))
Status 00H 0AH Model ID (TD-10)
FBH 11H Command ID (RQ1)
aaH Address MSB: upper byte of the starting address of the requested data
* Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT” bbH Address 2nd : 2nd byte of the starting address of the requested data
or REMOTE. ccH Address 3rd : 3rd byte of the starting address of the requested data
ddH Address LSB: lower byte of the starting address of the requested data
● Stop ssH Size MSB
Status ttH Size 2nd
FCH uuH Size 3rd
uuH Size LSB
* Recognized only when the “Sync Mode” of the Pattern Global is set at “AUTO”, “EXT” sum Checksum
or REMOTE. F7H EOX (End Of Exclusive)
* The amount of data that can be transmitted at once time will depend on the type of
● Active Sensing data, and data must be requested using a specific starting address and size. Refer to the
Status
Address and Size listed in Parameter Dump Request (Page 158).
FEH
* Regarding the checksum please refer to Page 163.
* When Active Sensing is received, the unit will begin monitoring the intervals of all fur-
❍ Data set 1 DT1 (12H)
ther messages. While monitoring, if the interval between messages exceeds about 420
This is the message that actually performs data transmission, and is used when you wish to
ms, the same processing will be carried out as when All Sounds Off, All Notes Off and
transmit the data.
Reset All Controllers are received, and message interval monitoring will be halted.
Status Data byte Status

■ System Exclusive Message eeh,... ffH, sum
* Following System Exclusive Messages cannot be recorded. Byte Explanation

Status Data byte Status 41H ID number (Roland)
F0H iiH, ddH, ......,eeH F7H dev Device ID (dev: 00H - 1FH Initial value is 10H))
00H 0AH Model ID (TD-10)
F0H: System Exclusive Message status 12H Command ID (DT1)
ii = ID number: an ID number (manufacturer ID) to indicate the manufacturer whose aaH Address MSB: upper byte of the starting address of the transmitted data
Exclusive message this is. Roland’s manufacturer ID is 41H. bbH Address 2nd : 2nd byte of the starting address of the transmitted data
ID numbers 7EH and 7FH are extensions of the MIDI standard; ccH Address 3rd: 3rd byte of the starting address of the transmitted data
Universal Non-realtime Messages (7EH) and Universal Realtime ddH Address LSB: lower byte of the starting address of the transmitted data
Messages (7FH). eeH Data: the actual data to be transmitted. Multiple bytes of data are transmitted
dd,...,ee = data: 00H - 7FH (0 - 127) starting from the address.
F7H: EOX (End Of Exclusive) : :
ffH Data
The System Exclusive Messages received by the TD-10 are; Universal Non-realtime System sum Checksum
Exclusive Messages, Data Requests (RQ1), and Data Set (DT1). F7H EOX (End Of Exclusive)
● Universal Non-realtime System Exclusive Messages * The amount of data that can be transmitted at once time will depend on the type of
data, and data must be requested using a specific starting address and size. Refer to the
Address and Size listed in Parameter Dump Request (Page 158).
❍ Inquiry request
* If “Data Set 1” is transmitted successively, there must be an interval of at least 45 ms.
F0H 7EH, dev, 06H, 01H F7H
Byte Explanation
7EH ID number (universal non-realtime message)
dev Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
06H,01H Inquiry request
F7H EOX (End Of Exclusive)
* Even if the Device ID is 7FH (Broadcast), Inquiry Reply message will be transmitted.
* When Inquiry Request is received, Inquiry Reply message will be transmitted.
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MIDI implementation
❍ Volume (Controller number 7)

Section 2. Transmit data Status 2nd byte 3rd byte
BnH 07H vvH
■ Channel Voice Messages
* The following channel voice messages are transmitted on the channel specified as the vv = Volume: 00H - 7FH (0 - 127)
SETUP MIDI TX/RX Channel.
* When a pattern is selected, the Part Level of the sequencer pattern data will be transmit-
● Note off ted.
8nH kkH vvH ❍ Pan (Controller number 10)
n = MIDI channel number: 0H - FH (ch.1 - ch.16) BnH 0AH vvH
vv = Note off velocity: 40H (64) fixed n = MIDI channel number: 0H - FH (ch.1 - ch.16)
vv = pan: 00H - 40H - 7FH (Left - Center - Right)
● Note on
* When a pattern is selected, the Pan of the sequencer pattern data will be transmitted.
9nH kkH vvH
n = MIDI channel number: 0H - FH (ch.1 - ch.16) Status 2nd byte 3rd byte
kk = note number: 00H - 7FH (0 - 127) BnH 10H vvH
vv = note on velocity: 01H - 7FH (1 - 127)
* On the channel assigned to the drum part, the note numbers specified by the drum kit vv = Control value: 00H - 7FH (0 - 127) Initial value = 00H (0)
or the percussion group will be transmitted.
* This is transmitted only on the channel which is assigned to the drum part.
* This will be transmitted if the SETUP MIDI CTRL settings Pedal CC or Zone CC are set
● Polyphonic key pressure to General Purpose Controller 1.
AnH kkH vvH
BnH 11H vvH
vv = value: 00H, 7FH (0, 127) Initial value = 00H (0)
* On the channel assigned to the drum part, 7FH will be transmitted when the rim of the
pad is pressed and 00H when the rim is released, for the note number specified for the
pad and rim.
* This will be transmitted if the SETUP MIDI CTRL settings Pedal CC or Zone CC are set
to General Purpose Controller 2.
● Control Change
❍ Hold 1 (Controller number 64)
❍ Modulation (Controller number 1) Status 2nd byte 3rd byte
Status 2nd byte 3rd byte BnH 40H vvH
BnH 01H vvH
n = MIDI channel number: 0H - FH (ch.1 - ch.16) vv = Control value: 00H - 7FH (0 - 127) 0-63 = OFF 64-127 = ON
vv = Modulation depth: 00H - 7FH (0 - 127) Initial value = 00H (0)
* Transmitted only when the TD-10 is in play for Pattern in which Hold 1 is recorded.
* If the SETUP MIDI CTRL settings Pedal CC or Zone CC are set to MODULATION, the
❍ RPN MSB/LSB (Controller number 100,101)
specified parameter will be transmitted.
BnH 65H mmH
❍ Foot control (Controller number 4) BnH 64H llH
BnH 04H vvH n = MIDI channel number: 0H - FH (ch.1 - ch.16)
mm = upper byte of parameter number specified by RPN
n = MIDI channel number: 0H - FH (ch.1 - ch.16) ll = lower byte of parameter number specified by RPN
* When a pattern is selected, the sequencer’s pitch bend sensitivity value will be transmit-
* This is transmitted only on the channel which is assigned to the drum part. ted.
* This will be transmitted if the SETUP MIDI CTRL setting Pedal CC is set to FOOT CON-
TROL. RPN Data entry
MSB LSB MSB LSB Explanation
❍ Data entry MSB 00H 00H mmH —- Pitch Bend Sensitivity
Appendices
Status 2nd byte 3rd byte mm: 00H - 18H (0 - 24 semitones)

BnH 06H vvH Initial Value = 02H (2 semitones)
ll: ignored (processed as 00H)
n = MIDI channel number: 0H - FH (ch.1 - ch.16) specify up to 2 octaves in semitone steps
vv = Control value: 00H - 7FH (0 - 127) 7FH 7FH —- — RPN null
set condition where RPN and NRPN are unspecified. The data
* When a pattern is selected, the sequencer’s pitch bend sensitivity value will be transmit- entry messages after set RPN null will be ignored.
ted. (No Data entry messages are required after RPN null).
Settings already made will not change.
mm,ll: ignored
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MIDI implementation
● Program Change Byte Explanation

Status 2nd byte F0H Exclusive status
CnH ppH 7EH ID number (universal non-realtime message)
dev Device ID (dev: 00H - 1FH (1 - 32) Initial value is 10H (17))
n = MIDI channel number: 0H - FH (ch.1 - ch.16) 06H 02H Inquiry reply
pp = Program number: 00H - 7FH (prog.1 - prog.128) 41H ID number(Roland)
0AH 01H Device family code
* When a drum kit is selected, or when a pattern is selected, the pattern number of the 00H 00H Device family number code
sequencer pattern data will be transmitted. 00H 02H 00H 00H software revision level
● Pitch Bend Change * When Inquiry Request (P. 156)is received, Inquiry Reply message will be transmitted.
EnH llH mmH
❍ Data set 1 DT1 (12H)
mm,ll = Pitch Bend value: 00 00H - 40 00H - 7F 7FH (-8192 - 0 - +8191)
eeH,... ffH, sum
* Transmitted only when the TD-10 is in play for Pattern in which Pitch Bend Change is
Byte Explanation
recorded.
41H ID number (Roland)
■ System Common Messages dev Device ID (dev: 00H - 1FH Initial value is 10H)
00H 0AH Model ID (TD-10)
12H Command ID (DT1)
● Song Position Pointer aaH Address MSB: upper byte of the starting address of the data to be sent
Status 2nd byte 3rd byte bbH Address 2nd: 2nd byte of the starting address of the data to be sent
F2H llH mmH ccH Address 3rd: 3rd byte of the starting address of the data to be sent.
ddH Address LSB: lower byte of the starting address of the data to be sent.
mm,ll = Song Position: F00 00H - 7F 7FH(0 - 16383) eeH Data: the actual data to be sent. Multiple bytes of data are transmitted in
order starting from the address.
● Song Select : :
Status 2nd byte ffH Data
F3H ppH sum Checksum
pp = Pattern number: 00H-63H (PATTERN1-PATTERN100)
* The amount of data that can be transmitted at once time will depend on the type of
* When a pattern is selected, the song select number will be transmitted. data, and data must be requested using a specific starting address and size. Refer to the
Address and Size listed in 3.Parameter address map (Page 159).
* Data larger than 128 bytes must be divided into packets of 128 bytes or less. If “Data Set
■ System Realtime Message 1” is transmitted successively, there must be an interval of at least 40 ms between pack-
ets.
● Timing Clock
Status
F8H
■ Bulk Dump
● Start
Status Bulk Dump allows you to transmit a large amount of data at once, and is convenient for
FAH storing settings for the entire unit on a computer or sequencer.
For Bulk Dump Request, you must use the Address and Size listed in the following “Bulk
Dump Request.”
● Continue
Status
FBH ● Bulk Dump Request
Address(H) Size(H)
● Stop 10 00 00 00 00 00 00 00 (ALL Patterns: dump request for all user pattern (51-100))
Status
40 00 00 00 01 00 00 00 (SETUP: )
FCH
41 nn 00 00 00 01 00 00 (DRUM KIT:)
44 pp 16 00 00 00 48 00 (PERCUSSION GROUP:)
● Active sensing
Status mm = 01-32H (Pattern No.51-100)
FEH nn = 00-31H (Drum Kit No.1-50)
pp = 00-03H (Perc Group No.1-4)
* This will be transmitted constantly at intervals of approximately 250ms.
* Request for ALL PATTERNS and SET UP are correspond to “Bulk Dump” parameter (
[SETUP]-[F2(MIDI)]-[F4(BULK)]).
■ System exclusive messages * Data of preset pattern (No.1-50) cannot be transmitted.
Inquiry reply and Data Set 1 (DT1) are the only System Exclusive messages transmitted by
TD-10.
When an appropriate “Inquiry Request” or “Data Request 1 (RQ1)” message is received,
the requested internal data will be transmitted.
● Universal Non-realtime System Exclusive Messages
❍ Inquiry reply
F0H 7EH, dev, 06H, 02H,41H,0AH,01H,00H,00H,00H, F7H
06H,00H,00H
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MIDI implementation
3. Parameter address map |

