FR-1 Piano type / Button type
Small Size, Big Performance

V-Accordion

DT-HD1

HD-1 Drum Tutor

Drum Tutorial Software for HD-1
Rolands HD-1 V-Drum Lite is a big hit with beginners around the world. To enhance the HD-1 experience and help drummers learn the fundamentals, Roland has created DT-HD1, a fun, educational interactive software application. Connect your HD-1 to a PC via USB, launch the software, and play along and learn.
Rolands revolutionary V-Accordion has profoundly changed the musical world since its debut in 2004. As the digital-modeling concept has grown in popularity around the world, so too has the need for more V-Accordion models. Embodying the digital advantages of the flagship, the new ultralight FR-1 Piano type and FR-1b Button type put V-Accordion power in the hands of students, beginners and keyboard players! Extremely lightweight and portable Instantly switch between classic accordions, tunings and orchestral instruments Built-in reverb, chorus, rotary, effects Ideal for young students and stage performers

Ideal for Students.

Thanks to its small size, the FR-1 is perfect for young beginners and music schools.

. And for Performers

Compact, but with no compromise in sound quality, the FR-1 is ideal for stage performers and keyboardists. With its long battery life (uses 8 x AA type 2000mAH Ni-MH batteries) youll get over five hours of performance per pack plenty of time to roam the stage with the FR-1!
A Speakerless, Light Model
Connect your FR-1 to Roland amplifiers (MOBILE CUBE, CM-30, CUBE Street , SA-300) and be impressed by the power of your sound!

Make Your FR-1 Unique

The FR-1 comes with six variations of inlay sheets that enable owners to change the appearance of their FR-1 from time to time by changing these sheets. The player can also create his/her own custom designed inlay sheets using A4 PC printer, or by using any kind of commercially designed paper.
Advanced Musical Expression
With the FR-1, you can simulate up to seven different Accordions. And with the innovative four Organ presets (Harmonic Bar) and rotary effect, you can produce amazing organ sounds as well! You can even play your own beats, adding drums with the bass & chord buttons!
Play Anytime and Anywhere
With high-quality earphones included in the FR-1 package, this silent accordion is extremely convenient for practicing at night and without disturbing your family or neighbors.

BAG-FR-1

Gig Bag
This high-quality gig bag is made specifically for the FR-1 Piano type / Button type. Carry your V-Accordion in style with this attractive, Roland-logo bag.
FR-1 Piano type / Button type Specifications
[KEYBOARDS] Right hand FR-1 Piano type: 26 keys, velocity sensitive (starting at B key). FR-1 Button type: 62 buttons, velocity, sensitive Left hand FR-1 Piano type / Button type: 72 velocitysensitive buttons. [BELLOWS] Real pneumatic detection of bellows pressure (high-resolution pressure sensor), Bellows Resistance regulator. [SOUND SOURCE] Max polyphony 128 voices Tones 7 accordion Sets, each including: 8 Treble registers, 3 Bass registers, 3 Orchestra Bass registers, 3 Orchestra Chord registers, 4 Orchestra sounds, 4 Organ sounds. Treble reed footages 4 Bass reed footages 5 Chord reed footages 3 [PBM (Physical Behavior Modeling)] Noises stopping-reed growl, closing valve noise, left button noise Individual reed simulation hysteresis threshold, expression curve, pressure-variant filter, pressure variant pitch, deviation Reed sound wave switching by bellows acceleration, by note repetition speed [MUSETTE TUNING] Micro tuning presets 15 (Dry, Classic, F-Folk, American L/H, North Europe, German L/H, D-Folk L/H, Alpine, Italian L/H, French, Scottish) [EFFECTS] Reverb: 8 types. Chorus: 8 types. Rotary Slow/Fast (for organ sounds) [PANEL CONTROLS] Knob controls Volume/power, Registers: 4 x Treble, Orchestra, Organ, Set, 3x Bass&Chord, Orchestra Bass, Orchestra Chord Buttons Orchestra/Organ, Orch Bass, Orch Chord, Left Register, Drums/Default, Song/Demo, User Prog/Dec, Metronome/Inc [OPERATION MODE] Bass & Chord modes 2Bs Rows, 3Bs Rows A-7th, 3Bs rows A-5dim, 3Bs Rows B-7th, 3Bs Rows B-5dim, 3Bs Rows Bx Treble modes (Button type) C-Griff Europe, C-Griff2, B-Griff Bajan, B-Griff Fin, D-Griff 1, D-Griff 2 Octave: Down (-), 0, Up (+) (for Treble, Orchestra and Organ) Drums 4 drum/percussion sets SONG function 4 preset songs with selectable mute function for left- or right- hand part [Others] POWER SUPPLY Supplied external adaptor or optional batteries POWER CONSUMPTION 375 mA (using external adaptor) EXPECTED BATTERY LIFE UNDER CONTINUOUS USE (optional) 8 x AA type Ni-MH 2000 mAh batteries 5.5 hours. This varies depending on the actual conditions of use. *Carbon and alkaline batteries should not be used. Be sure to only use rechargeable Ni-MH AA-type batteries Connectors Headphones jack (Stereo) Output Jack L/Mono (Treble), R/Mono (Bass) MIDI connector OUT/IN (adjustable via Function parameter), DC IN, socket Power Supply: External AC adaptor (100 ~ 240V, universal) Metronome: Time Signature: 1/4, 2/4, 3/4, 4/4, 5/4, 6/4, 6/8, 9/8; Tempo: 20-250; Level: Off, Low, Medium, High Dimensions FR-1(Piano type): 395 (H) x 365 (W) x 195 (D) mm / 15-9/16 (H) x 14-3/8 (W) x 7-11/16 (D) inches, FR-1(Button type): 375 (H) x 365 (W) x 195 (D) mm / 14-13/16 (H) x 14-3/8 (W) x 7-11/16 (D) inches Weight FR-1(Piano type) without straps and optional batteries: 5.5 kg / 12 lbs. 3 oz, FR-1(Button type) without straps and optional batteries: 5.5 kg / 12 lbs. 3 oz Accessories 1/4 1/4 phone (guitar) cable, Earphones (with 1/8 1/4 adaptor plug), External AC adaptor, Quick Start manual, CD-ROM with Owners Manual, Reference caps for the treble buttons (Button type), Strip for securing the adapter, MIDI, and/or audio cables, Hexagonal wrench, Straps, Replaceable traforo inlay sheets: 5 Options BAG-FR-1: Accordion soft bag; CM-30: Cube Monitor; CUBE street: Stereo Amplifier; SA-300: Stage Amplifier; Mobile Cube: Stereo Amplifier * The specifications are subject to change without notice. Covered by U.S. Patent No. 6,946,594

