O W N ER’S MAN UAL
Thank you, and congratulations on your choice of the Roland
(FA-76).
Before using this unit, carefully read the sections entitled: “IMPORTANT SAFETY
INSTRUCTIONS” (Owner’s Manual p. 2), “USING THE UNIT SAFELY” (Owner’s
Manual p. 3), and “IMPORTANT NOTES” (Owner’s Manual p. 4). These sections
provide important information concerning the proper operation of the unit.
Additionally, in order to feel assured that you have gained a good grasp of every
feature provided by your new unit, Quick Start, Owner’s Manual, Sound/
Parameter List, and Q&A should be read in its entirety. The manual should be
saved and kept on hand as a convenient reference.
Copyright © 2001 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in any form without
the written permission of ROLAND CORPORATION.
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The
symbol alerts the user to important instructions
Used for instructions intended to alert
the user to the risk of death or severe
injury should the unit be used
improperly.
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.
Used for instructions intended to alert
the user to the risk of injury or material
damage should the unit be used
improperly.
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.
* 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.
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.
001
008e
•
Before using this unit, make sure to read the instructions
•
Use only the attached power-supply cord.
below, and the Owner’s Manual.
........................................................................................................................
........................................................................................................................
009
002b
•
Do not excessively twist or bend the power cord, nor place
heavy objects on it. Doing so can damage the cord,
producing severed elements and short circuits. Damaged
cords are fire and shock hazards!
•
Do not open or perform any internal modifications on the
unit. (The only exception would be where this manual
provides specific instructions which should be followed in
order to put in place user-installable options; see p. 196.)
........................................................................................................................
........................................................................................................................
010
003
•
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.
•
Do not attempt to repair the unit, or replace parts within it
(except when this manual provides specific instructions
directing you to do so). Refer all servicing to your retailer,
the nearest Roland Service Center, or an authorized
Roland distributor, as listed on the “Information” page.
........................................................................................................................
004
•
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
........................................................................................................................
011
•
Do not allow any objects (e.g., flammable material, coins,
pins); or liquids of any kind (water, soft drinks, etc.) to
penetrate the unit.
•
•
•
•
•
Damp (e.g., baths, washrooms, on wet floors); or are
Humid; or are
Exposed to rain; or are
Dusty; or are
........................................................................................................................
Subject to high levels of vibration.
013
•
In households with small children, an adult should
provide supervision until the child is capable of following
all the rules essential for the safe operation of the unit.
........................................................................................................................
005
•
This unit should be used only with a rack or stand that is
recommended by Roland.
........................................................................................................................
014
........................................................................................................................
•
Protect the unit from strong impact.
006
•
(Do not drop it!)
When using the unit with a rack or stand recommended
by Roland, the rack or stand must be carefully 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.
........................................................................................................................
015
•
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 extension 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.
........................................................................................................................
008a
•
The unit should be connected to a power supply only of
the type described in the operating instructions, or as
marked on the unit.
........................................................................................................................
........................................................................................................................
3
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USIN G THE UN IT SAFELY
016
106
•
Before using the unit in a foreign country, consult with
your retailer, the nearest Roland Service Center, or an
authorized Roland distributor, as listed on the “Infor-
mation” page.
•
Never climb on top of, nor place heavy objects on the unit.
........................................................................................................................
107b
........................................................................................................................
•
Never handle the power cord or its plugs with wet hands
when plugging into, or unplugging from, an outlet or this
unit.
022a
•
Always turn the unit off and unplug the power cord
before attempting installation of the circuit board (SR-
JV80/ SRX Series; Quick Start p. 3–4).
........................................................................................................................
108a
........................................................................................................................
•
Before moving the unit, disconnect the power plug from
the outlet, and pull out all cords from external devices.
........................................................................................................................
109a
101a
•
Before cleaning the unit, turn off the power and unplug
•
The unit should be located so that its location or position
the power cord from the outlet (Quick Start p. 5).
does not interfere with its proper ventilation.
........................................................................................................................
........................................................................................................................
110a
101c
•
Whenever you suspect the possibility of lightning in your
•
This unit for use only with Roland keyboard stand KS-12.
Use with other stands is capable of resulting in instability
causing possible injury.
area, pull the plug on the power cord out of the outlet.
........................................................................................................................
........................................................................................................................
115a
102b
•
Install only the specified circuit board(s) (SR-JV80/ SRX
•
Always grasp only the plug on the power-supply cord
when plugging into, or unplugging from, an outlet or this
unit.
Series). Remove only the specified screws (p. 196, p. 198).
........................................................................................................................
........................................................................................................................
118
104
•
Should you remove screws, make sure to put them in a
safe place out of children’s reach, so there is no chance of
them being swallowed accidentally.
•
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.
........................................................................................................................
........................................................................................................................
IMPO RTAN T N O TES
In addition to the items listed under “IMPORTANT SAFETY INSTRUCTIONS” and “USING THE UNIT SAFELY” on pages 2 and 3, please
read and observe the following:
353
Po w e r Su p p ly
•
Observe the following when using the unit’s floppy disk drive.
301
For further details, refer to “Before Using Floppy Disks.”
•
Do not use this unit on the same power circuit with any device
•
Do not place the unit near devices that produce a strong
magnetic field (e.g., loudspeakers).
that will generate line noise (such as an electric motor or variable
lighting system).
•
•
Install the unit on a solid, level surface.
307
•
Before connecting this unit to other devices, turn off the power to
Do not move the unit or subject it to vibration while the drive
is operating.
all units. This will help prevent malfunctions and/ or damage to
speakers or other devices.
354a
•
Do not expose the unit to direct sunlight, place it near devices that
radiate heat, leave it inside an enclosed vehicle, or otherwise
subject it to temperature extremes. Excessive heat can deform or
discolor the unit.
Pla ce m e n t
such as an area exposed to rain or other moisture.
352
•
This device may interfere with radio and television reception. Do
the cause of malfunction, such as keys ceasing to produce sound.
not use this device in the vicinity of such receivers.
4
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IMPO RTAN T N O TES
604
Ma in te n a n ce
•
To insert a disk, push it gently but firmly into the drive—it will
click into place. To remove a disk, press the EJECT button firmly.
Do not use excessive force to remove a disk which is lodged in the
drive.
401a
•
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.
605a
•
Never attempt to remove a floppy disk from the drive while the
drive is operating (the indicator is lit); damage could result to both
the disk and the drive.
402
•
Never use benzine, thinners, alcohol or solvents of any kind, to
606
avoid the possibility of discoloration and/ or deformation.
•
Remove any disk from the drive before powering up or down.
607
•
To prevent damage to the disk drive’s heads, always try to hold
Ad d itio n a l Pre ca u tio n s
the floppy disk in a level position (not tilted in any direction)
while inserting it into the drive. Push it in firmly, but gently.
Never use excessive force.
551
•
Please be aware that the contents of memory can be irretrievably
lost as a result of a malfunction, or the improper operation of the
unit. To protect yourself against the risk of loosing important data,
we recommend that you periodically save a backup copy of
important data you have stored in the unit’s memory on a floppy
disk.
608
•
To avoid the risk of malfunction and/ or damage, insert only
floppy disks into the disk drive. Never insert any other type of
disk. Avoid getting paper clips, coins, or any other foreign objects
inside the drive.
552
•
Unfortunately, it may be impossible to restore the contents of data
Ha n d lin g Flo p p y Disk s
that was stored on a floppy disk, in the unit’s memory or another
MIDI device (e.g., a sequencer) once it has been lost. Roland
Corporation assumes no liability concerning such loss of data.
651
•
Floppy disks contain a plastic disk with a thin coating of magnetic
storage medium. Microscopic precision is required to enable
storage of large amounts of data on such a small surface area. To
preserve their integrity, please observe the following when
handling floppy disks:
553
•
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 malfunctions.
554
•
•
•
Never touch the magnetic medium inside the disk.
Do not use or store floppy disks in dirty or dusty areas.
•
Never strike or apply strong pressure to the display.
556
•
When connecting / disconnecting all cables, grasp the connector
Do not subject floppy disks to temperature extremes (e.g.,
direct sunlight in an enclosed vehicle). Recommended temper-
ature range: 10 to 50° C (50 to 122° F).
itself—never pull on the cable. This way you will avoid causing
shorts, or damage to the cable’s internal elements.
557
•
A small amount of heat will radiate from the unit during normal
operation.
•
Do not expose floppy disks to strong magnetic fields, such as
those generated by loudspeakers.
558a
•
652
•
To avoid disturbing your neighbors, try to keep the unit’s volume
Floppy disks have a “write protect” tab which can protect the disk
from accidental erasure. It is recommended that the tab be kept in
the PROTECT position, and moved to the WRITE position only
when you wish to write new data onto the disk.
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).
559a
•
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.
Protect tab
561
Write (writing permitted)
Protect (writing prohibited)
•
Use only the specified expression pedal (EV-5; sold separately). By
connecting any other expression pedals, you risk causing
malfunction and/ or damage to the unit.
Be fo re Usin g Flo p p y Disk s
653
•
The identification label should be firmly affixed to the disk.
Should the label come loose while the disk is in the drive, it may
be difficult to remove the disk.
Ha n d lin g th e Flo p p y Disk Drive
602
654
•
Install the unit on a solid, level surface in an area free from
vibration. If the unit must be installed at an angle, be sure the
installation does not exceed the permissible range: upward, 2°;
downward, 18°.
•
Store all disks in a safe place to avoid damaging them, and to
protect them from dust, dirt, and other hazards. By using a dirty
or dust-ridden disk, you risk damaging the disk, as well as
causing the disk drive to malfunction.
603
•
Avoid using the unit immediately after it has been moved to a
location with a level of humidity that is greatly different than its
former location. Rapid changes in the environment can cause
condensation to form inside the drive, which will adversely affect
the operation of the drive and/ or damage floppy disks. When the
unit has been moved, allow it to become accustomed to the new
environment (allow a few hours) before operating it.
5
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Ho w To Use Th is Ma n u a l
This owner’s manual is organized as follows. Before you start
Re co rd in g a So n g
reading it, we’d like to suggest going through the Quick Start
manual. For parameter lists, sound lists, and MIDI implementation,
refer to the separate “Sound/ Parameter List.” In addition, the
separate “Q&A” provides answers for frequently asked questions
about the Fantom, and example applications for your reference.
This explains how to record a song using the Fantom’s sequencer.
Reading it is essential for understanding Fantom operational
procedures.
Ed itin g a So n g
This chapter explains song editing and song settings in detail. Read
O ve rvie w o f th e Fa n to m
this when you wish to edit a song that you’ve recorded.
This explains the structure of the Fantom, and basic operation.
Reading it is essential for understanding Fantom operational
procedures.
Pla y in g Ph ra se w ith O n e Fin g e r
(RPS Fu n ctio n )
Pla y in g in Pa tch Mo d e
This explains the settings of the RPS (Realtime Phrase Sequence)
function, and how to use it for performance. Read this chapter when
you wish to use the RPS.
This explains how to play the Fantom in Patch mode. Reading it is
essential for understanding Fantom operational procedures.
Ch a n g in g To n e s in Re a ltim e
Cre a tin g a Pa tch
This explains how to use the D Beam controller and realtime
controllers to modify the sound, and how to make the necessary
settings. Read this when you want to modify the sound in realtime.
This chapter explains how to create patches, and describes what the
patch parameters do and how they are composed. Read this chapter
when you wish to create patches.
Ap p ly in g Effe cts
Cre a tin g a Rh y th m Se t
This chapter explains how to make settings for the Fantom’s onboard
effects, and describes the type and operation of each effect. Be sure to
read this when adding effects to patches and performances.
This chapter explains how to create rhythm sets, and describes what
the rhythm set parameters do and how they are composed. Read this
chapter when you wish to create rhythm sets.
Se ttin g s Co m m o n to All Mo d e s
(Sy ste m Fu n ctio n )
Pla y in g in Pe rfo rm a n ce Mo d e
This explains how to play the Fantom in Performance mode.
Reading it is essential for understanding Fantom operational
procedures.
This chapter describes how the System parameters that determine
the Fantom’s operation environment work and how these
parameters are organized. Read it as necessary.
Cre a tin g a Pe rfo rm a n ce
Disk -Re la te d Fu n ctio n s (Disk Utility )
This chapter explains how to create performances, and describes
what the performance parameters do and how they are composed.
Read this chapter when you wish to create performances.
This chapter covers disk-related operations such as saving data to
disk and loading data from disk. Read it as necessary.
Tra n sm ittin g So u n d Se ttin g s/
Re sto rin g th e Fa cto ry Se ttin g s
Pla y in g in Mu ltitim b re Mo d e
This explains how to play the Fantom in Multitimbre mode. Reading
it is essential for understanding Fantom operational procedures.
This explains how to transmit data to an external MIDI device or to
the Fantom (Data Transfer), and how to restore all data of the
Fantom to the factory settings (Factory Reset). Read it as necessary.
Cre a tin g a Mu ltitim b re
This explains how to create a multitimbre, and the functions and
structure of the multitimbre parameters. Read this when you wish to
create a multitimbre.
In sta llin g th e W a ve Ex p a n sio n Bo a rd
This explains how to install a Wave Expansion Board (sold
separately). Read it as necessary.
Pla y in g Ba ck a So n g
This explains how to play back a song using the Fantom’s sequencer.
Reading it is essential for understanding Fantom operational
procedures.
6
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Ho w To Use Th is Ma n u a l
N o ta tio n Use d in Th is O w n e r’s
Ma n u a l
The display screens printed in this owner’s manual are based on
the factory settings. However, please be aware that in some cases
they may differ from the actual factory settings.
To make operation procedures easy to understand, the following
notation system is adopted:
Characters and numbers in square brackets [ ] indicate buttons and
knobs on the front panel. For example, [MODE] indicates the MODE
button, and [CURSOR] indicates the cursor buttons
(
,
,
,
).
(p. **) refers to pages within the manual.
In this manual, when any particular parameter is referred to, the
name of the parameter is given, and this is then followed (in
parenthesis) by information detailing its mode/ edit group. For
example: Mono/ Poly parameter (PATCH/ General).
Below are the meanings of the symbols preceding certain sentences
in the text.
These are notes. Be sure to read them.
These are reference memos. Read it as necessary.
These are hints for operating the Fantom. Read it as necessary.
These provide information from related reference pages. Read it
as necessary.
7
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Co n te n ts
Notation Used in This Owner’s Manual...................................................................................... 7
Main Features........................................................................................14
Panel Descriptions................................................................................16
Front Panel................................................................................................................................................. 16
How the Fantom Is Organized ............................................................................................................... 19
Basic Structure ............................................................................................................................... 19
Classification of Fantom Sound Types....................................................................................... 19
About Simultaneous Polyphony................................................................................................. 21
About Memory.......................................................................................................................................... 22
Temporary Memory...................................................................................................................... 22
Rewritable Memory ...................................................................................................................... 22
About the Onboard Effects ..................................................................................................................... 23
Effect Types.................................................................................................................................... 23
How Effects Units Work in Different Modes............................................................................ 23
About the Sequencer ................................................................................................................................ 24
Songs and the Sound Generator Mode ...................................................................................... 25
How Phrase Tracks, Parts and MIDI Channels Interact.......................................................... 25
Positions for Storing a Song......................................................................................................... 26
Basic Operation of the Fantom ............................................................................................................... 27
Switching the Sound Generator Mode ([MODE]).................................................................... 27
Switching Screens from the Menu ([MENU])........................................................................... 28
Viewing a List of Patches or Other Data ([LIST])..................................................................... 28
About the [1]–[8] Buttons............................................................................................................. 28
Moving the Cursor........................................................................................................................ 29
Assigning a Name......................................................................................................................... 30
Displaying PATCH PLAY Screen............................................................................................... 31
Selecting Patches from the List.................................................................................................... 33
Selecting Patches by Category (Patch Finder) .......................................................................... 34
Transposing the Keyboard in Octave Units (Octave Shift) ................................................................ 35
Transposing the Keyboard in Semitone Steps (Transpose)................................................................ 36
Selecting the Tones That Will Sound (Tone On/ Off).......................................................................... 36
Playing Arpeggios (Arpeggiator)........................................................................................................... 38
Holding an Arpeggio.................................................................................................................... 38
Simulating a Rhythm Guitar ....................................................................................................... 38
8
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Co n te n ts
Playing Percussion Instruments............................................................................................................. 40
Playing a Rhythm Set ................................................................................................................... 41
Playing Rhythm Patterns from the Keyboard ...................................................................................... 41
Holding the Playback of a Rhythm Pattern .............................................................................. 41
Making Rhythm Pattern Settings................................................................................................ 41
How to Make the Patch Settings ............................................................................................................ 42
Initializing Patch Settings (Init)................................................................................................... 43
Copying Patch Settings (Copy)................................................................................................... 43
Cautions When Selecting a Waveform ...................................................................................... 44
Saving Patches You’ve Created (Write) ................................................................................................ 45
Functions of Patch Parameters ............................................................................................................... 47
Settings Common to the Entire Patch (General)....................................................................... 47
Realtime Controller / D Beam Controller Settings (Controller) ............................................ 52
Setting Effects for a Patch (Effects/ MFX/ MFX Control/ Chorus/ Reverb).......................... 53
Changing How a Tone Is Sounded (TMT) ................................................................................ 56
Modifying Pitch (Pitch) ................................................................................................................ 60
Modifying the Brightness of a Sound with a Filter (TVF)....................................................... 62
Adjusting the Volume (TVA) ...................................................................................................... 64
Modulating Sounds (LFO)........................................................................................................... 66
How to Make the Rhythm Set Settings ................................................................................................. 69
Initializing Rhythm Set Settings (Init)........................................................................................ 69
Cautions When Selecting a Waveform ...................................................................................... 71
Saving Rhythm Sets You’ve Created (Write) ....................................................................................... 72
Auditioning the Save-Destination Rhythm Set (Compare) .................................................... 73
Registering Favorite Rhythm Sets (Favorite Sound)................................................................ 73
Functions of Rhythm Set Parameters .................................................................................................... 74
Settings Common to the Entire Rhythm Set (General)............................................................ 74
Rhythm Pattern Settings (Rhythm Ptn) ..................................................................................... 75
Realtime Controller / D Beam Controller Settings (Controller) ............................................ 76
Changing How a Rhythm Tone Is Sounded (WMT) ............................................................... 77
Modifying Pitch (Pitch) ................................................................................................................ 79
Modifying the Brightness of a Sound with a Filter (TVF)....................................................... 80
Adjusting the Volume (TVA) ...................................................................................................... 82
Selecting a Performance........................................................................................................................... 85
Selecting Favorite Performances (Favorite Sound).................................................................. 86
Selecting Performances from the List......................................................................................... 86
Combining and Playing Sounds Together (Layer).............................................................................. 87
Playing Rhythm Patterns in a Specific Region of the Keyboard ....................................................... 89
9
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Co n te n ts
How to Make the Performance Settings................................................................................................ 91
Saving Performance You’ve Created (Write) ....................................................................................... 93
Functions of Performance Parameters................................................................................................... 94
Settings Common to the Entire Performance (General).......................................................... 94
Rhythm Pattern Settings (Rhythm Ptn) ..................................................................................... 96
Realtime Controller / D Beam Controller Settings (Controller) ............................................ 97
Zone Settings (Zone)..................................................................................................................... 98
Making Settings for Each Part (Part)........................................................................................ 100
Scale Tune Settings (Scale Tune)............................................................................................... 104
Changing the Settings of the Patch Assigned to a Part..................................................................... 105
About the MULTITIMBRE PLAY screen ............................................................................................ 106
Displaying the MULTITIMBRE PLAY screen ........................................................................ 106
Selecting a Multitimbre.......................................................................................................................... 107
Selecting Multitimbres from a List ........................................................................................... 107
Playing Back a Song ............................................................................................................................... 108
Selecting a Part to Play from the Keyboard (Current Part).............................................................. 108
Selecting a Part to Play Individually (Solo)........................................................................................ 108
Assigning a Different Patch to a Part .................................................................................................. 109
Adjusting the Volume and Pan of Each Part...................................................................................... 109
Recording an Arpeggio Performance .................................................................................................. 110
Confirming MIDI Information for Each Part (Part Information)......................................... 111
How to Make the Multitimbre Settings............................................................................................... 112
Saving Multitimbre You’ve Created (Write) ...................................................................................... 114
Functions of Multitimbre Parameters.................................................................................................. 115
Settings Common to the Entire Multitimbre (General)......................................................... 115
Making Settings for Each Part (Part)........................................................................................ 115
Scale Tune Settings (Scale Tune)............................................................................................... 120
Changing the Settings of the Patch Assigned to a Part..................................................................... 121
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Co n te n ts
Playing a Song Immediately from Disk (Quick Play)....................................................................... 122
Playing Back Songs Consecutively (Chain Play) ............................................................................... 122
Creating a Chain.......................................................................................................................... 122
Loading a Chain from Disk (Load)........................................................................................... 124
Playing a Chain ........................................................................................................................... 124
Fast-Forward and Rewind During Playback .......................................................................... 124
Playing Back Correctly from the Middle of the Song (MIDI Update)................................. 124
Playing a Song Back at a Fixed Tempo (Muting the Tempo Track) .................................... 125
Playing Back a S-MRC Format Song ........................................................................................ 125
Playing Back a Song Repeatedly (Loop Play) ......................................................................... 125
Using the D Beam Controller to Start/ Stop Song Playback ................................................. 126
Two Recording Methods............................................................................................................ 127
Before You Record a New Song ........................................................................................................... 127
Select the Sound to be Used for Recording ............................................................................. 127
Erasing the Song from Internal Memory (Song Initialize).................................................... 127
Specify the Time Signature ........................................................................................................ 128
Recording Your Performance as You Play It (Realtime Recording) ............................................... 129
Basic Operation for Realtime Recording ................................................................................. 129
Recording Tempo Changes in a Song (Tempo Recording)................................................... 130
Loop Recording and Punch-In Recording............................................................................... 130
Selecting the Sequencer Data that will Be Recorded (Recording Select) ............................ 131
Erasing Unwanted Data While You Record (Realtime Erase).............................................. 132
Inputting Data One Step at a Time (Step Recording)........................................................................ 132
Inputting Notes and Rests ......................................................................................................... 132
Assigning a Pattern to a Phrase Track ..................................................................................... 134
Saving a Recorded Song on Disk ......................................................................................................... 135
Editing Songs......................................................................................136
Loading the Song You Want to Edit .................................................................................................... 136
Using Different Sound Generators for Each Track ................................................................ 136
Assigning a Name to a Pattern (Pattern Name) ..................................................................... 138
Specifying the Area of a Song that will Repeat (Loop Points).............................................. 139
Editing Sequencer Data Over the Specified Range (Track Edit) ..................................................... 139
Basic Operation for Track Editing ............................................................................................ 139
Aligning a Song’s Timing (Quantize) ...................................................................................... 140
Deleting Unwanted Measures (Delete).................................................................................... 143
Inserting a Blank Measure (Insert Measure) ........................................................................... 145
1 1
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Co n te n ts
Shifting Performance Data Forward and Back (Shift Clock)................................................ 150
Thinning Out the Sequencer Data (Data Thin)....................................................................... 151
Swapping Two Phrase Tracks or Patterns (Exchange).......................................................... 152
Adjusting the Song’s Playback Time (Time Fit) ..................................................................... 152
Deleting Blank Measures (Truncate)........................................................................................ 153
Editing Individual Items of Sequencer Data (Micro Edit)................................................................ 153
Viewing Sequencer Data (in the Microscope Window) ........................................................ 153
Sequencer Data Handled by a Phrase Track/ Pattern............................................................ 154
Viewing sequencer data (View) ................................................................................................ 155
Editing the Sequencer Data ....................................................................................................... 155
Inserting Sequencer Data (Create)............................................................................................ 156
Changing the Tempo Midway Through the Song ................................................................. 158
Changing the Time Signature Midway Through the Song................................................... 158
Before You Use the RPS Function ........................................................................................................ 159
Record a Pattern .......................................................................................................................... 159
Using the RPS Function While You Perform...................................................................................... 160
Making Settings for the D Beam Controller ............................................................................ 162
Using Knobs or Buttons to Modify the Sound (Realtime Controller) ............................................ 163
Making Realtime Controller Settings....................................................................................... 163
Using a Pedal to Modify the Sound (Control Pedal)......................................................................... 164
Turning Effects On and Off................................................................................................................... 165
Applying Effects in Patch Mode .......................................................................................................... 165
Specifying How the Sound Will Be Output (Effects)............................................................. 165
Signal Flow Diagram and Parameters ..................................................................................... 166
Specifying How the Sound Will Be Output (Effects)............................................................. 170
Signal Flow Diagram and Parameters ..................................................................................... 171
Functions of Parameters............................................................................................................. 175
Making Chorus Settings (Chorus) ....................................................................................................... 176
Functions of Parameters............................................................................................................. 176
Functions of Parameters............................................................................................................. 177
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Co n te n ts
How to Make the System Function Settings....................................................................................... 178
Initializing the System Settings (Init) ....................................................................................... 178
Saving the System Settings (Write)...................................................................................................... 178
Functions of System Parameters .......................................................................................................... 179
Settings Common to the Entire System (General).................................................................. 179
Sequencer Settings (Sequencer)................................................................................................. 180
Equalizer settings (EQ)............................................................................................................... 185
Phrase Preview Settings (Preview)........................................................................................... 185
Scale Tune settings (Scale Tune) ............................................................................................... 186
Basic Disk Utility Operations................................................................................................................ 187
Selecting the Type of Files Displayed in the File List (View)........................................................... 188
Loading a File from Disk into the Fantom (Load)............................................................................. 188
Saving Data on Disk (Save)................................................................................................................... 189
Copying a File to Another Name (Copy)............................................................................................ 190
Deleting Unwanted Files (Delete)........................................................................................................ 191
Executing Disk-Related Functions (Tools).......................................................................................... 191
Preparing a Disk for Use by the Fantom ................................................................................. 191
Checking Files Recorded on Disk ............................................................................................. 192
Creating a Duplicate Disk.......................................................................................................... 193
Transmitting Sound Settings (Data Transfer) .................................................................................... 194
Reset to Default Factory Settings (Factory Reset).............................................................................. 195
Cautions When Installing an Wave Expansion Board ...................................................................... 196
How to Install a Wave Expansion Board ............................................................................................ 196
Checking the Installed Wave Expansion Boards ............................................................................... 197
Installation de la carte d’expansion Wave
Précautions à prendre lors de l’installation d’une carte d’expansion Wave ................................. 198
Installation d’une carte d’expansion Wave ........................................................................................ 198
Vérification des cartes d’extension audio aprés installation ............................................................ 199
Specifications......................................................................................200
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Ma in Fe a tu re s
● A sy n th e size r w ith th e o p e ra b ility
a n d p la y a b ility o f a m u sica l
in stru m e n t
● Po w e r e ffe cts in clu d in g CO SM
e ffe cts
The effects indispensable for synthesizer sound creation are
provided—in studio quality.
The category of synthesizers known as “workstations”—consisting
of a sound generator section that creates the sound, a controller
section, and a sequencer section to produce music—has taken its
own evolutionary path, adding various new functionality that opens
up new possibilities of musical expression and creation. On the other
hand, access to such functionality has generally been provided
through a restrictive, complex interface, which has all too often
hampered the creativity of the musician.
For reverb, a DSP equivalent to SRV-3030 quality is built-in,
delivering clear reverb with smooth decays.
The total of 90 types of multi-effects (M-FX) include not only effects
such as RSS, 3D delay, and slicer, but also effects that use Roland’s
proprietary COSM modeling technology, such as guitar amp
simulations, guitar multi’s, bass multi’s, and keyboard multi’s.
In Multitimbre mode and Performance mode, three types of M-FX
can be used simultaneously, letting you use different M-FX effects on
a desired part. What’s more, a two-band EQ is provided for each
output jack.
The Fantom not only features superb operability for performance,
but also is comprehensively designed to support the musician’s
creativity in every area, including composition. It lets you work
seamlessly through every aspect of the music production process,
from performance to composition, allowing you to hold onto your
inspiration.
● Co m p re h e n sive m u sic p ro d u ctio n
w ith a su p e rio r p e rfo rm a n ce
se q u e n ce r b a se d o n th e MRC-Pro
● Co n so lid a te d in te rfa ce d e sig n w ith
The Fantom contains a 16-track sequencer based on the MRC-Pro
sequencer, delivering high resolution that captures every expressive
detail of your performance, and providing speedy data entry and
editing for both realtime and step recording. In conjunction with the
power sound generator, the Fantom is a serious music production
environment in a single package.
la rg e g ra p h ic LCD
The Fantom features a large quarter-VGA sized LCD. The graphical
display uses four levels of grayscale to simultaneously show all
relevant settings for sounds or sequencer operations, guaranteeing
smooth operation.
Since a large amount of data can be displayed at once, buttons and
knobs are laid out simply, letting you access a desired parameter
with a minimum of operation. The interface is designed with your
creativity as the first priority.
In addition, the Fantom lets you start recording immediately from
any mode (whether you are editing sounds or performing), simply
by pressing the [REC] button. You can record your improvisations in
real time, and create songs based on your captured inspirations.
It goes without saying that you can use Micro editing to edit your
recorded data in every detail. Since the large display lets you view 16
tracks of recorded data at once, editing can be performed faster,
more efficiently, and in greater detail than on previous workstations.
Sequencer data can be saved and loaded in the native MRC format
or as SMF. The built-in floppy disk drive makes it easy to exchange
data with another sequencer or computer.
● To p -le ve l so u n d g e n e ra to r fo r
m a x im u m e x p re ssive p o w e r
The Fantom contains the same type of 64-voice/ 16-part multitimbral
sound generator as on the XV-5080, acclaimed by music production
professionals. The total of 896 preset patches include new patches
that have been tuned specifically for the Fantom to take advantage of
its keyboard, knobs, and other realtime controllers.
The Fantom boasts a new Multitimbre mode. By displaying 16 parts
simultaneously, this lets you quickly create orchestrations, and
makes song arrangements simple and intuitive.
Four-level velocity switching lets you move between four stereo
waves, for the same amazing expressive power as on the XV-5080.
The spaciousness of the sound field, tonal changes controlled by
velocity, and endless details of expressive nuance are at your
fingertips. Matrix Control lets you vary large numbers of parameters
at once, and can be controlled using realtime controllers such as the
knobs and D Beam control. The Fantom’s dynamic expressive power
can be controlled by simple operations.
Wave Expansions Boards can also be installed to freely customize
your Fantom for your favorite musical styles or applications. Two
slots for the SRX series expansion boards allow the addition of high-
quality sounds using a maximum of 64 M bytes of high-quality wave
memory, and another slot lets you install one of the wide selection of
SR-JV80 series expansion boards.
In addition to four parallel outputs, which can be used as two stereo
pairs, S/ P DIF digital out (both optical and coaxial) is also provided.
The Fantom is a great match for any digital recording system.
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Ma in Fe a tu re s
● Fu n ctio n s th a t stim u la te y o u r
● Ge n e ra l MIDI- a n d Ge n e ra l MIDI 2 -
cre a tivity
Co m p a tib le
The Fantom provides numerous functions that enhance its
playability for realtime performance, and let you develop this into
musical productions.
The Fantom is compatible with both General MIDI and General
MIDI 2 standards. Any General MIDI and/ or General MIDI 2
compatible music data (GM score) can be played back on the
Fantom.
Numerous drum patterns based in actual professional drum playing
are built in. Twelve types of pattern variations including fills are
assigned to an octave of the keyboard, allowing you to perform the
drum part in real time. In addition, the drums can be made to play at
a steady, natural tempo, regardless of the timing at which you press
the keys.
Ge n e ra l MIDI
General MIDI 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 meet the General MIDI standard bear the General MIDI
A newly developed arpeggiator is also built-in. In addition to
complex phrases that would be impossible to play by hand, you can
also use the arpeggiator to play phrases that are similar to actual
performance. Furthermore, the D Beam and other realtime
controllers can be used to modify the arpeggio style. This not only
makes for a dramatic leap in expressive potential during a live
performance, but also supports your own playing.
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.
Phrases played by rhythm patterns or the arpeggiator can be
recorded on the sequencer just as they are played. Your realtime
performance can be saved instantly as song data, or even used as a
template for a step-recorded phrase.
Ge n e ra l MIDI 2
The upwardly compatible General MIDI 2 (
)
recommendations pick up where the original General MIDI left
off, offering enhanced expressive capabilities, and even greater
compatibility. Issues that were not covered by the original
General MIDI recommendations, such as how sounds are to be
edited, and how effects should be handled, have now been
precisely defined. Moreover, the available sounds have been
expanded. General MIDI 2 compliant sound generators are
capable of reliably playing back music files that carry either the
General MIDI or General MIDI 2 logo.
In addition, patterns created on the sequencer can be triggered by
the keyboard and played by the RPS (Realtime Phrase Sequence)
function. Rhythm patterns and complex phrases created using the
arpeggiator can be recorded on the sequencer, and then played in
real time, for amazing live performance possibilities.
● De sig n e d to b e a tru e m u sica l
In some cases, the conventional form of General MIDI, which
does not include the new enhancements, is referred to as
“General MIDI 1” as a way of distinguishing it from General
MIDI 2.
in stru m e n t
In a departure from the straight-line design of previous
workstations, the Fantom features a distinctive design, which
proclaims its worthiness as a true musical instrument, while at the
same time projecting a sense of quiet dignity.
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Pa n e l De scrip tio n s
Fro n t Pa n e l
4
5
2
6
7
3
1
8
9
10
[
]–[
]
1
The operation will depend on the parameter or function that is
assigned.
Flo p p y Disk Drive
3.5” 2DD/ 2HD floppy disks can be used. To remove the disk, press
the eject button located at the right of the disk drive.
5
Perform functions related to the arpeggiator, rhythm pattern
function, and sequencer playback and recording.
Subsequently, this manual will abbreviate “floppy disk” as “disk.”
[ARPEGGIO ]
2
D BEAM
Switches the Arpeggiator on/ off.
You can apply a variety of effects to sounds simply by moving your
[RHYTHM]
hand. → (p. 162)
Switches Rhythm pattern function on/ off.
[O N / O FF]
[RESET]
Switches the D Beam controller on/ off.
Moves the song position to the first measure. → (p. 124)
3
[BW D]
Moves the song position to the first beat of the previous measure. →
(p. 124)
Vo lu m e Slid e r
Adjusts the overall volume that is output from the rear panel
OUTPUT jacks and PHONES jack. → (Quick Start; p. 4)
[FW D]
Moves the song position to the first beat of the next measure. → (p.
124)
4
REALTIME CO N TRO L
You can assign a variety of parameters and functions to the four
knobs and four buttons, and use them to modify the sound in
realtime. → (p. 163)
[STO P/ PLAY]
Controls sequencer stop/ play.
While stopped, you can hold down [SHIFT] and operate this to
perform MIDI Update. → (p. 124)
[
]–[
]
[REC]
The operation will depend on the parameter or function that is
assigned.
The display changes to the Recording Standby window. → (p. 129)
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Pa n e l De scrip tio n s
9
VALUE Dia l
This is used to modify values. If you hold down [SHIFT] as you turn
the VALUE dial, the value will change in greater increments. → (p.
29)
[DEC], [IN C]
This is used to modify values. If you keep on holding down one
button while pressing the other, the value change accelerates. If you
press one of these buttons while holding down [SHIFT], the value
will change in bigger increments. → (p. 29)
[CURSO R]
Moves the cursor location up/ down/ left/ right. → (p. 29)
[SHIFT]/ [REGISTRY]
SHIFT: This button is used in conjunction with other buttons to
execute various functions.
REGISTRY: By holding down this button and pressing [1]–[8], you
can register a favorite sound. → (p. 46, p. 73, p. 94)
[JUMP]/ [BAN K]
[BEAT] (Be a t In d ica to r)
JUMP: This button is used in conjunction with the cursor buttons to
jump the cursor location.
This blinks in sync with the tempo and beat of the song.
BANK: By holding down this button and pressing [1]–[8], you can
select the favorite sound bank. → (p. 33, p. 86)
6
[EXIT]
Disp la y
Return to the PLAY screen, or close the currently open window. In
some screens, this causes the currently executing function to be
aborted.
This displays information regarding the operation you are
performing
7
10
[1 ]–[8 ]
Pitch Be n d / Mo d u la tio n Le ve r
These buttons let you select/ register your favorite patches or
performances. The lower part of the screen will show the names of
the favorite sounds you’ve registered. → (p. 28)
This allows you to control pitch bend or apply vibrato. → (Quick
Start; p. 27)
During editing, these buttons execute a variety of functions, and
their function will differ depending on the screen. → (p. 28)
8
[MO DE]
Opens the MODE window. → (p. 27)
[MEN U]
Opens the MENU window. The contents of the menu will depend on
the current mode. → (p. 28)
[LIST]
Opens the LIST window. The contents of the list will depend on the
current location of the cursor. → (p. 28)
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Pa n e l De scrip tio n s
Re a r Pa n e l
fig.00-02
fig.00-03
fig.00-06
CO N TRAST Kn o b
PO W ER O N Sw itch
Adjusts the display contrast. → (Quick Start; p. 5)
Press to turn the power on/ off. → (Quick Start; p. 4)
fig.00-07
AC In le t
Connect the included power cord to this inlet. → (Quick Start; p. 3)
fig.00-04
MIDI Co n n e cto rs (IN , O UT, THRU)
These connectors can be connected to other MIDI devices to receive
and transmit MIDI messages.
CTL 1 , CTL 2 PEDAL Ja ck
fig.00-08
You can connect optional expression pedals (EV-5, etc.) to these
jacks. By assigning a desired function to a pedal, you can use it to
select or modify sound or perform various other control. You can
also connect optional pedal switches (DP-2, DP-6, etc.) to sustain
sound. → (Quick Start; p. 29)
HO LD PEDAL Ja ck
O UTPUT A (MIX) Ja ck s (L (MO N O ), R)
An optional pedal switch (DP-2, DP-6, etc.) can be connected to this
jack for use as a hold pedal. → (Quick Start; p. 28)
These jacks output the audio signal to the connected mixer/ amplifier
system in stereo. For mono output, use the L jack. → (Quick Start; p.
3)
This can also be set so it supports the use of half-pedaling
techniques. So, after connecting an optional expression pedal (EV-5,
etc.), you can employ pedal work to achieve even finer control in
performances in which piano tones are used. → (p. 184)
O UTPUT B Ja ck s (L, R)
These jacks output the audio signal to the connected mixer/ amplifier
system in stereo.
fig.00-05
IN DIVIDUAL 1 –4 Ja ck s
These jacks output audio signals in mono to an amp or mixer.
DIGITAL O UT Co n n e cto rs
(S/ P DIF O PTICAL, S/ P DIF CO AXIAL)
The setting determining whether these jacks are used as stereo
OUTPUT jacks or monaural INDIVIDUAL jacks is made with
the Output Assign setting (p. 168, p. 172).
The Fantom features both optical and coaxial digital out connectors
(conforming to S/ P DIF).
PHO N ES Ja ck
These connectors output a digital audio signal (stereo). The output
signal is identical to the signal that is output from the OUTPUT A
(MIX) jacks.
This is the jack for connecting headphones (sold separately). →
(Quick Start; p. 3)
S/ P DIF is a digital interface format used for consumer digital
audio devices.
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O ve rvie w o f th e Fa n to m
To n e s
Ho w th e Fa n to m Is O rg a n ize d
On the Fantom, the tones are the smallest unit of sound. However, it
is not possible to play a tone by itself. The patch is the unit of sound
which can be played, and the tones are the basic building blocks
Ba sic Stru ctu re
which make up the patch.
Broadly speaking, the Fantom consists of a keyboard controller
fig.01-02.e
section, a sound generator section, and a sequencer section.
These sections are internally connected via MIDI.
fig.01-01.e
Tone
LFO 1
LFO 2
Playback
Sound
Generator
Section
Sequencer
Section
WG
TVF
TVA
Recording
Play
Pitch
TVF
TVA
Envelope
Envelope
Envelope
Keyboard Controller Section (controllers
such as keyboard, pitch bend lever, etc.)
control signal
audio signal
Tones consist of the following five components.
Ke y b o a rd Co n tro lle r Se ctio n
W G (W a ve Ge n e ra to r)
This section consists of the keyboard, pitch bend/ modulation lever,
panel knobs and buttons, and D Beam controller. It also includes any
pedals that may be connected to the rear panel. The performance
information generated when you do things such as press/ release a
key, or depress the hold pedal is converted into MIDI messages and
sent to the sound generator section, sequencer section, and/ or an
external MIDI device.
Specifies the PCM waveform (wave) that is the basis of the sound,
and determines how the pitch of the sound will change.
The Fantom has 1,083 different waveforms. All patches built into the
Fantom consist of combinations of tones which are created based on
these waveforms.
There are four wave generators for each rhythm tone (percussion
instrument sounds).
So u n d Ge n e ra to r Se ctio n
The sound generator section produces the sound. It receives MIDI
messages from the keyboard controller section and sequencer section
and/ or from an external MIDI device, generates musical sound
according to the MIDI messages that were received, and outputs the
sound as an analog signal from the output jacks or headphone jack.
TVF (Tim e Va ria n t Filte r)
Specifies how the frequency components of the sound will change.
TVA (Tim e Va ria n t Am p lifie r)
Specifies the volume changes and the sound’s position in a stereo
soundfield.
Se q u e n ce r Se ctio n
This section records operations of the keyboard controller section as
MIDI messages, and transmits the recorded MIDI messages to the
sound generator section. MIDI messages recorded on the sequencer
can also be transmitted from the MIDI OUT connector to allow the
Fantom to also control external MIDI devices.
En ve lo p e
You use Envelope to initiate changes to occur to a sound over time.
There are separate envelopes for Pitch, TVF (filter), and TVA (volume).
For example if you wish to modify the way in which the sound attacks
or decays over time, you would adjust the TVA envelope.
LFO (Lo w Fre q u e n cy O scilla to r)
Cla ssifica tio n o f Fa n to m So u n d
Ty p e s
When using the Fantom, you will notice that a variety of different
categories come into play when working with sounds. What follows
is a simple explanation of each sound category.
Use the LFO to create cyclic changes (modulation) in a sound. The
Fantom has two LFOs. Either one or both can be applied to effect the
WG (pitch), TVF (filter) and/ or TVA (volume). When an LFO is
applied to the WG pitch, a vibrato effect is produced. When an LFO is
applied to the TVF cutoff frequency, a wah effect is produced. When
an LFO is applied to the TVA volume, a tremolo effect is produced.
LFO is not included in the rhythm tones (percussion instrument
sounds).
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O ve rvie w o f th e Fa n to m
Each percussion instrument consists of the following four elements.
Pa tch e s
(For details, refer to the explanations for “Tones.”)
Patches are the basic sound configurations that you play during a
performance. Each patch can be configured by combining up to four
tones. How the four tones are combined is determined by the
W G (W a ve Ge n e ra to r)
TVA (Tim e Va ria n t Am p lifie r)
En ve lo p e
Structure Type parameter (PATCH/ TMT) (p. 56).
fig.01-03.e
Patch
Mu ltitim b re
Tone 4
Tone 3
A multitimbre consists of a patch or rhythm set assigned to each of
the 16 parts, and can simultaneously handle 16 sounds. This allows
you to create a set of sounds for use with a song you create on the
sequencer, or to enjoy ensemble performance. From the keyboard,
you can play only the currently selected part (the “current part”).
Because the Fantom sound generator can control multiple sounds
(instruments) it is called a Multi-timbral sound generator.
Tone 2
Tone 1
LFO 1
LFO 2
WG
TVF
TVA
Pe rfo rm a n ce s
A performance is like a multitimbre in that it also has a patch or
rhythm set assigned to each of the 16 parts, and can simultaneously
handle 16 sounds. However, unlike a multitimbre, you can play
multiple parts simultaneously from the keyboard, allowing you to
play multiple patches simultaneously (Layer) or in separate regions
Pitch
Envelope
TVF
Envelope
TVA
Envelope
of the keyboard (Split).
fig.01-05.e
Rh y th m Se ts
Rhythm sets are groups of a number of different percussion
instrument sounds. Since percussion instruments generally do not
play melodies, there is no need for a percussion instrument sound to
be able to play a scale on the keyboard. It is, however, more
important that as many percussion instruments as possible be
available to you at the same time. Therefore, each key (note number)
Performance/Multitimbre
Part 16
of a rhythm set will produce a different percussion instrument.
fig.01-04.e
Rhythm Set
Part 1
Note Number 98 (D7)
Note Number 97 (C#7)
Patch/
Rhythm Set
Note Number 36 (C2)
Note Number 35 (B1)
Pa rt
Rhythm Tone (Percussion instrument sound)
WG
TVF
TVA
A part is the place to which a patch or rhythm set is assigned when
using the Fantom in Multitimbre mode or Performance mode. A
single multitimbre/ performance comprises sixteen parts, with a
patch or rhythm set being assigned to each part.
Pitch
Envelope
TVF
Envelope
TVA
Envelope
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O ve rvie w o f th e Fa n to m
Ab o u t Sim u lta n e o u s Po ly p h o n y
It is not possible to make Voice Reserve settings that would
cause the total of all parts to be greater than 64 voices.
The Fantom can play a maximum of 64 sounds simultaneously. The
following paragraphs discuss what this means, and what will
happen when more than 64 simultaneous voices are requested from
the Fantom.
Ca lcu la tin g th e N u m b e r o f Vo ice s
Be in g Use d
The Fantom is able to play up to 64 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer only to
the number of sounds actually being played, but changes according
to the number of tones used in the patches, and the number of
Waves used in the tones. The following method is used to calculate
the number of sounds used for one patch being played.
(Number of Sounds Being Played) x (Number of tones Used by
Patches Being Played) x (Number of Waves Used in the tones)
For example, with a patch combining four tones, each of which uses
two Waves, the actual number of sounds being played comes to 8.
Also, when playing in Multitimbre mode or Performance mode, the
number of sounds for each part is counted to obtain the total number
of sounds for all parts.
Ho w a Pa tch So u n d s
When the Fantom is requested to play more than 64 voices
simultaneously, currently sounding notes will be turned off to make
room for newly requested notes. The note with the lowest priority
will be turned off first. The order of priority is determined by the
Voice Priority setting (p. 47).
Voice Priority can be set either to “LAST” or “LOUDEST.” When
“LAST” is selected, a newly requested note that exceeds the 64 voice
limit will cause the first-played of the currently sounding notes to be
turned off. When “LOUDEST” is selected, the quietest of the
currently sounding notes will be turned off. Usually, “LAST” is
selected.
N o te Prio rity in Mu ltitim b re /
Pe rfo rm a n ce Mo d e
Since Multitimbre/ Performance mode is usually used to play an
ensemble consisting of several patches, it is important to decide
which parts take priority. Priority is specified by the Voice Reserve
make room for a new note, the Voice Priority setting of the patch
will apply.
Vo ice Re se rve
The Fantom has a Voice Reserve function that lets you reserve a
minimum number of notes that will always be available for each
part. For example if Voice Reserve is set to “10” for part 16, part 16
will always have 10 notes of sound-producing capacity available to it
even if a total of more than 64 notes (total for all parts) are being
requested. When you make Voice Reserve settings, you need to take
into account the number of notes you want to play on each part as
well as the number of tones used by the selected patch (p. 102, p.
118).
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O ve rvie w o f th e Fa n to m
Re w rita b le Me m o ry
Sy ste m Me m o ry
Ab o u t Me m o ry
Patch and performance settings are stored in what is referred to as
memory. There are three kind of memory: temporary, rewritable,
System memory stores system parameter settings that determine
how the Fantom functions.
and non-rewritable.
fig.01-06.e
Fantom
Preset E (PR-E)
System
Preset D (PR-D)
Use r Me m o ry
User memory is where you normally store the data you need. USER
memory contains 128 patches, 16 rhythm sets, 16 multitimbres, and
64 performances.
Preset C (PR-C)
Preset B (PR-B)
Preset A (PR-A)
User (USER)
Patch
128
Patch
128
Disk (O p tio n a l: 3 .5 ” 2 DD, 2 HD)
Rhythm Set
Rhythm Set
16
Patches, multitimbres, performances, and system settings can be
stored on disk together as a single file.
GM (GM2)
16
* 1
Multitimbre
Patch
256
Multitimbre
16
16
Performance
* 1
Rhythm Set
9
Performance
64
64
* 1
N o n -Re w rita b le Me m o ry
Pre se t Me m o ry
* 2
Select
Select
Select
Write
Data in Preset memory cannot be rewritten. However, you can call
up settings from preset memory into the temporary area, modify
them and then store the modified data in rewritable memory (except
GM2).
Temporary Area
Select
W a ve Ex p a n sio n Bo a rd s
(o p tio n a l: SR-JV8 0 / SRX Se rie s)
EXP C Slot (XP-C)
EXP B Slot (XP-B)
EXP A Slot (XP-A)
Data File (.SVD)
The Fantom can be equipped with up to three Wave Expansion
Boards (one SR-JV80 series, two SRX series). Wave Expansion Boards
contain Wave data, as well as patches and rhythm sets that use this
Wave data, which can be called directly into the temporary area and
played.
Patch
128
Rhythm Set
16
Load
Save
Patch
Multitimbre
16
Rhythm Set
Performance
64
Wave Expansion Board
System
Disk
* 1 Only in PR-A (PRST)
* 2 The selected Patches/Rhythm Sets cannot be changed.
Te m p o ra ry Me m o ry
Te m p o ra ry Are a
This is the area that holds the data for the patch, multitimbre, or
performance that you’ve selected using the panel buttons.
When you play the keyboard or play back a sequence, sound is
produced based on data in the temporary area. When you edit a
patch, multitimbre, or performance, you do not directly modify the
data in memory; rather, you call up the data into the temporary area,
and edit it there.
Settings in the temporary area are temporary, and will be lost when
the power is turned off or when you select another patch/
multitimbre/ performance. To keep the settings you have modified,
you must write them into rewritable memory.
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O ve rvie w o f th e Fa n to m
Ho w Effe cts Un its W o rk in Diffe re n t
Mo d e s
Ab o u t th e O n b o a rd Effe cts
Effe ct Ty p e s
The Fantom has three built-in effect units, and you can
In Pa tch Mo d e
The multi-effects, chorus and reverb effects can be set up
independently edit each unit’s settings.
individually for each patch/ rhythm set. Adjusting the signal level to
be sent to each effects unit (Send Level) provides control over the
Mu lti-Effe cts
effect intensity that’s applied to each tone.
fig.01-07
The multi-effects are multi-purpose effects that completely change
the sound type by changing the sound itself. Contained are 90
different effects types; select and use the type that suits your aims. In
addition to effects types composed of simple effects such as
Distortion, Flanger, and other such effects, you can also set up a
wide variety of other effects, even connecting effects in series or in
parallel. Furthermore, while chorus and reverb can be found among
the multi-effects types, the following chorus and reverb are handled
with a different system.
Patch
TONE
Multi-Effects
Chorus
Reverb
Ch o ru s
Chorus adds depth and spaciousness to the sound. You can select
whether to use this as a chorus effect or a delay effect.
Re ve rb
Rhythm Set
A0
Reverb adds the reverberation characteristics of halls or
auditoriums. Four different types are offered, so you can select and
use the type that suits your purpose.
RHYTHM
TONE
Multi-Effects
Chorus
C8
Reverb
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O ve rvie w o f th e Fa n to m
In th e Pe rfo rm a n ce Mo d e o r
Mu ltitim b re Mo d e
Ab o u t th e Se q u e n ce r
A sequencer records keyboard performance and controller
movements as MIDI messages (sequencer data). As the data plays
back, the recorded MIDI messages are sent to a sound generator
which will produce the required sounds. The sequencer actually
plays instruments instead of the musician, and since it can record a
musical performance, it is a tape recorder as well.
The multi-effects, chorus and reverb effects can be set individually
for each performance and multitimbre. The intensity of each effect
will be set for each part (Fig. 1), but the Send Level setting for each
tone can also influence effect intensity (Fig. 2).
When you apply effects in Performance mode or Multitimbre mode,
the effect settings of the patch or rhythm set assigned to each part
will be ignored, and the effect settings of the performance or
multitimbre will be used. Thus, the effects for the same patch or
rhythm set may differ when played in Patch mode and in
But in reality a sequencer doesn’t record sound, but actually the
steps that cause the sound generator to produce sound, so it offers
several advantages. Sound quality is always excellent, the equivalent
of first-generation tape, no matter how many times the data plays
back; tempo changes have no effect on pitch; detailed editing is
possible, etc.
Performance/ Multitimbre mode. However, depending on the
settings, you can have effect settings for a patch or rhythm set
assigned to a part applied to the entire performance/ multitimbre (p.
performance or multitimbre, you can use three different multi-effects
W h a t Is a So n g ?
composition is referred to as a song. A song combines sequencer
data recorded on Phrase tracks 1–16, a Tempo track, a Beat track and
simultaneously, depending on the effect type (p. 175).
fig.01-08.e
Fig.1 – When Output Assign parameter is set to “MFX”
(the output settings for Tone are ignored)
a Pattern track, as discussed below.
fig.01-09.e
Performance/Multitimbre
Part 1
Song
Patch
Part16
Phrase track 16
TONE
Multi-Effects
Phrase track 2
Phrase track 1
Chorus
Reverb
Tempo track
Beat track
Fig.2 – When Output Assign parameter is set to “PAT”
Pattern track
(the output settings for Tone are valid)
Pattern
1
Pattern
2
Pattern
100
Performance/Multitimbre
Part 1
Patch
Part16
TONE
Multi-Effects
Chorus
W h a t Is a Tra ck ?
Reverb
Each section of a song which stores musical performance data is
called a track.
Ph ra se Tra ck s 1 –1 6
Phrase tracks record the musical performance. Each Phrase track
records musical performance data for 16 MIDI channels. Totally, up
to 16 tracks x 16 MIDI channels of data can be recorded. It’s helpful if
you’ve made decision prior to recording such as recording melody
on Phrase track 1, bass on Phrase track 2, drums on Phrase track 10,
and accompaniment on the remaining Phrase tracks.
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O ve rvie w o f th e Fa n to m
Te m p o Tra ck
Ho w Ph ra se Tra ck s, Pa rts a n d MIDI
Ch a n n e ls In te ra ct
The Tempo track records tempo changes of a song over time. It can
be used for tempo changes during a song. If a song has the same
tempo from beginning to end, the Tempo track can be ignored.
When a song is first recorded on the Fantom, a tempo setting at the
time of recording will be stored at the beginning of the Tempo track.
Therefore when song playback starts from the beginning, the song
will always play back at this initial tempo.
When the sound generator is in Multitimbre mode, you will need to
be aware of how the phrase tracks, parts, and MIDI channels
correspond to one another. Otherwise, you may not hear the sounds
you expect, or song editing may be more difficult than it should be.
For this reason, we recommend that you always maintain the direct
numerical correspondence between Phrase tracks 1–16, parts 1–16,
and MIDI channels 1–16. These are the settings that will be in effect
when the power is turned on, or after you perform the Song
Thus playback tempo is determined by the Tempo track setting. If
you modify the tempo during playback, the overall tempo of the
song will be controlled by the setting you make.
Initialize operation (p. 127).
fig.01-10.e
Sequencer
Sound Generator
Be a t Tra ck
Ch 1
Ch 2
The Beat track records the time signature of each measure of a song.
Set the Beat track when recording a new song, or when you want to
change time signature during a song.
Phrase track 1
Phrase track 2
Phrase track 3
Phrase track 4
Phrase track 5
Phrase track 6
Phrase track 7
Phrase track 8
Phrase track 9
Phrase track 10
Phrase track 11
Phrase track 12
Phrase track 13
Phrase track 14
Phrase track 15
Phrase track 16
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
Part 9
Part 10
Part 11
Part 12
Part 13
Part 14
Part 15
Part 16
Ch 3
Ch 4
Pa tte rn Tra ck
Ch 5
You can also use the Pattern track to record musical passages,
separately from the Phrase tracks. Musical data in the Pattern track is
regarded as separate Patterns. Up to 100 Patterns can be created, and
each Pattern can contain data for 16 MIDI channels, as with Phrase
tracks.
Ch 6
Ch 7
Ch 8
Ch 9
Patterns can be assigned to a Phrase track, so if you are using
repetitive phrases such as drums and bass, it is convenient to record
each musical phrase in a pattern, and then use the MICROSCOPE
screen to assign the pattern to the track (p. 134). In this case, the
Phrase track contains only the Pattern Call numbers that refer to the
desired Pattern, and not the actual Pattern data. Therefore the same
Pattern can be used any number of times with a negligible increase
in memory used.
Ch 10
Ch 11
Ch 12
Ch 13
Ch 14
Ch 15
Ch 16
Patterns. Patterns are therefore convenient for live performance, if
you’ve recorded necessary sequencer data as Patterns and take them
to the gig.
Patterns also make fine scratch-pads for musical ideas.
So n g s a n d th e So u n d Ge n e ra to r
Mo d e
The Fantom’s sequencer can be used at any time, regardless of the
mode of the sound generator (Patch/ Multitimbre/ Performance).
Normally, when recording or playing back a song, you will put the
sound generator in Multitimbre mode. The reason for this is that in
this mode, only the sound of the specified MIDI channel will be
heard when you record while playing the keyboard of the Fantom,
and that when the song is played back, the parts can independently
play up to 16 different sounds. Thus, this mode is suitable for
recording and playing back a song that uses an ensemble of multiple
instruments, such as drums, bass, and piano.
If you wish to record your playing using a layered/ split
performance, set the sound generator to Performance mode.
If you wish to record your playing using a single sound, you can set
the sound generator to Patch mode.
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O ve rvie w o f th e Fa n to m
Disk
Po sitio n s fo r Sto rin g a So n g
fig.01-11.e
When keeping a recorded or edited song in internal memory, save it
to disk as a song file. Up to 99 songs can be saved to a single disk.
A disk can contain five file types. The three-letter symbol shown in
parentheses ( ) is a file name extension that distinguishes the
different file types.
Sequencer Section
Load
Save
Internal Memory
So n g File (.SVQ )
Sound Generator Section
User Memory
This file is a song created on the Fantom. It is called an MRC Pro
song. Other MRC Pro songs include those created on the XP-60/ 80.
Sta n d a rd MIDI File (.MID)
Standard MIDI File is a standard file format that allows sequencer
data to be exchanged between most musical applications. Fantom
files can be saved as Standard MIDI Files. This also allows you to
play back commercially available music data (GM scores) that is
compatible with the GM/ GM2 system.
Disk
Ch a in File (.SVC)
Song file
Standard MIDI file
Chain Play is a function that successively plays back songs stored on
Chain file
the disk, in the specified order.
Da ta File (.SVD)
Data file
This file contains Sound Generator and System settings.
In te rn a l Me m o ry
The sequencer has an area called internal memory that can
temporarily store one song. So we call this temporary song Internal
Song.
To play back a song saved to a disk with the Fantom, it doesn’t have
to be loaded into internal memory. Only when you’re going to
record a song or edit a song saved to disk, do you have to load it into
internal memory. Since only one song can be worked on during
recording or editing, all the internal memory has to do is store one
song (about 120,000 notes).
The song in internal memory is volatile and will be lost when the
power is turned off. To keep a song, you must save it to disk.
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O ve rvie w o f th e Fa n to m
Mu ltitim b re Mo d e
Ba sic O p e ra tio n o f th e Fa n to m
fig.01-15
Sw itch in g th e So u n d Ge n e ra to r
Mo d e ([MO DE])
The Fantom has three sound generating modes: Patch mode,
Multitimbre mode, and Performance mode. You can select the sound
generating mode (state) that is most appropriate for how you are
playing the Fantom.
Use the following procedure to switch between these modes.
1 . Press [MODE].
This mode is suitable when you are using the sequencer to create a
song, or when playing song data. When creating songs or playing
song data, a different MIDI channel is assigned for each patch used
in a part. Such a set of sounds selected for each part to play is called
a multitimbre.
The Mode window appears.
fig.01-12_50
The keyboard controller section and the sound generator section are
connected by a single MIDI channel (the receive channel of the
current part).
Pe rfo rm a n ce Mo d e
fig.01-16
2 . Press
or
to select the desired mode, and then press
[8 (Select)].
When you select a mode, the PLAY screen of the corresponding
mode appears. In each mode, the upper left of the PLAY screen
will indicate the mode.
fig.01-13
This mode allows you to combine multiple sounds (patches or
rhythm sets) to create complex setups, or to use the Fantom as a
master keyboard. You can play patches together (Layer) or divide
the keyboard into two regions and play different patches in each
region (Split).
The keyboard controller section and sound generator section are
connected according to the zone settings.
Pa tch Mo d e
fig.01-14
This mode is used to play individual sounds (patches or rhythm
sets) from the keyboard. If a rhythm set is selected, you can play
percussion instruments from the keyboard.
The keyboard controller section and the sound generator section are
connected by a single MIDI channel (the patch receive channel).
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O ve rvie w o f th e Fa n to m
Sw itch in g Scre e n s fro m th e Me n u
([MEN U])
Vie w in g a List o f Pa tch e s o r O th e r
Da ta ([LIST])
The Fantom has a variety of screens and windows in which its
numerous functions can be executed, and you can move between
these screens as desired.
The Fantom can display sound lists and favorite lists. You can select
and audition patches from these lists, and register your own favorite
patches.
Use the following procedure to access the desired screen or window.
Use the following procedure to display these lists.
1 . Press [MENU].
1 . Use [CURSOR] to move the cursor to the object (e.g., patch
number) for which you wish to view a list.
The Menu window appears.
fig.01-17_50
2 . Press [LIST].
The desired list window appears, according to the cursor
location.
fig.01-18_50
2 . Press
or
to select the desired screen/window, and
then press [8 (Select)].
The screen/ window for the desired function appears.
The screens/ windows that can be selected from the Menu
window will depend on the mode of the sound generator.
Ab o u t th e [1 ]–[8 ] Bu tto n s
In the PLAY screen, the eight [1]–[8] buttons located below the
display allow you to select/ register your favorite patches or
performances, and the lower area of the display will show the names
of the sounds that are registered as favorite sounds.
W in d o w
The somewhat smaller screens that appear temporarily on top
of the normal screens are called windows. Various types of
windows appears according to the situation. Some display lists,
others allow you to make settings, and still others ask you to
In other screens, these buttons execute various functions, and their
operation will differ depending on the screen.
fig.01-19
confirm an operation.
fig.01-17a.e
Window
Press [EXIT] to close the window. Some windows will close
automatically when an operation is performed.
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O ve rvie w o f th e Fa n to m
Mo vin g th e Cu rso r
Mo d ify in g a Va lu e
A single screen or window displays multiple parameters or items for
selection. To edit the setting of a parameter, move the cursor to the
value of that parameter. To select an item, move the cursor to that
item. The cursor is a black rectangle, and the parameter value or item
you select with the cursor will be highlighted (displayed in inverse
To modify the value, use the VALUE dial or the [INC]/ [DEC]
buttons.
fig.01-21
video).
fig.01-19a.e
Cursor
In each screen of the Fantom, you can use the cursor to move the
area displayed as black characters on white background, and
modify its value.
Each parameter has its own range of possible values, so you
cannot set any value smaller than the minimum value or greater
than the maximum value.
Move the cursor with the
fig.01-20
,
,
and
(cursor buttons).
VALUE Dia l
Rotating the VALUE dial clockwise increases the value,
counterclockwise decreases the value. Holding down [SHIFT] as you
move the VALUE dial increases value increments so you can make
large value changes faster.
: moves the cursor up.
: moves the cursor down.
: moves the cursor to the left.
: moves the cursor to the right.
[IN C] a n d [DEC]
Pressing [INC] increases the value, and [DEC] decreases it. Keep the
button pressed for continuous adjustment. For faster value increases,
keep [INC] pressed down and press [DEC]. For decreasing value
faster, keep [DEC] pressed down and press [INC].
•
•
•
By holding down [SHIFT] and pressing a cursor button, you can
make the cursor location jump to the edge of the same block.
By holding down [JUMP] and pressing a cursor button, you can
make the cursor location jump to another block.
If you press [INC] or [DEC] while holding down [SHIFT], the value
increments will get bigger.
If you hold down one cursor button while you also press the
cursor button for the opposite direction, the cursor will move
more rapidly in the direction of the first-pressed cursor button.
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O ve rvie w o f th e Fa n to m
Assig n in g a N a m e
On the Fantom, you can assign names to each patch, rhythm set,
multitimbre, performance, Song, and Pattern. The procedure is the
same for any type of data.
1 . Press [CURSOR] to move the cursor to the location where
you wish to input a character.
2 . Turn the VALUE dial, or press [INC]/[DEC] to specify the
character.
Available characters/ symbols are:
space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ] ^ _
` { | } → ←
File names and volume label names may not contain lowercase
characters or certain symbols (" * + , . / : ; < = > ? [ \ ] | → ←).
Assig n in g a N a m e Usin g a N a m e
W in d o w
You can use a Name window to assign a name. As the Name
window displays a list of characters that can be entered, you can
quickly select a desired character.
1 . In a naming screen, move the cursor to the text input
location, and press [LIST].
The Name window appears.
fig.01-22_50
2 . Press
or
to move the cursor to the location where you
wish to input a character.
3 . Either turn the VALUE dial or use [INC], [DEC],
,
to
select the character that you wish to input.
To insert a space at the cursor location, press [3 (Insert)].
To delete the character at the cursor position, press [4 (Delete)].
4 . Repeat steps 2 and 3 as necessary.
5 . Press [8 (OK)] to finalize the name.
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Pla y in g in Pa tch Mo d e
Patch mode is the mode in which you can play the keyboard using a
Fu n ctio n s in th e PATCH PLAY Scre e n
fig.02-01.e
single sound (patch or rhythm set). If a rhythm set is selected, you
can play percussion instruments from the keyboard.
Indicates the current sound generating mode.
Indicates the name of the currently selected song,
the measure location, the time signature, and the sequencer status.
Ab o u t th e PATCH PLAY Scre e n
Sets the Octave Shift (Oct)
and the Transpose (Trans).
Disp la y in g PATCH PLAY Scre e n
To access the PATCH PLAY screen, use the following procedure.
1 . Press [MODE].
Indicates the song file name.
Switches multi-effects (MFX),
chorus (CHO),
and reverb (REV) on and off.
Turns the RPS function on/off (RPS).
Turns Loop Play on/off (LOOP).
The Mode window appears.
fig.01-12_50
Patch/rhythm set select switch
Determines whether you will be selecting patches or rhythm sets.
Indicates the group of the selected patch.
Indicates the MIDI transmit channel (Tx Ch)
and receive channel (Rx Ch).
Indicates/sets the tempo at which the song,
Arpeggio or rhythm pattern is played.
2 . Press
(Select)].
or
to select a “PATCH,” and then press [8
You will enter Patch mode, and the PATCH PLAY screen
appears.
Indicates the tone
On/Off status.
Indicates/selects the group, number,
and name of the selected patch.
Indicates/selects the
patch category.
Selects whether the patch
category will be locked.
fig.PATCH_50
This indicates the function that is assigned to the D Beam controller,
and the response status of the D Beam controller.
Displays the type of effect used.
Indicates the functions that are assigned to each
realtime controller knob (●) and button (●).
The value will be displayed when you turn the knob.
Indicates the names of the patches or
rhythm sets that can be selected by [1]–[8].
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Pla y in g in Pa tch Mo d e
1 . Access the PATCH PLAY screen (p. 31).
fig.02-02.e
Se le ctin g a Pa tch
Patch group
The Fantom has six patch groups, including the User group and
Preset groups A–E and GM, with each group storing 128 patches
(256 in GM), for a total of 1,024 patches. What’s more, you can
further expand your options by installing up to three optional Wave
Expansion Boards (one SR-JV80, two SRX series), enabling you to
select from a huge assortment of available patches.
Patch number
USER
This is the group inside the Fantom which can be rewritten. patches
you yourself create can be stored in this group. The Fantom includes
128 preset patches.
PR-A–E (Pre se t A–E)
2 . Make sure that the patch/rhythm set select switch is set to
“PATCH.”
This is the group inside the Fantom which cannot be rewritten.
However you may modify the settings of the currently selected
patch, and then store the modified patch in User memory. Banks A–
E already contain 128 prepared patches each, for a total of 640
patches.
If it is set to “RHYTHM,” turn the VALUE dial or press [DEC] to
change it to “PATCH.”
3 . Press [CURSOR] to move the cursor to the patch group.
4 . Turn the VALUE dial, or press [INC]/[DEC] to select a patch
GM (GM2 )
group.
This is an internal group of patches compatible with General MIDI 2,
a system of MIDI function specifications designed to transcend
differences between makers and types of devices; these patches
cannot be overwritten. Furthermore, settings of currently selected
patches from this group cannot be changed. The Fantom includes
256 preset patches.
USER: User
PR-A–E: Preset A–E
GM: GM (GM2)
XP-A–C: Wave Expansion Boards installed in EXP-A–C Slots
5 . Press [CURSOR] to move the cursor to the patch number.
XP-A–C (W a ve Ex p a n sio n Bo a rd s in sta lle d in
EXP-A–C Slo ts)
6 . Turn the VALUE dial, or press [INC]/[DEC] to select a patch
number.
These are groups used when using patches from Wave Expansion
Boards installed in the EXP A–C slots, and cannot be rewritten.
However you may modify the settings of the currently selected
patch, and then store the modified patch in User memory. The
number of onboard patches depends on the specific Wave Expansion
Boards installed.
XP-A–C patches can be selected only if a Wave Expansion Board
is installed in the corresponding slot.
XP-A (EXP A slot): SR-JV80 series (sold separately)
XP-B, C (EXP B, C slots): SRX series (sold separately)
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Pla y in g in Pa tch Mo d e
Se le ctin g Fa vo rite Pa tch e s
(Fa vo rite So u n d )
You can bring together your favorite and most frequently used
patches in one place by registering them in the Favorite sound. By
using this function, you can rapidly select favorite patches from
internal memory or a Wave Expansion Board.
By pressing [7 (Prevu)] you can audition the sound of the patch,
by means of a phrase preselected as being suitable for that
particular type (category) of patch (Phrase Preview).
4 . To switch banks, press
to move the cursor to the “Bank
1–8” tab, and press
or
to select the desired bank.
5 . After switching the bank, press
to move the cursor within
the list, and press or to select the patch.
If a patch stored in a Wave Expansion Board has been registered
as a Favorite Sound, it cannot be selected unless the
corresponding wave expansion board is installed.