|
08 | 000a aaaa | STICK | Mask Time
| | |
0 - 16 |
(0ms - 64ms, 4ms step) |
| 09 | 0000 0aaa | STICK | Crosstalk 0 - 6 |
(Model ID = 00H 0AH) | | | | (OFF,30,40,50,60,70,80) |
This map indicates address, size, Data (range), Parameter, and Description of parameters |—————————————+———————————+———————+—————————————————————————————————————|
| 0A | 0000 aaaa | BRUSH | Sensitivity 0 - 15 |
which can be transferred using “Data set 1 (DT1)”. | | | | (1 - 16) |
All the numbers of address, size, Data, and Default Value are indicated in 7-bit | 0B | 0000 aaaa | BRUSH | Threshold 0 - 15 |
| 0C | 0000 0aaa | BRUSH | Sens Curve 0 - 7 |
Hexadecimal-form. | | | | (Linear,EXP1,EXP2,LOG1,LOG2,Spline, |
| | | | Loud1,Loud2) |
|—————————————+———————————+———————+—————————————————————————————————————|
Addresses marked at “#” cannot be used as starting addresses. | 0D | 00aa aaaa | BRUSH | Scan Time 0 - 40 |
| | | | (0.0ms - 4.0ms, 0.1ms step) |
| 0E | 0000 aaaa | BRUSH | Retrigger Cancel 0 - 15 |
| | | | (1 - 16) |
■ Parameter Address Block |
|
0F | 000a aaaa | BRUSH | Mask Time
| | |
0 - 16 |
(0ms - 64ms, 4ms step) |
| 10 | 0000 0aaa | BRUSH | Crosstalk 0 - 6 |
| | | | (OFF,30,40,50,60,70,80) |
TD-10 (Model ID = 00H 0AH) |—————————————+—————————————————————————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+ | Total size | 00 00 00 11 |
| Start | | +———————————————————————————————————————————————————————————————————————+
| address | Description |
|—————————————+—————————————————————————————————————————————————————————|
| 00 00 00 00 | SETUP (Individual) *1-1|
|—————————————+—————————————————————————————————————————————————————————|
* 1-1-2 DRUM KIT CHAIN (Name)
+-----------------------------------------------------------------------+
| 01 00 00 00 | DRUM KIT 1 (Individual) *1-2| | Offset | |
| : | | | address | Description |
| 01 31 00 00 | DRUM KIT 50 (Individual) *1-2| |-------------+---------------------------------------------------------|
|—————————————+—————————————————————————————————————————————————————————| | 00 | 0aaa aaaa | Drum Kit CHAIN Name 32 - 127 |
| 04 00 00 00 | PERCUSSION GROUP 1 (Individual) *1-3| |# 01 | 0aaa aaaa | Drum Kit CHAIN Name 32 - 127 |
| : | | | : | : | |
| 04 03 00 00 | PERCUSSION GROUP 4 (Individual) *1-3| |# 07 | 0aaa aaaa | Drum Kit CHAIN Name 32 - 127 |
|—————————————+—————————————————————————————————————————————————————————| |-------------+---------------------------------------------------------|
| 10 00 00 00 | PATTERN (Bulk) *1-4| | Total size | 00 00 00 08 |
|—————————————+—————————————————————————————————————————————————————————| +-----------------------------------------------------------------------+
| 40 00 00 00 | SETUP (Bulk) *1-1|
|—————————————+—————————————————————————————————————————————————————————|
| 41 00 00 00 | DRUM KIT 1 (Bulk) *1-2|
| : | | * 1-1-3 DRUM KIT CHAIN (Step)
| 41 31 00 00 | DRUM KIT 50 (Bulk) *1-2| +-----------------------------------------------------------------------+
|—————————————+—————————————————————————————————————————————————————————| | Offset | |
| 44 00 00 00 | PERCUSSION GROUP 1 (Bulk) *1-3| | address | Description |
| : | | |-------------+---------------------------------------------------------|
| 44 03 00 00 | PERCUSSION GROUP 4 (Bulk) *1-3| | 00 | 0aaa aaaa | Drum Kit Number (Step1) 0 - 50 |
+———————————————————————————————————————————————————————————————————————+ | | | (1-50, END) |
|# 01 | 0aaa aaaa | Drum Kit Number (Step2) 0 - 50 |
| | | (1-50, END) |
| : | : | |
* 1-1 SETUP |# 1F | 0aaa aaaa | Drum Kit Number (Step32) 0 - 50 |
+———————————————————————————————————————————————————————————————————————+ | | | (1-50, END) |
| Offset | | |-------------+---------------------------------------------------------|
| address | Description | | Total size | 00 00 00 20 |
|—————————————+—————————————————————————————————————————————————————————| +-----------------------------------------------------------------------+
| 00 00 00 | TRIGGER BANK 1 *1-1-1|
| : | |
| 00 30 00 | TRIGGER BANK 4 *1-1-1|
|—————————————+—————————————————————————————————————————————————————————| * 1-1-4 MIDI
| 01 00 00 | DRUM KIT CHAIN 1 (Name) *1-1-2| +———————————————————————————————————————————————————————————————————————+
| : | : | | Offset | |
| 01 0F 00 | DRUM KIT CHAIN 16 (Name) *1-1-2| | address | Description |
|—————————————+—————————————————————————————————————————————————————————| |—————————————+—————————————————————————————————————————————————————————|
| 02 00 00 | DRUM KIT CHAIN 1 (Step) *1-1-3| | 00 00 | 000a aaaa | MIDI Channel (DRUM) 0 - 16 |
| : | : | | | | (1 - 16,OFF) |
| 02 0F 00 | DRUM KIT CHAIN 16 (Step) *1-1-3| | 00 01 | 000a aaaa | MIDI Channel (PART1) 0 - 16 |
|—————————————+—————————————————————————————————————————————————————————| | | | (1 - 16,OFF) |
| 03 00 00 | MIDI *1-1-4| | 00 02 | 000a aaaa | MIDI Channel (PART2) 0 - 16 |
|—————————————+—————————————————————————————————————————————————————————| | | | (1 - 16,OFF) |
| 04 00 00 | PROGRAM CHANGE MAP *1-1-5| | 00 03 | 000a aaaa | MIDI Channel (BASS) 0 - 16 |
|—————————————+—————————————————————————————————————————————————————————| | | | (1 - 16,OFF) |
| 05 00 00 | CONTROL *1-1-6| |—————————————+———————————+—————————————————————————————————————————————|
|—————————————+—————————————————————————————————————————————————————————| | 00 04 | 0000 00aa | Zone CC (2/SNARE) 0 - 3 |
| 06 00 00 | MASTER EQ *1-1-7| | | | (OFF,Modulation(1),General1(16), |
|—————————————+—————————————————————————————————————————————————————————| | | | GENERAL2(17)) |
| 07 00 00 | MASTER TUNE *1-1-8| | 00 05 | 0000 00aa | Zone CC (10/RIDE) 0 - 3 |
+———————————————————————————————————————————————————————————————————————+ | | | (OFF,Modulation(1),General1(16), |
| | | General2(17)) |
| 00 06 | 0000 0aaa | Pedal CC 0 - 4 |
| | | (OFF,Modulation(1),Foot Ctrl(4), |
* 1-1-1 TRIGGER BANK | | | General1(16),General2(17)) |
+———————————————————————————————————————————————————————————————————————+ |—————————————+———————————+—————————————————————————————————————————————|
| Offset | | | 00 07 | 0000 000a | Program Change Rx SW 0 - 1 |
| address | Description | | | | (OFF,ON) |
|—————————————+—————————————————————————————————————————————————————————| | 00 08 | 0000 000a | Program Change Tx SW 0 - 1 |
| 00 00 | Pad parameters (1/KICK) *1-1-1-1| | | | (OFF,ON) |
| : | : | |—————————————+———————————+—————————————————————————————————————————————|
| 0B 00 | Pad parameters (12/AUX2) *1-1-1-1| | 00 09 | 0000 000a | Local Control 0 - 1 |
+———————————————————————————————————————————————————————————————————————+ | | | (OFF,ON) |
| 00 0A | 0000 000a | Soft Through 0 - 1 |
| | | (OFF,ON) |
* 1-1-1-1 TRIGGER BANK (Pad parameters) | 00 0B | 0000 000a | Note Chase 0 - 1 |
+———————————————————————————————————————————————————————————————————————+ | | | (OFF,ON) |
| Offset | | | 00 0C | 0000 00aa | Pedal Data Thin 0 - 2 |
| address | Description | | | | (OFF,1,2) |
|—————————————+—————————————————————————————————————————————————————————| |—————————————+—————————————————————————————————————————————————————————|
| 00 | 0000 aaaa | Trigger Type 0 - 15 | | Total size | 00 00 00 0D |
| | | (PD5,PD7,PD9,10A,10B,12A,12B,P 1,P 2, | +———————————————————————————————————————————————————————————————————————+
Appendices
| | | KD7,K 1,K 2,KIK,SNR,TOM,FLR) |

|—————————————+———————————+—————————————————————————————————————————————|
|
|
01 | 0000 0aaa | Head Tension Adjustment
| |
0 - 1 |
(Loose,Normal,Tight) |
* 1-1-5 PROGRAM CHANGE MAP
+———————————————————————————————————————————————————————————————————————+
| | | (2/SNARE only) | | Offset | |
|—————————————+———————————+—————————————————————————————————————————————| | address | Description |
| 02 | 000a aaaa | Rim Sensitivity 0 - 15 | |—————————————+—————————————————————————————————————————————————————————|
| | | (OFF, 1 - 15) | | 00 00 | 0aaa aaaa | Program Change (DRUM KIT 1) 0 - 127 |
| | | (2/SNARE only) | | | | (1 - 128) |
|—————————————+———————————+—————————————————————————————————————————————| | : | | |
| 03 | 0000 aaaa | STICK | Sensitivity 0 - 15 | | 00 31 | 0aaa aaaa | Program Change (DRUM KIT 50) 0 - 127 |
| | | | (1 - 16) | | | | (1 - 128) |
| 04 | 0000 aaaa | STICK | Threshold 0 - 15 | |—————————————+———————————+—————————————————————————————————————————————|
| 05 | 0000 0aaa | STICK | Sens Curve 0 - 7 | | Total size | 00 00 00 32 |
| | | | (Linear,EXP1,EXP2,LOG1,LOG2,Spline, | +———————————————————————————————————————————————————————————————————————+
| | | | Loud1,Loud2) |
|—————————————+———————————+———————+—————————————————————————————————————|
| 06 | 00aa aaaa | STICK | Scan Time 0 - 40 |
| | | | (0.0ms - 4.0ms, 0.1ms step) |
| 07 | 0000 aaaa | STICK | Retrigger Cancel 0 - 15 |
| | | | (1 - 16) |
159
MIDI implementation
* 1-1-6 CONTROL | 00 00 09 | 0000 0000 | dummy (ingnored) |