34 preset patterns with SMF compatibility Notation screen with bouncing ball and timing check with right and left hand instruction Game screen with falling blocks and score points

Notation Screen

Metronome, A-B repeat, drum mute, drum and pad solo UM-1G USB-MIDI interface and audio cable included to connect the HD-1 to a computer Windows compatible (Vista/XP)

Game Screen

SS-PC1

Support Stand for PC

DT-HD1 Specifications
Screens Drum Notation Screen, Game Screen Preset Pattern Basic (only drum pattern): 8, Primary: 10, Advanced: 16 Tempo Quarter note = 20 to 250 Notes that can be shown in the Notation Area Values: longer than 8th note triplets, Velocity: 20 or greater, Note number: corresponds to the pads of the HD-1, MIDI channel: 10 Playable Song Files Format: Standard MIDI Files (Format 0/1), Number of Measures: 999 or less, Number of Events: 99,999 or less, Resolution: 24 ticks per quarter note or more Accessories UM-1G USB-MIDI Interface, HD-1 Drum Tutor CD-ROM, Audio Cable, Cable Tie, Install Guide System Requirements Operating System: Microsoft Windows XP SP2, Microsoft Windows Vista * This does not work with the 64-bit Edition of Windows, CPU/Clock: Intel Core, Pentium processor 1.2 GHz or higher (2.0 GHz or higher is recommended), RAM: 512 MB or more, Hard Disk: 25 MB or more, Display/ Colors: 1024 x 768 or higher/65,536 colors (16 Bit High Color) or more, Others: CD-ROM Drive, USB Port * The specifications are subject to change without notice.
Position your laptop next to the HD-1 with this sturdy, custom-built stand. Its an ideal accessory when using DT-HD1 software with the HD-1.

*Computer not included

NPC_US_081217-r4.indd 16-17

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Re so ur ce
Roland Drums & Percussion Resource Guide
Drum and Percussion Resource Guide

2010 Roland Corp. US

The Worlds Finest Electronic Drums and Percussion. PERIOD.
The Drum and Percussion Company

Table of Contents

Roland Contact, Web, and Fax Back Information.. 4 Roland Drums and Percussionthe Pros Choice. 5. The Roland Drum and Percussion Story... 9 The V-Drums Advantage... 10 V-Drumsthe History... 12. Multi-Layer Mesh Headsthe Story.. 16 COSM Explained.... 17 Online Teaching Resources... 20. Drum & Percussion Productsa Quick Guide.. 21 V-Drums.... 22 DT-HD1 Drum Tutor Software... 26 TDW-20 Expansion Card... 26 Octapad SPD-30... 27 SPD-S Sample Pad... 28 HandSonic 10/15... 29 RMP-Series Rhythm Coaches... 30 Trigger-to-MIDI Converters & RT-Series Drum Triggers.. 32 Amplification... 33 Stands & Accessories... 34 Reinitialization Guides... 35 Restoring the SDP-S to Factory Settings.. 42 Clickable Links to Download PDF Owners Manuals. 43 V-Drums Setup Suggestions... 45 Parts.... 48 VH-12 Hi-Hat Clutch Assembly.. 48 Common Replacement Parts... 49 Dont Make Johnny Sad: No Felt Beaters!... 53 Notes.... 54

Contact/Web Information

Main Roland Phone Number: (323) 890-3700 Shipping Address: Roland Corporation US 5100 So. Eastern Avenue Los Angeles, CA 90040-2938 Mailing Address: Roland Corporation US P.O. Box 910921 Los Angeles, CA 90091-0921
Roland's Award Winning Product Support. There's little, if any, "hold" time, and it's FREE!
Drums & Percussion (323) 890-3743

@rolandus.com

Demo Videos "How to" Videos for most Sound Modules Searchable Product Support Section Technical Documents for Download, Including Manuals Complete Listings for All of Roland and Boss Products

What You'll find:

