Roland VAD506 Instruction Manual

Data List
© 2020 Roland Corporation

2
Contents
DRUM KIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
DRUM KIT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
SET LIST . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
KIT EDIT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
INSTRUMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Parameters Common to Each Instrument. . . . . . . . . . . . . . . . . . . . 4
Parameters Specic to Each Instrument . . . . . . . . . . . . . . . . . . . . . 5
SUB INSTRUMENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
TRANSIENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
OVERHEAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
SEND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
SETTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
ROOM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Parameters Common to ROOM and REVERB . . . . . . . . . . . . . . . . . 13
Parameters Specic to ROOM and REVERB. . . . . . . . . . . . . . . . . . . 13
MULTI EFFECT (MFX) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
PAD VOLUME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
PAD EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
PAD COMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
MASTER COMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
MASTER EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
KIT EDIT OTHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
KIT NAME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
KIT TEMPO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
KIT MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
MUTE GROUP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
POSITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
PEDAL BEND. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
BRUSH SW. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
KIT COLOR. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
USER SAMPLE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
USER SAMPLE LIST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
SONG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
CLICK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
COACH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
TIME CHECK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
QUIET COUNT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
WARM UPS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
SYSTEM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
BLUETOOTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
TRIGGER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
TRIGGER BANK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
DIGITAL TRIGGER IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
TRIGGER PARAMETER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
HI-HAT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
TRIGGER XTALK MONITOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
OUTPUT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
USB AUDIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
OPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
AUTO OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
INFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Multi-Eect Parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
TAPE ECHO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
REVERSE DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
3TAP PAN DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
OD0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
DS0DELAY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
SPACE-D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
OD0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
DS0CHORUS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
PHASER A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
PHASER B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
STEP PHASER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
FLANGER. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
REVERB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
LONG REVERB. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
SUPER FILTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
FILTER+DRIVE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
AUTO WAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
OD/DS0TWAH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
LOFI COMPRESS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
DISTORTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
OVERDRIVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
SATURATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
T-SCREAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
BIT CRUSHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
ISOLATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
RING MODULATOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
PITCH SHIFTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
AUTO PAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Drum Kit List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Instrument List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Song List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Drum Kit Parameter Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Block Diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
About the “Data List”
This document explains the settings that are remembered even when this unit's power is turned o and on again.
Reference
For an explanation of how to operate this unit, refer to “Reference Manual”(PDF).

3
DRUM KIT
DRUM KIT
Here you can make settings for a drum kit.
Parameter Value Explanation
DRUM KIT Select a drum kit.
&Refer to“Drum Kit List” (p. 49).
[F3] button (XSTICK) OFF, ON
Species whether sounding (ON) and not sounding (OFF) the cross-stick sound from the snare pad.
* If the trigger input of a pad that supports both cross-stick technique and digital connection (such as
the PD-140DS) is assigned to a snare, cross-stick playing is always possible. In this case, the screen does
not show the [F3] (XSTICK) button.
SET LIST
Here you can specify and edit a set list.
Parameter Value Explanation
[F1] button (CSET LIST) Select a set list.
[F2] button (SET LISTA)
[F3] button (XSTICK) OFF, ON
Species whether sounding (ON) and not sounding (OFF) the cross-stick sound from the snare pad.
* If the trigger input of a pad that supports both cross-stick technique and digital connection (such as
the PD-140DS) is assigned to a snare, cross-stick playing is always possible. In this case, the screen does
not show the [F3] (XSTICK) button.
SETUP
Here you can edit a set list.
SETUP screen SET LIST STEP EDIT screen
Item Explanation
[F1] button (MOVE LIST=)Changes the order of the set list at the cursor position.
[F2] button (MOVE LIST?)
[F4] button (NAME)
Renames the set list.
Reference
For details on how to assign a name, refer to“Renaming a Drum Kit” in“Reference Manual” (PDF).
[F5] button (STEP EDIT)
Moves to the SET LIST STEP EDIT screen. Edits the steps of the set list at the cursor position.
MEMO
Press the [F4] (DELETE) button to delete the drum kit at the cursor location, and press the [F5] (INSERT) button to insert the same drum kit at
the cursor location.