|—————————————+———————————+—————————————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+
| Offset | | | 00 00 0A | 0aaa aaaa | GROUP VOLUME (DRUMS) 0 - 127 |
| address | Description | | 00 00 0B | 0aaa aaaa | GROUP VOLUME (PERC) 0 - 127 |
|—————————————+—————————————————————————————————————————————————————————| |—————————————+———————————+—————————————————————————————————————————————|
| 00 00 | 0000 00aa | Foot SW Mode 0 - 2 (*1) | | 00 00 0C | 0aaa aaaa | AMBIENCE Group Send Level (DRUMS) 0 - 127 |
| 00 01 | 0000 0aaa | Pad SW Mode 0 - 4 (*2) | | 00 00 0D | 0aaa aaaa | AMBIENCE Group Send Level (PERC) 0 - 127 |
| 00 02 | 0000 aaaa | Display Contrast 0 - 15 | | 00 00 0E | 0aaa aaaa | AMBIENCE Group Send Level (PART) 0 - 127 |
| | | (1 - 16) | |—————————————+———————————+—————————————————————————————————————————————|
| 00 03 | 0000 000a | Mix In Output 0 - 1 | | 00 00 0F | 0aaa aaaa | EFFECT Group Send Level (DRUMS) 0 - 127 |
| | | (Master,Phones Only) | | 00 00 10 | 0aaa aaaa | EFFECT Group Send Level (PERC) 0 - 127 |
| 00 04 | 0000 000a | Preview Dynamics 0 - 1 | | 00 00 11 | 0aaa aaaa | EFFECT Group Send Level (PART) 0 - 127 |
| | | (OFF,ON) | |—————————————+———————————+—————————————————————————————————————————————|
| 00 05 | 0aaa aaaa | Preview Velocity 1 - 127 | | 00 00 12 | 0aaa aaaa | AMBIENCE Output Level (MASTER) 0 - 127 |
|—————————————+—————————————————————————————————————————————————————————| | 00 00 13 | 0aaa aaaa | AMBIENCE Output Level (DIR1) 0 - 127 |
| Total size | 00 00 00 06 | | 00 00 14 | 0aaa aaaa | AMBIENCE Output Level (DIR2) 0 - 127 |
+———————————————————————————————————————————————————————————————————————+ | 00 00 15 | 0aaa aaaa | AMBIENCE Output Level (DIR3) 0 - 127 |
|—————————————+———————————+—————————————————————————————————————————————|
| 00 00 16 | 0aaa aaaa | EFFECT Output Level 0 - 127 |
(*1) Foot SW Mode |—————————————+———————————+—————————————————————————————————————————————|
| 00 00 17 | 0000 000a | AMBIENCE SW 0 - 1 |
[ SW1 ] [ SW2 ] | | | (OFF,ON) |
0 KIT SELECT KIT# DEC KIT# INC | 00 00 18 | 0000 000a | EFFECT SW 0 - 1 |
| | | (OFF,ON) |
1 PATTERN SEL PTN# DEC PTN# INC | 00 00 19 | 0000 000a | COMP SW 0 - 1 |
2 PATTERN PLAY PTN# INC STOP/PLAY | | | (OFF,ON) |
| 00 00 1A | 0000 000a | EQ SW 0 - 1 |
| | | (OFF,ON) |
(*2) Pad SW Mode |—————————————+———————————+—————————————————————————————————————————————|
| 00 00 1B | 0000 aaaa | AMBIENCE Type 0 - 9 |
[ AUX1 ] [ AUX2 ] | | | (Beach, Living Room, Bath Room, |
0 OFF OFF OFF | | | Studio, Garage, Locker Room, |
| | | Theater, Cave, Gymnasium, |
1 KIT SELECT OFF KIT# INC | | | Dome Stadium) |
2 PATTERN SEL OFF PTN# INC | 00 00 1C | 0000 0aaa | AMBIENCE Room Size 0 - 4 |
| | | (Tiny, Small, Medium, Large, Huge) |
3 KIT SELECT(2) KIT# DEC KIT# INC | 00 00 1D | 0000 00aa | AMBIENCE Wall Type 0 - 2 |
4 PATTERN SEL(2) PTN# DEC PTN# INC | | | (Wood, Plaster, Glass) |
| 00 00 1E | 0000 000a | AMBIENCE Mic Position 0 - 1 |
| | | (Low, High) |
* 1-1-7 MASTER EQ |—————————————+———————————+—————————————————————————————————————————————|
| 00 00 1F | 000a aaaa | EFFECT Type 0 - 29 |
+———————————————————————————————————————————————————————————————————————+
| Offset | | | 00 00 20 | 0aaa aaaa | EFFECT Param 1 0 - 127 |
| address | Description | | 00 00 21 | 0aaa aaaa | EFFECT Param 2 0 - 127 |
|—————————————+—————————————————————————————————————————————————————————| | 00 00 22 | 0aaa aaaa | EFFECT Param 3 0 - 127 |
| 00 00 | 0000 aaaa | Low Frequency 0 - 14 | | 00 00 23 | 0aaa aaaa | EFFECT Param 4 0 - 127 |
| | | (20Hz - 500Hz) | |—————————————+———————————+—————————————————————————————————————————————|
| 00 01 | 0aaa aaaa | Low Gain 49 - 79 | | 00 00 24 | 0000 000a | Stick Type 0 - 1 |
| | | (-15db - +15db) | | | | (Sticks, Brushes) |
|—————————————+———————————+—————————————————————————————————————————————| |—————————————+———————————+—————————————————————————————————————————————|
| 00 02 | 000a aaaa | Mid Frequency 7 - 23 | | Total size | 00 00 00 25 |
| | | (100Hz - 4kHz) | +———————————————————————————————————————————————————————————————————————+
| 00 03 | 0aaa aaaa | Mid Gain 49 - 79 |
| | | (-15db - +15db) |
| 00 04 | 000a aaaa | Mid Q 0 - 20 | * 1-2-2 DRUM KIT (Pad parameters)
| | | (0.5,1.0 - 20.0, 1.0step) | +———————————————————————————————————————————————————————————————————————+
|—————————————+———————————+—————————————————————————————————————————————| | Offset | |
| 00 05 | 000a aaaa | High Frequency 14 - 30 | | address | Description |
| | | (500Hz - 20kHz) | |—————————————+—————————————————————————————————————————————————————————|
| 00 06 | 0aaa aaaa | High Gain 49 - 79 | | 00 | 0000 aaaa | HEAD | Instrument 0 - 599 |
| | | (-15db - +15db) | |# 01 | 0000 bbbb | | (1 - 600) |
|—————————————+———————————+—————————————————————————————————————————————| |# 02 | 0000 cccc | | |
| 00 07 | 0000 000a | SW 0 - 1 | |# 03 | 0000 dddd | | |
| | | (OFF,ON) | |—————————————+———————————+——————+——————————————————————————————————————|
|—————————————+—————————————————————————————————————————————————————————| | 04 | 0000 aaaa | HEAD | Pitch (Head Tuning) -480 - +480 |
| Total size | 00 00 00 08 | |# 05 | 0000 bbbb | | (-4800 - 4800cent, 10cent step) |
+———————————————————————————————————————————————————————————————————————+ |# 06 | 0000 cccc | | |
|# 07 | 0000 dddd | | |
|—————————————+———————————+——————+——————————————————————————————————————|
* 1-1-8 MASTER TUNE |
|
08 | 0aaa aaaa | HEAD | Decay
| | |
33 - 95
(-31 - +31)
|
|
+———————————————————————————————————————————————————————————————————————+
| Offset | | | 09 | 0aaa aaaa | HEAD | Level 0 - 127 |
| address | Description | | 0A | 0aaa aaaa | HEAD | Note number 0 - 127 |
|—————————————+—————————————————————————————————————————————————————————| | 0B | 0aaa aaaa | HEAD | Ambience Send Level 0 - 127 |
| 00 00 | 0000 aaaa | Master Tune 0 - 509 | | 0C | 0aaa aaaa | HEAD | Effect Send Level 0 - 127 |
|# 01 | 0000 bbbb | (415.3 - 466.2Hz) | | 0D | 0aaa aaaa | HEAD | Play Pattern number 0 - 100 |
|# 02 | 0000 cccc | | | | | | (OFF,1 - 100) |
|# 03 | 0000 dddd | | | 0E | 0aaa aaaa | HEAD | MIDI Gate Time 1 - 80 |
|—————————————+—————————————————————————————————————————————————————————| | | | | (0.1s - 8.0s, 0.1s step) |
| Total size | 00 00 00 04 | |—————————————+———————————+——————+——————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+ | 0F | 0000 aaaa | RIM | Instrument 0 - 599 |
|# 10 | 0000 bbbb | | (1 - 600) |
|# 11 | 0000 cccc | | |
|# 12 | 0000 dddd | | |
* 1-2 DRUM KIT |—————————————+———————————+——————+——————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+ | 13 | 0000 aaaa | RIM | Pitch (Head Tuning) -480 - 480 |
| Offset | | |# 14 | 0000 bbbb | | (-4800 - +4800cent, 10cent step) |
| address | Description | |# 15 | 0000 cccc | | |
|—————————————+—————————————————————————————————————————————————————————| |# 16 | 0000 dddd | | |
| 00 00 | Common parameters *1-2-1| |—————————————+———————————+——————+——————————————————————————————————————|
| 01 00 | Pad parameters (1/KICK) *1-2-2| | 17 | 0aaa aaaa | RIM | Decay 33 - 95 |
| 02 00 | Pad parameters (2/SNARE) *1-2-2| | | | | (-31 - +31) |
| 03 00 | Pad parameters (3/TOM1) *1-2-2| | 18 | 0aaa aaaa | RIM | Level 0 - 127 |
| 04 00 | Pad parameters (4/TOM2) *1-2-2| | 19 | 0aaa aaaa | RIM | Note number 0 - 127 |
| 05 00 | Pad parameters (5/TOM3) *1-2-2| | 1A | 0aaa aaaa | RIM | Ambience Send Level 0 - 127 |
| 06 00 | Pad parameters (6/TOM4) *1-2-2| | 1B | 0aaa aaaa | RIM | Effect Send Level 0 - 127 |
| 07 00 | Pad parameters (7/HIHAT) *1-2-2| | 1C | 0aaa aaaa | RIM | Play Pattern number 0 - 100 |
| 08 00 | Pad parameters (8/CRASH1) *1-2-2| | | | | (OFF,1 - 100) |
| 09 00 | Pad parameters (9/CRASH2) *1-2-2| | 1D | 0aaa aaaa | RIM | MIDI Gate Time 1 - 80 |
| 0A 00 | Pad parameters (10/RIDE) *1-2-2| | | | | (0.1s - 8.0s, 0.1s step) |
| 0B 00 | Pad parameters (11/AUX1) *1-2-2| |—————————————+———————————+—————————————————————————————————————————————|
| 0C 00 | Pad parameters (12/AUX2) *1-2-2| | 1E | 000a aaaa | Pan 0 - 30 |
+———————————————————————————————————————————————————————————————————————+ | | | (L15 - R15) |
| 1F | 0000 00aa | Output Assign 0 - 3 |
| | | (MASTER,DIR1,DIR2,DIR3) |
* 1-2-1 DRUM KIT (Common parameters) |—————————————+———————————+—————————————————————————————————————————————|
+-----------------------------------------------------------------------+ | 20 | 0000 000a | Compressor SW 0 - 1 |
| Offset | | | | | (OFF,ON) |
| address | Description | | 21 | 0aaa aaaa | Compressor Threshold 0 - 100 |
|-------------+---------------------------------------------------------| | | | (-inf, -99db - 0db) |
| 00 00 00 | 0aaa aaaa | Drum Kit Name 1 32 - 127 | | 22 | 000a aaaa | Compressor Ratio 0 - 18 |
|# 00 00 01 | 0aaa aaaa | Drum Kit Name 2 32 - 127 | | | | (1:1 - 9:1 (1step), |
| : | | | | | | 10:1 - 90:1 (10step), |
|# 00 00 07 | 0aaa aaaa | Drum Kit Name 8 32 - 127 | | | | inf:1) |
|-------------+---------------------------------------------------------| | 23 | 000a aaaa | Compressor Attack Time 0 - 31 |
| 00 00 08 | 0000 00aa | PERCUSSION GROUP Assign 0 - 3 | | | | (0.05 - 0.09 (0.01step), |
| | | (1 - 4 ) | | | | 0.1 - 0.9 (0.1step), |
+-----------------------------------------------------------------------+ | | | 1.0 - 9.0 (1.0step), |
160
MIDI implementation
| | | 10.0 - 50.0 (5.0step)) | Instrument Group: ELEC KICK, ELEC SNARE, ELEC TOM1 - ELEC TOM4
| 24 | 000a aaaa | Compressor Release Time 0 - 23 | +———————————————————————————————————————————————————————————————————————+
| | | (0.05,0.07,0.1,0.5,1,5,10,17, | | Offset | |
| | | 25,50,75,100,200,300,400,500, | | address | Description |
| | | 600,700,800,900,1000,1200, | |—————————————+—————————————————————————————————————————————————————————|
| | | 1500,2000 ms) | | 31 | 0aaa aaaa | Attack 0 - 127 |
| 25 | 0aaa aaaa | Compressor Output Level 0 - 72 | | 32 | 0aaa aaaa | Decay 0 - 127 |
| | | (-60 - +12db) | | 33 | 0aaa aaaa | Noise 0 - 127 |
|—————————————+———————————+—————————————————————————————————————————————| | 34 | 0aaa aaaa | Tone 0 - 127 |
| 26 | 0000 000a | EQ SW 0 - 1 | | 35 | 0aaa aaaa | Bend 0 - 127 |
| | | (OFF,ON) | | 36 | 0aaa aaaa | Balance 0 - 127 |
| 27 | 0000 00aa | EQ HIGH Type 0 - 2 | +———————————————————————————————————————————————————————————————————————+
| | | (Peaking, L.Shelving, H.Shelving) |
| 28 | 000a aaaa | EQ HIGH Frequency 0 - 30 |
| | | (20,25,31.5,40,50,63,80,100,125, | Instrument Group: TR808 KICK
| | | 160,200,250,315,400,500,630,800, | +———————————————————————————————————————————————————————————————————————+
| | | 1k,1.25k,1.6k,2k,2.5k,3.15k,4k, | | Offset | |
| | | 5k,6.3k,8k,10k,12.5k,16k,20k) | | address | Description |
| 29 | 0aaa aaaa | EQ HIGH Gain 49 - 79 | |—————————————+—————————————————————————————————————————————————————————|
| | | (-15 - +15db) | | 31 | 0000 0000 | dummy (ignored) |
| 2A | 000a aaaa | EQ HIGH Q 0 - 20 | | 32 | 0aaa aaaa | Decay 0 - 127 |
| | | (0.5,1.0 - 20.0, 0.1step) | | 33 | 0aaa aaaa | Tune 0 - 127 |
| 2B | 0000 00aa | EQ LOW Type 0 - 2 | | 34 | 0aaa aaaa | Tone 0 - 127 |
| | | (Peaking, L.Shelving, H.Shelving) | | 35 | 0000 0000 | dummy (ignored) |
| 2C | 000a aaaa | EQ LOW Frequency 0 - 30 | | 36 | 0000 0000 | dummy (ignored) |
| | | (20,25,31.5,40,50,63,80,100,125, | +———————————————————————————————————————————————————————————————————————+
| | | 160,200,250,315,400,500,630,800, |
| | | 1k,1.25k,1.6k,2k,2.5k,3.15k,4k, |
| | | 5k,6.3k,8k,10k,12.5k,16k,20k) |
| 2D | 0aaa aaaa | EQ LOW Gain 49 - 79 | Instrument Group: TR808 SNARE
| | | (-15 - +15db) | +———————————————————————————————————————————————————————————————————————+
| 2E | 000a aaaa | EQ LOW Q 0 - 20 | | Offset | |
| | | (0.5,1.0 - 20.0, 0.1step) | | address | Description |
|—————————————+———————————+—————————————————————————————————————————————| |—————————————+—————————————————————————————————————————————————————————|
| 2F | 0000 00aa | Mic Type 0 - 2 (*3) | | 31 | 0000 0000 | dummy (ignored) |
| | | (1/KICK:Condenser,Dynamic1,Dynamic2) | | 32 | 0000 0000 | dummy (ignored) |
| | | (2/SNARE:Condenser,Dynamic,Lo-Fi) | | 33 | 0aaa aaaa | Tune 0 - 127 |
| 30 | 0000 00aa | Mic Position 0 - 2 (*4) | | 34 | 0aaa aaaa | Tone 0 - 127 |
| | | (Outside,Standard,Inside) | | 35 | 0aaa aaaa | Snappy 0 - 127 |
|—————————————+———————————+—————————————————————————————————————————————| | 36 | 0000 0000 | dummy (ignored) |
| 31 | 0aaa aaaa | (*5) | +———————————————————————————————————————————————————————————————————————+
| 32 | 0aaa aaaa | (*5) |
| 33 | 0aaa aaaa | (*5) |
| 34 | 0aaa aaaa | (*5) | Instrument Group: TR808 TOM
| 35 | 0aaa aaaa | (*5) | +———————————————————————————————————————————————————————————————————————+
| 36 | 0aaa aaaa | (*5) | | Offset | |
|—————————————+—————————————————————————————————————————————————————————| | address | Description |
| Total size | 00 00 00 37 | |—————————————+—————————————————————————————————————————————————————————|
+———————————————————————————————————————————————————————————————————————+ | 31 | 0000 0000 | dummy (ignored) |
| 32 | 0aaa aaaa | Decay 0 - 127 |
| 33 | 0aaa aaaa | Tune 0 - 127 |
(*3) 1/KICK, 2/SNARE only | 34 | 0000 0000 | dummy (ignored) |
| 35 | 0000 0000 | dummy (ignored) |
(*4) 1/KICK, 2/SNARE, 3/TOM1, 4/TOM2, 5/TOM3, 6/TOM4 only | 36 | 0000 0000 | dummy (ignored) |
(*5) 1/KICK, 2/SNARE, 3/TOM1, 4/TOM2, 5/TOM3, 6/TOM4 only +———————————————————————————————————————————————————————————————————————+
Depending on the instrument group of the assigned instruments, settings are as follows. Instrument Group: TR909 KICK
+———————————————————————————————————————————————————————————————————————+
| Offset | |
Instrument Group: V-KICK | address | Description |
+———————————————————————————————————————————————————————————————————————+ |—————————————+—————————————————————————————————————————————————————————|
| Offset | | | 31 | 0aaa aaaa | Attack 0 - 127 |
| address | Description | | 32 | 0aaa aaaa | Decay 0 - 127 |
|—————————————+—————————————————————————————————————————————————————————| | 33 | 0aaa aaaa | Tune 0 - 127 |
| 31 | 0000 00aa | Head Type 0 - 2 | | 34 | 0000 0000 | dummy (ignored) |
| | | (Clear,Coated,PinStripe*) | | 35 | 0000 0000 | dummy (ignored) |
| | PinStripe is a registered Trademark of Remo Inc. U.S.A. | | 36 | 0000 0000 | dummy (ignored) |
| 32 | 0000 000a | Shell Depth 0 - 1 | +———————————————————————————————————————————————————————————————————————+
| | | (Normal, Deep) |
| 33 | 0000 0aaa | Muffling 0 - 4 |
| | | (OFF,Tape1,Tape2,Blanket,Weight) | Instrument Group: TR909 SNARE
| 34 | 0000 0000 | dummy (ignored) | +———————————————————————————————————————————————————————————————————————+
| 35 | 0000 0000 | dummy (ignored) | | Offset | |
| 36 | 0000 0000 | dummy (ignored) | | address | Description |
+———————————————————————————————————————————————————————————————————————+ |—————————————+—————————————————————————————————————————————————————————|
| 31 | 0000 0000 | dummy (ignored) |
| 32 | 0000 0000 | dummy (ignored) |
Instrument Group: V-SNARE | 33 | 0aaa aaaa | Tune 0 - 127 |
+———————————————————————————————————————————————————————————————————————+ | 34 | 0aaa aaaa | Tone 0 - 127 |
| Offset | | | 35 | 0aaa aaaa | Snappy 0 - 127 |
| address | Description | | 36 | 0000 0000 | dummy (ignored) |
|—————————————+—————————————————————————————————————————————————————————| +———————————————————————————————————————————————————————————————————————+
| 31 | 0000 00aa | Head Type 0 - 2 |
| | | (Clear,Coated,PinStripe*) |
| | PinStripe is a registered Trademark of Remo Inc. U.S.A. | Instrument Group: TR909 TOM
| 32 | 000a aaaa | Shell Depth 0 - 38 | +———————————————————————————————————————————————————————————————————————+
| | | (1.0” - 20.0”, 0.5step) | | Offset | |
| 33 | 0000 0aaa | Muffling 0 - 4 | | address | Description |
| | | (OFF,Tape1,Tape2,Daughnuts1,Daughnuts2) | |—————————————+—————————————————————————————————————————————————————————|
| 34 | 0000 00aa | Shell Material 0 - 2 | | 31 | 0000 0000 | dummy (ignored) |
| | | (Wood,Steel,Brass) | | 32 | 0aaa aaaa | Decay 0 - 127 |
| 35 | 0000 00aa | Strainer Adjustment 0 - 3 | | 33 | 0aaa aaaa | Tune 0 - 127 |
| | | (OFF,Loose,Medium,Tight) | | 34 | 0000 0000 | dummy (ignored) |
| 36 | 0000 0000 | dummy (ignored) | | 35 | 0000 0000 | dummy (ignored) |
+———————————————————————————————————————————————————————————————————————+ | 36 | 0000 0000 | dummy (ignored) |
+———————————————————————————————————————————————————————————————————————+
Appendices
Instrument Group: V-TOM