Roland Drums & Percussion

the Pros Choice

Travis Barker Mike Bennett Gregg Bissonette Vanessa Brown Luis Conte Steve Distanislao Brad Dutz Sheila E Peter Erskine Julio Figueroa Richie Garcia Omar Hakim Taku Hirano Bashiri Johnson Jim Keltner Thomas Lang
Graham Lear Jim Kilpatrick Pat Mastelotto Marco Minnemann Rod Morganstein Nate Morton Donny Osborne Neil Peart Johnny Rabb Walfredo Reyes, Jr. Kevin Ricard Michael Schack Mark Schulman Mike Snyder Tommy Snyder
The Roland Drum and Percussion Story.
The Worlds Finest Electronic Drums and Percussion. PERIOD
The V-Drums Advantage - Innovation & Value
Roland has been designing groundbreaking electronic percussion products for decades. With the introduction of V-Drums in 1997, a new era of electronic percussion was born. By combining innovative technologies with the dynamic playing experience that drummers expect, Roland VDrums have become the standard by which all other electronic drum kits are measured. We Call This The V-Drums Advantage Patented Multi-Layer Mesh Heads Rolands mesh heads accurately reproduce your drumming techniques with outstanding responsiveness and sensitivity, and are easily adjustable to fit your individual playing style. This unique multi-layer design is only available on Roland V-Drums. A Quiet Innovation The unique design of the V-Drums mesh heads results in a drumhead that produces very little acoustic noise when struck. (The same is true when you play rim shots on the V-Drums rubbercoated rims.). With V-Drums, you can play with all the intensity you like, yet easily control the sound level with a twist of the volume knob. And for those late-night practice and recording sessions, just plug in a set of headphones. Superior Playing Feel Youll experience a great acoustic drum feel when playing Roland V-Drums. Rolands patented multi-layer mesh drumheads play and react similarly to the drumheads on acoustic drums. Designed to respond to the subtle nuances of your playing, they ensure that your drumming techniques are accurately reproduced. The multi-layer mesh head design allows a much wider tension range than single-layer mesh heads, so you can easily tension the heads for exactly the right feel to fit your playing style with a standard drum key. Quality & Durability Roland products are known for quality and durability and Roland multi-layer mesh heads are no exception. Designed to respond to the subtleties of your playing, Rolands mesh heads are also extremely durable and can handle even the most aggressive drumming. Expressive Sounds Roland has been on the forefront of cutting edge drum and percussion sounds for decades. With V-Drums, these sounds respond to the drummers playing techniques just like acoustic drums. Dynamic Expression Like an acoustic instrument, Roland drum and percussion sounds change in volume when struck with increased strength, but also like an acoustic instrument, they also change tonal characteristics. Take an acoustic crash cymbal, for example: as the cymbal is struck harder, not only does the volume increase, but the tone of the sound changes as well. On most models, the cymbal pads can also be choked by squeezing the lower edge of the cymbal pad after is struck, letting you instantly mute the cymbal sound just as you would by choking an acoustic cymbal. Expressive Hi-Hat Control Every V-Drums drum set includes the most expressive hi-hat control available, and gives you all the subtle tone colors an acoustic hi-hat. Not just open and closed - but all sound variations in between as you move the hi-hat pedal while playing the pad. Even hi-hat heel splashes are accurately reproduced. 10

V-Drums the History

How Roland Became the Biggest Drum Company in the World
Roland has been designing innovative electronic percussion products since the company was founded in 1972. Over the years, Roland has released many breakthrough percussion products, like the classic TR808 in 1980, the original Octapad-Pad 8 in 1985, and the R-8 Human Rhythm Composer in 1989. In 1992, Roland introduced the first complete electronic drum set, the TDE7K. In 1997, Roland introduced the revolutionary V-Drums - the TD-10 V-Pro Series. Featuring mesh head pads, cutting edge sounds, and a unique user interface, the original V-Drums set was a major technological breakthrough that was embraced by drummers, producers, recording engineers, educators, and others in the worldwide music community. Not surprisingly, professional drummers in virtually every musical style have accepted Roland V-Drums as an essential tool for their work in the studio and on stage. This nearly 40-year commitment to electronic percussion innovation has elevated Rolands stature to become the biggest drum company in the world. Heres an account of three V-Drum milestones, as told by Rolands Hiroyuki Nishi and Steve Fisher. 1997: Birth of the V-Drums Nishi: After Roland released the VG-8 (V-Guitar) in 1995, we had many requests to utilize our COSM technology for drums. Develop the V-Drums in addition to the V-Guitar! they said. This COSM technology was mainly related to the sound module (TD-10) development, but we think the biggest turning point for V-Drums was the completion of the mesh head, which replaced the previous rubber pad, the PD-7. In the PD-7, we used a floating structure to pull the rubber down to the edge of the pad, floating on the pad frame, which did not satisfy us. Fisher: Plus, we felt the gum rubber pads were more like synth action (in keyboard terms), and we wanted to help drummers get an acoustic feel. The challenge was to get the acoustic feel without the acoustic noise. We knew that if we could provide drummers the electronic counterpart to 12
their acoustic drums like keyboard player and guitar players have had for years we would be successful. Nishi: In order to get a good and natural feeling, we agreed that we should use something like film or skin as head material for the pad. One day, our Mechanical Designer, Mr. Yoshino, visited a do-it-yourself shop a supermarket for carpentry and gardening goods and coincidentally found a small trampoline, which used a mesh-type material for the bouncing mat. He had an inspiration: Roland could use a mesh surface for the drum pad. Although we could not find any good subcontractors to produce the mesh head in Japan, fortunately Mr. Kakehashi, the Founder of Roland, introduced us to Mr. Remo Belli, the Founder of Remo. We asked him to produce the mesh head for us, and he agreed. Fisher: We did extensive testing with different types of mesh, weave patterns, densities, and combinations. We discovered that a certain kind of mesh, in two layers with the weave patterns at 45-degree angles, was the best and we were able to patent it. While developing the mesh head, we became aware of Remos Acousticon material used in their drum and percussion shells. Thats when we switched from the original steel-shell idea to the Acousticon shell. The Acousticon material not only gave us the desired acoustic drum look, it provided us with the ability to make any shell size, depth, and thickness. Also, its extremely strong, and we werent wasting any natural wood resources. Although the mesh head was quiet, playing rim shots werent. One day while playing the prototype upside-down, we discovered that the rubber pour on the bottom of the shell felt great and was quiet. We asked Remo if they could also put a rubber pour on the top counterhoop. They made custom molds, and, sure enough, it worked great! It kept the whole performance of the drum quiet, which was a key benefit of electronic drums. Nishi: At this point, we had completed two missions: to utilize the COSM technology for the sound module, and to improve the look and feel of the pad.