4
KIT EDIT
INSTRUMENT
Here you can make detailed settings for an instrument.
Parameters Common to Each Instrument
Parameter Value Explanation
[F1] button (INST tab)
Inst 001–728 (preset)
U001–U500 (user sample)
Instrument number
&Refer to“Instrument List” (p. 50).
[F2] button (EDIT tab)
Pad Pitch -4800–4800 Instrument pitch (units of one cent)
Pad Pitch Sweep *1 -100–100
After the sound begins, the pitch gradually rises (falls).
Positive (+) values make the pitch start high and then fall; negative (-) values make the pitch start
low and then rise.
Larger values produce greater change.
* In some cases, changing the Pad Pitch setting by a large amount might limit the Pad Pitch Sweep
eect.
Pad Decay *1 1–100 Length of decay
Dynamic Enhancer Sw *1 OFF, NORMAL, WIDE
Species whether the sense of strong strikes is enhanced (NORMAL, WIDE) or not enhanced (OFF).
The WIDE setting supports performance with higher velocities (this is ideal when used with pads
that support a digital connection).
*1: If a user sample is assigned to the instrument, you can’t specify Dynamic Enhancer Sw. Also, if the user sample’s Play Type (p. 23) is set to “LOOP ALT,” the Pad Pitch Sweep and
Pad Decay have no eect.

5
KIT EDIT
Parameters Specic to Each Instrument
KICK
Parameter Value Explanation
[F1] button (INST tab)
Tuning -100–100
Tuning of the head
MEMO
You can also change the value of this setting by using the [TUNING] knob.
Muing OFF, TAPE1–4, BLANKET1–3, WEIGHT1, 2
Muing (muting) setting
MEMO
You can also change the value of this setting by using the [MUFFLING] knob.
[F2] button (EDIT tab)
Shell Depth 1.0–30.0 Depth of the shell
Head Type CLEAR, COATED, PINSTRIPE Type of head
Beater Type FELT1, 2, WOOD, PLASTIC1, 2 Type of beater
Snare Buzz OFF, 1–8 Resonance to the snare
Low Level -5–NORMAL–+5 Volume of low-frequency sound
Low Decay -2–NORMAL–+2 Decay length of low-frequency sound
Kit Resonance OFF, 1–8 Amount of resonance for the entire drum kit
SNARE/CROSS STICK/SNARE BRUSH
Parameter Value Explanation
[F1] button (INST tab)
Tuning -100–100
Tuning of the head
MEMO
You can also change the value of this setting by using the [TUNING] knob.
Muing OFF, TAPE1–7, DONUT1, 2
Muing (muting) setting
MEMO
You can also change the value of this setting by using the [MUFFLING] knob.
[F2] button (EDIT tab)
Shell Depth *1 1.0–30.0 Depth of the shell
Head Type *1 CLEAR, COATED, PINSTRIPE Type of head
Overtone *1, *2, *4 -5–NORMAL–+5 Amount of overtone components
Strainer Adj. *2 LOOSE1–3, MEDIUM1–3, TIGHT1–3 Tension of the strainer (resonating cords)
Wire Level *2 -4–NORMAL–+5 Volume of strainer
XStick Inst *3 1–16 Cross-stick sound selection
XStick Inst Volume *3 -INF–+6.0dB
Cross-stick sound volume
MEMO
The “XStick Volume”can also be edited from the KIT VOLUME screen (KIT VOL tab) (p. 15).
*1: Unavailable if the instrument group is CROSS STICK.
*2: Unavailable if the instrument group is SNARE BRUSH.
*3: This is shown only if the SNARE/CROSS STICK instrument is assigned to the rim of the snare (or to the rim of a digitally connected pad that is assigned to snare)
*4: For some instruments, this cannot be set.
* PINSTRIPE is a registered trademark of Remo Inc., U.S.A.

6
KIT EDIT
TOM/TOM BRUSH
Parameter Value Explanation
[F1] button (INST tab)
Tuning -100–100
Tuning of the head
MEMO
You can also change the value of this setting by using the [TUNING] knob.
Muing OFF, TAPE1–5, FELT1–4
Muing (muting) setting
MEMO
You can also change the value of this setting by using the [MUFFLING] knob.
[F2] button (EDIT tab)
Shell Depth 1.0–30.0 Depth of the shell
Head Type CLEAR, COATED, PINSTRIPE Type of head
Snare Buzz OFF, 1–8 Resonance to the snare
HI-HAT/HI-HAT PROC/HI-HAT ELEC
Parameter Value Explanation
[F1] button (INST tab)
Size 1.0–40.0
Hi-hat diameter
MEMO
You can also change the value of this setting by using the [TUNING] knob.
Fixed NORMAL, PRESS, CLOSE, HALF, OPEN
Openness of the hi-hat
If something other than “NORMAL” is selected, the openness of the hi-hat does not change,
regardless of how much you press the hi-hat pedal.
MEMO
You can also change the value of this setting by using the [MUFFLING] knob.
[F2] button (EDIT tab)
Thickness THIN-5–STANDARD–THICK +5 Thickness of the hi-hat
Pedal HH Volume -INF–+6.0dB
Volume of pedal hi-hat
MEMO
The “Pedal HH Volume”can also be edited from the KIT VOLUME screen (KIT VOL tab) (p. 15).
MEMO
The closed hi-hat position (Fixed = CLOSE) can be enabled by pressing an optional footswitch or hitting a pad switch. Please refer to“OPTION” (p. 40).