+———————————————————————————————————————————————————————————————————————+ * 1-3 PERCUSSION GROUP
| Offset | | +———————————————————————————————————————————————————————————————————————+
| address | Description | | Offset | |
|—————————————+—————————————————————————————————————————————————————————| | address | Description |
| 31 | 0000 00aa | Head Type 0 - 2 | |—————————————+—————————————————————————————————————————————————————————|
| | | (Clear,Coated,PinStripe*) | | 16 00 | Note #22 (Note parameters) *1-3-1|
| | PinStripe is a registered Trademark of Remo Inc. U.S.A. | | : | |
| 32 | 0000 000a | Shell Depth 0 - 1 | | 5D 00 | Note #93 (Note parameters) *1-3-1|
| | | (Normal, Deep) | +———————————————————————————————————————————————————————————————————————+
| 33 | 0000 0aaa | Muffling 0 - 4 |
| | | (OFF,Tape1,Tape2,Felt1,Felt2) |
| 34 | 0000 0000 | dummy (ignored) |
| 35 | 0000 0000 | dummy (ignored) |
| 36 | 0000 0000 | dummy (ignored) |
+———————————————————————————————————————————————————————————————————————+
161
MIDI implementation
* 1-3-1 PERCUSSION GROUP (Note parameters)

+———————————————————————————————————————————————————————————————————————+
■ Parameter Address Block Map
| Offset | |
| address | Description | An outlined address map of the Exclusive Communication is as follows;
|—————————————+—————————————————————————————————————————————————————————|
| 00 | 0000 aaaa | Instrument 0 - 599 |
|# 01 | 0000 bbbb | (1 - 600) | Address(H) Block Sub block Reference
|# 02 | 0000 cccc | | =========== ============== ================================== ==========
|# 03 | 0000 dddd | | 00 00 00 00 +————————————+....+——————————————————+....+————————+....+————————+
|—————————————+———————————+—————————————————————————————————————————————| | SETUP | |TRIGGER BANK 1 | | Pad 1 | |*1-1-1-1|
| 04 | 0000 aaaa | Pitch -480 - +480 | +————————————+. +——————————————————+. +————————+....+————————+
|# 05 | 0000 bbbb | (-4800 - +4800cent, 10cent step) | : : . | : | . | : |
|# 06 | 0000 cccc | | : : . +——————————————————+ . +————————+
|# 07 | 0000 dddd | | : : . |TRIGGER BANK 4 | . | Pad 12 |
|—————————————+———————————+—————————————————————————————————————————————| : : . +——————————————————+ .+————————+
| 08 | 0aaa aaaa | Volume 0 - 127 | : : . +——————————————————+..................+————————+
| 09 | 000a aaaa | Pan 0 - 30 | : : . |KIT CHAIN 1 (Name)| | *1-1-2 |
| | | (L15 - R15) | : : . +——————————————————+..................+————————+
| 0A | 0aaa aaaa | Decay 33 - 95 | : : . | : |
| | | (-31 - +31) | : : . +——————————————————+
| 0B | 0aaa aaaa | Ambience 0 - 127 | : : . |KIT CHAIN16 (Name)|
| 0C | 0aaa aaaa | Fx Send 0 - 127 | : : . +——————————————————+
| 0D | 0000 00aa | Output 0 - 1 | : : . +——————————————————+....+————————+....+————————+
| | | (MASTER,PHONES ONLY) | : : . |KIT CHAIN 1 (Step)| | Step 1 | | *1-1-3 |
|—————————————+—————————————————————————————————————————————————————————| : : . +——————————————————+. +————————+....+————————+
| Total size | 00 00 00 0E | : : . | : | . | : |
+———————————————————————————————————————————————————————————————————————+ : : . +——————————————————+ . +————————+
: : . |KIT CHAIN16 (Step)| . | Step 32|
: : . +——————————————————+ .+————————+
: : . +——————————————————+..................+————————+
* 1-4 PATTERN : : . |MIDI | | *1-1-4 |
+-----------------------------------------------------------------------+ : : . +——————————————————+..................+————————+
| Offset | | : : . +——————————————————+..................+————————+
| address | Description | : : . |PROGRAM CHANGE MAP| | *1-1-5 |
|-------------+---------------------------------------------------------| : : . +——————————————————+..................+————————+
| 00 00 00 | All User Pattern Request | : : . +——————————————————+..................+————————+
|-------------+---------------------------------------------------------| : : . |CONTROL | | *1-1-6 |
| 7F 7F 7F | User Pattern Data End | : : . +——————————————————+..................+————————+
+-----------------------------------------------------------------------+ : : . +——————————————————+..................+————————+
mm = User Pattern Number: 01H - 32H (Pattern No.51 - Pattern No.100) : : . |MASTER EQ | | *1-1-7 |
: : . +——————————————————+..................+————————+
: : . +——————————————————+..................+————————+
* Data size should be 00 00 00 00. : : . |MASTER TUNE | | *1-1-8 |
: : .+——————————————————+..................+————————+
* Data of demo song and Preset patterns cannot be transmitted. : :
01 00 00 00 +————————————+....+——————————————————+..................+————————+
| DRUM KIT | | DRUM KIT 1 | | *1-2 |
| | +——————————————————+..................+————————+
+————————————+. | : |
: : . +——————————————————+
: : . | DRUM KIT 50 |
: : .+——————————————————+
: :
: :
: :
: :
04 00 00 00 +————————————+....+——————————————————+....+————————+....+————————+
| PERCUSSION | |PERCUSSION GROUP 1| |Note #22| | *1-3 |
| GROUP | +——————————————————+. +————————+....+————————+
+————————————+. | : | . | : |
: : . +——————————————————+ . +————————+
: : . |PERCUSSION GROUP 4| . |Note #93|
: : .+——————————————————+ .+————————+
: :
: :
: :
10 00 00 00 +————————————+........................
| PATTERN | ^
+————————————+ |
: : |
40 00 00 00 +————————————+ |
| SETUP | |
+————————————+ |
: : |
41 00 00 00 +————————————+ |
| DRUM KIT | Bulk area
+————————————+ |
: : |
44 00 00 00 +————————————+ |
| PERCUSSION | |
| GROUP | v
+————————————+........................
162
MIDI implementation
Section 4. Supplementary material <Example 4> B3 64 00 65 00 06 0C 26 00 64 7F 65 7F