6 . When you press [8 (Select)], the patch will be selected, and
the Favorite List window will close.
For instructions on how to register to the Favorite Sounds, refer
Se le ctin g Pa tch e s fro m th e List
You can display a list of patches and select a patch from that list.
1 . In the PATCH PLAY screen, make sure that the cursor is
Se le ctin g fro m [1 ]–[8 ]
located at the patch group or patch number.
1 . Access the PATCH PLAY screen (p. 31).
2 . Press [LIST].
2 . Press [1]–[8] to select a patch.
fig.02-03.e
The Patch List window appears.
fig.01-18_50
3 . Press
or
to choose the patch.
4 . To switch patch groups, press
patch group tab, and press
group.
to move the cursor to the
to select the patch
Press [1]–[8] to select a patch
or
3 . To switch the favorite sound bank, hold down [JUMP] and
press [1]–[8].
5 . After switching the patch group, press
to move the
to select the
cursor within the list, and press
patch.
or
Se le ctin g fro m th e Fa vo rite List W in d o w
1 . In the PATCH PLAY screen, make sure that the cursor is
6 . Press [EXIT] to close the Patch List window.
located at the patch group or patch number.
2 . While holding down [SHIFT], press [LIST]
In the Patch List window, you can press [7 (Ctg)] to add a check
mark (●) and switch to viewing a list organized by category.
Here you can select patches by category (p. 34).
The Favorite List window appears.
fig.02-04_50
3 . Press
or
to choose the patch.
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Pla y in g in Pa tch Mo d e
5 . Press
to move the cursor to “Lock,” and turn the VALUE
Au d itio n in g Pa tch e s
(Ph ra se Pre vie w )
dial or press [INC] to add a check mark (●).
fig.02-05
The Fantom allows you to preview patches by hearing a phrase
appropriate for each type of patch.
1 . Access the Patch List window (p. 33).
fig.01-18_50
Now you can select patches within the category you selected in
step 4.
6 . Use [CURSOR] to move the cursor to the patch group or
patch number, and turn the VALUE dial or use [INC]/[DEC] to
select the patch.
2 . Press and hold [8 (Prevu)].
The patch selected in the Patch List window will be sounded.
3 . Release your finger from [8 (Prevu)], and the phrase will stop
When the cursor is located at the Patch group, you can select the
group. When the cursor is located at the Patch number, you can
specify the number.
playing.
•
•
If you wish to change the phrase that is played by Phrase
Preview, you can edit the Patch Category parameter (PATCH/
General) (p. 47).
Se le ctin g fro m th e Pa tch List W in d o w
1 . Access the Patch List window (p. 33).
fig.01-18_50
If you wish to change how the phrase is played by Phrase
Preview, you can edit the Preview Mode parameter (SYSTEM/
General) (p. 185).
Se le ctin g Pa tch e s b y Ca te g o ry
(Pa tch Fin d e r)
The Fantom provides a “Patch Search function” (Patch Finder)
which allows you to specify a type (category) of patch so that you
can quickly find the desired patch. There are a total of 38 categories.
1 . Access the PATCH PLAY screen (p. 31).
The display will show a list of patches organized by category.
fig.02-06_50
2 . Make sure that the patch/rhythm set select switch is set to
“PATCH.”
If it is set to “RHYTHM,” turn the VALUE dial or press [DEC] to
change it to “PATCH.”
3 . Use [CURSOR] to move the cursor to “Category.”
4 . Turn the VALUE dial, or press [INC]/[DEC] to select the
desired category.
3 . Press
to move the cursor to the category tab, and
or to select the category.
press
A list of the patches in the selected category will be displayed.
4 . Press
press
to move the cursor in the list, and
or to select a patch.
By pressing [8 (Prevu)] you can audition the sound of the patch
being played by a phrase suitable for the corresponding type
(category) of patch (Phrase Preview).
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Pla y in g in Pa tch Mo d e
5 . Press [EXIT] to close the Patch List window.
Tra n sp o sin g th e Ke y b o a rd in
O cta ve Un its (O cta ve Sh ift)
The following categories can be selected.
Category
- - -
Contents
The Octave Shift function transposes the pitch of the keyboard in 1
octave units (-3– +3 octaves).
No Assign
AC.Piano
EL.Piano
No assign
PNO
EP
Acoustic Piano
Electric Piano
For playing a bass part more easily using your right hand, transpose
the keyboard down by 1 or 2 octaves.
KEY
Keyboards
Other Keyboards
(Clav, Harpsichord etc.)
1 . Access the PATCH PLAY screen (p. 31).
2 . Use [CURSOR] to move the cursor to “Oct.”
fig.02-07
BEL
MLT
ORG
ACD
HRM
AGT
EGT
DGT
BS
Bell
Bell, Bell Pad
Mallet
Mallet
Organ
Electric and Church Organ
Accordion
Accordion
Harmonica
AC.Guitar
EL.Guitar
DIST.Guitar
Bass
Harmonica, Blues Harp
Acoustic Guitar
Electric Guitar
Distortion Guitar
Acoustic & Electric Bass
Synth Bass
SBS
Synth Bass
Strings
STR
ORC
WND
FLT
Strings
Orchestra
Wind
Orchestra Ensemble
Winds (Oboe, Clarinet etc.)
Flute, Piccolo
3 . Either turn the VALUE dial or use [INC]/[DEC] to specify the
amount of pitch shift (-3–+3 octaves).
Flute
BRS
SBR
SAX
HLD
SLD
HIT
TEK
PLS
AC.Brass
Synth Brass
Sax
Acoustic Brass
Synth Brass
There is a single Octave Shift setting (Setup parameter) for the
entire Fantom. The changed setting will be remembered even if
you switch patches or performances.
Sax
Hard Lead
Soft Lead
Hit&Stab
Techno Synth
Pulsating
Synth FX
Other Synth
Bright Pad
Soft Pad
Vox
Hard Synth Lead
Soft Synth Lead
Orchestra Hit, Hit
Techno Synth
If you assign “OCT UP/ DOWN” as a function to be controlled
by the realtime control buttons ([
]–[
]), you can easily
Pulsating Synth
Synth FX (Noise etc.)
Poly Synth
change the Octave Shift by pressing these buttons.
FX
SYN
BPD
SPD
VOX
PLK
ETH
FRT
PRC
SFX
BTS
DRM
CMB
Bright Pad Synth
Soft Pad Synth
Vox, Choir
Plucked
Plucked (Harp etc.)
Other Ethnic
Ethnic
Fretted
Fretted Inst (Mandolin etc.)
Percussion
Percussion
Sound FX
Beat&Groove
Drums
Sound FX
Beat and Groove
Drum Set
Combination
Other patches which use Split and
Layer
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Pla y in g in Pa tch Mo d e
Tra n sp o sin g th e Ke y b o a rd in
Se m ito n e Ste p s (Tra n sp o se )
Se le ctin g th e To n e s Th a t W ill
So u n d (To n e O n / O ff)
Transpose changes keyboard pitch in units of semitones.
This function is useful when you play transposed instruments such
as trumpet or clarinet following a printed score.
Since a patch is a combination of up to four tones, you can switch
unwanted (tones out of the four) off and get just the sound of a
specific tone.
1 . Access the PATCH PLAY screen (p. 31).
2 . Press [MENU] to open the Menu window.
2 . Use [CURSOR] to move the cursor to “Trans.”
fig.02-08
3 . Press
(Select)].
or
to select a “Patch Edit,” and then press [8
The Patch Edit screen appears.
4 . Use [CURSOR] to move the cursor to “Tone Switch.”
fig.02-09
3 . Either turn the VALUE dial or use [INC]/[DEC] to adjust the
Transpose setting (G–F#: -5–+6 semitones).
There is a single Transpose setting (Setup parameter) for the
entire Fantom. The changed setting will be remembered even if
you switch patches or performances.
5 . Turn the VALUE dial or press [INC]/[DEC] to turn each tone
on/off. From the left, these are Tone Switches 1–4.
Assigning a check mark (●) will turn the tone on, and
removing the check mark will turn it off.
If you assign “TRNS UP/ DOWN” as a function to be controlled
by the realtime control buttons ([
]–[
]), you can easily
change the Transpose by pressing these buttons.
•
•
If you want just one or two tones to sound in a patch, turn the
others off and store that setting on a patch. This cuts
nonessential use of the Fantom’s simultaneous voices.
By holding down [JUMP] and pressing [1]–[4], you can switch a
tone on/ off.
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Pla y in g in Pa tch Mo d e
Pla y in g Sin g le N o te s (Mo n o )
Cre a tin g Sm o o th Pitch Ch a n g e s
(Po rta m e n to )
When using a patch for a naturally monophonic instrument such as
sax or flute, it is effective to play in mono.
Portamento is an effect which smoothly changes the pitch from the
when Mono mode is selected (see the preceding item), you can
simulate performance effects such as slurring on a violin.
1 . Access the PATCH PLAY screen (p. 31).
2 . Press [MENU] to open the Menu window.
3 . Press
(Select)].
or
to select a “Patch Edit,” and then press [8
1 . Access the PATCH PLAY screen (p. 31).
2 . Press [MENU] to open the Menu window.
The Patch Edit screen appears.
3 . Press
(Select)].
or
to select a “Patch Edit,” and then press [8
4 . Press [1 (●)] or [2 (●)] to select the “General” tab.
A screen like the one shown below appears.
fig.03-01_50
The Patch Edit screen appears.
4 . Press [1 (●)] or [2 (●)] to select the “General” tab.
A screen like the one shown below appears.
fig.03-01_50
5 . Use [CURSOR] to move the cursor to “Mono/Poly.”
6 . Turn the VALUE dial or press [DEC] to select “MONO.”
Now you can play in mono mode.
5 . Use [CURSOR] to move the cursor to “Portamento Switch.”
6 . Turn the VALUE dial or press [INC] to select “ON.”
If you assign “MONO/ POLY” as a function to be controlled by
You’re ready to play portamento.
the realtime control buttons ([
]–[
]), you can easily switch
between mono/ poly by pressing a button.
7 . When you want to change the portamento setting, edit the
following parameters in the screen of step 4.
Portamento Mode, Portamento Type, Portamento Start,
Portamento Time
8 . Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
9 . Press [EXIT] to return to the PATCH PLAY screen and play.
If you assign “CC65 (Portamento)” as a function to be controlled
by the realtime control buttons ([
]–[
]), you can use a
button to easily turn portamento on/ off.
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Pla y in g in Pa tch Mo d e
Sim u la tin g a Rh y th m Gu ita r
You can simulate a rhythm guitar by following the procedure below.
Pla y in g Arp e g g io s
(Arp e g g ia to r)
1 . Access the PATCH PLAY screen, and select a guitar patch
The Arpeggiator provides for the play of the various notes in chords.
With the Arpeggiator, you can play arpeggios that use the
(p. 31).
2 . Hold down [JUMP] and press [ARPEGGIO].
component notes of a chord, just by pressing the chord. In addition
to normal arpeggios, you can also accurately simulate rhythm guitar
or strumming techniques depending on the Arpeggiator settings.
The Arpeggiator can in fact be used as a handy automatic arranger.
The Arpeggio window appears.
fig.02-12_50
1 . Access the PATCH PLAY screen (p. 31).
2 . Press [ARPEGGIO] to turn the Arpeggiator on.
3 . Play a chord on the keyboard.
The Fantom will play an arpeggio, according to the notes
forming the chord you have just voiced.
3 . Use [CURSOR] to move the cursor to “Style.”
4 . To finish playing arpeggios, press [ARPEGGIO] again so the
4 . Either turn the VALUE dial or use [INC]/[DEC] to select the
indicator turns off.
one you want from “AG CUTTING PHR.”
5 . Press [ARPEGGIO] to turn the Arpeggiator on.
Ho ld in g a n Arp e g g io
By using the following procedure, you can produce arpeggios even
6 . Play a chord on the keyboard.
Guitar strumming will begin according to the notes in the chord
you pressed.
without continuing to press the keyboard.
1 . Hold down [SHIFT] and press [ARPEGGIO].
The [ARPEGGIO] indicator will begin blinking.
If you assign Cutoff (CC74) or Resonance (CC71) to the realtime
can apply a wah effect to the guitar strumming.
2 . Play a chord.
3 . If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.
4 . To cancel Arpeggio Hold, hold down [SHIFT] and press
[ARPEGGIO] simultaneously once again.
W h e n Usin g a Ho ld Pe d a l
If you play an arpeggio while pressing the hold pedal, the arpeggio
will continue to be played even if you release the chord.
1 . Connect an optional pedal switch (DP-2, DP-6, etc.) to the
HOLD PEDAL jack.
2 . Press [ARPEGGIO] to turn the Arpeggiator on.
3 . Play a chord while pressing the hold pedal.
4 . If you play a different chord or notes while the arpeggio is
being held, the arpeggio will change accordingly.
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Pla y in g in Pa tch Mo d e
Usin g a n Ex te rn a l MIDI Ke y b o a rd
to Pla y Arp e g g io s
Ma k in g Arp e g g ia to r Se ttin g s
1 . Hold down [JUMP] and press [ARPEGGIO].
The Arpeggio window appears.
You can also use the keyboard of an external MIDI instrument to
fig.02-12_50
play arpeggios.
1 . Use a MIDI cable to connect the Fantom’s MIDI IN connector
to the MIDI OUT connector of the external MIDI keyboard.
2 . Access the PATCH PLAY screen (p. 31).
3 . Press [ARPEGGIO] to turn the Arpeggiator on.
4 . Press [MENU] to open the Menu window.
In this window you can set the following arpeggiator
parameters.
5 . Press
or
to select a “System Edit,” and then press
Switch: Switches the Arpeggiator on/ off.
Hold: Switch between Hold On/ Hold Off for the Arpeggiator
performance.
[8 (Select)].
The System Edit screen appears.
6 . Press [1 (●)] or [2 (●)] to select the “MIDI” tab.
Style: Specify the basic performance style of the arpeggio.
Variation: Select the variation (performance pattern) for each
arpeggio style.
A screen like the one shown below appears.
fig.02-13_50
Motif: Specify the order in which the component notes of the
chord will be sounded.
Key Trigger: Specify the timing at which the arpeggio is to
begin playing.
Tempo (=SEQ): Specify the tempo of an arpeggio.
Accent Rate: Vary the strength and note length of the accents to
modify the rhythmic feel (groove) of the performance.
Shuffle Rate: Create shuffle rhythms by modifying the timing at
which notes are sounded.
Shuffle Resolution: Specify the timing of the notes in terms of
note value.
7 . Use [CURSOR] to move the cursor to “Remote Keyboard
Sw.”
Velocity: Specify the note strength of the keys you play.
Octave Range: Specify the range of the arpeggio performance,
in octave units.
8 . Turn the VALUE dial or press [INC] to select “ON.”
9 . Play your external MIDI keyboard.
In arpeggio settings, the Style (Arpeggio Style) is particularly
important. The playback pattern of the arpeggio is determined
mainly by this selection.
For details regarding each parameter, refer to “Arpeggiator
Settings (Arpeggio)” (p. 51).
2 . Press [CURSOR] to move the cursor to each parameter, and
either turn the VALUE dial or press [INC] or [DEC] to make
the setting.
3 . Press [8 (Close)] to close the Arpeggio window.
Arpeggiator settings can be saved with each patch as part of the
patch settings. This means that you can create patches that
contain the most effective settings.
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Pla y in g in Pa tch Mo d e
1 . Access the PATCH PLAY screen (p. 31).
Pla y in g Pe rcu ssio n In stru m e n ts
2 . Use [CURSOR] to move the cursor to “PATCH.”
In Patch mode, you can play percussion instruments from the
keyboard by selecting a rhythm set. As the rhythm tone assigned to
each key varies by the rhythm set selected, you can play a wide
range of percussion instruments.
fig.02-14
Se le ctin g a Rh y th m Se t
The Fantom has three rhythm set groups, including the User group,
Preset group and GM group, with 16 rhythm sets in the User group,
16 rhythm sets in Preset group, and 9 rhythm sets in GM group, for a
total of 41 rhythm sets. What’s more, you can further expand your
options by installing up to three optional Wave Expansion Boards
(one SR-JV80, two SRX series), enabling you to select from a large
selection of rhythm sets.
3 . Turn the VALUE dial, or press [INC] to select “RHYTHM.”
A screen like the following appears, allowing you to select a
rhythm set.
fig.02-15.e
USER
Rhythm set group
This is the group inside the Fantom which can be rewritten. rhythm
sets you yourself create can be stored in this group. The Fantom
includes 16 preset rhythm sets.
Rhythm set number
PRST (Pre se t)
This is the group inside the Fantom which can be rewritten.
However, you can modify the settings of the currently selected
rhythm set, and then save the modified settings in User memory.
The Fantom contains 16 preset rhythm sets.
GM (GM2 )
This is an internal group of rhythm sets compatible with General
MIDI 2, a system of MIDI function specifications designed to
transcend differences between makers and types of devices; these
rhythm sets cannot be overwritten. Furthermore, settings of
currently selected rhythm sets from this group cannot be changed.
The Fantom includes nine preset rhythm sets.
4 . Press [CURSOR] to move the cursor to the rhythm set
group.
5 . Turn the VALUE dial or press [INC]/[DEC] to select the
rhythm set group.
USER: User
XP-A–C (W a ve Ex p a n sio n Bo a rd s in sta lle d in
EXP-A–C Slo ts)
PRST: Preset
GM: Preset GM (GM2)
These groups are for when using rhythm sets from a Wave
Expansion Board installed in slots EXP A–C, and cannot be
rewritten. However, you can modify the settings of the currently
selected rhythm set, and then save the modified settings in User
memory. The number of onboard rhythm sets depends on the
specific Wave Expansion Boards installed.
XP-A–C: Wave Expansion Boards installed in EXP-A–C Slots
6 . Press [CURSOR] to move the cursor to the rhythm set
number.
7 . Turn the VALUE dial or press [INC]/[DEC] to select the
rhythm set number.
A Rhythm Set XP-A–C cannot be accessed if the Wave
Expansion Board it belongs to has not been installed.
XP-A (EXP A slot): SR-JV80 series (sold separately)
XP-B, C (EXP B, C slots): SRX series (sold separately)
You can select favorite rhythm sets in the same way as when
selecting patches. For details on the procedure, refer to
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Pla y in g in Pa tch Mo d e
3 . Hold down the Hold pedal, and press a key to which a
Pla y in g a Rh y th m Se t
1 . Select the rhythm set that you wish to play.
Rhythm pattern is assigned.
4 . If you press another key while Hold is in effect, the Rhythm
2 . Press a key on the keyboard to play a percussion
instrument.
pattern will change accordingly.
Below the rhythm set name, the screen shows the note name of
the key you pressed, and the name of the percussion instrument
Ma k in g Rh y th m Pa tte rn Se ttin g s
1 . Hold down [JUMP] and press [RHYTHM].
(rhythm tone name) assigned to that key.
fig.02-16.e
The Rhythm Pattern window appears.
fig.02-17_50
Note name
Rhythm tone name
In this window you can set the following Rhythm pattern
parameters.
Pla y in g Rh y th m Pa tte rn s fro m
th e Ke y b o a rd
Switch: Switch Rhythm pattern playback on/ off.
Hold: Switch between Hold On/ Hold Off for the Rhythm
pattern playback.
The Fantom contains various Rhythm patterns. Simply by pressing a
single key, you can play the Rhythm patterns.
Style: Specify the basic performance style of the Rhythm
pattern.
to begin playing.
1 . Access the PATCH PLAY screen, and select a rhythm set (p.
40).
Tempo (=SEQ): Specify the tempo of Rhythm pattern playback.
Accent Rate: Adjust the accent strength or note length to
modify the rhythm feel (groove) of the performance.
Shuffle Rate: Adjust the note timing to produce shuffle
rhythms.
2 . Press [RHYTHM] to make the indicator light.
3 . Press a key to which a Rhythm pattern is assigned.
The Rhythm pattern assigned to the key you pressed will sound.
4 . To stop playing Rhythm patterns, press [RHYTHM] once
Shuffle Resolution: Specify the timing of the notes in terms of a
note value.
again to make the indicator go dark.
Velocity: Specify the note strength for the keys you play.
Note Assign: Specify the keyboard note that will play the
Rhythm pattern.
Ho ld in g th e Pla y b a ck o f a Rh y th m
Pa tte rn
If you perform the following operation, you can play the Rhythm
pattern without having to continue holding down the key.
In rhythm pattern parameters, the Style (Rhythm Pattern Style)
setting is particularly important. The playback pattern of the
rhythm is determined mainly by this selection.
1 . Hold down [SHIFT] and press [RHYTHM].
The [RHYTHM] indicator will begin blinking.
2 . Press a key to which a Rhythm pattern is assigned.
For details regarding each parameter, refer to “Rhythm Pattern
3 . If you press another key while Hold is in effect, the Rhythm
pattern will change accordingly.
2 . Press [CURSOR] to move the cursor to each parameter, and
either turn the VALUE dial or press [INC] or [DEC] to make
the setting.
4 . To cancel Rhythm Pattern Hold, hold down [SHIFT] and
press [RHYTHM] simultaneously once again.
3 . Press [8 (Close)] to close the Rhythm Pattern window.
W h e n Usin g a Ho ld Pe d a l
By holding down the Hold pedal while you play the Rhythm
pattern, you can make the Rhythm pattern continue sounding even
after you release the key.
Rhythm pattern settings can be saved with each rhythm set as
part of the rhythm set settings. This allows you to create a
rhythm set that uses the most effective settings.
1 . Connect an optional pedal switch (DP-2, DP-6, etc.) to the
HOLD PEDAL jack.
2 . Press [RHYTHM].
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Cre a tin g a Pa tch
With the Fantom, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
patches, and the functions of the patch parameters.
1 . Access the PATCH PLAY screen, and select the patch
whose settings you wish to modify (p. 32).
You cannot edit the patches in the PR-E (GM2) group.
If you want to create all your patches from the ground up, rather
than the patches that have already been prepared, carry out the
Initialize operation (p. 43).
Ho w to Ma k e th e Pa tch
Se ttin g s
2 . Press [MENU].
Start with an existing patch and edit it to create a new patch. Since a
patch is a combination of up to any four tones, you should listen to
how the individual tones sound before you edit.
The Menu window appears.
fig.01-17_50
Fo u r Tip s fo r Ed itin g Pa tch e s
● Select a patch that is similar to the sound you wish to
create (p. 32).
It’s hard to create a new sound that’s exactly what you want if
you just select a patch and modify its parameters at random. It
makes sense to start with a patch whose sound is related to
what you have in mind.
3 . Press
(Select)].
The Patch Edit screen appears.
or
to select a “Patch Edit,” and then press [8
● Decide which tones will sound (p. 36).
When creating a patch, it is important to decide which tones
you are going to use. In the Patch Edit screen, set Tone Switch
1–4 to specify whether each tone will sound (on), or not (off). It
is also important to turn off unused tones to avoid wasting
voices, unnecessarily reducing the number of simultaneous
notes you can play. Tones for which the Tone Switch displays a
check mark (●) will sound.
fig.02-10_50
● Check the Structure setting (p. 56).
The important Structure parameter (PATCH/ TMT) determines
how the four tones combine. Before you select new tones, make
sure you understand how the currently selected tones are
affecting each other.
● Turn Effects off (p. 165).
4 . The parameters are organized into several editing groups.
Press [1 (●)] or [2 (●)] to select the tab for the editing group
that contains the parameter you wish to edit.
Since the Fantom effects have such a profound impact on its
sounds, turn them off to listen to the sound itself so you can
better evaluate the changes you’re making. Since you will hear
the original sound of the patch itself when the effects are turned
off, the results of your modifications will be easier to hear.
Actually, sometimes just changing effects settings can give you
the sound you want.
For details on how the parameters are grouped, refer to
“Parameter list” (Sound/ Parameter List).
5 . Use [CURSOR] to move the cursor to the parameter you
wish to modify.
•
•
Some of the parameters have a “ ” symbol. This indicates that
if you press [LIST] when setting one of these parameters, the
related window will appear. For example if you press [LIST] at a
parameter that requires you to specify a name, the Name
window will appear.
When all the parameters cannot be shown within a single
settings screen, a scroll bar will be displayed at the right side of
the screen. In such cases, press
downward.
to scroll the screen
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Cre a tin g a Pa tch
Ty p e (In itia lize Ty p e )
•
•
If you have selected a screen for parameters that can be set for
each tone, first move the cursor to the parameter that you want
There are three initialize methods. Select either of them depending
on the application.
to edit, and then press
or
to select a tone. From the left,
DEFAULT: Resets the currently selected patch in the Temporary
memory to the standard values. This is called a Initial Data. Use this
setting when you wish to create a sound from scratch.
PRESET: Resets the currently selected patch in user memory to the
factory settings.
this is tone 1–4.
If you want to simultaneously edit the same parameter for
multiple tones, move the cursor to “Tone Select” in the upper
part of the Patch Edit screen, and assign a check mark (●) to
each tone that you want to edit. From the left, these correspond
to Tone Select 1–4.
MFX TEMPLATE: The multi-effect settings of the currently selected
patch will be set to the MFX template settings.
•
To switch a tone on/ off, move the cursor to the “Tone Switch” in
the upper part of the Patch Edit screen, and make the desired
settings. From the left, these are Tone Switches 1–4. Assigning a
check mark (●) will turn the tone on, and removing the check
mark will turn it off.
If the currently selected patch is preset memory (PR-A–E) data,
initializing with the “PRESET” setting will set the values to those
of the identically numbered user memory.
6 . Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
For details regarding MFX template, refer to “MFX Template
List” (Sound/ Parameter List).
If you’ve selected two or more tones, your editing will modify
the parameter values for all selected tones by the same amount.
5 . If you’ve set the initialization type to “MFX TEMPLATE,”
move the cursor to “Template” and select an MFX template.
7 . Repeat steps 4–6 to complete a patch.
6 . Press [8 (Execute)].
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 45). If you do not
wish to save changes, press [EXIT] to return to the PATCH
PLAY screen.
the Patch Edit screen.
If you return to the PATCH PLAY screen without saving, the
display will indicate “EDITED,” reminding you that the patch
settings have been modified.
Co p y in g Pa tch Se ttin g s (Co p y )
This operation copies the settings of any desired patch to the
currently selected patch. You can use this feature to make the editing
process faster and easier.
If you turn off the power or select a different sound while the
display indicates “EDITED,” your edited patch will be lost.
Ba sic Pro ce d u re fo r Pa tch Co p y
1 . Access the PATCH PLAY screen, and select the copy-
destination patch (p. 32).
In itia lizin g Pa tch Se ttin g s (In it)
2 . Access the Patch Edit screen (p. 42).
“Initialize” means to return the settings of the currently selected
sound to a standard set of values or to the factory settings.
3 . Press [8 (Copy)].
The Patch Copy window appears.
fig.03-03_50
The Initialize operation will affect only the currently selected
sound; the sounds that are stored in user memory will not be
affected. If you wish to restore all of the Fantom’s settings to
their factory values, perform a Factory Reset (p. 195).
1 . Access the PATCH PLAY screen, and select the patch that
you wish to initialize (p. 32).
4 . Move the cursor to “Mode,” and select the data that you
wish to copy.
2 . Access the Patch Edit screen (p. 42).
3 . Press [7 (Init)].
Three types of copy are available: Patch Name Copy, Patch
Effects Copy, and Patch Tone Copy. You should select the one
that is relevant to the type of data you wish to copy. For details
refer to “Types of Patch Copy” (following section).
The Patch Initialize window appears.
fig.03-02_50
5 . Move the cursor to “Source,” and select the copy-source
sound.
4 . Move the cursor to “Type,” and select the initialization type.
6 . Press [8 (Execute)] to execute the copy.
7 . Press [EXIT] to return to the Patch Edit screen.
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Cre a tin g a Pa tch
Ty p e s o f Pa tch Co p y
Pa tch N a m e Co p y (N AME)
Th e Co m p a re Fu n ctio n
The name of the patch, rhythm set, multitimbre, or performance will
For the Patch Effect Copy and Patch Tone Copy operations, you
can use the Compare function.
be copied to the currently selected patch.
fig.03-03_50
The Compare function allows you to play the copy-source
patch. To do so, press [1 (Compare)] to open the following
window. The copy-source patch can be switched in this
window as well, but it is not possible to select GM group
patches. After selecting the desired patch, return to the previous
window by pressing [1 (Copy)].
fig.03-06_50
Pa tch Effe cts Co p y (MFX/ CHO RUS/ REVERB)
The effect settings of the patch, rhythm set, multitimbre, or
performance will be copied to the currently selected patch.
fig.03-04_50
•
•
The Compare function cannot be used with Patch Effect
Copy if “RHYTHM,” “MULTITIMBRE” or
“PERFORMANCE” is selected as the copy source (Source).
The patch auditioned using the Compare function may
sound slightly different than when it is played normally.
Effect contents that will be copied (Mode)
MFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
If you want to copy the multi-effect settings of a multitimbre or
performance, select the MFX (MFX-A–MFX-C) whose data will be
copied.
Ca u tio n s W h e n Se le ctin g a
W a ve fo rm
The sounds of the Fantom are based on complex PCM waveforms,
and if you attempt to make settings that are contrary to the type of
the original waveform, the results will not be as you expect.
The internal waveforms of the Fantom fall into the following two
groups.
Pa tch To n e Co p y (TO N E)
Tone settings of a patch will be copied to the tone you specify of the
current patch.
fig.03-05.e
One-shot: These waveforms contain sounds that have short decays.
A one-shot waveform records the initial rise and fall of the sound.
Some of the Fantom’s one-shot waveforms are sounds that are
complete in themselves, such as percussive instrument sounds. The
Fantom also contains many other one-shot waveforms that are
elements of other sounds. These include attack components such as
piano-hammer sounds and guitar fret noises.
Copy-source tone
Copy-destination tone
Looped: These waveforms include sounds with long decays as well
as sustained sounds. Loop waveforms repeatedly play back (loop)
the portion of the waveform after the sound has reached a relatively
steady state. The Fantom’s looped waveforms also include
components of other sounds, such as piano-string resonant
vibrations and the hollow sounds of brass instruments.
To specify the currently selected patch as the copy source, set
“Source” to “TEMP.”
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Cre a tin g a Pa tch
The following diagram shows an example of sound (electric organ)
Sa vin g Pa tch e s Yo u ’ve Cre a te d
(W rite )
that combines one-shot and looped waveforms.
fig.03-07.e
TVA ENV for looped Organ
waveform (sustain portion)
TVA ENV for one-shot Key
-click waveform (attack portion)
Resulting TVA ENV
change
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory)
Level
+
=
When you modify the settings of a patch, the PATCH PLAY screen
will indicate “EDITED.” Once you save the patch into internal
memory (user memory), the “EDITED” indication goes away.
Time
Note off
Note off
Ca u tio n s W h e n Usin g a O n e -sh o t
W a ve fo rm
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Initialization
procedure (p. 43).
It is not possible to use the envelope to modify a one-shot waveform
to create a decay that is longer than the original waveform, or to turn
it into a sustaining sound. If you were to program such an envelope,
you would be attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
1 . Make sure that the patch you wish to save is selected.
2 . Press [MENU].
The Menu window appears.
Ca u tio n s W h e n Usin g a Lo o p
W a ve fo rm
fig.01-17_50
With many acoustic instruments such as piano and sax, extreme
timbral changes occur during the first few moments of each note.
This initial attack is what defines much of the instrument’s character.
For such waveforms, it is best to use the complex tonal changes of
the attack portion of the waveform just as they are, and to use the
envelope only to modify the decay portion. If you attempt to use the
envelope to modify the attack portion as well, the characteristics of
the original waveform may prevent you from getting the sound that
3 . Press
(Select)].
The Patch Edit screen appears.
or
to select a “Patch Edit,” and then press [8
you intend.
fig.03-08.e
Level
fig.02-10_50
Looped portion
Tone change stored
with the wave
Time
Envelope
for the TVF filter
Resulting
4 . Press [6 (Write)].
tone change
The Patch Write window appears.
fig.03-09.e
Save-destination patch
5 . Press
or
to specify the save-destination patch.
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Cre a tin g a Pa tch
Usin g [1 ]–[8 ] to Re g iste r
By pressing [7 (Compare)] you can check the save-destination
patch (Compare function).
1 . Access the PATCH PLAY screen, and select the patch that
you wish to register (p. 32).
6 . Press [8 (Execute)].
2 . Hold down [JUMP (BANK)] and press a [1]–[8] to select the
The display will indicate Are you sure?.”
bank in which you wish to register the sound.
7 . Press [8 (OK)] to execute the save operation. To cancel the
3 . Hold down [SHIFT (REGISTRY)] and press a [1]–[8] to select
the button at which you wish to register the sound.
The display will indicate “Register OK?.”
operation, press [EXIT].
Au d itio n in g th e Sa ve -De stin a tio n
Pa tch (Co m p a re )
4 . Press [8 (OK)] to execute the registration. To cancel the
operation, press [EXIT].
Before you save a patch, you can audition the patch which currently
occupies the save destination to make sure that it is one you don’t
mind overwriting. This can help prevent important patches from
being accidentally overwritten and lost.
Usin g th e Fa vo rite List W in d o w to
Re g iste r
1 . Access the PATCH PLAY screen to select the patch that you
wish to register (p. 32).
1 . Follow the procedure in “Saving Patches You’ve Created
(Write)” through step 5 to select the save destination.
2 . Make sure that you are in the PATCH PLAY screen, and that
the cursor is located at the patch group or the patch
number.
2 . Press [7 (Compare)].
The Patch Compare window appears, making it possible to
sound the currently selected save destination patch.
fig.03-10.e
3 . While holding down [SHIFT], press [LIST]
The Favorite List window appears.
fig.02-04_50
Save-destination patch
3 . Play the keyboard to sound the save destination patch, then
check whether you really want to overwrite it.
4 . Press
to move the cursor to the “Bank 1–8” tab, and
or to select the bank in which you wish to
press
The patch auditioned using the Compare function may sound
slightly different than when it is played normally.
register the patch.
5 . Press
to move the cursor within the list, and
or to select the number to which you wish to
4 . If you wish to change the save destination, re-specify the
press
save-destination patch by using [INC]/[DEC].
register. The number you select here corresponds to [1]–[8].
5 . Press [7 (Write)] to return to the Patch Write window.
6 . Press [5 (Regist)] to execute the registration.
6 . Press [8 (Execute)] once again to execute the Save
operation.
•
•
By pressing [6 (Remove)] you can cancel the patch registration
that is selected in the Favorite List window.
Re g iste rin g a Fa vo rite Pa tch
(Fa vo rite So u n d )
By pressing [7 (Prevu)] you can audition the sound of the
registered patch (Phrase Preview).
You can bring together your favorite and most frequently used
patches in one place by registering them in the Favorite sound. By
using this function you can rapidly select favorite patches from
internal memory or a Wave Expansion Board. You can register a
total of 64 sounds (8 sounds x 8 banks) as favorite sounds.
7 . When you have finished registering favorite sounds, press
[EXIT] to close the Favorite List window.
For details on selecting a favorite sound, refer to “Selecting
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Cre a tin g a Pa tch
Vo ice Prio rity
Fu n ctio n s o f Pa tch Pa ra m e te rs
This determines how notes will be managed when the maximum
polyphony is exceeded (64 voices).
This section explains the functions the different patch parameters
have, as well as the composition of these parameters.
Value
LAST: The last-played voices will be given priority, and currently
sounding notes will be turned off in order, beginning with the first-
played note.
Parameters marked with a “●” can be controlled using specified
MIDI messages (Matrix Control). Settings in the Control screen
will determine how these parameters are controlled (p. 54).
priority, and currently sounding notes will be turned off, beginning
with the lowest-volume voice.
Se ttin g s Co m m o n to th e En tire Pa tch
An a lo g Fe e l (An a lo g Fe e l De p th )
(Ge n e ra l)
fig.03-01_50
Specifies the depth of 1/ f modulation that is to be applied to the
patch. (1/ f modulation is a pleasant and naturally-occurring ratio of
modulation that occurs in a babbling brook or rustling wind.)
By adding this “1/ f modulation,” you can simulate the natural
instability characteristic of an analog synthesizer.
Value: 0–127
Mo n o / Po ly
Specifies whether the patch will play polyphonically (POLY) or
monophonically (MONO). The “MONO” setting is effective when
playing a solo instrument patch such as sax or flute.
Value
POLY: Two or more notes can be played simultaneously.
For details on the setting, refer to “How to Make the Patch
Settings” (p. 42).
Cu to ff O ffse t
Ge n e ra l
Cutoff Frequency Offset alters the cutoff frequency of the overall
patch, while preserving the relative differences between the cutoff
frequency values set for each tone in the Cutoff Freq parameters
(PATCH/ TVF) (p. 62).
Pa tch N a m e
You can assign a name of up to 12 characters to the patch.
Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]
^ _ ` { | } → ←
Range: -63– +63
* Cutoff Frequency: the frequency at which the filter begins to have an
effect on the waveform’s frequency components.
For details on assigning names, refer to “Assigning a Name” (p.
30).
This value is added to the cutoff frequency value of a tone, so if
the cutoff frequency value of any tone is already set to “127”
(maximum), positive “+” settings here will not produce any
change.
Pa tch Ca te g o ry
Specifies the type (category) of the patch.
The Patch Finder uses this setting. It also determines the phrase that
will be sounded when using the Phrase Preview function.
Re so n a n ce O ffse t
For details on the possible category names, refer to (p. 35).
preserving the relative differences between the resonance values set
for each tone in the Resonance parameter (PATCH/ TVF) (p. 63).
Range: -63– +63
* Resonance: emphasizes the overtones in the region of the cutoff
frequency, adding character to the sound.
This value is added to the resonance value of a tone, so if the
resonance value of any tone is already set to “127” (maximum),
positive “+” settings here will not produce any change.
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Cre a tin g a Pa tch
Atta ck Tim e O ffse t
Te m p o (Pa tch Te m p o )
Attack Time Offset alters the attack time of the overall patch, while
preserving the relative differences between the attack time values set
for each tone in the Env Time 1 parameters (PATCH/ TVA) (p. 66).
Range: -63– +63
When Patch Clock Source is set to “PATCH,” this setting value is
effective.
Value: 20–250
* Attack Time: The time it takes for a sound to reach maximum volume
The Patch Tempo Clock does not transmit clock messages from
the MIDI OUT connector.
after the key is pressed and sound begun.
Le g a to Sw itch (So lo Le g a to Sw itch )
This value is added to the attack time value of a tone, so if the
attack time value of any tone is already set to “127” (maximum),
positive “+” settings here will not produce any change.
Solo Legato is valid when the Mono/ Poly parameter (PATCH/
General) is set to “MONO.” This setting specifies whether the Solo
Legato function will be used (ON) or not (OFF).
Value: OFF, ON
Re le a se Tim e O ffse t
With the Legato Switch parameter “ON,” pressing a key while
continuing to press a previous key causes the note to change pitch to
the pitch of the most recently pressed key, sounding all the while.
This creates a smooth transition between notes, which is effective
when you wish to simulate the hammering-on and pulling-off
techniques used by a guitarist.
Release Time Offset alters the release time of the overall patch, while
preserving the relative differences between the release time values
set for each tone in the Env Time 4 parameters (PATCH/ TVA) (p.
66).
Range: -63– +63
* Release Time: The time from when you take your finger off the key
until the sound disappears.
Le g a to Re trig g e r (Le g a to Re trig g e r Sw itch )
The Legato Retrigger is valid when the Mono/ Poly parameter
(PATCH/ General) is set to “MONO” and the Legato Switch
parameter is set to “ON.” The setting determines whether sounds
are replayed (ON) or not (OFF) when performing legato. Normally
you will leave this parameter “ON.” When “OFF,” when one key is
held down and another key is then pressed, only the pitch changes,
without the attack of the latter key being played. Set this to “OFF”
when performing wind and string phrases or when using
modulation with the mono synth keyboard sound.
This value is added to the release time value of a tone, so if the
release time value of any tone is already set to “127” (maximum),
positive “+” settings here will not produce any change.
Ve lo city Se n s O ffse t (Ve lo city Se n sitivity O ffse t)
Velocity Sensitivity Offset alters the Velocity Sensitivity of the
overall patch while preserving the relative differences between the
Velocity Sensitivity values set for each tone in the parameters below.
Cutoff V-Sens parameter (PATCH/ TVF) (p. 63)
Level V-Sens parameter (PATCH/ TVA) (p. 65)
Range: -63– +63
Value: OFF, ON
Specifies whether the portamento effect will be applied (ON) or not
* Velocity: Pressure with which the key is pressed.
(OFF).
Value: OFF, ON
This value is added to the velocity sensitivity value of a tone, so
if the velocity sensitivity value of any tone is already set to “+63”
(maximum), positive “+” settings here will not produce any
change.
Po rta m e n to
Portamento is an effect which smoothly changes the pitch from
the first-played key to the next-played key. By applying
portamento when the Mono/ Poly parameter (PATCH/ General)
is “MONO,” you can simulate slide performance techniques on
a violin or similar instrument.
Clo ck So u rce (Pa tch Clo ck So u rce )
The LFO cycle, multi-effects changes, Phrase Loop, and Tone Delay
time can be synchronized to a clock (tempo). When this is used by
the patch, this Clock Source setting determines the clock which will
be used.
Value
PATCH: The Patch Tempo will be used.
SEQUENCER: Synchronize to the clock of the Fantom’s sequencer
or of an external sequencer.
For details on using clock (tempo), refer to (Q&A p. 16).
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Cre a tin g a Pa tch
Po rta m e n to Mo d e
Po rta m e n to Tim e
Specifies the performance conditions for which portamento will be
applied.
When portamento is used, this specifies the time over which the
pitch will change. Higher settings will cause the pitch change to the
next note to take more time.
Value
Value: 0–127
NORMAL: Portamento will always be applied.
LEGATO: Portamento will be applied only when you play legato
(i.e., when you press the next key before releasing the previous key).
Be n d Ra n g e Up (Pitch Be n d Ra n g e Up )
Specifies the degree of pitch change in semitones when the Pitch
Bend lever is all the way right. For example, if this parameter is set to
“12,” the pitch will rise one octave when the pitch bend lever is
moved to the right-most position.
Po rta m e n to Ty p e
Specifies the type of portamento effect.
Value
Value: 0– +48
RATE: The time it takes will depend on the distance between the
two pitches.
Be n d Ra n g e Do w n (Pitch Be n d Ra n g e Do w n )
TIME: The time it takes will be constant, regardless of how far apart
in pitch the notes are.
Specifies the degree of pitch change in semitones when the Pitch
Bend lever is all the way left. For example if this is set to “-48” and
you move the pitch bend lever all the way to the left, the pitch will
fall 4 octaves.
Po rta m e n to Sta rt
When another key is pressed during a pitch change produced by
portamento, a new pitch change will begin. This setting specifies the
pitch at which the change will begin.
Value: -48–0
Pa tch To n e
Value
PITCH: Starts a new portamento when another key is pressed while
En v Mo d e (To n e En ve lo p e Mo d e )
the pitch is changing.
fig.Potra-1.e
continue as long as the key is pressed. If you want the sound to
decay naturally even if the key remains pressed, set this to “NO
SUS.”
Pitch
C5
Range: NO SUS, SUST
D4
C4
if this parameter is set to “SUST.”
Time
De la y Mo d e (To n e De la y Mo d e )
press D4 key
Selects the type of tone delay.
press C5 key
press C4 key
fig.Delay Mode.e
NOTE: Portamento will begin anew from the pitch where the current
change would end.
fig.Potra-2.e
No Tone Delay
Pitch
Note on
Note off
C5
D4
C4
Time
press D4 key
press C5 key
press C4 key
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Cre a tin g a Pa tch
OFF-N: Rather than being played while the key is pressed, the tone
begins to play once the period of time specified in the Delay Time
parameter has elapsed after release of the key. This is effective in
situations such as when simulating noises from guitars and other
To n e De la y
This produces a time delay between the moment a key is
pressed (or released), and the moment the tone actually begins
to sound. You can also make settings that shift the timing at
which each tone is sounded. This differs from the Delay in the
internal effects, in that by changing the sound qualities of the
delayed tones and changing the pitch for each tone, you can
also perform arpeggio-like passages just by pressing one key.
You can also synchronize the tone delay time to the specified
tempo (Patch Tempo), or to the tempo of the sequencer (p. 48).
instruments.
fig.OFF-N.e
Delay time
Note on
Note off
OFF-D: Rather than being played while the key is pressed, the tone
begins to play once the period of time specified in the Delay Time
parameter has elapsed after release of the key. Here, however,
changes in the TVA Envelope begin while the key is pressed, which
in many cases means that only the sound from the release portion of
•
•
If you are not going to use Tone Delay, set the Delay Mode
parameter to “NORM” and Delay Time parameter to “0.”
If the Structure parameter (PATCH/ TMT) is set in the range
of “2”–”10,” the output of tones 1 and 2 will be combined
into tone 2, and the output of tones 3 and 4 will be
combined into tone 4. For this reason, tone 1 will follow the
settings of tone 2, and tone 3 will follow the settings of tone
4 (p. 56).
the envelope is heard.
fig.OFF-D.e
Delay time
Value
Note on
Note off
NORM: The tone begins to play after the time specified in the Delay
Time parameter has elapsed.
fig.NORM.e
If you have selected a waveform that is a decay-type sound (i.e.,
a sound that fades away naturally even if the key is not
released), selecting “OFF-N” or “OFF-D” may result in no sound
being heard.
De la y Tim e (To n e De la y Tim e )
Specifies the time from when the key is pressed (or if the Delay
Mode parameter is set to “OFF-N” or “OFF-D,” the time from when
the key is released) until when the tone will sound.
Value: 0–127, Note
Delay time
Note on
Note off
Tone Delay Time specifies the beat length for the synchronized
tempo when the tempo that specifies the elapsed time until the tone
is sounded (Patch Tempo) is synchronized with the tempo set in a
sequencer.
HOLD: Although the tone begins to play after the time specified in
the Delay Time parameter has elapsed, if the key is released before
the time specified in the Delay Time parameter has elapsed, the tone
is not played.
(Example)
fig.HOLD.e
For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))
Setting
(half note)
Delay time
1 second (60 / 60 =1 (second))
0.5 seconds (60 / 120= 0.5 (seconds))
0.25 seconds (60 / 240= 0.25 (seconds))
(quarter note)
(eighth note)
No sound
played
Delay time
Rx Be n d e r (To n e Re ce ive Pitch Be n d Sw itch )
For each tone, specify whether MIDI Pitch Bend messages will be
received (ON), or not (OFF).
Note on
Note off
Value: OFF, ON
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Cre a tin g a Pa tch
Rx Ex p re ssio n (To n e Re ce ive Ex p re ssio n
Sw itch )
Arp e g g io
Sw itch (Arp e g g io Sw itch )
For each tone, specify whether MIDI Expression messages will be
received (ON), or not (OFF).
Switches the Arpeggiator on/ off.
Value: OFF, ON
Value: OFF, ON
Ho ld (Arp e g g io Ho ld Sw itch )
Rx Ho ld -1 (To n e Re ce ive Ho ld -1 Sw itch )
Switch between Hold On/ Hold Off for the Arpeggiator
For each tone, specify whether MIDI Hold-1 messages will be
received (ON), or not (OFF).
performance.
Value: OFF, ON
Value: OFF, ON
Sty le (Arp e g g io Sty le )
If “NO SUS” is selected for Env Mode parameter (PATCH/
Specifies the basic way in which the arpeggio will be played.
General), this setting will have no effect.
For details regarding Arpeggio Style, refer to “Arpeggio Style
Rx Pa n Mo d e
List” (Sound/ Parameter List).
For each tone, specify how pan messages will be received.
Value
Va ria tio n (Arp e g g io Va ria tio n )
CONT: Whenever Pan messages are received, the stereo position of
the tone will be changed.
The arpeggiator provides several variations (performance patterns)
for each arpeggio style. This parameter selects the variation number.
The number of variations will differ according to the arpeggio style.
K-ON: The pan of the tone will be changed only when the next note
is played. If a pan message is received while a note is sounding, the
panning will not change until the next key is pressed.
Mo tif (Arp e g g io Mo tif)
Sets the order in which notes of the chord will sound.
Value
The channels cannot be set so as not to receive Pan messages.
UP: Notes you press will be sounded, beginning from low to high.
DOWN: Notes you press will be sounded, from high to low.
UP&DOWN: Notes you press will be sounded, from low to high, and
then back down from high to low.
Re d a m p e r Sw (To n e Re d a m p e r Sw itch )
You can specify, on an individual tone basis, whether or not the
sound will be held when a Hold 1 message is received after a key is
released, but before the sound has decayed to silence. If you want to
sustain the sound, set this “ON.” When using this function, also set
the Rx Hold-1 parameter “ON.” This function is effective for piano
sounds.
RANDOM: Notes you press will be sounded, in random order.
NOTE ORDER: Notes you press will be sounded in the order in
which you pressed them. By pressing the notes in the appropriate
order you can produce melody lines. Up to 128 notes will be
remembered.
Value: OFF, ON
GLISSANDO: Each chromatic step between the highest and lowest
notes you press will sound in succession, repeating upward and
downward. Press only the lowest and the highest notes.
CHORD: All notes you press will sound simultaneously.
AUTO1: The timing at which keys will sound will be assigned
automatically, giving priority to the lowest key that was pressed.
AUTO2: The timing at which keys will sound will be assigned
automatically, giving priority to the highest key that was pressed.
PHRASE: Pressing a single key will sound the phrase based on the
pitch of that key. If multiple keys are pressed, the last-pressed key
will be valid.
Arp e g g ia to r Se ttin g s (Arp e g g io )
fig.03-11_50
Acce n t Ra te (Arp e g g io Acce n t Ra te )
Modifies the strength of accents and the length of the notes to adjust
the “groove” feel of the arpeggio. A setting of “100%” will produce
For details on the setting, refer to “How to Make the Patch
Settings” (p. 42).
Value: 0–100%
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Cre a tin g a Pa tch
Sh u ffle Ra te (Arp e g g io Sh u ffle Ra te )
Re a ltim e Co n tro lle r / D Be a m
Co n tro lle r Se ttin g s (Co n tro lle r)
fig.03-12_50
This setting lets you modify the note timing to create shuffle
rhythms.
With a setting of “50%” the notes will be spaced evenly. As the value
is increased, the note timing will have more of a “dotted” (shuffle)
feel.
Value: 0–100%
fig.Shuffle Rate
Shuffle Rate = 50%
Shuffle Rate = 90%
50
50
50
50
90
10
90
10
Sh u ffle Re so lu tio n (Arp e g g io Sh u ffle
Re so lu tio n )
Specify the timing resolution in terms of a note value. The note value
can be specified as either an 16th note or a eighth note.
For details on the setting, refer to “How to Make the Patch
Settings” (p. 42).
Value:
,
Kn o b
Ke y b o a rd Ve lo city (Arp e g g io Ke y b o a rd
Ve lo city )
Assig n 1 –4 (Re a ltim e Co n tro l Kn o b Assig n 1 –4 )
Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how
strongly you play the keyboard, set this parameter to “REAL.” If you
want each note to have a fixed velocity regardless of how strongly
you play the keyboard, set this parameter to the desired value (1–
127).
Specify the functions that will be controlled by the [
Value
]–[
] knobs.
OFF: The realtime control knob will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
PITCH BEND: Pitch Bend
Value: REAL, 1–127
O cta ve Ra n g e (Arp e g g io O cta ve Ra n g e )
AFTERTOUCH: Aftertouch
Sets the key range in octaves over which arpeggio will take place. If
you want the arpeggio to sound using only the notes that you
actually play, set this parameter to “0.” To have the arpeggio sound
using the notes you play and notes 1 octave higher, set this
parameter to “+1.” A setting of “-1” will make the arpeggio sound
using the notes you play and notes 1 octave lower.
Value: -3– +3
TEMPO: Tempo
ARP VAR: Arpeggio Variation
ARP ACCENT: Arpeggio Accent Rate
ARP SHFFLE: Arpeggio Shuffle Rate
ARP OCTAVE: Arpeggio Octave Range
Sw itch
Ke y Trig g e r (Arp e g g io Ke y Trig g e r)
Turn this “ON” if you want the arpeggio to start at the moment that
you press the key. If you want the arpeggio to start playing in
synchronization with the sequencer or rhythm pattern, turn this
“OFF.”
Assig n 1 –4 (Re a ltim e Co n tro l Bu tto n Assig n 1 –
4 )
Specify the functions that will be controlled by the [
buttons.
]–[
]
Value: OFF, ON
Value
OFF: The realtime control button will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
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BEND UP: Raises the pitch in semitone steps (up to 4 octaves
BEND UP: Raises the pitch in semitone steps (up to 4 octaves
higher).
higher).
BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves
BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves
lower).
lower).
AFTERTOUCH: Aftertouch
AFTERTOUCH: Aftertouch
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
NOTE: Play the sound of the most recently pressed key.
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
OCT DOWN: Lowers the key range in octave steps (up to 3 octaves
lower).
OCT DOWN: Lowers the key range in octave steps (up to 3 octaves
lower).
TRNS UP: Raises the key range in semitone steps (up to 6 semitones
higher).
START/STOP: Starts/ Stops the sequencer.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which
you move your hand over the D Beam controller).
ARP SWITCH: Switches the Arpeggiator on/ off.
ARP VAR: Arpeggio Variation
TRNS DOWN: Lowers the key range in semitone steps (up to 5
semitones lower).
TAP TEMPO: Tap tempo (a tempo specified by the interval at which
you press the button).
MONO/POLY: Pressed to toggle between polyphonic (POLY) and
monophonic (MONO) play of a patch.
ARP HOLD: Switch between Hold On/ Hold Off for the Arpeggiator
performance.
ARP ACCENT: Arpeggio Accent Rate
ARP SHFFLE: Arpeggio Shuffle Rate
ARP OCT UP: The range in which the arpeggio is sounded will rise
in steps of an octave (maximum 3 octaves).
ARP OCT DW: The range in which the arpeggio is sounded will
lower in steps of an octave (maximum 3 octaves).
Mo d e 1 –4 (Re a ltim e Co n tro l Bu tto n Mo d e 1 –4 )
Specify how the [
]–[
] buttons are to operate.
Po la rity (D Be a m Po la rity )
Value
MOMENTARY: The button will be on only while you are pressing
(holding) it, and will be off when you release your finger from the
button.
Switch the polarity of the D Beam controller.
With a setting of “REVERSE,” the direction of control for the D Beam
controller will be inverted.
LATCH: The button will switch on/ off each time you press it.
Range: STANDARD, REVERSE
Ra n g e Lo w e r (D Be a m Ra n g e Lo w e r)
D Be a m
Specify the lower limit of the range of the D Beam controller. Values
below this setting will not be output.
Sw itch (D Be a m Sw itch )
Switches the D Beam controller on/ off.
Value: 0–UPPER
Value: OFF, ON
Ra n g e Up p e r (D Be a m Ra n g e Up p e r)
Assig n (D Be a m Assig n )
Specify the upper limit of the range of the D Beam controller. Values
above this setting will not be output.
Specifies the function controlled by the D Beam controller.
Value
Value: LOWER–127
OFF: The D Beam controller will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
Se ttin g Effe cts fo r a Pa tch (Effe cts/
MFX/ MFX Co n tro l/ Ch o ru s/ Re ve rb )
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
For details regarding effect settings, refer to the pages shown
below.
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So u rce 1 –4 (Ma trix Co n tro l So u rce 1 –4 )
Ma trix Co n tro l Se ttin g s (Ma trix Ctrl)
fig.03-13_50
Sets the MIDI message used to change the tone parameter with the
Matrix Control.
Value
OFF: Matrix control will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
SYS CTRL1–SYS CTRL4: MIDI messages used as common matrix
controls.
For details on the setting, refer to “How to Make the Patch
KEYFOLLOW: Key follow (keyboard position with C4 as 0)
TEMPO: The specified tempo (patch tempo/ sequencer tempo) or the
tempo of an external MIDI sequencer.
LFO1: LFO 1 cycle rate
Settings” (p. 42).
Ma trix Co n tro l
Ordinarily, if you wanted to change tone parameters using an
external MIDI device, you would need to send System
Exclusive messages—MIDI messages designed exclusively for
the Fantom. However, System Exclusive messages tend to be
complicated, and the amount of data that needs to be
transmitted can get quite large.
LFO2: LFO 2 cycle rate
PITCH ENV: Pitch envelope
TVF ENV: TVF envelope
TVA ENV: TVA envelope
Velocity and Key follow correspond to Note messages.
For that reason, a number of the more typical of the Fantom’s
tone parameters have been designed so they accept the use of
Control Change (or other) MIDI messages for the purpose of
making changes in their values. This provides you with a
variety of means of changing the way patches are played. For
example, you can use the Pitch Bend lever to change the LFO
cycle rate, or use the keyboard’s touch to open and close a filter.
The function which allows you use MIDI messages to make
these changes in realtime to the tone parameters is called the
Matrix Control. Up to four Matrix Controls can be used in a
single patch.
•
You can use the tempo as a Matrix Control. This lets you change
the tone settings in realtime according to changes in the Tempo.
When synchronizing to the patch tempo, set the Clock Source
parameter (PATCH/ General) to “PATCH,” and specify the
patch tempo with the Tempo parameter (PATCH/ General).
To synchronize to the sequencer tempo, set the Clock Source
parameter (PATCH/ General) to “SEQUENCER,” set the Sync
Mode parameter (SYSTEM/ Sequencer) to “MASTER,” and
specify the sequencer tempo with “ =**” in the upper part of
the PLAY screen.
To use the Matrix Control, specify which MIDI message (Source
parameter) will be used to control which parameter
(Destination parameter), and how greatly (Sns parameter), and
the tone to which the effect is applied (Tone parameter).
When synchronizing to the tempo of the connected MIDI
sequencer, set the Clock Source parameter (PATCH/ General) to
“SEQUENCER,” and set the Sync Mode parameter (SYSTEM/
Sequencer) to “SLAVE MIDI.”
•
•
Although there are no MIDI messages for LFO 1 through TVA
Envelope, they can be used as Matrix Control. In this case, you
can change the tone settings in realtime by playing patches.
If you want to use common controllers for the entire Fantom,
select “SYS CTRL1”–”SYS CTRL4.” MIDI messages used as
System Control 1–4 are set with the Sys Ctrl 1–4 Source
parameters (SYSTEM/ Control) (p. 184).
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● Ch a n g in g th e Pitch En ve lo p e
•
There are parameters that determine whether or not Pitch Bend,
Controller Number 11 (Expression) and Controller Number 64
the MIDI messages are received, then when any change is made
in the settings of the desired parameter, the Pitch Bend,
Expression, and Hold 1 settings also change simultaneously. If
you want to change the targeted parameters only, then set these
to “OFF.”
PIT ENV A-TIME: Changes the Env Time 1 parameter of the pitch
envelope.
PIT ENV D-TIME: Changes the Env Time 2 and Env Time 3
parameters of the pitch envelope.
PIT ENV R-TIME: Changes the Env Time 4 parameter of the pitch
envelope.
● Ch a n g in g th e TVF En ve lo p e
•
There are parameters that let you specify whether specific MIDI
messages will be received for each channel in a multitimbre or
settings is assigned to a part, confirm that any MIDI messages
used for the Matrix Control will be received. If the Fantom is set
up such that reception of MIDI messages is disabled, then the
Matrix Control will not function.
TVF ENV A-TIME: Changes the Env Time 1 parameter of the TVF
envelope.
TVF ENV D-TIME: Changes the Env Time 2 and Env Time 3
parameters of the TVF envelope.
TVF ENV R-TIME: Changes the Env Time 4 parameter of the TVF
envelope.
● Ch a n g in g th e TVF En ve lo p e
De stin a tio n 1 –4 (Ma trix Co n tro l De stin a tio n 1 –
4 )
TVA ENV A-TIME: Changes the Env Time 1 parameter of the TVA
envelope.
Matrix Control Destination selects the tone parameter that is to be
controlled when using the Matrix Control. The following parameters
can be controlled. When not controlling parameters with the Matrix
Control, set this to “OFF.” Up to four parameters can be specified for
each Matrix Control, and controlled simultaneously.
TVA ENV D-TIME: Changes the Env Time 2 and Env Time 3
parameters of the TVA envelope.
TVA ENV R-TIME: Changes the Env Time 4 parameter of the TVA
envelope.
● Sp littin g To n e s Th a t Are Pla y e d
In this manual, Parameters that can be controlled using the
TMT
Matrix Control are marked with a “H.”
● O p e n in g a n d Clo sin g th e Filte r
•
•
•
If the Matrix Control is used to split tones, set the TMT Vel
Control parameter (PATCH/ TMT) to “OFF,” and the TMT
Control Sw parameter (PATCH/ Matrix Ctrl) to “ON” (p. 56, p.
58).
CUTOFF: Changes the cutoff frequency.
RESONANCE: Emphasizes the overtones in the region of the cutoff
frequency, adding character to the sound.
If the Matrix Control is used to split tones, we recommend
setting the Matrix Control Sens to “+63.” Selecting a lower value
may prevent switching of the tones. Furthermore, if you want to
reverse the effect, set the value to “-63.”
● Ch a n g in g th e Vo lu m e , Pa n , a n d Pitch
LEVEL: Changes the volume level.
PAN: Changes the pan.
If you want to use matrix control to switch smoothly between
tones, use the Key Fade Lower and Key Fade Upper parameters
the switch is between the tones.
PITCH: Changes the pitch.
● Ch a n g in g Ho w th e Effe cts Are Ap p lie d
DRY LEVEL: Changes the volume of dry sounds.
CHORUS SEND: Changes the amount of chorus.
REVERB SEND: Changes the amount of reverb.
● Ch a n g in g th e De p th o f Fre q u e n cy
Mo d u la tio n fo r FXM
FXM DEPTH
● Ap p ly in g LFO to Mo d u la te So u n d s
LFO1/LFO2 PCH DEPTH: Changes the vibrato depth.
LFO1/LFO2 TVF DEPTH: Changes the wah depth.
LFO1/LFO2 TVA DEPTH: Changes the tremolo depth.
LFO1/LFO2 PAN DEPTH: Changes the effect that the LFO will have
on pan.
● Ch a n g in g Sp e cific Mu lti-Effe cts Pa ra m e te rs
MFX CTRL1–4: Change the parameter that was specified by MFX
Control 1–4 Assign parameter.
No effects are available, even with the Matrix Control, when the
settings are such that no multi-effects are applied.
LFO1/LFO2 RATE: Changes the speed of the LFO cycles.
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Sn s 1 –4 (Ma trix Co n tro l Se n s 1 –4 )
Ch a n g in g Ho w a To n e Is So u n d e d
Sets the amount of the Matrix Control’s effect that is applied. If you
wish to modify the selected parameter in a positive (+) direction –
i.e., a higher value, toward the right, or faster etc. – from its current
setting, select a positive (+) value. If you wish to modify the selected
parameter in a negative (-) direction – i.e., a lower value, toward the
left, or slower etc. – from its current setting, select a negative (-)
value. When both positive and negative are selected, the changes are
greater as the value increases. Set it to “0” if you don’t want this
effect.
(TMT)
fig.03-14_50
Value: -63– +63
To n e 1 –4 (To n e Co n tro l Sw itch 1 –4 )
Matrix Control Tone selects the tone to which the effect is applied
when using the Matrix Control.
Value
For details on the setting, refer to “How to Make the Patch
Settings” (p. 42).
●: The effect will be applied.
R: The effect will be applied in reverse.
TMT
TMT Co n tro l Sw (TMT Co n tro l Sw itch )
Stru ctu re 1 & 2 , 3 & 4 (Stru ctu re Ty p e 1 & 2 , 3
& 4 )
Use the Matrix Control to enable (ON), or disable (OFF) sounding of
different tones.
Determines how tone 1 and 2, or tone 3 and 4 are connected.
Value: OFF, ON
Value: 1–10
The following 10 different Types of combination are available.
fig.Struct-01
You can also cause different tones to sound in response to notes
played at different strengths (velocity) on the keyboard (p. 58).
However, the Matrix Control and the keyboard velocity cannot
be used simultaneously to make different tones to sound. When
you want to make the different tones to sound, set the TMT Vel
Control parameter (PATCH/ TMT) to “OFF.”
TYPE 1
TONE 1 (3) WG
TONE 2 (4) WG
TVF
TVF
TVA
TVA
With this type, tones 1 and 2 (or 3 and 4) are independent. Use this
type when you want to preserve PCM sounds or create and combine
sounds for each tone.
fig.Struct-02
TYPE 2
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
TVF TVA
This type stacks the two filters together to intensify the
characteristics of the filters. The TVA for tone 1 (or 3) controls the
volume balance between the two tones.
fig.Struct-03
TYPE 3
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
B
TVF TVA
This type mixes the sound of tone 1 (3) and tone 2 (4), applies a filter,
and then applies a booster to distort the waveform.
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fig.Struct-04
fig.Struct-09
TYPE 4
TYPE 9
TONE 1 (3) WG
TONE 1 (3) WG
TVA
TVF
TVF TVA
TVF
R
B
TONE 2 (4) WG
TONE 2 (4) WG
TVF TVA
TVA
This type applies a booster to distort the waveform, and then
combines the two filters. The TVA for tone 1 (or 3) controls the
This type passes the filtered sound of each tone through a ring
modulator to create new overtones. The tone 1 (3) TVA will control
the volume balance of the two tones, adjusting the depth of ring
volume balance between the two tones and adjusts booster level.
fig.Struct-05
modulator.
fig.Struct-10
TYPE 5
TYPE 10
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
TONE 1 (3) WG
TONE 2 (4) WG
R
TVF TVA
TVF
R
TVF TVA
TVA
This type uses a ring modulator to create new overtones, and
combines the two filters. The tone 1 (3) TVA will control the volume
This type passes the filtered sound of each tone through a ring
modulator to create new overtones, and also mixes in the sound of
tone 2 (4). Since the ring-modulated sound can be mixed with tone 2
(4), tone 1 (3) TVA can adjust the amount of the ring-modulated
sound.
balance of the two tones, adjusting the depth of ring modulator.
fig.Struct-06
TYPE 6
TONE 1 (3) WG
TONE 2 (4) WG
TVA
TVF
R
•
•
If you select a tone while on the Structure screen, the tone paired
with the selected tone will also be selected.
TVF TVA
This type uses a ring modulator to create new overtones, and in
addition mixes in the sound of tone 2 (4) and stacks the two filters.
Since the ring-modulated sound can be mixed with tone 2 (4), tone 1
When TYPE 2–10 is selected and one tone of a pair is turned off,
the other tone will be sounded as TYPE 1 regardless of the
displayed setting.
(3) TVA can adjust the amount of the ring-modulated sound.
fig.Struct-07
•
If you limit the keyboard area in which a tone will sound
it will sound (Velocity Range p. 59), the result in areas or ranges
where the tone does not sound is just as if the tone had been
turned off. This means that if TYPE 2–10 is selected and you
create a keyboard area or velocity range in which one tone of a
pair does not sound, notes played in that area or range will be
sounded by the other tone as TYPE 1 regardless of the displayed
setting.
TYPE 7
TONE 1 (3) WG
TONE 2 (4) WG
TVF TVA
R
TVF TVA
This type applies a filter to tone 1 (3) and ring-modulates it with tone
2 (4) to create new overtones.
fig.Struct-08
Bo o ste r 1 &2 , 3 &4 (Bo o ste r Ga in )
TYPE 8
When a Structure Type of TYPE 3 or TYPE 4 is selected, you can
adjust the depth of the booster. The booster increases the input
signal in order to distort the sound. This creates the distortion effect
frequently used with electric guitars. Higher settings will produce
more distortion.
TONE 1 (3) WG
TONE 2 (4) WG
TVF TVA
R
TVF TVA
This type sends the filtered tone 1 (3) and tone 2 (4) through a ring
modulator, and then mixes in the sound of tone 2 (4) and applies a
filter to the result.
Value: 0, +6, +12, +18
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Ke y Fa d e Lo w e r (Ke y b o a rd Fa d e W id th Lo w e r)
This determines what will happen to the tone’s level when a note
that’s lower than the tone’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
Bo o ste r
The Booster is used to distort the incoming signal.
fig.Booster-1.e
Booster level
Value: 0–127
Ke y Ra n g e Lo w e r (Ke y b o a rd Ra n g e Lo w e r)
Specifies the lowest note that the tone will sound for each tone.
Value: C-1–UPPER
In addition to using this to create distortion, you can use the
waveform (WG1) of one of the tones as an LFO which shifts the
other waveform (WG2) upward or downward to create
modulation similar to PWM (pulse width modulation). This
parameter works best when you use it in conjunction with the
Ke y Ra n g e Up p e r (Ke y b o a rd Ra n g e Up p e r)
Specifies the highest note that the tone will sound for each tone.
Value: LOWER–G9
Wave Gain parameter (PATCH/ Wave) (p. 59).
fig.Booster-2.e
If you attempt to raise the lower key higher than the upper key,
or to lower the upper key below the lower key, the other value
will be automatically modified to the same setting.
Uses WG1 as LFO
Adjusts WG1 output
WG1
TVA
Ke y Fa d e Up p e r (Ke y b o a rd Fa d e W id th Up p e r)
Booster
This determines what will happen to the tone’s level when a note
that’s higher than the tone’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
WG2
WG2
Value: 0–127
fig.Key Range.e
Level
Adds to WG1
Distorted area of the
Waveform changes
Pitch
Shift in waveform by WG1
Fade Upper
Range Upper
Fade Lower
Range Lower
TMT Ve l Co n tro l (TMT Ve lo city Co n tro l Sw itch )
Rin g Mo d u la to r
TMT Velocity Control determines whether a different tone is played
(ON) or not (OFF) depending on the force with which the key is
played (velocity).
A ring modulator multiplies the waveforms of two tones with
each other, generating many new overtones (inharmonic
partials) which were not present in either waveform. (Unless
one of the waveforms is a sine wave, evenly-spaced frequency
components will not usually be generated.)
When set to “RND,” the patch’s constituent tones will sound
randomly, regardless of any Velocity messages.
Value: OFF, ON, RND
As the pitch difference between the two waveforms changes the
harmonic structure, the result will be an unpitched metallic
sound. This function is suitable for creating metallic sounds
Instead of using Velocity, you can also have tones substituted
and the Matrix Control cannot be used simultaneously to make
different tones to sound. When using the Matrix Control to
switch tones, set the TMT Vel Control parameter to “OFF.”
such as bells.
fig.Ring Mod
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Ve l Fa d e Lo w e r (Ve lo city Fa d e W id th Lo w e r)
For details on the setting, refer to “How to Make the Patch
This Determines what will happen to the tone’s level when the tone
is played at a velocity lower than its specified velocity range. Higher
settings produce a more gradual change in volume. If you want
notes played outside the specified key velocity range to not be
sounded at all, set this to “0.”
