Roland TD-10, size: 3.8 MB
Customize the sound of your music with this electronic drum set that features 9 types of digital effects - 125 tones and mixing capabilities.
Part Number: TD-4SX-CMB
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User reviews and opinions
|P. S. Topp||3:30am on Thursday, October 28th, 2010|
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|nomadic_net||8:19am on Thursday, October 7th, 2010|
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|piecar||2:48am on Wednesday, September 8th, 2010|
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|marku||7:36pm on Monday, August 30th, 2010|
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|demerzel||8:39pm on Friday, June 25th, 2010|
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|ExTechOp||2:41am on Saturday, May 29th, 2010|
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|hubris||1:24am on Friday, May 14th, 2010|
|Ordered it at 2pm, and UPS delivered it by 10... 1. Size: large & in charge No downside Having used this imac almost 2 years - I woul... I have a 24 inch screen 2.4ghz imac purchased when it first come out about 2 years ago.|
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|iraqin41ws||3:45pm on Monday, March 15th, 2010|
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ROLAND TD-10 TURBO FACTS The Roland V-Drums TD-10 is a revolutionary, top-of-the-line electronic percussion sound module, complimenting Rolands acclaimed Compact Drum Systems. Utilizing Composite Object Sound Modeling (COSM), Roland has developed a sound source that far surpasses any existing PCM-based technology. Additional features include: Over 600 drum/percussion sounds and 50 melodic instruments Variable Drum Modeling based on COSM technology 12 dual trigger inputs - 8 stereo outputs Superior triggering response Brushes can be used with the new PD-100/120 Mesh V-Pads Modeling technology allows the reproduction of even the most delicate nuances of a drummer, including ghost notes Positional sensing available on the snare and ride pads Compatible with the PD-7/9 Dual Trigger Pads Advanced effects processing including individual effects on each pad Easy-to-use, built-in sequencer with 50 Preset and 50 User patterns Large graphic LCD display for easy editing Wave expansion slot for future sound libraries
Initializing Use the following procedure to restore the factory settings: 1) Press SETUP followed by F4 [UTIL]. 2) Press F4 [INIT] twice. Press F4 [EXEC]. Play the Demo Use the following procedure to play the demo song: 1) Press SETUP and CHAIN simultaneously. 2) Press F4 [PLAY]. Press F3 [STOP] to stop the demo. 3) Press F1 [CANCEL] to return to the SETUP MENU. Selecting a Drum Kit The TD-10 contains 50 drum kits (5 are designated as Copy Kit locations). Use the following procedure to select a drum kit: 1) Press KIT so it is lit and use the VALUE DIAL to select the desired kit. Creating a Drum Instrument The TD-10 allows you to customize drum sounds that display the V-EDIT symbol by choosing the type of drum head, shell material, depth, and various types of muffling. Use the following procedure to edit a snare drum: 1) Press INST (under EDIT) and use the TRIG SELECT buttons to display H2 [SNARE] in the upper, right corner. 2) Press F2 [EDIT] and use the UP CURSOR button to select Shell Material. Use the VALUE DIAL to select the type of shell material (Wood, Steel or Brass). 3) Press CURSOR DOWN to select Shell Depth and use the VALUE DIAL to adjust the depth (1.0 to 20.0). 4) Press F2 [HEAD] and use the UP CURSOR button to select Head Type. Use the VALUE DIAL to select the type of drum head (Clear, Coated, or Pinstripe). 5) Press CURSOR DOWN to select Head Tuning and use the VALUE DIAL to adjust the tuning (+ / - 480) as desired. 6) Select F3 [MUFFLE] and use the UP CURSOR button to select Muffling. Use the VALUE DIAL to select the type of muffling (duct tape or doughnuts) as desired. 7) Press CURSOR DOWN to select Strainer Adj. and use the VALUE DIAL to adjust the strainer as desired. TBS58