BnH is the Control Change status, and n is the MIDI channel number. For Control
Changes, the 2nd byte is the control number, and the 3rd byte is the value. In a case in
■ Decimal and Hexadecimal table which two or more messages consecutive messages have the same status, MIDI has a pro-
vision called “running status” which allows the status byte of the second and following
In MIDI documentation, data values and addresses/sizes of exclusive messages etc. are messages to be omitted. Thus, the above messages have the following meaning.
expressed as hexadecimal values for each 7 bits.
The following table shows how these correspond to decimal numbers. (B3 64 00 MIDI ch.4, lower byte of RPN parameter number: 00H
(B3) 65 00 (MIDI ch.4) upper byte of RPN parameter number: 00H
+——————+——————++——————+——————++——————+——————++——————+——————+
| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.|| Dec.| Hex.| (B3) 06 0C (MIDI ch.4) upper byte of parameter value: 0CH
+——————+——————++——————+——————++——————+——————++——————+——————+ (B3) 26 00 (MIDI ch.4) lower byte of parameter value: 00H
| 0 | 00H || 32 | 20H || 64 | 40H || 96 | 60H |
| 1 | 01H || 33 | 21H || 65 | 41H || 97 | 61H | (B3) 64 7F (MIDI ch.4) lower byte of RPN parameter number: 7FH
| 2 | 02H || 34 | 22H || 66 | 42H || 98 | 62H | (B3) 65 7F (MIDI ch.4) upper byte of RPN parameter number: 7FH
| 3 | 03H || 35 | 23H || 67 | 43H || 99 | 63H |
| 4 | 04H || 36 | 24H || 68 | 44H || 100 | 64H |
| 5 | 05H || 37 | 25H || 69 | 45H || 101 | 65H | In other words, the above messages specify a value of 0C 00H for RPN parameter number
| 6 | 06H || 38 | 26H || 70 | 46H || 102 | 66H |
| 7 | 07H || 39 | 27H || 71 | 47H || 103 | 67H | 00 00H on MIDI channel 4, and then set the RPN parameter number to 7F 7FH.
| 8 | 08H || 40 | 28H || 72 | 48H || 104 | 68H |
| 9 | 09H || 41 | 29H || 73 | 49H || 105 | 69H |
| 10 | 0AH || 42 | 2AH || 74 | 4AH || 106 | 6AH | RPN parameter number 00 00H is Pitch Bend Sensitivity, and the MSB of the value indi-
| 11 | 0BH || 43 | 2BH || 75 | 4BH || 107 | 6BH | cates semitone units, so a value of 0CH = 12 sets the maximum pitch bend range to +- 12
| 12 | 0CH || 44 | 2CH || 76 | 4CH || 108 | 6CH |
| 13 | 0DH || 45 | 2DH || 77 | 4DH || 109 | 6DH | semitones (1 octave). (On GS sound sources the LSB of Pitch Bend Sensitivity is ignored,
| 14 | 0EH || 46 | 2EH || 78 | 4EH || 110 | 6EH | but the LSB should be transmitted anyway (with a value of 0) so that operation will be cor-
| 15 | 0FH || 47 | 2FH || 79 | 4FH || 111 | 6FH |
| 16 | 10H || 48 | 30H || 80 | 50H || 112 | 70H | rect on any device.)
| 17 | 11H || 49 | 31H || 81 | 51H || 113 | 71H |
| 18 | 12H || 50 | 32H || 82 | 52H || 114 | 72H |
| 19 | 13H || 51 | 33H || 83 | 53H || 115 | 73H | Once the parameter number has been specified for RPN or NRPN, all Data Entry messages
| 20 | 14H || 52 | 34H || 84 | 54H || 116 | 74H | transmitted on that same channel will be valid, so after the desired value has been trans-
| 21 | 15H || 53 | 35H || 85 | 55H || 117 | 75H |
| 22 | 16H || 54 | 36H || 86 | 56H || 118 | 76H | mitted, it is a good idea to set the parameter number to 7F 7FH to prevent accidents. This is
| 23 | 17H || 55 | 37H || 87 | 57H || 119 | 77H | the reason for the (B3) 64 7F (B3) 65 7F at the end.
| 24 | 18H || 56 | 38H || 88 | 58H || 120 | 78H |
| 25 | 19H || 57 | 39H || 89 | 59H || 121 | 79H |
| 26 | 1AH || 58 | 3AH || 90 | 5AH || 122 | 7AH | It is not desirable for performance data (such as Standard MIDI File data) to contain many
| 27 | 1BH || 59 | 3BH || 91 | 5BH || 123 | 7BH |
| 28 | 1CH || 60 | 3CH || 92 | 5CH || 124 | 7CH | events with running status as given in <Example 4>. This is because if playback is halted
| 29 | 1DH || 61 | 3DH || 93 | 5DH || 125 | 7DH | during the song and then rewound or fast-forwarded, the sequencer may not be able to
| 30 | 1EH || 62 | 3EH || 94 | 5EH || 126 | 7EH |
| 31 | 1FH || 63 | 3FH || 95 | 5FH || 127 | 7FH | transmit the correct status, and the sound source will then misinterpret the data. Take care
+——————+——————++——————+——————++——————+——————++——————+——————+ to give each event its own status.
* Decimal values such as MIDI channel, bank select, and program change are listed as It is also necessary that the RPN or NRPN parameter number setting and the value setting
one(1) greater than the values given in the above table. be done in the proper order. On some sequencers, events occurring in the same (or consec-
* A 7-bit byte can express data in the range of 128 steps. For data where greater precision utive) clock may be transmitted in an order different than the order in which they were
is required, we must use two or more bytes. For example, two hexadecimal numbers aa received. For this reason it is a good idea to slightly skew the time of each event (about 1
bbH expressing two 7-bit bytes would indicate a value of aa x 128 + bb. tick for TPQN=96, and about 5 ticks for TPQN=480).
* In the case of values which have a +- sign, 00H = -64, 40H = +- 0, and 7FH = +63, so that
the decimal expression would be 64 less than the value given in the above chart. In the * TPQN : Ticks Per Quarter Note
case of two types, 00 00H = -8192, 40 00H = +- 0, and 7F 7FH = +8191. For example if aa
bbH were expressed as decimal, this would be aa bbH - 40 00H = aa x 128 + bb - 64 x
128.
■ Example of an Exclusive message and calculat-
<Example 1> What is the decimal expression of 5AH ? ing a Checksum
From the preceding table, 5AH = 90 Roland Exclusive messages (RQ1, DT1) are transmitted with a checksum at the end (before
F7) to make sure that the message was correctly received. The value of the checksum is
<Example 2> What is the decimal expression of the value 12 34H given determined by the address and data (or size) of the transmitted exclusive message.
as hexadecimal for each 7 bits?

From the preceding table, since 12H = 18 and 34H = 52 ● How to calculate the checksum
18 x 128 + 52 = 2356 (hexadecimal numbers are indicated by ‘H’)
The checksum is a value derived by adding the address, size and checksum itself and
inverting the lower 7 bits.
■ Examples of actual MIDI message Here’s an example of how the checksum is calculated. We will assume that in the exclusive
message we are transmitting, the address is aa bb cc ddH and the data or size is ee ff gg
hhH.
<Example 1> 92 3E 5F
9n is the Note-on status, and n is the MIDI channel number. Since 2H = 2, 3EH = 62, and
aa + bb + cc + dd + ee + ff + gg + hh = sum
5FH = 95, this is a Note-on message with MIDI CH = 3, note number 62 (note name is D4),
sum / 128 = quotient ... remainder
and velocity 95.
128 - remainder = checksum
(However, the checksum will be 0 if the remainder is 0.)
<Example 2> C9 20
CnH is the Program Change status, and n is the MIDI channel number. Since 9H = 9 and
<Example 1> Setting Shell depth of snare drum in drum kit 1 to 3.5”.
20H = 32, this is a Program Change message with MIDI CH = 10, program number 33 (33 -
According to the “Parameter Address Map”, the Drumkit No.1 has an address of 01 00 00
Appendices
SockHop).
00H, Trigger 2 has a offset address of 02 00H and Shell depth has a offset address of 32H.
Thus,
<Example 3> EA 00 28
EnH is the Pitch Bend Change status, and n is the MIDI channel number. The 2nd byte 01 00 00 00
(00H=0) is the LSB and the 3rd byte (28H=40) is the MSB, but Pitch Bend Value is a signed 02 00
number in which 40 00H ( = 64 x 128 + 0 = 8192) is 0, so this Pitch Bend Value is +) 32
28 00H - 40 00H = 40 x 128 + 0 - (64 x 128 + 0) = 5120 - 8192 = -3072 01 00 02 32
163
MIDI implementation
and 3.5” is a value of 05,
F0 41 10 00 0A 12 01 00 02 32 05 ?? F7
(1) (2) (3) (4) (5) address size checksum (6)
(1) Exclusive status (2) ID number (Roland) (3) Device ID (17)

(4) Model ID (TD-10) (5) Command ID (DT1) (6) EOX
Next we calculate the checksum.
01H + 00H + 02H + 32H + 05H = 1 + 0 + 2 + 50 + 5= 58 (sum)

58 (sum)/128 = 0 (quotient) ... 58 (remainder)
checksum = 128 - 58 (remainder) = 70 = 46H
This means that F0 41 10 00 0A 12 01 00 02 32 05 46 F7 is the message we transmit.
<Example 2> Requesting transmission of compressor swich of snare

drum in drum kit 1.
According to the “Parameter Address Map”,the Drumkit No.1 has an address of 01 00 00
00H, Trigger 2 has a offset address of 02 00H and Compressor switch has a offset address
of 20H. Thus,
01 00 00 00
02 00
+) 20
01 00 02 20
Since Size = 00 00 00 01H,
F0 41 10 00 0A 11 01 00 02 20 00 00 00 01 ?? F7
(1) (2) (3) (4) (5) address size checksum (6)
(1) Exclusive status (2) ID number (Roland) (3) Device ID (17)

(4) Model ID (TD-10) (5) Command ID (RQ1) (6) EOX
Next we calculate the checksum.
01H + 00H + 02H + 20H + 00H + 00H +00H + 01H = 1 + 0 + 2 + 32 + 0 + 0 + 0 + 1 = 36 (sum)

36 (sum) / 128 = 0 (quotient) ... 15 (remainder)
checksum = 128 - 36 (remainder) = = 92 = 5CH
This means that F0 41 10 00 0A 11 01 00 02 20 00 00 00 01 5C F7 is the message we transmit.
164
MIDI implementation Chart
PERCUSSION SOUND MODULE (TRIGGER SECTION) Date : May. 1, 1997
Model TD-10 MIDI Implementation Chart Version : 1.00
Function... Transmitted Recognized Remarks
Basic Default 1–16, OFF X

Channel Changed 1–16, OFF X Memorized (Non-Volatile)
Default MODE 3 X
Mode Messages X X
Altered **************
Note 0–127 X
Number : True Voice **************
Note ON O 9nH, v = 1–127 X

Velocity Note OFF O 8nH, v = 64 X
After Key's O X
Touch Ch's X X
Pitch Bend X X
1 X *1 X Modulation
4 O *1 X Foot control
6 X X Data entry
7 X X Volume
10 X X Panpot
16 O *1 X General purpose controller 1
Control 17 O *1 X General purpose controller 2
64 X X Hold 1
Change 100, 101 X X RPN LSB, MSB
Program X X
Change : True # **************
Only reception / transmission

System Exclusive O O of Bulk Data.
: Song Pos X X
System
: Song Sel X X
Common
: Tune X X
System : Clock X X
Real Time : Commands X X
Appendices
: All sound off X X

Aux : Reset all controllers X X
: Local ON/OFF X X
Message : All Notes OFF X X
: Active Sense X X
: System Reset X X
Notes * 1 O X is selectable.
Mode 1 : OMNI ON, POLY Mode 2 : OMNI ON, MONO O : Yes

Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO X : No
165
MIDI implementation chart
PERCUSSION SOUND MODULE (SOUND MODULE SECTION) Date : May. 1, 1997