V-Drums the History (cont)
2001: V-Cymbals Before we arrived at the current materials/structure of the V-Cymbals, we engaged in the following tests: Acoustic Cymbals (Metal Base) with Rubber Surface To reduce the noise of acoustic sound, we attached the rubber on the bottom side of the acoustic cymbals, but when we hit the top cymbal (metal surface), it was too noisy. Also, when we tested rubber attached to both sides of the cymbals (upper/bottom), it was good in reducing the noise, but it was too heavy for use. And, to admit the worst, when we hit the pad too hard, it dented. This was not suitable. Mesh Base With our knowledge of mesh materials from the earlier-developed V-Pad, we tested the mesh base for V-Cymbals, but we could not design it in the shape of a real cymbal, even though we stretched the mesh very tight. Also, it produced a bad feel when played, so we had to give up the mesh idea. Plastic Base with Rubber Surface Since the metal- and mesh-base prototypes could not satisfy us in producing the ideal V-Cymbals, we went for a plastic base in the third revision. The plastic-based cymbal itself was not so good in terms of feel, and its sensitivity was limited when struck too far from the pickup point. Therefore, we improved the position and structure for the sensor. Since we had to connect the V-Cymbals to the sound module via cable, we considered how to stop the cymbal from revolving while allowing it to swing freely like a natural cymbal. But we solved this, and produced a V-Cymbal that could be mounted on a regular acoustic cymbal arm/stand without over-rotating. Fisher: Another issue we had was the vibration; which was making it difficult to trigger accurately, so we altered the shape of internal cymbal plate, which limited the vibration waves, and thus improved sensitivity and accuracy. We received a patent for this as well.
2004 V-HI-HAT Nishi: The newest generation V-Drum kits (starting with the TD20S) featured a new star component: the V-Hi-Hat. Technically, there were two primary factors in the development of the V-Hi-Hat. To accurately send the impact signal to the sound module. To send the information of the open/closed condition between the top and bottom pads to the sound module. To meet these goals, we set up the motion sensor in the center of the bottom pad, and we tried many mechanical structures, such as optical-type sensors or hall elements at the beginning. Finally we decided to use a spring to push down the sensor for sending the open/closed information to the sound module. For the materials of the V-Hi-Hat, we used the same materials as the V-Cymbals: an internal base with rubber surface. In order to improve hi-hats sensitivity consistency, we used a crescent shape part for the top pad. In order to distinguish which area of edge/bow was high, we used a special sensor for detection. Therefore, we required only two cables to be connected between the bottom pad and the sound module, while there is one link cable between the top and bottom hi-hat pads. The V-Hi-Hat was developed and produced by a team of six R&D engineers, which included a mechanical designer, hardware designer, software programmer, and sound engineer. Today, the V-Drum legacy of innovation continues with the new TD-12 drum module with Interval Control, the TD-12S V-Drum kit, and VH-11 floating hi-hat.

Multi-Layer Mesh Heads the Story
Why are V-Drums So Quiet?
When an acoustic drum head is struck, the surrounding air vibrates, and sound is produced. The harder its struck, the more the head moves, and the louder the volume. With Rolands patented mesh head, the air can pass through the gaps in the mesh fabricthe surrounding air does not vibrate. This is what makes the mesh head so quiet.
Mutli-Layer Mesh Makes a Difference
You see them stamped on every Roland drum head, numerous US Patent Numbers. One of these patents covers our multi-layer mesh heads for both electronic and acoustic percussion. In addition to being nearly silent, Roland two-ply mesh heads are extremely durablemuch more so than single-ply mesh heads.
The two-ply structure also brings another amazing trait to the mix; it broadens the playable feel-good tension range. Simply put, two-ply Roland mesh heads feel better at much wider tension ranges than single-ply mesh heads.

COSM Explained

Using COSM in the Drum World Rolands drum design is driven by drummers, for drummers. This is obvious in their sound, look, feel and playability, but less obvious in the technology behind the sounds, namely, COSM. Short for Composite Object Sound Modeling, COSM makes it possible for drummers to create and edit sounds using acoustic drum parameters. What a great idea. We dont have to learn much more than a few button pushes to enter the world of cuttingedge electronic drums. A derivative of COSM, called Variable Drum Modeling (Modeling for short), is found in the TD-20, TD-12, and TD-9 (ambience only) drum modules. Modeling allows us to use icons, or pictures to do most of the editing. Youll see how ingenious this is a bit later. COSM and the V-Drums Of the five current drum modulesthe TD-20 (V-Session), TD-12 (V-Stage), TD-9 (V-Tour), TD-3(V-Compact) and HD-1 (V-Drums Lite)the top of the line TD-20 makes the most extensive use of COSM. The TD-12 and TD-9s COSM use draws from a sub-set of the TD-20s modeling parameters; with the exception of button pushes, the TD-12s COSM editing is nearly the same as the TD-20, but with pared down editing parameters such as shell depth and EQ. The TD-20, TD-12, and TD-9 include the ability to pitch bend via the hi-hat controller pedal making them extremely powerful. The TD-3, although benefiting from COSM, is technically not a modeling drum module. But, if youve played the V-Compact Set you can certainly hear the drum modeling influence, as the TD-3 sounds incrediblemuch better than its low price would suggest. Beyond Sampling COSM technology is much more advanced than plain old sampling. With sampling, any edits made will affect the entire sample. This isnt very sophisticated. For instance, if you change the pitch of a sampled snare drum, every aspect of that snare sound changesattack, snare buzz, overtones, etc.making it unrecognizable after as little as a fourth of an octave pitch change! With COSM technology, pitch changes of four octaves or more are possible without changing the original sounds characteristics. Thats because modeling can change just the specific part of the sound, if needed, leaving the others alone. All this editing power is invisible to the user. Take a V-Edit snare, drop the pitch two octaves and youll hear COSM at work. Modeling rocks! Try Some V-Editing I meet a lot of drummers that never venture into the editing of their V-Drums at all, and 17