Settings” (p. 42).
W a ve
W a ve Gro u p
Value: 0–127
Selects the group for the waveform that is to be the basis of the tone.
Value
Ve l Ra n g e Lo w e r (Ve lo city Ra n g e Lo w e r)
INT: Waveforms stored in internal memory
XP-A: Waveform stored in a Wave Expansion Board (SR-JV80 series)
installed in EXP-A slots.
This sets the lowest velocity at which the tone will sound. Make
these settings when you want different tones to sound in response to
notes played at different strengths.
XP-B: Waveforms residing on a Wave Expansion Board (SRX series)
installed in the EXP B slot
Value: 1–UPPER
Ve l Ra n g e Up p e r (Ve lo city Ra n g e Up p e r)
XP-C: Waveforms residing on a Wave Expansion Board (SRX series)
installed in the EXP C slot
This sets the highest velocity at which the tone will sound. Make
these settings when you want different tones to sound in response to
notes played at different strengths.
You cannot select a waveform group of a Wave Expansion Board
that is not installed.
Value: LOWER–127
W a ve N o . (L) (W a ve N u m b e r (L))
W a ve N o . (R) (W a ve N u m b e r (R))
Selects the basic waveform for a tone. Along with the Wave number,
the Wave name appears at the lower part of the display.
When in monaural mode, only the left side (L) is specified. When in
stereo, the right side (R) is also specified.
If you attempt to set the Lower velocity limit above the Upper, or
the Upper below the Lower, the other value will automatically
be adjusted to the same setting.
When using the Matrix Control to have different tones played,
set the lowest value (Lower) and highest value (Upper) of the
value of the MIDI message used.
Value: ----, 1–1083
Ga in (W a ve Ga in )
Ve l Fa d e Up p e r (Ve lo city Fa d e W id th Up p e r)
Sets the gain (amplification) of the waveform. The value changes in 6
dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
If you intend to use the Booster to distort the waveform’s sound, set
this parameter to its maximum value (p. 57).
This determines what will happen to the tone’s level when the tone is
played at a velocity greater than its specified velocity range. Higher settings
produce a more gradual change in volume. If you want notes played outside
the specified key velocity range to not be sounded at all, set this to “0.”
Value: -6, 0, +6, +12
Value: 0–127
fig.Vel Range.e
Level
FXM Sw itch
This sets whether FXM will be used (ON) or not (OFF).
Value: OFF, ON
Velocity
Fade Upper
Range Upper
Fade Lower
Range Lower
FXM
FXM (Frequency Cross Modulation) uses a specified waveform
to apply frequency modulation to the currently selected
waveform, creating complex overtones. This is useful for
creating dramatic sounds or sound effects.
Mo d ify in g W a ve fo rm s (W a ve )
fig.03-15_50
FXM Co lo r
Specifies how FXM will perform frequency modulation. Higher
settings result in a grainier sound, while lower settings result in a
more metallic sound.
Value: 1–4
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FXM De p th ●
Pa tch F Tu n e (Pa tch Fin e Tu n e )
Specifies the depth of the modulation produced by FXM.
Adjusts the pitch of the patch’s sound up or down in 1-cent steps (+/
-50 cents).
Value: 0–16
Value: -50– +50
Te m p o Sy n c (W a ve Te m p o Sy n c)
When you wish to synchronize a Phrase Loop to the clock (tempo),
set this to “ON.” This is valid only when an optional Wave
Expansion Board, such as “SR-JV80-10: BASS&DRUMS,” is installed,
and you have selected a tone which uses a waveform that displays
tempo (BPM).
One cent is 1/ 100th of a semitone.
O cta ve Sh ift
Adjusts the pitch of the patch’s sound up or down in units of an
octave (+/ -3 octaves).
Value: OFF, ON
Value: -3– +3
Stre tch Tu n e (Stre tch Tu n e De p th )
•
•
When the Tempo Sync parameter is set to “ON,” settings related
This setting allows you to apply “stretched tuning” to the patch.
(Stretched tuning is a system by which acoustic pianos are normally
tuned, causing the lower range to be lower and the higher range to
be higher than the mathematical tuning ratios would otherwise
dictate.) With a setting of “OFF,” the patch’s tuning will be equal
temperament. A setting of “3” will produce the greatest difference in
the pitch of the low and high ranges.
When the Tempo Sync parameter is set to “ON,” set the Delay
Time parameter (PATCH/ General) to “0.” With other settings, a
delay effect will be applied, and you will be not be able to play
as you expect.
Value: OFF, 1–3
Ph ra se Lo o p
The diagram shows the pitch change relative to equal temperament
that will occur in the low and high ranges. This setting will have a
Phrase loop refers to the repeated playback of a phrase that’s
been pulled out of a song (e.g., by using a sampler). One
technique involving the use of Phrase Loops is the excerpting of
a Phrase from a pre-existing song in a certain genre, for example
dance music, and then creating a new song with that Phrase
used as the basic motif. This is referred to as “Break Beats.”
subtle effect on the way in which chords resonate.
fig.Stretch.e
Pitch difference from
equal temperament
Parameter value
3
2
1
Mo d ify in g Pitch (Pitch )
fig.03-16_50
OFF
OFF
1
2
3
High note range
Low note range
To n e C Tu n e (To n e Co a rse Tu n e ) ●
Adjusts the pitch of the tone’s sound up or down in semitone steps
(+/ -4 octaves).
For details on the setting, refer to “How to Make the Patch
Settings” (p. 42).
To n e F Tu n e (To n e Fin e Tu n e ) ●
Pitch
Adjusts the pitch of the tone’s sound up or down in 1-cent steps (+/ -
50 cents).
Pa tch C Tu n e (Pa tch Co a rse Tu n e ) ●
Value: -50– +50
Adjusts the pitch of the patch’s sound up or down in semitone steps
(+/ -4 octaves).
One cent is 1/ 100th of a semitone.
Value: -48– +48
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Cre a tin g a Pa tch
Rn d Pitch De p th (Ra n d o m Pitch De p th )
En v T4 V-Se n s (Pitch En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
This specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want the pitch to change
randomly, set this to “0.” These values are in units of cents (1/ 100th
of a semitone).
Use this parameter when you want key release speed to impact on
Time 4 value of the pitch envelope. If you want Time 4 to be speeded
up for quickly released notes, set this parameter to a positive (+) value.
If you want it to be slowed down, set this to a negative (-) value.
Value: -63– +63
Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200,
300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
Pitch KF (Pitch Ke y Fo llo w )
En v Tim e KF (Pitch En ve lo p e Tim e Ke y Fo llo w )
This specifies the amount of pitch change that will occur when you
play a key one octave higher (i.e., 12 keys upward on the keyboard).
If you want the pitch to rise one octave as on a conventional
keyboard, set this to “+100.” If you want the pitch to rise two
octaves, set this to “+200.” Conversely, set this to a negative value if
you want the pitch to fall. With a setting of “0,” all keys will produce
the same pitch.
Use this setting if you want the pitch envelope times (Time 2–Time
4) to be affected by the keyboard location. Based on the pitch
envelope times for the C4 key, positive (+) settings will cause notes
higher than C4 to have increasingly shorter times, and negative (-)
settings will cause them to have increasingly longer times. Larger
settings will produce greater change.
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30,
+40, +50, +60, +70, +80, +90, +100
fig.Time KF.e
Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90,
-80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70,
+80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190,
Time
+100
+200
fig.Pitch KF.e
Pitch
+50
0
+200
+100
+50
0
-50
-100
Key
C7
C1
C2
C3
C4
C5
C6
-50
-200
C6
-100
C7
Key
C1
C2
C3
C4
C5
En v Le ve l 0 –4 (Pitch En ve lo p e Le ve l 0 –4 )
Specify the pitch envelope levels (Level 0–Level 4). It determines
how much the pitch changes from the reference pitch (the value set
with Coarse Tune or Fine Tune on the Pitch screen) at each point.
Positive (+) settings will cause the pitch to be higher than the
standard pitch, and negative (-) settings will cause it to be lower.
Value: -63– +63
En v De p th (Pitch En ve lo p e De p th )
Adjusts the effect of the Pitch Envelope. Higher settings will cause
the pitch envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
Value: -12– +12
En v Tim e 1 –4 (Pitch En ve lo p e Tim e 1 –4 ) ●
En v V-Se n s (Pitch En ve lo p e Ve lo city Se n sitivity )
Specify the pitch envelope times (Time 1–Time 4). Higher settings
will result in a longer time until the next pitch is reached. (For
example, Time 2 is the time over which the pitch changes from Level
1 to Level 2.)
Keyboard playing dynamics can be used to control the depth of the
pitch envelope. If you want the pitch envelope to have more effect
for strongly played notes, set this parameter to a positive (+) value. If
you want the pitch envelope to have less effect for strongly played
notes, set this to a negative (-) value.
Value: 0–127
fig.Pitch Env.e
T1
T2
T3
T4
Value: -63– +63
En v T1 V-Se n s (Pitch En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
This allows keyboard dynamics to affect the Time 1 of the Pitch
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Pitch
L0
Time
L1
L3
Note off
Note on
L2
L4
Value: -63– +63
T: Time L: Level
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Cre a tin g a Pa tch
Cu to ff Fre q (Cu to ff Fre q u e n cy ) ●
Mo d ify in g th e Brig h tn e ss o f a
So u n d w ith a Filte r (TVF)
fig.03-17_50
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
Value: 0–127
With “LPF/ LPF2/ LPF3” selected for the Filter Type parameter,
lower cutoff frequency settings reduce a tone’s upper harmonics for
a more rounded, warmer sound. Higher settings make it sound
brighter.
If “BPF” is selected, harmonic components will change depending
on the TVF Cutoff Frequency setting. This can be useful when
creating distinctive sounds.
With “HPF” selected, higher Cutoff Frequency settings will reduce
lower harmonics to emphasize just the brighter components of the
sound.
With “PKG” selected, the harmonics to be emphasized will vary
depending on Cutoff Frequency setting.
For details on the setting, refer to “How to Make the Patch
Settings” (p. 42).
TVF
To edit the overall patch while preserving the relative
differences in the Cutoff Frequency values set for each tone, set
the Cutoff Offset parameter (PATCH/ General) (p. 47).
Filte r Ty p e
Selects the type of filter. A filter is a function that cuts off a specific
frequency band to change a sounds brightness, thickness, and other
qualities.
Cu to ff KF (Cu to ff Fre q u e n cy Ke y Fo llo w )
Use this parameter if you want the cutoff frequency to change
according to the key that is pressed. Relative to the cutoff frequency
at the C4 key (center C), positive (+) settings will cause the cutoff
frequency to rise for notes higher than C4, and negative (-) settings
will cause the cutoff frequency to fall for notes higher than C4.
Larger settings will produce greater change.
Value
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies
above the cutoff frequency (Cutoff Freq). in order to round off, or
un-brighten, the sound. This is the most common filter used in
synthesizers.
Value: -200, -190, -180, -170, -160, -150, -140, -130, -120, -110, -100, -90,
-80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30, +40, +50, +60, +70,
+80, +90, +100, +110, +120, +130, +140, +150, +160, +170, +180, +190,
BPF: Band Pass Filter. This leaves only the frequencies in the region
of the cutoff frequency (Cutoff Freq), and cuts the rest. This can be
useful when creating distinctive sounds.
+200
fig.Cutoff KF.e
HPF: High Pass Filter. This cuts the frequencies in the region below
the cutoff frequency (Cutoff Freq). This is suitable for creating
percussive sounds emphasizing their higher ones.
PKG: Peaking Filter. This emphasizes the frequencies in the region
of the cutoff frequency (Cutoff Freq). You can use this to create wah-
wah effects by employing an LFO to change the cutoff frequency
cyclically.
Cutoff frequency
(Octave)
+200
+100
+2
+50
+1
LPF2: Low Pass Filter 2. Although frequency components above the
Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter is
half that of the LPF. This makes it a comparatively warmer low pass
filter. This filter is good for use with simulated instrument sounds
such as the acoustic piano.
o
0
-1
-2
-50
-200
C6
-100
C7
C1
C2
C3
C4
C5
Key
LPF3: Low Pass Filter 3. Although frequency components above the
Cutoff frequency (Cutoff Freq) are cut, the sensitivity of this filter
changes according to the Cutoff frequency. While this filter is also
good for use with simulated acoustic instrument sounds, the nuance
it exhibits differs from that of the LPF2, even with the same TVF
Envelope settings.
The cutoff frequency key follow setting appearing at the lower
part of the TVF settings screen graphically depict the current
values of the settings. Solid lines represent the cutoff frequency
key follow setting, while dotted lines are used for the TVA bias
settings. This lets you compare the TVF cutoff frequency key
follow setting and the TVA bias settings while you make
settings.
If you set “LPF2” or “LPF3,” the setting for the Resonance
parameter will be ignored.
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Cu to ff V-Cu rve (Cu to ff Fre q u e n cy Ve lo city
Cu rve )
Re so V-Se n s (Re so n a n ce Ve lo city Se n sitivity )
This allows keyboard velocity to modify the amount of Resonance. If
you want strongly played notes to have a greater Resonance effect,
set this parameter to positive (+) settings. If you want strongly
played notes to have less Resonance, use negative (-) settings.
Value: -63– +63
Selects one of the following seven curves that determine how
keyboard playing dynamics (velocity) influence the cutoff frequency.
Set this to “FIXED” when the Cutoff frequency is not to be changed
according to the force with which the keys are pressed.
Value: FIXED, 1–7
En v De p th (TVF En ve lo p e De p th )
fig.Curve-7
Specifies the depth of the TVF envelope. Higher settings will cause
the TVF envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
1
2
3
4
5
6
7
Value: -63– +63
Cu to ff V-Se n s (Cu to ff Ve lo city Se n sitivity )
En v V-Cu rve (TVF En ve lo p e Ve lo city Cu rve )
Use this parameter when changing the cutoff frequency to be
applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this
Selects one of the following 7 curves that will determine how
keyboard playing dynamics will affect the TVF envelope. Set this to
“FIXED” when the amount of TVF Envelope applied is not to be
changed according to the force with which the keys are pressed.
parameter to positive (+) settings. If you want strongly played notes
to lower the cutoff frequency, use negative (-) settings.
Value: -63– +63
Value: FIXED, 1–7
fig.Curve-7
To edit the overall patch while preserving the relative
differences in the Cutoff Frequency Velocity Sensitivity values
set for each tone, set the Velocity Sens Offset parameter
Level V-Sens parameter (PATCH/ TVA) (p. 65).
1
2
3
4
5
6
7
En v V-Se n s (TVF En ve lo p e Ve lo city Se n sitivity )
Specifies how keyboard playing dynamics will affect the depth of the
TVF envelope. Positive (+) settings will cause the TVF envelope to
have a greater effect for strongly played notes, and negative (-)
settings will cause the effect to be less.
Re so n a n ce ●
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
Value: 0–127
Value: -63– +63
En v T1 V-Se n s (TVF En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
This allows keyboard dynamics to affect the Time 1 of the TVF
envelope. If you want Time 1 to be speeded up for strongly played
slowed down, set this to a negative (-) value.
To edit the overall patch while preserving the relative
differences in the Resonance values set for each tone, set the
Resonance Offset parameter (PATCH/ General) (p. 47).
fig.Resonance.e
LPF
BPF
HPF
PKG
Value: -63– +63
Level
High
En v T4 V-Se n s (TVF En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
Frequency
Cutoff frequency
The parameter to use when you want key release speed to control
the Time 4 value of the TVF envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Value: -63– +63
Low
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Cre a tin g a Pa tch
En v Tim e KF (TVF En ve lo p e Tim e Ke y Fo llo w )
Ad ju stin g th e Vo lu m e (TVA)
Use this setting if you want the TVA envelope times (Time 2–Time 4)
to be affected by the keyboard location. Based on the TVF envelope
times for the C4 key (center C), positive (+) settings will cause notes
higher than C4 to have increasingly shorter times, and negative (-)
settings will cause them to have increasingly longer times. Larger
settings will produce greater change.
fig.03-18_50
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30,
+40, +50, +60, +70, +80, +90, +100
fig.Time KF.e
Time
+100
+50
0
For details on the setting, refer to “How to Make the Patch
Settings” (p. 42).
TVA
-50
Pa tch Le ve l
-100
Key
C7
Specifies the volume of the patch.
C1
C2
C3
C4
C5
C6
Value: 0–127
To n e Le ve l ●
En v Le ve l 0 –4 (TVF En ve lo p e Le ve l 0 –4 )
Sets the volume of the tone. This setting is useful primarily for
adjusting the volume balance between tones.
Value: 0–127
Specify the TVF envelope levels (Level 0–Level 4). These settings
specify how the cutoff frequency will change at each point, relative
to the standard cutoff frequency (the cutoff frequency value
specified in the TVF screen).
Bia s
Value: 0–127
Bias causes the volume to be affected by the keyboard position. This
is useful for changing volume through keyboard position (pitch)
En v Tim e 1 –4 (TVF En ve lo p e Tim e 1 –4 ) ●
when playing acoustic instruments.
Specify the TVF envelope times (Time 1–Time 4). Higher settings
will lengthen the time until the next cutoff frequency level is
reached. (For example, Time 2 is the time over which Level 1 will
change to Level 2.)
fig.Bias.e
LOWER
Level
UPPER
Level
+
0
–
+
0
–
Value: 0–127
fig.TVF Env.e
Key
Key
C-1
G9
C-1
G9
Bias Point
Bias Point
T1
T2
T3
T4
LO&UP
Level
ALL
–
+
0
–
+
0
–
+
0
–
Level
Cutoff
Frequency
0
L0
L1
Note on
Time
+
L2
L3
L4
Key
Key
Note off
C-1
G9
C-1
G9
Bias Point
Bias Point
T: Time L: Level
Bia s Le ve l
Adjusts the angle of the volume change that will occur in the
The envelopes appearing at the lower part of the TVF settings
screen graphically depict the current values of the settings. Solid
lines represent the TVF envelope, while dotted lines are used for
the TVA envelope. This lets you compare the TVF and TVA
envelopes while you make settings.
selected Bias Direction. Larger settings will produce greater change.
Negative (-) values will invert the change direction.
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30,
+40, +50, +60, +70, +80, +90, +100
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Cre a tin g a Pa tch
Bia s Po sitio n
To n e Pa n ●
Specifies the key relative to which the volume will be modified.
Sets the pan of the tone. “L64” is far left, “0” is center, and “63R” is
far right.
Value: C-1–G9
Value: L64–0–63R
Bia s Dire ctio n
Pa n KF (Pa n Ke y Fo llo w )
Selects the direction in which change will occur starting from the
Bias Position.
Use this parameter if you want key position to affect panning.
Positive (+) settings will cause notes higher than C4 key (center C) to
be panned increasingly further toward the right, and negative (-)
settings will cause notes higher than C4 key (center C) to be panned
toward the left. Larger settings will produce greater change.
Value
LOWER: The volume will be modified for the keyboard area below
the Bias Point.
UPPER: The volume will be modified for the keyboard area above
the Bias Point.
Value: -100– +100
fig.Pan KF.e
LO&UP: The volume will be modified symmetrically toward the left
and right of the Bias Point.
Pan
+100
+50
0
R
o
ALL: The volume changes linearly with the bias point at the center.
The bias settings appearing at the lower part of the TVA settings
screen graphically depict the current values of the settings. Solid
lines represent the bias settings, while dotted lines are used for
the TVF cutoff frequency key follow setting. This lets you
compare the TVA bias settings and the TVF cutoff frequency key
follow setting while you make settings.
-50
-100
L
Key
C1
C2
C3
C4
C5
C6
C7
Le ve l V-Cu rve (TVA Le ve l Ve lo city Cu rve )
You can select from seven curves that determine how keyboard
playing strength will affect the volume. If you do not want the
volume of the tone to be affected by the force with which you play
the key, set this to “FIXED.”
Rn d Pa n De p th (Ra n d o m Pa n De p th )
Use this parameter when you want the stereo location to change
randomly each time you press a key. Higher settings will produce a
greater amount of change.
Value: FIXED, 1–7
fig.Curve-7
Value: 0–63
Alte r Pa n De p th (Alte rn a te Pa n De p th )
1
2
3
4
5
6
7
This setting causes panning to be alternated between left and right
each time a key is pressed. Higher settings will produce a greater
amount of change. “L” or “R” settings will reverse the order in
which the pan will alternate between left and right. For example if
two tones are set to “L” and “R” respectively, the panning of the two
tones will alternate each time they are played.
Le ve l V-Se n s (TVA Le ve l Ve lo city Se n sitivity )
Set this when you want the volume of the tone to change depending
on the force with which you press the keys. Set this to a positive (+)
value to have the changes in tone volume increase the more
forcefully the keys are played; to make the tone play more softly as
you play harder, set this to a negative (-) value.
Value: L63–0–63R
Value: -63– +63
When any value from Type “2”–”10” is selected for the Structure
parameter (PATCH/ TMT) in the Pan KF, Rnd Pan Depth, Alter
Pan Depth parameter settings, the output of tones 1 and 2 are
joined in tone 2, and the output of tones 3 and 4 are joined in
tone 4. For this reason, tone 1 will follow the settings of tone 2,
If you wish to make adjustments to the entire patch while
maintaining the relative values of TVA Level Velocity Sensitivity
among tones, adjust the Velocity Sens Offset parameter
Cutoff V-Sens parameter (PATCH/ TVF) (p. 63).
En v T1 V-Se n s (TVA En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
Pa tch Pa n
Specifies the pan of the patch. “L64” is far left, “0” is center, and
This allows keyboard dynamics to affect the Time 1 of the TVA
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
“63R” is far right.
Value: L64–0–63R
Value: -63– +63
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Cre a tin g a Pa tch
En v T4 V-Se n s (TVA En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
En v Le ve l 1 –3 (TVA En ve lo p e Le ve l 1 –3 )
Specify the TVA envelope levels (Level 1–Level 3). These settings
specify how the volume will change at each point, relative to the
standard volume (the Tone Level value specified in the TVA screen).
The parameter to use when you want key release speed to control
the Time 4 value of the TVA envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Value: 0–127
fig.TVA Env.e
T1 T2
T3
T4
Value: -63– +63
En v Tim e KF (TVA En ve lo p e Tim e Ke y Fo llo w )
Use this setting if you want the TVA envelope times (Time 2–Time 4)
to be affected by the keyboard location. Based on the TVA envelope
times for the C4 key (center C), positive (+) settings will cause notes
higher than C4 to have increasingly shorter times, and negative (-)
settings will cause them to have increasingly longer times. Larger
settings will produce greater change.
Level
Time
L3
L2
L1
Note on
Note off
T: Time L: Level
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30,
The envelopes appearing at the lower part of the TVA settings
screen graphically depict the current values of the settings. Solid
lines represent the TVA envelope, while dotted lines are used for
the TVF envelope. This lets you compare the TVA and TVF
envelopes while you make settings.
+40, +50, +60, +70, +80, +90, +100
fig.Time KF.e
Time
+100
+50
0
Mo d u la tin g So u n d s (LFO )
fig.03-19_50
-50
-100
Key
C7
C1
C2
C3
C4
C5
C6
En v Tim e 1 –4 (TVA En ve lo p e Tim e 1 –4 ) ●
Specify the TVA envelope times (Time 1– Time 4). Higher settings
will lengthen the time until the next volume level is reached. (For
example, Time 2 is the time over which Level 1 will change to Level
For details on the setting, refer to “How to Make the Patch
2.)
Settings” (p. 42).
Value: 0–127
An LFO (Low Frequency Oscillator) causes change over a cycle
in a sound. Each tone has two LFOs (LFO1/ LFO2), and these can
be used to cyclically change the pitch, cutoff frequency and
volume to create modulation-type effects such as vibrato, wah
and tremolo. Both LFOs have the same parameters so only one
explanation is needed.
To edit the overall patch while preserving the relative
differences in the Env Time 1 parameter (Attack Time) values set
for each tone, set the Attack Time Offset parameter (PATCH/
preserving the relative differences in the Env Time 4 parameter
(Release Time) values set for each tone, set the Release Time
Offset parameter (PATCH/ General) (p. 48).
LFO
1 :/ 2 :W a ve fo rm (LFO 1 / LFO 2 W a ve fo rm )
Selects the waveform of the LFO.
Value
SIN: Sine wave
TRI: Triangle wave
SAW-U: Sawtooth wave
SAW-D: Sawtooth wave (negative polarity)
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Cre a tin g a Pa tch
SQR: Square wave
RND: Random wave
When using violin, wind, or certain other instrument sounds in a
performance, rather than having vibrato added immediately
after the sounds are played, it can be effective to add the vibrato
after the note is drawn out somewhat. If you set the 1:/ 2:Delay
Time in conjunction with the 1:/ 2:Pitch Depth parameter and 1:/
2:Rate parameter, the vibrato will be applied automatically
following a certain interval after the key is pressed. This effect is
called Delay Vibrato.
BND-U: Once the attack of the waveform output by the LFO is
allowed to develop in standard fashion, the waveform then
continues without further change.
BND-D: Once the decay of the waveform output by the LFO is
allowed to develop in standard fashion, the waveform then
continues without further change.
TRP: Trapezoidal wave
S&H: Sample & Hold wave (one time per cycle, LFO value is changed)
CHAOS: Chaos wave
1 :/ 2 :De la y Tim e KF (LFO 1 / LFO 2 De la y Tim e
Ke y Fo llo w )
Adjusts the value for the 1:/ 2:Delay Time parameter depending on
the key position, relative to the C4 key (center C). To decrease the
time that elapses before the LFO effect is applied (the effect is
continuous) with each higher key that is pressed in the upper
registers, select a positive value; to increase the elapsed time, select a
negative value. Larger settings will produce greater change. If you do
not want the elapsed time before the LFO effect is applied (the effect
is continuous) to change according to the key pressed, set this to “0.”
Value: -100, -90, -80, -70, -60, -50, -40, -30, -20, -10, 0, +10, +20, +30,
If you set this to “BND-U” or “BND-D,” you must turn the 1:/ 2:Key
Trigger parameter to “ON.” If this is “OFF,” it will have no effect.
1 :/ 2 :Ra te (LFO 1 / LFO 2 Ra te ) ●
Adjusts the modulation rate, or speed, of the LFO.
Value: 0–127, Note
LFO Rate sets the beat length for the synchronized tempo when the
tempo that specifies the LFO cycle (Patch Tempo) is synchronized
with the tempo set in a sequencer.
+40, +50, +60, +70, +80, +90, +100
fig.Time KF.e
(Example)
Time
For a tempo of 120 (120 quarter notes occur in 1 minute (60 seconds))
+100
Setting
(half note)
Delay time
1 second (60 / 60 =1 (second))
+50
0
0.5 seconds (60 / 120= 0.5 (seconds))
0.25 seconds (60 / 240= 0.25 (seconds))
(quarter note)
(eighth note)
-50
This setting will be ignored if the 1:/ 2:Waveform parameter is
set to “CHAOS.”
-100
Key
C7
C1
C2
C3
C4
C5
C6
1 :/ 2 :O ffse t (LFO 1 / LFO 2 O ffse t)
Raises or lowers the LFO waveform relative to the central value
(pitch or cutoff frequency). Positive (+) settings will move the
waveform so that modulation will occur from the central value
upward. Negative (-) settings will move the waveform so that
modulation will occur from the central value downward.
Value: -100, -50, 0, +50, +100
1 :/ 2 :Fa d e Mo d e (LFO 1 / LFO 2 Fa d e Mo d e )
Specifies how the LFO will be applied.
Value: ON <, ON >, OFF <, OFF >
1 :/ 2 :Ra te De tu n e (LFO 1 / LFO 2 Ra te De tu n e )
setting until the desired effect is achieved.
LFO Rate Detune makes subtle changes in the LFO cycle rate (1:/
2:Rate parameter) each time a key is pressed. Higher settings will
cause greater change.
1 :/ 2 :Fa d e Tim e (LFO 1 / LFO 2 Fa d e Tim e )
Specifies the time over which the LFO amplitude will reach the
maximum (minimum).
Value: 0–127
Value: 0–127
1 :/ 2 :De la y Tim e (LFO 1 / LFO 2 De la y Tim e )
Delay Time (LFO Delay Time) specifies the time elapsed before the
LFO effect is applied (the effect continues) after the key is pressed (or
setting until the desired effect is achieved.
released).
Value: 0–127
setting until the desired effect is achieved.
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Cre a tin g a Pa tch
1 :/ 2 :Ke y Trig g e r (LFO 1 / LFO 2 Ke y Trig g e r)
● Ap p ly th e LFO im m e d ia te ly w h e n th e k e y is
p re sse d , a n d th e n g ra d u a lly b e g in to
This specifies whether the LFO cycle will be synchronized to begin
when the key is pressed (ON) or not (OFF).
Value: OFF, ON
d e cre a se th e e ffe ct
fig.LFO-2.e
high (more)
Delay Time
Fade Time
Pitch
Cutoff Frequency
Level
1 :/ 2 :Pitch De p th (LFO 1 / LFO 2 Pitch De p th ) ●
Depth
Specifies how deeply the LFO will affect pitch.
Pan
Note on
Value: -63– +63
low (less)
1 :/ 2 :TVF De p th (LFO 1 / LFO 2 TVF De p th ) ●
Fade Mode: ON >
Fade Time: The time over which the LFO amplitude will reach the
minimum after the Delay Time has elapsed.
Delay Time: The time that the LFO will continue after the keyboard
is played.
Specifies how deeply the LFO will affect the cutoff frequency.
Value: -63– +63
1 :/ 2 :TVA De p th (LFO 1 / LFO 2 TVA De p th ) ●
Specifies how deeply the LFO will affect the volume.
● Ap p ly th e LFO g ra d u a lly a fte r th e k e y is
Value: -63– +63
re le a se d
fig.LFO-3.e
1 :/ 2 :Pa n De p th (LFO 1 / LFO 2 Pa n De p th ) ●
Delay
Time
high (more)
Fade Time
Specifies how deeply the LFO will affect the pan.
Pitch
Cutoff Frequency
Level
Value: -63– +63
Depth
Pan
Note
on
Note
off
Positive (+) and negative (-) settings for the Depth parameter
result in differing kinds of change in pitch and volume. For
example, if you set the Depth parameter to a positive (+) value
for one tone, and set another tone to the same numerical value,
but make it negative (-), the modulation phase for the two tones
will be the reverse of each other. This allows you to shift back
and forth between two different tones, or combine it with the
Pan setting to cyclically change the location of the sound image.
low (less)
Fade Mode: OFF <
Fade Time: The time over which the LFO amplitude will reach the
maximum after the Delay Time has elapsed.
Delay Time: The time from when the keyboard is released until the
LFO begins to be applied.
● Ap p ly th e LFO fro m w h e n th e k e y is p re sse d
u n til it is re le a se d , a n d g ra d u a lly b e g in to
d e cre a se th e e ffe ct w h e n th e k e y is re le a se d
When the Structure parameter (PATCH/ TMT) is set to any
value from “2” through “10,” the output of tones 1 and 2 will be
combined into tone 2, and the output of tones 3 and 4 will be
combined into tone 4. This applies to the 1:/ 2:Pan Depth
parameter settings. For this reason, tone 1 will follow the settings
of tone 2, and tone 3 will follow the settings of tone 4 (p. 56).
fig.LFO-4.e
Delay
Time
high (more)
Fade Time
Pitch
Cutoff Frequency
Level
Depth
Pan
low (less)
Note on
Note off
Fade Mode: OFF >
Ho w to Ap p ly th e LFO
Fade Time: The time over which the LFO amplitude will reach the
minimum after the Delay Time has elapsed.
Delay Time: The time that the LFO will continue after the keyboard
is released.
● Ap p ly th e LFO g ra d u a lly a fte r th e k e y is p re sse d
fig.LFO-1.e
Delay
Time
high (more)
Fade Time
Pitch
Cutoff Frequency
Level
Depth
Pan
Note on
low (less)
Fade Mode: ON <
Fade Time: The time over which the LFO amplitude will reach the
maximum after the Delay Time has elapsed.
Delay Time: The time from when the keyboard is played until the
LFO begins to be applied.
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Cre a tin g a Rh y th m Se t
With the Fantom, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
rhythm sets, and the functions of the rhythm set parameters.
5 . Use [CURSOR] to move the cursor to the parameter you
wish to modify.
•
•
Some of the parameters have a “ ” symbol. This indicates that
if you press [LIST] when setting one of these parameters, the
related window will appear. For example if you press [LIST] at a
parameter that requires you to specify a name, the Name
window will appear.
Ho w to Ma k e th e Rh y th m Se t
Se ttin g s
When all the parameters cannot be shown within a single
settings screen, a scroll bar will be displayed at the right side of
Start with an existing rhythm set and edit it to create a new rhythm
set. Rhythm sets are created from a collection of multiple rhythm
tones (percussion instruments). You can change the assignments of
the rhythm tones for each key with rhythm set edit.
the screen. In such cases, press
downward.
to scroll the screen
•
•
If you have selected a screen of parameters that can be specified
individually for each rhythm tone, move the cursor to “Key”
(located in the upper part of the Rhythm Edit screen), and
specify the key (rhythm tone) whose settings you want to edit.
You can also press a note on the keyboard to specify the key.
To switch a wave on/ off, move the cursor to the “Wave Switch”
in the upper part of the Rhythm Edit screen, and make the
desired settings. From the left, these are Wave Switches 1–4.
Assigning a check mark (●) will turn the wave on, and
removing the check mark will turn it off.
1 . Access the PATCH PLAY screen, and select the rhythm set
whose settings you wish to modify (p. 40).
You cannot edit the rhythm sets in the PR-E (GM2) group.
If you want to create all your rhythm sets from the ground up,
rather than the rhythm sets that have already been prepared,
carry out the Initialize operation (p. 69).
2 . Press [MENU].
6 . Turn the VALUE dial or press [INC]/[DEC] to get the value
The Menu window appears.
fig.04-01_50
you want.
7 . Repeat steps 4–6 to complete a rhythm set.
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 72). If you do not
wish to save changes, press [EXIT] to return to the PATCH
PLAY screen.
If you return to the PATCH PLAY screen without saving, the
display will indicate “EDITED,” reminding you that the rhythm
set settings have been modified.
3 . Press
(Select)].
The Rhythm Edit screen appears.
or
to select “Rhythm Edit,” and then press [8
If you turn off the power or select a different sound while the
display indicates “EDITED,” your edited rhythm set will be lost.
fig.04-02_50
In itia lizin g Rh y th m Se t Se ttin g s (In it)
“Initialize” means to return the settings of the currently selected
sound to a standard set of values or to the factory settings.
The Initialize operation will affect only the currently selected
sound; the sounds that are stored in user memory will not be
affected. If you wish to restore all of the Fantom’s settings to
their factory values, perform a Factory Reset (p. 195).
1 . Access the PATCH PLAY screen, and select the rhythm set
4 . The parameters are organized into several editing groups.
Press [1 (●)] or [2 (●)] to select the tab for the editing group
that contains the parameter you wish to edit.
that you wish to initialize (p. 40).
2 . Access the Rhythm Edit screen (p. 69).
For details on how the parameters are grouped, refer to
“Parameter list” (Sound/ Parameter List).
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Cre a tin g a Rh y th m Se t
3 . Press [7 (Init)].
Co p y in g Rh y th m Se t Se ttin g s (Co p y )
This operation copies the settings of any desired rhythm set to the
currently selected rhythm set. You can use this feature to make the
editing process faster and easier.
The Rhythm Initialize window appears.
fig.04-03_50
Ba sic Pro ce d u re fo r Rh y th m Se t Co p y
4 . Move the cursor to “Type,” and select the initialization type.
1 . Access the PATCH PLAY screen, and select the copy-
destination rhythm set (p. 40).
Ty p e (In itia lize Ty p e )
2 . Access the Rhythm Edit screen (p. 69).
There are three initialize methods. Select either of them depending
on the application.
3 . Press [8 (Copy)].
The Rhythm Copy window appears.
fig.04-04_50
DEFAULT: Resets the currently selected rhythm set in the
Temporary memory to the standard values. This is called a ‘Initial
Data.’ Use this setting when you wish to create a sound from scratch.
PRESET: Resets the currently selected rhythm set in user memory to
the factory settings.
MFX TEMPLATE: The multi-effect settings of the currently selected
patch will be set to the MFX template settings.
4 . Move the cursor to “Mode,” and select the data that you
wish to copy.
If the currently selected rhythm set is preset memory (PRST)
data, initializing with the “PRESET” setting will set the values to
those of the identically numbered user memory.
Three types of copy are available: Rhythm Set Name Copy,
Rhythm Set Effects Copy, and Rhythm Tone Copy. You
should select the one that is relevant to the type of data you wish
to copy. For details refer to “Types of Rhythm Set Copy”
(following section).
For details regarding MFX template, refer to “MFX Template
List” (Sound/ Parameter List).
5 . Move the cursor to “Source,” and select the copy-source
5 . If you’ve set the initialization type to “DEFAULT” or
“PRESET,” move the cursor to “Mode” and select the
initialization mode.
sound.
6 . Press [8 (Execute)] to execute the Copy operation.
7 . Press [EXIT] to return to the Rhythm Edit screen.
Mo d e (In itia lize Mo d e )
ALL: The rhythm set will be initialized.
Ty p e s o f Rh y th m Se t Co p y
KEY: A rhythm tone will be initialized. Move the cursor to “Key”
and select the rhythm tone that will be initialized. Key (rhythm tone)
settings can be made by pressing a note.
Rh y th m Se t N a m e Co p y (N AME)
The name of a patch, rhythm set, multitimbre, or performance will
6 . If you’ve set the initialization type to “MFX TEMPLATE,”
be copied to the currently selected rhythm set.
move the cursor to “Template” and select an MFX template.
fig.04-04_50
7 . Press [8 (Execute)].
The initialization will be carried out, and you’ll be returned to
the Rhythm Edit screen.
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Cre a tin g a Rh y th m Se t
Rh y th m Se t Effe cts Co p y (MFX/ CHO RUS/
REVERB)
Th e Co m p a re Fu n ctio n
The effect settings of a patch, rhythm set, multitimbre, or
For the Rhythm Tone Copy and Rhythm Set Effect Copy
operations, you can use the Compare function.
performance will be copied to the currently selected rhythm set.
fig.04-05_50
The Compare function allows you to play the copy-source
rhythm set. To do so, press [1 (Compare)] to open the following
window. The copy-source rhythm set can be switched in this
window as well, but it is not possible to select GM group
rhythm sets. After selecting the desired rhythm set, return to the
previous screen by pressing [1 (Copy)].
fig.04-07_50
Effect contents that will be copied (Mode)
MFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
If you want to copy the multi-effect settings of a multitimbre or
performance, select the MFX (MFX-A–MFX-C) whose data will be
copied.
Rh y th m To n e Co p y (KEY)
•
•
The Compare function cannot be used with Rhythm Set
Effect Copy if “PATCH,” “MULTITIMBRE” or
“PERFORMANCE” is selected as the copy-source (Source).
The rhythm set auditioned using the Compare function
may sound slightly different than when it is played
normally.
Individual rhythm tone (percussion sound) settings assigned to each
key will be copied to each key in the current rhythm set.
fig.04-06.e
Ca u tio n s W h e n Se le ctin g a
W a ve fo rm
Copy-source Key
Copy-destination Key
The sounds of the Fantom are based on complex PCM waveforms,
and if you attempt to make settings that are contrary to the type of
the original waveform, the results will not be as you expect.
The internal waveforms of the Fantom fall into the following two
groups.
•
•
To specify the currently selected rhythm set as the copy source,
set “Source” to “TEMP.”
The copy-source and copy-destination key can also be specified
by pressing a key on the keyboard.
One-shot: These waveforms contain sounds that have short decays.
A one-shot waveform records the initial rise and fall of the sound.
Some of the Fantom’s one-shot waveforms are sounds that are
complete in themselves, such as percussive instrument sounds. The
Fantom also contains many other one-shot waveforms that are
elements of other sounds. These include attack components such as
piano-hammer sounds and guitar fret noises.
Looped: These waveforms include sounds with long decays as well
as sustained sounds. Loop waveforms repeatedly play back (loop)
the portion of the waveform after the sound has reached a relatively
steady state. The Fantom’s looped waveforms also include
components of other sounds, such as piano-string resonant
vibrations and the hollow sounds of brass instruments.
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Cre a tin g a Rh y th m Se t
Ca u tio n s W h e n Usin g a O n e -sh o t
W a ve fo rm
Sa vin g Rh y th m Se ts Yo u ’ve
Cre a te d (W rite )
It is not possible to use the envelope to modify a one-shot waveform
to create a decay that is longer than the original waveform, or to turn
it into a sustaining sound. If you were to program such an envelope,
you would be attempting to shape a portion of the sound that simply
doesn’t exist, and the envelope would have no effect.
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory)
When you modify the settings of a rhythm set, the PATCH PLAY
screen will indicate “EDITED.” Once you save the rhythm set into
internal memory (user memory), the “EDITED” indication goes
away.
Ca u tio n s W h e n Usin g a Lo o p
W a ve fo rm
With many acoustic instruments such as piano and sax, extreme
timbral changes occur during the first few moments of each note.
This initial attack is what defines much of the instrument’s character.
For such waveforms, it is best to use the complex tonal changes of
the attack portion of the waveform just as they are, and to use the
envelope only to modify the decay portion. If you attempt to use the
envelope to modify the attack portion as well, the characteristics of
the original waveform may prevent you from getting the sound that
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Initialization
procedure (p. 69).
1 . Make sure that the Rhythm Set you wish to save is selected.
2 . Press [MENU].
you intend.
fig.03-08.e
The Menu window appears.
fig.04-01_50
Level
Looped portion
Tone change stored
with the wave
Time
Envelope
for the TVF filter
3 . Press
(Select)].
The Rhythm Edit window appears.
or
to select “Rhythm Edit,” and then press [8
Resulting
tone change
fig.04-02_50
4 . Press [6 (Write)].
The Rhythm Write window appears.
fig.04-08.e
Save-destination rhythm set
5 . Press
or
to specify the save-destination rhythm set.
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Cre a tin g a Rh y th m Se t
Usin g [1 ]–[8 ] to Re g iste r
By pressing [7 (Compare)] you can check the save-destination
rhythm set (Compare function).
1 . Access the PATCH PLAY screen, and select the rhythm set
that you wish to register (p. 40).
6 . Press [8 (Execute)].
2 . Hold down [JUMP (BANK)] and press a [1]–[8] to select the
The display will indicate “Are you sure?”
bank in which you wish to register the sound.
7 . Press [8 (OK)] to execute the save operation. To cancel the
3 . Hold down [SHIFT (REGISTRY)] and press a [1]–[8] to select
the button at which you wish to register the sound.
The display will indicate “Register OK ?”
operation, press [EXIT].
Au d itio n in g th e Sa ve -De stin a tio n
Rh y th m Se t (Co m p a re )
4 . Press [8 (OK)] to execute the registration. To cancel the
operation, press [EXIT].
Before you save a rhythm set, you can audition the rhythm set which
currently occupies the save destination to make sure that it is one
you don’t mind overwriting. This can help prevent important
rhythm sets from being accidentally overwritten and lost.
Usin g th e Fa vo rite List W in d o w to
Re g iste r
1 . Access the PATCH PLAY screen to select the rhythm set
that you wish to register (p. 40).
1 . Follow the procedure in “Saving Rhythm Sets You’ve
Created (Write)” through step 5 to select the save
destination.
2 . Make sure that you are in the PATCH PLAY screen, and that
the cursor is located at the rhythm set group or the rhythm
set number.
2 . Press [7 (Compare)].
The Rhythm Compare window appears, making it possible to
3 . While holding down [SHIFT], press [LIST]
sound the currently selected save destination rhythm set.
fig.04-09.e
The Favorite List window appears.
fig.02-04_50
Save-destination rhythm set
3 . Play the keyboard to sound the save destination rhythm set,
then check whether you really want to overwrite it.
4 . Press
to move the cursor to the “Bank 1–8” tab, and
or to select the bank in which you wish to
press
register the rhythm set.
The rhythm set auditioned using the Compare function may
sound slightly different than when it is played normally.
5 . Press
press
to move the cursor within the list, and
or to select the number to which you wish to
4 . If you wish to change the save destination, re-specify the
register. The number you select here corresponds to [1]–[8].
save-destination rhythm set by using
or
.
6 . Press [5 (Regist)] to execute the registration.
5 . Press [7 (Write)] to return to the Rhythm Write window.
6 . Press [8 (Execute)] once again to execute the Save
operation.
•
•
By pressing [6 (Remove)] you can cancel the rhythm set
registration that is selected in the Favorite List window.
By pressing [7 (Prevu)] you can audition the sound of the
registered rhythm set (Phrase Preview).
Re g iste rin g Fa vo rite Rh y th m Se ts
(Fa vo rite So u n d )
You can bring together your favorite and most frequently used
rhythm sets in one place by registering them in the Favorite sound.
By using this function you can rapidly select favorite rhythm sets
from internal memory or a Wave Expansion Board. You can register
a total of 64 sounds (8 sounds x 8 banks) as favorite sounds.
7 . When you have finished registering favorite sounds, press
[EXIT] to close the Favorite List window.
For details on selecting a favorite sound, refer to ““Selecting
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Cre a tin g a Rh y th m Se t
Rh y th m To n e
Fu n ctio n s o f Rh y th m Se t
Pa ra m e te rs
To n e N a m e (Rh y th m To n e N a m e )
You can assign a name of up to 12 characters to the rhythm tone.
Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]
^ _ ` { | } → ←
This section explains the functions the different rhythm set
parameters have, as well as the composition of these parameters.
Se ttin g s Co m m o n to th e En tire
Rh y th m Se t (Ge n e ra l)
fig.04-10a_50
For details on assigning names, refer to “Assigning a Name” (p.
30).
Assig n Ty p e
Assign Type sets the way sounds are played when the same key is
pressed a number of times.
Value
MULTI: Layer the sound of the same keys. Even with continuous
sounds where the sound plays for an extended time, such as with
crash cymbals, the sounds are layered, without previously played
sounds being eliminated.
SINGLE: Only one sound can be played at a time when the same key
is pressed. With continuous sounds where the sound plays for an
extended time, the previous sound is stopped when the following
For details on the setting, refer to “How to Make the Rhythm
Set Settings” (p. 69).
Mu te Gro u p
On an actual acoustic drum set, an open hi-hat and a closed hi-hat
sound can never occur simultaneously. To reproduce the reality of
this situation, you can set up a Mute Group.
Ge n e ra l
Rh y th m N a m e (Rh y th m Se t N a m e )
The Mute Group function allows you to designate two or more
rhythm tones that are not allowed to sound simultaneously. Up to 31
Mute Groups can be used. rhythm tones that are not belong to any
such group should be set to “OFF.”
You can assign a name of up to 12 characters to the rhythm set.
Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]
^ _ ` { | } → ←
Value: OFF, 1–31
For details on assigning names, refer to “Assigning a Name” (p.
30).
En v Mo d e (Rh y th m To n e En ve lo p e Mo d e )
continue as long as the key is pressed. If you want the sound to
decay naturally even if the key remains pressed, set this to “NO
SUS.”
Clo ck So u rce (Rh y th m Se t Clo ck So u rce )
The LFO cycle, multi-effects changes, Phrase Loop, and Tone Delay
time can be synchronized to a clock (tempo). When this is used by
the rhythm set, this Clock Source setting determines the clock which
will be used.
Value: NO SUS, SUST
Value
RHYTHM: The Rhythm Set Tempo will be used.
SEQUENCER: Synchronize to the clock of the Fantom’s sequencer
or of an external sequencer.
if this parameter is set to “SUST.”
Be n d Ra n g e (Rh y th m To n e Pitch Be n d Ra n g e )
Specifies the amount of pitch change in semitones (4 octaves) that
will occur when the Pitch Bend Lever is moved. The amount of
change when the lever is tilted is set to the same value for both left
and right sides.
For details on using clock (tempo), refer to (Q&A; p. 16).
Te m p o (Rh y th m Se t Te m p o )
When Rhythm Clock Source is set to “RHYTHM,” this setting value
Value: 0–48
is effective.
Rx Ex p re ssio n (Rh y th m To n e Re ce ive
Ex p re ssio n Sw itch )
The Rhythm Set Tempo Clock does not transmit clock messages
from the MIDI OUT connector.
For each rhythm tone, specify whether MIDI Expression messages
will be received (ON), or not (OFF).
Value: OFF, ON
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Cre a tin g a Rh y th m Se t
Rx Ho ld -1 (Rh y th m To n e Re ce ive Ho ld -1
Sw itch )
Sty le (Rh y th m Pa tte rn Sty le )
Select the basic playback style of the Rhythm pattern.
For each rhythm tone, specify whether MIDI Hold-1 messages will
be received (ON), or not (OFF).
For details regarding Rhythm Pattern Style, refer to “Rhythm
Pattern Style List” (Sound/ Parameter List).
If “NO SUS” is selected for Env Mode parameter (RHYTHM/
Acce n t Ra te (Rh y th m Pa tte rn Acce n t Ra te )
General), this setting will have no effect.
Modifies the strength of accents and the length of the notes to adjust
the “groove” feel of the Rhythm pattern. A setting of “100%” will
produce the most pronounced groove feel.
Rx Pa n Mo d e (Rh y th m To n e Re ce ive Pa n
Mo d e )
Value: 0–100%
For each rhythm tone, specify how pan messages will be received.
Value
Sh u ffle Ra te (Rh y th m Pa tte rn Sh u ffle Ra te )
CONTINUOUS: Whenever Pan messages are received, the stereo
position of the tone will be changed.
This setting lets you modify the note timing to create shuffle
rhythms.
KEY-ON: The pan of the tone will be changed only when the next
note is played. If a pan message is received while a note is sounding,
the panning will not change until the next key is pressed.
With a setting of “50%” the notes will be spaced evenly. As the value
is increased, the note timing will have more of a “dotted” (shuffle)
feel.
Value: 0–100%
fig.Shuffle Rate
The channels cannot be set so as not to receive Pan messages.
Shuffle Rate = 50%
Shuffle Rate = 90%
Rh y th m Pa tte rn Se ttin g s
(Rh y th m Ptn )
fig.04-10_50
50
50
50
50
90
10
90
10
Sh u ffle Re so lu tio n (Rh y th m Pa tte rn Sh u ffle
Re so lu tio n )
Specify the timing resolution in terms of a note value. The note value
can be specified as either an 16th note or a eighth note.
Value:
,
Ke y b o a rd Ve lo city (Rh y th m Pa tte rn Ke y b o a rd
Ve lo city )
Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how
strongly you play the keyboard, set this parameter to “REAL.” If you
want each note to have a fixed velocity regardless of how strongly
127).
For details on the setting, refer to “How to Make the Rhythm
Set Settings” (p. 69).
Value: REAL, 1–127
Rh y th m Ptn (Rh y th m Pa tte rn )
N o te Assig n (Rh y th m Pa tte rn N o te Assig n )
Specify the note name of the lowest note in the key range that will
play the Rhythm pattern. The Rhythm pattern can be played in a
one-octave range starting from the key you specify here.
Value: C-1–G9
Sw itch (Rh y th m Pa tte rn Sw itch )
Switch Rhythm pattern playback on/ off.
Value: OFF, ON
Ho ld (Rh y th m Pa tte rn Ho ld Sw itch )
Ke y Trig g e r (Rh y th m Pa tte rn Ke y Trig g e r)
Switch between Hold On/ Hold Off for the Rhythm pattern
Turn this “ON” if you want the rhythm pattern to start at the
moment that you press the key. If you want the rhythm pattern to
start playing in synchronization with the sequencer or arpeggio, turn
this “OFF.”
playback.
Value: OFF, ON
Value: OFF, ON
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Cre a tin g a Rh y th m Se t
BEND UP: Raises the pitch in semitone steps (up to 4 octaves
Re a ltim e Co n tro lle r / D Be a m
Co n tro lle r Se ttin g s (Co n tro lle r)
fig.04-11_50
higher).
BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves
lower).
AFTERTOUCH: Aftertouch
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
OCT DOWN: Lowers the key range in octave steps (up to 3 octaves
lower).
TRNS UP: Raises the key range in semitone steps (up to 6 semitones
higher).
TRNS DOWN: Lowers the key range in semitone steps (up to 5
semitones lower).
TAP TEMPO: Tap tempo (a tempo specified by the interval at which
you press the button).
For details on the setting, refer to “How to Make the Rhythm
pattern playback.
Set Settings” (p. 69).
Mo d e 1 –4 (Re a ltim e Co n tro l Bu tto n Mo d e 1 –4 )
Kn o b
Specify how the [
]–[
] buttons are to operate.
Assig n 1 –4 (Re a ltim e Co n tro l Kn o b Assig n 1 –4 )
Value
Specify the functions that will be controlled by the [
Value
]–[
] knobs.
MOMENTARY: The button will be on only while you are pressing
(holding) it, and will be off when you release your finger from the
button.
OFF: The realtime control knob will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
LATCH: The button will switch on/ off each time you press it.
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
PITCH BEND: Pitch Bend
D Be a m
Sw itch (D Be a m Sw itch )
AFTERTOUCH: Aftertouch
Switches the D Beam controller on/ off.
TEMPO: Tempo
Value: OFF, ON
PTN ACCENT: Rhythm Pattern Accent Rate
PTN SHFFLE: Rhythm Pattern Shuffle Rate
Assig n (D Be a m Assig n )
Specifies the function controlled by the D Beam controller.
Value
Sw itch
OFF: The D Beam controller will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
Assig n 1 –4 (Re a ltim e Co n tro l Bu tto n Assig n 1 –
4 )
Specify the functions that will be controlled by the [
buttons.
]–[
]
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
Value
OFF: The realtime control button will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
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Cre a tin g a Rh y th m Se t
BEND UP: Raises the pitch in semitone steps (up to 4 octaves
higher).
Ch a n g in g Ho w a Rh y th m To n e Is
So u n d e d (W MT)
BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves
lower).
fig.04-12_50
AFTERTOUCH: Aftertouch
NOTE: Play the sound of the most recently pressed key.
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
OCT DOWN: Lowers the key range in octave steps (up to 3 octaves
lower).
START/STOP: Starts/ Stops the sequencer.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which
you move your hand over the D Beam controller).
PTN SWITCH: Switch Rhythm pattern playback on/ off.
PTN ACCENT: Rhythm Pattern Accent Rate
PTN SHFFLE: Rhythm Pattern Shuffle Rate
For details on the setting, refer to “How to Make the Rhythm
Set Settings” (p. 69).
Po la rity (D Be a m Po la rity )
With rhythm tones, sounds are created by combining up to four
Waves (eight for stereo).
Switch the polarity of the D Beam controller.
With a setting of “REVERSE,” the direction of control for the D Beam
controller will be inverted.
Range: STANDARD, REVERSE
Tip s o n Cre a tin g a Rh y th m To n e
Ra n g e Lo w e r (D Be a m Ra n g e Lo w e r)
The Waves for the bass drum, snare, hi-hat, toms, and other
percussion instruments are each assigned to one rhythm tone.
When adding 3D effects to the sound, make the Pan settings for
each rhythm tone individually.
Specify the lower limit of the range of the D Beam controller. Values
below this setting will not be output.
Value: 0–UPPER
Ra n g e Up p e r (D Be a m Ra n g e Up p e r)
Specify the upper limit of the range of the D Beam controller. Values
above this setting will not be output.
W MT
Value: LOWER–127
W a ve Gro u p
Select the groups containing the Waves comprising the rhythm tone.
Value
Se ttin g Effe cts fo r a Rh y th m Se t
(Effe cts/ MFX/ MFX Co n tro l/ Ch o ru s/
Re ve rb )
INT: Waveforms stored in internal memory
XP-A: Waveform stored in a Wave Expansion Board (SR-JV80 series)
installed in EXP-A slots.
XP-B: Waveforms residing on a Wave Expansion Board (SRX series)
installed in the EXP B slot
For details regarding effect settings, refer to the pages shown
below.
XP-C: Waveforms residing on a Wave Expansion Board (SRX series)
that is not installed.
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Cre a tin g a Rh y th m Se t
W a ve N o . (L) (W a ve N u m b e r (L))
W a ve N o . (R) (W a ve N u m b e r (R))
Ph ra se Lo o p
This selects the Waves comprising the rhythm tone. Along with the
Wave number, the Wave name appears at the lower part of the
display.
Phrase loop refers to the repeated playback of a phrase that’s
been pulled out of a song (e.g., by using a sampler). One
technique involving the use of Phrase Loops is the excerpting of
a Phrase from a pre-existing song in a certain genre, for example
dance music, and then creating a new song with that Phrase
used as the basic motif. This is referred to as “Break Beats.”
When in monaural mode, only the left side (L) is specified. When in
stereo, the right side (R) is also specified.
Value: ----, 1–1083
W a ve Ga in
Sets the gain (amplification) of the waveform. The value changes in 6
dB (decibel) steps—an increase of 6 dB doubles the waveform’s gain.
Value: -6, 0, +6, +12
Co a rse Tu n e
Adjusts the pitch of the waveform’s sound up or down in semitone
steps (+/ -4 octaves).
FXM Sw itch
Value: -48– +48
This sets whether FXM will be used (ON) or not (OFF).
Value: OFF, ON
The Coarse Tune of the entire rhythm tone is set by the Tone
Coarse parameter (RHYTHM/ Pitch) (p. 79).
FXM
Fin e Tu n e
FXM (Frequency Cross Modulation) uses a specified waveform
to apply frequency modulation to the currently selected
waveform, creating complex overtones. This is useful for
creating dramatic sounds or sound effects.
Adjusts the pitch of the waveform’s sound up or down in 1-cent
steps (+/ -50 cents).
Value: -50– +50
One cent is 1/ 100th of a semitone.
FXM Co lo r
Specifies how FXM will perform frequency modulation. Higher
settings result in a grainier sound, while lower settings result in a
more metallic sound.
The Fine Tune of the entire rhythm tone is set by the Tone Fine
Tune parameter (RHYTHM/ Pitch) (p. 79).
W a ve Pa n
Value: 1–4
This specifies the pan of the waveform. “L64” is far left, “0” is center,
and “63R” is far right.
FXM De p th
Specifies the depth of the modulation produced by FXM.
Value: L64–0–63R
Value: 0–16
The pan of the entire rhythm tone is set by the Tone Pan
parameter (RHYTHM/ TVA) (p. 82).
Te m p o Sy n c (W a ve Te m p o Sy n c)
When you wish to synchronize a Phrase Loop to the clock (tempo),
set this to “ON.” This is valid only when an optional Wave
Expansion Board, such as “SR-JV80-10: BASS&DRUMS,” is installed,
and you have selected a tone which uses a waveform that displays
tempo (BPM).
Rn d Pa n Sw (Ra n d o m Pa n Sw itch )
Use this setting to cause the waveform’s panning to change
randomly each time a key is pressed (ON) or not (OFF).
Value: OFF, ON
Value: OFF, ON
The range of the panning change is set by the Rnd Pan Depth
parameter (RHYTHM/ TVA) (p. 82).
When the Tempo Sync parameter is set to “ON,” settings related
Alte r Pa n Sw (Alte rn a te Pa n Sw itch )
This setting causes panning of the waveform to be alternated
between left and right each time a key is pressed. Set Alternate Pan
Switch to “ON” to pan the Wave according to the Alter Pan Depth
want the panning reversed. If you do not want the panning to
change each time a key is pressed, set this to “OFF.”
Range: OFF, ON, REV
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Cre a tin g a Rh y th m Se t
W a ve Le ve l
Mo d ify in g Pitch (Pitch )
You can set the volume of the waveform.
fig.04-13_50
Value: 0–127
The volume level of each rhythm tone is set with the Tone Level
parameter (RHYTHM/ TVA); the volume levels of the entire
rhythm set is set with the Rhythm Level parameter (RHYTHM/
TVA) (p. 82).
Ve lo city Co n tro l (Ve lo city Co n tro l Sw itch )
WMT Velocity Control determines whether a different rhythm tone
is played (ON) or not (OFF) depending on the force with which the
key is played (velocity).
For details on the setting, refer to “How to Make the Rhythm
Set Settings” (p. 69).
When set to “RND,” the rhythm set’s constituent rhythm tones will
sound randomly, regardless of any Velocity messages.
Value: OFF, ON, RND
Pitch
Ve l Fa d e Lo w e r (Ve lo city Fa d e W id th Lo w e r)
To n e Co a rse Tu n e (Rh y th m To n e Co a rse Tu n e )
This Determines what will happen to the tone’s level when the tone
is played at a velocity lower than its specified velocity range. Higher
settings produce a more gradual change in volume. If you want
notes played outside the specified key velocity range to not be
sounded at all, set this to “0.”
Selects the pitch at which a rhythm tone sounds.
Value: C-1– G9
Set the coarse tuning for Waves comprising the rhythm tones
with the Coarse Tune parameter (RHYTHM/ WMT) (p. 78).
Value: 0–127
Ve l Ra n g e Lo w e r (Ve lo city Ra n g e Lo w e r)
To n e Fin e Tu n e (Rh y th m To n e Fin e Tu n e )
This sets the lowest velocity at which the waveform will sound.
Make these settings when you want different waveforms to sound in
response to notes played at different strengths.
Value: 1–UPPER
Adjusts the pitch of the rhythm tone’s sound up or down in 1-cent
steps (+/ -50 cents).
Value: -50– +50
Ve l Ra n g e Up p e r (Ve lo city Ra n g e Up p e r)
One cent is 1/ 100th of a semitone.
This sets the highest velocity at which the waveform will sound.
Make these settings when you want different waveforms to sound in
response to notes played at different strengths.
Value: LOWER–127
Set the fine tuning for Waves comprising the rhythm tones with
the Fine Tune parameter (RHYTHM/ WMT) (p. 78).
Ra n d o m Pitch De p th
This specifies the width of random pitch deviation that will occur
each time a key is pressed. If you do not want the pitch to change
randomly, set this to “0.” These values are in units of cents (1/ 100th
of a semitone).
If you attempt to set the Lower velocity limit above the Upper, or
the Upper below the Lower, the other value will automatically
be adjusted to the same setting.
Ve l Fa d e Up p e r (Ve lo city Fa d e W id th Up p e r)
Value: 0, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 20, 30, 40, 50, 60, 70, 80, 90, 100, 200,
300, 400, 500, 600, 700, 800, 900, 1000, 1100, 1200
This determines what will happen to the tone’s level when the tone
is played at a velocity greater than its specified velocity range.
Higher settings produce a more gradual change in volume. If you
want notes played outside the specified key velocity range to not be
sounded at all, set this to “0.”
En v De p th (En ve lo p e De p th )
Adjusts the effect of the Pitch Envelope. Higher settings will cause
the pitch envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
Value: 0–127
fig.Vel Range.e
Level
Value: -12– +12
Velocity
Fade Upper
Range Upper
Fade Lower
Range Lower
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Cre a tin g a Rh y th m Se t
En v V-Se n s (Pitch En ve lo p e Ve lo city Se n sitivity )
Mo d ify in g th e Brig h tn e ss o f a
So u n d w ith a Filte r (TVF)
fig.04-14_50
Keyboard playing dynamics can be used to control the depth of the
pitch envelope. If you want the pitch envelope to have more effect
for strongly played notes, set this parameter to a positive (+) value. If
you want the pitch envelope to have less effect for strongly played
notes, set this to a negative (-) value.
Value: -63– +63
En v T1 V-Se n s (Pitch En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
This allows keyboard dynamics to affect the Time 1 of the Pitch
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Value: -63– +63
For details on the setting, refer to “How to Make the Rhythm
Set Settings” (p. 69).
En v T4 V-Se n s (Pitch En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
TVF
Use this parameter when you want key release speed to impact on
Time 4 value of the pitch envelope. If you want Time 4 to be speeded
up for quickly released notes, set this parameter to a positive (+)
value. If you want it to be slowed down, set this to a negative (-)
value.
Filte r Ty p e
Selects the type of filter. A filter is a function that cuts off a specific
frequency band to change a sounds brightness, thickness, and other
qualities.
Value: -63– +63
Value
En v Le ve l 0 –4 (Pitch En ve lo p e Le ve l 0 –4 )
OFF: No filter is used.
LPF: Low Pass Filter. This reduces the volume of all frequencies
above the cutoff frequency (Cutoff Frequency). in order to round off,
or un-brighten, the sound. This is the most common filter used in
synthesizers.
Specify the pitch envelope levels (Level 0–Level 4). It determines
how much the pitch changes from the reference pitch (the value set
with Coarse Tune or Fine Tune on the Pitch screen) at each point.
Positive (+) settings will cause the pitch to be higher than the
standard pitch, and negative (-) settings will cause it to be lower.
Value: -63– +63
BPF: Band Pass Filter. This leaves only the frequencies in the region
of the cutoff frequency (Cutoff Frequency), and cuts the rest. This
can be useful when creating distinctive sounds.
En v Tim e 1 –4 (Pitch En ve lo p e Tim e 1 –4 )
HPF: High Pass Filter. This cuts the frequencies in the region below
the cutoff frequency (Cutoff Frequency). This is suitable for creating
percussive sounds emphasizing their higher ones.
PKG: Peaking Filter. This emphasizes the frequencies in the region
of the cutoff frequency (Cutoff Frequency). You can use this to create
wah-wah effects by employing an LFO to change the cutoff
frequency cyclically.
Specify the pitch envelope times (Time 1–Time 4). Higher settings
will result in a longer time until the next pitch is reached. (For
example, Time 2 is the time over which the pitch changes from Level
1 to Level 2.)
Value: 0–127
fig.Pitch Env.e
T1
T2
T3
T4
LPF2: Low Pass Filter 2. Although frequency components above the
Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this
filter is half that of the LPF. This makes it a comparatively warmer
low pass filter. This filter is good for use with simulated instrument
sounds such as the acoustic piano.
Pitch
L0
LPF3: Low Pass Filter 3. Although frequency components above the
Cutoff frequency (Cutoff Frequency) are cut, the sensitivity of this
filter changes according to the Cutoff frequency. While this filter is
also good for use with simulated acoustic instrument sounds, the
nuance it exhibits differs from that of the LPF2, even with the same
TVF Envelope settings.
Time
L1
L3
Note off
Note on
L2
L4
T: Time L: Level
If you set “LPF2” or “LPF3,” the setting for the Resonance
parameter will be ignored.
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Cre a tin g a Rh y th m Se t
Cu to ff Fre q u e n cy
Re so n a n ce V-Se n s (Re so n a n ce Ve lo city
Se n sitivity )
Selects the frequency at which the filter begins to have an effect on
the waveform’s frequency components.
This allows keyboard velocity to modify the amount of Resonance. If
you want strongly played notes to have a greater Resonance effect,
set this parameter to positive (+) settings. If you want strongly
played notes to have less Resonance, use negative (-) settings.
Value: -63– +63
Value: 0–127
With “LPF/ LPF2/ LPF3” selected for the Filter Type parameter,
lower cutoff frequency settings reduce a tone’s upper harmonics for
a more rounded, warmer sound. Higher settings make it sound
brighter.
En v De p th (TVF En ve lo p e De p th )
If “BPF” is selected, harmonic components will change depending
on the TVF Cutoff Frequency setting. This can be useful when
creating distinctive sounds.
Specifies the depth of the TVF envelope. Higher settings will cause
the TVF envelope to produce greater change. Negative (-) settings
will invert the shape of the envelope.
With “HPF” selected, higher Cutoff Frequency settings will reduce
lower harmonics to emphasize just the brighter components of the
sound.
Value: -63– +63
En v V-Cu rve (TVF En ve lo p e Ve lo city Cu rve )
With “PKG” selected, the harmonics to be emphasized will vary
depending on Cutoff Frequency setting.
Selects one of the following 7 curves that will determine how
keyboard playing dynamics will affect the TVF envelope. Set this to
“FIXED” when the amount of TVF Envelope applied is not to be
changed according to the force with which the keys are pressed.
Cu to ff V-Cu rve (Cu to ff Fre q u e n cy Ve lo city
Cu rve )
Value: FIXED, 1–7
fig.Curve-7
Selects one of the following seven curves that determine how
keyboard playing dynamics (velocity) influence the cutoff frequency.
Set this to “FIXED” when the Cutoff frequency is not to be changed
according to the force with which the keys are pressed.
1
2
3
4
5
6
7
Value: FIXED, 1–7
fig.Curve-7
En v V-Se n s (TVF En ve lo p e Ve lo city Se n sitivity )
Specifies how keyboard playing dynamics will affect the depth of the
TVF envelope. Positive (+) settings will cause the TVF envelope to
have a greater effect for strongly played notes, and negative (-)
settings will cause the effect to be less.
1
2
3
4
5
6
7
Cu to ff V-Se n s (Cu to ff Ve lo city Se n sitivity )
Value: -63– +63
Use this parameter when changing the cutoff frequency to be
applied as a result of changes in playing velocity. If you want
strongly played notes to raise the cutoff frequency, set this
En v T1 V-Se n s (TVF En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
parameter to positive (+) settings. If you want strongly played notes
to lower the cutoff frequency, use negative (-) settings.
Value: -63– +63
This allows keyboard dynamics to affect the Time 1 of the TVF
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
Re so n a n ce
Value: -63– +63
Emphasizes the portion of the sound in the region of the cutoff
frequency, adding character to the sound. Excessively high settings
can produce oscillation, causing the sound to distort.
En v T4 V-Se n s (TVF En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
Value: 0–127
fig.Resonance.e
The parameter to use when you want key release speed to control
the Time 4 value of the TVF envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
LPF
BPF
HPF
PKG
Level
High
Frequency
Cutoff frequency
Value: -63– +63
En v Le ve l 0 –4 (TVF En ve lo p e Le ve l 0 –4 )
Specify the TVF envelope levels (Level 0–Level 4). These settings
specify how the cutoff frequency will change at each point, relative
to the standard cutoff frequency (the cutoff frequency value
specified in the TVF screen).
Value: 0–127
Low
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Cre a tin g a Rh y th m Se t
En v Tim e 1 –4 (TVF En ve lo p e Tim e 1 –4 )
The volume levels of the Waves from which the rhythm tone is
composed is set with the WMT1–4 Wave Level parameter
(RHYTHM/ WMT) (p. 79).
Specify the TVF envelope times (Time 1– Time 4). Higher settings
will lengthen the time until the next cutoff frequency level is
reached. (For example, Time 2 is the time over which Level 1 will
change to Level 2.)
Le ve l V-Cu rve (TVA Le ve l Ve lo city Cu rve )
Value: 0–127
fig.TVF Env.e
You can select from seven curves that determine how keyboard
playing strength will affect the volume. If you do not want the
volume of the rhythm tone to be affected by the force with which
you press the key, select “FIXED.”
T1
T2
T3
T4
Value: FIXED, 1–7
fig.Curve-7
Cutoff
Frequency
L0
L1
Note on
Time
L2
L3
L4
Note off
1
2
3
4
5
6
7
Le ve l V-Se n s (TVA Le ve l Ve lo city Se n sitivity )
T: Time L: Level
Set this when you want the volume of the rhythm tone to change
depending on the force with which you press the keys. Set this to a
positive (+) value to have the changes in rhythm tone volume
increase the more forcefully the keys are played; to make the tone
play more softly as you play harder, set this to a negative (-) value.
Value: -63– +63
The envelopes appearing at the lower part of the TVF settings
screen graphically depict the current values of the settings. Solid
lines represent the TVF envelope, while dotted lines are used for
the TVA envelope. This lets you compare the TVF and TVA
envelopes while you make settings.
To n e Pa n (Rh y th m To n e Pa n )
Sets the pan for the rhythm tone. “L64” is far left, “0” is center, and
Ad ju stin g th e Vo lu m e (TVA)
“63R” is far right.
fig.04-15_50
Value: L64–0–63R
Set the Pan for Waves comprising the rhythm tones with the
Wave Pan parameter (RHYTHM/ WMT) (p. 78).
Ra n d o m Pa n De p th
Use this parameter when you want the stereo location to change
randomly each time you press a key. Higher settings will produce a
greater amount of change.
Value: 0–63
For details on the setting, refer to “How to Make the Rhythm
Set Settings” (p. 69).
This setting causes panning to be alternated between left and right
each time a key is pressed. Higher settings will produce a greater
amount of change. “L” or “R” settings will reverse the order in
which the pan will alternate between left and right. For example if
two rhythm tones are set to “L” and “R” respectively, the panning of
the two rhythm tones will alternate each time they are played.
Value: L63–0–63R
TVA
Rh y th m Le ve l (Rh y th m Se t Le ve l)
Sets the volume of the rhythm set.
Value: 0–127
En v T1 V-Se n s (TVA En ve lo p e Tim e 1 Ve lo city
Se n sitivity )
The volume levels of the Waves from which the rhythm tone is
composed is set with the Wave Level parameter (RHYTHM/
WMT) (p. 79).
This allows keyboard dynamics to affect the Time 1 of the TVA
envelope. If you want Time 1 to be speeded up for strongly played
notes, set this parameter to a positive (+) value. If you want it to be
slowed down, set this to a negative (-) value.
To n e Le ve l (Rh y th m To n e le ve l)
Sets the volume of the rhythm tone. Use this parameter to adjust the
volume balance between rhythm tones.
Value: 0–127
Value: -63– +63
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Cre a tin g a Rh y th m Se t
En v T4 V-Se n s (TVA En ve lo p e Tim e 4 Ve lo city
Se n sitivity )
The parameter to use when you want key release speed to control
the Time 4 value of the TVA envelope. If you want Time 4 to be
speeded up for quickly released notes, set this parameter to a
positive (+) value. If you want it to be slowed down, set this to a
negative (-) value.
Value: -63– +63
En v Tim e 1 –4 (TVA En ve lo p e Tim e 1 –4 )
Specify the TVA envelope times (Time 1– Time 4). Higher settings
will lengthen the time until the next volume level is reached. (For
example, Time 2 is the time over which Level 1 will change to Level
2.)
Value: 0–127
En v Le ve l 1 –3 (TVA En ve lo p e Le ve l 1 –3 )
Specify the TVA envelope levels (Level 1–Level 3). These settings
specify how the volume will change at each point, relative to the
standard volume (the Rhythm Tone Level value specified in the TVA
screen).
Value: 0–127
fig.TVA Env.e
T1 T2
T3
T4
Level
Time
L3
L2
L1
Note on
Note off
T: Time L: Level
The envelopes appearing at the lower part of the TVA settings
screen graphically depict the current values of the settings. Solid
lines represent the TVA envelope, while dotted lines are used for
the TVF envelope. This lets you compare the TVA and TVF
envelopes while you make settings.
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Pla y in g in Pe rfo rm a n ce Mo d e
Performance mode is where you can combine multiple sounds
Ab o u t th e PERFO RMAN CE PLAY
Scre e n
(patches or rhythm sets) to create complex sounds, or use the
Fantom as a master keyboard. You can also create and play layers
(patches played together) or splits (separate patches played from
different areas of the keyboard).
Disp la y in g PERFO RMAN CE PLAY
Scre e n
Ab o u t th e MIDI Co n n e ctio n Se ttin g s
(Zo n e a n d Pa rt)
To access the PERFORMANCE PLAY screen, use the following
procedure.
Although the Fantom’s keyboard controller section and sound
generator section are connected internally using a MIDI
connection, in Performance mode, you can then make even
more detailed settings affecting the way the connection works
between the keyboard controller section and the sound
generator section, as well as with an external MIDI device.
At the factory standard settings, shown below, there is a one-to-
one correspondence between the zone, the MIDI transmit/
1 . Press [MODE].
The Mode window appears.
fig.01-12_50
receive channel, and the part.
fig.05-01.e
Zone 16 (MIDI transmit channel 16)
Part 16 (MIDI receive channel 16)
Zone 2 (MIDI transmit channel 2)
Zone 1 (MIDI transmit channel 1)
Part 2 (MIDI receive channel 2)
Part 1 (MIDI receive channel 1)
2 . Press
or
to select “PERFORMANCE,” and then
press [8 (Select)].
You will enter Performance mode, and the PATCH PLAY screen
appears.
Patch/
Rhythm Set
fig.PERFORM_50
Under these conditions, you could simply consider that “each
of the zones from 1 to 16 is linked in a one-to-one
relationship with its numerical counterpart among parts 1
to 16”. In other words, you can use zone 1 when controlling
part 1, zone 2 is when controlling part 2, and so on.
In this manual, the expression “the zone and part are
linked” refers to the condition whereby a zone’s MIDI
transmit channel and a part’s MIDI receive channel are
matched in this one-to-one relationship.
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Pla y in g in Pe rfo rm a n ce Mo d e
Fu n ctio n s in th e PERFO RMAN CE PLAY
Scre e n
Se le ctin g a Pe rfo rm a n ce
The Fantom has two performance groups, including the User group
and Preset groups, with each group storing 64 performances, for a
total of 128 performances.
fig.05-02.e
Indicates the current sound generating mode.
USER
Indicates the name of the currently selected song,
the measure location, the time signature, and the sequencer status.
This is the group inside the Fantom which can be rewritten.
Performances you yourself create can be stored in this group. The
Fantom contains 64 preset performances.
Sets the Octave Shift (Oct)
and the Transpose (Trans).
Indicates the song file name.
PRST (Pre se t)
This is the group inside the Fantom which cannot be rewritten.
However you may modify the settings of the currently selected
performance, and then store the modified performance in User
memory. The Fantom contains 64 preset performances.
Switches multi-effects (MFX),
chorus (CHO),
and reverb (REV) on and off.
Turns the RPS function on/off (RPS).
Turns Loop Play on/off (LOOP).
Indicates the group of the selected performance.
Indicates the MIDI receive channel used for switching
performances from an external MIDI device.
1 . Access the PERFORMANCE PLAY screen (p. 84).
fig.05-03.e
Indicates/sets the tempo at which the song,
Arpeggio or rhythm pattern is played.
Performance group
Performance number
Indicates/selects the group, number,
and name of the selected performance.
This indicates the region that can be used for normal keyboard performance (ZONE),
the region in which arpeggios can be played (ARP), and the region in which
rhythm patterns can be played (RHY).
This indicates the function that is assigned to the D Beam controller,
and the response status of the D Beam controller.
Displays the type of effect used.
2 . Press [CURSOR] to move the cursor to the performance
group.
3 . Turn the VALUE dial, or press [INC]/[DEC] to select a
performance group.
USER: User
Indicates the functions that are assigned to each
realtime controller knob (●) and button (●).
The value will be displayed when you turn the knob.
PRST: Preset
4 . Press [CURSOR] to move the cursor to the performance
number.
Indicates the names of the performances
that can be selected by [1]–[8].
5 . Turn the VALUE dial or press [INC]/[DEC] to select the
performance number.
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Pla y in g in Pe rfo rm a n ce Mo d e
Se le ctin g Fa vo rite Pe rfo rm a n ce s
(Fa vo rite So u n d )
You can bring together your favorite and most frequently used
performances in one place by registering them in the Favorite sound.
By using this function you can quickly select your favorite
performances from internal memory.
Se le ctin g Pe rfo rm a n ce s fro m th e List
You can display a list of performances and select a performance from
that list.
1 . In the PERFORMANCE PLAY screen, make sure that the
cursor is located at the performance group or performance
number.
2 . Press [LIST].
For instructions on how to register to the Favorite Sounds, refer
93).
The Performance List window appears.
fig.05-06_50
Se le ctin g fro m [1 ]–[8 ]
1 . Access the PERFORMANCE PLAY screen (p. 84).
2 . Press [1]–[8] to select a performance.
fig.05-04.e
3 . Press
or
to choose the performance.
4 . To switch the performance group, press
to move the
cursor to the performance group tab, and
press
or
to select the performance group.
5 . After switching the performance group, press
to move
the cursor within the list, and press
performance.
or
to select the
6 . Press [EXIT] to close the Performance List window.
Press [1]–[8] to select a performance
3 . To switch the favorite sound bank, hold down [JUMP] and
press [1]–[8].
Se le ctin g fro m th e Fa vo rite List W in d o w
1 . In the PERFORMANCE PLAY screen, make sure that the
cursor is located at the performance group or performance
number.
2 . While holding down [SHIFT], press [LIST]
The Favorite List window appears.
fig.05-05_50
3 . Press
or
to select a performance.
4 . To switch banks, press
to move the cursor to the “Bank
1–8” tab, and press
or
to select the desired bank.
5 . After switching the bank, press
to move the cursor within
to select the performance.
the list, and press or
6 . When you press [8 (Select)] the performance will be
selected, and the Favorite List window will close.
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Pla y in g in Pe rfo rm a n ce Mo d e
Co m b in in g a n d Pla y in g
So u n d s To g e th e r (La y e r)
Pla y in g Diffe re n t So u n d s in
Diffe re n t Are a s o f th e
Ke y b o a rd (Sp lit)
In Performance mode you can play the sounds of all zones whose
Internal Switch is on, and all connected parts. Combining the parts
In Performance mode you can divide the keyboard and play a
different patch in each area (this is called “split”). As the note range
that plays each zone can be specified individually, you can split the
keyboard into a maximum of 16 sections.
will produce, thicker, fatter sounds.
fig.05-07.e
Part 1
Part 2
Part 15
Part 16
(Rx ch.16)
(Rx ch.1)
(Rx ch.2)
(Rx ch.15)
For instance, you can play strings in the lower range, piano in the
upper range, and both sounds in the middle range.
fig.05-09.e
Internal
Switch: On
Part 1: Strings
Part 1 + Part 2:
(Strings + Piano)
Part 2: Piano
Zone 1 (Tx ch.1)
Zone 2 (Tx ch.2)
A split performance is one application of a layer performance.
Changing the key range of each patch in the layer performance
results in a split performance.
Zone 15 (Tx ch.15)
Zone 16 (Tx ch.16)
Rx ch.: Receive Channel
Tx ch.: Transmit Channel
•
If the Key Range of the patch has been set (p. 58), the sound will
patch and performance overlap.
1 . Access the PERFORMANCE PLAY screen (p. 84).
2 . Press [MENU] to open the Menu window.
fig.05-10.e
Key range specified for Performance
3 . Press
or
to select “Performance Edit,” and then
press [8 (Select)].
The Performance Edit screen appears.
4 . Press [1 (●)] or [2 (●)] to select the “Zone” tab.
Key range specified for Patch
A screen like the one shown below appears.
fig.05-08_50
The range in which notes will play
•
In a performance, you can specify the range over which each
performance from the keyboard of the Fantom, we recommend
that you use the zone settings explained here to specify the
keyboard range, instead of specifying the range of each part.
1 . Access the PERFORMANCE PLAY screen (p. 84).
2 . Refer to the procedure for the preceding section
“Combining and Playing Sounds Together (Layer),” and turn
the Internal Screen on for each zone that is connected to a
part you want to play.
5 . Use [CURSOR] to move the cursor to “Int Switch.”
6 . Press
or
to select the zone that is connected to the
part you want to play.
7 . Turn the VALUE dial or press [INC] to select “ON.”
8 . Repeat steps 5–7 to turn the Internal Switch on for all zones
that are connected to the parts you want to play.
9 . When you are finished making settings, press [EXIT] to
return to the PERFORMANCE PLAY screen, and begin
playing.
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Pla y in g in Pe rfo rm a n ce Mo d e
3 . Make sure the Performance Edit screen is displayed, and
Pla y in g Arp e g g io s in a Sp e cific
Re g io n o f th e Ke y b o a rd
press [1 (●)] or [2 (●)] to select the “Zone” tab.
A screen like the one shown below appears.
fig.05-08_50
In Patch mode, when you press [ARPEGGIO] to turn the arpeggiator
on, the keyboard will allow you to play arpeggios. On the other
hand, it will no longer be possible to play normally.
However, in Performance mode, you can split the keyboard to
divide it into a range for normal playing and a range for arpeggio
playing. This setting, for instance, allows you to play arpeggios with
the left hand and a melody with the right hand.
1 . Access the PERFORMANCE PLAY screen (p. 84).
2 . As described in the procedure for “Combining and Playing
for the zone that is connected to the part whose sound you
want to play.
4 . To set the lower limit of the range, use [CURSOR] to move
the cursor to “Key Range Lower.” To set the upper limit of
the range, move the cursor to “Key Range Upper.”
3 . Make sure that the Performance Edit screen is displayed,
and press [1 (●)] or [2 (●)] to select the “Arpeggio” tab.
5 . Press
or
to select the zone whose range you want to
A screen like the one shown below appears.
fig.05-11_50
set.
6 . Turn the VALUE dial or press [INC]/[DEC] to specify the
range.
By specifying sections for different zones so that they overlap
each other, you can combine two or more patches only in a
specific section.
7 . When you are finished making settings, press [EXIT] to
return to the PERFORMANCE PLAY screen, and begin
playing.
4 . Use [CURSOR] to move the cursor to “Zone Number.”
5 . Turn the VALUE dial or press [INC] or [DEC] to select the
zone linked to the part for which arpeggios are to be played.
6 . Next, specify the range of the zone. Press [2 (●)] to select
the “Zone” tab.
A screen like the one shown below appears.
fig.05-08_50
7 . To set the lower limit of the range, use [CURSOR] to move
the cursor to “Key Range Lower.” To set the upper limit,
move the cursor to “Key Range Upper.”
8 . Press
or
to select the zone that you set in step 5.
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Pla y in g in Pe rfo rm a n ce Mo d e
9 . Turn the VALUE dial or press [INC]/[DEC] to specify the
range of notes.
7 . Turn the VALUE dial or press [INC]/[DEC] to specify the
lowest key (note name) of the range that is to play the
rhythm pattern.
This specifies the range of the zone that is connected to the part
that will be played by the arpeggios.
1 0 . Press
or
to select a zone that is connected to a part
The rhythm pattern can be played in a one-octave range starting
from the key you specify here.
that is not playing arpeggios.
1 1 . Set the key range of the zones linked to the parts other than
the part for which arpeggios are played so that this range
does not overlap with the key range over which the
arpeggios are played.
8 . Next, specify the range of the zone. Press [2 (●)] to select
the “Zone” tab.
A screen like the one shown below appears.
fig.05-08_50
1 2 . When you are finished making settings, press [EXIT] to
return to the PERFORMANCE PLAY screen, and begin
playing.
The zone that plays the arpeggio will be displayed as “ARP,”
and will be enabled when you press [ARPEGGIO].
Pla y in g Rh y th m Pa tte rn s in a
Sp e cific Re g io n o f th e
Ke y b o a rd
9 . To set the lower limit of the range, use [CURSOR] to move
the cursor to “Key Range Lower.” To set the upper limit of
the range, move the cursor to “Key Range Upper.”
In Performance mode, you can create a split keyboard setup that
divides the keyboard into a region for normal keyboard playing, and
a separate region for playing rhythm patterns. For example, you
could hold a rhythm pattern while you play a melody. In addition,
you could specify a region for arpeggio performance, and use this to
produce an accompaniment while you play the melody—an easy
way to produce ensemble performances.
1 0 . Press
or
to select the zone that you set in step 5.
1 1 . Turn the VALUE dial or press [INC]/[DEC] to specify the
range. Specify a keyboard range extending one octave
above the key you specified in step 7.
This specifies the range of the zone connected to the part that is
1 . Access the PERFORMANCE PLAY screen (p. 84).
2 . As described in the procedure for “Combining and Playing
for the zone that is connected to the part whose sound you
want to play.
other than the part that is to play the rhythm pattern.
1 3 . Set the range of the zones that are connected to parts other
than the part that plays the rhythm pattern, so that they do
not overlap the zone that plays the rhythm pattern.
3 . Make sure the PERFORMANCE EDIT screen is displayed,
and press [1 (●)] or [2 (●)] to select the “Rhythm Ptn” tab.
1 4 . When you are finished making settings, press [EXIT] to
return to the PERFORMANCE PLAY page, and begin playing.
The zone that plays the rhythm pattern will be displayed as
“RHY,” and will be enabled when you press [RHYTHM].
A screen like the one shown below appears.
fig.05-12_50
4 . Use [CURSOR] to move the cursor to “Zone Number.”
5 . Turn the VALUE dial or press [INC]/[DEC] to specify the zone
that is connected to the part that is to play the rhythm
pattern.
6 . Use [CURSOR] to move the cursor to “Note Assign.”
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Pla y in g in Pe rfo rm a n ce Mo d e
Usin g th e Fa n to m As a Ma ste r
Ke y b o a rd
Co n firm in g MIDI In fo rm a tio n
fo r Ea ch Pa rt (Pa rt In fo rm a tio n )
Although the Fantom’s keyboard controller section and sound
generator section are connected internally using a MIDI connection,
in Performance mode, you can then make even more detailed
settings affecting the way the connection works between the
keyboard controller section and the sound generator section, as well
as with an external MIDI device.
In Performance mode, the reception status of MIDI messages that
control various things can be viewed for each part. This is useful
when you want to check whether the sound generator is responding
correctly to the keyboard, or to operations from an external MIDI
controller.
1 . Access the PERFORMANCE PLAY screen (p. 84).
This allows the keyboard of the Fantom to freely control the internal
sound generator or external sound generators as a master keyboard.
2 . Press [MENU] to open the Menu window.
3 . Press
press [8 (Select)].
The Part Information window appears.
or
to select “Part Information,” and then
Ch a n g in g th e Co n n e ctio n s b e tw e e n
Ke y b o a rd a n d So u n d Ge n e ra to r
(Zo n e )
fig.05-14_50
In general, connections within the Fantom are made by matching the
MIDI transmit channel of the keyboard (zone) with the MIDI receive
channel of the sound generator (part). Then you can specify whether
the internal sound generator will be played, or an external sound
generator connected to the MIDI OUT connector will be played.
fig.05-13.e
Part 1
Part 2
Part 15
Part 16
(Rx ch.1)
(Rx ch.2)
(Rx ch.15)
(Rx ch.16)
4 . Press [8 (Type)]
The Type window appears.
fig.05-15_50
Internal Switch
External Switch
MIDI OUT
Zone 1 (Tx ch.1)
Zone 2 (Tx ch.2)
5 . Press
or
to select the message that you want to
Zone 15 (Tx ch.15)
Zone 16 (Tx ch.16)
check, and then press [8 (Select)].
Modulation: Modulation Information
Breath: Breath Information
Rx ch.: Receive Channel
Tx ch.: Transmit Channel
Foot Type: Foot type Information
To change the connections between the keyboard and the sound
generator, make the following settings.
Volume: Volume Information
Panpot: Panpot Information
Expression: Expression Information
Hold 1: Hold 1 Information
● Zo n e Se ttin g s (p . 9 8 )
Transmit Channel: Specify the MIDI transmit channel (1–16) of the
keyboard (zone).
Pitch Bend: Pitch Bend Information
Aftertouch: Aftertouch Information
Voices: Voice Information (The number of voices used)
Sys Control1–4: System Control 1–4 Information
The MIDI message specified as the Sys Ctrl 1–4 Source
parameter (SYSTEM/ Controller).
Int Switch (Internal Switch): Turn this “ON” if you want to sound
the internal sound generator of the Fantom.
Ext Switch (External Switch): Turn this “ON” if you want to sound
an external sound generator connected to the MIDI OUT connector.
● Pa rt Se ttin g s (p . 1 0 3 )
Receive Channel: Specify the MIDI receive channel of the internal
sound generator (part).
● Ex te rn a l So u n d Ge n e ra to r Se ttin g s
This sets the MIDI receive channel.
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Cre a tin g a Pe rfo rm a n ce
With the Fantom, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
performances, and the functions of the performance parameters.
•
Some of the parameters have a “ ” symbol. This indicates that
if you press [LIST] when setting one of these parameters, the
related window will appear. For example if you press [LIST] at a
parameter that requires you to specify a name, the Name
window will appear.
•
When all the parameters cannot be shown within a single
settings screen, a scroll bar will be displayed at the right side of
Ho w to Ma k e th e Pe rfo rm a n ce
Se ttin g s
the screen. In such cases, press
downward.
to scroll the screen
Start with an existing performance and edit it to create a new
performance. But before you do, try to envision what the entire
performance will sound like and decide which patch or rhythm set
to assign to each of 16 parts.
If you have selected a screen for parameters that can be set for
each part or zone, first move the cursor to the parameter that you
wish to edit, and then press
or
to select the part or zone.
1 . Access the PERFORMANCE PLAY screen, and select the
performance whose settings you wish to modify (p. 85).
you want.
7 . Repeat steps 4–6 to complete a performance.
If you want to create all your performances from the ground up,
rather than the performances that have already been prepared,
carry out the Initialize operation (p. 91).
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 93). If you do not
wish to save changes, press [EXIT] to return to the
PERFORMANCE PLAY screen.
2 . Press [MENU].
The Menu window appears.
fig.06-01_50
If you return to the PERFORMANCE PLAY screen without
saving, the display will indicate “EDITED,” reminding you that
the performance settings have been modified.
If you turn off the power or select a different sound while the
display indicates “EDITED,” your edited performance will be
lost.
In itia lizin g Pe rfo rm a n ce Se ttin g s
(In it)
3 . Press
press [8 (Select)].
The performance Edit screen appears.
or
to select “Performance Edit,” and then
“Initialize” means to return the settings of the currently selected
sound to a standard set of values or to the factory settings.
fig.06-02_50
The Initialize operation will affect only the currently selected
sound; the sounds that are stored in user memory will not be
affected. If you wish to restore all of the Fantom’s settings to
their factory values, perform a Factory Reset (p. 195).
1 . Access the PERFORMANCE PLAY screen, and select the
performance that you wish to initialize (p. 85).
2 . Access the Performance Edit screen (p. 91).
3 . Press [7 (Init)].
4 . The parameters are organized into several editing groups.
Press [1 (●)] or [2 (●)] to select the tab for the editing group
that contains the parameter you wish to edit.
The Performance Initialize window appears.
fig.06-03_50
For details on the parameter groupings, refer to “Parameter
list” (Sound/ Parameter List).
4 . Move the cursor to “Type,” and select the initialization type.
5 . Use [CURSOR] to move the cursor to the parameter you
wish to modify.
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Cre a tin g a Pe rfo rm a n ce
5 . Move the cursor to “Source,” and select the copy-source
Ty p e (In itia lize Ty p e )
sound.
There are three initialize methods. Select either of them depending
on the application.
6 . Press [8 (Execute)] to execute the copy.
DEFAULT: Resets the currently selected performance in the
Temporary memory to the standard values. This is called a ‘Initial
Data.’ Use this setting when you wish to create a sound from scratch.
PRESET: Resets the currently selected performance in user memory
to the factory settings.
7 . Press [EXIT] to return to the Performance Edit screen.
Ty p e s o f Pe rfo rm a n ce Co p y
Pe rfo rm a n ce N a m e Co p y (N AME)
MFX TEMPLATE: The multi-effect settings of the currently selected
performance will be set to the MFX template settings.
The name of a patch, rhythm set, multitimbre, or performance will
be copied to the currently selected performance.
fig.06-04_50
If the currently selected performance is preset memory (PRST)
data, initializing with the “PRESET” setting will set the values to
those of the identically numbered user memory.
For details regarding MFX template, refer to “MFX Template
List” (Sound/ Parameter List).
Pe rfo rm a n ce Effe cts Co p y (MFX/ CHO RUS/
REVERB)
5 . If you’ve set the initialization type to “MFX TEMPLATE,”
move the cursor to “Template” and select an MFX template.
Then move the cursor to “MFX,” and select the relevant MFX
(MFX-A–MFX-C).
The effect settings of a patch, rhythm set, multitimbre, or
performance will be copied to the currently selected performance.
fig.06-05.e
6 . Press [8 (Execute)].
The initialization will be carried out, and you’ll be returned to
the Performance Edit screen.
Co p y in g Pe rfo rm a n ce Se ttin g s
(Co p y )
Copy-source multi- Copy-destination multi-
This operation copies the settings of any desired performance to the
currently selected performance. You can use this feature to make the
editing process faster and easier.
effects
effects
Effect contents that will be copied (Mode)
MFX: Multi-effects settings
CHORUS: Chorus settings
Ba sic Pro ce d u re fo r Pe rfo rm a n ce Co p y
REVERB: Reverb settings
1 . Access the PERFORMANCE PLAY screen, and select the
If you want to copy the multi-effect settings of a multitimbre or
copied.
copy-destination performance (p. 85).
2 . Access the Performance Edit screen (p. 91).
3 . Press [8 (Copy)].
Pe rfo rm a n ce Pa rt Co p y (PART)
The Performance Copy window appears.
fig.06-04_50
Part settings of a performance will be copied to the part you specify
of the current performance.
fig.06-06.e
4 . Move the cursor to “Mode,” and select the data that you
wish to copy.
Copy-source part
Copy-destination part
Three types of copy are available: Performance Name Copy,
Performance Effects Copy, and Performance Part Copy. You
should select the one that is relevant to the type of data you wish
to copy. For details refer to “Types of Performance Copy”
(following section).
To specify the currently selected performance as the copy source,
set “Source” to “TEMP.”
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Cre a tin g a Pe rfo rm a n ce
6 . Press [8 (Execute)].
Sa vin g Pe rfo rm a n ce Yo u ’ve
Cre a te d (W rite )
The display will indicate “Are you sure?”
7 . Press [8 (OK)] to execute the save operation. To cancel the
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory)
operation, press [EXIT].
W h e n Ch a n g in g th e Se ttin g s fo r th e
Pa tch o r Rh y th m Se t Assig n e d to a
Pa rt in a Pe rfo rm a n ce
When you modify the settings of a performance, the
PERFORMANCE PLAY screen will indicate “EDITED.” Once you
save the performance into internal memory (user memory), the
“EDITED” indication goes away.
After changing the settings for the patch or rhythm set assigned to a
part in a performance, if you then try to save the performance
without first saving the changes in the settings, the following
message appears.
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Initialization
procedure (p. 91).
fig.06-08_50
1 . Make sure that performance you wish to save is selected.
If you do not need to keep the patch or rhythm set settings, press [8
(Execute)] to save the performance.
2 . Press [MENU].
The Menu window appears.
fig.06-01_50
If you want to keep the patch or rhythm set settings, press [7 (Write
Part)] to access the Performance Part Write window.
fig.06-09_50
3 . Press
press [8 (Select)].
The Performance Edit screen appears.
or
to select “Performance Edit,” and then
An indication of “EDITED” will appear for the part for which the
assigned patch or rhythm set was edited. If you want to edit the
patch or rhythm set settings for more than one part, press [3 (●)] or
[4 (●)] to select the part.
fig.06-02_50
Specify the save-destination patch and press [8 (Execute)]. The patch
or rhythm set will be saved; then you’ll be returned to the
Performance Write window, where you need to save the
performance once again.
Re g iste rin g a Fa vo rite Pe rfo rm a n ce
(Fa vo rite So u n d )
4 . Press [6 (Write)].
You can bring together your favorite and most frequently used
performances in one place by registering them in the Favorite sound.
By using this function you can rapidly select favorite performances
from internal memory or a Wave Expansion Board. You can register
a total of 64 sounds (8 sounds x 8 banks) as favorite sounds.
The Performance Write window appears.
fig.06-07.e
Save-destination performance
For details on selecting a favorite sound, refer to “Selecting
5 . Press
or
to specify the save-destination
performance.
9 3
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Cre a tin g a Pe rfo rm a n ce
Usin g [1 ]–[8 ] to Re g iste r
Fu n ctio n s o f Pe rfo rm a n ce
Pa ra m e te rs
1 . Access the PERFORMANCE PLAY screen, and select the
performance that you wish to register (p. 85).
This section explains the functions the different performance
parameters have, as well as the composition of these parameters.
2 . Hold down [JUMP (BANK)] and press a [1]–[8] to select the
bank in which you wish to register the sound.
3 . Hold down [SHIFT (REGISTRY)] and press a [1]–[8] to select
the button at which you wish to register the sound.
The display will indicate “Register OK ?”
Se ttin g s Co m m o n to th e En tire
Pe rfo rm a n ce (Ge n e ra l)
fig.06-02_50
4 . Press [8 (OK)] to execute the registration. To cancel the
operation, press [EXIT].
Usin g th e Fa vo rite List W in d o w to
Re g iste r
1 . Access the PERFORMANCE PLAY screen to select the
performance that you wish to register (p. 85).
2 . Make sure that you are in the PERFORMANCE PLAY screen,
and that the cursor is located at the performance group or
the performance number.
3 . While holding down [SHIFT], press [LIST]
For details on the setting, refer to “How to Make the
The Favorite List window appears.
fig.06-10_50
Ge n e ra l
Pe rfo rm a n ce N a m e
You can assign a name of up to 12 characters to the performance.
Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]
^ _ ` { | } → ←
For details on assigning names, refer to “Assigning a Name” (p.
4 . Press
to move the cursor to the “Bank 1–8” tab, and
or to select the bank in which you wish to
30).
press
You can assign a name to the performance of up to 12 characters.
register the performance.
Se q Te m p o O ve rrid e (Se q u e n ce r Te m p o
O ve rrid e )
5 . Press
press
to move the cursor within the list, and
or to select the number to which you wish to
register. The number you select here corresponds to [1]–[8].
Specify whether the sequencer tempo will change (ON), or will not
change (OFF) when you switch performances. The tempo following
the change is specified by the Overriding Tempo parameter. If, after
switching performances, you want the arpeggiator and rhythm
pattern settings specified for that performance to be played at an
appropriate tempo, turn this “ON.”
6 . Press [5 (Regist)] to execute the registration.
By pressing [6 (Remove)] you can cancel the performance
registration that is selected in the Favorite List window.
Value: OFF, ON
7 . When you have finished registering favorite sounds, press
[EXIT] to close the Favorite List window.
O ve rrid in g Te m p o
If you want the sequencer tempo to change when you switch
performances, specify the tempo that will follow this change. This
setting is valid when the Seq Tempo Override parameter is “ON.”
Value: 20–250
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CHORD: All notes you press will sound simultaneously.
AUTO1: The timing at which keys will sound will be assigned
automatically, giving priority to the lowest key that was pressed.
AUTO2: The timing at which keys will sound will be assigned
automatically, giving priority to the highest key that was pressed.
PHRASE: Pressing a single key will sound the phrase based on the
pitch of that key. If multiple keys are pressed, the last-pressed key
will be valid.
Arp e g g ia to r Se ttin g s (Arp e g g io )
fig.05-11_50
Acce n t Ra te (Arp e g g io Acce n t Ra te )
Modifies the strength of accents and the length of the notes to adjust
the “groove” feel of the arpeggio. A setting of “100%” will produce
the most pronounced groove feel.
Value: 0–100%
For details on the setting, refer to “How to Make the
Sh u ffle Ra te (Arp e g g io Sh u ffle Ra te )
This setting lets you modify the note timing to create shuffle
Arp e g g io
rhythms.
With a setting of “50%” the notes will be spaced evenly. As the value
is increased, the note timing will have more of a “dotted” (shuffle)
feel.
Sw itch (Arp e g g io Sw itch )
Switches the Arpeggiator on/ off.
Value: OFF, ON
Value: 0–100%
fig.Shuffle Rate
Ho ld (Arp e g g io Ho ld Sw itch )
Shuffle Rate = 50%
Shuffle Rate = 90%
Switch between Hold On/ Hold Off for the Arpeggiator
performance.
50
50
50
50
90
10
90
10
Value: OFF, ON
Sh u ffle Re so lu tio n (Arp e g g io Sh u ffle
Re so lu tio n )
Sty le (Arp e g g io Sty le )
Specifies the basic way in which the arpeggio will be played.
Specify the timing resolution in terms of a note value. The note value
can be specified as either an 16th note or a eighth note.
For details regarding Arpeggio Style, refer to “Arpeggio Style
Value:
,
List” (Sound/ Parameter List).
Ke y b o a rd Ve lo city (Arp e g g io Ke y b o a rd
Ve lo city )
Va ria tio n (Arp e g g io Va ria tio n )
The arpeggiator provides several variations (performance patterns)
for each arpeggio style. This parameter selects the variation number.
The number of variations will differ according to the arpeggio style.
Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how
strongly you play the keyboard, set this parameter to “REAL.” If you
want each note to have a fixed velocity regardless of how strongly
you play the keyboard, set this parameter to the desired value (1–
127).
Mo tif (Arp e g g io Mo tif)
Sets the order in which notes of the chord will sound.
Value
Value: REAL, 1–127
UP: Notes you press will be sounded, beginning from low to high.
DOWN: Notes you press will be sounded, from high to low.
UP&DOWN: Notes you press will be sounded, from low to high, and
then back down from high to low.
O cta ve Ra n g e (Arp e g g io O cta ve Ra n g e )
Sets the key range in octaves over which arpeggio will take place. If
you want the arpeggio to sound using only the notes that you
actually play, set this parameter to “0.” To have the arpeggio sound
using the notes you play and notes 1 octave higher, set this
parameter to “+1.” A setting of “-1” will make the arpeggio sound
using the notes you play and notes 1 octave lower.
Value: -3– +3
RANDOM: Notes you press will be sounded, in random order.
NOTE ORDER: Notes you press will be sounded in the order in
which you pressed them. By pressing the notes in the appropriate
order you can produce melody lines. Up to 128 notes will be
remembered.
GLISSANDO: Each chromatic step between the highest and lowest
notes you press will sound in succession, repeating upward and
downward. Press only the lowest and the highest notes.
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Ke y Trig g e r (Arp e g g io Ke y Trig g e r)
Acce n t Ra te (Rh y th m Pa tte rn Acce n t Ra te )
Turn this “ON” if you want the arpeggio to start at the moment that
you press the key. If you want the arpeggio to start playing in
synchronization with the sequencer or rhythm pattern, turn this
“OFF.”
Modifies the strength of accents and the length of the notes to adjust
the “groove” feel of the Rhythm pattern. A setting of “100%” will
produce the most pronounced groove feel.
Value: 0–100%
Value: OFF, ON
Sh u ffle Ra te (Rh y th m Pa tte rn Sh u ffle Ra te )
Zo n e N u m b e r (Arp e g g io Zo n e N u m b e r)
This setting lets you modify the note timing to create shuffle
Specify the zone for arpeggio performance. The Arpeggio
performance corresponding to the part connected to the zone set
here is played.
rhythms.
With a setting of “50%” the notes will be spaced evenly. As the value
is increased, the note timing will have more of a “dotted” (shuffle)
feel.
Value: 1–16
Value: 0–100%
fig.Shuffle Rate
Rh y th m Pa tte rn Se ttin g s
(Rh y th m Ptn )
fig.05-12_50
Shuffle Rate = 50%
Shuffle Rate = 90%
50
50
50
50
90
10
90
10
Sh u ffle Re so lu tio n (Rh y th m Pa tte rn Sh u ffle
Re so lu tio n )
Specify the timing resolution in terms of a note value. The note value
can be specified as either an 16th note or a eighth note.
Value:
,
Ke y b o a rd Ve lo city (Rh y th m Pa tte rn Ke y b o a rd
Ve lo city )
Specifies the loudness of the notes that you play.
If you want the velocity value of each note to depend on how
want each note to have a fixed velocity regardless of how strongly
you play the keyboard, set this parameter to the desired value (1–
127).
For details on the setting, refer to “How to Make the
Rh y th m Ptn (Rh y th m Pa tte rn )
Value: REAL, 1–127
Sw itch (Rh y th m Pa tte rn Sw itch )
N o te Assig n (Rh y th m Pa tte rn N o te Assig n )
Switch Rhythm pattern playback on/ off.
Specify the note name of the lowest note in the key range that will
play the Rhythm pattern. The Rhythm pattern can be played in a
one-octave range starting from the key you specify here.
Value: C-1–G9
Value: OFF, ON
Ho ld (Rh y th m Pa tte rn Ho ld Sw itch )
Switch between Hold On/ Hold Off for the Rhythm pattern
playback.
Ke y Trig g e r (Rh y th m Pa tte rn Ke y Trig g e r)
Value: OFF, ON
Turn this “ON” if you want the rhythm pattern to start at the
moment that you press the key. If you want the rhythm pattern to
start playing in synchronization with the sequencer or arpeggio, turn
this “OFF.”
Sty le (Rh y th m Pa tte rn Sty le )
Select the basic playback style of the Rhythm pattern.
Value
Value: OFF, ON
For details regarding Rhythm Pattern Style, refer to “Rhythm
Zo n e N u m b e r (Rh y th m Pa tte rn Zo n e N u m b e r)
Pattern Style List” (Sound/ Parameter List).
Specify the zone that will play the Rhythm pattern. The Rhythm
pattern will be played for the part that is connected to the zone you
specify here.
Value: 1–16
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Cre a tin g a Pe rfo rm a n ce
Sw itch
Re a ltim e Co n tro lle r / D Be a m
Co n tro lle r Se ttin g s (Co n tro lle r)
fig.06-11_50
Assig n 1 –4 (Re a ltim e Co n tro l Bu tto n Assig n 1 –
4 )
Specify the functions that will be controlled by the [
buttons.
]–[
]
Value
OFF: The realtime control button will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
BEND UP: Raises the pitch in semitone steps (up to 4 octaves
higher).
lower).
For details on the setting, refer to “How to Make the
AFTERTOUCH: Aftertouch
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
Kn o b
Assig n 1 –4 (Re a ltim e Co n tro l Kn o b Assig n 1 –4 )
OCT DOWN: Lowers the key range in octave steps (up to 3 octaves
lower).
Specify the functions that will be controlled by the [
Value
]–[
] knobs.
TRNS UP: Raises the key range in semitone steps (up to 6 semitones
higher).
OFF: The realtime control knob will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
TRNS DOWN: Lowers the key range in semitone steps (up to 5
semitones lower).
TAP TEMPO: Tap tempo (a tempo specified by the interval at which
you press the button).
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
PITCH BEND: Pitch Bend
MONO/POLY: Pressed to toggle between polyphonic (POLY) and
monophonic (MONO) play of a patch.
AFTERTOUCH: Aftertouch
ARP HOLD: Switch between Hold On/ Hold Off for the Arpeggiator
performance.
TEMPO: Tempo
ARP VAR: Arpeggio Variation
PTN HOLD: Switch between Hold On/ Hold Off for the Rhythm
pattern playback.
ARP ACCENT: Arpeggio Accent Rate
ARP SHFFLE: Arpeggio Shuffle Rate
ARP OCTAVE: Arpeggio Octave Range
PTN ACCENT: Rhythm Pattern Accent Rate
PTN SHFFLE: Rhythm Pattern Shuffle Rate
ZONE INT: Turn the Internal Switch on/ off for the zone.
ZONE EXT: Turn the External Switch on/ off for the zone.
Mo d e 1 –4 (Re a ltim e Co n tro l Bu tto n Mo d e 1 –4 )
Specify how the [
]–[
] buttons are to operate.
Zo n e 1 –4 (Re a ltim e Co n tro l Kn o b Zo n e
N u m b e r 1 –4 )
Value
MOMENTARY: The button will be on only while you are pressing
(holding) it, and will be off when you release your finger from the
button.
Specify the zone that will be controlled by each knob [
]–[
].
The effect will apply only to the part that is connected to the zone
you specify here.
LATCH: The button will switch on/ off each time you press it.
Value: 1–16
Zo n e 1 –4 (Re a ltim e Co n tro l Bu tto n Zo n e
N u m b e r 1 –4 )
Specify the zone that will be controlled by each button [
]–[
].
The effect will apply only to the part that is connected to the zone
you specify here.
Value: 1–16
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Zo n e (D Be a m Zo n e N u m b e r)
D Be a m
Specify the zone that will be controlled by the D Beam controller.
Sw itch (D Be a m Sw itch )
The effect will apply to the part that is connected to the zone you
Switches the D Beam controller on/ off.
specify here.
Value: OFF, ON
Value: 1–16
Assig n (D Be a m Assig n )
Zo n e Se ttin g s (Zo n e )
Specifies the function controlled by the D Beam controller.
Value
fig.05-08_50
OFF: The D Beam controller will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
BEND UP: Raises the pitch in semitone steps (up to 4 octaves
higher).
BEND DOWN: Lowers the pitch in semitone steps (up to 4 octaves
lower).
AFTERTOUCH: Aftertouch
NOTE: Play the sound of the most recently pressed key.
OCT UP: Raises the key range in octave steps (up to 3 octaves
higher).
For details on the setting, refer to “How to Make the
OCT DOWN: Lowers the key range in octave steps (up to 3 octaves
lower).
Tra n sm it Ch a n n e l
Specifies the MIDI transmit channel for each zone.
START/STOP: Starts/ Stops the sequencer.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which
you move your hand over the D Beam controller).
ARP SWITCH: Switches the Arpeggiator on/ off.
ARP VAR: Arpeggio Variation
Value: 1–16
In t Sw itch (In te rn a l Sw itch )
Specifies, for each zone, whether or not the keyboard controller
section will be connected to the internal sound generator.
Normally this is left “ON,” but if you wish to use the Fantom’s
keyboard and controllers to control only external sound modules, set
it to “OFF.”
ARP ACCENT: Arpeggio Accent Rate
ARP SHFFLE: Arpeggio Shuffle Rate
ARP OCT UP: The range in which the arpeggio is sounded will rise
in steps of an octave (maximum 3 octaves).
ARP OCT DW: The range in which the arpeggio is sounded will
lower in steps of an octave (maximum 3 octaves).
PTN SWITCH: Switch Rhythm pattern playback on/ off.
PTN ACCENT: Rhythm Pattern Accent Rate
PTN SHFFLE: Rhythm Pattern Shuffle Rate
Value: OFF, ON
Ex t Sw itch (Ex te rn a l Sw itch )
Determines, for each zone, whether or not data generated by the
keyboard controller section is sent as MIDI messages from the MIDI
OUT connector.
Normally you will leave this “ON,” but you can turn it “OFF” when
you do not want the Fantom to control external sound generators.
Value: OFF, ON
Po la rity (D Be a m Po la rity )
Switch the polarity of the D Beam controller.
With a setting of “REVERSE,” the direction of control for the D Beam
controller will be inverted.
Ex t Ba n k Se le ct MSB (Ex te rn a l Ba n k Se le ct
MSB)
Range: STANDARD, REVERSE
If you want a Bank Select number MSB (controller number 0) to also
be transmitted when you switch performances, specify the value that
you want to transmit (0–127) for each zone. If you do not want this
message to be transmitted, set this to “---.”
Ra n g e Lo w e r (D Be a m Ra n g e Lo w e r)
Specify the lower limit of the range of the D Beam controller. Values
below this setting will not be output.
Value: 0–127, ---
Value: 0–UPPER
Ra n g e Up p e r (D Be a m Ra n g e Up p e r)
The data of the zone for which the External Switch is turned off
will not be transmitted.
Specify the upper limit of the range of the D Beam controller. Values
above this setting will not be output.
Value: LOWER–127
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Ex t Ba n k Se le ct LSB (Ex te rn a l Ba n k Se le ct LSB)
If you want a Bank Select number LSB (controller number 32) to also
be transmitted when you switch performances, specify the value that
you want to transmit (0–127) for each zone.
patch, sounds are produced in the range where the Key Range of
each tone and the Key Range for the zone overlap.
fig.05-10.e
Value: 0–127
Key range specified for Performance
The data of the zone for which the External Switch is turned off
will not be transmitted.
Key range specified for Patch
Ex t Pro g ra m N u m b e r (Ex te rn a l Pro g ra m
Ch a n g e N u m b e r)
The range in which notes will play
If you want a Program Change number to also be transmitted when
you switch performances, specify the value that you want to
transmit (0–127) for each zone. If you do not want this message to be
transmitted, set this to “---.”
If you attempt to raise the lower key higher than the upper key,
or to lower the upper key below the lower key, the other value
will be automatically modified to the same setting.
Value: 1–128, ---
Co n tro l Be n d e r (Co n tro l Pitch Be n d Sw itch )
For each zone, specify whether MIDI Pitch Bend messages will be
transmitted (ON), or not (OFF).
The data of the zone for which the External Switch is turned off
will not be transmitted.
Value: OFF, ON
Ex t Le ve l (Ex te rn a l Le ve l)
Co n tro l Afte rto u ch (Co n tro l Afte rto u ch Sw itch )
If you want Volume messages to also be transmitted when you select
a performance, specify the desired value (0–127) for the zone. If you
do not want this message to be transmitted, set this to “---.”
Value: 0–127, ---
For each zone, specify whether MIDI Aftertouch messages will be
transmitted (ON), or not (OFF).
Value: OFF, ON
Co n tro l Mo d u la tio n (Co n tro l Mo d u la tio n
Sw itch )
The data of the zone for which the External Switch is turned off
will not be transmitted.
For each zone, specify whether MIDI Modulation messages will be
transmitted (ON), or not (OFF).
Value: OFF, ON
Ex t Pa n (Ex te rn a l Pa n )
If you want Pan messages to also be transmitted when you select a
performance, specify the desired value (L64–0–63R) for the zone. If
you do not want this message to be transmitted, set this to “---.”
Value: L64–0–63R, ---
Co n tro l Ho ld Pe d a l (Co n tro l Ho ld Pe d a l Sw itch )
For each zone, you can specify whether control messages from a
pedal connected to the HOLD PEDAL jacks will be transmitted
(ON), or not (OFF).
Value: OFF, ON
The data of the zone for which the External Switch is turned off
will not be transmitted.
Co n tro l Pe d a l 1 , 2 (Co n tro l Pe d a l 1 , 2 Sw itch )
For each zone, you can specify whether control messages from a
pedal connected to the CTL 1 and CTL 2 PEDAL jacks will be
transmitted (ON), or not (OFF).
Ke y Ra n g e Lo w e r (Ke y b o a rd Ra n g e Lo w e r)
Specifies the lowest note that the tone will sound for each zone.
Value: OFF, ON
Value: C-1–UPPER
Ke y Ra n g e Up p e r (Ke y b o a rd Ra n g e Up p e r)
Specifies the highest note that the tone will sound for each zone.
Value: LOWER–G9
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Cre a tin g a Pe rfo rm a n ce
Ma k in g Se ttin g s fo r Ea ch Pa rt (Pa rt)
fig.06-13_50
Co a rse Tu n e a n d O cta ve Sh ift
The Coarse Tune and Fine Tune parameters, along with the
Octave Shift parameter, can all be seen as doing the same thing
to the sound, i.e., changing the pitch of the sound. For example,
if C4 (Middle C) is played with the Coarse Tune parameter set
to “+12,” the note produced is C5 (one octave above C4). For
example, if C4 (Middle C) is played with the Octave Shift
parameter set to “+1,” the note produced is C5 (one octave
above C4).
However, internally these function very differently. When the
Coarse Tune parameter is set to “+12,” the pitch itself is raised
one octave. On the other hand, when the Octave Shift parameter
In other words, use the Coarse Tune parameter when changing
the pitch, and the Octave Shift parameter when you want to
shift the entire keyboard, for example, when the number of keys
is insufficient.
For details on the setting, refer to “How to Make the
Pa tch / Rh y th m (Pa tch / Rh y th m Se t)
Sets the assignment of a patch (PAT) or rhythm set (RHY) to each of
the parts.
Pa tch Ba n k
Fin e Tu n e (Pa rt Fin e Tu n e )
Selects the group to which the desired patch or rhythm set belongs.
Adjusts the pitch of the part’s sound up or down in 1-cent steps (+/ -
Value
50 cents).
USR: User
Value: -50– +50
PRA–E: Preset A–E
GM: GM (GM2)
One cent is 1/ 100th of a semitone.
XPA–C: Wave Expansion Boards installed in EXP-A–C Slots
Mo n o / Po ly (Pa rt Mo n o / Po ly )
Pa tch N u m b e r
Set this parameter to “MON” when the patch assigned to the part is
to be played monophonically, or to “POL” when the patch is to be
played polyphonically. When using the setting of the patch assigned
to each part (p. 47), set this to “PAT.”
Selects the desired patch or rhythm set by its number.
Value: 001–***
Le ve l (Pa rt Le ve l)
Value: MON, POL, PAT
Adjust the volume of each part. This setting’s main purpose is to
adjust the volume balance between parts.
Value: 0–127
For the part to which the rhythm set is assigned, this setting is
ignored.
Pa n (Pa rt Pa n )
Le g a to Sw itch (Pa rt Le g a to Sw itch )
Adjust the pan of each part. “L64” is far left, “0” is center, and “63R”
is far right.
You can add legato when performing monophonically. Legato is a
playing style in which the spaces between notes are smoothed,
creating a flowing feel with no borders between the notes. This
creates a smooth transition between notes, which is effective when
you wish to simulate the hammering-on and pulling-off techniques
used by a guitarist.
Value: L64–0–63R
Co a rse Tu n e (Pa rt Co a rse Tu n e )
Adjusts the pitch of the part’s sound up or down in semitone steps
(+/ -4 octaves).
Turn this parameter “ON” when you want to use the Legato feature
and “OFF” when you don’t. When using the setting of the patch
assigned to each part (p. 48), set this to “PAT.”
Value: -48– +48
Value: OFF, ON, PAT
For the part to which the rhythm set is assigned, this setting is
ignored.
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Pitch Be n d Ra n g e (Pa rt Pitch Be n d Ra n g e )
Atta ck Tim e O ffse t (Pa rt Atta ck Tim e O ffse t)
Specifies the amount of pitch change in semitones (2 octaves) that
will occur when the Pitch Bend Lever is moved. The amount of
change when the lever is tilted is set to the same value for both left
and right sides. When using the setting of the patch assigned to each
part (p. 49), set this to “PAT.”
Adjusts the TVA Envelope Attack Time for the patch or rhythm set
assigned to a part.
Value: -64– +63
Patches also contain the Attack Time Offset setting (p. 48). The
final TVA Envelope attack time value is therefore the sum of the
tone’s TVA Envelope Time 1 setting, the patch’s Attack Time
Offset, and the part’s Attack Time Offset. If the tone’s Time 1
parameter is already set to “127” (maximum), there will be no
change produced by setting the Attack Time Offset to a positive
value.
Value: 0–24, PAT
Po rta m e n to Sw itch (Pa rt Po rta m e n to Sw itch )
Specify whether portamento will be applied. Turn this parameter
“ON” when you want to apply Portamento and “OFF” when you
don’t. When using the setting of the patch assigned to each part (p.
48), set this to “PAT.”
Value: OFF, ON, PAT
Re le a se Tim e O ffse t (Pa rt Re le a se Tim e O ffse t)
Adjusts the TVA Envelope Release Time for the patch or rhythm set
Po rta m e n to Tim e (Pa rt Po rta m e n to Tim e )
assigned to a part.
When portamento is used, this specifies the time over which the
pitch will change. Higher settings will cause the pitch change to the
next note to take more time. When using the setting of the patch
assigned to each part (p. 49), set this to “PAT.”
Value: -64– +63
Patches also contain a Release Time Offset setting (p. 48). The
final TVA Envelope release time value is therefore the sum of the
tone’s TVA Envelope Time 4 setting, the patch’s Release Time
Offset, and the part’s Release Time Offset. If the tone’s Time 4
parameter is set to “127” (maximum), there will be no change in
the Release Time Offset, even when this is set to a positive value.
Value: 0–127, PAT
For the part to which the rhythm set is assigned, this setting is
ignored.
Cu to ff O ffse t (Pa rt Cu to ff O ffse t)
De ca y Tim e O ffse t (Pa rt De ca y Tim e O ffse t)
Adjusts the cutoff frequency for the patch or rhythm set assigned to
Adjusts the TVA Envelope Decay Time for the patch or rhythm set
a part.
assigned to a part.
Value: -64– +63
Value: -64– +63
Vib ra te Ra te (Pa rt Vib ra te Ra te )
Patches also have a Cutoff Offset setting (p. 47). The final Cutoff
frequency value is the sum of the tone Cutoff Frequency value
and the patch and part Cutoff Frequency Offset values. If the
tone’s cutoff frequency is already set to “127” (maximum), there
will be no change produced by setting the Cutoff Frequency
Offset to a positive value.
For each part, adjust the vibrato speed (the rate at which the pitch is
modulated). The pitch will be modulated more rapidly for higher
settings, and more slowly with lower settings.
Value: -64– +63
Vib ra te De p th (Pa rt Vib ra te De p th )
Re so n a n ce O ffse t (Pa rt Re so n a n ce O ffse t)
For each part, this adjusts the depth of the vibrato effect (the depth at
which the pitch is modulated). The pitch will be modulated more
greatly for higher settings, and less with lower settings.
Value: -64– +63
Adjusts the Resonance for the patch or rhythm set assigned to a part.
Value: -64– +63
Patches also have a Resonance Offset setting (p. 47). The final
Resonance value is the sum of the tone Resonance value and the
patch and part Resonance Offset values. If the tone’s resonance is
already set to “127” (maximum), there will be no change
produced by setting the resonance offset to a positive value.
For each part, this adjusts the time delay until the vibrato (pitch
modulation) effect begins. Higher settings will produce a longer
delay time before vibrato begins, while lower settings produce a
shorter time.
Value: -64– +63
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Cre a tin g a Pe rfo rm a n ce
O cta ve Sh ift (Pa rt O cta ve Sh ift)
Ke y Ra n g e Up p e r (Pa rt Ke y b o a rd Ra n g e
Up p e r)
Adjusts the pitch of the part’s sound up or down in units of an
octave (+/ -3 octaves).
Specifies the highest note that the tone will sound for each part.
Value: -3– +3
Value: LOWER–G9
Note that when a rhythm set is assigned to a part, if the Octave
Shift parameter is set, the rhythm tone that is played also
changes.
patch, sounds are produced in the range where the Key Range of
each tone and the Key Range for the part overlap.
fig.05-10.e
Ve l Se n s O ffse t (Pa rt Ve lo city Se n sitivity
O ffse t)
Key range specified for Performance
This changes the volume and cutoff frequency for each part
according to the velocity with which the keys are pressed. If you
want strongly played notes to raise the volume/ cutoff frequency, set
this parameter to positive (+) settings. If you want strongly played
notes to lower the volume/ cutoff frequency, use negative (-)
settings. Set Velocity Sensitivity to “0” when you want sounds
played at a fixed volume and cutoff frequency, regardless of the
force with which the keys are played.
Key range specified for Patch
The range in which notes will play
If you attempt to raise the lower key higher than the upper key,
or to lower the upper key below the lower key, the other value
will be automatically modified to the same setting.
Value: -63– +63
Ke y Fa d e Up p e r (Pa rt Ke y b o a rd Fa d e W id th
Up p e r)
Patches also contain a Velocity Sensitivity Offset setting (p. 48).
The ultimate Velocity Sensitivity Offset value is the sum of the
part’s and the patch’s Velocity Sensitivity Offsets. Accordingly,
if the patch’s Velocity Sensitivity Offset parameter is set to “127”
(maximum), there will be no change in the part’s Velocity
Sensitivity Offset, even when this is set to a positive value.
This determines what will happen to the part’s level when a note
that’s higher than the part’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
Value: 0–127
fig.Key Range.e
Level
Ke y Fa d e Lo w e r (Pa rt Ke y b o a rd Fa d e W id th
Lo w e r)
This determines what will happen to the part’s level when a note
that’s lower than the part’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
Pitch
Fade Upper
Range Upper
Fade Lower
Range Lower
Value: 0–127
Ke y Ra n g e Lo w e r (Pa rt Ke y b o a rd Ra n g e
Lo w e r)
Vo ice Re se rve
This setting specifies the number of voices that will be reserved for
each part when more than 64 voices are played simultaneously.
Value: 0–63, FUL
Specifies the lowest note that the tone will sound for each part.
Value: C-1–UPPER
It is not possible for the settings of all parts to total an amount
greater than 64. The remaining number of available voices will
be displayed at (rest= ). Pay attention to this readout as you
make set the Voice Reserve parameter.
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Cre a tin g a Pe rfo rm a n ce
So lo Pa rt Se le ct
Select one part whose sound you want to play. Turn it “SEL” to the
part that you want to solo. Parts other than the part you select here
will not sound.
Ca lcu la tin g th e N u m b e r o f Vo ice s Be in g
Use d
The Fantom is able to play up to 64 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer
only to the number of sounds actually being played, but
changes according to the number of tones used in the patches,
and the number of Waves used in the tones. The following
method is used to calculate the number of sounds used for one
patch being played.
Mu te Sw itch
Temporarily mutes (MUT) or releases the mute (OFF) for the
performance of each part.
Use this setting when, for example, you want to use the instrument
for karaoke by muting the part playing the melody, or when you
want to play something using a separate sound module.
Value: OFF, MUT
(Number of Sounds Being Played) x (Number of Tones Used by
Patches Being Played) x (Number of Waves Used in the Tones)
The Mute Switch parameter does not turn the part off, but sets
the volume to minimum so that no sound is heard. Therefore,
MIDI messages are still received.
Ma k in g Se ttin g s fo r Re ce ivin g MIDI
(MIDI)
MIDI Filte r
fig.06-12_50
Pro g ra m Ch a n g e (Re ce ive Pro g ra m Ch a n g e
Sw itch )
For each MIDI channel, specify whether MIDI Program Change
messages will be received (ON), or not (OFF). Assigning a check
mark (●) will turn it on, and removing the check mark will turn it
off.
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )
For each MIDI channel, specify whether MIDI Bank Select messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
For details on the setting, refer to “How to Make the
Pitch Be n d (Re ce ive Pitch Be n d Sw itch )
For each MIDI channel, specify whether MIDI Pitch Bend messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
Pa rt MIDI
Re ce ive Ch a n n e l
Ch a n n e l Pre ssu re (Re ce ive Ch a n n e l Pre ssu re
Sw itch )
Specifies the MIDI receive channel for each part.
Value: 1–16
For each MIDI channel, specify whether MIDI Channel Pressure
messages will be received (ON), or not (OFF). Assigning a check
mark (●) will turn it on, and removing the check mark will turn it
off.
If this is set to the same channel as the Performance Ctrl Ch
parameter (SYSTEM/ MIDI), attempting to switch patches by
transmitting only a program change from an external device will
actually cause the performance to change. If you want to switch
patches, change the Performance Ctrl Ch parameter to another
messages together (Q&A; p. 14).
Po ly Ke y Pre ssu re (Re ce ive Po ly p h o n ic Ke y
Pre ssu re Sw itch )
For each MIDI channel, specify whether MIDI polyphonic key
pressure messages will be received (ON), or not (OFF). Assigning a
check mark (●) will turn it on, and removing the check mark will
turn it off.
Re ce ive Sw itch
For each part, specify whether MIDI messages will be received (ON),
or not (OFF).
Mo d u la tio n (Re ce ive Mo d u la tio n Sw itch )
If this is “OFF,” the part will respond to the keyboard, but not to the
internal sequencer or external MIDI devices. Normally, you should
leave this “ON,” but you can turn it “OFF” when you do not want a
specific part to be playing during song playback.
Value: OFF, ON
For each MIDI channel, specify whether MIDI Modulation messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
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Cre a tin g a Pe rfo rm a n ce
Vo lu m e (Re ce ive Vo lu m e Sw itch )
Se ttin g Effe cts fo r a Pe rfo rm a n ce
(Effe cts/ MFX/ MFX Co n tro l/ Ch o ru s/
Re ve rb )
For each MIDI channel, specify whether MIDI Volume messages will
be received (ON), or not (OFF). Assigning a check mark (●) will turn
it on, and removing the check mark will turn it off.
For details regarding effect settings, refer to the pages shown
below.
Pa n (Re ce ive Pa n Sw itch )
For each MIDI channel, specify whether MIDI Pan messages will be
received (ON), or not (OFF). Assigning a check mark (●) will turn it
on, and removing the check mark will turn it off.
Mode” (p. 170)
Ex p re ssio n (Re ce ive Ex p re ssio n Sw itch )
For each MIDI channel, specify whether MIDI Expression messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
Sca le Tu n e Se ttin g s (Sca le Tu n e )
fig.06-14_50
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )
For each MIDI channel, specify whether MIDI Hold 1 messages will
be received (ON), or not (OFF). Assigning a check mark (●) will turn
it on, and removing the check mark will turn it off.
Ph a se Lo ck (Ph a se Lo ck Sw itch )
Set Phase Lock to “●” (ON) when you want to suppress
discrepancies in timing of parts played on the same MIDI channel.
When the Phase Lock parameter is set to “ON,” parts on the
same MIDI channel are put in a condition in which their timing
is matched, enabling them to be played at the same time.
Accordingly, a certain amount of time may elapse between
reception of the Note messages and playing of the sounds. Turn
this setting to “ON” only as needed.
For details on the setting, refer to “How to Make the
C–B (Pa rt Sca le Tu n e C–B)
Make scale tune settings for each part.
Ve lo city Cu rve
Value: -64– +63
Velocity Curve selects for each MIDI channel one of the four
following Velocity Curve types that best matches the touch of the
connected MIDI keyboard.
Scale Tune is switched on/ off by means of the Scale Tune Switch
parameter (SYSTEM/ Scale Tune) (p. 186).
Value: 1–4
fig.Curve-4
1
2
3
4
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Cre a tin g a Pe rfo rm a n ce
Ch a n g in g th e Se ttin g s o f th e
Pa tch Assig n e d to a Pa rt
Eq u a l Te m p e ra m e n t
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The Fantom employs equal temperament when the Scale
Tune Switch is set to “OFF.”
When using patches in Performance mode, some settings such as
effects settings will be affected by performance settings. If you wish
to edit a patch while hearing how it will sound in the performance,
use this procedure:
* Here we explain how to change the setting of a patch assigned to a part.
The procedure for changing the settings of rhythm sets is the same.
Substitute “rhythm set” wherever “patch” appears in a sentence.
Ju st Te m p e ra m e n t (To n ic o f C)
Compared with equal temperament, the principle triads sound
pure in this tuning. However, this effect is achieved only in one
key, and the triads will become ambiguous if you transpose.
1 . Make sure the PERFORMANCE PLAY screen is displayed.
2 . Press [MENU].
Ara b ia n Sca le
The Menu window appears.
In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and
Eb and F# have a natural third—the interval between a major
third and a minor third. On the Fantom, you can use Arabian
temperament in the three keys of G, C and F.
fig.06-01_50
<Example>
Note
name
Equal tem-
perament
Just Tempera- Arabian Scale
ment (tonic C)
3 . Press
or
to select a “Part Patch Edit,” and then
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
press [8 (Select)].
-8
The patch assigned to the part is displayed in the Patch Edit
screen.
+4
Eb
E
+16
-14
-2
-12
-51
-8
fig.06-15_50
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
4 . Press [4 (Part Select)].
The Part Select window will appear.
fig.06-16_50
5 . Press
or
to select the part whose assigned patch
you want to change, and then press [8 (Select)].
6 . The rest of the procedure is the same as when making
changes in Patch mode (p. 42).
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Pla y in g in Mu ltitim b re Mo d e
Multitimbre mode is ideal when you want to use the sequencer to
Fu n ctio n s in th e MULTITIMBRE PLAY
Scre e n
create a song, or when you want to play song data. When creating
songs or playing song data, a different MIDI channel is assigned for
each patch or rhythm set used in a part. Such a set of sounds selected
for each part to play is called a multitimbre.
fig.07-01.e
Indicates the current sound generating mode.
Indicates the name of the currently selected song,
the measure location, the time signature, and the sequencer status.
Ab o u t th e MULTITIMBRE PLAY
scre e n
Sets the Octave Shift (Oct)
and the Transpose (Trans).
Indicates the song file name.
Disp la y in g th e MULTITIMBRE PLAY
scre e n
Switches multi-effects (MFX),
chorus (CHO),
and reverb (REV) on and off.
Turns the RPS function on/off (RPS).
Turns Loop Play on/off (LOOP).
To access the MULTITIMBRE PLAY screen, use the following
procedure.
Indicates the group of the selected multitimbre.
Indicates the MIDI receive channel used for switching
multitimbres from an external MIDI device.
1 . Press [MODE].
The Mode window appears.
fig.01-12_50
Indicates/sets the tempo at which the song,
Arpeggio or rhythm pattern is played.
Indicates/selects the group, number,
and name of the selected multitimbre.
Part number
The currently selected part is indicated by the “ ” symbol.
Indicates/selects the group, number, and
name of the patch assigned to each part.
2 . Press
(Select)].
or
to select “Multitimbre,” and then press [8
You will be in Multitimbre mode, and the MULTITIMBRE PLAY
screen appears.
fig.MULTI_50
Switches the Solo (So) and
Mute (Mu) function on/off.
Indicates/sets the following
settings of the part.
• Volume (Volume)
• Pan (Pan)
• Output Destination (Out)
• Chorus Send Level (Chorus)
• Reverb Send Level (Reverb)
Indicates/sets the part’s
MIDI receive channels.
Indicates the names of the patches or
rhythm sets that can be selected by [1]–[8].
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Pla y in g in Mu ltitim b re Mo d e
Se le ctin g Mu ltitim b re s fro m a List
You can display a list of performances and select a multitimbres
Se le ctin g a Mu ltitim b re
The Fantom has two multitimbre groups, including the User group
and Preset groups, with each group storing 16 multitimbres, for a
total of 32 multitimbres.
from that list.
1 . In the MULTITIMBRE PLAY screen, make sure that the
cursor is located at the multitimbre group or multitimbre
number.
USER
This is the group inside the Fantom which can be rewritten.
performances you yourself create can be stored in this group. The
Fantom contains 16 preset multitimbres.
2 . Press [LIST].
The Multitimbre List window appears.
fig.07-03_50
PRST (Pre se t)
This is the group inside the Fantom which cannot be rewritten.
However you may modify the settings of the currently selected
multitimbre, and then store the modified multitimbre in User
memory. The Fantom contains 16 preset multitimbres.
1 . Access the MULTITIMBRE PLAY screen (p. 106).
fig.07-02.e
Multitimbre group
3 . Press
or
to choose the multitimbre.
Multitimbre number
4 . To switch the multitimbre group, press
to move the
or
cursor to the multitimbre group tab, and press
select the multitimbre group.
to
5 . After switching the multitimbre group, press
to move the
cursor within the list, and press
multitimbre.
or
to select the
6 . Press [EXIT] to close the Multitimbre List window.
2 . Press [CURSOR] to move the cursor to the multitimbre
group.
3 . Turn the VALUE dial, or press [INC]/[DEC] to select a
multitimbre group.
USER: User
PRST: Preset
4 . Press [CURSOR] to move the cursor to the multitimbre
number.
5 . Turn the VALUE dial or press [INC]/[DEC] to select the
multitimbre number.
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Pla y in g in Mu ltitim b re Mo d e
1 . Access the MULTITIMBRE PLAY screen (p. 106).
Pla y in g Ba ck a So n g
2 . Move the cursor to the part list, and press
select the part to be played.
or
to
Use Multitimbre mode to play back a song stored on disk.
” symbol. This
1 . Access the MULTITIMBRE PLAY screen (p. 106).
symbol shows that this is the currently selected part (current
2 . Into the disk drive, insert the disk that contains the song you
part).
fig.07-06
want to play.
3 . Press [CURSOR] to move the cursor to the song file name in
the upper part of the screen.
fig.07-04
Se le ctin g a Pa rt to Pla y
In d ivid u a lly (So lo )
4 . Turn the VALUE dial or press [INC]/[DEC] to select the song
that you wish to play back.
You can have only the performance of a specific part be played when
playing back a song.
When your cursor is located at the song file name, you can press
[LIST] to open the Song List window, and select a song from a
list of the songs on the disk.
1 . Access the MULTITIMBRE PLAY screen (p. 106).
2 . Use [CURSOR] to move the cursor to the “So” area of the
part that you want to play by itself.
5 . Press [STOP/PLAY] to begin playback.
When song playback ends, it will stop automatically. To
interrupt playback, press [STOP/ PLAY].
3 . Turn the VALUE dial or press [INC]/[DEC] to assign a “●”
mark.
fig.07-07
Se le ctin g a Pa rt to Pla y fro m
th e Ke y b o a rd (Cu rre n t Pa rt)
In Multitimbre mode, you can play one of the parts from the
keyboard. The part you select here is called the current part. For
example, when you want to play along with a song, this allows you
to select the part you are going to play on the keyboard.
fig.07-05.e
Part 1
Part 2
Part 15
Part 16
(Rx ch.1)
(Rx ch.2)
(Rx ch.15)
(Rx ch.16)
When a song is played back, only the parts with a check mark
will play back.
This setting is linked with the Solo Part Select parameter
(MULTITIMBRE/ Part), and can be saved as a multitimbre
setting (p. 118).
(Tx ch.1)
Rx ch.: Receive Channel
Tx ch.: Transmit Channel
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Pla y in g in Mu ltitim b re Mo d e
3 . Turn the VALUE dial or press [INC]/[DEC] to select a patch
or rhythm set.
Sile n cin g th e Pla y b a ck o f a
Sp e cific Pa rt (Mu te )
If you want to select a rhythm set, set the patch/ rhythm set
select switch to “R.”
While you play along with the playback of a song, you can turn off
the specific part. This allows you to turn off the melody part for
karaoke applications or for practicing the muted part.
•
•
When the cursor is located at the patch group or patch number,
to select a patch from the list (p. 33).
1 . Access the MULTITIMBRE PLAY screen (p. 106).
2 . Use [CURSOR] to move the cursor to the “Mu” area of the
By pressing [1]–[8] you can select your favorite patches (p. 33).
part that you want to mute.
3 . Turn the VALUE dial or press [INC]/[DEC] to assign a check
This setting is linked with the Patch/ Rhythm, Patch Bank, and
Patch Number parameters (MULTITIMBRE/ Part), and can be
saved as multitimbre settings (p. 115).
mark (●).
fig.07-08
Ad ju stin g th e Vo lu m e a n d Pa n
o f Ea ch Pa rt
In the MULTITIMBRE PLAY screen, you can edit the following
settings of each part.
•
•
•
•
•
•
MIDI Receive Channel (Ch)
Volume (Volume)
Pan (Pan)
When a song is played back, the parts with a check mark will not
play back.
Output Destination (Out)
Chorus Send Level (Chorus)
Reverb Send Level (Reverb)
Part Mute does not turn off the MIDI receive switch; rather, it
sets the volume to the minimum setting to silence the sound.
Therefore, MIDI messages are still received.
1 . Access the MULTITIMBRE PLAY screen (p. 106).
2 . Use [CURSOR] to move the cursor to the parameter you
want to change.
fig.07-10
Assig n in g a Diffe re n t Pa tch to
a Pa rt
If you do not like the patch that is assigned to each part, you can
easily switch patches.
1 . Access the MULTITIMBRE PLAY screen (p. 106).
2 . Use [CURSOR] to move the cursor to the “Patch” area of the
part whose patch you want to change.
fig.07-09.e
Patch/Rhythm set select switch
Patch group
Patch number
To move the cursor to “Out,” “Chorus,” or “Reverb,” move the
cursor to “Pan” and then press
.
3 . Turn the VALUE dial or press [INC]/[DEC], set the value.
These settings are linked with the Receive Channel, Level, Pan,
Part Output Assign, Part Chorus Send Level, and Part Reverb
Send Level parameters, and can be saved as multitimbre settings
(p. 118, p. 115, p. 172).
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Pla y in g in Mu ltitim b re Mo d e
9 . Press [STOP/PLAY].
Re co rd in g a n Arp e g g io
Pe rfo rm a n ce
The Recording Standby window will close, and the [REC]
indicator will change from blinking to lit. After that, recording
will begin.
The Arpeggiator provides for the play of the various notes in chords.
With the Arpeggiator, you can play arpeggios that use the
component notes of a chord, just by pressing the chord. When you
use the sequencer to create a song, it is also convenient to use the
Arpeggiator to record the bass part. In this way, it is convenient to
use the arpeggiator as a compositional tool.
1 0 . Play a chord on the keyboard.
Arpeggios will be sounded according to the notes of the chord
you press, and will be recorded on the part (track) you selected
in step 3.
1 1 . When you finish recording, press [STOP/PLAY].
1 . Access the MULTITIMBRE PLAY screen (p. 106).
2 . Select the multitimbre that you will use for recording (p. 107).
3 . Press
or
to select the part (track) on which the
Re co rd in g th e Pe rfo rm a n ce o f
a Rh y th m Pa tte rn
arpeggio performance will be recorded.
The selected part will be indicated by the”
” symbol, and the
performance will be recorded on that part (track).
The Fantom contains various Rhythm patterns. Simply by pressing a
single key, you can play the Rhythm patterns. When you use the
sequencer to create a song, it is also convenient to use Rhythm
patterns to record the drum part.
4 . Hold down [JUMP] and press [ARPEGGIO].
The Arpeggio window appears. In this window you can make
various arpeggio-related settings.
fig.02-12_50
1 . Access the MULTITIMBRE PLAY screen (p. 106).
2 . Select the multitimbre that will be used for recording (p.
107).
3 . Press
Rhythm pattern will be recorded.
A” ” will be displayed for the selected part, and the Rhythm
or
to select the part (track) on which the
5 . Specify how the arpeggio will be played.
pattern will be recorded on that part (track).
4 . Hold down [JUMP] and press [RHYTHM].
The Rhythm Pattern window appears. In this window you can
Of all the arpeggio settings, the Style (Arpeggio Style) is
particularly important. The playback pattern of the arpeggio is
determined mainly by this selection. For details, refer to
make various settings for Rhythm patterns.
fig.02-17_50
6 . After completing your settings, press [8 (Close)] to close the
Arpeggio window.
7 . Press [REC].
The [REC] indicator will blink, and the Recording Standby
window appears. In this window you can change various
5 . Specify how the Rhythm pattern will be played.
settings related to realtime recording.
fig.07-11_50
Of all the Rhythm pattern parameters, the Style (Pattern Style)
setting is particularly important. The playback pattern of the
rhythm is determined mainly by this selection. For details, refer
6 . After completing your settings, press [8 (Close)] to close the
Rhythm Pattern window.
8 . Specify the recording method.
For details on making this setting, refer to“Recording Your
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Pla y in g in Mu ltitim b re Mo d e
7 . Press [REC].
Co n firm in g MIDI In fo rm a tio n fo r
Ea ch Pa rt (Pa rt In fo rm a tio n )
The [REC] indicator will blink, and the Recording Standby
window appears. In this window you can change various
In Multitimbre mode, the reception status of MIDI messages that
control various things can be viewed for each part. This is useful
when you want to check whether the sound generator is responding
correctly to the keyboard, or to operations from an external MIDI
controller.
settings related to realtime recording.
fig.07-11_50
1 . Access the MULTITIMBRE PLAY screen (p. 106).
2 . Press [MENU] to open the Menu window.
3 . Press
press [8 (Select)].
The Part Information window appears.
or
to select “Part Information,” and then
8 . Select the recording method.
fig.05-14_50
For details on making this setting, refer to “Recording Your
9 . Press [STOP/PLAY].
The Recording Standby window will close, and the [REC]
indicator will change from blinking to lit. After that, recording
will begin.
1 0 . Press a key to which a Rhythm pattern is assigned.
The assigned Rhythm patterns will be played according to the
keys you press, and the performance will be recorded on the part
(track) you selected in step 3.
4 . Press [8 (Type)]
The Type Information window appears.
fig.05-15_50
1 1 . When you finish recording, press [STOP/PLAY].
The [REC] indicator will go dark.
5 . Press
or
to select the message that you want to
check, and then press [8 (Select)].
Modulation: Modulation Information
Breath: Breath Information
Foot Type: Foot type Information
Volume: Volume Information
Panpot: Panpot Information
Expression: Expression Information
Hold 1: Hold 1 Information
Pitch Bend: Pitch Bend Information
Aftertouch: Aftertouch Information
Voices: Voice Information (The number of voices used)
Sys Control1–4: System Control 1–4 Information
The MIDI message specified as the Sys Ctrl 1–4 Source
parameter (SYSTEM/ Controller).
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Cre a tin g a Mu ltitim b re
With the Fantom, you have total control over a wide variety of
settings. Each item that can be set is known as a parameter. When
you change the values of parameters, you are doing what is referred
to as Editing. This chapter explains the procedures used in creating
multitimbres, and the functions of the multitimbre parameters.
•
Some of the parameters have a “ ” symbol. This indicates that
if you press [LIST] when setting one of these parameters, the
related window will appear. For example if you press [LIST] at a
parameter that requires you to specify a name, the Name
window will appear.
•
When all the parameters cannot be shown within a single
settings screen, a scroll bar will be displayed at the right side of
Ho w to Ma k e th e Mu ltitim b re
Se ttin g s
the screen. In such cases, press
downward.
to scroll the screen
Start with an existing multitimbre and edit it to create a new
multitimbre. But before you do, try to envision what the entire
multitimbre will sound like and decide which patch or rhythm set to
assign to each of 16 parts.
If you have selected a screen for parameters that can be set for
each part, first move the cursor to the parameter that you wish to
edit, and then press
or
to select the part.
1 . Access the MULTITIMBRE PLAY screen, and select the
multitimbre whose settings you wish to modify (p. 107).
you want.
7 . Repeat steps 4–6 to complete a multitimbre.
If you want to create all your multitimbres from the ground up,
rather than the multitimbres that have already been prepared,
carry out the Initialize operation (p. 112).
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 114). If you do not
wish to save changes, press [EXIT] to return to the
MULTITIMBRE PLAY screen.
2 . Press [MENU].
The Menu window appears.
fig.08-01_50
If you return to the MULTITIMBRE PLAY screen without
saving, the display will indicate “EDITED,” reminding you that
the multitimbre settings have been modified.
If you turn off the power or select a different sound while the
display indicates “EDITED,” your edited multitimbre will be
lost.
In itia lizin g Mu ltitim b re Se ttin g s
(In it)
3 . Press
press [8 (Select)].
The Multitimbre Edit screen appears.
or
to select “Multitimbre Edit,” and then
“Initialize” means to return the settings of the currently selected
sound to a standard set of values or to the factory settings.
fig.08-02_50
The Initialize operation will affect only the currently selected
sound; the sounds that are stored in user memory will not be
affected. If you wish to restore all of the Fantom’s settings to
their factory values, perform a Factory Reset (p. 195).
1 . Access the MULTITIMBRE PLAY screen, and select the
multitimbre that you wish to initialize (p. 107).
2 . Access the Multitimbre Edit screen (p. 112).
3 . Press [7 (Init)].
4 . The parameters are organized into several editing groups.
Press [1 (●)] or [2 (●)] to select the tab for the editing group
that contains the parameter you wish to edit.
The Multitimbre Initialize window appears.
fig.08-03_50
For details on the parameter groupings, refer to “Parameter
list” (Sound/ Parameter List).
4 . Move the cursor to “Type,” and select the initialization type.
5 . Use [CURSOR] to move the cursor to the parameter you
wish to modify.
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Cre a tin g a Mu ltitim b re
6 . Press [8 (Execute)] to execute the copy.
Ty p e (In itia lize Ty p e )
There are three initialize methods. Select either of them depending
on the application.
7 . Press [EXIT] to return to the Multitimbre Edit screen.
DEFAULT: Resets the currently selected multitimbre in the
Temporary memory to the standard values. This is called a ‘Initial
Data.’ Use this setting when you wish to create a sound from scratch.
PRESET: Resets the currently selected multitimbre in user memory
to the factory settings.
Ty p e s o f Mu ltitim b re Co p y
Mu ltitim b re N a m e Co p y (N AME)
The name of a patch, rhythm set, multitimbre, or performance will
be copied to the currently selected multitimbre.
fig.08-04_50
MFX TEMPLATE: The multi-effect settings of the currently selected
multitimbre will be set to the MFX template settings.
If the currently selected multitimbre is preset memory (PRST)
data, initializing with the “PRESET” setting will set the values to
those of the identically numbered user memory.
Mu ltitim b re Effe cts Co p y (MFX/ CHO RUS/
REVERB)
For details regarding MFX template, refer to “MFX Template
List” (Sound/ Parameter List).
The effect settings of a patch, rhythm set, multitimbre, or
5 . If you’ve set the initialization type to “MFX TEMPLATE,”
move the cursor to “Template” and select an MFX template.
Then move the cursor to “MFX,” and select the relevant MFX
(MFX-A–MFX-C).
performance will be copied to the currently selected multitimbre.
fig.08-05.e
6 . Press [8 (Execute)].
The initialization will be carried out, and you’ll be returned to
the Multitimbre Edit screen.
Copy-source multi- Copy-destination multi-
Co p y in g Mu ltitim b re Se ttin g s (Co p y )
effects
effects
This operation copies the settings of any desired multitimbre to the
currently selected multitimbre. You can use this feature to make the
editing process faster and easier.
Effect contents that will be copied (Mode)
MFX: Multi-effects settings
CHORUS: Chorus settings
REVERB: Reverb settings
Ba sic Pro ce d u re fo r Mu ltitim b re Co p y
If you want to copy the multi-effect settings of a multitimbre or
performance, select the MFX (MFX-A–MFX-C) whose data will be
1 . Access the MULTITIMBRE PLAY screen, and select the
copy-destination multitimbre (p. 107).
2 . Access the Multitimbre Edit screen (p. 112).
3 . Press [8 (Copy)].
Part settings of a multitimbre will be copied to the part you specify
The Multitimbre Copy window appears.
of the current multitimbre.
fig.08-04_50
fig.08-06.e
4 . Move the cursor to “Mode,” and select the data that you
wish to copy.
Copy-source part
Copy-destination part
Three types of copy are available: Multitimbre Name Copy,
Multitimbre Effects Copy, and Multitimbre Part Copy. You
should select the one that is relevant to the type of data you wish
to copy. For details refer to “Types of Multitimbre Copy”
(following section).
To specify the currently selected multitimbre as the copy source,
set “Source” to “TEMP.”
5 . Move the cursor to “Source,” and select the copy-source
sound.
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Cre a tin g a Mu ltitim b re
6 . Press [8 (Execute)].
Sa vin g Mu ltitim b re Yo u ’ve
Cre a te d (W rite )
The display will indicate “Are you sure?”
7 . Press [8 (OK)] to execute the save operation. To cancel the
Changes you make to sound settings are temporary, and will be lost
if you turn off the power or select another sound. If you want to keep
the modified sound, you must save it in the internal USER group
(user memory)
operation, press [EXIT].
W h e n Ch a n g in g th e Se ttin g s fo r th e
Pa tch o r Rh y th m Se t Assig n e d to a
Pa rt in a Mu ltitim b re
When you modify the settings of a multitimbre, the MULTITIMBRE
PLAY screen will indicate “EDITED.” Once you save the
multitimbre into internal memory (user memory), the “EDITED”
indication goes away.
After changing the settings for the patch or rhythm set assigned to a
part in a multitimbre, if you then try to save the multitimbre without
first saving the changes in the settings, the following message
appears.
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Initialization
procedure (p. 112).
fig.06-08_50
1 . Make sure that multitimbre you wish to save is selected.
If you do not need to keep the patch or rhythm set settings, press [8
(Execute)] to save the multitimbre.
2 . Press [MENU].
The Menu window appears.
fig.08-01_50
If you want to keep the patch or rhythm set settings, press [7 (Write
Part)] to access the Multitimbre Part Write window.
fig.08-08_50
3 . Press
press [8 (Select)].
The Multitimbre Edit screen appears.
or
to select “Multitimbre Edit,” and then
An indication of “EDITED” will appear for the part for which the
assigned patch or rhythm set was edited. If you want to edit the
patch or rhythm set settings for more than one part, press [3 (●)] or
[4 (●)] to select the part.
fig.08-02_50
Specify the save-destination patch and press [8 (Execute)]. The patch
or rhythm set will be saved; then you’ll be returned to the
Performance Write window, where you need to save the multitimbre
once again.
4 . Press [6 (Write)].
The Multitimbre Write window appears.
fig.08-07.e
Save-destination multitimbre
5 . Press
or
to specify the save-destination
multitimbre.
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Cre a tin g a Mu ltitim b re
Pa tch Ba n k
Fu n ctio n s o f Mu ltitim b re
Pa ra m e te rs
Selects the group to which the desired Patch or Rhythm Set belongs.
Value
This section explains the functions the different multitimbre
parameters have, as well as the composition of these parameters.
USR: User
PRA–E: Preset A–E
GM: GM (GM2)
XPA–C: Wave Expansion Boards installed in EXP-A–C Slots
Se ttin g s Co m m o n to th e En tire
Mu ltitim b re (Ge n e ra l)
fig.08-02_50
Pa tch N u m b e r
Selects the desired patch or rhythm set by its number.
Value: 001–***
Le ve l (Pa rt Le ve l)
Adjust the volume of each part. This setting’s main purpose is to
adjust the volume balance between parts.
Value: 0–127
Pa n (Pa rt Pa n )
Adjust the pan of each part. “L64” is far left, “0” is center, and “63R”
is far right.
Value: L64–0–63R
For details on the setting, refer to “How to Make the
Co a rse Tu n e (Pa rt Co a rse Tu n e )
Adjusts the pitch of the part’s sound up or down in semitone steps
Mu ltitim b re N a m e
(+/ -4 octaves).
You can assign a name of up to 12 characters to the multitimbre.
Value: space, A–Z, a–z, 0–9, ! " # $ % & ’ ( ) * + , - . / : ; < = > ? @ [ \ ]
^ _ ` { | } → ←
Value: -48– +48
Co a rse Tu n e a n d O cta ve Sh ift
For details on assigning names, refer to “Assigning a Name” (p.
The Coarse Tune and Fine Tune parameters, along with the
Octave Shift parameter, can all be seen as doing the same thing
to the sound, i.e., changing the pitch of the sound. For example,
if C4 (Middle C) is played with the Coarse Tune parameter set
to “+12,” the note produced is C5 (one octave above C4). For
example, if C4 (Middle C) is played with the Octave Shift
parameter set to “+1,” the note produced is C5 (one octave
above C4).
30).
Ma k in g Se ttin g s fo r Ea ch Pa rt (Pa rt)
fig.08-10_50
However, internally these function very differently. When the
Coarse Tune parameter is set to “+12,” the pitch itself is raised
one octave. On the other hand, when the Octave Shift parameter
is set to “+1,” it is the same as pressing the keys one octave up.
In other words, use the Coarse Tune parameter when changing
the pitch, and the Octave Shift parameter when you want to
shift the entire keyboard, for example, when the number of keys
is insufficient.
For details on the setting, refer to “How to Make the
Fin e Tu n e (Pa rt Fin e Tu n e )
Adjusts the pitch of the part’s sound up or down in 1-cent steps (+/ -
Pa tch / Rh y th m (Pa tch / Rh y th m Se t)
50 cents).
Sets the assignment of a patch (PAT) or rhythm set (RHY) to each of
the parts.
Value: -50– +50
One cent is 1/ 100th of a semitone.
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Cre a tin g a Mu ltitim b re
Mo n o / Po ly (Pa rt Mo n o / Po ly )
Cu to ff O ffse t (Pa rt Cu to ff O ffse t)
Set this parameter to “MON” when the patch assigned to the part is
to be played monophonically, or to “POL” when the patch is to be
played polyphonically. When using the setting of the patch assigned
to each part (p. 47), set this to “PAT.”
Adjusts the cutoff frequency for the patch or rhythm set assigned to
a part.
Value: -64– +63
Value: MON, POL, PAT
Patches also have a Cutoff Offset setting (p. 47). The final Cutoff
frequency value is the sum of the tone Cutoff Frequency value
and the patch and part Cutoff Frequency Offset values. If the
tone’s cutoff frequency is already set to “127” (maximum), there
will be no change produced by setting the Cutoff Frequency
Offset to a positive value.
For the part to which the rhythm set is assigned, this setting is
ignored.
Le g a to Sw itch (Pa rt Le g a to Sw itch )
You can add legato when performing monophonically. Legato is a
playing style in which the spaces between notes are smoothed,
creating a flowing feel with no borders between the notes. This
creates a smooth transition between notes, which is effective when
you wish to simulate the hammering-on and pulling-off techniques
used by a guitarist.
Re so n a n ce O ffse t (Pa rt Re so n a n ce O ffse t)
Adjusts the Resonance for the patch or rhythm set assigned to a part.
Value: -64– +63
Patches also have a Resonance Offset setting (p. 47). The final
Resonance value is the sum of the tone Resonance value and the
patch and part Resonance Offset values. If the tone’s resonance is
already set to “127” (maximum), there will be no change
produced by setting the resonance offset to a positive value.
Turn this parameter “ON” when you want to use the Legato feature
and “OFF” when you don’t. When using the setting of the patch
assigned to each part (p. 48), set this to “PAT.”
Value: OFF, ON, PAT
Atta ck Tim e O ffse t (Pa rt Atta ck Tim e O ffse t)
For the part to which the rhythm set is assigned, this setting is
ignored.
Adjusts the TVA Envelope Attack Time for the patch or rhythm set
assigned to a part.
Pitch Be n d Ra n g e (Pa rt Pitch Be n d Ra n g e )
Value: -64– +63
Specifies the amount of pitch change in semitones (2 octaves) that
will occur when the Pitch Bend Lever is moved. The amount of
change when the lever is tilted is set to the same value for both left
and right sides. When using the setting of the patch assigned to each
part (p. 49), set this to “PAT.”
Patches also contain the Attack Time Offset setting (p. 48). The
final TVA Envelope attack time value is therefore the sum of the
tone’s TVA Envelope Time 1 setting, the patch’s Attack Time
Offset, and the part’s Attack Time Offset. If the tone’s Time 1
parameter is already set to “127” (maximum), there will be no
change produced by setting the Attack Time Offset to a positive
value.
Value: 0–24, PAT
Po rta m e n to Sw itch (Pa rt Po rta m e n to Sw itch )
Specify whether portamento will be applied. Turn this parameter
“ON” when you want to apply Portamento and “OFF” when you
don’t. When using the setting of the patch assigned to each part (p.
48), set this to “PAT.”
Re le a se Tim e O ffse t (Pa rt Re le a se Tim e O ffse t)
Adjusts the TVA Envelope Release Time for the patch or rhythm set
assigned to a part.
Value: OFF, ON, PAT
Value: -64– +63
Po rta m e n to Tim e (Pa rt Po rta m e n to Tim e )
When portamento is used, this specifies the time over which the
pitch will change. Higher settings will cause the pitch change to the
next note to take more time. When using the setting of the patch
assigned to each part (p. 49), set this to “PAT.”
Patches also contain a Release Time Offset setting (p. 48). The
final TVA Envelope release time value is therefore the sum of the
tone’s TVA Envelope Time 4 setting, the patch’s Release Time
Offset, and the part’s Release Time Offset. If the tone’s Time 4
parameter is set to “127” (maximum), there will be no change in
the Release Time Offset, even when this is set to a positive value.
Value: 0–127, PAT
For the part to which the rhythm set is assigned, this setting is
ignored.
De ca y Tim e O ffse t (Pa rt De ca y Tim e O ffse t)
Adjusts the TVA Envelope Decay Time for the patch or rhythm set
assigned to a part.
Value: -64– +63
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Cre a tin g a Mu ltitim b re
Vib ra te Ra te (Pa rt Vib ra te Ra te )
Ke y Ra n g e Lo w e r (Pa rt Ke y b o a rd Ra n g e
Lo w e r)
For each part, adjust the vibrato speed (the rate at which the pitch is
modulated). The pitch will be modulated more rapidly for higher
settings, and more slowly with lower settings.
Value: -64– +63
Specifies the lowest note that the tone will sound for each part.
Value: C-1–UPPER
Ke y Ra n g e Up p e r (Pa rt Ke y b o a rd Ra n g e
Up p e r)
Vib ra te De p th (Pa rt Vib ra te De p th )
For each part, this adjusts the depth of the vibrato effect (the depth at
which the pitch is modulated). The pitch will be modulated more
greatly for higher settings, and less with lower settings.
Value: -64– +63
Specifies the highest note that the tone will sound for each part.
Value: LOWER–G9
patch, sounds are produced in the range where the Key Range of
Vib ra te De la y (Pa rt Vib ra te De la y )
each tone and the Key Range for the part overlap.
fig.05-10.e
For each part, this adjusts the time delay until the vibrato (pitch
modulation) effect begins. Higher settings will produce a longer
delay time before vibrato begins, while lower settings produce a
shorter time.
Key range specified for Performance
Value: -64– +63
Key range specified for Patch
O cta ve Sh ift (Pa rt O cta ve Sh ift)
The range in which notes will play
Adjusts the pitch of the part’s sound up or down in units of an
octave (+/ -3 octaves).
Value: -3– +3
If you attempt to raise the lower key higher than the upper key,
or to lower the upper key below the lower key, the other value
will be automatically modified to the same setting.
Note that when a rhythm set is assigned to a part, if the Octave
Shift parameter is set, the rhythm tone that is played also
changes.
Ke y Fa d e Up p e r (Pa rt Ke y b o a rd Fa d e W id th
Up p e r)
This determines what will happen to the part’s level when a note
that’s higher than the part’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
Ve l Se n s O ffse t (Pa rt Ve lo city Se n sitivity
O ffse t)
This changes the volume and cutoff frequency for each part
according to the velocity with which the keys are pressed. If you
want strongly played notes to raise the volume/ cutoff frequency, set
this parameter to positive (+) settings. If you want strongly played
notes to lower the volume/ cutoff frequency, use negative (-)
settings. Set Velocity Sensitivity to “0” when you want sounds
played at a fixed volume and cutoff frequency, regardless of the
force with which the keys are played.
Value: 0–127
fig.Key Range.e
Level
Pitch
Value: -63– +63
Fade Upper
Range Upper
Fade Lower
Patches also contain a Velocity Sensitivity Offset setting (p. 48).
The ultimate Velocity Sensitivity Offset value is the sum of the
part’s and the patch’s Velocity Sensitivity Offsets. Accordingly,
if the patch’s Velocity Sensitivity Offset parameter is set to “127”
(maximum), there will be no change in the part’s Velocity
Sensitivity Offset, even when this is set to a positive value.
Ke y Fa d e Lo w e r (Pa rt Ke y b o a rd Fa d e W id th
Lo w e r)
This determines what will happen to the part’s level when a note
that’s lower than the part’s specified keyboard range is played.
Higher settings produce a more gradual change in volume. If you
don’t want the tone to sound at all when a note below the keyboard
range is played, set this parameter to “0.”
Value: 0–127
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Cre a tin g a Mu ltitim b re
Vo ice Re se rve
Ma k in g Se ttin g s fo r Re ce ivin g MIDI
This setting specifies the number of voices that will be reserved for
each part when more than 64 voices are played simultaneously.
Value: 0–63, FUL
(MIDI)
fig.08-09_50
It is not possible for the settings of all parts to total an amount
greater than 64. The remaining number of available voices will
be displayed at (rest= ). Pay attention to this readout as you
make set the Voice Reserve parameter.
Ca lcu la tin g th e N u m b e r o f Vo ice s Be in g
Use d
The Fantom is able to play up to 64 notes simultaneously. The
polyphony, or the number of voices (sounds) does not refer
only to the number of sounds actually being played, but
changes according to the number of tones used in the patches,
and the number of Waves used in the tones. The following
method is used to calculate the number of sounds used for one
patch being played.
For details on the setting, refer to “How to Make the
Pa rt MIDI
Re ce ive Ch a n n e l
Specifies the MIDI receive channel for each part.
(Number of Sounds Being Played) x (Number of Tones Used by
Patches Being Played) x (Number of Waves Used in the Tones)
Value: 1–16
If this is set to the same channel as the Multitimbre Ctrl Ch
parameter (SYSTEM/ MIDI), attempting to switch patches by
transmitting only a program change from an external device will
actually cause the multitimbre to change. If you want to switch
patches, change the Multitimbre Ctrl Ch parameter to another
messages together (Q&A; p. 14).
Re ce ive Sw itch
For each part, specify whether MIDI messages will be received (ON),
or not (OFF).
If this is “OFF,” the part will respond to the keyboard, but not to the
internal sequencer or external MIDI devices. Normally, you should
leave this “ON,” but you can turn it “OFF” when you do not want a
specific part to be playing during song playback.
Value: OFF, ON
So lo Pa rt Se le ct
Select one part whose sound you want to play. Turn it “SEL” to the
part that you want to solo. Parts other than the part you select here
will not sound.
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Cre a tin g a Mu ltitim b re
Mu te Sw itch
Pa n (Re ce ive Pa n Sw itch )
Temporarily mutes (MUT) or releases the mute (OFF) for the
performance of each part.
For each MIDI channel, specify whether MIDI Pan messages will be
received (ON), or not (OFF). Assigning a check mark (●) will turn it
on, and removing the check mark will turn it off.
Use this setting when, for example, you want to use the instrument
for karaoke by muting the part playing the melody, or when you
want to play something using a separate sound module.
Value: OFF, MUT
Ex p re ssio n (Re ce ive Ex p re ssio n Sw itch )
For each MIDI channel, specify whether MIDI Expression messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
The Mute Switch parameter does not turn the part off, but sets
the volume to minimum so that no sound is heard. Therefore,
MIDI messages are still received.
Ho ld -1 (Re ce ive Ho ld 1 Sw itch )
For each MIDI channel, specify whether MIDI Hold 1 messages will
be received (ON), or not (OFF). Assigning a check mark (●) will turn
it on, and removing the check mark will turn it off.
MIDI Filte r
Pro g ra m Ch a n g e (Re ce ive Pro g ra m Ch a n g e
Sw itch )
Ph a se Lo ck (Ph a se Lo ck Sw itch )
Set Phase Lock to “●” (ON) when you want to suppress
For each MIDI channel, specify whether MIDI Program Change
messages will be received (ON), or not (OFF). Assigning a check
mark (●) will turn it on, and removing the check mark will turn it
off.
discrepancies in timing of parts played on the same MIDI channel.
When the Phase Lock parameter is set to “ON,” parts on the
same MIDI channel are put in a condition in which their timing
is matched, enabling them to be played at the same time.
Accordingly, a certain amount of time may elapse between
reception of the Note messages and playing of the sounds. Turn
this setting to “ON” only as needed.
Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )
For each MIDI channel, specify whether MIDI Bank Select messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
Ve lo city Cu rve
Pitch Be n d (Re ce ive Pitch Be n d Sw itch )
Velocity Curve selects for each MIDI channel one of the four
following Velocity Curve types that best matches the touch of the
connected MIDI keyboard.
For each MIDI channel, specify whether MIDI Pitch Bend messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
Value: 1–4
Ch a n n e l Pre ssu re (Re ce ive Ch a n n e l Pre ssu re
Sw itch )
fig.Curve-4
For each MIDI channel, specify whether MIDI Channel Pressure
messages will be received (ON), or not (OFF). Assigning a check
mark (●) will turn it on, and removing the check mark will turn it
off.
1
2
3
4
Po ly Ke y Pre ssu re (Re ce ive Po ly p h o n ic Ke y
Pre ssu re Sw itch )
For each MIDI channel, specify whether MIDI polyphonic key
pressure messages will be received (ON), or not (OFF). Assigning a
check mark (●) will turn it on, and removing the check mark will
turn it off.
Mo d u la tio n (Re ce ive Mo d u la tio n Sw itch )
For each MIDI channel, specify whether MIDI Modulation messages
will be received (ON), or not (OFF). Assigning a check mark (●) will
turn it on, and removing the check mark will turn it off.
Vo lu m e (Re ce ive Vo lu m e Sw itch )
For each MIDI channel, specify whether MIDI Volume messages will
be received (ON), or not (OFF). Assigning a check mark (●) will turn
it on, and removing the check mark will turn it off.
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Cre a tin g a Mu ltitim b re
Se ttin g Effe cts fo r a Mu ltitim b re
(Effe cts/ MFX/ MFX Co n tro l/ Ch o ru s/
Re ve rb )
Eq u a l Te m p e ra m e n t
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The Fantom employs equal temperament when the Scale
Tune Switch is set to “OFF.”
For details regarding effect settings, refer to the pages shown
below.
Mode” (p. 170)
Ju st Te m p e ra m e n t (To n ic o f C)
Ara b ia n Sca le
Sca le Tu n e Se ttin g s (Sca le Tu n e )
In this scale, E and B are a quarter note lower and C#, F# and G#
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and
Eb and F# have a natural third—the interval between a major
third and a minor third. On the Fantom, you can use Arabian
temperament in the three keys of G, C and F.
fig.08-11_50
<Example>
Note
name
Equal tem-
perament
Just Tempera- Arabian Scale
ment (tonic C)
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
-8
+4
E
+16
-14
-2
-12
-51
-8
For details on the setting, refer to “How to Make the
F
C–B (Pa rt Sca le Tu n e C–B)
F#
G
-10
+2
+43
-4
Make scale tune settings for each part.
G#
A
+14
-16
+14
-12
+47
0
Value: -64– +63
Bb
B
-10
-49
Scale Tune is switched on/ off by means of the Scale Tune Switch
parameter (SYSTEM/ Scale Tune) (p. 186).
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Cre a tin g a Mu ltitim b re
Ch a n g in g th e Se ttin g s o f th e
Pa tch Assig n e d to a Pa rt
When using patches in Multitimbre mode, some settings such as
effects settings will be affected by multitimbre settings. If you wish
to edit a patch while hearing how it will sound in the multitimbre,
use this procedure:
* Here we explain how to change the setting of a patch assigned to a part.
The procedure for changing the settings of rhythm sets is the same.
Substitute “rhythm set” wherever “patch” appears in a sentence.
1 . Make sure the MULTITIMBRE PLAY screen is displayed.
2 . Move the cursor to the part list, and press
or
to
select the part whose assigned patch you want to change.
3 . Press [MENU].
The Menu window appears.
fig.08-01_50
4 . Press
or
to select a “Part Patch Edit,” and then
press [8 (Select)].
The Patch Edit screen will appear for the patch that is assigned
to the part you selected in step 2.
fig.06-15_50
5 . If you want to make settings for a different part, press [4
(Part Select)], and select it in the Part Select window that
appears.
fig.06-16_50
6 . The rest of the procedure is the same as when making
changes in Patch mode (p. 42).
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Pla y in g Ba ck a So n g
This chapter explains how you can use the Fantom’s sequencer to
Pla y in g Ba ck So n g s
play back a song.
Co n se cu tive ly (Ch a in Pla y )
The Chain Play function lets you consecutively play back (Quick
programmed playback feature found on some CD players.
Since not only songs but also sounds (data files) can be loaded, you
can play back songs using a wide variety of sounds.
When you play back a song, we recommend that you use the
sound generator in Multitimbre mode (p. 106). In Multitimbre
mode, up to sixteen different sounds can be played separately by
the sixteen parts, making this mode ideal for playing songs that
are multi-instrument ensembles of drums, bass, piano, etc.
Cre a tin g a Ch a in
Before you use Chain Play, you must create a chain that contains the
playback order of songs or data files. One chain can contain up to 99
“steps” of songs or data files.
Pla y in g a So n g Im m e d ia te ly
fro m Disk (Q u ick Pla y )
The Fantom is able to play a song from disk immediately, without
first loading the song into internal memory. This is called the Quick
Play function.
1 . Into the disk drive, insert the disk that contains the songs
you want to play back.
Quick Play can be used with MRC Pro songs (extension: .SVQ) and
Standard MIDI Files (extension: .MID).
2 . Press [MENU] to access the Menu window.
3 . Use
(Select)].
The Chain Play screen appears.
or
to select “Chain Play,” and then select [8
1 . Into the disk drive, insert the disk that contains the song you
want to play.
fig.09-01.e
2 . Use [CURSOR] to move the cursor to the song file name in
Step number
Play mode
Chain file name
the upper part of the PLAY screen.
fig.07-04
3 . Turn the VALUE dial or press [INC]/[DEC] to select the song
that you want to play.
•
•
If a chain already exists in internal memory, and you want to
create a new chain, you will need to erase the existing chain. To
erase the chain, press [6 (Clear All)]. The display will ask “Clear
All Steps. OK?,” so press [8 (Execute)]. If you decide not to erase
the chain, press [EXIT].
When the cursor is located at the song file name, you can press
[LIST] to access the Song List window, and choose from a list of
songs on the disk.
To delete a specific step, move the cursor to the step that you
want to delete, and press [5 (Delete)].
4 . Press [STOP/PLAY] to start playback.
When the song finishes playing, it will stop automatically. If you
want to stop playback midway through the song, press [STOP/
PLAY].
4 . Press [4 (Insert)].
The Select Song File window appears.
fig.09-02_50
If you have interrupted song playback, “+” may be displayed at
the right of the measure number. This indicates that the song is
stopped in mid measure.
If the Select Sound window appears, press [3 (Song)].
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Pla y in g Ba ck a So n g
5 . Use
or
to specify the songs in the chain, in the
Sa vin g a Ch a in to Disk (Sa ve )
Any chain you create can be saved to disk as a Chain file.
desired order of playback.
1 . Into the disk drive, insert the disk on which you want to save
•
•
•
By holding down [SHIFT] and pressing
or
you can
the chain file.
jump to the beginning or end of the song list.
2 . Access the Chain Play screen (p. 122).
By pressing [6 (Select All)] you can add all songs on the disk to
the chain.
3 . Press [2 (Save)].
The Save Chain File window appears.
fig.09-03_50
To add sounds (data files) to the chain, press [4 (Sound)], and
make your selection in the Select Sound window that appears.
6 . When you are finished selecting songs for the chain, press
[EXIT] to close the Select Song File window.
•
•
If a chain already exists in internal memory, you can insert
additional songs at the cursor location (the current step).
4 . Assign a file name (up to 8 characters). Press [5 (Name)],
and in the Name window that appears, assign the desired file
name.
By holding down [SHIFT] and pressing
jump to the first or last step.
or
you can
For details on assigning a name, refer to “Assigning a Name”
7 . Next, specify how the songs registered in the chain are to
begin playing (Play Mode). In the chain, move the cursor to
the song whose Play Mode you want to set, and press [7
(Play/Wait)] to switch the setting.
(p. 30).
If you want to see a list of the chain files saved on the disk, press
[6 (List)]. If you want to select one of these file names, move the
cursor to the desired chain name, and press [8 (Select)].
PLAY: The song will begin playing automatically.
WAIT: The song will begin playing when you press [STOP/
PLAY].
5 . Press [8 (Execute)] to save the file.
The chain file will be given a filename extension of “.SVC”.
•
•
If you assign a file name that is the same as the name of a file
already existing on the disk, and attempt to perform a save, a
message of “File “****” Already Exists! Over Write OK?” will
appear. If it is OK to overwrite the existing file, press [7 (OK)]. To
cancel the Save operation, press [8 (Cancel)].
If you attempt to save data on a disk that has not been formatted
by the Fantom, a message of “Unformatted Disk” will appear.
Please format the disk on the Fantom (p. 191).
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Pla y in g Ba ck a So n g
Lo a d in g a Ch a in fro m Disk (Lo a d )
Here’s how to load a previously saved Chain file from disk.
Va rio u s Pla y b a ck Me th o d s
1 . Into the disk drive, insert the disk that contains the desired
Fa st-Fo rw a rd a n d Re w in d Du rin g
Pla y b a ck
as well as while stopped. Use the following procedures for each
operation.
chain file.
2 . Access the Chain Play screen (p. 122).
3 . Press [1 (Load)].
The Load Chain File window appears.
fig.09-04_50
Fast-forward: Press [FWD].
Continuous fast-forward: Press and hold [FWD].
Rapid fast-forward: Press [FWD] and then press [BWD].
Rewind: Press [BWD].
Continuous rewind: Press and hold [BWD].
Rapid rewind: Press [BWD] and then press [FWD].
Jump to the previous locate position: Hold down [SHIFT] and
press [BWD].
4 . Use
or
to select to select the chain file that you
want to load, and then press [8 (Select)].
The selected chain file will be loaded, then you’ll be returned to
the Chain Play screen.
Jump to the next locate position: Hold down [SHIFT] and press
[FWD].
Jump to the beginning of the song: Press [RESET].
Pla y in g a Ch a in
Here’s how to play back the songs in the order of the chain you
•
•
A certain amount of time may be required for fast-forward,
rewind, or jump during Quick Play.
created.
1 . Access the Chain Play screen (p. 122).
Song playback will be interrupted if you jump to the beginning
or end of the song while the song is playing.
3 . If you want to perform Chain Play repeatedly, press [8
(Repeat)] and assign a check mark (●) to “Repeat All
Songs.”
Pla y in g Ba ck Co rre ctly fro m th e
Mid d le o f th e So n g (MIDI Up d a te )
4 . Press [STOP/PLAY] to start Chain Play.
When you play back from the middle of a song, for example after
fast-forward or rewind, the correct patch may not be selected, or the
pitch may be incorrect. This is because the MIDI messages in the area
that you skipped have not been transmitted to the sound generator.
In such cases, you can use the MIDI Update function. When you
perform MIDI Update, the MIDI messages (other than Note
messages) from the beginning of the song until the location to which
you moved will be transmitted to the sound generator, ensuring that
the sound generator will be in the correct state for the resumption of
playback.
Playback will begin, starting from the song of step 1. If you want
to stop playback before it is finished, press [STOP/ PLAY].
•
•
If you want to begin playback from midway through the chain,
use or to move to the desired step, and then press
[STOP/ PLAY].
If you want to proceed to the next step during Chain Play,
press . If you want to return to the beginning of the current
step during Chain Play, press
.
1 . Make sure that song playback is stopped.
5 . When you are finished with Chain Play, press [STOP/PLAY].
It is not possible to perform MIDI Update while the song is
playing.
Chain Play cannot be started or stopped by a Start or Stop
message from an external MIDI device. Nor will MIDI Continue,
Song Position Pointer, Song Select, or Clock messages be
received.
2 . Hold down [SHIFT] and press [STOP/PLAY].
The display will indicate “MIDI Update...” while processing
takes place, and when finished, will indicate “Complete !”
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Pla y in g Ba ck a So n g
Mu tin g th e Pla y b a ck o f a Sp e cific
In stru m e n t
Pla y in g a So n g Ba ck a t a Fix e d
Te m p o (Mu tin g th e Te m p o Tra ck )
If you want to silence the playback of a specific instrument, you can
mute the phrase track that contains the sequencer data for that
instrument.
If the tempo changes while a song is being played back, this is
because those tempo changes have been recorded in the Tempo
track. If you want to override these tempo changes and play back at
a fixed tempo, you can mute the Tempo track.
For details on the procedure, refer to “Silencing the Playback
of a Track (Mute)” (p. 137).
For details on this operation, refer to “Silencing the Playback
of a Track (Mute)” (p. 137).
Ch a n g in g th e Pla y b a ck Te m p o o f a
So n g
The tempo at which a song will play back is recorded on its tempo
track, but the tempo of the entire song can be adjusted during
playback. The tempo at which the song actually plays is called the
playback tempo.
Pla y in g Ba ck a S-MRC Fo rm a t So n g
The Fantom is able to play back S-MRC format songs created on the
MC-50 in the same way as MRC Pro songs or Standard MIDI Files.
However, S-MRC format songs cannot be Quick Played. You must
first load them into internal memory and convert them to MRC Pro
song format before playing them.
The playback tempo is a temporary setting. It will be lost if you
switch to another song or turn off the power. If you want the
song to always play back at this tempo, you must re-save the
song to disk (p. 135).
For details on the procedure, refer to “Loading a File from Disk
Pla y in g Ba ck a So n g Re p e a te d ly
(Lo o p Pla y )
1 . Use [CURSOR] to move the cursor to the tempo display
(
=**) in the upper part of the PLAY screen.
Use the Loop function when you want to repeatedly play back an
2 . Turn the VALUE dial or press [INC]/[DEC] to set the playback
entire song or just a specified portion of a song.
tempo.
1 . Use [CURSOR] to move the cursor to “LOOP” in the upper
part of the PLAY screen.
The playback tempo can be adjusted over a range from one half
to double the tempo change values recorded in the tempo track.
2 . Turn the VALUE dial or press [INC] to turn the Loop switch
on.
fig.09-05
If you want to reset the playback tempo to the tempo change
values recorded in the tempo track, hold down [JUMP] and turn
the VALUE dial or press [INC]/ [DEC].
Usin g a Co n tro lle r to Ch a n g e th e Pla y b a ck
Te m p o
You can assign the Tempo Control function to any one of the
following controllers, which then makes it easy to adjust the
tempo during song playback. For details on how to make this
setting, refer to the explanatory page for each controller.
Now you can perform Loop playback for the region and number
of times specified in the Loop window.
•
•
•
Realtime controllers (p. 163)
D Beam controller (p. 162)
A pedal connected to the CTL 1/ CTL 2 PEDAL jack (p. 164)
Points)” (p. 139).
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Pla y in g Ba ck a So n g
Usin g th e D Be a m Co n tro lle r to
Sta rt/ Sto p So n g Pla y b a ck
You can start/ stop song playback by passing your hand over the D
Beam controller.
1 . Select the song that you want to play back (p. 122).
2 . Hold down [JUMP] and press D BEAM [ON/OFF].
The D Beam window appears.
fig.09-06_50
3 . Use [CURSOR] to move the cursor to “Assign.”
4 . Turn the VALUE dial or press [INC]/[DEC] to set this to
“START/STOP.”
5 . Press D BEAM [ON/OFF] to turn on the D Beam controller.
6 . When you pass your hand across the D Beam controller,
song playback will start. When you pass your hand across it
once again, playback will stop.
You can also start/ stop song playback by using a pedal
connected to the CTL 1/ CTL 2 PEDAL jack (p. 184).
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Re co rd in g So n g s
This chapter explains the procedure for using the Fantom’s
Se le ct th e So u n d to b e Use d fo r
Re co rd in g
sequencer to record a song.
Before you record a song, select the sound that you want to use for
recording. Select the recording method that is appropriate for your
situation.
Normally, when recording or playing back a song, you will put
the sound generator in Multitimbre mode. The reason for this is
that in this mode, only the sound of the specified MIDI channel
will be heard when you record while playing the keyboard of the
Fantom, and that when the song is played back, the parts can
independently play up to 16 different sounds. Thus, Multitimbre
mode is suitable for recording and playing back a song that uses
an ensemble of multiple instruments, such as drums, bass, and
piano.
Mu ltitim b re
Select a multitimbre when you want to record an ensemble
performance using multiple instruments. When recording a song, we
recommend that you normally select a multitimbre.
Pe rfo rm a n ce
Select a performance if you want to use multiple patches sounded
together (a Layer) to create a richer sound when you record your
playing, or if you want to play separate patches in different areas of
the keyboard (a Split).
Tw o Re co rd in g Me th o d s
You can use one of two methods of recording: realtime recording or
step recording. Select the method that is appropriate for your
situation.
Pa tch / Rh y th m se t
Select a patch or rhythm set if you want to use a single patch or
Re a ltim e Re co rd in g (p . 1 2 9 )
Realtime recording is the recording method in which your keyboard
playing and controller operations are recorded just as you perform
them.
Era sin g th e So n g fro m In te rn a l
Me m o ry (So n g In itia lize )
When you record a song, the sequencer data is temporarily recorded
in internal memory. If you want to record a new song, you must
erase any existing sequencer data from internal memory.
Ste p Re co rd in g (p . 1 3 2 )
Step recording is the recording method in which you can input notes
and rests one by one. This method is suitable for inputting drums or
bass with precise timing. In addition to using notes, you can also
create a song by putting patterns together.
If internal memory contains an important song that you want to
keep, you should first save that song to disk (p. 135).
1 . Access the Song Edit screen (p. 136).
Be fo re Yo u Re co rd a N e w
So n g
2 . Press [3 (Init)].
The Song Initialize window appears.
fig.10-01_50
O ve rvie w o f th e Re co rd in g Pro ce ss
1 . Select a sound
2 . Clear the internal memory
3 . Press [8 (Execute)] to execute the operation.
indicate “Complete !”
3 . Specify the time signature of the song (p. 128)
4 . Use realtime recording (p. 129) or step recording (p.
132) to record
song
6 . Save the song to disk (p. 135)
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Re co rd in g So n g s
Sp e cify in g th e Tim e Sig n a tu re o f a
Pa tte rn
Sp e cify th e Tim e Sig n a tu re
Before you record a new song, you must specify the time signature.
However, a time signature of 4/ 4 is automatically specified when
you perform the Song Initialize operation or when the power is
turned on, so you will need to make this setting only if you want to
record a new song in a different time signature.
Each pattern has a Pattern Beat setting that manages the time
signature of that pattern. The pattern beat acts as a guide when the
pattern is played or recorded, and is handled independently of the
time signature of the song (i.e., the time signature recorded in the
1 . Access the Song Edit screen (p. 136).
The pattern beat is normally set to a time signature of 4/ 4, but you
can change this setting when the song has a time signature other
than 4/ 4, or when you want to record a pattern with a time signature
different than that of the song.
2 . Press [7 (Micro Edit)].
The Microscope window appears.
3 . Move the cursor to “Track,” and select “BEAT” (beat track).
Only one pattern beat setting can be specified at the beginning of
each pattern. This means that it is not possible to change time
signatures midway through a pattern. Nor is it possible to delete the
pattern beat, or move or copy it.
The Microscope window for the beat track appears.
fig.10-02_50
1 . Press [MENU] to access the Menu window.
2 . Use
or
to select “Pattern Edit,” and then press [8
(Select)].
The Pattern Edit screen appears.
3 . Press [7 (Micro Edit)].
The Microscope window appears.
4 . Move the cursor to “Beat Change,” and specify the time
4 . Move the cursor to “Track,” and select the pattern whose
signature.
time signature you want to specify.
fig.10-03_50
If you want to change time signatures midway through the song,
Song” (p. 158).
When you are recording a pattern and want the pattern to have a
time signature other than 4/ 4, you will need to set the time
signature of the pattern separately from the time signature of the
song. Refer to “Specifying the time signature of a pattern,”
below.
5 . Move the cursor to “Pattern Beat,” and set the time
signature.
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Re co rd in g So n g s
Mo d e (Re co rd in g Mo d e )
Re co rd in g Yo u r Pe rfo rm a n ce
a s Yo u Pla y It
(Re a ltim e Re co rd in g )
Select how recording is to take place.
Value
MIX: Mix-recording will be carried out. Normally, you will record
using this method. If a performance has already been recorded on
the recording-destination track, your newly recorded performance
will be added to the existing performance without erasing it. By
using this in conjunction with Loop-recording, you can record
repeatedly over a specified area without erasing the previously
recorded performance. For example, this is a convenient way to
record a drum performance one instrument at a time; bass drum →
snare drum → hi-hat, etc.
Realtime Recording is the recording method in which your keyboard
playing and controller operations are recorded just as you perform
them. Use this recording method when you want to capture the
nuances of your own performance.
Ba sic O p e ra tio n fo r Re a ltim e
Re co rd in g
REPLACE: Replace-recording will be carried out. If a performance
be erased as you record your new performance. Use this when you
want to re-record.
1 . Make sure that the preparations for recording have been
(p. 127).
Co u n t In
If you want to record into an existing song, load the desired song
specify the measure at which you want to begin recording. The
measure at which recording will begin is indicated by the “M=”
in the upper part of each PLAY screen.
Select how recording is to begin.
Value
OFF: Recording will begin immediately when you press [STOP/
PLAY].
2 . Press [REC].
1 MEAS: When you press [STOP/ PLAY], a count (playback) will
begin one measure before the recording-start location, and recording
will begin when you reach the recording-start location.
2 MEAS: When you press [STOP/ PLAY], a count (playback) will
begin two measures before the recording-start location, and
recording will begin when you reach the recording-start location.
WAIT NOTE: Recording will begin when you play the keyboard or
press the Hold pedal.
The [REC] indicator will blink, and the Recording Standby
window appears.
fig.07-11_50
4 . When you are finished making settings in the Recording
Standby window, press [STOP/PLAY].
This window lets you set various parameters for realtime
recording.
When recording begins, the Realtime Recording window will
appear. In this window, you can specify the Punch-in/ out points
corresponding reference page. To close this window, press
[REC].
If you want to record a pattern, access the Pattern Edit screen (p.
139) and then press [REC].
3 . As basic settings, specify the following three parameters.
Use [CURSOR] to move the cursor to each parameter, and
turn the VALUE dial or press [INC]/[DEC] to make the setting.
5 . When you are finished recording, press [STOP/PLAY].
The [REC] indicator will go dark.
Tra ck
Specify the phrase track or pattern on which you want to record.
Value: AUTO, TRK 1–TRK 16
If you are not satisfied with the realtime recording you just
made, you can press [MENU], and from the Menu window that
appears, select “Undo Realtime Recording” to return to the state
prior to recording (Undo).
PTN001–PTN100 (* when recording on a pattern)
“AUTO” can be selected only when recording in Multitimbre
mode. If you select “AUTO,” the part (current part) selected in
the MULTITIMBRE PLAY screen will automatically be specified
as the recording-destination phrase track.
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Re co rd in g So n g s
MANUAL PUNCH IN: Manual punch-in recording will be
performed. Recording takes place (erasing the existing data) in the
area that you specify by pressing a pedal or button. This is
convenient when you want to re-record more than one location in
which you made a mistake. The song will play back when you begin
recording. When you press a pedal or button, playback will switch to
record mode, and will switch back to play mode when you press the
toggle between record and play modes.
Re co rd in g Te m p o Ch a n g e s in a
So n g (Te m p o Re co rd in g )
If you want the tempo to change during the song, you can record
those tempo changes in the Tempo track. If tempo changes have
already been recorded in the tempo track, they will be rewritten.
Set the following recording parameters in addition to the basic
settings described in step 3 of “Basic Operation for Realtime
Recording” (p. 129).
Te m p o Re c (Te m p o Re co rd in g Sw itch )
Sta rt Po in t
Specify whether tempo changes will be recorded (ON), or not (OFF).
Specify the measure and beat at which loop recording or auto punch-
in recording is to begin. It is not possible to specify the Clock.
Value: OFF, ON
En d Po in t
If you assign “TEMPO” as the function to be controlled by a
Specify the measure and beat at which loop recording or auto punch-
in recording is to begin. It is not possible to specify the Clock.
realtime control knob ([
]–[
]), you will be able to use knob
movements to control the tempo easily.
Usin g Au to Pu n ch -In Re co rd in g
Lo o p Re co rd in g a n d Pu n ch -In
Re co rd in g
1 . In the Recording Standby window, set the Loop/Punch
parameter to “AUTO PUNCH IN.”
You can record repeatedly over a specified area (Loop recording), or
2 . Set the Start Point/End Point parameters to the desired
re-record just that area (Punch-in recording).
punch points.
Set the following recording parameters in addition to the basic
settings described in step 3 of “Basic Operation for Realtime
Recording” (p. 129).
press [STOP/PLAY].
The song will begin playing. Recording will begin at the location
specified by the Start Point parameter. Playback will resume at
the location specified by the End Point parameter.
Lo o p / Pu n ch
Specify how loop recording or punch-in recording is to take place.
Value
4 . Press [STOP/PLAY] to stop playback.
OFF: Loop recording or punch-in recording will not occur.
LOOP (POINT): Recording takes place repeatedly, according to the
loop point settings.
Usin g Ma n u a l Pu n ch -In Re co rd in g
LOOP (1 MEAS): The one-measure area starting at the record-start
measure will be recorded repeatedly.
If you want to use a pedal connected to the CTL 1/ CTL 2 PEDAL
jack to specify the area for recording, you must first set the Pedal
1 or 2 Assign parameter (SYSTEM/ Controller) to “PUNCH I/ O”
(p. 184).
LOOP (2 MEAS): The two-measure area starting at the record-start
measure will be recorded repeatedly.
LOOP (4 MEAS): The four-measure area starting at the record-start
measure will be recorded repeatedly.
1 . In the Recording Standby window, set the Loop/Punch
LOOP (8 MEAS): The eight-measure area starting at the record-start
measure will be recorded repeatedly.
parameter to “MANUAL PUNCH IN.”
2 . Press [STOP/PLAY].
LOOP (16 MEAS): The sixteen-measure area starting at the record-
start measure will be recorded repeatedly.
Song playback will begin, and the Realtime Recording window
will appear.
fig.10-04_50
LOOP SONG ALL: The entire song from beginning to end will be
recorded repeatedly.
AUTO PUNCH IN: Auto punch-in recording will be performed. You
must pre-specify the area (punch points) in which recording is to
take place. This is convenient when you want to re-record over a
mistake. The song will play back when you begin recording. When
you reach the punch-in point, playback will switch to record mode.
3 . At the point where you want to begin recording, press [6
(Punch In)] or step on the pedal.
Playback will switch to record mode.
4 . At the point where you want to stop recording, once again
press [6 (Punch Out)] or step on the pedal.
You will return to playback mode.
5 . Press [STOP/PLAY] to stop playback.
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Re co rd in g So n g s
Ra te (Sh u ffle Q u a n tize Ra te )
Co rre ct th e Tim in g o f Yo u r Pla y in g
a s Yo u Re co rd (Re co rd in g Q u a n tize )
The Quantize function automatically corrects inaccuracies in the
timing of your keyboard performance, aligning the notes to accurate
timing intervals. During realtime recording, you can quantize while
you record.
Make this setting when using Shuffle Quantize. It specifies the
degree to which the backbeat will be separated from the downbeat
specified by the Shuffle Resolution parameter. With a setting of
“50%,” the backbeat will be exactly between adjacent downbeats.
With a setting of “0%,” the backbeat will be moved to the same
timing as the preceding downbeat. With a setting of “100%,” the
backbeat will be moved to the same timing as the following
downbeat.
Set the following recording parameters in addition to the basic
settings described in step 3 of “Basic Operation for Realtime
Recording” (p. 129).
Value: 0–100
Q u a n tize
Specify whether to quantize while recording.
Value
Se le ctin g th e Se q u e n ce r Da ta th a t
w ill Be Re co rd e d (Re co rd in g Se le ct)
When you use realtime recording, all of your sequencer data will
normally be recorded. If you want to avoid recording a specific type
of data, you can turn its Recording Select setting “OFF.”
OFF: Quantize will not be applied while recording.
GRID: Grid Quantize will be applied while recording. Use this when
you want the timing to be accurate, such as when recording drums
or bass.
fig.10-05.e
1 . Access the Recording Standby window (p. 129).
2 . Press [8 (RecSel)].
The Recording Select window appears.
fig.10-07_50
Grid quantize with Resolution = ꢀ
SHUFFLE: Shuffle Quantize will be applied while recording. Use
this when you want to give the rhythm a “shuffle” or “swing”
character.
fig.10-06.e
3 . Use
or
to select the sequencer data (MIDI
messages) that will be recorded.
Shuffle quantize with Rate = 75%
Note: Note messages. These MIDI messages represent notes.
Poly Aftertouch: Polyphonic aftertouch. These MIDI messages
apply aftertouch to individual keys.
Control Change: Control change messages. These MIDI
messages apply various effects such as modulation or
expression.
Grid Re so lu tio n
Make this setting when you are using Grid Quantize. Specify the
quantization interval in terms of a note value. Select the shortest note
value that will occur in the range to which Grid Quantize will be
applied.
Program Change: Program change messages. These MIDI
messages select sounds.
Channel Aftertouch: Channel aftertouch messages. These MIDI
messages apply aftertouch to an entire MIDI channel.
Pitch Bend: Pitch bend messages. These MIDI messages change
the pitch.
Value:
,
,
,
,
,
,
Stre n g th (Grid Q u a n tize Stre n g th )
Make this setting when you are using Grid Quantize. It specifies the
degree to which notes will be adjusted toward the timing intervals
specified by the Grid Resolution parameter. With a setting of
“100%,” the notes will be corrected precisely to the timing of the
Grid Resolution parameter. As you lower this setting, the note
timing will be corrected to a lesser extent, and with a setting of “0%”
the timing will not be adjusted at all.
System Exclusive: System exclusive messages. These MIDI
messages are used to make settings unique to the Fantom, such
as sound parameters.
4 . Press [8 (On/Off)] to specify whether the message will be
recorded or not recorded.
The message will be recorded if you assign a check mark (●),
and will not be recorded if you remove the check mark.
If you press [5 (All Off)], no sequencer data will be recorded.
If you press [6 (All On)], all of the sequencer data will be
recorded.
Value: 0–100
Sh u ffle Re so lu tio n
When you are using Shuffle Quantize, make this setting to specify
the note value used for quantization.
5 . Press [EXIT] to close the Recording Select window.
Value:
,
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Re co rd in g So n g s
Era sin g Un w a n te d Da ta W h ile Yo u
Re co rd (Re a ltim e Era se )
Realtime Erase is a function that erases unwanted data during
realtime recording. This is particularly convenient during loop
recording, since it lets you erase data without stopping recording.
In p u ttin g Da ta O n e Ste p a t a
Tim e (Ste p Re co rd in g )
Step Recording is the method of inputting notes and rests
individually, as if you were writing them onto a musical staff. In
addition to inputting notes, this method can also be used to create a
song by joining patterns.
Realtime Erase can be executed only if the Recording Mode is set
to “MIX.”
In p u ttin g N o te s a n d Re sts
1 . Make sure that the preparations for recording have been
(p. 127).
1 . Begin realtime recording (p. 129).
The Realtime Recording window appears.
fig.10-08_50
If you will be recording into an existing song, load the desired
specify the measure at which you want to start recording. The
recording-start measure is indicated by “M=” at the top of each
PLAY screen.
2 . Press [7 (Erase)].
The Realtime Erase window appears.
fig.10-09_50
2 . Access the Song Edit screen or the Pattern Edit screen (p.
136).
3 . Erase unwanted data.
3 . Press [6 (Step Rec)].
To erase all data (except for Pattern Call messages), press [8
(Erase All)]. Data will be erased for as long as you hold down the
button.
The [REC] indicator will blink, and the Step Recording Standby
window appears.
fig.10-10_50
To erase notes of a specific key, hold down that key. Data for
that note will be erased for as long as you hold down that key.
To erase notes of a specific key range, hold down the top and
bottom keys of that range. Data for that range will be erased for
as long as you hold down those keys.
4 . Make settings for step recording. Use [CURSOR] to move
the cursor to the desired parameter, and turn the VALUE dial
or press [INC]/[DEC] to set it.
4 . Press [EXIT] to close the Realtime Erase window.
You will return to the normal recording state.
Sta rt Po in t
Au d itio n in g So u n d s o r Ph ra se s
W h ile Re co rd in g
(Re h e a rsa l Fu n ctio n )
Specify the location (measure-beat-clock) at which recording will
begin.
The Rehearsal function lets you temporarily suspend recording
during realtime recording. This is convenient when you want to
audition the sound that you will use next, or to practice the phrase
that you will record next.
Tra ck
Specify the recording-destination phrase track or pattern.
Value
TRK 1–TRK 16: The specified phrase track
PTN 001–PTN 100: The specified pattern
1 . Begin realtime recording (p. 129).
The Realtime Recording window appears.
fig.10-08_50
Mo d e (Re co rd in g Mo d e )
Select how recording is to take place.
Value
MIX: Mix-recording will be carried out. Normally, you will record
using this method. If a performance has already been recorded on
the recording-destination track, your newly recorded performance
will be added to the existing performance without erasing it.
REPLACE: Replace-recording will be carried out. If a performance
has already been recorded on the recording-destination track, it will
be erased as you record your new performance. Use this when you
want to re-record.
2 . Press [8 (Rehersl)].
The [REC] indicator will blink, indicating that you are in
rehearsal mode. In this state, nothing will be recorded when you
play the keyboard.
3 . To return to record mode, press [8 (Rehersl)] once again.
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Re co rd in g So n g s
5 . Press [8 (Step Rec)].
1 0 . Repeat the above steps to continue inputting.
The [REC] indicator will light, and the Step Recording window
appears.
The previous value of each parameter is remembered. This
means that if you want to use the same settings as the previously
input note, there is no need to change the settings. Once you
have set the Gate Time parameter and Velocity parameter, it is
not normally necessary to change them, so all you have to do is
set the Step Time parameter and specify the pitch (note) of each
note.
6 . Press [3 (Note)].
The following window appears.
fig.10-11_50
1 1 . When you are finished step recording, press [EXIT] or
[STOP/PLAY].
The [REC] indicator will go dark.
If you are not happy with the results of the previous step
recording, you can press [MENU], and from the Menu window
that appears, select “Undo Step Recording” to return to the state
prior to recording (Undo).
7 . Specify the note that you want to input. Use [CURSOR] to
move the cursor to the desired parameter, and turn the
VALUE dial or press [INC]/[DEC] to make the setting.
Ste p Tim e
Th e Re la tio n b e tw e e n N o te Va lu e Le n g th
a n d Ga te Tim e
Specify the length of the notes that you want to input, in terms of a
note value. The length of the note value indicates the length from
one note-on to the next note-on.
The relation between the length of the note value and the gate
time is shown below. Since the Fantom’s sequencer uses a
TPQN (Ticks Per Quarter Note; i.e., resolution) of 480, a quarter
note gate time is 480 clocks.
Value:
,
,
,
,
,
,
,
,
,
,
,
,
,
,
,
Ga te Tim e (Ga te Tim e Ra tio )
Specify the proportion of the gate time relative to the step time. The
gate time is the length between note-on and note-off. Specify a lower
value if you want the notes to be played staccato, or a higher value if
you want the notes to be played tenuto, or as a slur. Normally, you
will set this to about “80%.”
Note
Gate time
30
40
45
60
Value: 1–100 %
80
90
Ve lo city
120
160
180
240
320
360
480
640
720
960
Specify the strength with which the note will be played. If you want
this to be the strength with which you actually pressed the key,
select “REAL.” Otherwise, use settings of p (piano)=60, mf (mezzo
forte)=90, or f (forte)=120 as general guidelines.
Value: 1–127
8 . Press a key on the keyboard.
When you press a key, the display will indicate the MIDI
channel “Ch,” note name “Note,” velocity “Vel,” and gate time
“Gate” of that note.
The note will not be finalized as long as you hold down the key.
This means that you will be able to modify the various
parameters of the note (Step Time, Gate Ratio, Velocity).
The gate time that is recorded in step recording will be the
original gate time value multiplied by the value of the Gate
Ratio parameter. For example, if the Gate Ratio parameter is
set to “80%,” inputting a quarter note will mean that the
gate time is 480 x 0.8=384.
9 . When you release the key, the note you input will be
finalized, and you will be ready to input the next note.
If you input a note or a rest by mistake, press [BWD] or [6 (Step
Back)] to delete it. When you delete a note, the deleted note will
sound by way of confirmation.
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Re co rd in g So n g s
In p u ttin g a Ch o rd
4 . Press [8 (Put Pattern)].
A Pattern Call message for the pattern selected by the Pattern
parameter will be recorded. You will advance by the length of
the measures in that pattern, and will be ready to input the next
pattern.
Press the chord. A chord will be input when you release all keys
simultaneously. The chord will not be input as long as even one key
remains pressed, so you can change the keys being pressed to correct
the chord.
If you input the wrong pattern, you can press [BWD] or [6 (Step
Back)] to delete the previously input Pattern Call message.
In p u ttin g a Tie
After specifying the Step Time parameter for the note that you want
to tie, press [7 (Tie)]. For example, if you want to tie a quarter note
after a half note, input the half note, and then set the Step Time
5 . Repeat the above steps to assign additional patterns.
6 . When you are finished with step recording, press [EXIT] or
[STOP/PLAY].
parameter to “ ” and press [7 (Tie)].
The [REC] indicator will go dark.
In p u ttin g a Re st
Set the Step Time parameter to the length of the desired rest, and
press [8 (Rest)].
If you are not satisfied with the step recording that you just
performed, press [MENU], and from the Menu window that
appears, select “Undo Step Recording” to return to the state
prior to recording (Undo).
Assig n in g a Pa tte rn to a Ph ra se
Tra ck
You can create a song by combining previously recorded patterns.
This is done using step recording to assign patterns to a phrase track.
However, please be aware that the patterns themselves are not
placed in the phrase track. Rather, Pattern Call messages are
placed in the phrase track to specify which pattern should be played
back. This means that if you later modify the contents of a pattern,
the song playback will also be affected.
When you assign a pattern to a phrase track, its pattern beat will
be ignored, and the pattern will use the time signature of the
beat track. If the pattern beat and the beat track have different
settings, the length of the measures will not match, and the
playback may become incorrectly aligned. If this occurs, re-
specify the time signature of the beat track (p. 128).
1 . Follow the procedure for “Inputting Notes and Rests” (p.
132) up through step 5.
2 . Press [4 (Pattern)].
The following window appears.
fig.10-12_50
3 . Turn the VALUE dial or press [INC]/[DEC] to select the
pattern number (1–100) that you want to assign to the
phrase track.
The pattern name of the selected pattern is displayed in “Name.”
“Beat” indicates the pattern beat, and “Length” shows the
number of measures in the pattern.
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Re co rd in g So n g s
•
Even if you save using “Save Song File,” the song will not use
the correct sounds when played back on a MRC Pro sequencer
other than the Fantom. In order to make the song play back with
the correct songs, you must record the appropriate bank select
and program number in the song.
Sa vin g a Re co rd e d So n g o n
Disk
A song you record is temporarily stored in internal memory. A song
in internal memory will be lost when the power is turned off or
when you load another song. If you want to keep the song, you must
save it to disk.
6 . After specifying the format in which the song will be saved,
press [8 (Select)].
The Save **** window appears.
fig.10-14_50
1 . Into the disk drive, insert the disk on which you will save the
song.
2 . Press [MENU] to access the Menu window.
3 . Use
or
to select “Song Edit,” and then press [8
(Select)].
The Song Edit screen appears.
The window title will depend on the format in which the song is
being saved.
4 . Press [2 (Save)].
The Select Command window appears.
fig.10-13_50
7 . Assign a file name (up to 8 characters). Press [5 (Name)],
and use the Name window that appears to assign a file
name.
For details on assigning a name, refer to “Assigning a Name”
5 . Use
saved.
or
to select the format in which the song will be
(p. 30).
Save Song File: The song will be saved to disk in MRC Pro song
format. The settings of the currently selected multitimbre/
performance will also be saved with the data. An extension of
“.SVQ” will be added automatically.
If a song name has already been assigned to the song, the first
eight characters of the song name will be used to automatically
assign a file name. If no song name has been assigned,
“SONG_000” will be assigned automatically.
Save SMF (Format 0): The song will be converted into a Format 0
Standard MIDI File (in which all sequencer data is saved in a single
phrase track), and saved to disk. An extension of “.MID” will be
added automatically.
If you want to view a list of the files stored on disk, press [6
(List)]. To select a file name from this list, move the cursor to the
desired file and press [8 (Select)].
Save SMF (Format 1): The song will be converted into a Format 1
Standard MIDI File (in which the sequencer data is saved in multiple
phrase tracks), and saved to disk. An extension of “.MID” will be
added automatically.
File N a m e a n d So n g N a m e
MRC Pro songs and Standard MIDI Files have a song name in
addition to a file name. The file name is used to distinguish
between files, and must be assigned when you save a file. It will
help you manage songs if you use the file name to distinguish
between types of song, and use the song name to assign a title.
•
•
The extension will be “.MID” for both “Save SMF (Format 0)”
and “Save SMF (Format 1).” These two cannot be distinguished.
When you save the data using “Save Song File,” the settings of
the patches and rhythm sets assigned to each part of the
multitimbre/ performance will not be saved.
•
When you save the data using “Save Song File,” the
Use the Song Name window to assign a song name (p. 137).
multitimbre/ performance settings at the time you saved the data
will be saved. This means that if the multitimbre/ performance
was modified midway through the song, and you save
immediately after recording, the song will start with the
multitimbre/ performance sounds that were selected at the time
of saving. If you modify the multitimbre/ performance during
the song, use the Microscope window to record the desired bank
select and program number data (corresponding to the
multitimbre/ performance settings from which you will start) at
the beginning of the song (p. 156).
8 . Press [8 (Execute)] to execute the operation.
•
If you assign a file name that is the same as the name of a file
already existing on the disk, then attempt to save it, a message of
“File “****” Already Exists! Over Write OK?” will appear. If you
want to overwrite the existing file, press [7 (OK)]. If you decide
to cancel without saving, press [8 (Cancel)].
•
If you attempt to save data to a disk that has not been formatted
by the Fantom, a message of “Unformatted Disk” will appear.
Please format the disk on the Fantom (p. 191).
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Ed itin g So n g s
This chapter explains the procedure for editing songs.
6 . Press [8 (Execute)].
When the song has finished loading, the performance data of the
loaded song will be displayed in the Song Edit screen.
fig.11-02.e
Lo a d in g th e So n g Yo u W a n t to
Ed it
Track number
Output destination of each track
Indicates the name of the currently
selected song, the measure location,
Status of each track
When you edit a song, you’re modifying a song that’s already
recorded into internal memory. When you’re going to edit a song
saved to disk, you have to first load it into the internal memory.
Measure number the time signature, and the sequencer status.
Measures
containing
sequencer data
The internal song will be lost if you turn power off or load
another song into internal memory. If internal memory contains
a song you wish to keep, you must save that song to disk (p.
135).
Measures
containing no
sequencer data
1 . Into the disk drive, insert the disk that contains the song you
want to edit.
2 . Press [MENU] to open the Menu window.
3 . Press
(Select)].
The Song Edit screen appears.
or
to select “Song Edit,” and then press [8
Locate number
Turns the RPS function on/off (RPS).
Turns Loop Play and Loop Recording
on/off (LOOP).
Indicates/sets the song’s playback tempo.
fig.SONG_50
If you play back the song while the Song Edit screen is
displayed, the screen will scroll in keeping with the song
playback location.
Usin g Diffe re n t So u n d Ge n e ra to rs
fo r Ea ch Tra ck
By specifying the output destination for each track, you can use a
variety of sound generators when playing back a song.
4 . Press [1 (Load)].
1 . Access the Song Edit screen.
The Load Song File window appears.
fig.11-01_50
2 . Use [CURSOR] to move the cursor to “Output” for the track
whose output destination you want to specify.
fig.11-03
5 . Use
or
to select the song that you want to edit, and
then press [8 (Select)].
The Load Song File window appears.
fig.11-01a_50
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Ed itin g So n g s
3 . By turning the VALUE dial or by pressing [INC]/[DEC], set
the value.
O ve ra ll Se ttin g s fo r th e So n g
OFF: The track will not be sounded.
Here you can assign a song name, make Locate Position settings, and
make other settings that affect the entire song. These settings are
saved when you save the song to disk.
INT: The track will be sounded by the Fantom’s internal sound
generator.
MIDI: The track will be sounded by an external sound generator
connected to the MIDI OUT connector.
BOTH: The track will be sounded by both the internal and
external sound generators.
Ba sic Pro ce d u re
1 . Access the Song Edit screen, and then load the song for
which you are going to make settings (p. 136).
2 . Press [5 (Setup)].
This setting will be ignored for tracks whose “Status” is set to
The Song Setup window appears.
“MUTE.”
fig.11-05_50
Sile n cin g th e Pla y b a ck o f a Tra ck
(Mu te )
If you wish to silence specific instruments during playback, you can
3 . Use
or
to select the parameter that you want to set,
mute the appropriate Phrase track containing that sequencer data.
and then press [8 (Select)].
1 . Access the Song Edit screen (p. 136).
A window for the selected parameter setting appears.
2 . Use [CURSOR] to move the cursor to “Status” for the track
4 . Set the parameter.
that you want to silence.
fig.11-04
Details on how to set each parameter are given below. For details
on settings for the RPS function, refer to “Settings for the RPS
Function” (p. 159).
5 . When you have finished making settings, press [EXIT] to
return to the Song Edit screen.
6 . If you want to save the settings you made, press [2 (Save)] to
save the song to disk (p. 135).
Assig n in g a N a m e to a So n g (So n g
N a m e )
Tracks in which no sequencer data has been recorded are
You can assign a song name to a song, or edit the song name. This
song name is independent of the file name assigned when saving a
song to disk. Although you are not required to assign a song name,
you can assign one using up to 15 characters, and you may find it a
convenient way to store a title or memo that will help you organize
your songs.
displayed as “EMPTY.”
3 . Turn the VALUE dial or press [DEC] to select “MUTE.”
Note that if you save a song with a Phrase track muted in the
Standard MIDI File format, that Phrase track’s data will not be
saved. If you save a song that has a muted Phrase track in the
MRC Pro song format, the mute status of the track will also be
saved.
Some commercially available Standard MIDI Files contain
copyright data. It is not possible to assign or modify the song
name for such songs.
1 . Access the Song Edit screen, and then load the song whose
song name you want to assign (p. 136).
If you set the tempo track (Tempo) “Status” to “MUTE,” the
tempo track will be muted. If tempo changes have been recorded
in a song, but you want to play the song at a fixed tempo, you
can mute the tempo track.
2 . Access the Song Setup window.
3 . Use
(Select)].
The Song Name window appears.
or
to select “Song Name,” and then press [8
fig.11-06_50
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Ed itin g So n g s
4 . Press
or
to move the cursor to the location where you
Assig n in g Ma rk e rs (Lo ca te
Po sitio n s) to a So n g
Markers can be assigned to any location in a song. These are called
Locate Positions. Normally, locations in a song are indicated as
“measure-beat-clock,” but a locate position is also displayed as an
absolute time of “hours:minutes:seconds:frames.”
want to input a character.
5 . Turn the VALUE dial or press [INC]/[DEC] to select a
character.
6 . Repeat steps 4 and 5 to assign a song name.
You can press [8 (Name)] and use the Name window to assign a
song name (p. 30).
Assig n in g a Lo ca te Po sitio n
Up to four locate positions can be assigned in each song.
Assig n in g a N a m e to a Pa tte rn
(Pa tte rn N a m e )
It is not possible to assign a locate position to a pattern.
1 . Load the song in which you want to specify a locate position
You can assign or modify the pattern name of each pattern. A
(p. 136).
pattern name of up to 10 characters can be assigned.
2 . Access the Song Setup window (p. 137).
1 . Load the song containing the pattern for which you want to
assign a name (p. 136).
3 . Use
(Select)].
The Locate window appears.
or
to select “Locate,” and then press [8
2 . Access the Song Setup window (p. 137).
3 . Use
(Select)].
The Pattern Name window appears.
or
to select “Pattern Name,” and then press [8
fig.11-08_50
fig.11-07_50
4 . Move the cursor to the “measure” or “beat” value of the
4 . Move the cursor to “Pattern,” and select the pattern for
locate number that you want to set.
which you want to assign a name.
5 . Turn the VALUE dial or press [INC]/[DEC] to set each value.
5 . Move the cursor to the pattern name.
At the bottom of the Song Edit screen, you will see the locate
numbers (
–
) of the locate positions you have specified.
6 . Press
or
to move the cursor to the location of the
character that you want to input.
7 . Turn the VALUE dial or press [INC]/[DEC] to select a
When you press [7 (Set)], the locate position will be stored as the
current location of the song. You can also set this by pressing [7
(Set)] while you listen during song playback.
character.
8 . Repeat steps 6 and 7 to assign the pattern name.
Mo vin g to a Lo ca te Po sitio n
You can press [8 (Name)] and use the Name window to assign a
pattern name (p. 30).
Use the following procedure to change the song location to a Locate
Position.
1 . Access the Locate window.
2 . Use
or
to move the cursor to the locate number of
the locate position to which you want to move.
3 . Press [8 (Jump)].
You will move to the specified locate position.
You can hold down [SHIFT] and press [BWD] to jump to the
preceding location position, or hold down [SHIFT] and press
[FWD] to jump to the next locate position.
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Ed itin g So n g s
Sp e cify in g th e Are a o f a So n g th a t
w ill Re p e a t (Lo o p Po in ts)
When using Loop Play or Loop Recording, you can use the loop
points you specify here to specify the repeated area, as an alternative
to repeating the specified number of measures.
Ed itin g Se q u e n ce r Da ta O ve r
th e Sp e cifie d Ra n g e
(Tra ck Ed it)
Track Edit lets you edit areas of sequencer data that you specify.
Ba sic O p e ra tio n fo r Tra ck Ed itin g
1 . Access the Song Edit screen, and then load the song you
If the song time signature is different than the pattern time
signature (pattern beat), the loop points will be displayed
differently in the song and pattern.
want to edit (p. 136).
1 . Load the song for which you want to set loop points (p. 136).
If you want to edit the pattern, access the Pattern Edit screen by
2 . Access the Song Setup window (p. 137).
selecting “Pattern Edit” from the Menu window.
fig.11-10.e
3 . Use
or
to select “Loop,” and then press [8 (Select)].
The Loop window appears.
Pattern number
fig.11-09_50
Indicates the name of the currently
selected song, the measure location,
Pattern name
Measure number the time signature, and the sequencer status.
Measures
containing no
sequencer data
4 . Move the cursor to the desired parameter, and turn the
Measures
containing
sequencer data
VALUE dial or press [INC]/[DEC] to make the setting.
Re p e a t
Select the number of repeats (1–99). If you want repetition to
continue until you press [STOP/ PLAY], set this to “INFINIT.”
Sta rt
Specify the location at which repetition is to begin.
Current location
Turns the RPS function on/off (RPS).
Turns Loop Play and Loop Recording
on/off (LOOP).
If you press [7 (Set)], the current location of the song will be set
as the starting location.
Indicates/sets the song’s playback tempo.
En d
If you select a song that is stored on disk, a message of “The
Song “****” is not Internal Song. Load anyway for Song Edit?”
will ask you for confirmation. If you want to erase the song from
the internal memory and load the new song, press [7 (OK)]. If
you decide not to erase the song from the internal memory, press
[EXIT].
Specify the location at which repetition will end. The location you
specify here will not be included in the repeated area.
If you press [7 (Set)], the current location of the song will be set
as the ending location.
2 . Press [8 (Track Edit)].
5 . If you press [8 (Loop)] to assign a check mark (●), looping
The Track Edit window appears.
will be turned on.
fig.11-11_50
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Ed itin g So n g s
3 . Use
or
to select the desired function, and press [8
Alig n in g a So n g ’s Tim in g (Q u a n tize )
(Select)].
Recording Quantize, which lets you quantize during realtime
recording. Alternatively, it is also possible to quantize a song that
has already been recorded.
A message like the following appears, prompting you to specify
the region that is to be affected by the track editing operation.
fig.11-12_50
The Fantom has a Preview function that allows playing back the
results of a Quantize operation while you are still setting parameters
(before actual execution). This helps to make optimal Quantize
settings.
4 . Specify the region that you want to edit. Use [CURSOR] to
move the cursor to the measure of the track or pattern that
you want to edit. If you want to specify all tracks, press [7
(TrkAll)]. To specify a range of measures, hold down [SHIFT]
The Quantize operation will correct only the timing at which
notes were pressed (note-on) and released (note-off), and will
not correct any other sequencer data. This means that if you
record MIDI messages such as bend range or modulation along
with notes, quantization can cause the notes to go out of sync
with the MIDI messages, skewing timing. To avoid such
problems it is better to record non-keyboard data afterward,
using mix recording, etc.
and press
.
The region you specify here will be reflected in the editing
region setting in the window of the track edit function.
5 . Once you’ve specified the region you intend to edit, press [8
(Select)].
A window with settings for the desired function appears. Verify
that the object of editing is as you specified earlier, and make
changes here if necessary.
1 . Access the Song Edit screen, and then load the song you
6 . Set the parameters for each function. Use [CURSOR] to
move the cursor to the desired parameter, and turn the
VALUE dial or press [INC]/[DEC] to set the value.
want to edit (p. 136).
2 . Press [8 (Track Edit)].
The Track Edit window appears.
For details on the setting windows of each track editing function,
refer to the following explanations of each function.
3 . Press
(Select)].
or
to select “Quantize,” and then press [8
A message of “QUANTIZE: Select target point.” appears.
7 . Press [8 (Execute)] to execute the operation.
When the operation is completed, the display will briefly
indicate “Complete !”
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern that you want to quantize.
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the track or pattern that you want to
quantize, and press [8 (Select)] to specify it.
The Track Edit (Quantize) window appears.
•
•
If you decide not to execute the operation, press [EXIT].
If you are not satisfied with the results of executing the function,
you can press [MENU], and from the Menu window that
appears, select “Undo Track Edit” to return to the state prior to
executing the operation (Undo).
fig.11-13_50
8 . If you want to save the edited result, press [2 (Save)] to save
the song to disk (p. 135).
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
editing operation, and then make corrections if you want to
change it.
Tra ck
Check/ modify the phrase track(s) or pattern that is to be quantized.
Value
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
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Ed itin g So n g s
fig.11-14.e
Me a su re , fo r (Ed it Ra n g e )
Original performance data
Check/ modify the range of measures that are to be quantized. If you
set “for” to “ALL,” all measures will be specified.
Ty p e (Q u a n tize Ty p e )
Rate= 25%
Rate= 50%
Specifies the Quantize range.
Value
GRID: Grid Quantize will be applied to recording. Since the notes
will be adjusted to the timing of the specified note value, you can use
this when you want drums or bass (for example) to play in an
accurate rhythm.
fig.10-05.e
Rate= 75%
Rate=100%
Grid quantize with Resolution = ꢀ
Up
beat
Up
beat
Up
beat
Up
beat
SHUFFLE: Shuffle Quantize will be applied to recording. Use this
when you want to produce a “shuffle” or “swing” rhythmic feel.
fig.10-06.e
Ra n g e
Specifies the range of note numbers to be quantized.
For example, if you want to quantize the notes between C3 and C4,
specify “C3–C4.” You can also specify the key range by pressing
keys on the keyboard.
Shuffle quantize with Rate = 75%
Ch a n n e l (MIDI Ch a n n e l)
Grid Re so lu tio n
Specifies the MIDI channel(s) of the notes to be quantized.
If you wish to quantize all notes, set this parameter to “ALL.” When
quantizing only the notes of a specific MIDI channel, select that
channel.
This parameter is used when Grid Quantize is selected. Specifies
quantization time interval as a note value. Choose a Resolution that
matches the smallest note in the area you’re quantizing.
Value:
,
,
,
,
,
,
Value: ALL, 1–16
Stre n g th (Grid Q u a n tize Stre n g th )
7 . When you are finished making settings, press [8 (Execute)]
This parameter is used when Grid Quantize is selected. This
parameter specifies a percentage of how note timing will be
corrected toward the timing interval that is specified by the
Resolution parameter. With a setting of “100%,” the note will move
all the way to the nearest timing interval of the Grid Resolution
setting. A setting of “0%” will not change note timing at all.
to execute.
Pre vie w Fu n ctio n
The Preview function allows you to hear how quantizing will
work while you are still setting Quantize parameters (before
you execute operation). This is called the Preview function. If
you modify parameter values during preview playback, the
next preview playback will include those latest value changes.
Try various parameter settings to find the one that works best.
Sh u ffle Re so lu tio n
This parameter is used when Shuffle Quantize is selected. Specifies
quantization time interval as a note value.
Value:
,
Ra te (Sh u ffle Q u a n tize Ra te )
Pattern Call events assigned to a phrase track or muted
phrase tracks cannot be previewed.
This parameter is used when Shuffle Quantize is selected. Specifies
how far apart you want a down-beat specified by the Shuffle
Resolution parameter to be from the up-beat that immediately
follows. By shifting the timing of an up-beat, you can create a
“swing” feel. A setting of “50%” will place the timing of the up-beat
note at the exact mid point between the down-beat and the next
down-beat. A setting of “0%” will move the up-beat note to the same
timing as the previous down-beat. A setting of “100%” will move it
to the same timing as the following down-beat.
Pressing [STOP/ PLAY] when the Track Edit (Quantize)
window is displayed selects Preview mode. The two measures
from the current location of the song will play back repeatedly.
The preview start location can also be specified by pressing
[FWD] or [BWD]. To exit Preview mode, press [STOP/ PLAY]
once again.
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Ed itin g So n g s
Sta tu s
Era sin g Un w a n te d Pe rfo rm a n ce
Da ta (Era se )
This function erases all the sequencer data inside the specified area.
As the erased data is replaced by rests, the original measures will
remain.
Selects the type of data to be erased.
Value
ALL: All types of sequencer data
NOTE: Note
P.AFT: Polyphonic Aftertouch
C.C: Controller numbers
PROG: Program numbers
C.AFT: Channel Aftertouch
BEND: Pitch Bend
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
2 . Press [8 (Track Edit)].
The Track Edit window appears.
3 . Press
(Select)].
or
to select “Erase,” and then press [8
EXC: System Exclusive messages
Tune: Tune Request
A message of “ERASE: Select target point.” will be displayed.
PTN: Pattern Call Message data
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern that you want to erase. To specify all tracks,
press [7 (TrkAll)].
If the Track parameter is set to “TEMPO,” the Status parameter
will not be available.
5 . Hold down [SHIFT] and press
to move the cursor to the
Ra n g e
last measure of the track or pattern that you want to erase,
and press [8 (Select)] to specify it.
If you have set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or
“PROG,” specify the range. Set the minimum value of the range at
the left, and the maximum value at the right.
The Track Edit (Erase) window appears.
fig.11-15_50
•
•
To erase all Note or Polyphonic Aftertouch data, specify “C-1–
G9.” To erase C4 Note/ Polyphonic Aftertouch data, specify
“C4–C4.”
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
editing operation, and make corrections if you want to
change it.
If you wish to delete all controller numbers, select “0–127.” If
you wish to delete all program numbers, select “1–128.” To erase
number 4, specify “4–4.” To erase numbers from 3 to 14, specify
“3–14.”
Ch a n n e l (MIDI Ch a n n e l)
Tra ck
Selects the MIDI channel of the data to be erased.
When you want to erase all sequencer data, set this parameter to
“ALL.” To erase sequencer data of one specific MIDI channel only,
select that MIDI channel.
Check/ modify the track(s) or pattern that is to be erased.
Value
ALL: Phrase tracks 1–16, the beat track, and the tempo track
TRK 1–TRK 16: The specified phrase track
TEMPO: Tempo track
Value: ALL, 1–16
PTN001–PTN100: The specified pattern
If you set the Track parameter to “TEMPO,” or if the Status
parameter is set to “EXC,” “TUNE” or “PTN,” the Channel
parameter will not be available.
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the range of measures that are to be erased. If you set
“for” to “ALL,” all measures will be specified.
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
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Ed itin g So n g s
De le tin g Un w a n te d Me a su re s
(De le te )
This function deletes a specified area of sequencer data, and moves
the subsequent data to fill the gap. As a result, the measure length
will be shortened by the number of deleted measures.
Co p y in g Ph ra se s (Co p y )
This function copies a specified area of sequencer data. It is
convenient for repeating the same phrase several times. You can
copy patterns to a phrase track, or copy data from a phrase track to a
pattern.
1 . Access the Song Edit screen, and then load the song you
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
want to edit (p. 136).
2 . Press [8 (Track Edit)].
2 . Press [8 (Track Edit)].
The Track Edit window appears.
The Track Edit window appears.
3 . Press
(Select)].
or
to select “Copy,” and then press [8
3 . Press
(Select)].
or
to select “Delete,” and then press [8
A message of “COPY: Select source point.” appears.
A message of “DELETE: Select target point.” will be displayed.
4 . Use [CURSOR] to move the cursor to the first measure of the
copy-source track or pattern. If you want to specify all
tracks, press [7 (TrkAll)].
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern that you want to delete. If you want to
specify all tracks, press [7 (TrkAll)].
5 . Hold down [SHIFT] and press
to move the cursor to the
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the copy-source track or pattern, and press
[8 (Select)] to specify it.
last measure of the track or pattern that you want to delete,
and press [8 (Select)] to specify it.
A message of “COPY: Select destination point.” appears.
The Track Edit (Delete) window appears.
fig.11-16_50
6 . Use [CURSOR] to move the cursor to the measure of the
copy-destination track or pattern, and press [8 (Select)] to
specify it.
The Track Edit (Copy) window appears.
fig.11-17_50
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
Tra ck
Check/ correct the track(s) or pattern that is to be deleted.
Value
7 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
ALL: Phrase tracks 1–16, the beat track, and the tempo track
TRK 1–TRK 16: The specified phrase track
TEMPO: Tempo track
PTN001–PTN100: The specified pattern
Tra ck (So u rce Tra ck )
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the copy-source track(s) or pattern.
Value
Check/ correct the range of measures that are to be deleted. If you set
ALL: Phrase tracks 1–16, the beat track, and the tempo track
TRK 1–TRK 16: The specified phrase track
TEMPO: Tempo track
“for” to “ALL,” all measures will be specified.
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
PTN001–PTN100: The specified pattern
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the range of copy-source measures. If you set “for” to
“ALL,” all measures will be specified.
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Ed itin g So n g s
→ Tra ck (De stin a tio n Tra ck )
Ra n g e
Check/ modify the copy-destination track or pattern.
Value
If you have selected “NOTE,” “P.AFT,” “C.C,” or “PROG” for the
Status parameter, specify the range. Specify the minimum value of
the range at the left, and the maximum value at the right.
ALL: Phrase tracks 1–16, the beat track, and the tempo track
TRK 1–TRK 16: The specified phrase track
TEMPO: Tempo track
•
•
To copy all Note or Polyphonic Aftertouch data, specify “C-1–
G9.” To copy C4 Note/ Polyphonic Aftertouch data, specify “C4–
C4.”
PTN001–PTN100: The specified pattern
If you want to copy all controller numbers, set this to “0–127.” If
you want to copy all program numbers, set this to “1–128.” To
copy number 4, set “4–4.” To copy numbers from 3 to 14, specify
“3–14.”
•
•
If you set the source track to “ALL,” the destination track can be
set to either “ALL” or “PTN001–PTN100.” If you select
“PTN001–PTN100,” the data from the 16 phrase tracks will be
merged as it is copied.
If “TEMPO” is selected as the source track, then only “Tempo”
can be selected for the destination track.
Ch a n n e l (MIDI Ch a n n e l)
Selects the MIDI channel of the data to be copied.
When you want to copy all the sequencer data, set this parameter to
“ALL.” To copy only the sequencer data of a specific MIDI channel,
select the MIDI channel.
→ Me a su re (De stin a tio n Me a su re )
Check/ modify the copy-destination measure.
If you want the copy destination to be right after the last measure of
a song, set this parameter to “END.”
Value: ALL, 1–16
Mo d e (Co p y Mo d e )
If you set the source track to “TEMPO,” or if the Status
parameter is set to “EXC,” “TUNE” or “PTN,” the Channel
parameter will not be available.
Specifies whether you want to preserve the existing data in the copy
destination when copying.
Value
8 . When you have finished making settings, press [8 (Execute)]
MIX: Combines the data from the copy source with the existing data
in the copy destination.
to execute the operation.
REPLACE: Musical data in the copy destination will be erased (i.e.,
overwritten) when the copy takes place. Only the sequencer data of
the MIDI channels specified by the Channel parameter will be
overwritten, and data of other MIDI channels will remain.
Tim e s (Co p y tim e s)
Specifies the number of times that the data will be copied to the copy
destination.
Sta tu s
Selects the type of data to be copied.
Value
ALL: All types of sequencer data
NOTE: Note
P.AFT: Polyphonic Aftertouch
C.C: Controller numbers
PROG: Program numbers
C.AFT: Channel Aftertouch
BEND: Pitch Bend
EXC: System Exclusive messages
Tune: Tune Request
PTN: Pattern Call Message data
If the source track is set to “TEMPO,” the Status parameter will
not be available.
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Ed itin g So n g s
7 . When you have finished making settings, press [8 (Execute)]
In se rtin g a Bla n k Me a su re
(In se rt Me a su re )
to execute the operation.
This function inserts blank measures into a specified song position.
As you can set the time signature of the blank measures, this is
convenient when inserting a phrase having a different time signature
in the middle of a song.
Tra n sp o se th e Ke y (Tra n sp o se )
This transposes the pitch of notes within a specified area, over a +/ -
99 semitone range. Use this function to modulate from one key to
another in a song, or to transpose the entire song.
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
2 . Press [8 (Track Edit)].
The Track Edit window appears.
2 . Press [8 (Track Edit)].
The Track Edit window appears.
3 . Press
or
to select “Insert Measure,” and then press
[8 (Select)].
3 . Press
(Select)].
or
to select “Transpose,” and then press [8
A message of “INSERT MEASURE: Select target point.” appears.
A message of “TRANSPOSE: Select target point.” appears.
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern into which you want to insert blank
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern that you want to transpose. If you want to
specify all tracks, press [7 (TrkAll)].
measures. If you want to specify all tracks, press [7 (TrkAll)].
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the track or pattern into which you want to
insert blank measures, and press [8 (Select)] to specify it.
The Track Edit (Insert Measure) window appears.
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the track or pattern that you want to
transpose, and press [8 (Select)] to specify it.
The Track Edit (Transpose) window appears.
fig.11-18_50
fig.11-19_50
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
Tra ck
Check/ modify the track(s) or pattern into which blank measures will
be inserted.
Tra ck
Value
Check/ modify the phrase track(s) or pattern that is to be transposed.
Value
ALL: Phrase tracks 1–16, the beat track, and the tempo track
TRK 1–TRK 16: The specified phrase track
TEMPO: Tempo track
ALL: Phrase Tracks 1–16
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
PTN001–PTN100: The specified pattern
Me a su re , fo r (Ed it Ra n g e )
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the range of measures into which blank measures
will be inserted. If you set “for” to “ALL,” all measures will be
specified.
Check/ modify the range of measures that are to be transposed. If
you set “for” to “ALL,” all measures will be specified.
Ra n g e
Be a t
Specifies the range of note numbers to be transposed. For instance if
you wish to transpose all notes within the C3 to C4 range, set this
parameter to “C3–C4.” You can also specify the key range by
pressing keys on the keyboard.
In general, the time signature of the measure immediately before
insertion will be used for the blank measures. To change the time
signature of the blank measures to be inserted, use the Beat
parameter.
Beat can be specified only when you have set the Track
parameter to “ALL.”
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Ed itin g So n g s
5 . Hold down [SHIFT] and press
to move the cursor to the
Bia s
last measure of the track or pattern whose velocity you want
to change, and press [8 (Select)] to specify it.
Specifies the transpose amount in semitone steps. Set a “+” (positive)
value to raise the pitch, or a “-” (negative) value to lower the pitch. If
you do not want to transpose, set this to “0.”
The Track Edit (Change Velocity) window appears.
fig.11-20_50
Value: -127– +127
Ch a n n e l (MIDI Ch a n n e l)
Specifies the MIDI channel(s) of the notes to be transposed.
Set this parameter to “ALL” for transposing all notes. When
transposing only the notes of specific MIDI channel(s), select the
MIDI channel(s) using this parameter.
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
Value: ALL, 1–16
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
Tra ck
Check/ modify the phrase track(s) or pattern whose velocity will be
If Yo u W a n t to Lo w e r th e Ba ss So u n d O n e
O cta ve ...
changed.
Value
If your bass is played one octave higher than the staff notation,
use the Transpose function to lower it one octave.
To lower the bass sound one octave, set the Range parameter to
“Lowest–Highest” for the bass part, and set the Bias parameter
to “-12.”
ALL: Phrase Tracks 1–16
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the range of measures whose velocity will be
W h e n Yo u W a n t to Ch a n g e Pe rcu ssio n
So u n d s...
changed. If you set “for” to “ALL,” all measures will be specified.
Bia s
You can also use the Transpose function to change percussion
sounds.
Use this parameter to add a fixed bias amount to all velocities. If you
want to increase the velocity values by 10, set this to “+10.”
Value: -99– +99
Suppose you want to change conga to tom. If the conga sound is
assigned to the D4 key, and the tom sound is assigned to the C3
key, set the Range parameter to “D4–D4” and the Bias
parameter to “-14.”
Ma g n ify
Set this parameter if increases or decreases in velocity variations are
desired. For less velocity variation, use settings of “99%” or less. For
more velocity variation, set it to “101%” or greater. With a setting of
“100%,” velocity values do not change.
Ch a n g in g th e Ve lo city (Vo lu m e )
(Ch a n g e Ve lo city )
Value: 0–200 %
This function modifies the keyboard playing dynamics (velocity) of a
Ch a n n e l (MIDI Ch a n n e l)
specified note area.
Specifies the MIDI channel(s) of notes for which velocity will be
modified.
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
To modify velocity for all notes, set this parameter to “ALL.” When
modifying the velocity for only the notes of a specific MIDI channel,
select that MIDI channel using this parameter.
Value: ALL, 1–16
2 . Press [8 (Track Edit)].
The Track Edit window appears.
3 . Press
or
to select “Change Velocity,” and then
press [8 (Select)].
Ra n g e
A message of “CHANGE VELOCITY: Select target point.”
Specifies the range of note numbers for which velocity will be
modified. For instance, to modify velocity for C3 to C4 note range,
set this parameter to “C3–C4.” You can also specify the key range by
pressing keys on the keyboard.
appears.
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern whose velocity you want to change. If you
want to specify all tracks, press [7 (TrkAll)].
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
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Ed itin g So n g s
Ra n g e
Ch a n g in g th e MIDI Ch a n n e l
(Ch a n g e Ch a n n e l)
If you have set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or
“PROG,” you can specify the range of data. Specify the minimum
value of the range at the left, and the maximum value at the right.
This function transfers the MIDI channel of a specified area of
sequencer data into a different MIDI channel.
1 . Access the Song Edit screen, and then load the song you
•
To change all MIDI channels of Note or Polyphonic Aftertouch
data, specify “C-1–G9.” To change the MIDI channel of C4 Note/
Polyphonic Aftertouch data, specify “C4–C4.” To change the
MIDI channels of Note/ Polyphonic Aftertouch data of a C3 to
C4 range, specify “C3–C4.”
want to edit (p. 136).
2 . Press [8 (Track Edit)].
The Track Edit window appears.
3 . Press
or
to select “Change Channel,” and then
press [8 (Select)].
•
If you want to change the MIDI channel of all controller
numbers, set this to “0–127” If you want to change the MIDI
channel of all program numbers, set this to “1–128.” To change
the MIDI channel of number 4, set “4–4.” To change the MIDI
channels of numbers 3 to 14, set this parameter to “3–14.”
A message of “CHANGE CHANNEL: Select target point.”
appears.
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern whose MIDI channel you want to change. If
you want to specify all tracks, press [7 (TrkAll)].
Ch a n n e l (MIDI Ch a n n e l)
5 . Hold down [SHIFT] and press
to move the cursor to the
Set the source MIDI channel at the left section of this parameter and
destination MIDI channel at the right section.
If you have selected ALL for the source MIDI channel, the sequencer
data of all MIDI channels will be combined into the destination MIDI
channel.
last measure of the track whose MIDI channel you want to
change, and press [8 (Select)] to specify it.
The Track Edit (Change Channel) window appears.
fig.11-21_50
Value: ALL, 1–16
It is not possible to select “ALL” for the destination MIDI
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
channel.
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
Tra ck
Mo d ify in g th e Le n g th o f N o te s
(Ch a n g e Ga te Tim e )
This function modifies the gate time (time from note-on to note-off)
of notes within a specified area. Depending on the setting, you can
also create staccato or tenuto.
Check/ modify the phrase track(s) or pattern in which the MIDI
channel will be changed.
Value
ALL: Phrase Tracks 1–16
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
Me a su re , fo r (Ed it Ra n g e )
2 . Press [8 (Track Edit)].
The Track Edit window appears.
Check/ modify the range of measures in which the MIDI channel
will be changed. If you set “for” to “ALL,” all measures will be
specified.
3 . Press
or
to select “Change Gate Time,” and then
press [8 (Select)].
A message of “CHANGE GATE TIME: Select target point.”
Sta tu s
appears.
Selects the type of data for which you wish to change the MIDI
channel.
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern whose gate times you want to change. If you
want to specify all tracks, press [7 (TrkAll)].
Value
ALL: All following sequencer data types
NOTE: Note
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the track or pattern whose gate times you
want to change, and press [8 (Select)].
P.AFT: Polyphonic Aftertouch
C.C: Controller numbers
PROG: Program numbers
C.AFT: Channel Aftertouch
BEND: Pitch Bend
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Ed itin g So n g s
The Track Edit (Change Gate Time) window appears.
fig.11-22_50
Co m b in in g Tw o Ph ra se Tra ck s o r
Pa tte rn s in to O n e (Me rg e )
The sequencer data of two phrase tracks or patterns will be
combined into one.
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
2 . Press [8 (Track Edit)].
The Track Edit window appears.
3 . Press
(Select)].
or
to select “Merge,” and then press [8
Tra ck
A message of “MERGE: Select source point.” appears.
Check/ modify the phrase track(s) or pattern whose gate times will
be changed.
4 . Use [CURSOR] to move the cursor to the track or pattern
that you want to merge, and press [8 (Select)] to specify it.
A message of “MERGE: Select destination point.” appears.
Value
ALL: Phrase Tracks 1–16
5 . Use [CURSOR] to move the cursor to the merge-destination
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
track or pattern, and press [8 (Select)] to specify it.
The Track Edit (Merge) window appears.
fig.11-23_50
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the range of measures whose gate times will be
changed. If you set “for” to “ALL,” all measures will be specified.
Bia s
6 . Check the tracks or patterns that you want to merge. Should
you need to make a change, use [CURSOR] to move the
cursor to the desired parameter, and either turn the VALUE
dial or use [INC] or [DEC] to alter the setting.
Set this parameter if you wish to increase or decrease all gate times
by a fixed amount. If you want to extend all gate times by 10, set this
to “+10.”
Value: -4800– +4800
Tra ck (So u rce Tra ck )
Ma g n ify
Check/ modify the phrase track or pattern that is to be merged. After
the Merge operation has been executed, no sequencer data will
remain in this track.
Set this parameter if you wish to increase or decrease gate times by a
specified ratio. When set to “100%,” no change is made. A value of
“101%” or higher increases the gate time; values of “99%” or lower
decrease the gate time. For example, to halve gate times, set this
parameter to “50%.” To double gate times, set this parameter to
“200%.”
Value
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
→ Tra ck (De stin a tio n Tra ck )
Value: 0–200 %
Check/ modify the merge-destination phrase track or pattern. After
the Merge operation has been executed, the sequencer data will be
combined into this track.
Ch a n n e l (MIDI Ch a n n e l)
Specifies the MIDI channel(s) of notes for which gate time will be
modified.
Value
If you wish to modify the gate time for notes of all MIDI channels,
set this parameter to ALL. When changing the gate time for notes of
a specific MIDI channel only, select that MIDI channel using this
parameter.
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
Value: ALL, 1–16
Ra n g e
Specifies the range of note numbers for which gate time will be
modified. For instance if you wish to modify the gate time for a note
range from C3 to C4, set this parameter to “C3–C4.” You can also
specify the key range by pressing keys on the keyboard.
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
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Ed itin g So n g s
→ Tra ck (De stin a tio n Tra ck )
Ex tra ctin g a n d Mo vin g a Pa rt o f
Se q u e n ce r Da ta (Ex tra ct)
This function extracts a specified sequencer data area from a phrase
track or pattern and moves it to the same Song position of another
phrase track or pattern. Additionally, just as with Standard MIDI
File Format 0, when sequencer data from multiple MIDI channels is
recorded on one track, you can also assign one MIDI channel to a
single phrase track.
Check/ modify the move-destination track or pattern.
Value
ALL: According to its MIDI channel, the sequencer data will be
divided among phrase tracks 1–16.
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
Mo d e (Ex tra ct m o d e )
1 . Access the Song Edit screen, and then load the song you
Specifies whether you want to keep the sequencer data at the
want to edit (p. 136).
destination.
2 . Press [8 (Track Edit)].
Value
The Track Edit window appears.
MIX: The data at the destination will combine with the extracted
data.
3 . Press
(Select)].
or
to select “Extract,” and then press [8
REPLACE: The data at the destination will be erased and replaced
by the extracted data.
A message of “EXTRACT: Select source point.” appears.
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern from which you want to extract sequencer
data.
If you select “REPLACE,” only the sequencer data on the MIDI
channel specified by the Channel parameter will be the object of
the operation. Sequencer data of all other MIDI channels will be
unaffected.
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the track or pattern from which you want to
extract sequencer data, and press [8 (Select)].
Sta tu s
A message of “EXTRACT: Select destination point.” appears.
Selects the type of data to be extracted.
Value
6 . Use [CURSOR] to move the cursor to the track or pattern to
which the data will be moved, and press [8 (Select)] to
specify it. If you want to specify all tracks, press [7 (TrkAll)].
ALL: All types of sequencer data
NOTE: Note
The Track Edit (Extract) window appears.
fig.11-24_50
P.AFT: Polyphonic Aftertouch
C.C: Controller numbers
PROG: Program numbers
C.AFT: Channel Aftertouch
BEND: Pitch Bend
EXC: System Exclusive messages
Tune: Tune Request
7 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
PTN: Pattern Call Message data
Ra n g e
If you set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or
“PROG,” specify the range of data. Specify the minimum value of
the range at the left, and the maximum value at the right.
Tra ck (So u rce Tra ck )
Check/ modify the phrase track or pattern from which the sequencer
data will be extracted. After Extract is executed, the selected
sequencer data no longer remains on this phrase track or pattern.
Value
•
•
To extract all Note or Polyphonic Aftertouch data, specify “C-1–
G9.” To extract C4 Note/ Polyphonic Aftertouch data, specify
“C4–C4.” To extract Note/ Polyphonic Aftertouch data over the
range from C3 to C4, specify “C3–C4.”
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
If you want to extract all controller numbers, set this to “0–127.”
If you want to extract all program numbers, set this to “1–
128.”To extract Controller/ Program number 4, specify “4–4.” To
extract Controller/ Program numbers from 3 to 14, specify “3–
14.”
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the range of measures from which sequencer data
will be extracted. If you set “for” to “ALL,” all measures will be
specified.
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Ed itin g So n g s
Ch a n n e l (MIDI Ch a n n e l)
Tra ck
Selects the MIDI channel(s) of the data to be extracted.
To extract all sequencer data, set this parameter to ALL. To extract
just the sequencer data of a specific MIDI channel, select that MIDI
channel.
Check/ modify the track(s) or pattern whose sequencer data will be
moved in units of one clock.
Value
ALL: Phrase tracks 1–16, the beat track, and the tempo track
TRK 1–TRK 16: The specified phrase track
TEMPO: Tempo clock
Value: ALL, 1–16
PTN001–PTN100: The specified pattern
If you set the Status parameter to “EXC,” “TUNE” or “PTN,” the
Channel parameter will not be available.
Me a su re , fo r (Ed it Ra n g e )
8 . When you have finished making settings, press [8 (Execute)]
Check/ modify the range of measures in which the sequencer data
will be moved in units of one clock. If you set “for” to “ALL,” all
measures will be specified.
to execute the operation.
Sh iftin g Pe rfo rm a n ce Da ta Fo rw a rd
a n d Ba ck (Sh ift Clo ck )
Bia s
Specify the amount (number of clocks) by which the sequencer data
This function shifts the timing of sequencer data backward or
forward in time within a specified area in steps of 1 clock. Slight
shifts of timing can speed up or drag performance.
will be moved.
Value: -4800– +4800
Sta tu s
Selects the type of data to be shifted in time.
Value
When this function is executed, data that would be moved to a
point before the beginning of the song will automatically shift to
the beginning of the song. If data would be moved to a point
past the end of the song, additional new measures will be
created automatically as needed. The time signature of the newly
created measures will be the same as that of the measure
immediately preceding.
ALL: All types of sequencer data
NOTE: Note
P.AFT: Polyphonic Aftertouch
C.C: Controller numbers
PROG: Program numbers
C.AFT: Channel Aftertouch
BEND: Pitch Bend
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
EXC: System Exclusive messages
Tune: Tune Request
2 . Press [8 (Track Edit)].
The Track Edit window appears.
PTN: Pattern Call Message data
3 . Press
(Select)].
or
to select “Shift Clock,” and then press [8
If the Track parameter is set to “TEMPO,” the Status parameter
A message of “SHIFT CLOCK: Select target point.” appears.
will not be available.
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern whose sequencer data you want to move. If
you want to specify all tracks, press [7 (TrkAll)].
Ra n g e
If you set the Status parameter to “NOTE,” “P.AFT,” “C.C,” or
“PROG,” specify the range of data. Specify the minimum value of
the range at the left, and the maximum value at the right.
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the track or pattern whose sequencer data
you want to move, and press [8 (Select)] to specify it.
The Track Edit (Shift Clock) window appears.
•
•
To shift all Note or Polyphonic Aftertouch data, set “C1–G9.” To
shift the timing of C4 Note/ Polyphonic Aftertouch data, specify
“C4–C4.” To shift the timing of Note/ Polyphonic Aftertouch
data from C3 to C4, specify “C3–C4.”
fig.11-25_50
If you want to shift all controller numbers, set this to “0–127.” If
you want to move all program numbers, set this to “1–128.” To
shift the timing of number 4, specify “4–4.” To shift the timing of
numbers from 3 to 14, specify “3–14.”
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
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Ed itin g So n g s
Ch a n n e l (MIDI Ch a n n e l)
Tra ck
Selects the MIDI channel of the data to be shifted in time.
To shift clocks of all sequencer data, set this parameter to ALL. To
shift the sequencer data clock of just one specific MIDI channel,
select that MIDI channel.
Check/ modify the track(s) or pattern whose sequencer data will be
thinned.
Value
ALL: Phrase tracks 1–16, the beat track, and the tempo track
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
Value: ALL, 1–16
If you set the Track parameter to “TEMPO,” or if the Status
parameter is set to “EXC,” “TUNE” or “PTN,” the Channel
parameter will not be available.
Me a su re , fo r (Ed it Ra n g e )
Check/ modify the range of measures whose sequencer data will be
thinned. If you set “for” to “ALL,” all measures will be specified.
7 . When you have finished making settings, press [8 (Execute)]
Va lu e
to execute the operation.
For thinning data which incorporates rapid changes, use higher
settings. If you don’t want to thin that much data even though it is
subject to rapid change, use lower settings.
Th in n in g O u t th e Se q u e n ce r Da ta
(Da ta Th in )
Tim e
Continuously variable controllers such as aftertouch, pitch bend, and
expression tend to create unexpectedly large amounts of data when
operated. Data Thin will strip out redundant data to increase the
amount of memory available for the sequencer.
If you are thinning data that changes gradually over time, use higher
settings. If you don’t want to thin that much data even though the
changes are gradual, use lower settings.
1 . Access the Song Edit screen, and then load the song you
Sta tu s
want to edit (p. 136).
Selects the type of data to be thinned.
Value
2 . Press [8 (Track Edit)].
The Track Edit window appears.
ALL: All following sequencer data types
P.AFT: Polyphonic Aftertouch
C.C: Controller numbers
C.AFT: Channel Aftertouch
BEND: Pitch Bend
3 . Press
(Select)].
or
to select “Data Thin,” and then press [8
A message of “DATA THIN: Select target point.” appears.
4 . Use [CURSOR] to move the cursor to the first measure of the
track or pattern whose sequencer data you want to thin. If
you want to specify all tracks, press [7 (TrkAll)].
Ra n g e
If you set the Status parameter to “P.AFT” or “C.C,” specify the
range of data. Specify the minimum value of the range at the left,
and the maximum value at the right.
5 . Hold down [SHIFT] and press
to move the cursor to the
last measure of the track or pattern whose sequencer data
you want to thin, and press [8 (Select)] to specify it.
The Track Edit (Data Thin) window appears.
fig.11-26_50
•
•
To thin all Polyphonic Aftertouch data, set “C-1–G9.” To thin C4
Polyphonic Aftertouch data, set “C4–C4.” To thin Polyphonic
Aftertouch data from C3 to C4, set “C3–C4.”
To thin all Controller numbers, set “0–127.” To thin number 4,
set “4–4.” To thin numbers from 3 to 14, set “3–14.”
Ch a n n e l (MIDI Ch a n n e l)
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
Selects MIDI channel of the data to be thinned.
To thin all sequencer data, set this parameter to ALL. To thin
sequencer data of just one specific MIDI channel, select that MIDI
channel.
Value: ALL, 1–16
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
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Ed itin g So n g s
Sw a p p in g Tw o Ph ra se Tra ck s o r
Pa tte rn s (Ex ch a n g e )
Ad ju stin g th e So n g ’s Pla y b a ck Tim e
(Tim e Fit)
The phrase tracks or patterns will be exchanged in their entirety.
This function calculates the playback time of a song or allows you to
modify the tempo track data so that the song will play back in a
specified time.
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
1 . Access the Song Edit screen, and then load the song you
2 . Press [8 (Track Edit)].
want to edit (p. 136).
The Track Edit window appears.
2 . Press [8 (Track Edit)].
3 . Press
(Select)].
or
to select “Exchange,” and then press [8
The Track Edit window appears.
3 . Press
(Select)].
or
to select “Time Fit,” and then press [8
A message of “EXCHANGE: Select source point.” appears.
4 . Use [CURSOR] to move the cursor to the track or pattern
that you want to exchange, and press [8 (Select)] to specify
it.
A message of “TIME FIT: Select target point.” appears.
4 . Use [CURSOR] to move the cursor to the first measure for
which you want to measure/adjust the playback time.
A message of “EXCHANGE: Select destination point.” appears.
5 . Hold down [SHIFT] and press
to move the cursor to the
5 . Use [CURSOR] to move the cursor to the exchange-
last measure for which you want to measure/adjust the
playback time, and press [8 (Select)] to specify it.
The Track Edit (Time Fit) window appears.
destination track or pattern, and press [8 (Select)] to specify
it.
The Track Edit (Exchange) window appears.
fig.11-28_50
fig.11-27_50
6 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
6 . Check the tracks that are to be exchanged. If you want to
change the settings, use [CURSOR] to move the cursor to
the desired parameter, and turn the VALUE dial or press
[INC]/[DEC] to correct the settings.
Me a su re , fo r (Ed it Ra n g e )
Tra ck (So u rce Tra ck )
Measure the playback time, or check/ modify the range of measures
that are to be adjusted. If you set “for” to “ALL,” all measures will be
specified.
Check/ modify the phrase track or pattern that will be exchanged.
Value
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
Tim e
The current playback time will be displayed at the right of “←”. Set
the playback time at the left of “←”. From left to right, the time
display indicates “hours: minutes: seconds.”
→ Tra ck (De stin a tio n Tra ck )
Check/ modify the exchange-destination track or pattern.
Value
7 . When you have finished making settings, press [8 (Execute)]
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
to execute the operation.
7 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
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Ed itin g So n g s
De le tin g Bla n k Me a su re s (Tru n ca te )
Ed itin g In d ivid u a l Ite m s o f
Se q u e n ce r Da ta (Micro Ed it)
Copying or merging may sometimes create blank measures at the
beginning of a phrase track or pattern. Truncate deletes silent
portions from the beginning of the specified phrase track to the first
note-on.
Micro Edit lets you edit individual items of sequencer data recorded
in a song, such as MIDI messages and tempo data.
Vie w in g Se q u e n ce r Da ta
(in th e Micro sco p e W in d o w )
Access the Microscope window when you want to view the
sequencer data recorded in a song. Each line indicates the location
(measure-beat-clock) at which the sequencer data is recorded, and
the data recorded at that location.
If other sequencer data (such as program changes or control
changes) is recorded between the beginning and the first note-on
of the specified phrase track, only the last data event of each type
will be placed before the note-on.
1 . Access the Song Edit screen, and then load the song you
want to edit (p. 136).
1 . Access the Song Edit screen or the Pattern Edit screen, and
then load the song that contains the sequencer data you
want to view/edit (p. 136).
2 . Press [8 (Track Edit)].
The Track Edit window appears.
3 . Press
(Select)].
or
to select “Truncate,” and then press [8
2 . Press [7 (Micro Edit)].
The Microscope window appears.
fig.11-30.e
A message of “TRUNCATE: Select target point.” appears.
4 . Use [CURSOR] to move the cursor to the track or pattern
from which blank measures will be deleted, and press [8
(Select)] to specify it.
Select the track or pattern.
Displays the parameter data at the cursor location.
The Track Edit (Truncate) window appears.
fig.11-29_50
5 . Use [CURSOR] to move the cursor to the desired parameter,
and turn the VALUE dial or press [INC]/[DEC] to make the
setting. First check the region that is to be affected by the
operation, and correct it if necessary.
MIDI channel
Sequencer data
Location of the sequencer data (measure-beat-clock)
Tra ck
3 . Move the cursor to “Track,” and select the track or pattern
whose sequencer data you want to view/edit.
TRK 1–TRK 16: The specified phrase track
TEMPO: Tempo track
Check/ modify the phrase track or pattern from which blank
measures will be deleted.
Value
TRK 1–TRK 16: The specified phrase track
PTN001–PTN100: The specified pattern
Below the Track parameter is displayed the location of the beginning
of the specified track, and the position of the first note-on.
BEAT: Beat track
PTN001–PTN100: The specified pattern
In order to make efficient use of screen space, display is
normally omitted for locations in which no sequencer data is
recorded.
6 . When you have finished making settings, press [8 (Execute)]
to execute the operation.
For an explanation of each type of sequencer data, refer to
“Sequencer Data Handled by a Phrase Track/Pattern,”
below.
4 . Use
or
to move “
” upward or downward, and
view each data item.
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Ed itin g So n g s
Tu n e Re q u e st
•
If you want to move the current location in steps of a measure,
move the cursor to the measure position, and turn the VALUE
dial or press [INC]/ [DEC]. You can also move in steps of a
measure by pressing [BWD] or [FWD].
This MIDI message causes an analog synthesizer to tune itself.
Ptn (Pa tte rn Ca ll m e ssa g e )
This is data that causes a pattern to play back. Use the Number
parameter to select the pattern number. The pattern name is shown
in parentheses ( ), and the location at which the pattern will finish
playing is shown at the right of the “→” symbol.
•
•
If you want to move the current location in steps of a beat, move
the cursor to the beat position, and turn the VALUE dial or press
[INC]/ [DEC].
When you press [8 (Test)], the sequencer data currently shown at
the “
” will be transmitted from the MIDI OUT connector. In
•
•
If the pattern called by the Pattern Call message extends beyond
the last measure of the song, the pattern playback will be
interrupted at that point.
the case of a note message, the note will sound as long as you
hold down [8 (Test)]. A note-off will be transmitted when you
release [8 (Test)].
Only one pattern can be played at a time by Pattern Call
messages in a given phrase track. This means that if a Pattern
Call message is recorded at a location before the previous
pattern has finished playing, the pattern that was playing will be
interrupted, and the next pattern will begin playing. If more than
one Pattern Call message is recorded at the same location, the
message that is displayed last in the Microscope window will be
played.
5 . To close the Microscope window, press [EXIT].
Se q u e n ce r Da ta Ha n d le d b y a
Ph ra se Tra ck / Pa tte rn
Phrase tracks or patterns can record the following nine types of
sequencer data. The recorded location (measure-beat-clock) is
displayed at the far left of each data item, and the MIDI channel
number is displayed beside it.
•
Although it is possible to record Pattern Call messages in a
pattern, they will not be played. If you want to place the data of
another pattern into a pattern, use Track Edit to copy the data.
N o te
These MIDI messages represent notes. From the left, the parameters
are Note Number, which indicates the name of the note; On Velocity,
which specifies the force with which the key is pressed; Gate Time,
which specifies the duration of the note; and Off Velocity, which
determines the speed with which the key is released.
Ex . (Sy ste m Ex clu sive m e ssa g e s)
These are MIDI messages used to make settings unique to the
Fantom, such as sound settings. Input the data between “F0” and
“F7.”
For details on system exclusive messages, refer to “MIDI
Po ly Aft (Po ly p h o n ic Afte rto u ch )
Implementation” (Sound/ Parameter List).
This MIDI messages applies aftertouch to an individual note. From
the left, the parameters are Note Number which specifies the key,
and Value which specifies the depth of the aftertouch.
Da ta Ha n d le d b y th e Te m p o Tra ck
The Tempo track records tempo data for the song.
Ctrl Ch a n g e (Co n tro l Ch a n g e )
Te m p o Ch a n g e
This MIDI message applies various effects such as modulation or
expression. The controller number (CC#) selects the function, and
Value specifies the depth of the effect.
This data specifies the tempo. The song will play back according to
the “Value” of the tempo change.
The value displayed in “ =**” is the tempo at which the song will
actually play (the playback tempo), and can be changed only in the
PLAY screen of each mode.
For the function corresponding to each controller number, refer
to “MIDI Implementation” (Sound/ Parameter List).
If the tempo change value differs from the playback tempo, this
means that the playback tempo has been changed temporarily. In
other words, since the tempo change value has not been rewritten,
this setting will be lost if you select another song or turn off the
power. If you want to play back at this tempo the next time as well,
you must re-save the song to disk. This will rewrite the tempo
change value so that it matches the playback tempo.
Pro g Ch a n g e (Pro g ra m Ch a n g e )
This MIDI message switches sounds. The program number (PC#)
selects the sound.
Ch a n n e l Aft (Ch a n n e l Afte rto u ch )
This MIDI message applies aftertouch to an entire MIDI channel.
Value specifies the depth of the aftertouch.
Pitch Be n d
This MIDI message changes the pitch. The value specifies the
amount of pitch change.
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Ed itin g So n g s
5 . Press [8 (On/Off)] to specify whether each type of message
will be displayed or not.
Da ta Ha n d le d b y th e Be a t Tra ck
The Beat track records time signature data.
The message will be displayed if the check mark (●) is assigned,
and will not be displayed if the check mark is removed.
If you press [5 (All Off)], none of the sequencer data will be
displayed.
Be a t Ch a n g e
This specifies the time signature (Beat).
If you press [6 (All On)], all of the sequencer data will be
displayed.
Vie w in g se q u e n ce r d a ta (Vie w )
Since a phrase track or pattern contains a large amount of sequencer
data, the display may be cluttered and difficult to read. For this
reason, the Fantom lets you specify the type(s) of sequencer data that
will be displayed in the screen. This is convenient when you want to
check or edit only a specific type of sequencer data.
6 . Press [EXIT] to close the View window.
Ed itin g th e Se q u e n ce r Da ta
You can edit the parameters of the sequencer data recorded in a
phrase track or pattern. However, it is not possible to change the
type of MIDI message itself, such as changing a control change
message into a pitch bend message.
1 . Access the Microscope window.
2 . Press [7 (View)].
The View Select window appears.
fig.11-31_50
For details on each type of sequencer data refer to “Sequencer
1 . Access the Microscope window for the track or pattern
whose sequencer data you want to edit (p. 153).
2 . Use
or
to move the cursor to the sequencer data
that you want to edit.
3 . Press
or
to move the cursor to the parameter you
3 . Move the cursor to “Channel,” and select the MIDI channel
of the sequencer data that you want to view.
wish to modify.
If you want to view sequencer data of all MIDI channels, select
“ALL.” If you want to view only sequencer data of a specific
MIDI channel, select “1”–”16.”
4 . Turn the VALUE dial or press [INC]/[DEC] to edit the value.
When editing the Note Number of note or polyphonic aftertouch
data, or the On Velocity or Off Velocity of a note, you can also
specify the value by playing a key on the keyboard.
4 . Use
or
to select the sequencer data that will be
displayed.
Note: Note messages. These MIDI messages represent notes.
Poly Aftertouch: Polyphonic aftertouch. These MIDI messages
apply aftertouch to individual keys.
If you want to edit a system exclusive message, refer to “Editing
a System Exclusive Message,” below.
Control Change: Control change messages. These MIDI
messages apply various effects such as modulation or
expression.
Ed itin g a Sy ste m Ex clu sive Me ssa g e
1 . Use
or
to move the cursor to the location of the
Program Change: Program change messages. These MIDI
messages select sounds.
system exclusive message that you want to edit.
Channel Aftertouch: Channel aftertouch messages. These MIDI
messages apply aftertouch to an entire MIDI channel.
Pitch Bend: Pitch bend messages. These MIDI messages change
the pitch.
2 . Press
to move the cursor to “Ex.”
The System Exclusive Edit window appears.
fig.11-32_50
System Exclusive: System exclusive messages. These MIDI
messages are used to make settings unique to the Fantom, such
as those for the sound parameters.
Pattern Call: Pattern Call messages. This data causes a pattern
to play back.
3 . Press
or
to move the cursor to the data that you want
to edit.
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Ed itin g So n g s
4 . Turn the VALUE dial or press [INC]/[DEC] to edit the value.
If you want to add data between “F0:” and “:F7,” move the
cursor to that location and press [5 (Insert)]. A value of “00” will
be inserted. Change this to the desired value.
5 . Press [8 (Execute)] to insert the sequencer data.
Once the sequencer data has been inserted, you’ll be returned to
the Microscope window.
6 . The sequencer data that was inserted will have the default
To delete data, move the cursor to the relevant location and
press [6 (Delete)].
parameter values, so edit them as necessary.
5 . When you are finished editing, press [8 (OK)] to finalize the
If you are not satisfied with the results of executing this
operation, press [MENU], and from the Menu window that
appears, select “Undo Micro Edit” to return to the state prior to
execution (Undo).
values of the system exclusive message.
•
•
If you decide to discard the changes you made to the system
exclusive message and return to the Microscope window, press
[EXIT].
Era sin g Se q u e n ce r Da ta (Era se )
If desired, you can erase just an individual event of sequencer data.
You can also use the same operation to erase individual items of data
from the tempo track or beat track.
In the case of a Roland type IV system exclusive message, the
checksum can be calculated automatically when you finalize the
values. If you do not want to calculate the checksum
automatically, press [1 (Checksum)] to remove the check mark
(●) from “Auto Calculate Checksum.”
It is not possible to erase the tempo change located at the
beginning of the tempo track, the beat change and key signature
located at the beginning of the beat track, or the pattern beat.
In se rtin g Se q u e n ce r Da ta (Cre a te )
You can insert new sequencer data into a desired location of a phrase
track or pattern.
1 . Access the Microscope window for the track or pattern from
which you want to erase sequencer data (p. 153).
For details on the sequencer data that can be inserted, refer to
154).
2 . Press
or
to move the cursor to the sequencer data
1 . Access the Microscope window for the track or pattern into
To erase a multiple consecutive data, hold down [SHIFT] and
which you want to insert sequencer data (p. 153).
press
to select the sequencer data.
2 . Press
or
to move the cursor to the location at which
3 . Press [2 (Erase)] to erase the sequencer data.
you want to insert sequencer data.
If you are not satisfied with the results of executing this
operation, press [MENU], and from the Menu window that
appears, select “Undo Micro Edit” to return to the state prior to
execution (Undo).
If the location at which you want to insert sequencer data is not
shown in the display, move the cursor to the appropriate
location (measure-beat-clock), and then specify the insert
location for the sequencer data.
3 . Press [1 (Create)].
The Create Event window appears.
fig.11-33_50
4 . Press
inserted.
or
to select the sequencer data that will be
If you want to insert a system exclusive message, select “Sys.Excl
(Default).” However, if you want to insert a General MIDI
System On message or General MIDI 2 System On message in
order to initialize the sound generator to the GM default state,
select “Sys.Excl (GM ON)” or “Sys.Excl (GM2 ON),” and to exit
the GM state select “Sys.Excl (GM OFF).”
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Ed itin g So n g s
Mo vin g Se q u e n ce r Da ta (Mo ve )
Co p y in g Se q u e n ce r Da ta (Co p y )
You can move an individual item of sequencer data to a different
location. Data recorded in the tempo track or beat track can also be
moved in the same way.
Sequencer data can be copied to the desired location. This is
convenient when you want to use the same sequencer data at
multiple locations. Data recorded in the tempo track or beat track
can also be copied in this way.
1 . Access the Microscope window for the track or pattern
It is not possible to move the tempo change located at the
beginning of the tempo track, the beat change and key signature
located at the beginning of the beat track, or the pattern beat.
whose sequencer data you want to copy (p. 153).
2 . Press
or
to move the cursor to the sequencer data
that you want to copy, and press [4 (Copy)] to copy it.
1 . Access the Microscope window for the track or pattern
whose data you want to move (p. 153).
To copy a multiple consecutive data, hold down [SHIFT] and
2 . Press
or
to move the cursor to the sequencer data
that you want to move.
press
to select the sequencer data.
3 . Press
or to move the cursor to the location at which
you want to insert the copied sequencer data.
To move a multiple consecutive data, hold down [SHIFT] and
press
to select the sequencer data.
If the location at which you want to insert the sequencer data is
not shown in the display, move the cursor to the appropriate
location (measure-beat-clock), and then specify the insert
location for the sequencer data.
3 . Press [3 (Move)].
The Move Event window appears.
fig.11-34_50
4 . Press [5 (Place)] to paste the data.
4 . Move the cursor to measure, beat, and clock, and set these
If you are not satisfied with the results of executing this
operation, press [MENU], and from the Menu window that
appears, select “Undo Micro Edit” to return to the state prior to
execution (Undo).
values to specify the move destination.
5 . Press [8 (Execute)] to move the sequencer data.
When the sequencer data has been moved, you will return to the
Microscope window.
If you are not satisfied with the results of executing this
operation, press [MENU], and from the Menu window that
appears, select “Undo Micro Edit” to return to the state prior to
execution (Undo).
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Ed itin g So n g s
Ch a n g in g th e Te m p o Mid w a y
Th ro u g h th e So n g
Ch a n g in g th e Tim e Sig n a tu re
Mid w a y Th ro u g h th e So n g
If you want to change the tempo midway through the song, insert a
new Tempo Change into the tempo track. The song will play back at
that tempo following the location at which the tempo change was
inserted. However, if you want to create gradual tempo changes
such as ritardando or accelerando, it is more convenient to use
Tempo Recording (p. 130).
If you want to change the time signature midway through the song,
insert a new Beat Change. The song will play back using that time
signature for measures following the inserted beat change.
•
•
It is not possible to change the time signature in the middle of a
measure. You must change the time signature at the beginning of
a measure.
If you want to make the entire song faster or slower, modify the
playback tempo in one of the PLAY screens.
If the time signature of the beat track differs from the pattern
middle of a 4/ 4 song, the pattern will not be aligned correctly
with the other phrase tracks. To make this play back correctly,
insert a 3/ 4 beat change into the beat track. To return the time
signature to 4/ 4, insert a 4/ 4 beat change into the measure that
follows the last measure of the pattern.
1 . Access the Microscope window for the tempo track (p. 153).
2 . Press
or
to move the cursor to the location at which
you want to insert a tempo change.
If the location at which you want to insert a tempo change is not
shown in the display, move the cursor to the appropriate
location (measure-beat-clock), and specify the location of the
tempo change.
If you want to change the time signature from a measure that is
later than the end of the song, or if it is ok to change the length of
the song, you will find it more convenient to use the track edit
Insert Measure function (p. 145).
3 . Press [1 (Create)] to insert a tempo change.
4 . The inserted tempo change will have the default value, so
1 . Access the Microscope window for the beat track (p. 153).
2 . Press or to move the cursor to the location at which
modify it as necessary.
you want to insert a beat change.
If you are not satisfied with the results of executing this
operation, press [MENU], and from the Menu window that
appears, select “Undo Micro Edit” to return to the state prior to
execution (Undo).
If the location at which you want to insert the beat change is not
shown in the display, move the cursor to the appropriate
location (measure-beat-clock), and specify the location at which
the beat change is to be inserted.
3 . Press [1 (Create)] to insert the beat change.
4 . The inserted beat change will have the default values, so
edit it as necessary.
If you are not satisfied with the results of executing this
operation, press [MENU], and from the Menu window that
appears, select “Undo Micro Edit” to return to the state prior to
execution (Undo).
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Pla y in g a Ph ra se a t th e To u ch o f a Fin g e r (RPS Fu n ctio n )
The RPS (Realtime Phrase Sequence) function lets you assign
patterns to the keyboard, and play a pattern by pressing a single note.
If you select a song that is stored on disk, a message of “The
For example, a complex phrase that would be difficult to play live
Song “****” is not Internal Song. Load anyway for Song Edit?”
can be assigned to a note of the keyboard, and played with one
will ask you for confirmation. If you want to erase the song from
finger at the appropriate moment.
the internal memory and load the new song, press [7 (OK)]. If
Since up to eight patterns can be playing at once, you can create
you decide not to erase the song from the internal memory, press
patterns for separate instruments such as drums, bass, and
[EXIT].
keyboard, and combine them to create a new song. This performance
4 . Press [5 (Setup)].
can also be recorded, allowing you to use it in a way similar to
The Song Setup window appears.
fig.11-05_50
phrase sampling.
fig.12-01.e
Song
Phrase track 16
Phrase track 15
Phrase track 2
Phrase track 1
5 . Use
(Select)].
The RPS Setup window appears.
or
to select “RPS Setup,” and then press [8
Pattern track
Pattern Pattern
1
Pattern
99
Pattern
100
2
fig.12-02_50
In this window you can set various parameters related to the
RPS function.
Be fo re Yo u Use th e RPS
Fu n ctio n
6 . Use [CURSOR] to move the cursor to each parameter, and
turn the VALUE dial or press [INC]/[DEC] to make the
setting.
Re co rd a Pa tte rn
The Key parameter, Pattern parameter, Playback Mode
Trigger Quantize parameter and Velocity Sens parameter are for
the entire song.
Before you use the RPS function, you must record the desired phrase
in a pattern. For details on recording, refer to “Recording Your
Only note messages should be recorded in a pattern. If a large
amount of MIDI data is recorded in a pattern, using RPS to play
back the pattern can cause notes to be delayed. MIDI messages
other than note messages should be recorded in a phrase track.
Ke y
Specify the key to which the pattern will be assigned. You can also
specify this by pressing a key on the keyboard.
Pa tte rn
Se ttin g s fo r th e RPS Fu n ctio n
Select the pattern number that will be assigned to the key. The name
of the selected pattern will be displayed below the pattern number.
Select “OFF” for keys to which you do not want to assign a pattern.
If you select “STOP,” that key will be a Stop Trigger key that stops
the currently playing patterns.
You can assign a pattern to each note of the keyboard, and specify
how the pattern will be played. These settings are made
independently for each song, and will be saved when you save the
song in MRC Pro song format.
1 . Load the song for which you want to make RPS settings (p.
136).
2 . Press [MENU] to access the Menu window.
The state of settings is shown graphically in the display. The key
being set is indicated by “●,” keys to which a pattern is assigned
are indicated by “●”, and keys set to “STOP” are indicated by “●”.
Keys for which nothing is displayed are turned “OFF.”
3 . Use
(Select)].
The Song Edit screen appears.
or
to select “Song Edit,” and then press [8
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Pla y in g a Ph ra se a t th e To u ch o f a Fin g e r (RPS Fu n ctio n )
Pla y b a ck Mo d e
Usin g th e RPS Fu n ctio n W h ile
Yo u Pe rfo rm
Specify how the pattern will be played.
Value
Normally, when playing patterns individually, the song containing
the patterns must be loaded into internal memory. However, when
using the RPS function to play back patterns, you can use Quick
Play.
LOOP1: The pattern will play back repeatedly as long as the key is
held down.
LOOP2: The pattern will play back repeatedly. To stop playback,
press a Stop Trigger key or press the same key once again.
ONCE: The pattern will play back once.
1 . Make sure that the preparations for using the RPS function
have been made correctly.
Mu te Gro u p
2 . Access the PLAY screen for the mode in which you want to
This function lets you prevent patterns of the same group from
sounding together. For example, a fill-in and bridge should never be
played at the same time, and to ensure that this does not occur, you
can set the fill-in and bridge to the same mute group number.
Thirty-one mute groups can be specified. Select “OFF” if you do not
want to use a mute group for a pattern.
perform.
3 . Use [CURSOR] to move the cursor to “RPS” in the upper
part of the screen, and press [INC].
The RPS function will be turned on, and you will be able to
perform using RPS.
fig.12-03
Value: OFF, 1–31
Trig g e r Q u a n tize
This parameter specifies how pattern playback is to begin when a
key is pressed during song playback or recording.
Value
REAL: The pattern will begin playing at the moment you press the
key.
BEAT: If the song is being played or recorded, the pattern will begin
playing at the beginning of the next beat if you press the key in the
middle of the beat.
MEASURE: If the song is being played or recorded, the pattern will
begin playing at the beginning of the next measure if you press the
key in the middle of the measure.
If you save the song in MRC Pro song format when the RPS
function is turned on, this state will also be saved. This means
that you will always be able to perform using RPS simply by
selecting that song.
Ve lo city Se n s (Ve lo city Se n sitivity )
Turn this “OFF” if you want the pattern to play back at the volume
at which it was recorded.
4 . Press [STOP/PLAY] to play back the song.
If you want to vary the pattern playback volume according to the
strength with which you pressed the key, select either “LOW,”
“MID,” or “HIGH.”
•
•
•
You must play back the song if you want patterns to play back in
synchronization with the song, or if you want multiple patterns
to play in synchronization.
Value: OFF, LOW, MID, HIGH
If the song is not playing, the pattern will begin playing the
instant you press the key, regardless of the Trigger Quantize
parameter setting.
7 . When you press [8 (RPS)] to assign a check mark (●), the
RPS function will be turned on.
8 . When you are finished making settings, press [EXIT] to
The pattern will be played back according to the time signature
of the song (beat track). This means that if the phrase track
contains no sequencer data, the song will not play, and it will not
be possible to play back patterns in synchronization. In such
cases, you can insert several blank measures into a phrase track,
and play them as a loop.
return to the Song Edit screen.
9 . To save the settings you made, press [2 (Save)] to save the
song to disk (p. 135).
5 . Press a key to which a pattern is assigned, making the
pattern play.
If you want to stop playback midway through the pattern, press
the Stop Trigger key. Alternatively if the Playback Mode
parameter is set to “LOOP2,” you can stop the pattern playback
by pressing the same key once again.
Up to eight patterns can play back simultaneously.