Basic Default X 1–16, OFF

Channel Changed X 1–16, OFF Memorized (Non-Volatile)
Default X MODE 3
Mode Messages X X
Altered **************
Note X 0–127
Number : True Voice ************** 0–127
Note ON X O 9nH, v = 1–127

Velocity Note OFF O 8nH, v = 64
X
After Key's X O
Touch Ch's X X
Pitch Bend X O *3
1 X X *1, 2 Modulation
4 X O *1, 2 Foot control
6 X O Data entry
7 X O Volume
10 X O *3 Panpot
16 X O *1, 2 General purpose controller 1
Control 17 X O *1, 2 General purpose controller 2
64 X O *3 Hold 1
Change 100, 101 X O *3 RPN LSB, MSB
Program Number
Program O O Backing Part : 1-54
Change : True # ************** Drum Part : 1-128
System Exclusive O O
: Song Pos X X
System
: Song Sel X X
Common
: Tune X X
System : Clock X X
Real Time : Commands X X
: All sound off X O (120 , 126, 127)

Aux : Reset all controllers X O
: Local ON/OFF X X
Message : All Notes OFF X O (123 -127)
: Active Sense X O
: System Reset X X
Notes * 1 O X is selectable.
* 2 Drum part only.
* 3 Backing part only.
166
MIDI implementation chart
PERCUSSION SOUND MODULE (SEQUENCER SECTION) Date : May. 1, 1997

Basic Default 1–16, OFF 1–16, OFF

Channel Changed 1–16, OFF 1–16, OFF Memorized (Non-Volatile)
Default MODE 3 X
Mode Messages X X
Altered **************
Note 0-127 0-127

Number : True Voice ************** 0-127
Note ON O 9nH, v = 1–127 O 9nH, v = 1–127

Velocity Note OFF O 8nH, v = 64 O 8nH, v = 64
After Key's X X
Touch Ch's X X
Pitch Bend O *6 O *6
1 X *1 X *1, 5 Modulation
4 O *1 O *1, 5 Foot control
6 O X Data entry
7 O *2 X Volume
10 O *2 X Panpot
16 O *1 O *1, 5 General purpose controller 1
Control 17 O *1 O *1, 5 General purpose controller 2
64 O O *6 Hold 1
Change 100, 101 O X *6 RPN LSB, MSB
Program Number
Program O *2 X Backing Part : 1-54
Change : True # ************** Drum Part : 1-128
Only reception / transmission

System Exclusive O O (do not record) of Bulk Data.
: Song Pos O X
System
: Song Sel O O *4
Common
: Tune X X
System : Clock O X *1, *3

Real Time : Commands O X *1, *4
Appendices
: All sound off X O

Aux : Reset all controllers X O
: Local ON/OFF X X
Message : All Notes OFF X O (123 -127)
: Active Sense O O
: System Reset X X
*1 O X is selectable. * 5 Drum part only.
Notes *2 Only when pattern is selected. * 6 Backing part only.
*3 Receives when “Sync Mode” setting is “External,” “Auto,” or “MIDI➝DELAY.”
*4 Receives when “Sync Mode” setting is “External,” “Auto,” or “Remote.”
167
Specifications TD-10: Percussion Sound Module
● Sound Generator ● Tempo

Variable Drum Modeling 20–260
● Maximum Polyphony ● Display
56 Voices 64x160 dots backlit graphic LCD
8-segment, 3-character LED
● Instruments
Drum Instruments: 600 ● Sliders
Backing Instruments: 54 6 Kick, Snare, Hi-Hat, Others, Backing, Click
● Drum Kits ● Preview Button
50 1 (touch sensitive)
● Drum Kit Chains ● Connectors
16 chains (32 steps per chain) Trigger Input jack (dual) x 12
Output jack x 8 (4 stereo pairs)
● Instrument Parameters Phones jack
Acoustic Drum: Shell material, Shell depth, Head type, Monitor Mix In jack (Stereo)
Head tuning, Muffling, Strainer adjust- Hi-Hat control jack
ment Footswitch jack (dual)
Electronic Drum: Attack, Tone pitch, Noise pitch, Decay, MIDI Connector (IN, OUT/THRU)
Noise tone balance, Pitch bend Expansion Board Slot
TR-808, TR-909: Attack, Tune, Tone, Snappy, Decay Memory Card Slot
Others: Pitch, Decay
● Output Separation: 76 dB (min.)
● Studio Parameters (MASTER L -> DIRECT L, MASTER R -> DIRECT R): 45 dB (min.)
Studio types: 10 (DIRECT L -> Other DIRECT L, DIRECT R -> Other DIRECT R): 45 dB (min.)
Room size, Wall type, Ambience mic position
Mic type, Mic position ● Nominal Output level
+4 dBu (Audio Output)
● Mixer Parameters
Volume, Pan, Output select ● Output Impedance
330 ohms
● Compressor / Equalizer
Compressor x 10 ● Power Supply
2-band parametric equalizer x 10 AC 117 V, 230 V, 240 V
3-band master equalizer
● Power Consumption
● Effect Types 18 W
30 Reverb (14 types)
Delay (4 types) ● Dimensions
Flanger ➝ Delay (2 types) 305 (W) x 245 (D) x 90 (H) mm
Phaser ➝ Delay (2 types) 12-1/16 (W) x 9-11/16 (D) x 3-9/16 (H) inches
Chorus ➝ Delay (2 types) ● Weight
Pitch shift delay (2 types) 2.3 kg / 5 lbs 2 oz
3D-Delay (2 types)
Flying 3D-Delay (2 types) ● Accessories
Owners manual, AC cord, Screws (M5 x 12) x 4
● Note Number Map (Percussion Group)
4 Note Number Range: 22–93 ● Options
Wave & System Expansion Board (TDW-1)
● Trigger Parameters Pad (PD-120, PD-100, PD-80R, PD-80, PD-9, PD-7, PD-6)
Trigger type (Scan time, Retrigger Cancel, Mask time, Cymbal (CY-15R, CY-14C, CY-12R/C, CY-12H, CY-6)
Crosstalk) Kick Trigger (KD-120, KD-80, KD-7)
Sensitivity, Threshold, Curve Hi-Hat Control Pedal (FD-7)
● Seqencer Drum Stand (MDS-10, MDS-8, MDS-7U, MDS-6)
Preset Patterns: 50, User Patterns: 50 Cymbal Mount (MDY-10U)
Tracks: 4 Pad Mount (MDH-10U)
Play Function: One shot, Loop, Tap Footswitch (BOSS: FS-5U)
Resolution: 192 ticks per quarter note Memory Card (M-512E)
Recording Method: Real-time Trigger MIDI Converter (TMC-6)
● Metronome Parameters 0dBu = 0.775Vrms

Time Signature, Interval, Volume, Output select
(Master/Phones only)
* In the interest of product improvement, the specifications and/or
Instruments: 16 (Voice counting, Click, Cowbell, etc.)
appearance of this unit are subject to change without prior
notice.
168
Glossary This section explains terms that appear in this owner’s manual.
Acoustic Drum Compressor

This refers to conventional/acoustic drum sounds in the TD- This is an effect unit found in all studios, used in controlling
10, different of course from the Electronic sounds also avail- volume peaks to maintain a desired listening level. It’s also
able. used to change the tonal character and is an important tool
in final sound finishing work.
Ambience
This is the actual environment WHERE the drums are being Controller
played, with the possibility to change the size of the room, Controllers are devices which are used to input MIDI perfor-
the wall materials and the positions of the ambience mikes. mance data, such as keyboards, guitar controllers, and pad
controllers. (SPD-11/PAD-80 etc.)
Ambience Output Level
This refers to the total level of ambience for the entire drum CONTROL ROOM
kit. It’s similar to the “return level” of effect units routed This is where you’ll find the mixing console, compressors,
back to a mixer. EQ’s and digital effects. It’s one of the three key elements
(instrument, studio, control room) which make up the TD-
Ambience Send Level 10’s operating structure.
This refers to the individual send level of each instrument to
the ambience itself. Cursor
This is the highlighted portion in the display, indicating the
Append parameter being edited at that moment. Use the VALUE dial
This is an editing function of the TD-10’s sequencer, which or [INC/DEC] to adjust the highlighted parameter.
joins or combines two patterns into one pattern.
DEC Button
AUX1, 2 jacks Each time this button is pressed, the on-screen value at the
These are trigger input jacks for additional pads. Pads con- cursor location will decrease in steps of 1, useful when mak-
nected to these jacks can be used as pad “switches” for vari- ing fine adjustments. When making on/off settings, pressing
ous functions as well as for triggering sounds, though the this button will turn the setting OFF. If making large
equalizer and compressor cannot be used with sounds trig- changes in the value of a setting,the VALUE dial is quicker.
gered from these inputs.
Decay
Bulk Dump This parameter is used in sound editing , adjusting the decay
This is a function that transmits various types of TD-10 data time (length).
from the MIDI OUT connector for storage or “back up” on
an external device. To do so, you will need a MIDI cable and DIRECT 1, 2, 3
an external sequencer. This data can be only be used by the These jacks can be used for individual outputs (in stereo or
TD-10. mono) for more “separation control” or when using external
effect devices, mixers etc. or for outputting just the ambience
Chain alone. Digital effects are output only from the MASTER out-
Refer to “Drum Kit Chain.” puts.
Choking Drum Kit

This is a performance technique whereby, after a PD-7 or The combination of all settings for instruments, studio,and
PD-9 has been hit, the edge of the pad is pinched by hand to control room are referred to as a drum kit.
mute the decay (length) of the triggered sound. (similar to
choking a real cymbal by grabbing it) Drum Kit Chain
You can use the Drum Kit Chain function to create a
Appendices
Click sequence of up to 32 kits, allowing you use them in the

This is the sound the metronome makes. It can be used as a desired order or preference.
“stand alone” tempo reference or when the sequencer is
recording or playing back. Drum Trigger
A drum trigger is a sensor attached directly on an acoustic
drum, sending a signal that will trigger sounds from the TD-
10.
169
Glossary
EDIT INC Button

Editing is modifying a sound, effect, or musical data in the Each time this button is pressed, the on-screen value at the
sequencer. cursor location will increase in steps of 1, useful when mak-
ing fine adjustments. When making on/off settings, pressing
Effects this button will turn the setting ON. If making large changes
The TD-10 has a variety of digital effects such as reverb, in the value of a setting, the VALUE dial is quicker.
delay, flanger, chorus, and phaser.It’s sometimes abbreviat-
ed in the TD-10’s display as “FX.” Initialize
This operation returns all settings to their factory values.
Equalizer (EQ)
An equalizer usually divides sound into high, mid & low INST
frequency ranges, allowing their balance to be adjusted. The This refers to whole family of drum and percussion sounds.
TD-10 provides 2-band equalizers for the instruments (not (In the case of “parts” used in a pattern,they are referred to
usable with instruments assigned to the AUX1, 2 jacks), and with their actual names such as piano, guitar etc.)
a 3-band equalizer for the total sound of the TD-10.
KD-7
Expansion Board This is a Kick Trigger Unit. (ROLAND)
This is a board (optional) containing more instrumental
sounds to be added to the TD-10, and is installed in the slot Kick Trigger Unit
on the bottom panel. A kick drum triggering device.
FD-7 M-512E
A hi-hat controller pedal. A memory card that can be used with the TD-10, and other
Roland instruments.
Foot Switch
A separately sold foot switch (BOSS FS-5U) can be used to MASTER OUTPUT
select kits, and perform operations such as sequencer play- These jacks output all sounds as well as the TD-10’s internal
back/stop etc. effects. (Except when using individual outputs of course)
FS-5U MEMORY CARD

A general-purpose pedal that can be used with the TD-10, An external storage media on which TD-10 drum kits or
and as a foot switch for other devices or instruments. sequencer data can be saved. It is inserted into the memory
card slot (MEMORY CARD) located on the rear panel of the
FX TD-10. The TD-10 can use “M-512E” memory cards.
This is an abbreviation for EFFECTS, indicating the on board
effects unit. MIDI (Musical Instrument Digital Interface)
An international standard for allowing electronic musical
FX Send Level instruments to communicate. Virtually all electronic musical
This adjusts the volume of the instrument sent to the effect instruments sold today support MIDI, allowing those instru-
unit. ments (even ones made by manufacturers other than
Roland) to be used to play the TD-10. Pads connected to the
Function Buttons TD-10 can also play external sound modules or samplers as
These are the four buttons [F1][F2][F3][F4] located below the well via MIDI.
display. The function of these buttons will change depend-
ing on what’s in the screen, and the names of their current MIDI connector
functions are shown in the bottom of the display. These connectors are used to expand the TD-10’s functionali-
ty, such as synchronizing (the tempo) with other devices, to
Hi-Hat Control Pedal (FD-7) record performances, and to store data. Use a MIDI cable to
A pedal for controlling the hi-hat. connect other MIDI-compatible instruments or devices to the
TD-10. MIDI connectors are used ONLY if you are using an
external MIDI device.
170
Glossary
MIDI Soft Thru PD-5

The MIDI OUT/THRU connector of the TD-10 normally A single trigger pad - 8-3/4 inch (222 mm) diameter. No
functions as MIDI OUT. When the MIDI Soft Thru setting is “rim” function.
turned on, messages received at MIDI IN will be re-transmit-
ted from the OUT/THRU connector. PD-7
System exclusive messages will not be transmitted. A dual trigger pad - 7-9/16 inch (192 mm) diameter. The
head surface and rim send independent trigger signals.
MIX IN
An external sound source or CD player can be connected to PD-9
this jack, so that it can be monitored with the TD-10’s sound A dual trigger pad - 10 inch (254 mm) diameter. The head
from the MIX out and/or the headphone jack. (or sent to the surface and rim send independent trigger signals.
headphone only-switchable) Use the [MIX IN] knob on the
front panel to adjust the volume. PD-100
A single trigger pad - 11-13/16 inch (300 mm) diameter. The
Muffling head is a unique “mesh” type material allowing perfor-
This is a technique in which the vibrations of a drum head mance with brushes. No “rim” function.
are dampened with tape or other materials in order to adjust
the overtones of the sound. On the TD-10 you can select var- PD-120
ious types of muffling: unmuted, muting with tape, a ring A dual trigger pad - 13-13/16 inch (350 mm) diameter. The
mute, felt or a blanket. (depending on the choice of drum) head is a unique “mesh” type material allowing perfor-
mance with brushes. The head surface and rim send inde-
Note Number pendent trigger signals.
Every instrumental sound is assigned to a note of the key-
board, including the drum sounds and the percussion Percussion Group
groups. When the TD-10 is triggered from an external MIDI con-
troller source, (MIDI pad, sequencer or keyboard) 60 instru-
Pad Switch ments are available in addition to the 12 instruments
This function allows a pad to be used for operations such as assigned to the pads. For each drum kit, you can assign any
selecting drum kits, starting/stopping playback of the one of the 4 percussion groups.
sequencer,etc.
Positional sensing
Pad Pattern When an acoustic drum is hit, the sound will differ depend-
This function allows you to specify a pattern that will be ing on whether it is played at the center of the head or
played when a pad is struck even though hitting a pad nor- towards the rim. The TD-10 gives you this capability by
mally triggers a sound. With the TD-10 you can do both! allowing the tone to change as the playing position changes,
relative to the center or rim of the pad. (Snare drum or ride
Parameter cymbal ONLY).
“Shell Depth” or “Volume” are examples of sound-related
“parameters.” “Tempo,”and “Measure length” are examples Preview
of sequencer “parameters.” The process of modifying any The [PREVIEW] button on the TD-10’s front panel lets you
parameter is referred to as “editing.” audition a sound as you edit even if no pads are connected.
(Velocity sensitive)
Part Mute
This function temporarily silences a part during sequencer Quick Play
playback. This is a playback function of the TD-10’s sequencer that
skips over any blank portion or pause at the beginning of
Appendices
Panpot sequence data so that playback begins immediately with the

This is the adjustment that determines the left/right place- first MIDI event in the pattern.
ment of the sound in the stereo field. On the TD-10 the
sound can be moved to left or right in 7 steps respectively.
Pattern
In the sequencer, a pattern is a unit of performance data con-
taining data for any one or all of the four parts (Part 1, Part 2,
Bass part, Drum part).
171
Glossary
Rim Shot Trigger

A “rim shot” refers to striking the rim of a drum with a stick When a pad is struck, a waveform of the vibration is output
at the same time as hitting the head. Rim shots played with and transmitted to the sound module of the TD-10. This
the TD-10 will trigger just the instrument assigned to the waveform is called the trigger signal. The trigger jacks on
rim. the rear panel receive these signals. The trigger indicator in
the upper left of the panel indicates the reception status of
Recording the trigger signals.
In this owner’s manual, “recording” refers to recording a
performance onto the sequencer, which only records the VALUE Dial
note number,velocity (force) and gate time(length- This dial provides a convenient way to make large changes
adjustable) of the strike. It does NOT record sound itself. in the value at the cursor location. For changing values in
steps of 1, [INC/DEC] is easier.
Reset Time
This is a parameter in the sequencer’s Tap playback func- V-drums System
tion, and specifies the duration of time after which playback This refers to the drum system based on the TD-10,including
can resume. the pads, pedals and rack.
Sequencer V-EDIT
A sequencer is either a hardware-type device (such as MC- This refers to the Variable Drum Modeling process which
50MKII etc) or musical software in a computer which allows extensive editing parameters to be utilized. V-EDIT is
records/plays back MIDI performances. Sequencers allow available only for instruments supporting “V-EDIT” and
you to record using either a method referred to as “realtime only those assigned to trigger inputs 1–6.
recording,” (similar to conventional (audio) recording) or a
method in which individual performance events are entered V-SNARE, V-KICK, V-TOM
manually one after the other, (called “step recording.”) The These are instrument groups which allow V-EDIT. If you
TD-10’s sequencer only provides realtime recording. select one of these instruments for TRIGGER INPUT jacks
1–6, you will be able to perform V-EDIT operations (refer to
Simulation p. 136).
This means to “imitate” or “copy” something. The TD-10 is a
sound module that simulates a set of drums and its sur-
roundings.
Sound Module
This is an electronic musical instrument containing sounds
to be triggered by separate controllers (pad, keyboards,
sequencer etc.) via MIDI. The TD-10 can also be used as a
sound module.
STEP
In a Drum Kit Chain, “step” refers to the order in which the
drum kits are selected. Since up to 32 drum kits can be speci-
fied, a chain of 32 steps can be created for recall.
STUDIO
This is WHERE the drums are played and is one of the three
main elements (instrument, studio,control room) in the TD-
10’s sound producing structure. Here, the room itself can be
modified (i.e. room size, wall material, ambience mic posi-
tion) and the type and position of microphones on the
instruments can also be selected.
172
Index of screen displays
Here are the screen displays that will appear as a result of operations on the TD-10, in order of the
buttons that are pressed.
The page on which the main explanation for each display appears is listed, so you can refer to the
appropriate page for details.
KIT CHAIN
P.78 P.116
P.78 P.79 P.113
P.116
P.126 P.79 P.78
INST
P.80
Trigger 1–6 (except V-EDIT)
and Trigger 7–12
P.80 P.119 P.122, 123

V-EDIT EDIT
P.86
P.81 - P.85
V-EDIT
Accoustic Electronic TR-808 TR-909
Trigger
1
Trigger
2
Trigger
Appendices
3–6
173
STUDIO
P.87
P.88 P.87 P.87 P.88 P.89 P.88
CONTROL ROOM
P.90 P.90 P.90 P.93, 96
P.91 P.96 P.91 P.92 P.93
SETUP
P.108 P.109 P.114 P.137
P.111, 112 P.31, 110 P.115 P.43
P.124
P.115, 122, 124 P.121 P.72, 120 P.108, 118
P.128, 129 P.128 P.119 P.113
174
SEQUENCER
PATTERN PART
P.97
P.106
P.98 P.103–106 P.107
P.129 P.107 P.107
P.97, 101
P.106
P.98 P.103 P.107 P.107
REC Standby RECORDING CLICK TEMPO
P.102 P.99 P.100 P.102 P.97
Appendices
175
Index
A E
ADVNCD ................................................................................111 Depth....................................................................................57, 82
Ambience...................................................................................87 Device ID .................................................................................122
Ambience (Percussion Group) .............................................127 DIRECT 1, 2, 3 Jack.............................................................16, 91
Ambience Group Send ............................................................89 Display .....................................................................................113
Ambience Mic ...........................................................................87 Drum Kit........................................................................20, 38, 78
Ambience Output Level ..........................................................88 Drum Kit Chain ................................................................70, 116
Ambience Send (Click) ..........................................................100 Drum Kit List ......................................................................38, 78
Ambience Send (Pad) ..............................................................88 Drum Trigger ............................................................33, 112, 142
Ambience Send (Part) ............................................................107 EDIT ...........................................................................................81
Append ....................................................................................106 EFFECT (Click) .......................................................................100
Atk (Attack).........................................................................84, 85 EFFECT (Drum Kit) .................................................................93
Auto (SYNC) ...........................................................................129 EFFECT SWITCH ...............................................................41, 79
AUX1, 2 Jack ...........................................................................119 EFFECT TYPE ...........................................................................93
Electronic Drum kit..................................................................52
B EQ (Drum Kit) ....................................................................66, 92
EQ (Master) .............................................................................113
Backing INST ..................................................................101, 106
Erase Pattern ...........................................................................104
Bal (Balance)..............................................................................84
Error message .........................................................................138
BANK (Trigger Bank) ......................................................29, 108
[Exit] ...........................................................................................14
Basic (Trigger setting)............................................................109
Expansion Board ......................................................................43
Beat Delay............................................................................93, 94
External....................................................................................129
Bend......................................................................................53, 84
Bend Range .............................................................................106
Brushes.................................................................................36, 50
F
Bulk Dump ..............................................................................121 Flanger ➝ Delay .................................................................93, 95
Flying 3D-Delay..................................................................93, 96
C FOOT SWITCH...........................................................16, 72, 120
FREQ (EQ/Master) ................................................................113
CARD .................................................................................17, 114
FREQ (EQ/Pad)........................................................................92
[CHAIN] ............................................................................70, 116
Function Button ..................................................................14, 18
Chain Name ............................................................................116
FX Send Level ...........................................................................90
Choking .....................................................................................35
FX Send (Group).......................................................................96
Chorus ➝ Delay..................................................................93, 95
FX Send (Pad) ...........................................................................90
Clear pattern ...........................................................................105
FX Send (Part) .........................................................................107
[CLICK]..........................................................................73, 97, 99
FX Send (Percussion Group).................................................127
Compressor ...............................................................................91
FX SW...........................................................41, 51, 54, 62, 65, 79
Control Change ..............................................................128, 129
[CONTROL ROOM] ....................................................47, 65, 90
Copy (TOOLS) ........................................................................117
G
Copy Pattern (Measure) ................................................104, 105 Gain (EQ/Master) ..................................................................113
Count In ...................................................................................102 Gain (EQ/Pad)..........................................................................92
Crosstalk ..................................................................................112 Gate Reverb...............................................................................93
[CURSOR]......................................................................15, 18, 97 Gate time..................................................................................123
Curve........................................................................................109 [Group Faders]........................................................15, 28, 37, 67
Group FX send..........................................................................96
D Group Volume ..........................................................................96
Dcy (Decay) ...............................................................................84

[DEC]....................................................................................15, 19
H
Decay (INST).................................................................84, 85, 86 Hall Reverb .........................................................................93, 94
Decay (Percussion Group) ....................................................127 Head .....................................................................................19, 77
Delay ....................................................................................93, 94 Head Tension Adjustment ..............................................31, 110
Delete Pattern..........................................................................105 Head Tuning .......................................................................59, 82
Demo ..................................................................................28, 179 Head Type ...........................................................................58, 82
176
Index
Help....................................................................................42, 118 Muffling ...............................................................................60, 83

HH CTRL Jack ..........................................................................16 Mute (Part) ..............................................................................107
Hi-Hat Control Pedal...............................................36, 124, 128
Hit Pad Start............................................................................102 N
NAME (Chain)........................................................................116
I NAME (Drum Kit) ...................................................................78
[INC].....................................................................................15, 19 NAME (Pattern)......................................................................103
Initialize ...................................................................................137 Noi (Noise) ................................................................................84
[INST]...........................................................................55, 80, 136 Non Linear ..........................................................................93, 94
INST (Backing Part) .......................................................106, 125 Note Chase ..............................................................................115
INST (Click).............................................................................100 NOTE NO. (Pad) ............................................122, 125, 126, 127
INST (Percussion Group) ......................................................126
INST LIST ..................................................................................80 O
Internal.....................................................................................129
One Shot ....................................................................................98
Interval.......................................................................................99
Output (Click).........................................................................100
Output (Pad) .............................................................................91
K Output (Part)...........................................................................107
Keyshift (Part).........................................................................106 Output (Percussion Group) ..................................................127
[KIT] .........................................................................15, 20, 38, 78 Output Jack (DIRECT 1–3)......................................................16
Output Jack (MASTER) ...........................................................16
L
LIST (Drum Kit)..................................................................38, 78
P
LIST (INST) ...............................................................................80 PAD PATTERN ................................................................72, 119
LIST (Pattern)............................................................................98 PAD SWITCH .........................................................................119
LIST (Percussion Group) .......................................................126 Pan (Click) ...............................................................................100
Local Control...........................................................................124 Pan (Pad) ...................................................................................90
Loop (Play) ................................................................................98 Pan (Part) .................................................................................107
Loop (Recording)....................................................................102 Pan (Percussion Group).........................................................127
Parameter ................................................................................171
M [PART] .......................................................................97, 101, 106
Part Mute .................................................................................107
M-512E .....................................................................................114
Part Volume ............................................................................107
MAS EQ (Master EQ).......................................................40, 113
[PATTERN] ...........................................................68, 97, 98, 101
MaskTime ................................................................................112
Pattern List ................................................................................98
[MASTER] .....................................................................15, 37, 45
PD-7..........................................................................24, 25, 35, 36
MASTER OUTPUT Jack ....................................................16, 23
PD-9..........................................................................24, 25, 35, 36
Master Tune ............................................................................106
PD-100......................................................................24, 30, 31, 36
Material ...............................................................................56, 81
PD-120................................................................24, 30, 31, 35, 36
MDS-10 ................................................................................22, 24
Pedal CC ..................................................................................128
MDS-7U .....................................................................................22
Pedal Data Thin ......................................................................124
Memory (Pattern) .....................................................................98
Percussion Group ...................................................................126
Memory Card..................................................................114, 115
Phaser ➝ Delay...................................................................93, 95
Memory Card Protect ............................................................114
[PHONES] .....................................................................15, 27, 37
Memory Card Slot..............................................................16, 17
PHONES Jack............................................................................16
Appendices
Mic Position.........................................................................87, 88
Pitch (Pad) .................................................................................86
Mic Type ....................................................................................89
Pitch (Percussion Group) ......................................................127
MIDI .................................................................................121, 140
Pitch Shift Delay .................................................................93, 95
MIDI Channel .................................................................124, 140
Plate Reverb ........................................................................93, 94
MIDI IN Jack .....................................................................16, 140
[PLAY] .................................................................................68, 97
MIDI OUT/THRU Jack ...................................................16, 140
Play Type...................................................................................98
MIDI ➝ Delay .........................................................................129
POLARITY ................................................................................25
[MIX IN].......................................................................16, 37, 108
Positional Sensing ............................................................36, 129
MIX IN Output .......................................................................108
Preset Drum Kit........................................................................20
177
Index
Preset Pattern ............................................................................97 Trigger Jack ...............................................................................24

[PREVIEW]..................................................................15, 27, 118 TRIGGER TYPE ........................................................30, 108, 142
Program Change.............................................................124, 128 [TRIG SELECT]...................................................................15, 20
PROTECT (Card)..............................................................17, 114 Tune (TR-808/909) ...................................................................85
Tuning..................................................................................59, 82
Q Type (Effect) ..............................................................................93
Type (EQ) ..................................................................................92
Q..........................................................................................92, 113
Type (Pad) .........................................................................30, 108
Quantize ..................................................................................103
Type (Studio) ............................................................................87
Quick Play .................................................................................98
U
R
Undo.........................................................................................117
[REC] ..................................................................................97, 102
Rec Mode .................................................................................102
Remote .....................................................................................129
V
Replace.....................................................................................102 [VALUE] .............................................................................15, 19
Reset Time .................................................................................99 V-Basic Kit .................................................................................29
RetrigCancel............................................................................111 V-Drums System ......................................................................76
Return Level........................................................................93, 94 V-EDIT .......................................................................................81
[RIM] ..............................................................................19, 20, 77 V-Standard Kit ..........................................................................29
Rim Sensitivity........................................................................110 Volume (Drum Kit) ................................................................127
Rim Shot ....................................................................................35 Volume (Pad) ......................................................................67, 90
Room Reverb.............................................................................93 Volume (Part)..........................................................................107
Room Size ............................................................................64, 87 Volume (Percussion Group) .................................................127
Volume (Master).......................................................................15
S
ScanTime .................................................................................111
W
SELECT ......................................................................................79 Wall Type ..................................................................................87
Sensitivity ..........................................................................39, 109
[SETUP]......................................................................................14 Z
Shell Depth ..............................................................49, 57, 81, 82
Zone CC ...................................................................................129
Shell Material ......................................................................56, 81
Snappy .......................................................................................85
Soft Thru ..................................................................................123
Others
SPD-11......................................................................................123 10A......................................................................................30, 108
Step .....................................................................................70, 116 10B ............................................................................................108
[STOP] ........................................................................................97 12A......................................................................................30, 108
Strainer Adj. ........................................................................61, 83 12B ............................................................................................108
[STUDIO].................................................................15, 47, 63, 87 3D-Delay..............................................................................93, 95
SYNC (MIDI)...........................................................................129
System Initialize .....................................................................137
T
Tap..............................................................................................98
[TEMPO]......................................................................97, 99, 102
Threshold.................................................................................109
Time signature ..................................................................99, 101
Tone......................................................................................84, 85
[TOOLS].....................................................................................14
TR-808 ........................................................................................85
TR-909 ........................................................................................85
TRIGGER BANK ..............................................................29, 108
TRIGGER Indicator............................................................14, 45
178
About demo song
Song title Composer Copyright
Rainbow Roland Corporation © 1997, Roland Corporation
For EU Countries
CAUTION
Danger of explosion if battery is
Apparatus containing incorrectly replaced.
Replace only with the same or
Lithium batteries equivalent type recommended by the
manufacturer.
Discard used batteries according to the
manufacturer’s instructions.
ADVARSEL! VARNING
Lithiumbatteri - Eksplosionsfare ved Explosionsfara vid felaktigt batteribyte.
fejlagtig håndtering. Använd samma batterityp eller en
Udskiftning må kun ske med batteri af ekvivalent typ som rekommenderas av
samme fabrikat og type. apparattillverkaren.
Levér det brugte batteri tilbage til Kassera använt batteri enligt
leverandøren. fabrikantens instruktion.
ADVARSEL VAROITUS
Eksplosjonsfare ved feilaktig skifte av Paristo voi räjähtää, jos se on
batteri. virheellisesti asennettu.
Benytt samme batteritype eller en Vaihda paristo ainoastaan
tilsvarende type anbefalt av laitevalmistajan suosittelemaan
apparatfabrikanten. tyyppiin. Hävitä käytetty paristo
Brukte batterier kasseres i henhold til valmistajan ohjeiden mukaisesti.
fabrikantens instruks joner.
For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION

RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.
– Increase the separation between the equipment and receiver.
– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
– Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
179
Information
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
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Donnybrook, Dublin 4.
G.A. Yupangco & Co. Inc. EL SALVADOR Republic of IRELAND TEL: (022) 66-9426
339 Gil J. Puyat Avenue TEL: 262-0788 TEL: (01) 2603501
Makati, Metro Manila 1200, IRAN
PHILIPPINES MEXICO MOCO, INC.
TEL: (02) 899 9801 Casa Veerkamp, s.a. de c.v. No.41 Nike St., Dr.Shariyati Ave.,
Av. Toluca No. 323, Col. Olivar Roberoye Cerahe Mirdamad
de los Padres 01780 Mexico D.F. Tehran, IRAN
MEXICO TEL: (021) 285-4169 As of April 1, 2003 (Roland)
TEL: (55) 5668-6699
01127534 '03-5-GN
For KD-120 and
Non-Expanded TD-10 Owners
Before using the KD-120, you need to follow the steps below to make the appropriate settings
for the TD-10.
However, these settings won't be necessary if your TD-10 has been upgraded by means of the
TDW-1.
Should you neglect to make the appropriate settings for the TD-10, you could likely experience the following
problems:
• Sometimes the kick drum does not sound (uneven volume)
• The volume of kick drum is too small (reduced sensitivity)
Procedure
* Do not strike any pads or step on any pedals (except the KD-120) until the following settings are complete.
1. Press the [SETUP] button.
The “SETUP MENU” screen appears.
2. Press the [F1 (TRIG)] button.

The “TRIGGER BASIC” screen appears.
3. Use the [TRIG SELECT] buttons to select the pad being used for the kick.
The upper right of the display will show “H1 [KICK]”.
4. Use the [CURSOR] buttons and [VALUE] dial to modify the values of
the settings so they match those in the screen depicted at right.
5. Press the [F1 (BANK)] button.

The “TRIGGER BANK” screen appears.
6. Using the [CURSOR] buttons and [VALUE] dial, change the setting so
it matches that shown at right (K 2).
7. Press the [F3 (ADVNCD)] button.

The “TRIGGER ADVANCED” screen appears.
8. Use the [CURSOR] buttons and [VALUE] dial to modify the values of the
settings so they match those shown at right.
This completes the settings you need to make for the TD-10.
40343345 2*RAD
If you experience any of the above-mentioned problems even after you’ve made the
correct settings, try adjusting the head tension and mounting the kick pedal, as
described in the following.
Adjusting the head tension

Head tension that is too loose may cause problems. Adjust the head tension according to the following procedure.
Procedure
Slight gap
Lock nut Tuning bolt
1. Loosen all six lock nuts.

1 3
2. Using a tuning key, loosen the tuning bolts until a slight gap is produced.
3. Tighten all tuning bolts by hand, as tightly as you can.
4. Using the tuning key, turn the tuning bolts a half to a full revolution each, thus
tightening them. 6 5
Tighten each tuning bolt one by one, observing the numerical order shown at right.
5. Tighten all lock nuts to prevent loosening of the tuning bolts.
HEAD MADE BY REMO U.S.A.
4 2
This completes the head tension adjustment.
Notes concerning installation of the kick pedal on the KD-120.

• Install the kick pedal securely.
• Set the KD-120 so no mechanical noise is heard when you step on pedal.
• Make sure that KD-120 does not touch the stand or the other pads.
• Moving the beater’s striking point upwards from the center of the head increases the sensitivity a little.

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®

Copyright © 1997 ROLAND CORPORATION

INSTRUCTIONS PERTAINING TO A RISK OF FIRE, ELECTRIC SHOCK, OR INJURY TO PERSONS.

IMPORTANT SAFETY INSTRUCTIONS

For the USA

For the U.K.

• Always grasp only the plug on the power-supply

• Try to prevent cords and cables from becoming

• Never climb on top of, nor place heavy objects on

• Never handle the power cord or its plugs with wet

• Before moving the unit, disconnect the power plug

• Before cleaning the unit, turn off the power and

• Whenever you suspect the possibility of lightning in

• Install only the specified circuit board(s) (WAVE &

Chapter 1. Overview of the TD-10 V-drums

Chapters 2–5. Functions for creating sound

Chapter 6. Using a sequencer and related functions

Chapter 7. Settings for the entire TD-10

Chapters 8 and 9. Convenient functions and how to use them

Chapter 10. Functions using MIDI

Quick Start ..............................21

For a better performance ..........................35

Features of the preset drum kits................47

Modifying a drum kit ................................54

Examples and convenient tips ...................68

Advanced Use .........................75

Chapter 2. Settings for the entire drum kit ....78

Chapter 3. Instrument settings ..................80

Chapter 4. Studio settings .........................87

Chapter 5. Control room settings ...............90

Chapter 7. Settings for the entire TD-10...108

Chapter 8. Convenient functions ..............116

Chapter 9. Operations using pads and

Chapter 10. Functions using MIDI ............121

MIDI messages for detailed performance expressions ...................................................128

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

* Positional detection is possible on snare drums and ride cymbals.

● With 600 drum sounds and 54 backing instrument provided

● A user interface comfortable for drummers

● High-speed trigger response

● Twelve pads can be used simultaneously

● Simulate the entire process of actual recording

● Perform using brushes

● Sound processing specially selected for drums

● Functions and operations perfect for live performances

● Easy-operation sequencer is built-in

● Previous models of pads can be used

● User Installable Expansion boards allow extended functionality

● Usable as a MIDI sound module

1 Trigger Indicator 5 EXIT Button

2 LED Display 6 TOOLS Button

9 GROUP FADERS 20 TRIG SELECT

23 MEMORY CARD Slot 29 PHONES Jack

27 OUTPUT (MASTER) Jacks

■ Saving your settings

■ Buttons, sliders and knobs

■ Function buttons ([F1]–[F4])

■ How to modify settings

■ About the upper right of the screen display