COSM Explained (cont)

this is fine. V-Drums sound GREAT right out of the box, because the factory drum kits are programmed by some of the best professional drummers in the business. But even if you havent done any editing, read on to see how COSM makes it simple to create your own custom set. Remember, you can always retrieve the factory sounds. Editing COSM drum sounds is very easy and follows the natural path of the acoustic world audio chain.
Creating a drum including the shell, head, drum size and more. Miking the drum and placing it in a room to create the ambient sound. Plugging it into a control room for mixing, compression, EQ and effects.
Lets take a look at some of the editing subtleties within these three steps in the audio chain. After choosing a drum we like from the drum modules sounds, we enter Edit mode and the fun begins. You can choose from wood, steel, or brass shells for the snare (editing parameter to the TD-20 and TD-12). Keep in mind these arent three different samples, rather the sounds model is altered to match how this shell change would sound in the acoustic world.
Accomplished, professional drummers worked with design engineers to make sure all the sounds are as true to life as possible. Some of the additional parameters that can be changed when designing a drum kit on the TD-20 & TD-12 are shell depth, tuning, head type (clear, coated or pinstripe), snare tension on & off (multiple tightness on the TD-20), and muffling. Muffling is one of my favorites. Roland has built in an 18
endless roll of duct tape in both sound modules. You can choose from no muffling, one or two pieces of duct tape or one of two sizes of doughnut-style muffling rings. Like I said earlier, all the editing is done with acoustic drum parameters. The next step in the audio chain is the studio. Here, a room is created to add ambience to the drums. Ambience is what helps the sound of the drum set meld together into one cohesive instrument. The TD-20, TD-12 & TD-9 have many settings for room type, including garage and theatermy personal favorite. Each of the room types can be made different sizes, and the wall covering can be changed to further color the sound of the room! The last stop in the audio chain is the control room. While the TD-20, TD-12 & TD-9 all have mixing and EQ, the TD-20 also has compression (two per pad) as well as an effects section. This is the easiest to understand COSM area, as most of us have experienced these types of sound control in the acoustic world. Dimensions of Experience One of the things traditional sampling, even multisampling, cant do is change sonic characteristics of the sample during real-time performance. The cutting-edge TD-20 and -12 sound modules change all this. On certain COSM sounds and trigger inputs, the TD-20 and TD-12 sound modules are able to change a sound on-the-fliy, based on player input. If you play harder, the sound changes gradually accross the volume range. Playing the ride cymbal and snare drum in different spots changes the character of the sound play from the center to the edge of the snare, and the sound changes like its acoustic counterpart. As you play certain snare drum and cymbal sounds with increasing speed (hitting interval), the attack of the sound gradually softens, all just like in the acoustic world! COSOM based drum modeling gives you Dimensions of Experience. COSM Changes Everthing Whether you just play the factory Patches or create your own custom kits, COSM brings the TD-Series drum modules to life using real world parameters. Theyre easy to use, sound great and enhance your practice, live performance and recording in ways your acoustic drums cannot. Dig in and unleash the power of COSM.

Online Teaching Resources

V-Drums Lessons

Free video drum and percussion lessons featuring Gregg Bissonette, Brad Dutz, Johnny Rabb, and Mike Snyder. Subscribe to this ongoing series of lessons as a podcast on iTunes.
http://www.rolandus.com/vdrumslessons http://itunes.apple.com/us/podcast/roland-v-drums-lessons/id301964611

Play-Along Audio Tracks

Download dozens of play-along tracks (without drums) in MP3 format!
http://www.roland.com/V-Drums/download/downloads_mp3.html
New Lessons for Drum Tutor, theyre free!
Download new lesson content for Drum Tutor, including Drum Tutor files and lesson explinations in PDF format
http://www.roland.com/V-Drums_Lite/DT-HD1/index.html
Drum and Percussion Products

a Quick Guide

V-Drums

V-Drums Lite HD-1*

Features:
Simple Interface DVD Manual Included, Featuring Johnny Rabb @rolandus.com 10 Mesh V-Pad Snare Built-In Metronome Stereo Mix Input, Plug In Your iPod! Super Compact Design Easy and Quick to Setup, from One Box Its Made for the Drum Tutor Software

DVD Manual Included

*Shown with optional PM-01 and TDM-1 drum mat. Sticks not included.
Plug an iPod into the Mix-In Jack!
Add the Optional PM-01, DAP-1, and TDM-1 Drum Mat for a Complete Solution