7
KIT EDIT
CRASH/CHINA/SPLASH/STACKED CYMBAL
Parameter Value Explanation
[F1] button (INST tab)
Size 1.0–40.0
Cymbal diameter
MEMO
You can also change the value of this setting by using the [TUNING] knob.
Muing OFF, TAPE1–19
Muing (muting) setting
MEMO
You can also change the value of this setting by using the [MUFFLING] knob.
[F2] button (EDIT tab)
Thickness THIN-5–STANDARD–THICK +5 Thickness of the hi-hat
Sizzle Type OFF, RIVET, CHAIN, BEADS Type of sizzle
Sizzle Amount -3–+3 Amount of sizzle
RIDE
Parameter Value Explanation
[F1] button (INST tab)
Size 1.0–40.0
Cymbal diameter
MEMO
You can also change the value of this setting by using the [TUNING] knob.
Muing OFF, TAPE1–19
Muing (muting) setting
MEMO
You can also change the value of this setting by using the [MUFFLING] knob.
[F2] button (EDIT tab)
Thickness THIN-5–STANDARD–THICK +5 Thickness of the cymbal
Sizzle Type OFF, RIVET, CHAIN, BEADS Type of sizzle
Sizzle Amount -3–+3 Amount of sizzle
Ping Color *1 LIGHT2, 1, STANDARD, HEAVY1, 2 Tonal character of the ride’s ping sound
Ping Level *1 -4–NORMAL–+5 Volume of the ride’s ping sound
*1: For some instruments, this cannot be set.
Other Instrument Groups / USER SAMPLE
Parameter Value Explanation
[F1] button (INST tab)
Pitch -100–+100
Instrument pitch
MEMO
You can also change the value of this setting by using the [TUNING] knob.
Decay 1–100
Length of decay
MEMO
You can also change the value of this setting by using the [MUFFLING] knob.

8
KIT EDIT
SUB INSTRUMENT
You can layer the main instrument with a sub instrument so that they are heard together. You can also switch between two instruments according
to the force of your strike, or vary the balance between them.
Parameter Value Explanation
[F1] button (OFF, SUB ON) OFF, SUB ON Turns the sub-instrument on/o.
[F2] button (SUB INST tab)
SUB INST 001–728 (preset)
U001–U500 (user sample)
Sub-instrument number
&Refer to“Instrument List” (p. 50).
Layer Type
These parameters specify how the sub instrument will be sounded.
MIX
Playing
Dynamics
Volume
The main instrument (A) and sub instrument (B) always sound together as
a layer.
FADE1
Volume
Playing
Dynamics
The sub instrument (B) is added as a layer only if the strike is stronger than
“Fade Point.”
FADE2, FADE3
Volume
Playing
Dynamics
If the strike is stronger than “Fade Point,” the sub instrument (B) is added as a
layer according to the strength of that strike.
FADE2:
At 127 or higher, the main instrument (A) and sub instrument (B) are the
same volume.
FADE3:
At 127+32, the main instrument (A) and sub instrument (B) are the same
volume (for pads that support digital connection).
SWITCH
Volume
Playing
Dynamics
Strikes weaker than “Fade Point” sound the main instrument (A), and strikes
stronger than “Fade Point” switch to sound the sub instrument (B).
Fade Point 1–127+32
Species the force of the strike at which the sub instrument begins to be sounded.
If this is “1,” the sub instrument is sounded by a strike of any force.
If this is “127”(“127+32” for a pad that supports digital connection), the sub instrument is sounded
only by the strongest strike.
* This is not available if Layer Type is“MIX.”
Sub Volume -INF–+6.0dB Volume of the sub-instrument
[F3] button (EDIT tab)
– For details on the parameters that can be edited, refer to“INSTRUMENT” (p. 4).