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Pla y in g a Ph ra se a t th e To u ch o f a Fin g e r (RPS Fu n ctio n )
Re co rd in g a Pe rfo rm a n ce Usin g th e
RPS Fu n ctio n
A performance that uses the RPS function can be recorded in real
time in the same way as a conventional performance. This provides
an easy way to remix patterns and create a song.
If you turn off the RPS function while a pattern is playing, the
keyboard will return to the normal playing state, but the pattern
will continue playing. If you want to stop playback of this
pattern, turn on the RPS function once again, and perform the
appropriate operation.
If you use the RPS function during realtime recording, the
pattern performance will be recorded just as it occurs.
Pe rfo rm in g w ith th e RPS Fu n ctio n
fro m a n Ex te rn a l MIDI Ke y b o a rd
1 . Make sure that preparations for the RPS function have been
You can use the keys of an external MIDI keyboard to play patterns.
For example, you could refrain from assigning patterns to the keys of
the Fantom (E1–G7), but assign pattern to the remaining keys (note
numbers). This would let you use an external MIDI keyboard to
control pattern playback, and use the keyboard of the Fantom to
play normally.
made correctly.
2 . Access the PLAY screen for the mode in which you want to
perform.
3 . Turn on the RPS function (p. 160).
4 . Press [REC].
1 . Use a MIDI cable to connect the Fantom’s MIDI IN connector
The [REC] indicator will blink, and the Recording Standby
window appears. In this window you can make various settings
to the MIDI OUT connector of your external MIDI keyboard.
for realtime recording.
fig.07-11_50
2 . Access the PLAY screen of the mode in which you want to
perform.
3 . Press [MENU] to access the Menu window.
4 . Use
or
to select “System Edit,” and then press [8
(Select)].
The System Edit screen appears.
5 . Press [1 (●)] or [2 (●)] to select the “MIDI” tab.
A screen like the following appears.
fig.02-13_50
5 . Specify how recording is to take place.
For details on these settings, refer to “Recording Your
6 . Press [STOP/PLAY].
The Recording Standby window will close, the [REC] indicator
will change from blinking to lit, and recording will begin.
7 . Press a key to which a pattern is assigned.
The assigned patterns will be played back according to the keys
you press, and their performances will be recorded.
6 . Use [CURSOR] to move the cursor to “Remote Keyboard
Sw,” and press [INC] to turn it “ON.”
If the Count In parameter is set to “WAIT NOTE” in the
Recording Standby window, recording will not begin even if you
press a key that is assigned to a pattern, or a key that is assigned
as a Stop Trigger key.
7 . Press [EXIT] to return to the PLAY screen.
With this setting, patterns can be played back from your external
MIDI keyboard.
8 . When you are finished recording, press [STOP/PLAY].
8 . Turn on the RPS function (p. 160).
The [REC] indicator will go dark.
9 . Press keys on your external MIDI keyboard to play back
patterns.
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Mo d ify in g th e So u n d in Re a l Tim e
You can use the D Beam controller, realtime controllers, or a pedal to
modify the sound while you perform.
Th e u sa b le ra n g e o f th e D Be a m co n tro lle r
The following diagram shows the usable range of the D Beam
controller. Waving your hand outside this range will produce
Here we will explain the procedures and settings for using these
functions in Patch mode. The operations are the same in
Multitimbre mode or Performance mode.
no effect.
fig.13-02
W a vin g Yo u r Ha n d O ve r th e D
Be a m to Mo d ify th e So u n d
(D Be a m Co n tro lle r)
The D Beam controller can be used simply by waving your hand
over it. It can be used to apply various effects, depending on the
function that is assigned to it. You can also create effects in which the
sound changes instantaneously, in a way that would not be possible
by operating a knob or the bender lever.
The [ON/ OFF] indicator will blink while the D Beam controller
is responding. When your hand leaves the usable range of the D
Beam controller, the [ON/ OFF] indicator will stop blinking, and
will remain lit.
1 . Access the PATCH PLAY screen (p. 31).
The “D Beam” area will indicate the function that is assigned to
The response of the D Beam Controller can also be checked in
the “D Beam” area of the display. This is displayed graphically
as a bar that lengthens as you move your hand closer, and
shortens as you move your hand away.
the D Beam controller.
fig.13-01
The usable range of the D Beam controller will become
extremely small when used under strong direct sunlight.
Please be aware of this when using the D Beam controller
outside.
Ma k in g Se ttin g s fo r th e D Be a m
Co n tro lle r
The MULTITIMBRE PLAY screen does not have a “D Beam”
1 . Hold down [JUMP] and press D BEAM [ON/OFF].
display.
The D Beam window appears.
fig.13-02a_50
2 . Press D BEAM [ON/OFF] to turn on the D Beam controller.
3 . While playing the keyboard to produce sound, place your
hand over the D Beam, and slowly move it up and down.
An effect will be applied to the sound, depending on the
function that is assigned to the D Beam controller.
4 . To turn off the D Beam controller, press [ON/OFF] once
In this window you can set the following parameters for the D
Beam controller.
again to make the indicator go dark.
Switch: Switch the D Beam controller on/ off.
Assign: Specify the function that will be controlled by the D
Beam controller.
Polarity: Switch the polarity of the D Beam controller.
Valid Settings: Adjust the variable range (upper limit - lower
limit) of the D Beam controller.
When using this in Performance mode, Zone will be added in
addition to the above parameters. This parameter specifies the
zone that will be controlled by the D Beam controller.
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Mo d ify in g th e So u n d in Re a l Tim e
Ma k in g Re a ltim e Co n tro lle r Se ttin g s
For details on each parameter, refer to “Realtime Controller / D
2 . Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC]/[DEC] to make the
setting.
1 . Hold down [JUMP] and turn one of the REALTIME CONTROL
knobs.
The Knob window appears.
fig.13-04_50
3 . Press [8 (Close)] to close the D Beam window.
Settings for the D Beam controller are saved independently for
each patch/ performance as part of the patch/ performance
settings. This lets you create patches/ performances that make
effective use of controller settings.
In this window you can set the following parameters for the
REALTIME CONTROL knobs.
Assign: Specify the function that will be controlled by the
realtime control knob.
Usin g Kn o b s o r Bu tto n s to
Mo d ify th e So u n d (Re a ltim e
Co n tro lle r)
If you are using this in Performance mode, a Zone parameter
will be added to the parameters listed above. This parameter
specifies the zone that will be controlled by the realtime control
knob.
You can use the REALTIME CONTROL knobs and buttons to
modify the sound in real time.
1 . Access the PATCH PLAY screen (p. 31).
For details on each parameter, refer to “Realtime Controller / D
The “Realtime Control” area shows the function that is assigned
to each realtime controller knob and button. [
the knobs, and [ ]–[ ] indicate the buttons.
]–[
] indicate
2 . Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC]/[DEC] to set it.
fig.13-03
3 . Press [8 (Close)] to close the Knob window.
Re a ltim e Co n tro lle r Bu tto n Se ttin g s
1 . Hold down [JUMP] and press a REALTIME CONTROL
button.
The Switch window appears.
fig.13-05_50
The MULTITIMBRE PLAY screen does not have a “Realtime
In this window you can set the following parameters for the
realtime control buttons.
Control” display.
Assign: Specify the function that will be controlled by the
realtime control button.
2 . While playing the keyboard to produce sound, operate the
REALTIME CONTROL knobs and buttons.
The sound will change according to the function assigned to
each knob or button.
Mode: Specify how the realtime control button will operate.
If you are using this in Performance mode, a Zone parameter
will be added to the parameters listed above. This parameter lets
you specify the zone that will be controlled by the realtime
control button.
For details on each parameter, refer to “Realtime Controller / D
2 . Move the cursor to the parameter that you want to set, and
turn the VALUE dial or press [INC]/[DEC] to make the
setting.
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Mo d ify in g th e So u n d in Re a l Tim e
3 . Press [8 (Close)] to close the Switch window.
Realtime controller settings are saved independently for each
patch/ performance as part of the patch/ performance settings.
This lets you create patches/ performances that make effective
use of controller settings.
Usin g a Pe d a l to Mo d ify th e
So u n d (Co n tro l Pe d a l)
You can modify the sound by pressing a pedal that is connected to
the rear panel CTL 1/ CTL 2 PEDAL jack.
Pedal such as expression pedals (EV-5; available separately), pedal
switches (DP-2/ 6; available separately), or foot switches (BOSS FS-U;
available separately) can be connected to the Fantom.
1 . Access the PATCH PLAY screen (p. 31).
2 . While playing the keyboard to produce sound, operate a
pedal.
The sound will change according to the function that is assigned
to the control pedal.
Ma k in g Co n tro l Pe d a l Se ttin g s
1 . Press [MENU] to access the Menu window.
2 . Use
or
to select “System Edit,” and then press [8
(Select)].
The System Edit screen appears.
3 . Press [1 (●)] or [2 (●)] to select the “Controller” tab.
A screen like the following appears.
fig.15-06_50
In this screen you can set the following parameters for the
control pedals.
Pedal 1, 2 Assign: Specify the function that will be controlled
by a pedal connected to the CTL 1 or CTL 2 PEDAL jack.
Pedal 1, 2 Polarity: Switch the polarity of the pedal.
For details on each parameter, refer to “Controller Settings
(Controller)” (p. 184).
4 . Turn the VALUE dial or press [INC]/[DEC] to make the
setting.
5 . Press [EXIT] to return to the PATCH PLAY screen.
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Ad d in g Effe cts
This section explains the procedures and settings for applying effects
in each mode.
Ap p ly in g Effe cts in Pa tch Mo d e
For details of the Fantom’s onboard effects, refer to “About the
O u tp u t (Effe cts)
Onboard Effects” (p. 23).
Here you can make overall settings for effects, and the output
destination and level of each signal.
Tu rn in g Effe cts O n a n d O ff
1 . Select the sound for which you want to make output settings
The Fantom’s onboard effects can be turned on/ off as a whole. Turn
these settings OFF when you wish to listen to the unprocessed sound
as you create a sound, or when you wish to use external effects
processors instead of the built-in effects.
(p. 32, p. 40).
2 . Press [MENU] to access the Menu window.
3 . Press
or
to select a “Patch Edit” or “Rhythm Edit,”
and then press [8 (Select)].
The Patch Edit screen appears.
Effect ON/ OFF settings are global Fantom settings. These
settings cannot be made for each Patch or Performance
individually.
4 . Press [1 (●)] or [2 (●)] to select the “Effects” tab.
A screen like the one shown below appears.
fig.14-02_50
The PLAY screen for each mode provides effect switches that allow
you to turn the three effects on/ off. Use [CURSOR] to move the
cursor to the effect switches located in the upper part of the screen,
and turn the VALUE dial or press [INC] or [DEC] to turn the switch
on/ off.
fig.14-01
When “MFX,” “CHO,” “REV” (effect switches) are turned off,
effects processors that are turned off will be indicated by a
dashed outline in the “Effects” setting screen.
5 . Use [CURSOR] to move the cursor to the parameter you
• MFX: Switches multi-effects on and off.
• CHO: Switches chorus on and off.
• REV: Switches reverb on and off.
wish to modify.
6 . Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
7 . Repeat steps 5–6 to specify how the sound will be output.
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 45). If you do not
wish to save changes, press [EXIT] to return to the previous
screen.
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Ad d in g Effe cts
Sig n a l Flo w Dia g ra m a n d Pa ra m e te rs
2
W h e n th e Pa tch O u tp u t Assig n ( ) is Se t to So m e th in g O th e r th a n “ TO N E”
fig.14-03
1
2
8
11
3
9
10
7
4
5
6
14 15
17 18
12
16
13
A
B
1
2
3
4
4
2
OUTPUT A
OUTPUT B
PATCH
MFX
7
8
11
MFX
9
12
15
5
6
14
13
CHO
MAIN
REV
10
13
16
17
18
REV
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Ad d in g Effe cts
2
W h e n th e Pa tch O u tp u t Assig n ( ) is Se t to “ TO N E”
fig.14-04
1
2
8
11
3
9
10
7
4
5
6
14 15
17 18
12
16
13
A
B
1
4
3
OUTPUT A
OUTPUT B
2
3
4
TONE 1
1
MFX
7
8
11
MFX
9
12
15
5
6
14
13
CHO
MAIN
REV
10
13
16
17
18
REV
TONE 1
TONE 2
TONE 3
TONE 4
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Ad d in g Effe cts
•
When the settings are such that signals are split and output from
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, and no plug is
inserted in the INDIVIDUAL 2 jack, the sounds from
1
To n e Se le ct
Select the tone for which you want to make settings.
Value: 1–4
INDIVIDUAL 1 and INDIVIDUAL 2 are mixed together, then
output from the INDIVIDUAL 1 jack. This sound comprises the
sounds from the INDIVIDUAL 1 and 2 jacks.
This parameter is Rhythm Key Select when a rhythm set is
being selected. You can select the rhythm tone (A0–C8) for
which you want to make settings.
If the Mix/ Parallel parameter (SYSTEM/ General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 179).
2
Pa tch O u tp u t Assig n
Specifies for each patch how the direct sound will be output.
Value:
•
When setting the “MFX,” set the output destination with the
MFX: Output in stereo through multi-effects. You can also apply
chorus or reverb to the sound that passes through multi-effects.
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in
stereo without passing through multi-effects.
MFX Output Assign ( ) for the sound after it has passed
11
through the multi-effects.
•
•
Chorus and reverb are output in mono at all times.
The output destination of the signal after passing through the
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing
through multi-effects.
chorus is set with the Chorus Output Select ( ) and the Chorus
13
Output Assign ( ).
15
TONE: Outputs according to the settings for each tone.
•
The output destination of the signal after passing through the
reverb is set with the Reverb Output Assign ( ).
18
•
•
When the settings are such that signals are split and output from
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, and no plug is
inserted in the INDIVIDUAL 2 jack, the sounds from
INDIVIDUAL 1 and INDIVIDUAL 2 are mixed together, then
output from the INDIVIDUAL 1 jack. This sound comprises the
sounds from the INDIVIDUAL 1 and 2 jacks.
4
To n e Dry Se n d Le ve l
Set the level of the signal that is sent to the output destination
specified by Output Assign (
,
).
2
3
Value: 0–127
This parameter is Rhythm Output Assign when a rhythm set is
being selected. You can specifies for each rhythm set how the
direct sound will be output.
5
To n e Ch o ru s Se n d Le ve l
Sets the level of the signal sent to chorus for each tone.
Value: 0–127
If the Mix/ Parallel parameter (SYSTEM/ General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 179).
6
To n e Re ve rb Se n d Le ve l
Sets the level of the signal sent to reverb for each tone.
Value: 0–127
3
To n e O u tp u t Assig n
7
MFX Ty p e (Mu lti-Effe cts Ty p e )
Sets the direct sound’s output method for each tone.
Value:
Use this parameter to select from among the 90 available multi-
effects. For details on multi-effects parameters, refer to “Multi-
Effects Parameters” (Sound/ Parameter List).
Value: 0 (Through)–90
MFX: Output in stereo through multi-effects. You can also apply
chorus or reverb to the sound that passes through multi-effects.
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in
stereo without passing through multi-effects.
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing
through multi-effects.
8
MFX Dry Se n d Le ve l (Mu lti-Effe cts Dry Se n d
Le ve l)
Adjusts the volume of the sound that has passed through the multi-
effects.
•
•
If the Patch Output Assign ( ) is set to anything other than
2
Value: 0–127
“TONE,” these settings will be ignored.
When the Structure Type parameter (PATCH/ TMT) has a
setting of Type “2”–”10,” the outputs of tones 1 and 2 will be
combined with tone 2, and the outputs of tones 3 and 4 will be
combined with tone 4. For this reason, tone 1 will follow the
settings of tone 2, and tone 3 will follow the settings of tone 4 (p.
56).
9
MFX Ch o ru s Se n d Le ve l (Mu lti-Effe cts
Ch o ru s Se n d Le ve l)
Adjusts the amount of chorus for the sound that passes through
multi-effects. If you don’t want to add the Chorus effect, set it to “0.”
Value: 0–127
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Ad d in g Effe cts
10
16
Re ve rb Ty p e
MFX Re ve rb Se n d Le ve l (Mu lti-Effe cts
Re ve rb Se n d Le ve l)
Selects the type of reverb.
Value
Adjusts the amount of reverb for the sound that passes through
multi-effects. If you don’t want to add the Reverb effect, set it to “0.”
Value: 0–127
0 (Off): Reverb is not used.
1 (Reverb): Normal reverb
2 (SRV Room): This reverb simulates typical room acoustic
reflections.
11
MFX O u tp u t Assig n (Mu lti-Effe cts O u tp u t
Assig n )
3 (SRV Hall): This reverb simulates typical concert hall acoustic
reflections.
Adjusts the output destination of the sound that has passed through
the multi-effects.
4 (SRV Plate): This reverb simulates a reverb plate, a popular type
of artificial reverb unit that derives its sound from the vibration of a
metallic plate. You can also achieve unusual metallic-sounding
reverbs using “SRV Plate.”
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
5 (GM2 Reverb): General MIDI 2 reverb
If the Mix/ Parallel parameter (SYSTEM/ General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 179).
17
Re ve rb Le ve l
Adjusts the volume of the sound that has passed through reverb.
Value: 0–127
12
Ch o ru s Ty p e
18
Re ve rb O u tp u t Assig n
Selects either chorus or delay.
Value
Specifies how the sound routed through reverb will be output.
Value
0 (Off): Neither chorus or delay is used.
1 (Chorus): Chorus is used.
2 (Delay): Delay is used.
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
3 (GM2 Chorus): General MIDI 2 chorus
If the Mix/ Parallel parameter (SYSTEM/ General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 179).
13
Ch o ru s O u tp u t Se le ct
Specifies how the sound routed through chorus will be output.
Value
MAIN: Output to the OUTPUT jacks in stereo.
REV: Output to reverb in mono.
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.
When set to “MAIN” or “M+R,” the OUTPUT jack from which
the sound is output is set in Chorus Output Assign ( ).
15
14
Ch o ru s Le ve l
Adjusts the volume of the sound that has passed through chorus.
Value: 0–127
15
Ch o ru s O u tp u t Assig n
Selects the pair of OUTPUT jacks to which the chorus sound is
routed when Chorus Output Select ( ) is set to “MAIN” or “M+R.”
13
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
When Chorus Output Select ( ) is set to “REV,” this setting
13
will have no effect.
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Ad d in g Effe cts
Ap p ly in g Effe cts in Pe rfo rm a n ce Mo d e o r Mu ltitim b re Mo d e
Sp e cify in g Ho w th e So u n d W ill Be O u tp u t (Effe cts)
Here you can make overall settings for effects, and the output destination and level of each signal.
1 . Select the sound for which you want to make output settings (p. 85, p. 107).
2 . Press [MENU] to access the Menu window.
3 . Press
or
to select a “Performance Edit” or “Multitimbre Edit,” and then press [8 (Select)].
The Performance Edit or the Multitimbre Edit screen appears.
4 . Press [1 (●)] or [2 (●)] to select the “Effects” tab.
A screen like the one shown below appears.
fig.14-05_50
When “MFX,” “CHO,” “REV” (effect switches) are turned off, effects processors that are turned off will be
indicated by a dashed outline in the “Effects” setting screen.
5 . Use [CURSOR] to move the cursor to the parameter you wish to modify.
6 . Turn the VALUE dial or press [INC]/[DEC] to get the value you want.
7 . Repeat steps 5–6 to specify how the sound will be output.
8 . If you wish to save the changes you’ve made, press [6 (Write)] to perform the Save operation (p. 93, p.
Usin g th e MFX-A–C Sim u lta n e o u sly
Three types of multi-effects can be used simultaneously only if the MFX-A Source parameter is set to “PRF”
or “MLT” (p. 173).
Only 50 of the 90 types of multi-effects allow three multi-effects to be used simultaneously. For details refer
to “Multi-Effects Parameters” (Sound/ Parameter List).
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Ad d in g Effe cts
Sig n a l Flo w Dia g ra m a n d Pa ra m e te rs
fig.14-06
19
20
21
8
8
8
11
1
9
9
9
10
7
11
11
2
3
10
10
7
7
4
14 15
17 18
12
16
5
6
13
A
B
1
4
2
OUTPUT A
OUTPUT B
2
3
4
PART 1
1
MFX
C
A
7
8
11
3
B
MFX-A
9
10
12
15
5
6
14
13
CHO
MAIN
REV
13
16
17
18
REV
PART 1
PART 2
PART 3
:
:
:
PART 32
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Ad d in g Effe cts
1
6
Pa rt Se le ct
Pa rt Re ve rb Se n d Le ve l
Select the part for which you want to make settings.
Sets the level of the signal sent to reverb for each part.
Value: 1–16
Value: 0–127
2
Pa rt O u tp u t Assig n
For the following parameters
–
, settings can be made
7
11
Specifies for each part how the direct sound will be output.
Value
individually for each multi-effects (MFX1–MFX3) selected in
Part Output MFX Select ( ).
3
MFX: Output in stereo through multi-effects. You can also apply
chorus or reverb to the sound that passes through multi-effects.
A, B: Output to the OUTPUT A (MIX) jack or OUTPUT B jack in
stereo without passing through multi-effects.
7
MFX Ty p e (Mu lti-Effe cts Ty p e )
Use this parameter to select from among the 90 available multi-
effects. For details on multi-effects parameters, refer to “Multi-
Effects Parameters” (Sound/ Parameter List).
Value: 0 (Through)–90
1–4: Output to the INDIVIDUAL 1–4 jacks in mono without passing
through multi-effects.
PAT: The part’s output destination is determined by the settings of
the patch or rhythm set assigned to the part.
Depending on the multi-effects you select here, it may not be
possible to use three multi-effects simultaneously.
When the settings are such that signals are split and output from
the INDIVIDUAL 1 jack and INDIVIDUAL 2 jack, and no plug is
inserted in the INDIVIDUAL 2 jack, the sounds from
8
MFX Dry Se n d Le ve l (Mu lti-Effe cts Dry Se n d
Le ve l)
INDIVIDUAL 1 and INDIVIDUAL 2 are mixed together, then
output from the INDIVIDUAL 1 jack. This sound comprises the
sounds from the INDIVIDUAL 1 and 2 jacks.
Adjusts the volume of the sound that has passed through the multi-
effects.
Value: 0–127
If the Mix/ Parallel parameter (SYSTEM/ General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 179).
9
MFX Ch o ru s Se n d Le ve l (Mu lti-Effe cts
Ch o ru s Se n d Le ve l)
Adjusts the amount of chorus for the sound that passes through
multi-effects. If you don’t want to add the Chorus effect, set it to “0.”
Value: 0–127
•
When setting the “MFX,” set the output destination with the
MFX Output Assign ( ) for the sound after it has passed
11
10
through the multi-effects.
MFX Re ve rb Se n d Le ve l (Mu lti-Effe cts
Re ve rb Se n d Le ve l)
•
•
Chorus and reverb are output in mono at all times.
The output destination of the signal after passing through the
Adjusts the amount of reverb for the sound that passes through
multi-effects. If you don’t want to add the Reverb effect, set it to “0.”
Value: 0–127
chorus is set with the Chorus Output Select ( ) and the Chorus
13
Output Assign ( ).
15
•
The output destination of the signal after passing through the
reverb is set with the reverb Output Assign ( ).
18
11
MFX O u tp u t Assig n (Mu lti-Effe cts O u tp u t
Assig n )
3
Pa rt O u tp u t MFX Se le ct (Pa rt O u tp u t Mu lti-
Effe cts Se le ct)
Adjusts the output destination of the sound that has passed through
the multi-effects.
Of the three types of multi-effects that can be used simultaneously,
specify which multi-effects will be used.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
Value: A–C (MFX-A–MFX-C)
4
Pa rt Dry Se n d Le ve l
If the Mix/ Parallel parameter (SYSTEM/ General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 179).
Set the level of the signal that is sent to the output destination
specified by Part Output Assign ( ).
2
Value: 0–127
5
Pa rt Ch o ru s Se n d Le ve l
Sets the level of the signal sent to chorus for each part.
Value: 0–127
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Ad d in g Effe cts
12
17
Re ve rb Le ve l
Ch o ru s Ty p e
Selects either chorus or delay.
Value
Adjusts the volume of the sound that has passed through reverb.
Value: 0–127
0 (Off): Neither chorus or delay is used.
1 (Chorus): Chorus is used.
2 (Delay): Delay is used.
18
Re ve rb O u tp u t Assig n
Specifies how the sound routed through reverb will be output.
Value
3 (GM2 Chorus): General MIDI 2 chorus
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
13
Ch o ru s O u tp u t Se le ct
Specifies how the sound routed through chorus will be output.
Value
19
MFX-A So u rce (Mu lti-Effe cts A So u rce )
MAIN: Output to the OUTPUT jacks in stereo.
REV: Output to reverb in mono.
● When a performance is selected
Selects the multi-effects parameter settings that will be used by the
performance. If you wish to use the performance settings, select
“PRF.” If you wish to use the settings of the patch/ rhythm set
assigned to one of the parts, select the part number.
Value: PRF, P1–P16
M+R: Output to the OUTPUT jacks in stereo, and to reverb in mono.
When set to “MAIN” or “M+R,” the OUTPUT jack from which
the sound is output is set in Chorus Output Assign ( ).
15
● When a multitimbre is selected
Selects the multi-effects parameter settings that will be used by the
multitimbre. If you wish to use the multitimbre settings, select
“MLT.” If you wish to use the settings of the patch/ rhythm set
assigned to one of the parts, select the part number.
Value: MLT, P1–P16
14
Ch o ru s Le ve l
Adjusts the volume of the sound that has passed through chorus.
Value: 0–127
15
Ch o ru s O u tp u t Assig n
Selects the pair of OUTPUT jacks to which the chorus sound is
When the MFX-A Source parameter is set to “P1” – “P16,” MFX-
routed when Chorus Output Select ( ) is set to “MAIN” or “M+R.”
13
B and MFX-C will be disabled.
Value
A: Output to the OUTPUT A (MIX) jacks in stereo.
B: Output to the OUTPUT B jacks in stereo.
W h e n Pa tch o r Rh y th m Se t Se ttin g s Are
Se le cte d
When Chorus Output Select ( ) is set to “REV,” this setting
13
When the patch or rhythm set’s multi-effects settings are
selected, those settings are shown in each of the multitimbre’s/
performance’s multi-effects setting screens, and the settings can
be then be changed as well. Changes to patch or rhythm set
multi-effects parameter settings are lost when another patch or
rhythm set is selected. To keep the modified settings, save the
patch/ rhythm set settings (p. 93, p. 114).
will have no effect.
If the Mix/ Parallel parameter (SYSTEM/ General) is set to
“MIX,” all sounds are output from the OUTPUT A (MIX) jacks in
stereo (p. 179).
16
Re ve rb Ty p e
Selects the type of reverb.
Value
0 (Off): Reverb is not used.
1 (Reverb): Normal reverb
2 (SRV Room): This reverb simulates typical room acoustic
reflections.
3 (SRV Hall): This reverb simulates typical concert hall acoustic
reflections.
4 (SRV Plate): This reverb simulates a reverb plate, a popular type
of artificial reverb unit that derives its sound from the vibration of a
metallic plate. You can also achieve unusual metallic-sounding
reverbs using “SRV Plate.”
5 (GM2 Reverb): General MIDI 2 reverb
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Ad d in g Effe cts
20
Ma k in g Mu lti-Effe cts Se ttin g s
(MFX/ MFX Co n tro l)
Ch o ru s So u rce
● When a performance is selected
Selects the chorus parameter settings that will be used by the
performance. If you wish to use the performance settings, select
“PRF.” If you wish to use the settings of the patch/ rhythm set
assigned to one of the parts, select the part number.
Value: PRF, P1–P16
Here we will explain how to make multi-effects settings in
Performance mode. The procedure is the same when making
settings in Patch mode or Multitimbre mode.
● When a multitimbre is selected
Se ttin g Pro ce d u re
1 . Select the sound to which you want to apply the multi-
Selects the chorus parameter settings that will be used by the
multitimbre. If you wish to use the multitimbre settings, select
“MLT.” If you wish to use the settings of the patch/ rhythm set
assigned to one of the parts, select the part number.
Value: MLT, P1–P16
effects (p. 85).
2 . Press [MENU] to access the Menu window.
3 . Press
or
to select a “Performance Edit,” and then
press [8 (Select)].
The Performance Edit screen appears.
W h e n Pa tch o r Rh y th m Se t Se ttin g s Are
Se le cte d
4 . Press [1 (●)] or [2 (●)] to select the “MFX” tab or the “MFX
Control” tab.
When the patch or rhythm set’s chorus settings are selected,
those settings are shown in each of the multitimbre’s/
performance’s chorus setting screens, and the settings can be
then be changed as well. Changes to patch or rhythm set chorus
parameter settings are lost when another patch or rhythm set is
selected. To keep the modified settings, save the patch/ rhythm
set settings (p. 93, p. 114).
The multi-effects parameter setting screen appears.
5 . Use [CURSOR] to move the cursor to the parameter you
wish to modify.
6 . Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
7 . Repeat steps 5–6 to make the multi-effects settings.
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 93). If you do not
wish to save changes, press [EXIT] to return to the previous
screen.
21
Re ve rb So u rce
● When a performance is selected
Selects the reverb parameter settings that will be used by the
performance. If you wish to use the performance settings, select
“PRF.” If you wish to use the settings of the patch/ rhythm set
assigned to one of the parts, select the part number.
Value: PRF, P1–P16
MFX Te m p la te
The Fantom provides a variety of multi-effect settings in the
form of MFX templates. Simply by pressing [7 (Init)] and
selecting an MFX template, you can summon up just the right
effects settings for the application you have in mind (p. 43, p. 69,
● When a multitimbre is selected
Selects the reverb parameter settings that will be used by the
multitimbre. If you wish to use the multitimbre settings, select
“MLT.” If you wish to use the settings of the patch/ rhythm set
assigned to one of the parts, select the part number.
Value: MLT, P1–P16
p. 91, p. 112)
fig.14-06a_50
W h e n Pa tch o r Rh y th m Se t Se ttin g s Are
Se le cte d
For more information about MFX template, refer to “MFX
When the patch or rhythm set’s reverb settings are selected,
those settings are shown in each of the multitimbre’s/
performance’s reverb setting screens, and the settings can be
then be changed as well. Changes to patch or rhythm set reverb
parameter settings are lost when another patch or rhythm set is
selected. To keep the modified settings, save the patch/ rhythm
set settings (p. 93, p. 114).
Template List” (Sound/ Parameter List).
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Ad d in g Effe cts
Fu n ctio n s o f Pa ra m e te rs
Mu lti-Effe cts Co n tro l
MFX
If you wanted to change the volume of multi-effects sounds, the
delay time of Delay, and the like, using an external MIDI device,
you would need to send System Exclusive messages-MIDI
messages designed exclusively for the Fantom. However,
System Exclusive messages tend to be complicated, and the
amount of data that needs to be transmitted can get quite large.
For that reason, a number of the more typical of the Fantom’s
multi-effects parameters have been designed so they accept the
use of Control Change (or other) MIDI messages for the
purpose of making changes in their values. For example, you
can use the Pitch Bend lever to change the amount of distortion,
or use the keyboard’s touch to change the delay time of Delay.
The parameters that can be changed are predetermined for each
type of multi-effect; among the parameters described in “Multi-
Effects Parameters” (Sound/ Parameter List), these are
indicated by a “#.”
fig.14-07_50
Se le ct (Mu lti-Effe cts Se le ct)
Of the three types of multi-effects that can be used simultaneously,
select the multi-effects for which you want to make settings.
Value: MFX-A–MFX-C
The function that allows you use MIDI messages to make these
changes in realtime to the multi-effects parameters is called the
Multi-effects Control. Up to four multi-effects controls can be
used in a single patch/ rhythm set/ multitimbre/ performance.
When the multi-effects control is used, you can select the
amount of control (Sens parameter) applied, the parameter
selected (Destination parameter), and the MIDI message used
(Source parameter).
This parameter is not available when a patch or rhythm set is
being selected.
Ty p e (Mu lti-Effe cts Ty p e )
Use this parameter to select from among the 90 available multi-
effects. For details on multi-effects parameters, refer to “Multi-
Effects Parameters” (Sound/ Parameter List).
Value: 00 THROUGH–90 3D MANUAL
By using the Matrix Control instead of the Multi-effects
Control, you can also change the parameters of some
popular multi-effects in realtime (p. 55).
In this setting screen, you can edit the parameters of the multi-effects
that is selected by the Multi-effects Type setting. For details on the
parameters that can be edited, refer to “Multi-Effects Parameters”
(Sound/ Parameter List).
So u rce 1 –4 (Mu lti-Effe cts Co n tro l So u rce 1 –4 )
MFX Co n tro l
fig.14-08_50
Sets the MIDI message used to change the multi-effects parameter
with the multi-effects control.
Value
OFF: Multi-effects control will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
For more information about Control Change messages, please
refer to “MIDI Implementation” (Sound/ Parameter List).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
SYS CTRL1–SYS CTRL4: MIDI messages used as common multi-
effects controls.
If you want to use common controllers for the entire Fantom,
select “SYS CTRL 1”–”SYS CTRL 4.” MIDI messages used as
System Control 1–4 are set with the Sys Ctrl 1–4 Source
parameters (SYSTEM/ Control) (p. 184).
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Ad d in g Effe cts
Ma k in g Ch o ru s Se ttin g s
(Ch o ru s)
•
In patch/ rhythm set mode, there are parameters that determine,
for each tone/ rhythm tone, whether or not Pitch Bend,
Controller Number 11 (Expression) and Controller Number 64
the MIDI messages are received, then when any change is made
in the settings of the desired parameter, the Pitch Bend,
Expression, and Hold1 settings also change simultaneously. If
you want to change the targeted parameters only, then set these
to “OFF.”
Here we will explain how to make chorus settings in
Performance mode. The procedure is the same when making
settings in Patch mode or Multitimbre mode.
Se ttin g Pro ce d u re
•
There are parameters that determine whether or not specific
MIDI messages are received for each MIDI channel (p. 103, p.
MIDI messages used for the multi-effects control will be
received. If the Fantom is set up such that reception of MIDI
messages is disabled, then the multi-effects control will not
function.
1 . Select the sound to which you want to apply the chorus (p.
85).
2 . Press [MENU] to access the Menu window.
3 . Press
or
to select a “Performance Edit,” and then
press [8 (Select)].
The Performance Edit screen appears.
4 . Press [1 (●)] or [2 (●)] to select the “Chorus” tab.
De stin a tio n 1 –4 (Mu lti-Effe cts Co n tro l
De stin a tio n 1 –4 )
The chorus parameter setting screen appears.
5 . Use [CURSOR] to move the cursor to the parameter you
Sets the multi-effects parameters to be controlled with the multi-
effects control. The multi-effects parameters available for control will
depend on the multi-effects type. For details, refer to “Multi-Effects
Parameters” (Sound/ Parameter List).
wish to modify.
6 . Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
7 . Repeat steps 5–6 to make the chorus settings.
Se n s 1 –4 (Mu lti-Effe cts Co n tro l Se n sitivity 1 –4 )
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 93). If you do not
wish to save changes, press [EXIT] to return to the previous
screen.
Sets the amount of the multi-effects control’s effect that is applied.
To make an increase in the currently selected value (to get higher
values, move to the right, increase rates, and so on), select a positive
value; to make a decrease in the currently selected value (to get
lower values, move to the left, decrease rates, and so on), select a
negative value. When both positive and negative are selected, the
changes are greater as the value increases. To have no effect applied,
select “0.”
Fu n ctio n s o f Pa ra m e te rs
Ch o ru s
Value: -63–+63
fig.14-09_50
MFX Co n tro l Ch a n n e l (Mu lti-Effe cts Co n tro l
Ch a n n e l)
This determines the channel that will be used for reception when
using the Multi-effects Control to modify multi-effects parameters in
real time, when the MFX Source parameter (p. 173) is set to “PRF” or
“MLT.” Set this to “OFF” when the Multi-effects Control is not being
used.
Value: 1–16, OFF
Ty p e (Ch o ru s Ty p e )
Selects either chorus or delay.
Value
0 OFF: Neither chorus or delay is used.
1 CHORUS: Chorus is used.
2 DELAY: Delay is used.
3 GM2 CHORUS: General MIDI 2 chorus
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Ad d in g Effe cts
In this setting screen, you can edit the parameters of the chorus/
delay that is selected by the Chorus Type setting. For details on the
parameters that can be edited, refer to “Chorus Parameters”
(Sound/ Parameter List).
Ty p e (Re ve rb Ty p e )
Selects the type of Reverb.
Value
0 OFF: Reverb is not used.
1 REVERB: Normal Reverb
2 SRV ROOM: This reverb simulates typical room acoustic
reflections.
Ma k in g Re ve rb Se ttin g s
(Re ve rb )
3 SRV HALL: This reverb simulates typical concert hall acoustic
reflections.
4 SRV PLATE: This reverb simulates a reverb plate, a popular type
of artificial reverb unit that derives its sound from the vibration of a
metallic plate. You can also achieve unusual metallic-sounding
reverbs using “SRV PLATE.”
Here we will explain how to make reverb settings in
Performance mode. The procedure is the same when making
settings in Patch mode or Multitimbre mode.
5 GM2 REVERB: General MIDI 2 reverb
Se ttin g Pro ce d u re
1 . Select the sound to which you want to apply the reverb (p.
In this setting screen, you can edit the parameters of the reverb that
that can be edited, refer to “Reverb Parameters” (Sound/ Parameter
List).
85).
2 . Press [MENU] to access the Menu window.
3 . Press
or
to select a “Performance Edit,” and then
press [8 (Select)].
The Performance Edit screen appears.
4 . Press [1 (●)] or [2 (●)] to select the “Reverb” tab.
The reverb parameter setting screen appears.
5 . Use [CURSOR] to move the cursor to the parameter you
wish to modify.
6 . Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
7 . Repeat steps 5–6 to make the reverb settings.
8 . If you wish to save the changes you’ve made, press [6
(Write)] to perform the Save operation (p. 93). If you do not
wish to save changes, press [EXIT] to return to the previous
screen.
Fu n ctio n s o f Pa ra m e te rs
Re ve rb
fig.14-10_50
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Settings that affect the entire operating environment of the Fantom,
In itia lizin g th e Sy ste m Se ttin g s (In it)
The current settings of the system functions can be restored to a set
such as tuning and MIDI message reception, are referred to as
system functions. This section explains how to make settings for
of standard settings, or to the factory settings.
the System functions and describes the functions of the different
System parameters.
1 . Access the System Edit screen.
2 . Press [7 (Init)].
The System Initialize window appears.
fig.15-02_50
Ho w to Ma k e th e Sy ste m
Fu n ctio n Se ttin g s
1 . Press [MENU] to open the Menu window.
2 . Press
(Select)].
The System Edit screen appears.
or
to select “System Edit,” and then press [8
3 . Press [8 (Execute)].
The settings will be initialized, then you’ll be returned to the
previous screen.
fig.15-01_50
Sa vin g th e Sy ste m Se ttin g s
(W rite )
Changes you make to the System function settings are only
temporary—they will be discarded as soon as the power is turned
off. If you want to keep any changes you’ve made in the system
settings, you must save them in internal system memory.
When you perform the save procedure, the data that previously
occupied the save destination will be lost. However, the factory
setting data can be recovered by performing the Initialization
procedure.
The lower part of the screen indicates the Wave Expansion Board
installation status, and the program version.
3 . The parameters are organized into several edit groups.
Press [1 (●)] or [2 (●)] to select the tab of the edit group that
contains the parameter you want to set.
1 . Change the system function settings, and press [6 (Write)].
The System Write window appears.
fig.15-03_50
For details on how the parameters are grouped, refer to
“Parameter list” (Sound/ Parameter List).
4 . Use [CURSOR] to move the cursor to the parameter you
wish to modify.
2 . Press [8 (Execute)].
The display will indicate “Are you sure?”
•
•
Some of the parameters have a “ ” symbol. This indicates that
if you press [LIST] when setting one of these parameters, the
related window will appear. For example if you press [LIST] at a
parameter that requires you to specify a name, the Name
window will appear.
3 . Press [8 (OK)] to execute the save operation. To cancel the
operation, press [EXIT].
When all the parameters cannot be shown within a single
settings screen, a scroll bar will be displayed at the right side of
the screen. In such cases, press
downward.
to scroll the screen
5 . Turn the VALUE dial or press [INC]/[DEC] to get the value
you want.
6 . Repeat steps 3–5 to make the settings for the System
function.
7 . To save the settings you modified, press [6 (Write)] and
perform the Write operation. If you do not want to save,
press [EXIT] to return to the previous screen.
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Pa tch Re m a in (Pa tch Re m a in Sw itch )
Fu n ctio n s o f Sy ste m
Pa ra m e te rs
Specifies whether currently sounding notes will continue sounding
when another patch or rhythm set is selected (ON), or not (OFF).
Also, when this is “ON,” changes produced by incoming MIDI
messages such as Volume or Pan (CC 5, 7, 10, 65, 68, 71–74, RPN 0, 1,
2, MONO ON, POLY ON), as well as tonal quality and volume
changes produced by the various controllers will be inherited.
Value: OFF, ON
This section explains what the different System parameters do, and
also how these parameters are organized.
Se ttin g s Co m m o n to th e En tire
Sy ste m (Ge n e ra l)
fig.15-01_50
Effects settings change as soon as you switch to a new patch or
rhythm set, without being influenced by the Patch Remain
setting. Because of this, certain effects settings can cause notes
that were until then sounding to no longer be heard, even
though Patch Remain has been set to on.
Mix / Pa ra lle l
Specifies how the sound of the entire Fantom will be output.
Value
MIX: Set this to have the collective output of all sounds output from
the OUTPUT A (MIX) jacks. When you want to check the final
overall sound being output, set to MIX.
For details on the setting, refer to “How to Make the System
Function Settings” (p. 178).
Sounds which are set in the respective Output Assign to be
output from the INDIVIDUAL 3 jack are output from the left
OUTPUT A (MIX) jack; sounds which are set to be output from
the INDIVIDUAL 4 jack are output from the right OUTPUT A
(MIX) jack.
Ge n e ra l
Lo ca l Sw itch
The Local Switch determines whether the internal sound generator is
disconnected (OFF) from the keyboard controller section (keyboard,
pitch bend/ modulation lever, knobs, buttons, D Beam controller,
pedal, and so on); or not disconnected (ON). Normally this is left
“ON,” but if you wish to use the Fantom’s keyboard and controllers
to control only external sound modules, set it to “OFF.”
Value: OFF, ON
Sounds output from the PHONES jack are the same as those
output from the OUTPUT A (MIX) jacks. Therefore, any sounds
set with Output Assign to be output from the OUTPUT B jacks is
not output from the PHONES jack. Be sure to have any sound
you want to hear through the headphones set to “MIX.”
PARALLEL: Output according to each Output Assign settings.
When a performance is selected, if you want the keyboard
controller section to be disconnected only from a specific part or
parts, use the Int Switch parameter (PERFORMANCE/ Zone) (p.
98).
O u tp u t Ga in
Digital Out. When, for example, there are relatively few voices being
sounded, boosting the output gain can let you attain the most
suitable output level for recording and other purposes.
Value: -12, -6, 0, +6, +12 dB
Ma ste r Tu n e
Adjusts the overall tuning of the Fantom. The display shows the
frequency of the A4 note (center A).
Ke y b o a rd Ve lo city
Value: 415.3–466.2 Hz
Specifies the velocity value that will be transmitted when you play
the keyboard. If you want actual keyboard velocity to be
transmitted, set this to “REAL.” If you want a fixed velocity value to
be transmitted regardless of how you play, specify the desired value
(1–127).
Ma ste r Ke y Sh ift
Shifts the overall pitch of the Fantom in semitone steps.
Value: -24– +24
Ma ste r Le ve l
Value: REAL, 1–127
Adjusts the volume of the entire Fantom.
Value: 0–127
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Ke y b o a rd Se n s (Ke y b o a rd Se n sitivity )
Se q u e n ce r Se ttin g s (Se q u e n ce r)
Adjusts the keyboard’s touch.
Value
fig.15-04_50
LIGHT: Light weight synthesizer keyboard like
MEDIUM: Standard
HEAVY: Acoustic piano simulation
Afte rto u ch Se n s (Afte rto u ch Se n sitivity )
Specifies the Aftertouch sensitivity. Higher values will allow
Aftertouch to be applied more easily. Normally you will leave this at
“100.”
Value: 0–100%
Po w e r Up Mo d e
For details on the setting, refer to “How to Make the System
Specifies the condition that the Fantom will be in when the power is
turned on.
Function Settings” (p. 178).
Value
Se q u e n ce r
LAST SET: Reinstates the patch and performance selected at the
time the Fantom was last turned off.
Sy n c Mo d e
DEFAULT: The Fantom will be ready to play Performance
Specify the synchronization message that the Fantom’s sequencer
will use for operation.
“USER:01.”
Value
Ba ck lig h t Sa ve r
MASTER: The Fantom will be the master. Choose this setting when
using the Fantom by itself without synchronizing to another device,
or when you want other MIDI devices to synchronize to the Fantom.
SLAVE MIDI: The Fantom will be the slave. Choose this setting
when you want the Fantom to synchronize to MIDI Clock messages
received from another MIDI device.
Specify the time to pass before the backlight saver function is
activated. If you do not want to use the backlight saver, set it to
“OFF.”
If there are no panel operations or MIDI input for longer than the
time specified here, the backlight will go dark. While the backlight is
off, the display darkens, and the BEAT orange indicator lamp blinks.
Value: OFF, 5, 10, 20, 30, 40, 50, 60 minutes
SLAVE MTC: The Fantom will be the slave. Choose this setting
when you want the Fantom to synchronize to MTC (MIDI Time
Code) received from an external device.
The backlight saver function will be defeated when you play the
keyboard or operate the panel of the Fantom, or when the following
MIDI messages are received.
REMOTE: Use this setting when you wish an external MIDI device
to have remote start/ stop control. The tempo will be in accord with
what has been set on the Fantom.
•
•
•
Channel Voice Message
Channel Mode Messages
System Exclusive Message
MIDI Clo ck a n d MTC
MIDI Clock and MTC (MIDI Time Code) are both messages
used for synchronization. Select either of them depending on
the application.
Ba ck lig h t Sa ve r
This backlight saver extends the backlight’s operational life. If
the backlight becomes dim or fails to light, the display screen
will be dark and difficult to read.
MIDI Clock transmits and synchronizes operations to a
sequencer’s performance tempo, whereas MTC synchronizes
operations between devices based on an absolute time. Since
Roland VS Series workstations are hard disk recorders, they
cannot send MIDI Clock. Therefore, using a MTC is convenient
for synchronization of the hard disk recorder and the Fantom.
However, VS Series devices also feature specialized tracks for
recording MIDI Clock, so with the Fantom’s MIDI Clock
recorded in this manner, we have another synchronizing
technique in which the VS device appears to be sending MIDI
Clock (although it is actually playing back tracks to which MIDI
Clock has been recorded). However, since the tempo must be
recorded to the VS sync track beforehand, MTC is only
convenient in synchronizing with songs that do not contain
great amounts of tempo data.
The factory default settings call for the Backlight Saver function
to be switched off. However, in order to maximize the life of the
backlight, we recommend that you turn the Backlight Saver
function on.
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Sy n c O u tp u t (Sy n c O u tp u t Sw itch )
When synchronizing with a hard disk recorder such as the
Roland VS series, any frame rate is all right—as long as the
setting matches that of the Fantom. However, when
synchronizing operation with video devices such as video decks,
the video device’s frame rate is fixed, so the Fantom’s setting
must correspond to that frame rate.
Set this parameter ON when you want synchronization related MIDI
messages (MIDI Clock, Start, Continue, Stop, Song Position Pointer
and Song Select) to be transmitted to an external MIDI device. If not,
set it OFF.
Value: OFF, ON
So ft Th ro u g h (So ft Th ro u g h Sw itch )
Thru function re-transmits all messages received at the MIDI IN
connector to the MIDI OUT connector without modifying them in
any way. Normally you’ll leave this “OFF,” but when using an
external sequencer, you should set it “ON.”
Ty p e s o f MTC
The types of MTC that can be selected by the Fantom are shown
below. Select the same frame rate as that set for the external
device. When not using a video device, then any frame rate may
be selected as long as the rates are the same on both devices
being synchronized.
Value: OFF, ON
MMC Mo d e
When synchronizing the Fantom with a hard disk recorder, such as
one from the Roland VS series, specify which synchronization signal
the Fantom’s sequencer will use for operation.
30: This is 30 frames per second, non-drop format. This is used
by audio devices such as analog tape recorders, and for NTSC
format black and white video (used in Japan and the U.S.).
29N: This is 29.97 frames per second, non-drop format. This is
used for NTSC format color video (used in Japan and the U.S.).
29D: 29.97 frames per second drop format. This is used for
NTSC format color video (used in Japan and the U.S.).
25: 25 frame per second frame rate. This is used for SECAM or
PAL format video, audio equipment, and film (used in Europe
and elsewhere).
Value
MASTER: The Fantom will be the master. Use this setting when you
want other devices to follow the operation of the Fantom.
SLAVE: The Fantom will be the slave. Use this setting when you
want the Fantom to receive MMC (MIDI Machine Control) from an
external device and operate accordingly.
24: 24 frame per second frame rate. This is used for video, audio
devices, and film in the US.
MMC (MIDI Machine Control) is a specification that allows
MIDI messages to be used to control devices such as tape
recorders, VTR’s, and digital recording systems. Thirty-seven
MMC commands are available, including Stop and Play.
N o n -Dro p Fo rm a t a n d Dro p Fo rm a t
There are two types of format used by NTSC video cassette
recorders, non-drop and drop. Non-drop format features
continuous time code, whereas in drop format, which is used
for NTSC color video format, the first two frames of every
minute are dropped, except for those at ten-minute intervals. In
most video and audio production, since formats with
MMC O u tp u t (MMC O u tp u t Sw itch )
Turn this “ON” if you want to synchronize with a hard disk
recorder, such as one from the Roland VS series. When set “ON,”
MMC (MIDI Machine Control) related commands (Play, Stop and
Locate) will be transmitted.
continuous frames are easier to deal with, non-drop is generally
used. In contrast, in situations such as in broadcast, where the
time code must match actual clock time, drop is used.
Value: OFF, ON
MTC Sy n c O u tp u t (MTC Sy n c O u tp u t Sw itch )
Set this parameter ON when you want MTC (MIDI Time Code) to be
transmitted to an external MIDI device. If not, set it OFF.
Value: OFF, ON
MTC O ffse t Ho u r (MTC O ffse t Tim e Ho u r)
Coordinates the playback timing of the Fantom and the external
device in an hour units.
MTC Fra m e Ra te
Value: 00–23 hours
Specify the MTC frame rate. Make sure that the same mode is set in
both master and slave devices.
Value
MTC O ffse t Min u te (MTC O ffse t Tim e Min u te )
Coordinates the playback timing of the Fantom and the external
device in a minute units.
24: 24 frames per second
25: 25 frames per second
Value: 00–59 minutes
29N: 29 frames per second
29D: 29 frames per second
30: 30 frames per second
MTC O ffse t Se co n d (MTC O ffse t Tim e Se co n d )
Coordinates the playback timing of the Fantom and the external
device in a second units.
Value: 00–59 seconds
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
MTC O ffse t Fra m e (MTC O ffse t Tim e Fra m e )
MIDI Se ttin g s (MIDI)
Coordinates the playback timing of the Fantom and the external
device in a frame units.
fig.15-05_50
Value: 00–29 frames
MTC Erro r Le ve l
Determines how often the reception status is checked when MTC is
being received from an external device. Stop synchronization if a
problem becomes apparent with the check.
Value: 0–10 (the checking interval will be longer for larger values)
In strict terms, the lower the numerical value set, the more
accurate the check is. However, playback may be stopped overly
frequently if too rigorous a check is made, and this soon becomes
inconvenient. By raising the Error Level setting, then even if
problems with the reception of MTC do occur, synchronization
can then continue as long as such problems remain at a level that
does not cause undue problems.
For details on the setting, refer to “How to Make the System
Function Settings” (p. 178).
MIDI
Pe rfo rm a n ce Ctrl Ch (Pe rfo rm a n ce Co n tro l
Ch a n n e l)
Me tro n o m e Mo d e
Performance Ctrl Ch selects the MIDI receive channel used during
switching of performances when MIDI messages (Program Change/
Bank Select) are sent from an external MIDI device. Set this to “OFF”
if performances are not to be switched from an external MIDI device.
Value: 1–16, OFF
Specifies when you want the metronome to sound.
Value
OFF: Will not sound.
PLAY ONLY: Will sound only during playback.
REC ONLY: Metronome will sound only for recording.
PLAY&REC: Metronome will sound for playback and recording.
ALWAYS: Metronome will always sound.
If only a program change is received, and if the Performance Ctrl
Ch parameter setting coincides with the MIDI receive channel of
a part, priority will be given to switching the performance.
Me tro n o m e Le ve l
You can adjust the volume of the metronome.
Mu ltitim b re Ctrl Ch (Mu ltitim b re Co n tro l
Ch a n n e l)
Value: 0–10
Me tro n o m e So u n d
Multitimbre Ctrl Ch selects the MIDI receive channel used during
switching of Multitinbres when MIDI messages (Program Change/
Bank Select) are sent from an external MIDI device. Set this to “OFF”
if Multitinbres are not to be switched from an external MIDI device.
Value: 1–16, OFF
Selects the metronome sound.
Value
TYPE 1: A conventional metronome sound will be heard. A bell will
sound on the first beat.
TYPE 2: Clicks will sound.
TYPE 3: Beeps will sound.
If only a program change is received, and if the Multitimbre Ctrl
Ch parameter setting coincides with the MIDI receive channel of
a part, priority will be given to switching the multitimbre.
TYPE 4: Cowbell will sound for the first beat, and woodblock on
other beats.
Pa tch / Rh y th m Rx Ch (Pa tch / Rh y th m Se t
Re ce ive Ch a n n e l)
Specifies the receive channel of MIDI messages in Patch mode.
Value: 1–16
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Rx GS Re se t (Re ce ive GS Re se t Sw itch )
Pa tch / Rh y th m Tx Ch (Pa tch / Rh y th m Se t
Tra n sm it Ch a n n e l)
Specifies whether GS Reset messages will be received (ON) or not
Specifies the transmit channel of MIDI messages in Patch mode. If
you do not want to transmit MIDI messages to external MIDI
devices, turn this parameter “OFF.” If you want the transmit channel
to always match the Patch/ Rhythm Set Receive Channel, set this
parameter to “Rx Ch.”
(OFF).
Value: OFF, ON
Rx Ex clu sive (Re ce ive Sy ste m Ex clu sive Sw itch )
Specifies whether System Exclusive messages will be received (ON)
Value: 1–16, Rx Ch, OFF
or not (OFF).
Value: OFF, ON
Re m o te Ke y b o a rd Sw (Re m o te Ke y b o a rd
Sw itch )
Tx Pro g ra m Ch a n g e (Tra n sm it Pro g ra m
Ch a n g e Sw itch )
Set this parameter “ON” when you want to use an external MIDI
keyboard instead of the Fantom’s keyboard. In this case, the MIDI
transmit channel of the external MIDI keyboard can be set to any
channel. Normally you will leave this parameter “OFF.”
Specifies whether Program Change messages will be transmitted
(ON) or not (OFF).
Value: OFF, ON
Tx Ba n k Se le ct (Tra n sm it Ba n k Se le ct Sw itch )
Turn this “ON” when you want to control the Fantom from an
external MIDI device when performing with the Arpeggiator or
RPS function (p. 39, p. 161).
Specifies whether Bank Select messages will be transmitted (ON) or
not (OFF).
Value: OFF, ON
Ex clu sive Pro te ct (Ex clu sive Pro te ct Sw itch )
Tx Active Se n sin g (Tra n sm it Active Se n sin g
Sw itch )
This prevents incoming System Exclusive messages from an external
MIDI device from rewriting user memory settings. When this is set
“ON,” the data cannot be written. Value: OFF, ON
Specifies whether Active Sensing messages will be transmitted (ON)
or not (OFF).
De vice ID (De vice ID N u m b e r)
Value: OFF, ON
When you want to transmit or receive System Exclusive messages,
Tx Ed it Da ta (Tra n sm it Ed it Da ta Sw itch )
set this parameter to match the Device ID number of the other MIDI
Specify whether changes you make in the settings of a patch,
multitimbre, or performance will be transmitted as system exclusive
messages (ON), or will not be transmitted (OFF).
Value: OFF, ON
device.
Value: 17–32
Rx Pro g ra m Ch a n g e (Re ce ive Pro g ra m Ch a n g e
Sw itch )
Specifies whether Program Change messages will be received (ON)
or not (OFF).
Value: OFF, ON
Rx Ba n k Se le ct (Re ce ive Ba n k Se le ct Sw itch )
Specifies whether Bank Select messages will be received (ON) or not
(OFF).
Value: OFF, ON
Rx GM Sy ste m O n (Re ce ive GM Sy ste m O n
Sw itch )
Specifies whether General MIDI System On messages will be
received (ON) or not (OFF).
Value: OFF, ON
Rx GM2 Sy ste m O n (Re ce ive GM2 Sy ste m O n
Sw itch )
Specifies whether General MIDI 2 System On messages will be
received (ON) or not (OFF).
Value: OFF, ON
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Ho ld Pe d a l Po la rity
Co n tro lle r Se ttin g s (Co n tro lle r)
fig.15-06_50
Select the polarity of the Hold pedal. On some pedals, the electrical
signal output by the pedal when it is pressed or released is the
opposite of other pedals. If your pedal has an effect opposite of what
you expect, set this parameter to “REVERSE.” If you are using a
Roland pedal (that has no polarity switch), set this parameter to
“STANDARD.”
Range: STANDARD, REVERSE
Co n t Ho ld Pe d a l (Co n tin u o u s Ho ld Pe d a l
Sw itch )
This setting determines whether the HOLD PEDAL jack will provide
support for half-pedaling (ON), or not (OFF). When this is set to
support use of half-pedaling techniques, you can then connect an
optional expression pedal (EV-5, etc.), and employ pedal work to
achieve even finer control in performances in which piano tones are
used.
For details on the setting, refer to “How to Make the System
Function Settings” (p. 178).
Co n tro lle r
Value: OFF, ON
Sy s Ctrl 1 –4 So u rce (Sy ste m Co n tro l 1 –4
So u rce )
Pe d a l 1 , 2 Assig n
This specifies the function of each pedal connected to the CTL 1, CTL
2 PEDAL jacks.
System Control Assign selects the MIDI message used as the System
Control.
Value
OFF: The control pedal will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
Sy ste m Co n tro l
This function, which departs from previously used methods,
and instead allows you to use MIDI messages to change tone
settings in realtime, is called the Matrix Control (p. 54).
Similarly, the function allowing you to use MIDI messages to
change multi-effects settings in realtime is called the Multi-
effects Control (p. 175).
For details on control change messages, refer to “MIDI
Implementation” (Sound/ Parameter List).
BEND UP: The pitch will rise in semitone steps (maximum 4
octaves) each time you press the pedal.
BEND DOWN: The pitch will fall in semitone steps (maximum 4
octaves) each time you press the pedal.
Normally, the Matrix Control is used for making patch settings,
and the Multi-effects Control for making settings to patches,
rhythm sets, multitimbres, and performances. However, if you
do not need to change the MIDI messages used for matrix
control or multi-effects control by each patch/ rhythm set/
multitimbre/ performance, or if you want to use a specific MIDI
message for matrix control or multi-effects control, you will
want to make use of System Control. In other words, you
could call the System Controls global Matrix Control/ Multi-
effects Control for the entire Fantom.
AFTERTOUCH: Aftertouch
OCT UP: Each pedal press raises the key range in octave steps (up to
3 octaves higher).
OCT DOWN: Each pedal press lowers the key range in octave steps
(up to 3 octaves lower).
START/STOP: The sequencer will start/ stop.
PUNCH I/O: Manual punch-in/ out recording will start/ stop.
TAP TEMPO: Tap tempo (a tempo specified by the interval at which
you press the pedal).
You can use up to four System Controls.
PROG UP: The next sound number will be selected.
PROG DOWN: The previous sound number will be selected.
FAV UP: The favorite sound of the next number or bank will be
selected ([1] → [8]).
Value
OFF: The system control knob will not be used.
CC01–31, 33–95: Controller numbers 1–31, 33–95
FAV DOWN: The favorite sound of the previous number or bank
will be selected ([8] → [1]).
ARP SW: Switches the Arpeggiator on/ off.
PTN SW: Switch Rhythm pattern playback on/ off.
For details on control change messages, refer to “MIDI
Implementation” (Sound/ Parameter List).
PITCH BEND: Pitch Bend
AFTERTOUCH: Aftertouch
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Hig h Fre q (Hig h Fre q u e n cy )
Pe d a l 1 , 2 Po la rity
Selects the polarity of the pedal. On some pedals, the electrical signal
output by the pedal when it is pressed or released is the opposite of
other pedals. If your pedal has an effect opposite of what you expect,
set this parameter to “REVERSE.” If you are using a Roland pedal
(that has no polarity switch), set this parameter to “STANDARD.”
Value: STANDARD, REVERSE
Selects the frequency of the high range.
Value: 2000, 4000, 8000 Hz
Hig h Ga in
Adjusts the gain of the high frequency. Positive (+) settings will
emphasize the high-frequency range.
Value: -15– +15 dB
Be a m Se n s (D Be a m Se n sitivity )
This sets the D Beam Controller’s sensitivity. The higher the value
set, the more readily the D Beam Controller goes into effect.
Normally you will leave this at “5.”
Ph ra se Pre vie w Se ttin g s (Pre vie w )
Specify how the phrase will sound when you press [8 (Prevu)] in the
Patch List window.
Value: 1–10
fig.15-08_50
Eq u a lize r se ttin g s (EQ )
fig.15-07_50
For details on the setting, refer to “How to Make the System
Function Settings” (p. 178).
For details on the setting, refer to “How to Make the System
Function Settings” (p. 178).
Pre vie w Mo d e
SINGLE: The notes specified by Note Number 1–4 parameter will
sound successively one by one.
Equalizer settings are made separately for each output jack
Output A(L)/1: OUTPUT A (MIX) jack (L (MONO))/
INDIVIDUAL 1 jack
CHORD: The notes specified by Note Number 1–4 parameter will
sound simultaneously.
Output A(R)/2: OUTPUT A (MIX) jack (R)/ INDIVIDUAL 2 jack
Output B(L)/3: OUTPUT B jack (L)/ INDIVIDUAL 3 jack
Output B(R)/4: OUTPUT B jack (R)/ INDIVIDUAL 4 jack
PHRASE: The Phrase associated with the patch’s type/ category is
played.
N o te N u m b e r 1 –4 (Pre vie w N o te N u m b e r 1 –4 )
EQ
Specify the pitch of the four notes that will sound when the Preview
Mode parameter is set to “SINGLE” or “CHORD.”
Value: C-1–G9
EQ Sw itch (Eq u a lize r Sw itch )
Switch the equalizer on/ off.
Value: BYPASS, ON
If “PHRASE” is selected for the Preview Mode parameter, these
Lo w Fre q (Lo w Fre q u e n cy )
settings will have no effect.
Selects the frequency of the low range.
Ve lo city 1 –4 (Pre vie w Ve lo city 1 –4 )
Value: 200, 400 Hz
Specify the velocity of the four notes that will sound when the
Preview Mode parameter is set to “SINGLE” or “CHORD.”
Value: 0–127
Lo w Ga in
Adjusts the gain of the low frequency. Positive (+) settings will
emphasize the low-frequency range.
Value: -15– +15 dB
If “PHRASE” is selected for the Preview Mode parameter, these
settings will have no effect.
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Se ttin g s Co m m o n to All Mo d e s (Sy ste m Fu n ctio n )
Sca le Tu n e se ttin g s (Sca le Tu n e )
fig.15-09_50
Eq u a l Te m p e ra m e n t
This tuning divides the octave into 12 equal parts, and is the
most widely used method of temperament used in Western
music. The Fantom employs equal temperament when the Scale
Tune Switch is set to “OFF.”
Ju st Te m p e ra m e n t (To n ic o f C)
Compared with equal temperament, the principle triads sound
pure in this tuning. However, this effect is achieved only in one
key, and the triads will become ambiguous if you transpose.
Ara b ia n Sca le
For details on the setting, refer to “How to Make the System
are a quarter-note higher compared to equal temperament. The
intervals between G and B, C and E, F and G#, Bb and C#, and
Eb and F# have a natural third—the interval between a major
third and a minor third. On the Fantom, you can use Arabian
temperament in the three keys of G, C and F.
Function Settings” (p. 178).
Sca le Tu n e
C–B (Pa tch Sca le Tu n e C–B)
Make scale tune settings for Patch mode.
<Example>
Value: -64– +63
Note
name
Equal tem-
perament
Just Tempera- Arabian Scale
ment (tonic C)
Sca le Tu n e Sw itch
Turn this on when you wish to use a tuning scale other than equal
temperament.
C
C#
D
0
0
0
0
0
0
0
0
0
0
0
0
0
-6
+45
-2
-8
+4
Value: OFF, ON
Eb
E
+16
-14
-2
-12
-51
-8
One set of Scale Tune settings can be created in Patch mode. In
Performance mode or Multitimbre mode, this can be set for each part
of the performance or multitimbre (p. 104, p. 120).
The Fantom allows you to play the keyboard using temperaments
other than equal temperament. The pitch is specified in one-cent
units relative to the equal tempered pitch.
F
F#
G
-10
+2
+43
-4
G#
A
+14
-16
+14
-12
+47
0
Bb
B
-10
-49
•
•
One-cent is 1/ 100th of a semitone.
The selected scale applies to MIDI messages received from an
external MIDI device.
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Disk -Re la te d Fu n ctio n s (Disk Utility )
Disk mode performs disk-related functions such as loading data
Ba sic Disk Utility O p e ra tio n s
from disk into the Fantom’s memory (Load), and saving a song or
sound generator settings to disk (Save). You can also format a disk or
create a backup disk in this mode.
1 . Insert the disk with the song into the disk drive.
2 . Press [MENU] to open the Menu window.
3 . Press
(Select)].
The Disk Utility window appears.
or
to select “Disk Utility,” and then press [8
Be fo re Yo u Pe rfo rm Disk Utility O p e ra tio n s
In order to perform disk utility operations, you will need a 3.5
inch 2DD or 2HD type disk.
fig.16-01.e
Disk type (2DD/2HD)
Disk name (volume label)
Disk free space
Before using a new disk or one that has been used on another
device, please initialize (format) it on the Fantom. A 3.5” 2DD
disk should be formatted to 720 K bytes and 3.5” 2HD disk to
1440 K bytes. These are standard formats used with most song
data software and computers/ instruments. If you save a song
created on the Fantom as a Standard MIDI File, you can use
many devices to play your song.
List of files
stored on the
disk
Type of files
displayed in
the file list
Ab o u t Disk Utility
Disk Utility includes the following functions, and these functions are
executed by pressing [1]–[6].
4 . According to the function you want to execute, select the
appropriate file from the file list. Press
your selection.
or
to make
Lo a d
This function loads data from disk into the Fantom’s memory. → (p.
188)
By holding down [SHIFT] and pressing
or
you can
jump to the beginning or end of the file list.
Sa ve
This function saves data to disk. → (p. 189)
5 . Press [1]–[6] to select the desired function.
The window for the selected function appears.
Co p y (Co p y File )
6 . Check the contents of the windows for the various
functions, and press [8 (Execute)] to proceed.
When the operation is completed, the display will briefly
indicate “Complete !”
Saves the file under a different name. → (p. 190)
Re n a m e
Modify the filename. → (p. 191)
De le te (De le te File )
To cancel the operation, press [EXIT].
This function deletes unwanted files from disk. → (p. 191)
7 . Press [EXIT] to return to the previous page.
To o ls
Execute disk-related functions such as formatting or modifying the
name (volume label). → (p. 191)
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Disk -Re la te d Fu n ctio n s (Disk Utility )
Se le ctin g th e Ty p e o f File s
Disp la y e d in th e File List (Vie w )
Lo a d in g a File fro m Disk in to
th e Fa n to m (Lo a d )
By specifying the type of files that are displayed in the file list of the
Disk Utility screen, you can locate a desired file on disk more
rapidly.
This function loads a song on disk into the internal memory. As the
Fantom loads MRC Pro songs as well as Standard MIDI Files and S-
MRC format songs, it copes efficiently with different song data. And
with MRC Pro songs, a Phrase track or Pattern can be specified for
loading. A complete song can therefore be created by combining
different MRC Pro song data.
1 . Access the Disk Utility screen (p. 187).
2 . Press [8 (View)].
The View Switch window appears.
fig.16-02_50
Besides songs, you can also load data files or chain files into internal
memory.
When a file is loaded, internal memory will be rewritten. If
internal memory contains important data, you must save it to
disk before you load other data.
3 . Press
or
to select the type of files that will be
1 . Access the Disk Utility screen (p. 187).
displayed in the file list.
2 . Press
or
to select the file that you want to load.
SVD (Sound File): These are data files that contain a complete
collection of the patch, rhythm set, multitimbre, performance,
system, and favorite list settings. The filename extension is
“.SVD”.
3 . Press [1 (Load)].
The Load **** File window appears.
fig.16-03_50
SVQ (Song File): These are files in MRC Pro song format. The
filename extension is “.SVQ”.
SNG (S-MRC File): These are files in S-MRC song format. The
filename extension is “.SNG”.
MID (SMF): These are Standard MIDI Files. The filename
extension is “.MID”.
The title of the window will depend on the file being loaded.
SVC (Chain File): These are chain files containing Chain Play
settings. The filename extension is “.SVC”.
4 . Press [8 (Execute)] to execute the operation.
4 . Press [8 (On/Off)] to switch the file list between displayed or
hidden.
Lo a d in g In d ivid u a l Tra ck s/ Pa tte rn s
o f So n g Da ta
If you have selected a song file (extension “.SVQ”) or Standard MIDI
File (extension “.MID”), you can load individual phrase tracks or
patterns.
This will be displayed if a check mark (●) is assigned, and will
not be displayed if the check mark is removed.
If you press [5 (All Off)], no files will be displayed in the file list.
If you press [6 (All On)], all types of files will be displayed in the
file list.
1 . After step 3 of “Loading a File from Disk into the Fantom
5 . Press [EXIT] to close the View Switch window.
(Load),” press [6 (Track)].
The Load Song File (Track) window appears.
fig.16-04_50
2 . Move the cursor to the left of “
” (load source), and select
the track (TRK 1–16) or pattern (PTN001–100) that you want
to load.
If you are loading from a Standard MIDI File, it is not possible to
select patterns (PTN001–100). Also, if you are loading from a
Format 0 Standard MIDI File, this will be fixed at “TRK ALL,”
and individual tracks cannot be selected.
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Disk -Re la te d Fu n ctio n s (Disk Utility )
3 . Move the cursor to the right of “
” (load destination), and
Sa vin g Da ta o n Disk (Sa ve )
select the load-destination track (TRK 1–16) or pattern
(PTN001–100).
This function saves a song stored in internal memory (internal song),
patch, rhythm set, multitimbre or performance settings, or a data file
containing System settings to disk.
4 . Press [8 (Execute)] to execute the operation.
Lo a d in g In d ivid u a l Ite m s o f So u n d
Da ta
If you have selected a sound file (extension “.SVD”), you can load
individual items of sound data. Patch, rhythm set, multitimbre, or
performance settings will be loaded into user memory, and system
settings will be loaded into system memory.
•
•
•
Data cannot be saved to the master disks of Standard MIDI File
releases, etc. from Roland.
Song data with copyrighted information cannot be re-saved in
the Standard MIDI File format.
When saving data in Standard MIDI File format, Pattern track
and muted Phrase track data will not be saved. However,
Pattern Call messages recorded on a Phrase track will be
converted into actual sequencer data as they are saved.
1 . After step 3 of “Loading a File from Disk into the Fantom
(Load),” press [6 (Xfer)].
The Load Sound File (Xfer) window appears.
fig.16-05_50
1 . Access the Disk Utility screen (p. 187).
2 . Press [2 (Save)].
The Select Command window appears.
fig.16-06_50
2 . Move the cursor to “Type,” and select the type of data that
will be transferred.
PATCH 001-128: Patch
3 . Press
be saved.
or
to select the format in which the data will
RHYTHM 001-016: Rhythm Set
MULTITIMBRE 01-16: Multitimbre
PERFORMANCE 01-64: Performance
SYSTEM: System
Save Sound File: User memory patches, rhythm sets,
multitimbres, performances, and the system settings and favorite
list settings will be saved to disk as a single data file. The file
name extension “.SVD” is automatically attached.
FAVORITE PATCH: Favorite list for patches
FAVORITE PERFORMANCE: Favorite list for performances
Save Song File: Saves song in internal memory to disk in the
MRC Pro song format. The settings of the currently selected
multitimbre/ performance will also be saved together with this.
The file name extension “.SVD” is automatically attached.
Save SMF (Format 0): Converts a song in internal memory to
Standard MIDI File format 0 data (one Phrase track contains the
entire sequencer data) and saves it to disk. The file name
extension “.MID” is automatically attached.
3 . If you will be loading patch, rhythm set, multitimbre, or
performance settings, move the cursor to “Source,” and
specify the range of data that will be transferred. Then move
the cursor to “Destination,” and specify the starting number
of the load destination.
If you carry out this operation while set so there is more data at
the load source than can fit into the load destination, as much of
the source data as possible will be loaded into the destination,
starting with the beginning of the source data.
Save SMF (Format 1): Converts a song in internal memory to
Standard MIDI File format 1 data (sequencer data consists of two
or more Phrase tracks) and saves it to disk. The file name
extension “.MID” is automatically attached.
(Example)
fig.16-05a_50
Save Chain File: Chain play settings will be saved to disk as a
chain file. The file name extension “.SVC” is automatically
attached.
If the above settings are made and transmission is executed, only the
two PR-A group patches 001 and 002 will be transmitted to USER
group patches 127 and 128.
4 . Press [8 (Execute)].
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Disk -Re la te d Fu n ctio n s (Disk Utility )
•
•
•
The filename extension will be “.MID” whether you use “Save
SMF (Format 0)” or “Save SMF (Format 1).” These two formats
cannot be distinguished through file name extension.
When “Save Song File” is selected, the settings of the patch or
rhythm set assigned to each part of the multitimbre/
File N a m e s a n d So n g N a m e s
MRC Pro songs and Standard MIDI Files have song names in
addition to file names. The file name is used to distinguish the
file on disk, and must be specified before the file can be saved.
You will find it easier to manage your songs if you use the file
name to categorize the type of song, and use the song name to
assign the title.
performance will not be saved.
If you save using “Save Song File,” the multitimbre/
performance settings will be saved in the state in which they
were when the Save operation was executed. If you change the
multitimbre/ performance in the middle of a song and save the
song after recording, the settings at the recording start will not
be saved. In other words, even if you play back from the
beginning of the song, it will begin with the multitimbre/
performance sounds that were selected when the Save operation
was executed. If you have switched multitimbres/ performances
during the song, you must use the Microscope window to store
the bank select and program numbers for the desired
multitimbre/ performance at the beginning of the song.
Even if you save using “Save Song File,” playback will not use
the correct sounds on MRC Pro sequencers other than the
Fantom. To play it back with correct sound, record the
corresponding Bank Select and Program numbers.
Assign a song name in the Song Name window (p. 137).
6 . Press [8 (Execute)] to execute the operation.
•
If you assign a file name that is identical to a file name that
already exists on the disk, and attempt to save the file, a message
of “File “****” Already Exists! Over Write OK?” will appear. To
overwrite the old file and save the new, press [7 (OK)]. If you
wish to abort the saving operation, press [8 (Cancel)].
•
•
If you attempt to save data on a disk that has not been formatted
on the Fantom, a message of “Unformatted Disk” will appear.
Please format the disk on the Fantom (p. 191).
4 . Once you’ve selected the format in which the data is to be
saved, press [8 (Select)].
The Save **** window appears.
fig.16-07_50
Co p y in g a File to An o th e r
N a m e (Co p y )
Here’s how to copy a file to one having a different name.
Master disks of Standard MIDI Files releases, etc. from Roland
cannot be copied.
The title of the window will depend on the data saving format.
1 . Access the Disk Utility screen (p. 187).
5 . You can assign the file a name of up to eight characters.
Press [5 (Name)], and assign a file name in the Name
window that appears.
2 . Press
or
to select the file that you want to copy.
3 . Press [3 (Copy)].
The Copy File window appears.
For details on assigning names, refer to “Assigning a Name” (p.
30).
If a song name has already been assigned, the first eight
characters of the song name will automatically be assigned for
the file name. If no song name is assigned, “SONG_000” will be
automatically be assigned for the file name. A sound file and
chain file will automatically be named “SOUND_00” and
“CHAIN_00,” respectively.
4 . Modify the file name, and press [8 (OK)].
For details on assigning names, refer to “Assigning a Name” (p.
30).
The Copy File window appears.
fig.16-09_50
To view the list of files on the disk, press [6 (List)]. To select a
chain file from the list, move the cursor to the desired file and
press [8 (Select)].
5 . Press [8 (Execute)] to execute the operation.
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Disk -Re la te d Fu n ctio n s (Disk Utility )
Re n a m in g a File (Re n a m e )
Ex e cu tin g Disk -Re la te d
Fu n ctio n s (To o ls)
This function changes the name of a file.
You can execute a variety of disk-related functions, such as
formatting (Format) or changing the name (Volume Label).
•
•
File name extensions cannot be changed.
Files on the master disks of the Standard MIDI File releases, etc.
from Roland cannot be renamed.
Pre p a rin g a Disk fo r Use b y th e
1 . Access the Disk Utility screen (p. 187).
This function initializes (formats) a disk so that Fantom data can be
saved to it. Before a new disk or a disk used on another device can be
used on the Fantom, it must be formatted on the Fantom.
2 . Press
to copy.
or
to select the file whose file name you want
3 . Press [4 (Rename)].
The Rename File window appears.
fig.16-10_50
•
•
Please be aware that formatting will erase all the data already
resident on the disk.
Master disk releases of Standard MIDI Files from Roland, etc.
cannot be formatted.
1 . Access the Disk Utility screen (p. 187).
2 . Press [6 (Tools)].
4 . Modify the file name, and press [8 (OK)].
The Select Command window appears.
fig.16-13_50
For details on assigning names, refer to “Assigning a Name” (p.
30).
The Rename File window appears.
fig.16-11_50
3 . Press
or
to select “Quick Format Floppy Disk,” and
then press [8 (Select)].
The Quick Format Floppy Disk window appears.
fig.16-14_50
5 . Press [8 (Execute)] to execute the operation.
De le tin g Un w a n te d File s
(De le te )
4 . Assign a name (Volume Label) to the disk and press [8
Use this function to delete unwanted files from disk.
(OK)].
Master disks of Standard MIDI Files releases, etc. from Roland
cannot be deleted.
For details on assigning names, refer to “Assigning a Name” (p.
30).
1 . Access the Disk Utility screen (p. 187).
The Quick Format Floppy Disk window appears.
fig.16-15_50
2 . Press
or
to select the file that you want to delete.
3 . Press [5 (Delete)].
The Delete File window appears.
fig.16-12_50
5 . Press [8 (Execute)] to execute the operation.
If it is not possible to format using “Quick Format Floppy Disk,”
a message of “You Cannot Quick Format This Disk” will appear.
In this case, select “Full Format Floppy Disk” in step 3, and
format the disk.
4 . Press [8 (Execute)] to execute the operation.
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Disk -Re la te d Fu n ctio n s (Disk Utility )
Mo d ify in g th e N a m e o f th e Disk
Ch e ck in g File s Re co rd e d o n Disk
This function changes the volume label that was assigned when the
If a disk is scratched, slightly bent or damaged in some way, song
data or sound data files on it will no longer be readable, and
functions such as quick play and chain play will be interrupted. To
avoid such problems, this function checks all the files on disk to see
whether they can be read correctly.
disk was formatted.
It is not possible to modify the volume label of the master disks
of the Standard MIDI Files releases, etc. from Roland.
1 . Access the Disk Utility screen (p. 187).
1 . Access the Disk Utility screen (p. 187).
2 . Press [6 (Tools)].
2 . Press [6 (Tools)].
The Select Command window appears.
The Select Command window appears.
3 . Press
press [8 (Select)].
The Check Floppy Disk window appears.
or
to select “Check Floppy Disk,” and then
3 . Press
or
to select “Change Volume Label,” and
then press [8 (Select)].
The Change Volume Label window appears.
fig.16-18_50
fig.16-16_50
4 . Press [8 (Execute)] to execute the operation.
After the disk has been checked, a message of “Disk Read Error
!” will be displayed if there is a problem with the disk. For
details on the appropriate action, refer to “Error Messages”
(Sound/ Parameter List).
4 . Modify the volume label and press [8 (OK)].
For details on assigning names, refer to “Assigning a Name” (p.
30).
The Change Volume Label window appears.
fig.16-17_50
5 . Press [8 (Execute)] to execute the operation.
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Disk -Re la te d Fu n ctio n s (Disk Utility )
Cre a tin g a Du p lica te Disk
The frequency of repeating steps depends on the amount of data
This function creates a complete copy of all data recorded on a disk
and puts it on another disk (Backup). It is a good idea to make
backup copies of disks containing important data to prevent data
loss even if one of the disks should be damaged.
on disk.
When “Backup Complete.” is displayed, backup has been
completed.
•
Backup operation uses internal memory. If you wish to keep the
song data currently in internal memory, save it to disk before
executing the backup operation.
•
•
It is not possible to make a backup copy of the master disk of
Standard MIDI Files releases, etc. from Roland.
It is not possible to create a backup copy of a 2DD disk on a 2HD
disk, and vice versa.
1 . Use the Fantom to format the disk that you want to use as a
backup disk (p. 191).
2 . Access the Disk Utility screen (p. 187).
3 . Press [6 (Tools)].
The Select Command window appears.
4 . Press
press [8 (Select)].
The Backup Floppy Disk window appears.
or
to select “Backup Floppy Disk,” and then
fig.16-19_50
5 . Insert the backup-source disk into the disk drive, and press
[8 (Execute)].
The display will ask “Internal Song will be erased. OK?”
6 . If you are sure that you want to erase the internal song to
perform backup, press [7 (OK)].
To cancel the backup operation, press [8 (Cancel)].
The display will indicate “Reading Source Disk...”, and the data
stored on the backup disk will be loaded into internal memory.
7 . When the display indicates “Eject Source Disk.”, remove the
backup-source disk. Then insert the backup-destination disk
you prepared in step 1, and press [8 (Execute)].
8 . When the display shows “Eject Destination Disk” it’s time to
remove the backup source disk and insert the backup
destination disk, and press [8 (Execute)].
9 . When the display once again indicates “Eject Source Disk.”,
exchange the backup-source and backup-destination disks,
and press [8 (Execute)].
1 0 . Repeat steps 8 and 9.
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Tra n sm ittin g So u n d Se ttin g s/ Re se t to De fa u lt Fa cto ry Se ttin g s
4 . Move the cursor to “Source” and use the following choices
Tra n sm ittin g So u n d Se ttin g s
to specify the data that will be transmitted.
(Da ta Tra n sfe r)
Type of data to transmit Transmit source data
Sound generator settings and system settings stored in the Fantom’s
ALL
USER
TEMP
—
—
internal memory or on a Wave Expansion Board can be transmitted
to an external MIDI device, or to user memory.
SETUP
—
—
—
SYSTEM
PATCH
—
Tra n sm ittin g Da ta to a n Ex te rn a l
MIDI De vice
Patch, rhythm set, multitimbre, performance, and setup and system
settings will be transmitted to an external MIDI device. This
operation is called bulk dump. Use this operation when you want to
connect another Fantom and play it using the same settings, or to
save your data on an external MIDI device as a precaution against
possible loss of sound data or system settings.
USER
TEMP
USER
TEMP
USER
001–128
RHYTHM
001–016
—
MULTITIMBRE
01–16
*1
TEMP -PATCH
TEMP +PATCH
CTRL
*2
—
PERFORMANCE
USER
01–64
*1
To transmit data to an external MIDI device, connect the external
TEMP -PATCH
TEMP +PATCH
CTRL
MIDI device and Fantom as shown in the diagram.
fig.17-01.e
*2
—
*1 Only the current multitimbre/performance settings will be transmitted.
MIDI IN
*2 The current multitimbre/performance settings and the setting of a
patch or rhythm set assigned to the part will be transmitted.
Ty p e o f Da ta to Tra n sm it
ALL: Patch, rhythm set, multitimbre, and performance
SETUP: Setup
SYSTEM: System
MIDI Sequencer
PATCH: Patch
MIDI OUT
RHYTHM: Rhythm set
MULTITIMBRE: Multitimbre
PERFORMANCE: Performance
Tra n sm it So u rce Da ta
USER: Data from user memory will be transmitted.
TEMP: Transmit the data from the temporary area.
Fantom
CTRL: The state of the multitimbre/ performance (e.g., the
multitimbre/ performance bank select and program changes) will be
transmitted as MIDI channel messages, not as exclusive messages.
1 . Press [MENU] to open the Menu window.
2 . Press
or
to select “Data Transfer,” and then press
[8 (Select)].
The Data Transfer window appears.
Refer to “MIDI Implementation” (Sound/ Parameter list) for
more on the Control Change messages that are received.
3 . Move the cursor to “Destination” and select “MIDI.”
fig.17-02.e
5 . Set the external MIDI device so that it will be ready to receive
data, and press [8 (Execute)] to execute data transmission.
While the data is being transmitted, the display will indicate
“Processing...” When “Complete !” is displayed, the
transmission has been completed.
Type of data to transmit Transmit destination
To halt during transmission, press [EXIT].
Transmit source data
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Tra n sm ittin g So u n d Se ttin g s/ Re se t to De fa u lt Fa cto ry Se ttin g s
Tra n sm ittin g Da ta to Use r Me m o ry
Patch, rhythm set, multitimbre, and performance settings will be
transmitted to user memory. Use this when you want to arrange
sounds in user memory in the desired order.
•
•
“XP-A–C” can be selected only if the corresponding Wave
Expansion Board is installed.
If the specified data will not fit completely into the transmission
destination, as much of the data as will fit will be transmitted,
starting at the first number of the specified transmission
destination.
If the Fantom internal memory already contains important data
that you have created, this operation will cause all of this data to
be lost. If you wish to keep the data, you must save it on a disk
(Example)
fig.17-03a_50
1 . Press [MENU] to open the Menu window.
2 . Press
or
to select “Data Transfer,” and then press
[8 (Select)].
If the above settings are made and transmission is executed, only the
two PR-A group patches 001 and 002 will be transmitted to USER
group patches 127 and 128.
The Data Transfer window appears.
3 . Move the cursor to “Destination,” set it to “USER,” and
specify the first number of the transmission destination.
fig.17-03.e
Transmit destination
Re se t to De fa u lt Fa cto ry
Se ttin g s (Fa cto ry Re se t)
Type of data to transmit
First number of the transmit destination
This restores all data in the Fantom to the factory-set condition
(Factory Reset).
If there is important data you’ve created that’s stored in the
Fantom’s internal memory, all such data is discarded when a
Factory Reset is performed. If you want to keep the existing data,
and save it (p. 194).
Transmit source data
Last number of the transmit destination:
This is set automatically according to the
number of transmit source data items.
4 . Move the cursor to “Source,” and use the following choices
to specify the data that will be transmitted.
1 . Press [MENU] to open the Menu window.
Type of data to transmit Transmit source data
2 . Press
[8 (Select)].
The Factory Reset window appears.
or
to select “Factory Reset,” and then press
PATCH
PR-A–E
XP-A–C
PRST
001–128
001–*** (*)
001–016
001–*** (*)
01–16
RHYTHM
ffig.17-04_50
XP-A–C
PRST
MULTITIMBRE
PERFORMANCE
PRST
01–64
* Depends on the Wave Expansion Board installed.
Ty p e o f Da ta to Tra n sm it
3 . Press [8 (Execute)] to execute the Factory Reset.
When the display indicates “Complete !,” the factory reset
operation has been completed.
PATCH: Patch
RHYTHM: Rhythm set
MULTITIMBRE: Multitimbre
PERFORMANCE: Performance
Tra n sm it So u rce Da ta
USER: Data from user memory will be transmitted.
PR-A–E, PRST: Preset data will be transmitted.
XP-A–C: Data from an Wave Expansion Board will be transmitted.
5 . Press [8 (Execute)] to execute data transmission.
While the data is being transmitted, the display will indicate
“Processing...” When “Complete !” is displayed, the
transmission has been completed.
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In sta llin g th e W a ve Ex p a n sio n Bo a rd
Up to three optional Wave Expansion Boards (one SR-JV80 series,
Ho w to In sta ll a W a ve
two SRX series) can be installed in the Fantom.
Ex p a n sio n Bo a rd
Wave Expansion Boards store Wave data, patches, and rhythm sets,
and by equipping the Fantom with these boards, you can greatly
Install the Wave Expansion Boards after removing the bottom panel
expand your sound palette.
cover. SR-JV80 series boards are installed in the EXP A slot; SRX
series boards are installed in the EXP B and EXP C slots. These slots
correspond with the Wave Expansion Board groups (XP-A–XP-C)
Ca u tio n s W h e n In sta llin g a n
when the expansion Wave, patches, and rhythm sets are used.
W a ve Ex p a n sio n Bo a rd
1 . Before installing the Wave Expansion Board, turn off the
power of the Fantom and all connected devices, and
● To avoid the risk of damage to internal components that can be
disconnect all cables, including the Power cable, from the
caused by static electricity, please carefully observe the following
Fantom.
whenever you handle the board.
2 . Turn the Fantom over, remove the four screws indicated in
•
Before you touch the board, always first grasp a metal object
(such as a water pipe), so you are sure that any static electricity
you might have been carrying has been discharged.
the following diagram, and remove the cover.
fig.18-02.e
Screws to be removed
•
•
When handling the board, grasp it only by its edges. Avoid
touching any of the electronic components or connectors.
Save the bag in which the board was originally shipped, and put
the board back into it whenever you need to store or transport it.
● Use a Philips screwdriver that is suitable for the size of the screw
(a number 2 screwdriver). If an unsuitable screwdriver is used, the
head of the screw may be stripped.
● To remove a screw, rotate the screwdriver counter-clockwise. To
tighten the screws, rotate the screwdriver clockwise.
fig.18-01.e
loosen
tighten
● When installing Wave Expansion Boards, remove only the
specified screws.
● Be careful that the screws you remove do not drop into the interior
of the Fantom.
•
When turning the unit upside-down, get a bunch of newspapers
or magazines, and place them under the four corners or at both
ends to prevent damage to the buttons and controls. Also, you
should try to orient the unit so no buttons or controls get
damaged.
● Do not leave the bottom cover removed. After installation of the
Wave Expansion Boards is complete, be sure to replace the cover.
● Do not touch any of the printed circuit pathways or connection
terminals.
● Be careful not to cut your hand on the opening for installing the
board.
fig.18-03
● Never use excessive force when installing a circuit board. If it
doesn’t fit properly on the first attempt, remove the board and try
again.
● When circuit board installation is complete, double-check your
work.
● Always turn the unit off and unplug the power cord before
attempting installation of the circuit board (SR-JV80/ SRX series;
Quick Start p. 3–4).
● Install only the specified circuit board(s) (SR-JV80/ SRX series).
Remove only the specified screws (p. 196).
•
When turning the unit upside-down, handle with care to avoid
dropping it, or allowing it to fall or tip over.
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In sta llin g th e W a ve Ex p a n sio n Bo a rd
3 . Inside, you will find a slot for an SR-JV80 series board (EXP
A), and slots for two SRX series boards (EXP B, EXP C). As
shown in the following illustration, plug the connector of the
Wave Expansion Board into the connector of the relevant
slot, and at the same time insert the board holder through
Ch e ck in g th e In sta lle d W a ve
Ex p a n sio n Bo a rd s
After installation of the Wave Expansion Boards has been
completed, check to confirm that the installed boards are being
recognized correctly.
the hole of the Wave Expansion Board.
fig.18-04.e
Wave Expansion Board (SRX series)
1 . Turn on the power, as described in “Turning On the Power”
(Quick Start; p. 4).
Wave Expansion Board (SR-JV80 series)
2 . Press [MENU] to open the Menu window.
The System Edit screen appears. Verify that the name of the
installed Wave Expansion Board is displayed.
fig.18-06
Connector
If “----------------” appears next to the installed slot name, it’s
possible that the installed Wave Expansion Board is not being
recognized correctly. Re-install the Wave Expansion Board
correctly.
Board holder
Board holder
Connector
Position them as shown before you install the board.
If the same type of Wave Expansion Board is installed in the EXP
B slot and the EXP C slot, it will only be possible to select data
from the Wave Expansion Board that was installed in the EXP B
slot.
4 . Use the Installation Tool supplied with the Wave Expansion
Board to turn the holders in the LOCK direction, so the
board will be fastened in place.
fig.18-05.e
LOCK
Installation tool
5 . Use the screws that you removed in step 2 to fasten the
cover back in place.
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In sta lla tio n d e la ca rte d ’e x p a n sio n W a ve
(Fre n ch la n g u a g e fo r Ca n a d ia n Sa fe ty Sta n d a rd )
Un maximum de trois cartes d’expansion Wave (une carte SR-JV80,
In sta lla tio n d ’u n e ca rte
deux cartes SRX) peuvent être installées dans le Fantom.
d ’e x p a n sio n W a ve
Les cartes d’expansion Wave emmagasinent des données Wave,
correctifs et rythmes, et en ajoutant ces cartes au Fantom, il est
Avant d’installer la carte d’expansion Wave, retirez le panneau
possible d’élargir considérablement la palette de sons.
inférieur. Installez les cartes SR-JV80 dans la fente d’expansion A
(EXP A); installez les cartes SRX dans les fentes d’expansion B et C
(EXP B et EXP C). Ces fentes correspondent aux groupes de cartes
Pré ca u tio n s à p re n d re lo rs d e
l’in sta lla tio n d ’u n e ca rte
d ’e x p a n sio n W a ve
d’expansion Wave (XP-A–XP-C) lorsque l’expansion Wave, les
correctifs et rythmes sont utilisés.
1 . Avant d’installer la carte d’expansion Wave, coupez
l’alimentation du Fantom et de tous les appareils branchés,
● Veuillez suivre attentivement les instructions suivantes quand
et débranchez tous les câbles du Fantom, y compris le câble
vous manipulez la carte afin d’éviter tout risque
d’alimentation.
d’endommagement des pièces internes par l’électricité statique.
2 . Placez le Fantom à l’envers, retirez les quatre vis indiquées
•
Toujours toucher un objet métallique relié à la terre (comme un
tuyau par exemple) avant de manipuler la carte pour vous
décharger de l’électricité statique que vous auriez pu accumuler.
Lorsque vous manipulez la carte, la tenir par les côtés. Évitez de
toucher aux composants ou aux connecteurs.
dans le schéma ci-dessous et retirez le couvercle.
fig.18-02.f
Vis à enlever
•
•
Conservez le sachet d’origine dans lequel était la carte lors de
l’envoi et remettez la carte dedans si vous devez la ranger ou la
transporter.
● Utilisez un tournevis de type Philips de la taille adaptée à celle
des vis (tournevis numéro 2). Un tournevis inadéquat peut
endommager la tête de la vis.
● Pour retirer une vis, tourner le tournevis dans le sens contraire
des aiguilles d’une montre. Pour serrer les vis, tourner le tournevis
dans le sens des aiguilles d’une montre.
fig.18-01.f
desserrer
resserrer
● Pour installer les cartes d’expansion Wave, retirer uniquement les
vis mentionnées.
•
Lorsque vous déposez le Fantom face vers le bas, placez des
piles de journaux ou de magazines sous les quatre coins (ou des
deux côtés) pour le soutenir. Ainsi, les boutons, manettes et
autres pièces ne seront pas endommagés.
● Assurez-vous que les vis retirées ne tombent pas dans le Fantom.
● Ne pas laisser le panneau de protection avant detache. S’assurer
de l’avoir rattacher apres avoir installe le disque dur.
● Ne pas toucher aux circuits imprimés ou aux connecteurs.
● Faites attention de ne pas vous couper sur l’ouverture
d’installation de la carte.
fig.18-03
● Ne jamais forcer lors de l’installation de la carte de circuits
imprimés. Si la carte s’ajuste mal au premier essai, enlevez la carte
et recommencez l’installation.
● Quand l’installation de la carte de circuits imprimés est terminée,
revérifiez si tout est bien installé.
● Toujours éteindre et débrancher l’appareil avant de commencer
l’installation de la carte. (SR-JV80/ SRX series; Quick Start p. 3–4).
● N’installez que les cartes de circuits imprimes spécifiées (SR-
JV80/ SRX series). Enlevez seulement les vis indiquées (p. 198).
•
En plaçant l’appareil sens dessus dessous, manipulez-le avec
soin pour éviter de l’échapper, de le laisser tomber ou de se
renverser.
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In sta lla tio n d e la ca rte d ’e x p a n sio n W a ve
3 . À l’intérieur, vous apercevrez une fente pour la carte SR-
JV80 (EXP A) et des fentes pour deux cartes SRX (EXP B,
EXP C). Comme le montre l’illustration ci-dessous, branchez
le connecteur de la carte d’expansion Wave dans la fente
appropriée et, en même temps, insérez le support de carte
de circuits imprimés dans l’ouverture de la carte
5 . Remettez le couvercle en place à l’aide des vis retirées à
l’étape 2.
Vé rifica tio n d e s ca rte s
d ’e x te n sio n a u d io a p ré s
in sta lla tio n
d’expansion Wave.
fig.18-04.f
Carte d’extension Wave (serie SRX)
Lorsque l’installation des cartes d’extension audio est terminée,
procéder à une vérification pour s’assurer que l’ordinateur les
identifie correctement.
Carte d’extension Wave (serie SR-JV80)
1 . Mettre sous tension de la façon décrite sous “Turning On
the Power” (Quick Start; p. 4).
2 . Appuyez sur la touche [MENU] pour ouvrir la fenêtre Menu.
L’écran System Edit s’affiche. Vérifiez que le nom de la carte
d’expansion Wave installeé s’est affiché.
fig.18-06
Connecteur
Support à carte
Support à carte
Connecteur
Avant l’installation, orienter les supports à carte
Si “----------------“ est affiché à côté du nom de la fente dans
laquelle la carte est installée, il est possible que la carte
d’extension audio installée ne soit pas reconnue correctement.
Réinstaller correctement la carte d’extension audio.
tel qu’indiqué sur le schéma.
Si le même type de carte d’expansion Wave est installé dans les
fentes EXP B et C, il sera uniquement possible de sélectionner les
données de la carte d’expansion Wave installée dans la fente
EXP B.
4 . Utilisez l’outil d’installation fourni avec la carte d’expansion
Wave pour tourner les supports en position LOCK
(verrouillé) afin de retenir la carte en place.
fig.18-05.f
LOCK
Outil d’installation
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Sp e cifica tio n s
Fantom (FA-76): Synthesizer Keyboard (Conforms to General
MIDI 2 System)
● File Formats
MRC Pro Songs
Standard MIDI Files (format 0, 1)
● Keyboard
76 keys (with velocity and channel aftertouch)
● O th e rs
● Arpeggiator
88 styles
● Sy n th e size r Se ctio n
● Multitimbre Parts
16 parts
● Preset Rhythm
50 styles per each 12 patterns
● Maximum Polyphony
64 voices
● Display
320 x 240 dots Graphic LCD w/ backlit
● Wave Memory
64 M bytes (16-bit linear equivalent)
Waveforms: 1,083 (XV-5080 equivalent)
● Controllers
Pitch Bend/ Modulation Lever
D Beam Controller
● Expansion Slot
Realtime Control Knobs (1, 2, 3, 4)
Realtime Control Buttons (1, 2, 3, 4)
Wave Expansion Board SR-JV80 Series: 1 slot
Wave Expansion Board SRX Series: 2 slots
● Connectors
● Preset Memory
Headphones Jack
Patches: 640 (128 x 5 banks) + 256 (General MIDI 2 Patches)
Rhythm Sets: 16 + 9 (General MIDI 2 Rhythm Sets)
Multitimbres: 16
A (MIX) Output Jacks (L (MONO), R) (1/ 4 inch TRS phone type)
B Output Jacks (L, R) (1/ 4 inch phone type)
(or Individual Jacks 1–4)
Performances: 64
Hold Pedal Jack (Half Pedal possible)
Control Pedal Jacks (1, 2) (assignable)
MIDI Connectors (IN, OUT, THRU)
Digital Audio Outputs:
● User Memory
Patches: 128
Rhythm Sets: 16
Multitimbres: 16
Performances: 64
S/ P DIF Connectors (COAXIAL, OPTICAL) (24-bit, 44.1 kHz)
AC Inlet
● Effects
● Power Supply
Multi-Effects (M-FX): 90 types (Patch mode)
AC 117 V, AC 230 V, AC 240 V
* Three different multi-effects (only 50 types) can be used simultaneously
in Performance/Multitimbre mode.
Chorus: 2 types
● Power Consumption
16 W
● Dimensions
Reverb: 4 types
1,268 (W) x 400 (D) x 115 (H) mm
49-15/ 16 (W) x 15-3/ 4 (D) x 4-9/ 16 (H) inches
System Equalizer: 2 band per each 4 outputs
● Se q u e n ce r Se ctio n
● Tracks
● Weight
14.8 kg / 32 lbs 11 oz
Phrase Tracks (16 MIDI channels per track): 16
Pattern Track (16 MIDI channels per track): 1
Tempo Track: 1
● Accessories
Quick Start
Owner’s Manual
Sound/ Parameter List
Q&A
Beat Track: 1
* The Pattern Track can hold up to 100 patterns.
● Resolution
Demo Floppy Disk
Power Cable
480 TPQN
● Song Data (Internal Memory)
Song: 1
● Options
Wave Expansion Board: SRX Series, SR-JV80 Series
Keyboard Stand: KS-12
Note Capacity: approx. 120,000 notes
Song Length: 9,998 measures
Pedal Switch: DP-2/ 6
● Recording Methods
Foot Switch: BOSS FS-5U
Expression Pedal: EV-5
Realtime, Step
● External Storage Device
3.5 inch Floppy Disk: 1.44 M bytes (2HD), 720 K bytes (2DD)
Note Storage: approx. 120,000 notes (2HD), approx. 60,000 notes (2DD)
Song Files: max. 99
In the interest of product improvement, the specifications and/
or appearance of this unit are subject to change without prior
notice.
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In d e x
Arpeggio style (patch) .......................................................................... 51
Arpeggio switch (patch) ....................................................................... 51
Arpeggio switch (performance) .......................................................... 95
Assign (rhythm set) ............................................................................... 76
Assign 1–4 (patch) ................................................................................. 52
Assign Type ............................................................................................ 74
Assigning a name .................................................................................. 30
Pattern ............................................................................................ 138
Song ................................................................................................ 137
Symbols
[
]–[
[
]–[
Numerics
1:Delay Time .......................................................................................... 67
1:Delay Time KF .................................................................................... 67
1:Fade Mode ........................................................................................... 67
1:Fade Time ............................................................................................ 67
1:Key Trigger ......................................................................................... 68
1:Pan Depth ............................................................................................ 68
1:Pitch Depth .......................................................................................... 68
1:Rate Detune ......................................................................................... 67
1:TVA Depth .......................................................................................... 68
1:TVF Depth ........................................................................................... 68
1:Waveform ............................................................................................ 66
2:Delay Time .......................................................................................... 67
2:Delay Time KF .................................................................................... 67
2:Fade Mode ........................................................................................... 67
2:Fade Time ............................................................................................ 67
2:Key Trigger ......................................................................................... 68
2:Pan Depth ............................................................................................ 68
2:Pitch Depth .......................................................................................... 68
2:Rate Detune ......................................................................................... 67
2:TVA Depth .......................................................................................... 68
2:TVF Depth ........................................................................................... 68
2:Waveform ............................................................................................ 66
Backlight Saver .................................................................................... 180
Backup .................................................................................................. 193
[BANK] ................................................................................................... 17
Beam Sens ............................................................................................. 185
[BEAT] ..................................................................................................... 17
Beat indicator ......................................................................................... 17
Beat track ................................................................................................ 25
Bend Range Down ................................................................................. 49
Bend Range Up ...................................................................................... 49
Bias .......................................................................................................... 64
Bias Direction ......................................................................................... 65
Bias Level ................................................................................................ 64
Bias Position ........................................................................................... 65
Booster .................................................................................................... 58
Booster 1&2 ............................................................................................ 57
Booster 3&4 ............................................................................................ 57
Booster Gain 1&2 ................................................................................... 57
Booster Gain 3&4 ................................................................................... 57
[BWD] .............................................................................................. 16, 124
A
Accent Rate (patch) ............................................................................... 51
Accent Rate (rhythm set) ...................................................................... 75
Aftertouch Sens ................................................................................... 180
Aftertouch sensitivity ......................................................................... 180
Alter Pan Depth ..................................................................................... 65
Alter Pan Sw .......................................................................................... 78
Alternate pan depth (tone) ................................................................... 65
Alternate pan switch ............................................................................. 78
Analog Feel ............................................................................................ 47
Analog feel depth .................................................................................. 47
Arabian scale ........................................................................ 105, 120, 186
Arpeggiator ............................................................................................ 38
[ARPEGGIO] .................................................................................... 16, 38
Arpeggio hold switch (patch) .............................................................. 51
Arpeggio key trigger (patch) ............................................................... 52
Arpeggio motif (patch) ......................................................................... 51
Arpeggio motif (performance) ............................................................ 95
Arpeggio octave range (patch) ............................................................ 52
C–B (patch) ........................................................................................... 186
Chain file ................................................................................. 26, 123–124
Chain play ............................................................................................ 122
Change Channel .................................................................................. 147
Change Gate Time ............................................................................... 147
Change Velocity ................................................................................... 146
Check Floppy Disk .............................................................................. 192
CHO ...................................................................................................... 165
Chorus Level (patch) ........................................................................... 169
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In d e x
Chorus Source ...................................................................................... 174
Chorus type .......................................................................................... 176
Chorus Type (multitimbre) ................................................................ 173
Chorus Type (patch) ........................................................................... 169
Chorus Type (rhythm set) .................................................................. 169
Clock Source (patch) ............................................................................. 48
Clock Source (rhythm set) .................................................................... 74
Coarse Tune (multitimbre part) ........................................................ 115
Coarse tune (patch) ............................................................................... 60
Coarse Tune (performance part) ....................................................... 100
Coarse tune (rhythm tone) ................................................................... 79
Coarse Tune (rhythm wave) ................................................................ 78
Coarse tune (tone) ................................................................................. 60
Cont Hold Pedal .................................................................................. 184
Control Aftertouch ................................................................................ 99
Control Bender ...................................................................................... 99
Control Hold Pedal ............................................................................... 99
Control Modulation .............................................................................. 99
Control modulation switch .................................................................. 99
Control pedal ....................................................................................... 164
Control Pedal 1, 2 .................................................................................. 99
Control pedal 1, 2 switch ...................................................................... 99
Control pitch bend switch .................................................................... 99
Controller
Rhythm set ...................................................................................... 76
System ............................................................................................ 184
Copy ...................................................................................... 143, 157, 190
Copy file ........................................................................................ 190
Micro edit ...................................................................................... 157
Multitimbre name copy ............................................................... 113
Performance name copy ................................................................ 92
Rhythm set name copy .................................................................. 70
Track edit ....................................................................................... 143
Copy File ............................................................................................... 190
Count in ................................................................................................ 129
Create .................................................................................................... 156
Create Event ......................................................................................... 156
Ctg ........................................................................................................... 34
CTL 1, CTL 2 PEDAL jack ............................................................ 18, 164
[CURSOR] ........................................................................................ 17, 29
Cursor ..................................................................................................... 29
Cursor button ......................................................................................... 29
Cutoff Freq ............................................................................................. 62
Cutoff Frequency (rhythm tone) ......................................................... 81
Cutoff frequency (tone) ........................................................................ 62
Cutoff KF ................................................................................................ 62
Cutoff Offset (Patch) ............................................................................. 47
Cutoff V-Curve (tone) ........................................................................... 63
Cutoff V-Sens (tone) .............................................................................. 63
D Beam .................................................................................................. 162
D Beam controller ................................................................................ 162
D Beam sensitivity ............................................................................... 185
Data file ................................................................................................... 26
Data Thin .............................................................................................. 151
Data Transfer ....................................................................................... 194
[DEC] ................................................................................................. 17, 29
Delay Mode ............................................................................................ 49
Delay Time ............................................................................................. 50
Delete ............................................................................................ 143, 191
Delete file ....................................................................................... 191
Track edit ....................................................................................... 143
Delete File ............................................................................................. 191
Destination 1–4 .............................................................................. 55, 176
Device ID .............................................................................................. 183
Device ID number ............................................................................... 183
Disk Utility ........................................................................................... 187
Drop format .......................................................................................... 181
Effects .................................................................................................... 170
Chorus .............................................................................................. 23
Multi-effects .................................................................................... 23
Patch ............................................................................................... 165
Reverb .............................................................................................. 23
Rhythm .......................................................................................... 165
Env Depth (tone) ............................................................................. 61, 63
Env Level 0–4 (tone) ........................................................................ 61, 64
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In d e x
Env Level 1–3 (tone) .............................................................................. 66
Env Mode (rhythm tone) ...................................................................... 74
Env Mode (tone) .................................................................................... 49
Env T1 V-Sens (tone) ................................................................. 61, 63, 65
Env T4 V-Sens (tone) ................................................................. 61, 63, 66
Env Time KF .............................................................................. 61, 64, 66
Env V-Curve (rhythm tone) ................................................................. 81
Env V-Curve (tone) ............................................................................... 63
Env V-Sens (tone) ............................................................................ 61, 63
Envelope depth (rhythm tone) ............................................................ 79
Envelope Mode (rhythm tone) ............................................................ 74
Envelope mode (tone) ........................................................................... 49
EQ .......................................................................................................... 185
EQ Switch ............................................................................................. 185
Equalizer switch .................................................................................. 185
Micro edit ...................................................................................... 156
Track edit ....................................................................................... 142
Exclusive Protect ................................................................................. 183
Ext Bank Select LSB ............................................................................... 99
Ext Bank Select MSB ............................................................................. 98
Ext Level ................................................................................................. 99
Ext Switch ............................................................................................... 98
External bank select LSB ...................................................................... 99
External bank select MSB ..................................................................... 98
External level ......................................................................................... 99
External pan ........................................................................................... 99
External program change number ...................................................... 99
External switch ...................................................................................... 98
Extract ................................................................................................... 149
Fine tune (tone) ...................................................................................... 60
Floppy disk drive .................................................................................. 16
Format ................................................................................................... 191
[FWD] .............................................................................................. 16, 124
FXM ................................................................................................... 59, 78
FXM Color (tone) ................................................................................... 59
FXM Depth (tone) .................................................................................. 60
FXM Switch (tone) ................................................................................. 59
Gain ......................................................................................................... 59
Gate time ............................................................................................... 133
Patch ................................................................................................. 47
Rhythm set ...................................................................................... 74
System ............................................................................................ 179
General MIDI ......................................................................................... 15
General MIDI 2 ...................................................................................... 15
High Freq .............................................................................................. 185
High frequency .................................................................................... 185
High Gain ............................................................................................. 185
Hold (patch) ........................................................................................... 51
Hold (rhythm set) .................................................................................. 75
Hold Pedal Polarity ............................................................................. 184
[INC] .................................................................................................. 17, 29
Patch ................................................................................................. 43
Rhythm set ...................................................................................... 69
Song ................................................................................................ 127
System ............................................................................................ 178
Insert Measure ..................................................................................... 145
Int Switch ................................................................................................ 98
Internal memory .................................................................................... 26
Internal song .......................................................................................... 26
Internal switch ....................................................................................... 98
F
Factory Reset ........................................................................................ 195
Favorite List ............................................................................... 33, 86, 94
Favorite sound
Patch ........................................................................................... 33, 46
Rhythm set ...................................................................................... 73
File
Copy file ........................................................................................ 190
Data file ............................................................................................ 26
Delete file ....................................................................................... 191
File name ....................................................................................... 135
Rename file .................................................................................... 191
Song file ........................................................................................... 26
Filter Type (rhythm tone) ..................................................................... 80
Filter Type (tone) ................................................................................... 62
Fine Tune (multitimbre part) ............................................................. 115
Fine tune (patch) .................................................................................... 60
[JUMP] .................................................................................................... 17
[JUMP (BANK)] ............................................................................... 46, 73
Key Range Lower .................................................................................. 99
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In d e x
Key Range Lower (tone) ....................................................................... 58
Key Range Upper (tone) ....................................................................... 58
Key Range Upper (zone) ...................................................................... 99
Key Trigger (patch) ............................................................................... 52
Key Trigger (performance) .................................................................. 96
Key Trigger (rhythm set) ...................................................................... 75
Keyboard controller section ................................................................. 19
Keyboard fade width lower (tone) ..................................................... 58
Keyboard fade width upper (tone) ..................................................... 58
Keyboard range lower (tone) ............................................................... 58
Keyboard range lower (zone) .............................................................. 99
Keyboard range upper (tone) .............................................................. 58
Keyboard range upper (zone) ............................................................. 99
Keyboard Sens ..................................................................................... 180
Keyboard sensitivity ........................................................................... 180
Keyboard Velocity ............................................................................... 179
Keyboard Velocity (patch) ................................................................... 52
Keyboard Velocity (rhythm set) .......................................................... 75
Knob ...................................................................................................... 163
LFO2 TVA depth ................................................................................... 68
LFO2 TVF depth .................................................................................... 68
LFO2 waveform ..................................................................................... 66
[LIST] ................................................................................................. 17, 28
Load Song File ..................................................................................... 136
Local Switch ......................................................................................... 179
Locate position ..................................................................................... 138
LOOP ..................................................................................................... 125
Loop play .............................................................................................. 125
Loop point ............................................................................................ 139
Loop recording .................................................................................... 130
Loop waveform ............................................................................... 44, 71
Low Freq ............................................................................................... 185
Low frequency ..................................................................................... 185
Low Gain .............................................................................................. 185
Master Key Shift .................................................................................. 179
Master Level ......................................................................................... 179
Master Tune ......................................................................................... 179
Matrix control ........................................................................................ 54
Matrix control sens 1–4 ......................................................................... 56
Matrix Ctrl .............................................................................................. 54
Memory ................................................................................................... 22
Disk .................................................................................................. 22
[MENU] ............................................................................................ 17, 28
Menu ....................................................................................................... 28
Menu window ........................................................................................ 28
Merge .................................................................................................... 148
MFX ....................................................................................................... 165
MFX template ....................................................................................... 174
MFX Type (patch) ................................................................................ 168
MFX-A Source ...................................................................................... 173
Micro edit ............................................................................................. 153
Copy ............................................................................................... 157
Create ............................................................................................. 156
Erase ............................................................................................... 156
Move ............................................................................................... 157
Microscope ........................................................................................... 153
L
Legato Retrigger .................................................................................... 48
Legato retrigger switch ......................................................................... 48
Legato Switch (patch) ........................................................................... 48
Legato Switch (performance part) .................................................... 100
Level (multitimbre part) ..................................................................... 115
Level V-Curve (rhythm tone) .............................................................. 82
Level V-Curve (tone) ............................................................................ 65
Level V-Sens (rhythm tone) ................................................................. 82
Level V-Sens (tone) ............................................................................... 65
LFO1 delay time .................................................................................... 67
LFO1 fade mode .................................................................................... 67
LFO1 fade time ...................................................................................... 67
LFO1 offset ............................................................................................. 67
LFO1 pan depth ..................................................................................... 68
LFO1 rate ................................................................................................ 67
LFO1 rate detune ................................................................................... 67
LFO1 TVA depth ................................................................................... 68
LFO1 TVF depth .................................................................................... 68
LFO1 waveform ..................................................................................... 66
LFO2 delay time .................................................................................... 67
LFO2 fade mode .................................................................................... 67
LFO2 fade time ...................................................................................... 67
LFO2 offset ............................................................................................. 67
LFO2 pan depth ..................................................................................... 68
LFO2 rate ................................................................................................ 67
LFO2 rate detune ................................................................................... 67
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In d e x
MIDI
Multitimbre
Multitimbre Copy ................................................................................ 113
Multitimbre Ctrl Ch ............................................................................ 182
Multitimbre Edit .......................................................................... 112, 170
Chorus ............................................................................................ 176
General ........................................................................................... 115
MFX ................................................................................................ 174
MIDI ............................................................................................... 118
Part ................................................................................................. 115
Reverb ............................................................................................ 177
Scale Tune ...................................................................................... 120
Multitimbre List ................................................................................... 107
Multitimbre mode ................................................................................. 27
Multitimbre Write ............................................................................... 114
System ............................................................................................ 182
MIDI clock ............................................................................................ 180
MIDI connector ...................................................................................... 18
MIDI time code .................................................................................... 180
MIDI update ......................................................................................... 124
MMC Mode .......................................................................................... 181
MMC Output ....................................................................................... 181
[MODE] ............................................................................................. 17, 27
Mode ....................................................................................................... 27
Mode 1–4 (patch) ................................................................................... 53
Mode window ........................................................................................ 27
Modulation (multitimbre) .................................................................. 119
Mono/ Poly (multitimbre part) .......................................................... 116
Mono/ Poly (patch) ............................................................................... 47
Mono/ Poly (performance part) ........................................................ 100
Motif (patch) .......................................................................................... 51
Motif (performance) .............................................................................. 95
Move Event .......................................................................................... 157
MRC Pro song ........................................................................................ 26
MTC Error Level .................................................................................. 182
MTC Frame Rate ................................................................................. 181
MTC Offset Frame ............................................................................... 182
MTC Offset Hour ................................................................................ 181
MTC offset time frame ........................................................................ 182
MTC offset time second ...................................................................... 181
Multi-effects A source ......................................................................... 173
Multi-effects control channel ............................................................. 176
Multi-effects select .............................................................................. 175
Multi-effects type ................................................................................ 175
Multi-effects type (performance) ...................................................... 172
Multi-effects type (rhythm set) .......................................................... 168
Part ................................................................................................. 109
Track ............................................................................................... 137
Mute Group ............................................................................................ 74
Name window ....................................................................................... 30
Non-drop format ................................................................................. 181
Note Number 1–4 ................................................................................ 185
Oct ............................................................................................................ 35
Octave Range (patch) ............................................................................ 52
Octave shift ............................................................................................. 35
Octave Shift (patch) ............................................................................... 60
[ON/ OFF] ............................................................................... 16, 126, 162
OUTPUT B jacks .................................................................................... 18
Output Gain ......................................................................................... 179
Overriding Tempo ................................................................................ 94
Pan (multitimbre) ................................................................................ 119
Pan (performance) ............................................................................... 104
Pan key follow ....................................................................................... 65
Pan KF ..................................................................................................... 65
Part .......................................................................................................... 20
Part Dry Send Level ............................................................................ 172
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In d e x
Part Information ............................................................................ 90, 111
Part level (multitimbre part) .............................................................. 115
Part Output Assign ............................................................................. 172
Part pan (performance part) .............................................................. 100
Part Select ............................................................................. 105, 121, 172
Part vibrate delay ........................................................................ 101, 117
Part vibrate depth ........................................................................ 101, 117
Part vibrate rate ........................................................................... 101, 117
Patch
Category .......................................................................................... 35
Patch group ..................................................................................... 32
Patch settings .................................................................................. 42
Patch C Tune .......................................................................................... 60
Patch Category ....................................................................................... 47
Patch Compare ...................................................................................... 46
Patch Copy ............................................................................................. 43
Controller ........................................................................................ 52
Matrix Ctrl ....................................................................................... 54
Reverb ............................................................................................ 177
TVA .................................................................................................. 64
Wave ................................................................................................ 59
Patch F Tune ........................................................................................... 60
Patch finder ............................................................................................ 34
Patch Initialize ....................................................................................... 43
Patch Level ............................................................................................. 64
Patch List ................................................................................................ 33
Patch Mode
Pattern call message ............................................................................ 134
Pattern track ........................................................................................... 25
Pedal 1, 2 Assign .................................................................................. 184
Pedal 1, 2 Polarity ................................................................................ 185
Performance Copy ................................................................................. 92
Performance Edit ........................................................................... 91, 170
Arpeggio .......................................................................................... 95
Chorus ............................................................................................ 176
Controller ........................................................................................ 97
General ............................................................................................. 94
MFX ................................................................................................ 174
MIDI ............................................................................................... 103
Part ................................................................................................. 100
Reverb ............................................................................................ 177
Scale Tune ...................................................................................... 104
Performance Initialize ........................................................................... 91
Performance List .................................................................................... 86
Performance mode ................................................................................ 27
Performance Write ................................................................................ 93
PHONES jack ......................................................................................... 18
Phrase loop ....................................................................................... 60, 78
Phrase preview ...................................................................................... 34
Phrase track ............................................................................................ 24
Patch ................................................................................................. 60
Rhythm set ...................................................................................... 79
Pitch bend range up .............................................................................. 49
Playing in Patch mode ................................................................... 31
Patch mode ............................................................................................. 27
Patch Name ............................................................................................ 47
Patch Number (multitimbre part) ..................................................... 115
Patch Output Assign ........................................................................... 168
Patch Pan ................................................................................................ 65
PATCH PLAY ........................................................................................ 31
Patch Remain ....................................................................................... 179
Patch remain switch ............................................................................ 179
Patch Write ............................................................................................. 45
Patch/ Rhythm (multitimbre part) .................................................... 115
Patch/ rhythm set receive channel .................................................... 182
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Pitch Key follow .................................................................................... 61
Polarity (patch) ...................................................................................... 53
Polarity (rhythm set) ............................................................................. 77
Poly Key Pressure (performance) ..................................................... 103
Portamento ....................................................................................... 37, 48
Portamento Mode .................................................................................. 49
Portamento Start .................................................................................... 49
Portamento Type ................................................................................... 49
Power Up Mode .................................................................................. 180
Preview ................................................................................................. 185
Preview Mode ...................................................................................... 185
Preview velocity 1–4 ........................................................................... 185
Prevu ....................................................................................................... 34
Program Change (multitimbre) ......................................................... 119
Program Change (performance) ....................................................... 103
Punch-in
Receive system exclusive switch ....................................................... 183
Recording quantize ............................................................................. 131
Recording select ................................................................................... 131
Recording Standby .............................................................................. 129
Redamper Sw ......................................................................................... 51
Rehearsal function ............................................................................... 132
Rename ................................................................................................. 191
Rename file .................................................................................... 191
Rename File .......................................................................................... 191
[RESET] ................................................................................................. 124
Reso V-Sens ............................................................................................ 63
Resonance (tone) .................................................................................... 63
Resonance V-Sens .................................................................................. 81
REV ........................................................................................................ 165
Reverb Level (patch) ........................................................................... 169
Punch-in recording ............................................................................. 130
Q
Quantize ....................................................................................... 131, 140
Recording quantize ...................................................................... 131
Track edit ....................................................................................... 140
Quick play ............................................................................................ 122
R
Random Pan Depth (rhythm tone) ..................................................... 82
Random pan depth (tone) .................................................................... 65
Random pitch depth (tone) .................................................................. 61
Range Lower (patch) ............................................................................. 53
Range Lower (performance) ................................................................ 98
Range Lower (rhythm set) ................................................................... 77
Range Upper (patch) ............................................................................. 53
Range Upper (performance) ................................................................ 98
Range Upper (rhythm set) ................................................................... 77
Realtime controller .............................................................................. 163
Realtime erase ...................................................................................... 132
Realtime phrase sequence .................................................................. 159
Realtime recording .............................................................................. 129
Receive bank select switch ................................................................. 183
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Reverb Source ...................................................................................... 174
Reverb type .......................................................................................... 177
Reverb Type (multitimbre) ................................................................ 173
Reverb Type (patch) ............................................................................ 169
Reverb Type (performance) ............................................................... 173
Reverb Type (rhythm set) .................................................................. 169
[RHYTHM] ....................................................................................... 16, 41
Rhythm
Rx Bender ............................................................................................... 50
Rx Exclusive ......................................................................................... 183
Rx Expression (tone) ............................................................................. 51
Rx GS Reset .......................................................................................... 183
Rx Hold-1 (tone) .................................................................................... 51
Rx Pan Mode (rhythm tone) ................................................................ 75
Rx Pan Mode (tone) ............................................................................... 51
Rhythm Compare .................................................................................. 73
Rhythm Copy ......................................................................................... 70
Rhythm Edit ........................................................................................... 69
Controller ........................................................................................ 76
Reverb ............................................................................................ 177
TVA .................................................................................................. 82
WMT ................................................................................................ 77
Rhythm Initialize ................................................................................... 70
Rhythm Level ......................................................................................... 82
Rhythm Name ........................................................................................ 74
Rhythm Pattern ..................................................................................... 41
Rhythm pattern style (rhythm set) ..................................................... 75
Rhythm pattern zone number ............................................................. 96
Rhythm Ptn
S/ P DIF OPTICAL ................................................................................ 18
Patch ................................................................................................. 45
Rhythm set ...................................................................................... 72
Song ........................................................................................ 135, 189
System ............................................................................................ 178
System ............................................................................................ 186
Scale Tune Switch ................................................................................ 186
Select ...................................................................................................... 175
Sequencer ........................................................................................ 24, 180
Sequencer section .................................................................................. 19
[SHIFT] .................................................................................................... 17
Shift Clock ............................................................................................ 150
Shuffle Rate (patch) ............................................................................... 52
S-MRC format ...................................................................................... 125
Sns 1–4 ..................................................................................................... 56
Soft Through ........................................................................................ 181
Soft through switch ............................................................................. 181
Solo ........................................................................................................ 108
Solo legato switch .................................................................................. 48
Song ......................................................................................................... 24
File name ....................................................................................... 190
Song Edit ............................................................................................... 136
Song file .................................................................................................. 26
Song Initialize ...................................................................................... 127
Song Setup ............................................................................................ 137
Rhythm set ...................................................................................... 75
Rhythm Set
Rhythm set
Rhythm set settings ........................................................................ 69
Rhythm set level .................................................................................... 82
Rhythm set name ................................................................................... 74
Rhythm tone name ................................................................................ 74
Rhythm Write ........................................................................................ 72
Ring modulator ..................................................................................... 58
Rnd Pan Depth ...................................................................................... 65
Rnd Pan Sw ............................................................................................ 78
Rnd Pitch Depth .................................................................................... 61
RPS function ......................................................................................... 159
RPS Setup ............................................................................................. 159
Rx Bank Select ...................................................................................... 183
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In d e x
Source 1–4 ....................................................................................... 54, 175
Standard MIDI file ................................................................................ 26
Step recording ...................................................................................... 132
Step Recording Standby ..................................................................... 132
Step time ............................................................................................... 133
Stretch Tune ........................................................................................... 60
Stretch tune depth ................................................................................. 60
Structure 1 & 2 ....................................................................................... 56
Structure 3 & 4 ....................................................................................... 56
Structure Type 1 & 2 ............................................................................. 56
Structure Type 3 & 4 ............................................................................. 56
Style (rhythm set) .................................................................................. 75
Switch .................................................................................................... 163
Switch (patch) ........................................................................................ 51
Sync Mode ............................................................................................ 180
Sync Output ......................................................................................... 181
Sync output switch .............................................................................. 181
Sys Ctrl 1–4 Source .............................................................................. 184
System Control .................................................................................... 184
System Edit
Controller ...................................................................................... 184
EQ ................................................................................................... 185
Preview .......................................................................................... 185
Scale Tune ...................................................................................... 186
Sequencer ...................................................................................... 180
System Exclusive Edit ......................................................................... 155
System exclusive message .................................................................. 155
System function ................................................................................... 178
System Initialize .................................................................................. 178
Tone Pan (tone) ...................................................................................... 65
Tone Select ............................................................................................ 168
Tone Switch ............................................................................................ 36
Track ........................................................................................................ 24
Beat track ......................................................................................... 25
Pattern track .................................................................................... 25
Phrase track ..................................................................................... 24
Track Edit ............................................................................................. 139
Copy ............................................................................................... 143
Data thin ........................................................................................ 151
Delete ............................................................................................. 143
Erase ............................................................................................... 142
Exchange ........................................................................................ 152
Extract ............................................................................................ 149
Merge ............................................................................................. 148
Quantize ........................................................................................ 140
Shift clock ...................................................................................... 150
Time fit ........................................................................................... 152
Transpose ...................................................................................... 145
Truncate ......................................................................................... 153
Track Edit (Copy) ................................................................................ 143
Track Edit (Delete) .............................................................................. 143
Track Edit (Erase) ................................................................................ 142
Track Edit (Extract) ............................................................................. 149
Track Edit (Insert Measure) ............................................................... 145
Track Edit (Merge) .............................................................................. 148
Track Edit (Time Fit) ........................................................................... 152
Track Edit (Truncate) .......................................................................... 153
Trans ........................................................................................................ 36
Transmit Channel .................................................................................. 98
Transpose ....................................................................................... 36, 145
Track edit ....................................................................................... 145
Truncate ................................................................................................ 153
TVA
T
Tempo (patch) ........................................................................................ 48
Tempo (rhythm set) .............................................................................. 74
Tempo recording ................................................................................. 130
Tempo Sync (tone) ................................................................................ 60
Tempo track ........................................................................................... 25
Time signature ..................................................................................... 128
TMT Control Sw .................................................................................... 56
TMT control switch ............................................................................... 56
TMT Vel Control ................................................................................... 58
Tone
Tone on/ off ..................................................................................... 36
Tone C Tune ........................................................................................... 60
Tone Chorus Send Level .................................................................... 168
Tone Coarse Tune ................................................................................. 79
Tone Delay ............................................................................................. 50
Tone delay mode ................................................................................... 49
Tone delay time ..................................................................................... 50
Tone F Tune ........................................................................................... 60
Tone Fine Tune ...................................................................................... 79
Tone Level (tone) ................................................................................... 64
Tone Name ............................................................................................. 74
Patch ................................................................................................. 64
Rhythm set ...................................................................................... 82
2 0 9
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In d e x
TVF
Volume slider ......................................................................................... 16
W
Rhythm set ...................................................................................... 80
TVF envelope depth (tone) .................................................................. 63
Tx Active Sensing ................................................................................ 183
Tx Bank Select ...................................................................................... 183
Tx Edit Data ......................................................................................... 183
Type ............................................................................................... 175–177
Wave ........................................................................................................ 59
Wave Gain (tone) ................................................................................... 59
Wave Group (tone) ................................................................................ 59
Wave Level ............................................................................................. 79
Wave No. (L) (tone) ............................................................................... 59
Wave No. (R) (tone) .............................................................................. 59
Wave Pan ................................................................................................ 78
Window .................................................................................................. 28
V
VALUE dial ...................................................................................... 17, 29
Variation (patch) .................................................................................... 51
Variation (performance) ....................................................................... 95
Vel Fade Lower (rhythm wave) .......................................................... 79
Vel Fade Upper (rhythm wave) .......................................................... 79
Vel Range Lower (rhythm wave) ........................................................ 79
Vel Range Lower (tone) ........................................................................ 59
Vel Range Upper (rhythm wave) ........................................................ 79
Vel Range Upper (tone) ........................................................................ 59
Vel Sens Offset (multitimbre part) .................................................... 117
Velocity 1–4 .......................................................................................... 185
Velocity Control .................................................................................... 79
Velocity control switch ......................................................................... 79
Velocity Curve (multitimbre) ............................................................ 119
Velocity Curve (performance) ........................................................... 104
Velocity fade width lower (tone) ........................................................ 59
Velocity fade width upper (tone) ........................................................ 59
Velocity range upper (tone) ................................................................. 59
Velocity Sens Offset (patch) ................................................................. 48
Velocity sensitivity offset (patch) ........................................................ 48
Vibrate Delay ............................................................................... 101, 117
Vibrate Depth ............................................................................... 101, 117
Vibrate Rate .................................................................................. 101, 117
View Select ........................................................................................... 155
View Switch ......................................................................................... 188
Voice Priority ......................................................................................... 47
Voice reserve .......................................................................................... 21
Voice Reserve (multitimbre part) ...................................................... 118
Volume (multitimbre) ......................................................................... 119
Volume label ........................................................................................ 192
Zone ................................................................................................... 90, 98
Zone 1–4 .................................................................................................. 97
Zone Number ......................................................................................... 96
2 1 0
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For EU Countries
This product complies with the requirements of European Directives EMC 89/336/EEC and LVD 73/23/EEC.
For the USA
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions:
(1) This device may not cause harmful interference, and
(2) This device must accept any interference received, including interference that may cause undesired operation.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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In fo rm a tio n
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
PAN AMA
ITALY
ISRAEL
SIN GAPO RE
AFRICA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Swee Lee Company
150 Sims Drive,
Sons Ltd.
SINGAPORE 387381
TEL: 846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 243 9555
N O RW AY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
JO RDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
TEL: 20-2-417-1828
REUN IO N
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
TAIW AN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: 273 0074
KUW AIT
Easa Husain Al-Yousifi
Abdullah Salem Street,
Safat, KUWAIT
PERU
VIDEO Broadcast S.A.
Portinari 199 (ESQ. HALS),
San Borja, Lima 41,
REP. OF PERU
TEL: (01) 4758226
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
REUNION ISLAND
TEL: (0262) 218-429
TEL: 243-6399
TEL: (02) 2561 3339
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
LEBAN O N
PO RTUGAL
THAILAN D
A. Chahine & Fils
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/ 9-1 Dto
4050-465 PORTO
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
TEL: (01) 20-1441
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
PORTUGAL
TEL: (022) 608 00 60
Q ATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
Doha, QATAR
TEL: 4423-554
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
VEN EZUELA
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
RO MAN IA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (212) 285-8586
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
AUSTRALIA/
N EW ZEALAN D
EURO PE
ASIA
AUSTRALIA
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
CHIN A
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
TEL: (0512) 26 44 260
SYRIA
TEL: (93) 308 1000
Technical Light & Sound
Center
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
TEL: (02) 9982 8266
SW EDEN
Bldg. No. 47,
N EW ZEALAN D
Shanghai Xingtong Acoustics
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
Khaled Ebn Al Walid St.
Damascus, SYRIA
TEL: (011) 221-1230
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
Equipment CO.,Ltd.
5F. No.1500 Pingliang Road
New East Club Plaza, Shanghai,
CHINA
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/ 20
DEN MARK
TEL: (021) 5580-0800
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 927-8383
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
TEL: (039)16 6200
ARGEN TIN A
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
FRAN CE
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
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
UKRAIN E
TEL: 2415 0911
TIC-TAC
Mira Str. 19/ 108
IN DIA
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
FIN LAN D
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
UN ITED KIN GDO M
N O RTH AMERICA
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 498 3079
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
UNITED KINGDOM
TEL: (01792) 700139
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
MIDDLE EAST
KO REA
Roland Canada Music Ltd.
(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
TEL: (040) 52 60090
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: (061) 43-5400
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
TEL: 211 005
U. S. A.
EL SALVADO R
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
OMNI MUSIC
HUN GARY
75 Avenida Norte y Final
Intermusica Ltd.
Alameda Juan Pablo
Edificio No.4010 San Salvador,
EL SALVADOR
,
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
PHILIPPIN ES
TEL: (323) 890 3700
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 66-9426
TEL: 262-0788
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
MEXICO
TEL: (02) 899 9801
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (021) 285-4169
As of January 1, 2002 (Roland)
TEL: 668-0480
02780689
’02-3-A3-41N
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Ad d itio n a l Fu n ctio n s o f th e Fa n to m a n d
Ch a n g e s in O p e ra tio n
Lin k e d se ttin g s fo r Lo o p m o d e
Un d o a n d Re d o in th e
MULTITIMBRE PLAY scre e n
Se e p p . 1 3 9 , 1 2 5 , 1 3 0 in th e O w n e r’s Ma n u a l
Se e p . 1 0 9 in th e O w n e r’s Ma n u a l
In the Loop window, you can now select the loop modes
(POINT, 1 MEAS, 2 MEAS, 4 MEAS, 8 MEAS, 16 MEAS,
SONG ALL).
After editing Patch or Volume settings in the MULTITIMBRE
PLAY screen, you can revert to the original value (Undo), or
set the edited value again (Redo).
To revert to the original value, hold down [JUMP] and press
[INC] or [DEC]. To set the edited value again, hold down
[JUMP] again and press [INC] or [DEC].
The new Loop window
Co p y b e tw e e n p e rfo rm a n ce s a n d
m u ltitim b re s
The selection here is linked with both Loop Play and Loop
Recording. In other words, the settings you make in the Loop
window will be applied to the Loop settings for playback, as
well as to the loop settings for recording in the Recording
Standby window.
Loop on/ off settings are also linked between the various
PATCH PLAY, PERFORMANCE PLAY, and MULTITIMBRE
PLAY screens, and in the Loop, Song Edit, and Recording
Standby windows.
Se e p p . 9 2 , 1 1 3 in th e O w n e r’s Ma n u a l
In the Performance Copy window and Multitimbre Copy
window, an “All” setting has been added to Mode. When
you use this mode, all name, effect, and part settings can be
copied between performances and multitimbres.
N e w ty p e a d d e d to p e rfo rm a n ce
a n d m u ltitim b re in itia lize
Ca te g o ry n a m e d isp la y in th e
MULTITIMBRE PLAY scre e n
Se e p p . 9 1 , 1 1 2 in th e O w n e r’s Ma n u a l
In the Performance Initialize window and Multitimbre
Initialize window, a new “SOUND CONTROL” selection has
been added to the Type field. This lets you set the following
parameters for the specified part (Part: All, 1–16) to the
stored value (Value: STORED) or the factory-set value
(Value: DEFAULT).
Se e p p . 1 0 6 , 3 4 in th e O w n e r’s Ma n u a l
If the Patch List window or the Rhythm List window are set
to display sorted by categories (i.e., when [7 (Ctg)] has a
check mark (✔) assigned), the category name for the selected
patch will be displayed in the MULTITIMBRE PLAY screen.
fig.03
Cutoff Offset
Resonance Offset
Release Time Offset
Vibrato Rate
Attack Time Offset
Decay Time Offset
Vibrato Depth
Vibrato Delay
fig.04
Q u a n tize a ll tra ck s a t th e sa m e
tim e
Se e p . 1 4 0 in th e O w n e r’s Ma n u a l
In the Track Edit (Quantize) window, you can now select
“All” for Track (target track).
This allows you to simultaneously perform quantization on
all tracks: phrase tracks 1–16, beat track, and tempo track.
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Ch a n g e s in th e Re co rd in g Sta n d b y w in d o w a n d h o w to sta rt re co rd in g
Se e p . 1 2 9 in th e O w n e r’s Ma n u a l
In the Recording Standby window, the functions assigned to the [1]–[8] buttons have been expanded and modified.
Recording Standby window before the change
Recording Standby window following the change
Settings in the Metronome window are linked with the
Sequencer group settings in the System Edit window.
Button name
Function
[3 (Metronome)]
[4 (RecSel)]
[8 (Start)]
Open the Metronome window
Open the Recording Select window
Start recording (the Realtime Recording window
will appear)
[STOP/ PLAY]
*Outside the Recording
Standby window
Start recording (the Realtime Recording window
will not be displayed)
Sw itch in g b e tw e e n Re co rd in g a n d Re h e a rsa l m o d e s, a n d sh o w in g o r h id in g th e
Re a ltim e Re co rd in g w in d o w
Se e le ft co lu m n o n p . 1 3 2 in th e O w n e r’s Ma n u a l. Th e o p e ra tin g p ro ce d u re in “ Au d itio n in g So u n d s
o r Ph ra se s W h ile Re co rd in g (Re h e a rsa l Fu n ctio n )” h a s ch a n g e d .
When the Recording Standby window is displayed, pressing [8 (Start)] causes recording to begin with the Realtime Recording
window displayed, while pressing [STOP/ PLAY] causes recording to begin without the Realtime Recording window
appearing. Subsequently, you can switch between recording and rehearsal modes, and between showing/ hiding the Realtime
Recording window as shown in the diagram below.
Recording (with the Realtime Recording window displayed)
Rehearsing (with the Realtime Recording window displayed)
Rehearsing
Recording
Press [8 (Rehersl)]
Press [8 (Record)]
Press [REC]
Press [REC]
Recording (with the Realtime Recording window hidden)
Recording
Rehearsing (with the Realtime Recording window hidden)
Rehearsing
Hold down [SHIFT]
and press [REC]
40455589
’01-11-C3-21N
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