DAP-1 TDM-1 drum mat

PM-01 Amp

V-Compact Series TD-4S

Incredibly Expressive! PDX-Mesh V-Pad Snare Compatible w/ CY-12R/C 3-way ride Compatible w/ VH-11 hi-hat. Rhythm Coach Features Built-In CY-5 Hi-Hat Cymbal Stereo Mix Input Upright KD-8 Kick Pad Accepts Double-Kick Pedals

V-Compact Series TD-4SX

Mesh PDX-6 Pads for the Toms! PDX-Mesh V-Pad Snare 2 Mesh PDX-6 Pads for rack Toms 2 PDX-Mesh V-Pads for Snare and Floor Tom Compatible w/ CY-12R/C 3-way ride Compatible w/ VH-11 hi-hat. Rhythm Coach Features Built-In Stereo Mix Input Upright KD-8 Kick Pad Accepts Double-Kick Pedals

V-Tour Series TD-9SX

@rolandus.com 50 Internal Songs Using Real Audio Tracks Stream Up to 99 WAVs from External Memory Rhythm Scope Quick Record/Quick Play 10 PD-105 Mesh V-Pad Snare 8 Dual-Trigger Mesh Toms Great-Feeling CY-12 Three-Way Ride Cymbal Stereo-Mix Input Compact Footprint Two Additional Pad Inputs for Future Expansion

TD-9 Side View

External USB Memory Port

V-Tour Series TD-9S

50 Internal Songs Using Real Audio Tracks Stream Up to 99.WAVs from External Memory @rolandus.com Rhythm Scope Quick Record/Quick Play 10 PDX-8 Mesh V-Pad Snare All Pads are Dual-Trigger Stereo-Mix Input Compact Footprint Two Additional Pad Inputs for Future Expansion

V-Stage Series TD-12KX-S

50 User Kits Now with 12 KD-120 Kick Pad 150 Preset Sequences, & 100 User New COSM Parameters, Including Mic Modeling VH-11 V-Hi-Hat, Acoustic-Like Feel Great Feeling V-Cymbals Heavy duty stand with flexible mounting options Internal cabling Stereo Mix Input

PD-105BK

KD-125BK

V-Pro Series TD-20SX

100 User Kits Over 10,000 accessable from Compact Flash Card Redesigned Kick, Snare, and Tom Pads Newly Expanded COSM Editing Interchangeable shell wraps VH-12 V-Hi-Hat for Acoustic-Drum-Like Feel Three-Way Triggering Ride Heavy duty stand w/metal clamps, flexible mounting options, and internal cabling 10 Analog Outputs plus S/P DIF Digital Output Stereo Mix Input

Shell wrap models:

CV-20KX-BU (Blue Brushed Metal) CV-20KX-RD (Red Brushed Metal)
DT-HD1 Drum Tutor Software
34 preset patterns with SMF compatibility Notation screen with bouncing ball and timing check Game screen with falling blocks and score points Metronome, A-B repeat, drum mute, drum and pad solo UM-1G USB-MIDI interface and audio cable included Windows compatible (Vista/XP)y
TDW-20 Expansion Card for the TD-20 Its a simple equation: TDW-20 + TD-20 + v2.51 software = TD-20X
Wider drum dynamics and smoother sound control on the hi-hat Over 300 new sounds New ambience-type choices Enhanced V-Editing for new and existing COSM sounds Adjust how the kick affects the total resonance of the entire kit

@rolandus.com 26

Octapad SPD-30 Percussion Pad
The New Standard of Percussion Controllers 670 world class drum, percussion, and FX sounds MIDI Via USB Phrase Loop Recorder Record in real time, overdubing up to 3 layers per phrase Onboard Effects Large, Easy-to-Read, Impact-Resistant Display 8 Isolated, Velocity Sensitive Pads 4 Dual-Trigger Inputs Hi-Hat Controller Input

SPD-S Sample Pad

Simple to Use Sampling Sample from any Audio Source Import & Export.WAV &.AIF Files Compact Design Expand Sampling Time with Compact Flash Media
Accepts 4Mb Compact Flash Cards (512 Mb Usable)

HandSonic 15

Designed for the Hand Percussionist 15 Pressure Sensitive Pads Twin Ribbon Controllers D-Beam Controller Dual-Mono Trigger Input Hi-Hat Controller Input Onboard Sequencer Stereo Mix Input

HandSonic 10

Important Note!

Reinitializing the Octapad SPD-30
While holding down the KIT [<] [>] buttons (A & B), Power on the unit with the Power button (C).
Press the RESET button (D) 1x.
Press the OK button (D) 1x. (Same button, screen reads different.)
Reinitializing the TD-20/20X
Press the [Setup] (A) button Press [F5] (B) three times.
Remember, [Setup], then [F5] three times.

Reinitializing the TD-12

Reinitializing the TD-9
Press the [Setup] (A) button Press [F3] (B) four times.
Remember, [Setup], then [F3] four times.

Reinitializing the TD-4

Press the [MENU] button (A) so its lit. Use the SEL [p] [q] buttons (B) to choose 9 OPTIONS, and press the [OK] button (C). In the Options screen, press the SEL [q] button a number of times to choose Factory Reset, and press the [OK] button (C). Use the [-/+] dial (D) to select the setting All. Press the SEL [q] button. A confirmation message appears. Press the [OK] button (C).
Reinitializing the HPD-10
While holding down the [SHIFT] button (A), press {EDIT}. Press the [q] cursor button until you see Factory Reset. The choices are SETUP, ALL KITS, ALL, select ALL. To execute the reset, press the [q] button again, a confirmation screen will appear. Press the OK button [4] to execute reset. B
Reinitializing the HPD-15
Press [System] (A) button 1x Repeatedly press the right [Parameter] (B) button until the display reads System Reset. Turn the [Value Wheel] until the display reads All. Press the [Write] (D) button 2xs. Thats all there is to it. The HandSonic 15 is reinitialized!
Reinitializing the RMP-12
Hold down the [BEAT] button (A) for a while. The SYSTEM icon will blink in the display. Turn the select knob to choose Reset., and then press the select knob (B). The display will ask Sure? Turn the select knob (B) to choose YES, and then press the select knob (B).