Recording a Sequence The TD-10 has a powerful, built-in sequencer that allows you to record up to 50 different patterns (in pattern locations 51-100). Use the following procedure to record a pattern: 1) Press PATTERN so it is lit. 2) Press F4 [NEW] to select the next available empty pattern. 3) Press F2 [FUNC] followed by F2 [SETUP] and use the VALUE DIAL to select the pattern length (up to 99 bars). 4) Press F3 [TYPE] and use the VALUE DIAL to select a Play Type (Loop or One Shot). 5) Press the PART button followed by F1 [INST]. 6) Press F4 [DRUMS] and use the VALUE DIAL to select the desired drum kit for your pattern. 7) Press REC, then press CLICK twice. 8) Select F2 [INST] and use the VALUE DIAL to select the type of instrument to be used for the metronome click. 9) Press PLAY. The sequencer will count one measure before it starts recording. 10) Play the kit to record your instruments (you can also use the PREVIEW button to play instruments). 11) Press STOP followed by PLAY to listen to your recorded pattern. Press CLICK to turn off the metronome. 12) Repeat steps 6 thru 11 to record any additional parts (Part 1, Part 2, and Bass) as desired. Assigning Digital Effects to a Kit The TD-10 has 30 different effect types including reverb, delay, chorus, flanger, 3-band parametric eq, and compression. Use the following procedure to select an overall effect for the kit: 1) Press EXIT followed by F3 [FX SW]. 2) Press F4 [EFFECT] to select ON (if necessary). 3) Press CONTROL ROOM followed by F4 [EFFECT]. 4) Press F3 [FXTYPE]. 5) Use the VALUE DIAL to select the desired effect. Adjusting the Room Acoustics The TD-10 allows you to create an environment that emulates the type of room for your drum kit. There are several settings to choose from including a garage, the beach, a dome stadium, a locker room, a bathroom, etc. Use the following procedure: 1) Press EXIT followed by F3 [FX SW]. 2) Press F1 [AMBNCE] to select ON (if necessary). 3) Press STUDIO. 4) Use the VALUE DIAL to select the desired environment. 5) Use the F1 thru F4 buttons to access the mic parameters, room characteristics, and ambient levels as desired. Pad Types The default settings of the TD-10 are optimized for use with the Roland V-BASIC SET and V-PRO SET. If you are using a different setup, you will need to select an appropriate Trigger Type for each input. These settings are necessary to optimize the tracking for each pad. The Trigger Type settings for each input can be stored in one of four Trigger Bank locations, allowing for quick access to multiple configurations.
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 reverberation. 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.
Press [F3 (FX SW)].
No.38: Electronic drum kit
With this kit we can reproduce the electronic drums that were popular in the early 1980s. 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 todays dance, hip-hop and rap music scenes. Lets 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
Use [INC/DEC] or the VALUE dial to select kit number 38.
Strike the pad that is being used as the tom.
The tom setting screen will appear.
Press [CURSOR] to move the cursor to Bend.
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.
amount of pitch change
Press [INST], and then press [F2 (EDIT)].
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 lets begin by turning off all the effects. fig.00-075
Where there is an indication of ON above the [F1][F4] buttons, press the button to turn the indication OFF.
Chapter 7 Chapter 6 Chapter 5 Chapter 4 Chapter 3 Chapter 2 Chapter 1
Chapter 10 Chapter 9
The TD-10 is a drum trigger interface and sound module, providing virtual reproduction of an actual 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 appreciated electronic drums in their own right for their unique sound quality and character. The early electronic 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 production 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-10s potential once you have completed the basic setup.
[F1 (PAGE <)]: The previous page of the list will appear. [F2 (PAGE >)]: The next page of the list will appear. You can also use the Function Key to scroll through the instrument list at a higher speed. To advance quickly Hold down [F2 (PAGE >)] and press [F1 (PAGE <)] To move in reverse quickly Hold down [F1 (PAGE <)] and press [F2 (PAGE >)] * Instruments which cannot be selected for specific triggers are indicated by a horizontal line as in the following diagram. fig.04-03e Instruments which cannot be selected
Editing an acoustic drum kit (V-EDIT)
q V-EDIT and EDIT
Editing procedure for an acoustic snare, kick and tom drums will differ depending on the type of instrument and the TRIGGER INPUT jack that you are using.
