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

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

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

??? Before using this unit, make sure to read the instructions below, and the Owner's Manual.

.........................................................................................................

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

.........................................................................................................

???Do not attempt to repair the unit, or replace parts within it (except when this manual provides spe- cific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distribu-

tor, as listed on the "Information" page.

.........................................................................................................

??? Never use or store the unit in places that are:

???Subject to temperature extremes (e.g., direct

sunlight in an enclosed vehicle, near a heating duct, on top of heat-generating equipment); or are

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

???Humid; or are

???Dusty; or are

???Subject to high levels of vibration.

.........................................................................................................

??? When using the unit with a rack or stand recom- mended by Roland, the rack or stand must be care- fully placed so it is level and sure to remain stable.

If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.

.........................................................................................................

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

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

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

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

.........................................................................................................

???Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or

fire hazard. Never use a power cord after it has been damaged.

.........................................................................................................

???This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hear- ing loss or ringing in the ears, you should immedi-

ately stop using the unit, and consult an audiolo- gist.

.........................................................................................................

???Do not allow any objects (e.g., flammable material, coins, pins); or liquids of any kind (water, soft

drinks, etc.) to penetrate the unit.

.........................................................................................................

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

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

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

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

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

.........................................................................................................

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

.........................................................................................................

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

.........................................................................................................

???Do not force the unit's power-supply cord to share an outlet with an unreasonable number of other devices. Be especially careful when using exten- sion cords???the total power used by all devices you have connected to the extension cord's outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.

.........................................................................................................

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

.........................................................................................................

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

.........................................................................................................

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

.........................................................................................................

??? Whenever the unit is to remain unused for an

extended period of time, disconnect the AC adap- 1 tor.

.........................................................................................................

??? 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.

2

.........................................................................................................

???Never climb on top of, nor place heavy objects on the unit.

with wet hands when plugging into, or unplug- ging from, an outlet or this unit.

.........................................................................................................

??? Before moving the unit, disconnect the AC adaptor

3

CHAPTER 2 Using the SPD-20 by Itself

CHAPTER 3 Connecting External Pads or Pedals

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

CHAPTER 4 Connecting MIDI Devices

CHAPTER 5 Supplementary Materials

How to Use This Manual

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

CHAPTER 1 Quick Start

shown by the display. Note, however, that your unit may incorporate a newer, enhanced version of the system (e.g., includes newer sounds), so what you actually see in the display may not always match what appears in the manual.

Power Supply

???Do not use this unit on the same power circuit with any device that will generate line noise (such as an electric motor or variable lighting system).

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

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

Memory Backup

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

Placement

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

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

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

Maintenance

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

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

Repairs and Data

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

Additional Precautions

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

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

???Never strike or apply strong pressure to the display.

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

???To avoid disturbing your neighbors, try to keep the unit???s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

???This instrument is designed to minimize the extraneous sounds produced when it's played. However, since sound vibrations can be transmitted through floors and walls to a greater degree than expected, take care not to allow these sounds to become a nuisance to neighbors, especially when performing at night and when using headphones.

???When you need to transport the unit, package it in the box (including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.

Main Features of the SPD-20

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

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

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

???The on-board digital effects unit (Reverb, Delay, Chorus and Flanger) allows you to set the

effect depth independently for each sound assigned to a pad (p. 28).

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

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

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

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

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

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

1

2

3

4

5

6 7 8 9 10 1112

15 14 13

1 Pads 1???8

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

2 Patch display

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

3 PAD BANK indicator

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

4 EFFECT indicator

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

5 Parameter List

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

6 Parameter Group Select button [SELECT]

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

7 Parameter Select buttons [ ][ ]

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

8 [PATCH CHAIN] button

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

9 [BANK A/B] button

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

10 [COPY] button

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

11 [LAYER] button

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

12 [EDIT] button

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

13 [FX ON/OFF] button

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

14 [ALL/ENTER] button

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

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

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

24. AC adaptor jack

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

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

25. POWER switch

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

How to Restore the Factory Settings (System Initialize)

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

ROM

This is an abbreviation for Read Only Memory, which is a type of memory that can only be read; modification or deletion is not possible.

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

When you execute the System Initialize operation, all your edited data will be lost. If your SPD-20 NOTE contains important edited data, you should make a note of the settings or store the data in an external

device such as a sequencer (p. 75).

The following display will appear.

fig.5

1

2

3

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

fig.8

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

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

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

Turning the Power Off

Power down your system in the reverse order.

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

Functions and parameter settings other than these are retained even when the power is turned off.

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

Adjusting the Volume

1

2

3

4

5

fig.9

NOTE

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

This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.

To avoid disturbing your neighbors, try to keep the unit???s volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).

fig.12

Stereo

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

Mono MonoPOLALITY

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

1

2

MEMO

Connecting the model DP-2 pedal switch (sold separately) allows you to only advance the Patch numbers.

When using the footswitch as a Hold Pedal, please refer to ???Using a Footwitch as a Hold Pedal??? on p. 41.

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

4

5

What is the Layer Function?

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

Ways to use the Layer function

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

Velocity Mix: Playing dynamics will determine the mix of the two sounds.

fig.15-a

Velocity

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

fig.15-b

Velocity Crossfade: Playing dynamics produce cross-fades between the two sounds.

fig.15-c

1

2

3

4

5

Pad section

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

Trigger Interface section

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

Sound Generating section

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

Effects section

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

Play Mode and Edit Mode

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

fig.17

Play Mode

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

Edit Mode

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

1

2

3

4

5

How to edit

[ ] to select the desired row, by getting the appropriate indicator to light. (The display will show the value of the selected parameter.)

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

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

fig.19

SELECT

PATCH/VALUE [+] increases the value, and PATCH/VALUE [-] decreases it.

MEMO You can speed up the change in values by pressing [+] while holding down [-] (or vice versa).

1

2

3

4

5

Adjusting the Volume (LEVEL)

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

When FX SEND in the SOUND parameter group is set above 0, the effects sound alone will be heard NOTE even if the LEVEL parameter is set to 0.

Adjusting the Pitch (PITCH)

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

Adjusting the Decay (DECAY)

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

fig.20

Level

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

NOTE

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

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

Adjusting the Stereo Position (PAN)

1

2

3

4

5

fig.21

NOTE

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

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

fig.23 fig.24

+

Velocity Crossfade

+

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

Adjusting the Effects Depth (FX SEND)

1

2

3

fig.25

NOTE

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

FX SEND

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

4

5

1

2

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

Press [EDIT] to enter the Edit mode.

3

4

Strike the pad you wish to edit.

Turn Layer on or off if necessary.

5

6

fig.26

7

8

Press [BANK A/B] to select the bank you wish to edit.

The selected PAD BANK indicator will be flashing.

Press [SELECT] to select the SOUND parameter group.

INST

LEVEL

PITCH

DECAY

PAN

CURVE

FXSEND

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

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

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

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

lower parameter value.

Setting all pads to the same parameter value

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

fig.27

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

and all 4 of the external rims.

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

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

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

3.Adjust the PITCH parameter for each pad.

1

2

3

4

5

MEMO

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

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

MEMO

NOTE

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

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

How to Edit Effect Parameters

meter group for each pad (p. 25).

1

2

3

4

5

NOTE

MEMO

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

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

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

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

1

2

3

fig.29

Press [EDIT] to enter the Edit mode.

Press [SELECT] to select the SYSTEM parameter group.

Use [ ] or [ ] to select TRIG SENS.

MEMO

fig.95

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

Strength

of Striking Velocity

Hard 127

100???126

75???99

50???74

25???49

Soft 1???24

Setting the Pad???s Minimum Level (TRIG THRESHOLD)

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

fig.30

Factory Trigger Threshold (TRIG THRESHOLD) settings for the internal pad reflect the average NOTE user??s preferences. If these settings produce good results for you, then there is no need to change the

Trigger Sensitivity values.

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

fig.31

MEMO For information on editing external Pad Trigger Parameters, please refer to p. 42.

1

2

3

4

5

1

2

3

fig.32

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

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

Press [EDIT] to enter the Edit mode.

Press [COPY].

MEMO

Play the pads to check the selected copy source Patch.

To quit without copying, press [COPY].

Setting Up Your Own Patch Sequences (Patch Chain)

What is a Patch Chain?

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

fig.33

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

Setting up a Patch Chain

fig.36

ABCD

EFGH

MEMO You can also select Patch numbers using a footswitch connected to the FOOT SW jack.

fig.35

1

2

3

4

5

6

7

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

When you finish making Patch Chain settings, press [EDIT] to return to the Play mode.

MEMO

After the last Patch in the Chain, you will return to the first Patch.

A footswitch connected to the FOOT SW jack can also be used to select Patches.

1

2

fig.37

Press [EDIT] to enter the Edit mode.

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

CHAPTER 3 Connecting External Pads or Pedals

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

Connecting External Pads or Hi-Hat Control Pedal

Connecting External Pads or the Special Pedal

Example 1: Percussion Set

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

fig.38

4 Pads (PD-7)

Set to TRIG 4

1

2

3

4

5

Precautions When Connecting a External Pad

fig.40

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

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

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

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

Use a mono cable when connecting pads from other manufacturers.

NOTE

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

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

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

nect a PD-7 or PD-9.

Precautions when connecting a Kick pedal (Kick Trigger Unit)

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

fig.41

1

2

3

4

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

Kick Trigger Unit (KD-7)

+ Kick Pedal

5

MEMO

NOTE

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

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

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

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

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

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

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

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

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

MEMO

NOTE

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

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

How to Use the Rim Shot and Cymbal Choke Playing Techniques

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

Rim Shot

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

Normal shot: Strike only the head (center)

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

fig.43

Rim of the Pad

1

2

NOTE

fig.44

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

3

NOTE

MEMO

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

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

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

OUTPUT

Jack

Range within which rim shots can be made

Toward the player

4

5

1

2

Using the cable included with the FD-7, connect the FD-7 to the HH CTRL/TRIG 4 jack.

Make sure that the pedal is fully open.

NOTE

fig. 47

NOTE

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

following display will appear. This indicates that the FD-7 has been ???recognized??? by the SPD-20 and will now function correctly.

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

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

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

Using a Footswitch as a Hold Pedal

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

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

fig.48

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

The SPD-20???s display can only show 3 characters at once. To ???scroll??? means that the characters auto- NOTE matically move across the display to show a longer message. The SPD-20 will sometimes scroll error

1

MEMO

messages or other helpful information (p. 87).

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

There are specific Instruments in the internal sound generator that can also be held with a footswitch (p. 88).

2

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

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

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

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

3

4

5

MEMO

fig.95

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

Strength

of Striking Velocity

Hard 127

100???126

75???99

50???74

25???49

Soft 1???24

2

3

4

5

Threshold Level

0

1

2

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

Use [ ] or [ ] to select TRIG THRESHOLD.

fig.53

MEMO

NOTE

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

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

1

2

3

4

Pad Trigger Types

Displayed Description

fig.54

For the PD-5

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

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

For the PD-100

For the PD-120

For other makers??? pads (See Note)

For other makers??? pads (See Note)

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

For other manufacturers??? kick pads (see Note)

For other manufacturers??? kick Pads (see Note)

5

fig. 55

MEMO

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

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

fig. 56

Level

Setting the Same Parameter Values to All Pads

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

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

1

2

3

4

5

MEMO

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

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

(Flashing)

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

One second after ???Scn??? appears in the display, the value is then displayed.

fig.59

About one second later

This is the Scan Time settings screen.

1

2

3

4

5

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

fig.60-a

(Available Settings) 0.0???0.3 ms (0.1 ms steps)

NOTE 00???30 appears in the display.

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

fig.60-b

For reliable detection of Trigger signal output, adjust the time for reading the trigger signal (Scan Time).

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

1

2

3

MEMO

fig.95

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

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

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

Strength

of Striking Velocity

Hard 127

100???126

75???99

50???74

25???49

Soft 1???24

4

5

NOTE

MEMO

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

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

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

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

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

fig.62

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

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

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

fig.62-a

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

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

However, if you increase the Crosstalk Cancel value on a pad, then when that pad and another pad are NOTE struck simultaneously, the sound from the pad that is struck more weakly may be omitted. To prevent

this from occurring, set Crosstalk Cancel values as low as possible.

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

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

fig.62-b

(Available Settings) oFF, 1???15

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

With the Trigger Type set to 120 (PD-120), you can play rim shots and set the Rim Sensitivity.

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

1

2

3

4

5

MEMO

NOTE

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

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

Control the effect applied to an Instrument (EFS)

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

Control Instrument pitch (U07/U12/U24/d05/d12/d24)

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

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

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

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

1

2

3

4

5

CHAPTER 4 Connecting MIDI Devices

MIDI Connections

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

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

fig.64

SPD-20

MIDI OUT

AC adaptor

L I N E I N

L R

Audio Equipment

(Stereo Set)

About MIDI

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

How MIDI Data is Sent and Received

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

MIDI connectors

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

fig.65

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

NOTE

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

1

2

3

4

5

MIDI OUT

Transmit channel: 1

Receive channel: 1

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

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

???Aftertouch messages

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

The SPD-20 transmits Polyphonic Key Pressure messages when the rim area of a pad (PD-7, PD-9) is MEMO squeezed or released. When the SPD-20 receives Polyphonic Key Pressure messages from another

MIDI device, its sound will be affected in the same way as when the rim area of a pad is squeezed.

???Program Change messages (1???128)

These messages are usually used to select sounds.

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

change (p. 69).

???Control Change messages

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

1

2

3

MEMO

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

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

4

Data not differentiated by channel (System messages)

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

???Exclusive messages

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

???Start

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

???Stop

This message stops playback of the sequencer song.

???Continue

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

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

MEMO 61).

5

MIDI Parameter Settings

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

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

How the MIDI Parameters Work

Transmit Channel (TX CH)

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

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

Using the Pads to Play External Sound Modules

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

When You Are Not Sending MIDI Messages

oFF: MIDI messages are not transmitted.

Using the Pads to Control External Devices

With these settings Note messages are not transmitted.

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

S-S: Controls external sequencers and other devices by mutual transmission of MIDI Start and Stop messages when the Pad is struck.

C-S: Controls external sequencers and other devices by mutual transmission of MIDI Continue and Stop messages when the pad is struck.

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

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

nal sound modules or external MIDI devices.

1

2

3

4

5

MEMO

fig.70

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

fig.71

Volume

Gate time

Time

1

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

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

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

Pan (PAN)

2

3

4

fig.72

NOTE

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

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

5

MEMO

NOTE

fig.75

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

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

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

GBN system

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

1

2

3

4

5

1

2

3

4

5

6

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

Press [EDIT] to enter the Edit mode.

Use [SELECT] to select the MIDI parameter group.

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

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

Strike the pad you wish to set.

If you set Layer to Velocity Switch, be sure that the SENS parameter is set to the same value for both MEMO pad banks (A/B). By changing the SENS value, you can shift the switching point of two sounds other-

wise.

Priority Ranking of Note Number Expression

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

fig.75-b

Using the SPD-20 as a MIDI Sound Module

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

Setting the Receive Channel (Basic Channel)

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

1

2

3

4

5

1

2

3

4

5

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

Press [EDIT] to enter the Edit mode.

Strike the pad you wish to set.

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

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

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

6

7

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

Press [EDIT] to return to the Play mode.

NOTE

MEMO

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

Remember that three note numbers are assigned to each Hi-Hat Cymbal for pedal control sound (H01???H17). If even one of these three note numbers coincides with a Note Number assigned to another pad, only the highest-priority pad will sound. For example, if Note Number 38 has been assigned to the S01 sound for pad number 1, and Note Number 42 has been assigned to the H01 sound for Pad number 2, the H01 sound will not be heard. If you attempt to make such a conflicting setting, the dis- play will flash more rapidly to inform you that the setting is invalid.

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

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

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

Using External MIDI Devices to Play the Internal Sound Generator

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

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

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

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

How to turn the Patch Expand function on

fig.76

1

2

3

4

5

MEMO

NOTE

fig.77

When you make settings for the Patch Chain (p. 33) while the Patch Expand function is on, the dis- play will indicate the selected patch chain (A, b, c, d, e, F, G, H) only.

In order to make distinct the ???E??? indicating Patch Expand, a lower case ???e??? is used to indicate Patch Chain.

In the contents of Patch Expand Patches, note numbers 35???81 are compatible with GM Percussion MEMO Map which can be used to select Percussion sounds under the General MIDI System, and note num-

bers 27???87 are compatible with GS Standard Set which can be used under the GS Format.

General MIDI System

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

GS Format

The GS Format ( ) is Roland's set of specifications for standardizing the performance of sound generating devices. In addition to including support for everything defined by the General MIDI System, the highly-compatible GS Format additionally offers an expanded number of sounds, provides for the editing of sounds, and spells out many details for a wide range of extra features, including effects such as reverb and chorus.

Designed with the future in mind, the GS Format can readily include new sounds and support new hardware features when they arrive.

Since it is upwardly compatible with the General MIDI System, Roland's GS Format is capable of reliably playing back GM Scores equally as well as it performs GS Music Files (music files that has been created with the GS Format in mind). The GS Standard set is one of the percussion sets which can be used in GS drum part. (Default; ch 10.)

Sounding Priority when Patch Expand is On

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

fig.78

1

2

3

4

5

NOTE

MEMO

fig.82

Local Control Off is lifted and Local Control On restored the next time the power is turned on.

Regardless of the Local Control setting, messages received at MIDI IN will play the internal sound generator, and the pads and pedals will transmit messages from MIDI OUT.

2

Soft Thru

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

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

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

3

4

5

Storing the SPD-20???s Data in External Devices (Bulk Dump)

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

How to Transmit (Bulk Dump)

The SPD-20 transmits stored data.

fig.83

Computer or Sequencer

SPD-20

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

fig.84

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

1

2

3

4

5

6

7

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

Press [EDIT] to return to the Play mode.

MEMO

NOTE

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

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

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

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

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

Reading SPD-11 Data with the SPD-20

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

fig. 86-a

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

When data is received by the SPD-11, the SPD-20???s Patch data is overwritten.

NOTE

You cannot transmit SPD-20 data to the SPD-11.

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

on the SPD-20.

1

2

3

4

5

NOTE

MEMO

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

If you are using a sequencer to control two or more SPD-20s, you can set each unit to a different Device ID so that select data can be sent to each unit. But remember that the Basic Channel numbers will also be different.

CHAPTER 5 Supplementary Materials

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

Taking Advantage of the On-board Effects

Effect list

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2

3

4

5

Hints on Using Reverb

Reverb gives presence and spaciousness to any sound, whether solo or background. However, exces- sively high effects levels and long effects times may make the performance difficult to follow (because sounds are blurred), or make the rhythm less precise. There is a definite relationship between effect time and effect level. Here are two hints on using Reverb, based on that relationship.

???If you want to use a long effect time, decrease the effect level to reduce muddiness.

???If you want to use a high effect level, shorten the effect time to reduce muddiness.

Hints on Using Delay

While Reverb creates a lingering resonance, Delay creates quite a different effect. For Delay effects, the effect time setting can create significant differences in the resulting sound. For example, when playing a melodic solo using a mallet-type Instrument, an extremely short Delay time can be used to thicken the sound. On the other hand, a longer repeating Delay can be set to a Delay time of a half-note or quarter- note that matches the tempo of the song.

If you are listening to the SPD-20 in stereo, it can also be interesting to select effect type 22 or 23 (Panned Delay) and select a Pan setting of ???random.???

Hints on Using Chorus/Flanger

For Chorus/Flanger effects, the Time parameter determines the rate (the speed of modulation).

For Chorus, lower settings of the time parameter will result in a more spacious sound, and higher set- tings will result in a more tremolo-like effect. Flanging is often used on metallic sounds such as cymbals or Hi-Hats to produce a frequently-heard effect.

Hints on Making Parameter Settings

Effects provide many possibilities, but if you always use the same heavily-applied Reverb or Chorus, all the Patches will sound the same. It is important to choose effect settings that are appropriate for the song or suited to the role of the Instrument (solo, backing, special effects, etc.).

The FX SEND in the SOUND parameter group allows you to set the effect depth independently for the Instrument assigned to each pad, so it is possible, for instance, to apply flanging only to the cymbals. In the case of Reverb, higher settings of FX SEND will create the impression of the Instrument being played further away, so you might set the FX SEND parameter to a different value for each Instrument to create spatial contrast. By utilizing the Pan setting (the stereo position) and the Chorus effect, you can control a vast performance space.

Hints on Not Using Effects

Speaking of contrast, it can also be very ???effective??? to not use effects. Some possibilities are as follows.

???To apply effects to certain Instruments and not to others.

???To switch to a non-effect Patch at a strategic moment.

As an example of the first possibility, you might try using an ethnic percussion Instrument???such as a surdo???without any effects for a feeling of authenticity. As an example of the second possibility, you could switch from a Patch with deep Reverb to a Patch with no effects (or vice versa) to reinforce musi- cal movement or development within a song.

1

2

3

4

5

??? You hear sounds that you did not select

Is the layer function on?

??? Set Layer to Off (p. 15).

Is an external MIDI sound module being played from that pad?

???If you do not wish to trigger an external MIDI sound module, set the Transmit Channel in the MIDI parameter to ???oFF??? (p. 61).

???Soft strikes does not produce sound

Is the TRIG THRESHOLD setting too high?

??? Set TRIG THRESHOLD to an appropriate value (p. 44).

Is CURVE (Velocity Curve) in the SOUND parameter group inappropriate?

???Make appropriate settings for the Velocity Curve parameter (p. 24).

???When two pads are struck simultaneously, only one of the sounds is played

Are you striking the center of the pad?

???When striking two pads simultaneously, you should hit them both in the center. Furthermore, you can be more sure of sounding both pads if you strike them with the timing slightly off.

With the SPD-20, the prevention of crosstalk (incorrect actions caused by the vibration from another MEMO pad) is processed internally. Thus, if when two pads are struck at the same time the signal output by one of the pads is extremely weak, then that sound is prevented from sounding. Being sure to strike both pads in their centers, with the same force/strength makes it difficult for the sound difficult to be

omitted.

When external pads are connected

MEMO When using external pads, set the TRIG TYPE (p. 45).

The volume can???t be controlled by adjusting the striking strength

???Make the TRIG TYPE match (p. 45).

???Make the TRIG SENS and TRIG CURVE match (p. 43, p. 47).

When striking repeatedly, some sounds are lost

??? Make the TRIG TYPE match (p. 45).

There is no sound when rim shots are played

??? Play the rim shot correctly (p. 39).

Are stereo cables used to connect the pads?

???Connect using stereo cables.

???On the PD-120, rim shots can be played when you use Trigger Inputs 1 and 2.

1

2

3

4

5

??? Two sounds are played

Is the Layer function set to On?

???Turn the Layer function off (p. 15).

???When the pad is struck, the sound is intermittent

Is the Gate Time set to ALt?

??? Set the Gate Time to something other than ALt (p. 63).

When playing the internal sound generator of the SPD-20

??? No sound

Does the Basic Channel of the SPD-20 match the Transmit Channel of the external MIDI device?

??? Set both devices to the same channel (p. 67).

MEMO Set the Basic Channel (BASIC CH; p. 67) as the SPD-20???s Receive Channel.

Is the layer function on?

???When the layer function is on, note messages assigned to pad bank B will be ignored. Turn the layer function off.

Is the Instrument you wish to play assigned to a pad?

??? Assign the Instrument to a pad (p. 22).

Is the Note Number set correctly?

???The SPD-20 will not produce sound if it receives a Note Number which has not been assigned to a pad. Modify the Note Number, or select a Patch which has different note numbers assigned to it (p. 62).

Have you assigned the same Note Number to more than one pad?

???Even if you assign the same Note Number to more than one pad, only one Instrument will sound. Set different note numbers for each pad (p. 62).

??? Note Numbers not set to a Patch are played

Is Patch Expand on?

??? Set Patch Expand to Off (p. 69).

When a footswitch is connected

??? The footswitch does not work

Is the footswitch connected correctly?

???Connect the footswitch properly (p. 15).

???The MIDI sound module does not sustain notes when you press the Footswitch

Is the Hold Pedal function set?

??? Turn on the Hold Pedal function (p. 41).

Is the MIDI sound module able to respond to Hold messages?

??? Refer to the operation manual of the MIDI sound module.

1

2

3

4

5

fig.88

fig.89

fig.90

fig.91

NOTE

??? Check the MIDI cable(s) and the connections with the other device(s).

Data loading was not successful.

??? Try loading once again. Pressing any button will return to the previous display.

MIDI data was received incorrectly.

Press any button on the front panel and the previous display will appear.

???If this message appears repeatedly, consult your dealer or the nearest Roland Service Center.

Too much MIDI data was received from another MIDI device.

???Reduce the amount of MIDI data transmitted by the other device. Or, re-transmit the data after a pause to reduce the amount of MIDI data transmitted all at once. Pressing any but- ton will return you to the previous display.

The internal memory data has been lost.

???Press any button on the front panel. All data will be initialized, and the previous display will reappear.

If this happens, all the data in the SPD-20 will be reset to the factory presets.

1

2

3

4

fig.92

This message indicates that there is an irregularity in the voltage of the pad detection circuit. Press any button on the front panel and the previous display will reappear.

???If the previous display does not reappear, no matter which button you press, contact the nearest Roland Service Center. Sometimes this error message will appear if you strike a pad while turning on the power. In this event, turn the power off and then on again.

fig.93

The memory-backup battery is exhausted.

??? If the backup battery runs down completely, the data in internal memory will be lost. Contact your dealer or the nearest Roland Service Center as soon as possible to have the battery replaced.

Press any button on the panel to return to the previous display.

5

DRUMS

Bass Drum (Kick)

Snare Drum

Tom-Tom

Hi-Hat Cymbal

Hi-Hat Cymbal for pedal control

Crash/Ride Cymbal

PERCUSSION

Latin Percussion (Cuban, Brazilian)

1

2

3

4

5

Indian Percussion

African/Middle Eastern/Australian/Other Percussion

No. InstrumentLoop Exc No. Hold SPD-11

< Africa >

< Middle East >

< Australia >

F34 Clapstick

F35 Boomerang

< Other >

F36 Bloom Bell

< Africa >

Japanese/Korean/Chinese/Southeast Asian Percussion

No. InstrumentLoop Exc No. Hold SPD-11

< Japan >

< Korea >

< China >

< Southeast Asia >

Orchestral Percussion

Melodic Percussion/Melodic Instruments

No. InstrumentLoop Exc No. Hold SPD-11

< Central America >

< India >

< Middle East >

M18 Hammer Dulcimer Upper

M19 Hammer Dulcimer Lower

< Africa >

< China >

M24 Yang Qin

< Southeast Asia >

M25 Bonang

M26 Gender

M27 Saron

M28 Angklung

< Melodic Instruments >

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

1

2

3

4

5

SOUND EFFECTS

Dance Sounds

Artificial Sound Effects

Natural Sounds, Human Voice

Ambience, Reversed Sounds

Forces Phrase Loop Instrument to stop (MUTE)

No sound

Patch List

MEMO Patches marked with an asterisk ???*??? are made using phrase-loop Instruments.

1

2

3

4

5

Blank Parameter Chart

PATCH PARAMETER

INTERNAL PAD

EXTERNAL PAD

HEAD 1 RIM 1 HEAD 2 RIM 2 HEAD 3 RIM 3 HEAD 4 RIM 4

BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B BANK A BANK B

TRIGGER PARAMETER

1

2

3

4

5

fig.

1. Data Format for Exclusive Messages

Roland???s MIDI implementation uses the following data format for all Exclusive messages (type IV):

???MIDI status: F0H, F7H

An Exclusive message must be flanked by a pair of status codes, starting with a Manufacturer ID immediately after F0H (MIDI version 1.0).

???Manufacturer ID: 41H

The Manufacturer ID identifies the manufacturer of a MIDI instrument that sends an Exclusive message. Value 41H represents Roland???s Manufacturer ID.

???Device ID: DEV

The Device ID contains a unique value that identifies individual devices in the implementation of several MIDI instruments. It is usually set to 00H???0FH, a value smaller by one than that of a basic channel, but value 00H???1FH may be used for a device with several basic channels.

???Model ID: MDL

The Model ID contains a value that identifies one model from another. Different models, however, may share an identical Model ID if they handle similar data.

The Model ID format may contain 00H in one or more places to provide an extended data field. The following are examples of valid Model IDs, each representing a unique model:

01H

02H

03H 00H, 01H 00H, 02H

00H, 00H, 01H

???Command ID: CMD

The Command ID indicates the function of an Exclusive message. The Command ID format may contain 00H in one or more places to provide an extended data field. The following are examples of valid Command IDs, each representing a unique function:

01H

02H

03H 00H, 01H 00H, 02H

00H, 00H, 01H

???Main data: BODY

This field contains a message to be exchanged across an interface. The exact data size and content will vary with the Model ID and Command ID.

2. Address-mapped Data Transfer

Address mapping is a technique for transferring messages conforming to the data format given in Section 1. It assigns a series of memory-resident records???waveform and tone data, switch status, and parameters, for example, to specific locations in a machine-dependent address space, thereby allowing access to data residing at the address a message specifies.

Address-mapped data transfer is therefore independent of models and data categories. This technique allows use of two different transfer procedures: one-way transfer and handshake transfer.

???One-way transfer procedure (See Section 3 for details.)

This procedure is suited to the transfer of a small amount of data. It sends out an Exclusive message completely independent of the receiving device's status.

Connection Diagram

Connection at point 2 is essential for ???Request data??? procedures. (See Section 3.)

???Handshake-transfer procedure (This device does not use this procedure)

This procedure initiates a predetermined transfer sequence (handshaking) across the interface before data transfer takes place. Handshaking ensures that reliability and transfer speed are high enough to handle a large amount of data.

Connection Diagram

Connection at points 1 and 2 is essential.

Notes on the above procedures

*There are separate Command IDs for different transfer procedures.

*Devices A and B cannot exchange data unless they use the same transfer procedure, share identical Device ID and Model ID, and are ready for communication.

3. One-way Transfer Procedure

This procedure sends out data until it has all been sent and is used when the messages are so short that answerbacks need not be checked.

For longer messages, however, the receiving device must acquire each message in time with the transfer sequence, which inserts 20 milliseconds intervals.

Types of Messages

???Request data #1: RQ1 (11H)

This message is sent out when there is a need to acquire data from a device at the other end of the interface. It contains data for the address and size that specify designation and length, respectively, of data required.

On receiving an RQ1 message, the remote device checks its memory for the data address and size that satisfy the request.

If it finds them and is ready for communication, the device will transmit a ???Data set 1 (DT1)??? message, which contains the requested data. Otherwise, the device won't send out anything.

*The size of the requested data does not indicate the number of bytes that will make up a DT1 message, but represents the address fields where the requested data resides.

*Some models are subject to limitations in data format used for a single transaction. Requested data, for example, may have a limit in length or must be divided into predetermined address fields before it is exchanged across the interface.

*The same number of bytes comprises address and size data, which, however, vary with the Model ID.

*The error-checking process uses a checksum that provides a bit pattern where the last 7 bits are zero when values for an address, size, and that checksum are

summed.

???Data set 1: DT1 (12H)

This message corresponds to the actual data transfer process.

Because every byte in the data is assigned a unique address, a DT1 message can convey the starting address of one or more bits of data as well as a series of data formatted in an address-dependent order.

The MIDI standards inhibit non real-time messages from interrupting an Exclusive one. This fact is inconvenient for devices that support a ???soft-thru??? function. To maintain compatibility with such devices, Roland has limited the DT1 to 256 bytes so that an excessively long message is sent out in separate ???segments???.

*A DT1 message is capable of providing only the valid data among those specified by an RQ1 message.

*Some models are subject to limitations in data format used for a single transaction. Requested data, for example, may have a limit in length or must be divided into predetermined address fields before it is exchanged across the interface.

*The number of bytes comprising address data varies from one Model ID to another.

*The error-checking process uses a checksum that provides a bit pattern where the last 7 bits are zero when values for an address, size, and that checksum are

summed.

???Example of Message Transactions

???Device A sending data to Device B

Transfer of a DT1 message is all that takes place.

[Data set 1]

???Device B requesting data from Device A

Device B sends an RQ1 message to Device A.

Checking the message, Device A sends a DT1 message back to Device B.

[Data set 1] * More than 20m sec time interval.

[Data set 1]

[Data set 1]

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5

TOTAL PERCUSSION PAD

Model SPD-20

1.TRANSMITTED DATA

[Channel Voice Message]

Date: Dec. 4 1997

Version: 1.00

This transmits the Hi-Hat Controller position message as one of the Control Messages set in PDL CC#.

When the Footswitch function is set as a hold pedal, then if the pedal is pressed, 7FH is transmitted; when the pedal is released, 00H is transmitted.

It is transmitted via the MIDI Channel set to the Basic Channel.

(1) Note off

(2) Note on

The SPD-20 transmits through the MIDI Channels set to each Pad???s Transmit Channel (TX CH). However, there is no transmission if the Transmit Channel is set to P1???P16, S-S, C-S, or toP.

When the Gate Time is set to 01???40, after Note On is transmitted, Note Off is transmitted after the set time has elapsed. However, if a new sound is produced by the same Pad before Note Off is transmitted, then Note Off is transmitted at that time.

With Gate Time set to ALt, Note On and Note Off messages are alternately transmitted when you strike the Pad. However, when switching Patches,

When the Layer function is on, settings for both Bank A and Bank B are transmitted.

(3) Polyphonic Key Pressure

These are transmitted via the MIDI Channel that is set to each Pad???s Transmit Channel. However, if the Transmit Channel is set to P1???P16, S-S, C-S, or toP, the settings are not transmitted.

This message is transmitted with value 7FH when grab the rim of the pad or value 00H when release the rim. Note number to be transferred is content of the head/rim of grabbed pad.

When the ???SOUND??? is set from ???H**???, the note number of the head, rim, note number of head minus 2, note number of head minus 4, note number of rim minus 2, note number of rim minus 4 are transferred.

When the ???LAYER??? is set at ???ON???, the note number of ???BANK A??? and ???BANK B??? are transmitted.

(4) Control Change

Modulation Depth (Controller number 1)

Foot Control (Controller number 4)

Expression (Controller number 11)

General purpose controller 1 (Controller number 16)

General purpose controller 2 (Controller number 17)

This transmits the Hi-Hat Controller position message as one of the Control Messages set in PDL CC#.

It is transmitted via the MIDI Channel set to the Basic Channel.

Panpot (Controller number 10)

This transmits the Hi-Hat Controller position message as one of the Control Messages set in PDL CC#.

It is transmitted via the MIDI Channel set to the Basic Channel.

These are transmitted via the MIDI Channel that is set to each Pad???s Transmit Channel. However, if the Transmit Channel is set to P1???P16, S-S, C-S, or toP, the settings are not transmitted.

When the Pad is struck, the Panpot value corresponding to the MIDI PAN set to the Pad is transmitted.

The Panpot message is not transmitted when the Transmit Channel and the Panpot value of a Pad that is tapped are the same as those of the most recently tapped Pad.

The Panpot value

(5) Program Change

With the Transmit Channel set to 1???16, when you switch Patches, the Transmit Channel and Program Changes set to each of the Pads in Banks A and B are transmitted.

With the Transmit Channel set to P1???P16, when you strike Pads, the Transmit Channel and Program Changes set to each of the Pads in Banks A and B are transmitted.

[System Exclusive Message]

With the SPD-20, the System Exclusive Message can be used to transmit Bulk Dump of patch data, instrument data, system data, chain data and sequence data.

For details refer to ???3. Exclusive Communications??? and ???Roland Exclusive Message.???

[System Common Message]

(1) Song Position Pointer

When ???toP??? is selected as the Transmit Channel, messages are transmitted when the Pad is struck.

[System Realtime Message]

(1) Start

Status

FAH

When ???S-S??? is selected as the Transmit Channel, messages are transmitted when the Pad is struck. Afterwards, striking the Pad alternately transmits Stop and Start messages.

(2) Continue

Status

FBH

When ???C-S??? is selected as the Transmit Channel, messages are transmitted when the Pad is struck. Afterwards, striking the Pad alternately transmits Stop and Continue messages.

(3) Stop

Status

FCH

When ???S-S??? or ???C-S??? is selected as the Transmit Channel, striking the Pad after transmit- ting Start or Continue messages transmits.

(4) Active Sensing

Status

FEH

Normal transmission takes approximately 240 ms.

2.RECEIVED DATA

[Channel Voice Message]

(1) Note On

The SPD-20 receives Note on messages on the basic channel. If the received Note number is assigned to any pad, the instrument which is assigned to that pad will sound. If there are two (or more) pads which are assigned the same Note number, the instrument priority is given to the lower (lowest) pad number. When the Layer is set at ???ON???, the note number of

???BANK B??? is ignored.

(2) Polyphonic Key Pressure

The SPD-20 receives the message on the basic channel. If the value is greater than or equal to 40H(64), the decay of the instrument whitch corresponds to the Note number is made shorter.

(3) Control Change

Modulation Depth (Controller number 1)

Foot Control (Controller number 4)

Panpot (Controller number 10)

Expression (Controller number 11)

General purpose controller 1 (Controller number 16)

General purpose controller 2 (Controller number 17)

Any one of the Control Messages set in PDL CC# is received as a Hi-Hat Control pedal Position Message. The result of receiving the message depends on the parameter of ???PDL CTRL???. The SPD-20 receives the message on the basic channel.

(4) Program Change

The SPD-20 receives the message on the basic channel. The SPD-20 initializes the controller on receiving this message.

[System Real Time Message]

(1) Active Sensing

Status

FEH

Whenever the SPD-20 receives this message, it monitors the interval of the coming data. If the subsequent message has not arrived within 300ms after the previous data, it process as though it has received Reset All Controllers and stops monitoring receiving interval.

[System Exclusive Message]

Status

F0H: System Exclusive

F7H: EOX (End Of Exclusive)

When using Exclusive Messages with the SPD-20, you can bulk dump Patch data, System data, and Chain data.

For details refer to ???Roland Exclusive Message??? and paragraph ???3. Exclusive Communications.???

3.Exclusive Communications

[General]

SPD-20 can do one-way communications to send and receive parameters for sequence and setup.

Model ID included in the exclusive message should be 00H 0DH. The device ID code should be BASIC CH of System. Note that the actual value that set in the device ID field is smaller by one than the value set at parameter BASIC CH of System.

[One Way Communications]

Request data RQ1 11H

Data set DT1 12H

[Transmission]

The SPD-20 transmit exclusive messages only when MIDI Bulk dump is performed by panel operation on menu of System function.

[Receive]

When the SPD-20 is using One Way Communication, parameters are received when Bulk Dump is not executed.

The SPD-20 can receive SPD-11 Patch parameter System Exclusive messages. When this is done, the SOUND INST Sound parameter is shifted and saved to the SPD-20 Instrument Number having the same tone as the one received from the SPD-11.

4.Parameter address map

Addresses are shown in every 7-bit hexadecimal.

[Parameter base addresses]

Table 4-1 Patch parameters

* p: Patch No. (0???98), t: Pad No. (1???32)

The correspondence of the ???t??? value to internal and external pads is as follows.

00H (1):BANK A INTERNAL PAD1

||

07H (8):BANK A INTERNAL PAD8

08H (9):BANK A EXTERNAL HEAD1

||

0BH (12):BANK A EXTERNAL HEAD4

0CH (13):BANK A EXTERNAL RIM1

||

0FH (16):BANK A EXTERNAL RIM4

10H (17):BANK B INTERNAL PAD1

||

17H (24):BANK B INTERNAL PAD8

18H (25):BANK B EXTERNAL HEAD1

||

1BH (28):BANK B EXTERNAL HEAD4

1CH (29):BANK B EXTERNAL RIM1

||

1FH (32):BANK B EXTERNAL RIM4

Table 4-2 System parameters

Table 4-3 Chain setup

If you want to send Data Request to the SPD-20 in this area, set the address and the size as

follows.

Other data requests specifying address or size are ignored.

Moreover, you cannot choose the address to which the data in this section is transmitted,

nor can you choose the address from which it is received.

address = 02 00 00 00

size = 00 00 01 00

Address Map

5.Useful Information

[Decimal and Hexadecimal]

It is common to use 7-bit Hexadecimal numbers in MIDI communication.

The following is a conversion table between decimal numbers and 7-bit Hexadecimal num-

bers.

fig.

*To indicate a decimal number for the MIDI channel and Program number, add 1 to the Decimal number in the table.

*The resolution of 7-bit Hexadecimal numbers is 128. Use several bytes for values which require more resolution.

i.e. The number ???aa bbH??? in 7-bit Hexadecimal is ???aa x 128 + bb??? in Decimal form.

*A signed number is indicated as 00H = -64, 40H = ?? 0, 7FH = +63.

So the signed number ???aaH??? in 7-bit Hexadecimal is ???aa - 64???.

A signed number using two bytes is indicated as 00 00H = -8192, 40 00H = ?? 0, 7F 7FH = +8191.

So the signed number ???aa bbH??? in 7-bit Hexadecimal is ???aa bbH - 40 00H = aa x 128 + bb - 64 x 128???

*The data indicated as ???nibbled??? is a 4-bit Hexadecimal number. i.e. ???0a 0bH??? is ???a x 16 + b???.

<EXAMPLE 1> Convert ???5AH??? in Hexadecimal to a Decimal number.

<EXAMPLE 2> Convert ???12 34H??? in 7-bit Hexadecimal to a Decimal number.

(By using the table) 12H = 18, 34H = 52

So, 18 x 128 + 52 = 2356

<EXAMPLE 3> Convert ???0A 03 09 0D??? in nibblized form to a Decimal number.

So, {(10 x 16 + 3) x 16 + 9} x 16 + 13 = 41885

[Example of actual MIDI messages]

<EXAMPLE> C9 49

???Cn??? is a status of a Program change message, and ???n??? is a MIDI channel number. The second byte is a Program number. 9H = 9, 49H = 73

So, this is a Program change message of MIDI channel=10, Program number = 74.

[Checksum of Roland System Exclusive messages]

Roland System Exclusive messages (RQ1 and DT1) have a Checksum at the end of the data (before EOX) to be able to check for communication errors.

The Checksum results from address and data (or size) included in the message.

How to calculate Checksums (???H??? indicates Hexadecimal.)

The error checking process uses a Checksum and provides a bit pattern where the last sig- nificant 7 bits are zero when values for an address, data (or size) and the Checksum are summed.

If the address is ???aa bb ccH??? and the data( or the size) is ???dd ee ffH??? aa + bb + cc + dd + ee + ff = sum

sum ??? 128 = quotient???remainder 128 - remainder = checksum

00H + 01H + 00H + 03H + 09H = 0 + 1 + 0 + 3 + 9 = 13 (sum) 13 (sum) ??? 128 = 0 (quotient)???13 (remainder)

checksum = 128 - 13 (remainder) = 115 = 73H Therefore, the message to send is: F0 41 09 60 12 00 01 00 03 09 73 F7.

<EXAMPLE 2> Request to transfer the ???MIDI CH??? of Pad1 (BANK A), Patch 3.

00H + 02H + 01H + 08H + 00H + 00H +00H + 01H = 0 + 2 + 1 + 8 + 0 + 0 + 0 + 1 = 12 (sum)

12 (sum) ??? 128 = 0 (quotient)???12 (remainder) checksum = 128 - 12 (remainder) = 116 = 74H

Therefore, the message to send is: F0 41 09 60 11 00 02 01 08 00 00 00 01 74 F7.

1

2

3

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5

How to Read a MIDI Implementation Chart

O: MIDI messages that can be transmitted or received

X: MIDI messages that cannot be transmitted or received

???Basic Channel

This is the range of MIDI channels on which MIDI messages can be transmitted (received). The MIDI channel setting will be retained even when the power is turned off.

???Mode

Most keyboards today use mode 3 (omni off, poly). This means that MIDI messages will only be received on a specific MIDI channel, and will be played polyphonically.

???Note Number

This is the range of note numbers that can be transmitted (received). Note Number 60 is middle C (C4).

???Common, Realtime

This MIDI message is used when the SPD-20 plays concurrently with a sequencer or rhythm machine, or when Start/Stop/Continue messages are in effect.

???Other

This category includes messages such as Active Sensing (to monitor the integrity of MIDI connections), which help keep a MIDI system running properly.

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2

3

4

5

Specifications

SPD-20: Total Percussion Pad

???Pads

Built-in Pads: 8

Four external trigger inputs (dual) are provided, allowing you to connect Pads.

???Maximum Polyphony

14 voices

???Instruments

700

???Memory

Patches: 99

Patch Chains: 8

???Sound Parameters

Instrument

Level

Pitch

Decay

Pan

Curve

Effect Send Level

???Effects

Reverb

Delay

Chorus

Flanger

???Display

7 segments, 3 characters (LED)

???Connectors

Output Jacks (L [Mono], R)

Phones Jack (Stereo)

Trigger Input Jacks (Dual): 3

HH CTRL/TRIG 4 Jack (Dual)

MIDI Connectors (IN, OUT)

Foot Sw Jack (Dual)

Trigger inputs 1 and 2 accept rim shots from the PD-7, PD-9 and PD-120 while inputs 3 and 4 accept rim shots from the PD-7 and PD-9.

???Power Supply

AC 12 V: AC Adaptor

???Current Draw

420 mA

???Dimensions

450 (W) x 350 (D) x 70 (H) mm

17-3/4 (W) x 13-13/16 (D) x 2-13/16 (H) inches

???Weight

2.8 kg

6 lbs 3 oz

(excepting AC adaptor)

???Accessories

Owner???s Manual

AC Adaptor (BOSS BRA Series)

Slit Tape

???Options

Pads (PD-120, PD-100, PD-9, PD-7, PD-5)

Kick Trigger Unit (KD-7)

Hi-Hat Control Pedal (FD-7)

Footswitch (BOSS FS-5U)

Footswitch Cable (BOSS PCS-31)

Pedal Switch (DP-2/6)

All-purpose Clamp Set (APC-33)

In the interest of product improvement, the specifica- tions and/or appearance of this unit are subject to change without prior notice.

1

2

3

4

5

??? When playing an external MIDI sound module, how to ...

??? When using the SPD-20 as a MIDI sound module, how to ...

Apparatus containing Lithium batteries

For EU Countries

CAUTION

Danger of explosion if battery is incorrectly replaced.

Replace only with the same or equivalent type recommended by the manufacturer.

Discard used batteries according to the manufacturer???s instructions.

ADVARSEL!

Lithiumbatteri - Eksplosionsfare ved fejlagtig h??ndtering.

Udskiftning m?? kun ske med batteri af samme fabrikat og type.

Lev??r det brugte batteri tilbage til leverand?? ren.

VARNING

Explosionsfara vid felaktigt batteribyte. Anv??nd samma batterityp eller en ekvivalent typ som rekommenderas av apparattillverkaren.

Kassera anv??nt batteri enligt fabrikantens instruktion.

ADVARSEL

Eksplosjonsfare ved feilaktig skifte av batteri.

Benytt samme batteritype eller en tilsvarende type anbefalt av apparatfabrikanten.

Brukte batterier kasseres i henhold til fabrikantens instruks joner.

VAROITUS

Paristo voi r??j??ht???? , jos se on virheellisesti asennettu. Vaihda paristo ainoastaan laitevalmistajan suosittelemaan tyyppiin. H??vit?? k??ytetty paristo valmistajan ohjeiden mukaisesti.

For EU Countries

AFRICA

EGYPT

Al Fanny Trading Office

9, EBN Hagar A1 Askalany Street,

ARD E1 Golf, Heliopolis,

Cairo 11341, EGYPT

TEL: 20-2-417-1828

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICA

That Other Music Shop

(PTY) Ltd.

11 Melle St., Braamfontein,

Johannesbourg, SOUTH AFRICA

P.O.Box 32918, Braamfontein 2017

Johannesbourg, SOUTH AFRICA

TEL: (011) 403 4105

Paul Bothner (PTY) Ltd.

17 Werdmuller Centre,

Main Road, Claremont 7708

SOUTH AFRICA

P.O.BOX 23032, Claremont 7735,

SOUTH AFRICA

TEL: (021) 674 4030

ASIA

CHINA

Beijing Xinghai Musical

Instruments Co., Ltd.

6 Huangmuchang Chao Yang

District, Beijing, CHINA

TEL: (010) 6774 7491

Shanghai Xingtong Acoustics

Equipment CO.,Ltd.

5F. No.1500 Pingliang Road

New East Club Plaza, Shanghai,

CHINA

TEL: (021) 5580-0800

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

TEL: 2415 0911

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra Mahalaxmi

Flats Compound Off. Dr. Edwin

SINGAPORE

Swee Lee Company

150 Sims Drive, SINGAPORE 387381 TEL: 846-3676

CRISTOFORI MUSIC PTE

LTD

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

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

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

TEL: (02) 2561 3339

THAILAND

Theera Music Co. , Ltd.

330 Verng NakornKasem, Soi 2,

Bangkok 10100, THAILAND

TEL: (02) 2248821

VIETNAM

Saigon Music

138 Tran Quang Khai St.,

District 1

Ho Chi Minh City

VIETNAM

TEL: (08) 844-4068

AUSTRALIA/

NEW ZEALAND

AUSTRALIA

Roland Corporation

Australia Pty., Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

TEL: (02) 9982 8266

NEW ZEALAND

Roland Corporation Ltd.

32 Shaddock Street, Mount Eden,

Auckland, NEW ZEALAND

TEL: (09) 3098 715

CENTRAL/LATIN

AMERICA

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

BRAZIL

Roland Brasil Ltda

PANAMA

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE PANAMA

TEL: 315-0101

PARAGUAY

Distribuidora De

Instrumentos Musicales

J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (021) 492-124

PERU

VIDEO Broadcast S.A.

Portinari 199 (ESQ. HALS),

San Borja, Lima 41,

REP. OF PERU

TEL: (01) 4758226

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa 1771 C.P.: 11.800

Montevideo, URUGUAY TEL: (02) 924-2335

VENEZUELA

Musicland Digital C.A.

Av. Francisco de Miranda, Centro Parque de Cristal, Nivel C2 Local 20 Caracas

VENEZUELA TEL: (212) 285-8586

EUROPE

AUSTRIA

Roland Austria GES.M.B.H.

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

BELGIUM/HOLLAND/

LUXEMBOURG

Roland Benelux N. V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

TEL: (014) 575811

DENMARK

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

TEL: (039)16 6200

FRANCE

Roland France SA

4, Rue Paul Henri SPAAK, Parc de l'Esplanade, F 77 462 St. Thibault, Lagny Cedex FRANCE TEL: 01 600 73 500

FINLAND

ITALY

Roland Italy S. p. A.

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

NORWAY

Roland Scandinavia Avd.

Kontor Norge

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 273 0074

POLAND

P. P. H. Brzostowicz

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

PORTUGAL

Tecnologias Musica e Audio,

Roland Portugal, S.A.

Cais Das Pedras, 8/9-1 Dto 4050-465 PORTO

PORTUGAL

TEL: (022) 608 00 60

ROMANIA

FBS LINES

Piata Libertatii 1,

RO-4200 Gheorghehi

TEL: (095) 169-5043

RUSSIA

MuTek

3-Bogatyrskaya Str. 1.k.l

107 564 Moscow, RUSSIA TEL: (095) 169 5043

SPAIN

Roland Electronics de Espa??a, S. A.

Calle Bolivia 239, 08020

Barcelona, SPAIN

TEL: (93) 308 1000

SWEDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

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

SWITZERLAND

Roland (Switzerland) AG

Musitronic AG

Gerberstrasse 5, Postfach,

CH-4410 Liestal, SWITZERLAND

TEL: (061) 927-8383

UKRAINE

TIC-TAC

Mira Str. 19/108

P.O. Box 180

295400 Munkachevo, UKRAINE

TEL: (03131) 414-40

ISRAEL

Halilit P. Greenspoon &

Sons Ltd.

8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

JORDAN

AMMAN Trading Agency

245 Prince Mohammad St.,

Amman 1118, JORDAN

TEL: (06) 464-1200

KUWAIT

Easa Husain Al-Yousifi

Abdullah Salem Street,

Safat, KUWAIT

TEL: 243-6399

LEBANON

A. Chahine & Fils

Gerge Zeidan St., Chahine Bldg.,

Achrafieh, P.O.Box: 16-5857

Beirut, LEBANON

TEL: (01) 20-1441

QATAR

Al Emadi Co. (Badie Studio

& Stores)

P.O. Box 62,

Doha, QATAR

TEL: 4423-554

SAUDI ARABIA

aDawliah Universal

Electronics APL

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

SAUDI ARABIA

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

SYRIA

Technical Light & Sound

Center

Bldg. No. 47,

Khaled Ebn Al Walid St.

Damascus, SYRIA

TEL: (011) 221-1230

TURKEY

Barkat muzik aletleri ithalat ve ihracat Ltd Sti

Siraselviler Caddesi Siraselviler

Pasaji No:74/20

Taksim - Istanbul, TURKEY

TEL: (0212) 2499324

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai, U.A.E.

TEL: (04) 3360715

Moses Road, Mumbai-400011,

INDIA

TEL: (022) 498 3079

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

KOREA

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

MALAYSIA

BENTLEY MUSIC SDN BHD

140 & 142, Jalan Bukit Bintang

55100 Kuala Lumpur,MALAYSIA

TEL: (03) 2144-3333

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

TEL: (02) 899 9801

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

COSTA RICA

JUAN Bansbach

Instrumentos Musicales

Ave.1. Calle 11, Apartado 10237,

San Jose, COSTA RICA

TEL: 258-0211

CHILE

Comercial Fancy S.A.

Rut.: 96.919.420-1

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

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo ,

Edificio No.4010 San Salvador,

EL SALVADOR

TEL: 262-0788

MEXICO

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

Av. Toluca No. 323, Col. Olivar de los Padres 01780 Mexico D.F.

MEXICO TEL: 668-0480

Roland Scandinavia As,

Filial Finland

Lauttasaarentie 54 B

Fin-00201 Helsinki, FINLAND

TEL: (9) 682 4020

GERMANY

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844 Norderstedt,

GERMANY

TEL: (040) 52 60090

GREECE

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: (061) 43-5400

HUNGARY

Intermusica Ltd.

Warehouse Area ???DEPO??? Pf.83

H-2046 Torokbalint, HUNGARY

TEL: (23) 511011

IRELAND

Roland Ireland

Audio House, Belmont Court,

Donnybrook, Dublin 4.

Republic of IRELAND

TEL: (01) 2603501