Reinitializing the RMP-5

Start with the power off. While holding down the [Start/Stop] button (A), power up the RMP-5. The display will read "rSt." Release the [Start/Stop] button. Press and hold the [Start/Stop] button 1-2 seconds, or until the display flashes. Release the [Start/Stop] button
Legacy Reinitialization Guides

Reinitializing the TD-10

Press the [Setup] (A) button Press [F4] (B) four 4x. Remember, [Setup], then [F4] 4x

Reinitializing the TD-8

Press the [Setup] (A) 1x Press the [Cursor Down] button (B) until the menu above [F3] (C) reads Reset Press [F3] (C) 3x. Remember, [Setup], cursor down to Reset, then [F3] three times.
Reinitializing the TD-6/6V

Hold [Shift] (1), Press [Edit/Setup] (2) Release the Buttons Press the [Right Cursor] (3) 6x to Factory Reset Press [Enter] (4) 3x

Reinitializing the TD-3

With the power off, press and hold down the [-] (A) and [+] (B) buttons With the buttons still depressed Power on the TD-3 The display will read "rSt" Release the buttons Press the [DRUM KIT] button for a few seconds Wait for the LED's finish scrolling across the face of the TD-3
Reinitializing the SPD-20
With the power off, press and hold down the two bottom, outside buttons (A & B) Power on the SPD-20 with the power button on the rear panel Release the outside buttons The display will flash INT Press Enter 1x

Reinitializing the RMP-3

With the power off, press and hold down the [Start/Stop] button Power up the RMP-3 The display will read "rSt" Release the [Start/Stop] button Press and hold the [Start/Stop] button 1-2 seconds Release the [Start/Stop] button

Reinitializing the RMP-1

With the power off, press and hold down the [ValueUp Arrow] (A), [SEL] (B) and [Metronome] (C) buttons With these 3 buttons still depressed, Power up the RMP-1 The display will read "rSt" Release the buttons Press the [Metronome] (C) button 1x
Restoring the SPD-S to Factory Settings
Factory Restore of patches and WAV files to the SPD-S
Since the SPD-S is a sample pad, the sounds contained in from the factory are stored not in ROM (like the SPD-20, HPD-15 & TD-Series drum modules), but are stored in internal memory that may be deliberately, or inadvertently erased. The samples (WAV's) and patches must be restored from the data contained on the CD-ROM that originally shipped with the SPD-S. If you cannot find this CD-ROM, please contact Roland customer service for a replacement. To restore the factory settings, you will need: CompactFlash Card (32 Mb, minimum, no larger than 512Mb) Computer (PC or Mac), with CompactFlash card reader and CD-ROM drive. SPD-S CD-ROM (Originally came bundled with the SPD-S owners manual) SPD-S Pad (to be restored) Detailed Factory Restore instructions are on page 117-118 of the SPD-S Owners Manual These instructions will take you through: Using the computer to load the CD-ROM & copy the required files onto the CompactFlash card. Loading the data on the CompactFlash card into the SPD-S

Note on "wave protect": If while trying to restore the factory data, the SPD-S displays reads "wave protect on", you must first turn off "wave protect" before you will be able to successfully load the factory data. To turn off "Wave Protect":
With the power to the SPD-S off. Hold down the "WAVE" & "SETUP" buttons While continuing to hold these buttons down and power up the SPD-S Continue to hold these buttons down until the SPD-S display reads "wave protect off" Release the buttons, "wave protect" in now "off" Repeat the Factory Restore power up procedure (#6 on page 117 of the SPD-S Owner's Manual).
Clickable Links to Owners Manuals (Requires internet access.)

Drum Modules: TD-20

TD-20X http://www.roland.com/products/en/_support/om.cfm?PRODUCT=TD%2D20X http://www.roland.com/products/en/_support/om.cfm?PRODUCT=TD%2D20 TD-12 http://www.roland.com/products/en/_support/om.cfm?PRODUCT=TD%2D12
http://www.roland.com/products/en/_support/om.cfm?PRODUCT=TD%2D9

TD-6/6V (NOT AVAILABLE)

http://www.roland.com/products/en/_support/om.cfm?PRODUCT=TD%2D4 TD-3 http://www.roland.com/products/en/_support/om.cfm?PRODUCT=TD%2D3
http://www.roland.com/products/en/_support/om.cfm?PRODUCT=HD%2D1
Percussion Pads/Other: SPD-S
http://www.roland.com/products/en/_support/om.cfm?PRODUCT=SPD%2DS
http://www.roland.com/products/en/goPrd.cfm SPD-20 http://www.roland.com/products/en/_support/om.cfm?PRODUCT=SPD%2D20

SPD-30

http://www.roland.com/products/en/_support/om.cfm?PRODUCT=HPD%2D15 HPD-10 http://www.roland.com/products/en/_support/om.cfm?PRODUCT=HPD%2D10

HPD-15

http://www.roland.com/products/en/_support/om.cfm?PRODUCT=DT%2DHD1 RMP-5 http://www.roland.com/products/en/_support/om.cfm?PRODUCT=RMP%2D5