9
KIT EDIT
TRANSIENT
Boost or suppress the attack or release portions of the instrument (Transient).
* This cannot be specied for user samples.
Parameter Value Explanation
Time 1–10 Time over which the attack changes
Attack -100–+100 Adjustment of the attack
Release -100–+100 Adjustment of the release
Gain -12.0–+6.0dB Volume following transient adjustment
[F1] button
(OFF, TRASIENT ON) OFF, TRANSIENT ON Turns the transient eect on/o.

10
KIT EDIT
OVERHEAD
Parameter Value Explanation
TEMPLATE CLEAR, WARM, DRY, MILD, BRIGHT,
OTHER1–9 *2
When you edit this parameter, all of the overhead settings (except for Level) and each pad's input
lter selection and send amount will change to the optimal settings.
To quickly obtain the sound you want, select the desired template and then edit the settings.
* Depending on the settings of each parameter, the template name might not match the eect.
Also, if the default settings of the template do not match the current values, an “*” is shown for the
template setting.
If you attempt to change the template when the“*” is shown, a message indicates that the current
values will be discarded in order to apply the values of the template. If you want to discard the
current values and apply the values of the template, choose “OK” and press the [ENTER] button.
Level -INF–+12.0dB Volume of overhead
Mic Type *1 TYPE1–10 *2 Type of mic
Mic Width *1 0–4 Distance between mics
[F1] button (OFF, OVHEAD ON) OFF, OVHEAD ON Turns the overhead eect on/o.
*1: This can also be edited from the MIC SETTING items.
*2: These Overhead Template values (OTHER 5–OTHER 9) and Mic Type values (TYPE 5–10) are supported starting with program version 1.10.
Refer to the Roland website for the latest information. https://www.roland.com/global/support/
SEND
OVERHEAD SEND screen OVERHEAD FILTER ASSIGN screen OVERHEAD INPUT FILTER SETTING screen
Parameter Value Explanation
[F2] button (SEND tab)
OVERHEAD SEND -INF–+6.0dB Depth of overhead for each pad
[F5] button (H & R) H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).
[F3] button (ASSIGN tab)
OVERHEAD FILTER ASSIGN BYPASS, 1–4
Overhead input lter selection for each pad
BYPASS The input lter is not used; the sound is sent directly to the overheads.
1–4 The sound is sent to the specied input lter.
[F5] button (H & R) H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).
[F4] button (FILTER tab)
Type THRU, LO CUT, HI CUT, LO SHELV, HI
SHELV, PEAKING
Overhead input lter type
The sound sent to the overheads can be passed through a lter. You can choose from one through
four. By using a lter, you can input the kick, snare, toms, and cymbals into the overhead mics with
the low-frequency and high-frequency regions adjusted individually for each instrument.
THRU Sends the input sound directly to the overheads.
LO CUT Cuts the frequency region below the cuto frequency and sends the sound to
the overheads.
HI CUT Cuts the frequency region above the cuto frequency and sends the sound to
the overheads.
LO SHELV Boosts or attenuates the frequency region below the cuto frequency and
sends the sound to the overheads.
HI SHELV Boosts or attenuates the frequency region above the cuto frequency and
sends the sound to the overheads.
PEAKING Boosts or attenuates the region centered on the cuto frequency and sends
the sound to the overheads.
Q *1 0.5–8.0 Width of the frequency range
A higher Q narrows the aected area.
Freq *2 20Hz–16kHz Center frequency
Gain *3 -40.0–15.0dB Amount of boost/cut
*1: This can be set only when Type is LO CUT, HI CUT, or PEAKING.
*2: This cannot be set when Type is THRU.
*3: This can be set only when Type is LO SHELV, HI SHELV, or PEAKING.

11
KIT EDIT
SETTING
MEMO
Use the cursor [ ] [ ] buttons to move to settings such as SEND/FILTER and LIMITER.
PAD SEND LEVEL/FILTER
Here you can specify how the overhead applies for each pad.
Parameter Value Explanation
Pad Filter Select BYPASS, 1–4
Overhead input lter selection for each pad
BYPASS The input lter is not used; the sound is sent directly to the overheads.
1–4 The sound is sent to the specied input lter.
Pad Send Level -INF–+6.0dB Depth of overhead for each pad
[F5] button (H & R) H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).
PRE LIMITER
This is a limiter/compressor applied before the sound is input to the overhead.
Parameter Value Explanation
Pre Comp Switch OFF, ON Turns the pre limiter on/o.
Gain -24.0–+24.0dB Output volume of the pre limiter
Threshold -60–0dB Volume level at which compression begins
Ratio 1:1–100:1 Compression ratio
Knee HARD, SOFT1–3 Attack of the sound at the moment compression is applied
Attack 0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies
Release 10–1000mSec Time from when the volume falls below the threshold level until the compressor eect no longer
applies
MIC SETTING
These are the overhead mic settings.
Parameter Value Explanation
Mic Type TYPE1–4 Type of mic
Mic Width 0–4 Distance between mics
Distance 0–6 Distance between the mics and the performer
Output Width DEFAULT, WIDE+1–+6 Sense of space for the overhead sound

12
KIT EDIT
POST EQ
This is a three-band equalizer.
Parameter Value Explanation
Low Frequency 20Hz–16kHz Center frequency of the low range
Low Gain -40.0–+15.0dB Amount of low-range boost/cut
Mid Frequency 20Hz–16kHz Center frequency of the middle range
Mid Q 0.5–8.0 Adjusts the width of the frequency band. Higher values make the width narrower.
Mid Gain -40.0–+15.0dB Amount of mid-range boost/cut
High Frequency 20Hz–16kHz Center frequency of the high range
High Gain -40.0–+15.0dB Amount of high-range boost/cut
TOTAL COMP
This is a compressor applied at the last stage of the overhead sound.
Parameter Value Explanation
Post Comp Switch OFF, ON Turns the total comp on/o.
Gain -24.0–+24.0dB Output volume of the total comp
Threshold -60–0dB Volume level at which compression begins
Ratio 1:1–100:1 Compression ratio
Knee HARD, SOFT1–3 Attack of the sound at the moment compression is applied
Attack 0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies
Release 10–1000mSec Time from when the volume falls below the threshold level until the compressor eect no longer
applies

13
KIT EDIT
ROOM
Here you can apply either Room ambience or reverb eects to the drum kit.
Parameters Common to ROOM and REVERB
Parameter Value Explanation
[F1] button (OFF, ROOM ON) OFF, ROOM ON Turns the room eect on/o.
[F2] button (ROOM tab)
Type ROOM, REVERB Type of room reverberation
Select either room or reverb.
Level -INF–+6.0dB Volume of reverb
[F3] button (SEND tab)
Room Send Volume -INF–+6.0dB Amount of room applied to each pad
[F5] button (H & R) H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).
Parameters Specic to ROOM and REVERB
ROOM
Parameter Value Explanation
Room Type
SMALL STUDIO 1–4, LARGE STUDIO
1–4, LIVE HOUSE 1–4, STAGE 1–4,
MIDDLE HALL 1–4
Type of room
Distance 0–6 Sense of distance for the room's reverberation
Time -64–0 Reverberation time of the room
REVERB
Parameter Value Explanation
Reverb Type ROOM 1, 2, HALL 1, 2, PLATE Type of reverb
Pre Delay 0–100mSec Adjusts the delay time from the direct sound until the reverb sound is heard.
Time 0.1–10.0Sec Time length of reverberation
Density 0–127 Density of reverb sound
Diusion 0–127
Change in the density of the reverb sound over time
The higher the value, the denser the sound becomes as time elapses (The eect is more obvious for
longer reverb times).
LF Damp 0–100 Adjusts the low-frequency region of the reverb sound.
HF Damp 0–100 Adjusts the high-frequency region of the reverb sound.
Spread 0–127 Spread of the reverb sound
Tone 0–127 Tonal character of reverb sound

14
KIT EDIT
MULTI EFFECT (MFX)
You can choose up to three eects from 30 types, and apply these eects to the drum kit.
Parameter Value Explanation
[F1] button (TYPE tab)
– MFX1–3
Select the multi-eect that you want to edit
MEMO
Move the cursor to the MFX1–3 position in the screen, and turn the dial.
Type Type of multi-eect
&Refer to“Multi-Eect Parameters”(p. 42).
Level -INF–+6.0dB Volume of the eect sound for the selected multi-eect
[F5] button (OFF, MFX1–3 ON) OFF, MFX1–3 ON Turns on/o the multi-eect selected.
[F2] button (ASSIGN tab)
MFX Assign MFX1–3 Select the multi-eect that is applied to each pad.
[F5] button (H & R) H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).
[F3] button (SEND tab)
MFX Send Volume -INF–+6.0dB Eect send level for each pad
[F5] button (H & R) H&R OFF, H&R ON Species whether head and rim of instruments are selected as a set (ON) or independently (OFF).
[F4] button (DRY+MFX tab)
MFX DRY+WET *1 DRY+MFX The dry sound and eect sound will be output.
MFX ONLY Only the eect sound will be output.
*1: MFX DRY+WET is specied for each pad. It cannot be specied for individual strike locations (such as the head or rim).
If MFX DRY+WET is set to “MFX ONLY,” some multi-eect settings might cause no sound to be output.

15
KIT EDIT
PAD VOLUME
Adjust the volume and pan (stereo position) of each pad, and the volume of the entire drum kit.
You can also adjust how the volume responds to the impact.
Parameter Value Explanation
[F1] button (VOLUME tab)
Volume -INF–+6.0dB Volume of each pad
[F2] button (PAN tab)
Pan L30–CTR–R30 Stereo position of each pad
[F3] button (MIN VOL tab)
Pad Minimum Volume *1 0–15
Minimum volume of each pad
This lets you increase the volume of the softest hits while preserving the volume of the strongest
hits. This can make it easier to hear ghost notes on the snare or legato notes on the ride cymbal.
Pad Maximum Volume *1 -5–0
Maximum volume of each pad
This lets you decrease the volume of the strongest hits while preserving their nuances.
* This is available only for pads that support digital connection and for input from the MIDI IN
connector.
[F4] button (KIT VOL tab)
Kit Volume *2
-INF–+6.0dB
Drum kit volume
Pedal HH Volume *2 Pedal hi-hat volume
XStick Volume *2 Cross-stick volume
HH Open/Close Balance *2 -5–+5
Balance between open and close volume
Lower values decrease the volume of the hi-hat when played while open, relative to the volume
when played while closed. Higher values increase the volume of the hi-hat when played while
open, relative to the volume when played while closed.
*1: Use the cursor [ ] [ ] buttons to choose whether you’re setting the Pad Minimum Volume or the Pad Maximum Volume.
*2: You can also set“Kit Volume”in the DRUM KIT screen ([F5] (KIT VOL) button).
PAD EQ
This is a three-band equalizer that each drum kit provides for each strike location of each pad.
You can disable the pad equalizer eect when it is output from the DIRECT OUT jacks (p. 36).
This indicates whether the pad equalizer eect is output ( ) from each jack
or is not output ( ).
MST: MASTER OUT jacks
PHO: PHONES jack (always output)
DIR: DIRECT OUT jacks
Parameter Value Explanation
Low Freq 20Hz–1kHz Center frequency of the low range
Low Gain -15–+15dB Amount of boost/cut for the low range
Mid Freq 20Hz–16kHz Center frequency of the mid range
Mid Q 0.5–8.0 Width of the frequency range
A higher Mid Q narrows the aected area.
Mid Gain -15–+15dB Amount of boost/cut for the mid range
High Freq 1kHz–16kHz Center frequency of the high range
High Gain -15–+15dB Amount of boost/cut for the high range
[F1] button (OFF, EQ ON) OFF, EQ ON Turns pad equalizer on/o.
* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” the pad equalizer eect does not apply to the sound that is output from the DIRECT OUT jacks.
* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” and Master OUT is set to“DIRECT,” the pad equalizer eect does not apply to the sound that is output from the DIRECT
OUT jacks and MASTER OUT jacks.

16
KIT EDIT
PAD COMP
This is a compressor that each drum kit provides for each pad.
The pad compressor eect can be applied only to the output from the DIRECT OUT jacks. You can also disable the pad compressor eect from
being applied to the PHONES jack output (p. 36).
This indicates whether the pad compressor eect is output ( ) from each
jack or is not output ( ).
MST: MASTER OUT jacks
PHO: PHONES jack
DIR: DIRECT OUT jacks
Parameter Value Explanation
Type KICK 1, 2, SNARE1, 2, TOM 1, 2, CYM 1,
2, SOFT, HARD, LIMITER
Character of the compressor
* When you change this parameter, the pad compressor’s parameters Ratio, Knee, Attack, and
Release change to optimal settings for your selection. You can then make further adjustments to
these parameters as necessary.
Threshold -48–0dB Volume level at which compression begins
Gain -24–+24dB Output level of the compressor
Ratio 1:1–100:1 Compression ratio
Knee HARD, SOFT1–3 Attack of the sound at the moment compression is applied
Attack 0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies
Release 10–1000mSec Time from when the volume falls below the threshold level until the compressor eect no longer
applies
[F1] button (OFF, COMP ON) OFF, COMP ON Turns pad compressor on/o.
* Pad compressor settings are made for individual pads. They cannot be made for individual strike locations (such as the head or rim).
* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” the pad compressor eect does not apply to the sound that is output from the DIRECT OUT jacks.
* If the routing setting (p. 36) PadEq/Comp to direct is “OFF,” and Master Out is set to “DIRECT,” the pad compressor eect does not apply to the sound that is output from the
DIRECT OUT jacks and the MASTER OUT jacks.
* If the routing setting (p. 36) PadComp to Phones is“OFF,” the pad compressor eect does not apply to the sound that is output from the PHONES jack.
Meters shown in the PAD COMP screen
In the PAD COMP screen, the“input meter,”the “gain reduction meter,” and the “output meter” are displayed.
Adjust the pad compressor’s “Gain”so that the output meter does not exceed 0 dB (i.e., so that it does not clip).
Output meter
The “output meter” shows the output level
following the pad compressor.
Input meter
The “input meter”
shows the level (dB)
being input to the pad
compressor.
Gain reduction meter
The “gain reduction meter”
shows the change in level
(dB) produced by the pad
compressor.

17
KIT EDIT
MASTER COMP
This is a two-band equalizer that is provided for each drum kit.
The master compressor is output from the MASTER OUT jacks and the PHONES jack.
This indicates whether the master comp eect is output ( ) from each
jack or is not output ( ).
MST: MASTER OUT jacks
PHO: PHONES jack (always output)
Parameter Value Explanation
Type
SINGLE SOFT COMP, SINGLE HARD
COMP, SINGLE LIMITER, 2BAND SOFT
COMP, 2BAND HARD COMP, 2BAND
LIMITER
Character of the compressor
* When you change this parameter, all parameters of the master compressor change to optimal
settings for your selection. You can then make further adjustments to these parameters as
necessary. Depending on the settings of these parameters, the resulting eect might not match
the Type setting.
Split Freq SINGLE, 10–16000Hz
Bandwidth of the compressor
If this is “SINGLE,” the master compressor operates as a single-band compressor that is used only on
the high range.
Threshold *1 -48–0dB Volume level at which compression begins
Gain *1 -24–+24dB Output level of the compressor
Attack *1 0.1–100mSec Time from when the volume goes up the threshold level until the compressor eect applies
Release *1 10–1000mSec Time from when the volume falls below the threshold level until the compressor eect no longer
applies
Ratio *1 1:1–100:1 Compression ratio
Knee *1 HARD, SOFT1–3 Attack of the sound at the moment compression is applied
[F1] button (OFF, MST CMP ON) OFF, MST CMP ON Turns master comp on/o.
[F3] button *2 LO SOLO When this is operating as a two-band compressor, you can individually audition the low-frequency
and high-frequency bands.
* These settings are reset if you perform any of the following operations.
5Respecify the Type parameter as single band compressor
5Set the Split Freq parameter to “SINGLE”
5Exit the MASTER COMP screen
[F4] button *2 HI SOLO
*1: If Split Freq is set to something other than“SINGLE,”the low range and high range can be set independently.
*2: You can set only if Split Freq is something other than“SINGLE.”
* If the routing setting (p. 36) Master Out is“DIRECT,” the master compressor does not apply to the sound that is output from the MASTER OUT jacks.
Meters shown in the MASTER COMP screen
In the MASTER COMP screen, the “input meter,” the “gain reduction meter,” and the “output meter” are displayed.
Adjust the master comp’s“Gain”so that the output meter does not exceed 0 dB (i.e., so that it does not clip).
When Split Freq is “SINGLE” (single compressor) When Split Freq is“10–16000 Hz” (2-band compressor)
Input meter
The “input meter” shows the
level (dB) being input to the
master comp.
Output meter
The “output meter”
shows the output level
following the master
comp.
Gain reduction meter
The “gain reduction meter”
shows the change in level (dB)
produced by the master comp.
Input meter
The “input meter” shows the level
(dB) being input to the master
comp. This is shown individually
for the low and high bands.
Output meter
The “output meter”
shows the output level
following the master
comp.
Gain reduction meter
The “gain reduction meter”
shows the change in level (dB)
produced by the master comp.
This is shown individually for the
low and high bands.

18
KIT EDIT
MASTER EQ
Here you can adjust the overall tonal character of the entire drum kit. You can use four bands (LOW/MID1/MID2/HIGH) of boost/cut to adjust the
sound. This can also be used to compensate the tonal character when using the master compressor.
You can adjust the equalizer’s eect (shelving and peaking) for the low frequency (LOW) and high frequency (HIGH).
The master EQ is output from the MASTER OUT jacks and PHONES jack.
This indicates whether the master EQ eect is output ( ) from each
jack or is not output ( ).
MST: MASTER OUT jacks
PHO: PHONES jack (always output)
Parameter Value Explanation
Type SHELV (Shelving),
PEAK (MID1 and MID2: xed to“PEAK”) Type of equalizer
Q0.5–8.0 (only when Type is set to“PEAK”) Width of the frequency range
A higher Q narrows the aected area.
Freq
20Hz–1kHz (LOW)
20Hz–16kHz (MID1, 2)
1kHz–16kHz (HIGH)
Center frequency
Gain -12–+12dB Amount of boost/cut
[F1] button (OFF, MST EQ ON) OFF, MST EQ ON Turns master EQ on/o.
* If the routing setting (p. 36) Master Out is set to“DIRECT,” the eect of the master EQ does not apply to the sound that is output from the MASTER OUT jacks.

19
DRUM KIT
KIT EDIT OTHER
You can make settings such as renaming a drum kit that you’ve customized, or changing the color of the controller illumination for each drum kit.
KIT NAME
Edit the name of the currently selected drum kit.
Reference
For details on how to assign a name, refer to“Renaming a Drum Kit” in “Reference Manual”(PDF).
Explanation
[F3] button (INSERT) Insert a space at the cursor location.
[F4] button (DELETE) Delete the character at the cursor location.
KIT TEMPO
Specify that a tempo is automatically set when you select a drum kit.
Parameter Value Explanation
Kit Tempo
OFF Use a common tempo (p. 25) for the entire TD-27.
The tempo does not change when you switch drum kits.
ON
Individually specify a tempo for each drum kit.
When you select a drum kit whose Kit Tempo setting is “ON,” the tempo of that drum kit is applied
to the current tempo.
Tempo 20–260 Tempo specied for each drum kit

20
DRUM KIT
KIT MIDI
Specify the MIDI messages that are transmitted and received by a pad when a MIDI device is connected to this unit.
Parameter Value Explanation
[F1] button (NOTE tab)
Note No. 0 (C -)–127 (G 9) MIDI note number transmitted and received by each pad
OFF Note messages are not transmitted or received
[F2] button (GATE tab)
Gate Time 0.1– 8.0 s Duration of the note transmitted by each pad
[F3] button (MIDI CH tab)
MIDI Channel CH1–CH16 MIDI channel used to transmit or receive note messages for each pad
GLOBAL Transmitted and received on the transmit/receive channel specied in SYSTEM (p. 38).
MIDI note numbers transmitted and received by the hi-hat
Item Explanation
HI-HAT OPEN <BOW>
HI-HAT OPEN <EDGE> MIDI note number transmitted and received by open hi-hat (bow, edge)
HI-HAT CLOSE <BOW>
HI-HAT CLOSE <EDGE> MIDI note number transmitted and received by closed hi-hat (bow, edge)
HI-HAT PEDAL MIDI note number transmitted and received by pedal hi-hat
MIDI note numbers transmitted and received by the snare
Parameter Explanation
SNARE <HEAD>
SNARE <RIM> MIDI note number transmitted and received by head shot and rim shot
SNARE <BRUSH> MIDI note number transmitted and received by brush sweep
SNARE <XSTICK> MIDI note number transmitted and received by cross stick
When setting multiple pads to the same note number
When playing the internal sound generator of the TD-27, if an incoming note number is assigned to more than one pad, that note plays the
instrument of the pad with the lowest trigger input number. If the same note number is assigned to both the head and the rim, the head
instrument is sounded.
MEMO
An asterisk “*” appears at the right of the note number for trigger inputs that are not sounded.
Example)
Note number “38 (D 2)” is set for the head and rim of trigger input SNARE and the head of trigger input TOM 1. In this case, when note number 38 (D2) is
received, the instrument assigned to the head of trigger input SNARE is played.
About the gate time
Percussion sound modules normally produce sound only in response to “Note on” messages, and ignore“Note o” messages. However
general-purpose sound modules or samplers do receive the note-o messages that are transmitted and respond by turning o the sound.
Since gate time is normally not necessary for a percussion sound module, this is set to the minimum value when the unit is shipped from the
factory. If a note-o message is received while the sound module has this setting, it is received as an extremely brief note that has almost no
time to be heard, and is nearly inaudible. (Alternatively, it is possible that this could be heard as an unwanted noise.) To avoid this, specify the
note duration of the MIDI performance data that is produced when you strike each pad.
* If the same note number is sounded again in an overlapping manner, a note-o is transmitted before transmitting note-on, even if it is within the
gate time.