1. V-EDIT lets you use all the editing capability of the TD-10 2. EDIT lets you edit only the two parameters Pitch and Decay
s Selecting the shell material
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
Instruments that can be edited
1. Press [INST]-[F2 (EDIT)]-[F1 (SHELL)]. The INST EDIT page will appear. 2. Strike the snare pad. The snare setting page will appear. 3. Use [CURSOR] to move the cursor to Material. 4. Use [INC/DEC] or the VALUE dial to make the setting.
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.
Trigger 1 (KICK) 2 (SNARE) 36 (TOM)
Shell Material o -
Shell Depth o o o
Head Type o o o
Head Tuning o o o o: Can be set
Muffling Strainer Adj. o o o o - : Cannot be set
V-EDIT will appear ONLY when using trigger inputs 16 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 edited. So if you assign a V type sound to an input other than 1-6, you cannot use the V-Edit parameters. For details on assigning instruments, refer to p. 136. The parameters available in V-EDIT will differ depending on the trigger input and instrument selected. The following parameters can be edited.
Chapter 4. Studio settings
Here is where you can virtually change the acoustics of the room in which you are playing the drums. The parameters available here let you select actual room sizes and wall materials to easily get your desired sound. You can also change the positions of the room microphones. An easy way to understand this is to change the type of studio as explained below in Selecting the studio/room in Settings for the entire drum kit.
s Changing the wall material
You can choose from Wood, Plaster or Glass covered walls for the room where the drums are being played. fig.05-03
1. Press [STUDIO]-[F2 (ROOM)]. The ROOM page will appear. 2. Use [CURSOR] to move the cursor to Wall Type. 3. Use [INC/DEC] or the VALUE dial to make the setting.
s Selecting the studio/room
You can select one of 10 types of ambiences built into the TD-10. Before you make detailed settings, use this setting to select the basic type of acoustic environment in which you will be playing. fig.00-102a
Wall Type: Wood, Plaster, Glass Wood: Simulates the sound of a wood-walled room producing a warm sound. Plaster: Simulates a plaster-walled room producing a more naturally live sound. Glass: Simulates a glass-walled room producing a very bright ambience.
1. Press [STUDIO]. The STUDIO page will appear. 2. Use [INC/DEC] or the VALUE dial to make the setting.
s Selecting the ambience mike location
Ambience microphones are placed at a distance from the instrument in order to pick up the natural acoustics of the room. Adjusting the height of these mikes allows you to capture different characteristics of that room. fig.05-04
Studio Select: Beach, Living Room, Bath Room, Studio, Garage, Locker Room, Theater, Cave, Gymnasium, Dome Stadium
s Changing the size of the room
You have five sizes to choose from. fig.05-02
1. Press [STUDIO]-[F3 (AMBMIC)]. The AMBIENCE MIC page will appear.
1. Press [STUDIO]-[F2 (ROOM)]. The ROOM page will appear. 2. Use [CURSOR] to move the cursor to Room Size. 3. Use [INC/DEC] or the VALUE dial to make the setting.
2. Use [INC/DEC] or the VALUE dial to make the setting.
Room Sizes: Tiny, Small, Medium, Large, Huge
Settings for the entire drum kit
Ambience Mic Positions: Low, High Low: Often referred to as floor mikes, picking up low frequencies of the room, producing a warmer character. High: Often referred to as overhead mikes capturing the high frequencies and accenting the brightness of the room.
Settings for each instrument
About the basic procedure
In each page,when you hit the pad for which you wish to make settings, the setting page for that pad will appear. You can also make a selection by pressing [TRIG SELECT] on the TD-10 itself.
s Adjusting the volume and output assignments of the ambience
Reverb Time: 0.125 (sec) The length of reverberation. Pre Delay: 0200 (ms) Adjust the time until the reverb begins to sound. This is a small and precise adjustment and will appear to affect the fatness of the reverb, rather than being felt as a change in the reverb decay time. High Cut Freq: 50020k (Hz) Adjust the tone of the reverb to make it brighter/darker. Lowering this frequency will cut more of the high range, making the sound darker. Spread: 015 Adjust the left/right spread of the reverb. Higher settings will create a more obvious spread in the sound.
Parameters for Beat Delay 1, 2
Delay Time: 16, 8T, 16F, 8, 4T, 8F, 4, 2T, 4F, 2 Specify the note value at which the delay will repeat. Delay Time values 16: 16th notes 8T: 8th note triplets 16F: dotted 16th notes 8: 8th notes 4T: quarter note triplets 8F: dotted 8th notes 4: quarter note 2T: half-note triplets 4F: dotted quarter note 2: half note Shift: L2, L4F, L2T, L4, L8F, L4T, L8, L16F, L8T, L16, 0, R16, R8T, R16F, R8, R4T, R8F, R4, R2T, R4F, R2 Specify how much the right or left channel delay will be later than the Delay Time. For example if Delay Time is set to 16 (16th note) and Shift is set to L16 (left channel delayed by a 16th note), the right channel delay will be heard at 16th note timing, and the left channel will be heard one 16th note later than this. You can not make settings that would cause the sum of Delay Time and Shift to be greater than 1200ms. Feedback Level: 0127 Adjust the number of times that the delay repeates. High Damp Freq: 50020k (Hz) Adjust the tone of the delay to make it brighter/darker. Lowering this frequency will cut more of the high range, making the sound darker.
Parameters for Gate Reverb 1, 2, 3 / Non Linear 1, 2
Gate Time: 10400 (ms) Adjust the length of the reverb. Pre Delay: 0200 (ms) Adjust the time until the reverb begins to sound. This is a small and precise adjustment and will appear to affect the fatness of the reverb, rather than being felt as a change in the reverb decay time. High Cut Freq: 50020k (Hz) Adjust the tone of the reverb to make it brighter/darker. Lowering this frequency will cut more of the high range, making the sound darker. Density: 0127 Adjust the fatness of the reverb. Higher settings produce a fatter (denser) reverb.
Parameters for Chorus Delay 1, 2
Rate: 0.110.0(Hz) Adjust the modulation frequency of the chorus. Higher settings produce faster modulation. Depth: 0127 Adjust the modulation depth of the chorus. Higher settings produce a stronger effect. Delay Time: 0500 (ms) Adjust the time from the original sound until when the delay is heard. Delay Feedback: 0127 Adjust the number of times that the delay repeats. * If you wish to use only the chorus, set Delay Time and Delay Feedback to 0(off).
Parameters for Pitch Shift Delay 1, 2
Pitch Shift: -120+12 (semitones) Specify the amount of pitch change. A setting of +1 raises the pitch a semitone, and +12 raises the pitch one octave. Delay Time: 0500 (ms) Adjust the time from the original sound until the delay is heard. Feedback Level: 0127 Adjust the number of times that the delay repeats. With settings of 2 or more times, the pitch-shifted sound will be pitch-shifted again, meaning that the pitch will rise (or fall) by the specified Pitch Shift amount each time the delay repeats. High Cut Freq: 50020k (Hz) Adjust the tone of the delay to make it brighter/darker. Lowering this frequency will cut more of the high range, making the sound darker.
What is the Trigger Type?
So that optimal settings can be made for each pad being used, you need to specify the type of pads being used. Indications such as 3 PD7 in the above display correspond to this. This indication means a PD-7 pad is being used for TRIGGER INPUT number 3.
What is a Trigger Bank?
Trigger Banks allow you to store the 12 trigger settings as a single unit of information. The large number at the left edge of the above display is the Trigger Bank number. Move the cursor to this area to select the Trigger Bank.
Basic settings for the trigger parameters (BASIC)
When you are using pads made by other manufacturers, try adjusting the following parameters.
Adjust the sensitivity of the pad to regulate the pad response.
1. Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)]. The TRIGGER BASIC page will appear. 2. Use [CURSOR] to move the cursor to Sensitivity. 3. Strike the pad for which you wish to make settings. The setting display for the pad you struck will appear, and an input indicator will move in the lower part of the screen. 4. Use [INC/DEC] or the VALUE dial to make the setting. Adjust the Sensitivity value so that the strongest strikes cause the input indicator to reach nearly all the way to the maximum level (far right). Increasing this value will raise the sensitivity.
This is another fine adjustment of sensitivity other than the Trigger Sensitivity parameter, controlling the relation between the velocity (striking force) and changes in volume (the dynamic curve) Adjust this curve until the response feels as natural as possible.
1. Press [SETUP]-[F1 (TRIG)]-[F2 (BASIC)]. The TRIGGER BASIC page will appear. 2. Use [CURSOR] to move the cursor to Curve. 3. Strike the pad for which you wish to make settings. The setting page for the pad you struck will appear, and the input indicator will move. 4. Use [INC/DEC] or the VALUE dial to make the setting.
This setting allows a trigger signal to be received only when the pad is struck harder than a specified force. This helps prevent unintentional triggering caused by vibrations that reach a pad when an adjacent pad is hit. In the following example, signal 2 will sound, but signals 1 and 3 will not sound. fig.08-04e
Head Tension Adjustment: Loose, Normal, Tight
q Rim Sensitivity
Loud1, Loud2: Variation in striking force will produce little change, and a constant volume will be maintained. When using drum triggers, these settings help maintain stable levels. fig.08-06ee
When a PD-120 is used with trigger number 2 (SNARE), you can adjust the sensitivity of the rim. Higher settings will increase the sensitivity of the rim. With a setting of Off, only the head will sound.
1. Set the trigger type to 12A. For this setting, refer to p. 108. 2. Press [SETUP]-[F1 (TRIG)]-[F4 (OPTION)]. The TRIGGER OPTION page will appear. 3. Use [CURSOR] to move the cursor to Rim Sensitivity. 4. Use [INC/DEC] or the VALUE dial to make the setting.
Rim Sensitivity: Off, 115 * Increasing the value excessively may cause the rim instrument to sound as well when the head is struck.
Detailed settings for the trigger parameters (ADVNCD)
The following parameters (ADVANCED EDIT) are automatically set to the most efficient values for each pad when you select the Trigger Type (p. 108), and dont require adjustment, 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.
q Retrigger Cancel (RetrigCancel)
q Scan Time
Since the rise time of the trigger signal waveform may differ slightly depending on the characteristics of each pad or drum trigger (drum pickup) (TSC-10: optional), you may notice that identical hits (velocity) may produce sound at different volumes. If this occurs, you can adjust the Scan Time so that your velocity of playing can be detected more precisely. Sometimes in the case of a snare drum or other drum to which an acoustic drum trigger is attached, sound will occur at point A (as desired) but will also occur again at point B (undesired) due to distortions in the waveform. This is called retriggering, and occurs in particular at the decaying edge of the waveform. Retrigger Cancel detects such distortion in and prevents retriggering from occurring.
1. Press [SETUP]-[F1 (TRIG)]-[F3 (ADVNCD)]. The TRIGGER ADVANCED page will appear. 2. Use [CURSOR] to move the cursor to Scan Time. 3. Hit the pad for which you wish to make settings. The setting page for the pad you struck will appear. 4. Use [INC/DEC] or the VALUE dial to make the setting. While repeatedly hitting the pad at a constant force, gradually raise the Scan Time value from 0.0 msec, until the resulting volume stabilizes at the loudest level. At this setting, try both soft and loud strikes, and make sure that the volume changes appropriately. If the Scan Time setting is excessively high, there will be a longer delay until the note is heard, so set this to as low a value as possible.
This allows you to step through the drum kits of your choice and in the order you want. (via the INC/DEC buttons or footswitch operation). TD-10 lets you create and store 16 different chains of up to 32 steps each. fig.09-01e
How to use the CHAIN
1. Press [CHAIN] to make the button indicator light The Drum Kit Chain function will be turned on. 2. Use the left/right [CURSOR] or [INC/DEC] to select kits in the order that you specified in the chain. You can use the up/down [CURSOR] to select chains. * Press [CHAIN] to make the indicator go dark and the Drum Kit Chain function will be turned off.
When this function is used together with the Pad Switch function or the Foot Switch function, you can use a pad or foot switch to select drum kits in a drum kit chain. To do this, set the MODE setting of the Pad Switch function or Foot Switch function to KIT SELECT. For details refer to Operations using pads and foot switches (p. 119).
s Naming a Drum Kit Chain
You can assign a name of up to 8 characters to each chain. fig.09-03
1. Press [CHAIN]-[F1 (C EDIT)]. The CHAIN EDIT page will appear. 2. Use [CURSOR] to move the cursor to the large number (the chain number) in the left of the display. 3. Use [INC/DEC] or the VALUE dial to select the chain number you wish to work on. 4. Use [CURSOR] to move the cursor to the step number within the selection sequence, shown at the right of the page. 5. Use [INC/DEC] or the VALUE dial to select the drum kits in the order in which you wish to play them.
1. Press [CHAIN]-[F1 (C EDIT)]-[F4 (NAME)]. The CHAIN NAME page will appear. 2. Use the left/right [CURSOR] to move the cursor to the character that you wish to change. The blinking character is the one that can be changed. 3. Use either the VALUE dial, [INC/DEC], or [CURSOR] to change the character. Characters can be selected in the order shown in the bottom of the screen.
[F1 (INSERT)]: Inserts the kit after the cursor location, moving the subsequent items of the chain one step toward the end. [F2 (DELETE)]: Deletes the kit at the cursor location, moving the subsequent items of the chain one step toward the beginning. [F3 (NEXT)]: Advances to the next step. [F4 (NAME)]: Assigns a name to the chain. For details see the following section.
You can copy drum kits,instruments, mixer & effect settings etc. to the destination of your choice. However, doing so will erase (overwrite) the data that was in the new destination. So be careful before you perform this operation. * Some display pages do not allow copy. In such cases, pressing [TOOLS] will not produce COPY above [F1] in the display.
s Setting the Device ID Transmitting saved data to two or more TD-10 units
The setting described here is necessary only when you wish to transmit separate data to two or more TD-10 units at the same time. Do not change this setting in any other case. If you lose track of the Device ID setting that was used when saving data via a bulk dump,it will no longer be possible to reload the bulk data that was saved. * With the factory settings, the device ID is set to 17.
Using pads to play an external MIDI sound module
Heres how to make settings. * You can play the TD-10 sounds with external sounds (called layering) As shown in the following diagram, use a MIDI cable to connect the TD-10s MIDI OUT to the MIDI IN connector of the external MIDI sound source. fig.11-02ae
1. Press [SETUP]-[F2 (MIDI)]-[F1 (GLOBAL)]. The MIDI GLOBAL page will appear. 2. Use [CURSOR] to move the cursor to DEVICE ID. 3. Use [INC/DEC] or the VALUE dial to make the setting.
PART ALL LEVEL MUTE PAN INSTRUMENT REVERB SC-55 MAP SC-88 MAP
MIDI IN B
VIB RATE USER INST SELECT ATTACK
Device ID: 132
VIB DEPTH CUTOFF DECAY
VIB DELAY RESONANCE RELEASE
EFX PARAM PARAM
EFX VALUE VALUE
(Example) Suppose that when data was saved via bulk dump, the TD-10s Device ID was set to 17. When re-transmitting this data back to the TD-10, it wont receive if the Device ID is set to something other than 17. fig.11-02e
s Selecting the note number transmitted by each pad
You can select the MIDI note number (key number) that each pad will transmit. Set this to the note number of the sound that you wish to play on the external sound module or sampler.
Transmit data Device ID:17
1. Press [INST]-[F4 (CTRL)]-[F4 (MIDI)]. The INST CTRL page will appear. 2. Strike the pad that you wish to edit. The note that is assigned to the pad will be indicated on the keyboard in the screen. Also, the note number will appear in Note No. 3. Use [CURSOR] to move the cursor to Note No. 4. Use [INC/DEC] or the VALUE dial to select the note number.
MEMORY CARD Battery Low ! Please Change !
The backup battery of the memory card has run down. Refer to the owners manual for your memory card, and replace the battery.
BULK DUMP Aborted by User !
Bulk data transmission was halted.
Check Sum Error !
The checksum value of a system exclusive message was incorrect.
MEMORY CARD Data Error !
There is a problem in the data of the memory card. If the power is turned off or the card removed while data is being written into the card (SAVE), the data in the card will be damaged. Format the card once again before using it (p. 114).
BULK DUMP Data Transmit Completed !
Bulk data transmission was completed.
MEMORY CARD Data Load Completed ! BULK DATA DEVICE ID Error !
Due to an incorrect Device ID, the system exclusive message could not be received. Set the correct Device ID (p. 122). Data has been loaded from the memory card.
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 cables are firmly connected (p. 122).
MEMORY CARD Not Ready !
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. (Dont touch any buttons or pad during this process).
MEMORY CARD Write Protected.
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).
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.
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 patterns 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).
A problem has occurred with the internal system. Contact your dealer or a nearby Roland service center.
All messages received at MIDI IN are re-transmitted from this connector. (if Soft Thru is ON) refer to Chapter 10. Functions using MIDI, and read the section Using the TD10 with the Roland SPD-11 (p. 123). This connector is used when you wish to transmit the same stream of MIDI data to other devices. With the factory settings, this connector will function as MIDI OUT only.
MIDI uses sixteen channels; 1 through 16. Set the receiving device so that it will receive only the channel that it needs to receive. In the example below, the transmitting device is transmitting on channels 1 and 2, but sound module A has been set to receive only channel 1, and sound module B has been set to receive only channel 2. In this way, sound module A plays the guitar part and sound module B plays the bass part. fig.12-03ce
MIDI OUT Transmit channel : 1, 2
Sound Module A MIDI keyboard MIDI IN MIDI THRU
Receive channel : 1 Receive channel : 2
Sound Module B
When the TD-10 is used as a sound module, it can function on four different channels simultaneously. This means that a single TD-10 can play a four-part ensemble. Sound modules like the TD-10 which can receive multiple MIDI channels at once to play different sounds on each channel are called multi-timbral sound modules.
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 preprogrammed musical data. You can also create your own patterns. fig.12-04e External sound generator
Pattern 1 - 100
MIDI keyboard Pad
Part 2 Bass part Drum part
Internal sound generator
During playback, data recorded in the sequencer is transmitted to the sound module and played. As shown in the diagram 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 playback. 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.
Status FAH * Recognized only when the Sync Mode of the Pattern Global is set at AUTO, EXT or REMOTE.
Status FBH * Recognized only when the Sync Mode of the Pattern Global is set at AUTO, EXT or REMOTE.
Status FCH * Recognized only when the Sync Mode of the Pattern Global is set at AUTO, EXT or REMOTE.
Byte F0H 41H dev 00H 0AH 11H aaH bbH ccH ddH ssH ttH uuH uuH sum F7H *
Explanation Exclusive status ID number (Roland) Device ID (dev: 00H - 1FH Initial value is 10H (17)) Model ID (TD-10) Command ID (RQ1) Address MSB: upper byte of the starting address of the requested data Address 2nd : 2nd byte of the starting address of the requested data Address 3rd : 3rd byte of the starting address of the requested data Address LSB: lower byte of the starting address of the requested data Size MSB Size 2nd Size 3rd Size LSB Checksum EOX (End Of Exclusive)
q Active Sensing
Status FEH * When Active Sensing is received, the unit will begin monitoring the intervals of all further messages. While monitoring, if the interval between messages exceeds about 420 ms, the same processing will be carried out as when All Sounds Off, All Notes Off and Reset All Controllers are received, and message interval monitoring will be halted.
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). Regarding the checksum please refer to Page 163.
Data set 1
This is the message that actually performs data transmission, and is used when you wish to transmit the data. Status F0H Data byte 41H, dev, 00H, 0AH, 12H, aaH, bbH, ccH, ddH, eeh,. ffH, sum Status F7H
s System Exclusive Message
* Following System Exclusive Messages cannot be recorded. Data byte iiH, ddH,.,eeH Status F7H
F0H: ii = ID number:
dd,.,ee = data: F7H:
System Exclusive Message status an ID number (manufacturer ID) to indicate the manufacturer whose Exclusive message this is. Rolands manufacturer ID is 41H. ID numbers 7EH and 7FH are extensions of the MIDI standard; Universal Non-realtime Messages (7EH) and Universal Realtime Messages (7FH). 00H - 7FH (0 - 127) EOX (End Of Exclusive)
Byte F0H 41H dev 00H 12H aaH bbH ccH ddH eeH : ffH sum F7H *
The System Exclusive Messages received by the TD-10 are; Universal Non-realtime System Exclusive Messages, Data Requests (RQ1), and Data Set (DT1).
Explanation Exclusive status ID number (Roland) Device ID (dev: 00H - 1FH Initial value is 10H)) 0AH Model ID (TD-10) Command ID (DT1) Address MSB: upper byte of the starting address of the transmitted data Address 2nd : 2nd byte of the starting address of the transmitted data Address 3rd: 3rd byte of the starting address of the transmitted data Address LSB: lower byte of the starting address of the transmitted data Data: the actual data to be transmitted. Multiple bytes of data are transmitted starting from the address. : Data Checksum EOX (End Of Exclusive)
FX Send Level
This adjusts the volume of the instrument sent to the effect unit.
These are the four buttons [F1][F2][F3][F4] located below the display. The function of these buttons will change depending on whats in the screen, and the names of their current functions are shown in the bottom of the display.
These connectors are used to expand the TD-10s functionality, such as synchronizing (the tempo) with other devices, to record performances, and to store data. Use a MIDI cable to connect other MIDI-compatible instruments or devices to the TD-10. MIDI connectors are used ONLY if you are using an external MIDI device.
Hi-Hat Control Pedal (FD-7)
A pedal for controlling the hi-hat.
MIDI Soft Thru
The MIDI OUT/THRU connector of the TD-10 normally functions as MIDI OUT. When the MIDI Soft Thru setting is turned on, messages received at MIDI IN will be re-transmitted from the OUT/THRU connector. System exclusive messages will not be transmitted.
A single trigger pad - 8-3/4 inch (222 mm) diameter. No rim function.
A dual trigger pad - 7-9/16 inch (192 mm) diameter. The head surface and rim send independent trigger signals.
An external sound source or CD player can be connected to this jack, so that it can be monitored with the TD-10s sound from the MIX out and/or the headphone jack. (or sent to the headphone only-switchable) Use the [MIX IN] knob on the front panel to adjust the volume.
A dual trigger pad - 10 inch (254 mm) diameter. The head surface and rim send independent trigger signals.
A single trigger pad - 11-13/16 inch (300 mm) diameter. The head is a unique mesh type material allowing performance with brushes. No rim function.
This is a technique in which the vibrations of a drum head are dampened with tape or other materials in order to adjust the overtones of the sound. On the TD-10 you can select various types of muffling: unmuted, muting with tape, a ring mute, felt or a blanket. (depending on the choice of drum)
A dual trigger pad - 13-13/16 inch (350 mm) diameter. The head is a unique mesh type material allowing performance with brushes. The head surface and rim send independent trigger signals.
Every instrumental sound is assigned to a note of the keyboard, including the drum sounds and the percussion groups.
When the TD-10 is triggered from an external MIDI controller source, (MIDI pad, sequencer or keyboard) 60 instruments are available in addition to the 12 instruments assigned to the pads. For each drum kit, you can assign any one of the 4 percussion groups.
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