DT-HD1

http://www.roland.com/products/en/_support/om.cfm?PRODUCT=RMP%2D12 TDW-20 http://www.rond.com/products/en/_support/om.cfm?PRODUCT=TDW%2D20 43
V-Drums Setup Suggestions
L-Arm & Cymbal MountSuggested Placement
Tom mounts with L-arms should be positioned out and up from the player. This allows the toms to be positioned a little bit farther away from the player. This is especially helpful on drums sets with smaller stand footprints, like the V-Tour, and V-Compact Series.
Cymbal arm clamps should be positioned so that the cymbal arms extend up from the side of the stand opposite the player.
V-CymbalMounting & Setup
V-Cymbals require the use of the supplied Rotation Stopper, felt, and wing nut to function properly. The cast Rotation Stopper is used to keep the cymbal from rotating on the cymbal arm. The CY-12H V-Hi-Hat does not use the cast Rotation Stopper. Also required is one cable for each cymbal (2 for the CY-15R & CY-12R/C triple trigger rides, found on the TD-20S & TD-12S drum sets).

Place the cast Rotation Stopper on the cymbal arm as shown in the photo to the right, and tighten it snuggly to the cymbal arm. From the players perspective, the Rotation Stopper should be parallel to the player. This keeps the chokeable area of the V-Cymbal's edge in the proper position for playing and choking.
The Mounted Rotation Stopper

The Rotation Stopper

Plug the supplied stereo cord into the 1/4 jack on the middle underside of the V-Cymbal (The CY-15R & CY-12R/C ride cymbals found on the TD-20 & TD-12S drum sets each use 2 stereo cables, Bell/Bow into the Ride input & Bow/Edge into the Ride Edge input). Set the cymbal onto the Rotation Stopper already on the cymbal arm, and screw on the felt and wing nut.

Roland Logo at Top

When placed on the MDY-10U arm, the Roland logo should be correctly readable from the players position. The chokeable portion of the cymbal is the 1/2 of the pad that is opposite of the Roland logo. This positioning is essential to using the choke feature, as well as playing the edge trigger.
VH-12 Clutch & Rotation Stopper Setup
Similar to the CY-Series ride and crash cymbals, the VH-12 V-Hi-Hat uses a rotation stopper device to stop the bottom pad from spinning on the stand, causing the edge trigger to rotate out of position, making the edge unplayable, and possibly damaging the cables.
Proper Setup Slide the bottom VH-12 V-Hi-Hat cymbal onto the hi-hat stand. Make sure that the cymbal tilter is in a flat position. If it is tilted, it may cause the hi-hat rod to bind. Plug the short patch cable into the jack on the inside of the bottom cymbal. Next, attach the Roland supplied clutch to the top VH12 V-Hi-Hat cymbal. DO NOT USE THE ACOUSTIC HI-HAT CLUTCH! Slide the top cymbal with clutch over the hi-hat rod. Plug the other end of the short patch cable into the inside jack of the VH-12 top cymbal. The rotation stopper assembly consists of 2 pieces: the black plastic rotation stopper, and the cast metal clamp that secures it to the hi-hat stand. Three sizes of the black plastic rotation stopper are supplied. They are marked "S", "M" and "L" on the inside (small, medium & large). Choose the size that best fits the hi-hat stand you are using. Attach the 2 piece rotation stopper assembly around the hi-hat stand, and loosely tighten the tension rod. Fit the balls on the ends of the 2 "antenna" looking parts of the rotation stopper into the slots on the bottom of the bottom VH-12 cymbal. Before securely tightening the tension rod on the rotation stopper assembly, rotate the hi-hat cymbals so that "triangle" the edge of the 2 cymbals line up with one another and are facing the player (this is very important for the proper functioning of the VH-12's). With the hi-hats properly positioned, gently pull down on the rotation stopper assembly, and snuggly tighten the rotation stopper's tension rod so that assembly is under a little bit of tension. Follow the owner manual's instructions on calibrating the VH-12 V-Hi-Hats (TD-20 & TD-12 only). Your done!

Common Replacement Parts

Mesh Heads

MH-6 (6 Mesh head)

not pictured
Fits PDX-6 Fits KD-85, PD-85, PDX-8, RMP-3, RMP-5, (also KD-80, PD-80/80R, RMP-1) Fits PD-105, PD-105X, (also PD-100) Fits KD-120, PD-125, PD-125X, PD-125XS, RMP-12 (also PD-120) Fits KD-140
MH-8 (8 Mesh head) MH-10 (10 Mesh head) MH-12 (12 Mesh head) MH-14 (14 Mesh head)
For CY-5, CY-8, CY-12 R/C-C, CY-14C, CY-14C-SV, CY-15R, CY-15R-SV 02455801 Rotation Stopper Cymbal Felt Plastic Wingnut
All 3 parts pictured below are also packaged together - Product ID CYM-10
For CY-5 (when used as hi-hat cymbal pad) C6400022R0 C6900010R2 C6900009R0 C6400023R0 Upper Clutch Clutch Felt (S) Clutch Felt (L) Lower Clutch

For KD-120, KD-85 leg

KD-8 Key Bolts C7000003R0

01676134 01673001

Metal Nut Rubber Foot
Coil Spring / Foot Bolt for FD-8, KD-7, KD-8

22175276 C7000050R1

Coiled Spring Foot Bolt (Spike)
VH-12 Clamp Holder / Rotation Stopper Clamps

03457690 03457712

Clamp Holder Rotation Stopper Clamp (S) Rotation Stopper Clamp (M) Rotation Stopper Clamp (L)

VH-12 Clutch Assembly

VH-12 Link Cable

72562578 03458412

Dont Make Johnny sad.

Notes: