®
Owner’s Manual
Thank you, and congratulations on your choice of the Roland Digital Piano FP-2.
Main Features
Stylish, Light, Compact Design
The refined design fits in anywhere; and since it is so lightweight and compact, it’s easy to take
the instrument with you wherever you go.
Authentic Piano Performances
Features high-quality concert grand piano sounds and a Hammer Action keyboard that gives
a more realistic piano touch by providing a heavier feel in the low end and a lighter feel in the
upper notes.
In addition, the FP-2 is equipped with three pedal jacks and comes with a half-damper pedal
capable of adjusting the depth of the resonance, combining to allow you to enjoy truly
authentic piano performances.
Wide Variety of Tones For Use in Many Musical Genres and High-quality
Effects
The FP-2 offers not just piano sounds, but over 50 different onboard sounds that can be used
in a wide variety of musical styles.
You can also play Drum Sets with the instrument.
Additionally, the high-quality effects allow you to add more richness and expression to the
sound.
“Session Partner” Lets You Enjoy Playing with a Session-Like Feel
Enjoy true session-like feel while performing along with a “rhythm” section built upon
realistic-sounding “rhythms.”
201a
You can specify the “rhythm” chord progression with your left hand, and create original
chord progressions as well.
Before using this unit,
carefully read the sections
entitled: “USING THE UNIT
SAFELY” and
“IMPORTANT NOTES” (p.
2; p. 4). These sections
provide important
information concerning the
proper operation of the unit.
Additionally, in order to feel
assured that you have
Experience a Variety of Performances with Dual and Split Functions
Layer two of the FP-2’s many internal tones, play with different tones assigned to the left and
right sections of the keyboard, and enjoy many other possibilities in working with
Performances.
Easy Recording Functions
You can easily record your own performances using simple button operations.
gained a good grasp of every
feature provided by your
new unit, Owner’s manual
should be read in its
entirety. The manual should
be saved and kept on hand
as a convenient reference.
Includes USB Connector
Connect your computer to the FP-2’s USB connector and exchange MIDI data.
High-quality Speaker Provided
Enjoy listening to powerful, moving performances thanks to the high-quality speaker.
“Sound Control” and “Equalizer” for Enriched Sound
These functions allow you to correct discrepancies in the tone and adjust the tonal quality to
create a fuller sound.
Copyright © 2003 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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010
•
•
101bThe unit and the AC adaptor should be located so
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.
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
•
101c This (FP-2) for use only with Roland stand FPS-
11A. Use with other stands is capable of resulting
in instability causing possible injury.
..........................................................................................................
•
102c Always grasp only the plug on the AC adaptor
..........................................................................................................
011
•
cord when plugging into, or unplugging from, an
outlet or this unit.
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
•
103bAt regular intervals, you should unplug the AC
adaptor and clean it by using a dry cloth to wipe
all dust and other accumulations away from its
prongs. Also, disconnect the power plug from the
power outlet whenever the unit is to remain
unused for an extended period of time. Any
accumulation of dust between the power plug and
the power outlet can result in poor insulation and
lead to fire.
..........................................................................................................
012bImmediately turn the power off, remove the AC
•
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” page when:
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
• If smoke or unusual odor occurs
• Objects have fallen into, or liquid has been
spilled onto the unit; or
• The unit has been exposed to rain (or otherwise
has become wet); or
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
104
•
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.
..........................................................................................................
106
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107c Never handle the AC adaptor or its plugs with
..........................................................................................................
•
013
wet hands when plugging into, or unplugging
from, an outlet or this unit.
•
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.
..........................................................................................................
108d: Selection
•
If you need to move the instrument, take note of
the precautions listed below. At least two persons
are required to safely lift and move the unit. It
should be handled carefully, all the while keeping
it level. Make sure to have a firm grip, to protect
yourself from injury and the instrument from
damage.
..........................................................................................................
014
•
Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
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.
1
• Check to make sure the screws securing the unit
to the stand have not become loose. Fasten them
again securely whenever you notice any
loosening.
2
3
• Disconnect the power cord.
• Disconnect all cords coming from external
devices.
..........................................................................................................
6
016
•
• Remove the music stand.
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 “Information” page.
..........................................................................................................
•
109bBefore cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 8).
..........................................................................................................
..........................................................................................................
023
•
110bWhenever you suspect the possibility of lightning
•
DO NOT play a CD-ROM disc on a conventional
audio CD player. The resulting sound may be of a
level that could cause permanent hearing loss.
Damage to speakers or other system components
may result.
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
118
•
Should you remove screws for the stand or the
music stand, make sure to put them in a safe place
out of children’s reach, so there is no chance of
them being swallowed accidentally.
..........................................................................................................
..........................................................................................................
3
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IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2 and 3, please read and observe the following:
Power Supply
Maintenance
301
401a
• Do not connect this unit to same electrical outlet that is
• For everyday cleaning wipe the unit with a soft, dry cloth
being used by an electrical appliance that is controlled by
an inverter (such as a refrigerator, washing machine,
microwave oven, or air conditioner), or that contains a
motor. Depending on the way in which the electrical
appliance is used, power supply noise may cause this unit
to malfunction or may produce audible noise. If it is not
practical to use a separate electrical outlet, connect a
power supply noise filter between this unit and the
electrical outlet.
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.
402
• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or
deformation.
302
Additional Precautions
• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
552
• Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a
sequencer) once it has been lost. Roland Corporation
assumes no liability concerning such loss of data.
307
• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/or damage to speakers or other devices.
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.
Placement
351
• Using the unit near power amplifiers (or other equipment
556
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
352a
558a
• This device may interfere with radio and television
• To avoid disturbing your neighbors, try to keep the unit’s
reception. Do not use this device in the vicinity of such
receivers.
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
352b
• Noise may be produced if wireless communications
559a
devices, such as cell phones, are operated in the vicinity of
this unit. Such noise could occur when receiving or initi-
ating a call, or while conversing. Should you experience
such problems, you should relocate such wireless devices
so they are at a greater distance from this unit, or switch
them off.
• 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.
560
• Do not apply undue force to the music stand while it is in
use.
3•54Da o 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.
5•61Use 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.
5•62Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
3•55Wb hen moved from one location to another where the
temperature and/or humidity is very different, water
droplets (condensation) may form inside the unit. Damage
or malfunction may result if you attempt to use the unit in
this condition. Therefore, before using the unit, you must
allow it to stand for several hours, until the condensation
has completely evaporated.
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufac-
turer of the cable.
358
• Do not allow objects to remain on top of the keyboard.
This can be the cause of malfunction, such as keys ceasing
to produce sound.
Handling CD-ROMs
801
• Avoid touching or scratching the shiny underside
(encoded surface) of the disc. Damaged or dirty CD-ROM
discs may not be read properly. Keep your discs clean
using a commercially available CD cleaner.
4
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Storing Settings (Setup) ....................................................... 33
Installing the Music Stand..................................................... 9
Adjusting the Sound’s Volume and Brilliance................. 10
Connecting to the USB Connector ..................................... 45
Restoring the Settings to the Factory Condition
Listening to Internal Songs ................................................. 12
Performing with a Variety of Sounds................................ 14
Performing With Different Tones in the Left and Right
Changing the Keyboard’s Touch ....................................... 19
Set to “Fixed”.................................................................. 20
(Factory Reset) ...................................................................... 50
(Rotary Effect)................................................................. 23
Settings Stored in the Setup ....................68
Easy Operation List.................................69
Main Specifications.................................72
Index......................................................73
(Key Transpose).................................................................... 24
Using the Metronome.......................................................... 25
Chapter 2
What is Session Partner? ..................................................... 27
Changing the Volume ................................................... 28
Selecting Parts................................................................. 29
Selecting a Rhythm............................................................... 29
Changing a Rhythm’s Tempo............................................. 30
Selecting a Rhythm’s Chord Progression ......................... 30
Performing With the Chord Progression Specified in the
Left Hand (Chord Progression off).................................... 31
Recording the Chord Progression
(Chord Progression)............................................................. 32
5
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Panel Descriptions
Front Panel
2
3
4
6
1
5
7
1
[Volume] Knob
9
[Display] Button
Adjusts the overall volume level (p. 10).
Press this to change the Internal Song or tempo or Rhythm
(p. 12, p. 25, p. 29).
2
[Balance] Knob
Each time you press this button, the tempo, the Rhythm
number, and the Song number will be displayed alternately.
Dual Play and Split Play (p. 18).
In addition, you can hold down this button while pressing [-]
button to make various different settings (p. 38 to p. 49).
3
[Reverb] Button
concert hall to what you play (p. 21).
10 [-] [+] Buttons
of settings.
In addition, you can hold down this button while pressing
Pressing both the [-] and [+] buttons simultaneously returns
the setting of a particular item or function to its original
value.
4
[Effects] Button
(p. 22).
11 [
(Metronome)] Button
By holding down this button and pressing the [Transpose]
button, you can change the keyboard’s touch sensitivity
(p. 19).
Turns the internal metronome on and off (p. 25).
12 [Start/Stop] Button
5
[Transpose] Button
13 [Part] Button
In addition, you can hold down this button while pressing
[Split] button to store the selected functions and states of the
Switches the performance parts in Session Partner (p. 29).
This turns the Session Partner chord progression on and off.
When turned off, chords are specified in the left side of the
keyboard (p. 31).
6
[Split] Button
Allows you to play different tones in the left and right sides
of the keyboard (p. 16).
15 [Play/Stop] Button
7
Tone Buttons
Starts and stops playback of internal songs and recorded
performances (p. 12).
They are used to choose the kinds of sounds (Tone Groups)
played by the keyboard (p. 14).
Used for starting recording of performances (p. 34).
8
Display
16 [Rec] Button
Displays information such as the song number, Rhythm
number, tempo, beat, and parameter settings values.
Puts the unit in the state whereby it is ready for recording
performances (p. 34).
17 [Sound Control] Button
This produces a sound with greater brilliance (p. 26).
18 [Equalizer] Button
Switches the equalizer on or off (p. 26).
6
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Panel Descriptions
8
9
10
11
12 13 14
15 16
17 18
Rear Panel
10
7
1
2
3
4
5
6
8
1
USB(MIDI) Connector
6
[Speaker] Switch
Use this for connecting a computer to the FP-2 using a USB
cable (p. 45).
This switch turns the internal speaker on/off (p. 44).
7
[Power] Switch
2
MIDI Connectors
This switch turns the unit on/off (p. 10).
Used for connecting external MIDI devices and for sending
and receiving MIDI messages (p. 46).
8
DC In Jack
Connect the supplied AC adaptor here (p. 8).
3
Pedal Jacks
9
Cord Hook
Accepts connection of the supplied pedal (DP Series), or
other suitable pedals (p. 9).
Use this to fix in place the cord from the supplied AC
adaptor (p. 8).
4
Line In Jacks
10 Phones Jacks
Provide input of the audio signals. Used for connecting
audio equipment and other such devices (p. 44).
A set of headphones can be connected to this jack (p. 10).
5
Line Out Jacks
Provide output of the audio signals. Also used for connecting
audio equipment and other such devices (p. 44).
These allow you to play sounds from the FP-2 through other
audio devices.
7
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Before You Play
Making Connections
1. Before you begin making connections, confirm the following.
Is the volume level of the FP-2 turned all the way down?
Is the power to the FP-2 turned off?
2. Connect the supplied Power Cord to the supplied AC
adaptor.
fig.00-01
AC adaptor
Power cord
Power outlet
3. Connect the supplied AC adaptor to the FP-2, and then plug
its other end into a power outlet.
4. Loop the AC adaptor cord around the cord hook to fasten it
in place.
fig.00-02
Rear Panel
ground terminal
cord hook
927
To prevent the inadvertent disruption of power to your unit (should the
plug be pulled out accidentally), and to avoid applying undue stress to the
AC adaptor jack, anchor the power cord using the cord hook, as shown in
the illustration.
Depending on the circumstances of a particular setup, you may experience
a discomforting sensation, or perceive that the surface feels gritty to the
touch when you touch this device. This is due to an infinitesimal electrical
charge, which is absolutely harmless. However, if you are concerned about
this, connect the ground terminal (see figure) with an external ground.
When the unit is grounded, a slight hum may occur, depending on the
particulars of your installation. If you are unsure of the connection method,
contact the nearest Roland Service Center, or an authorized Roland
distributor, as listed on the “Information” page.
Unsuitable places for connection
• Water pipes (may result in shock or electrocution)
• Gas pipes (may result in fire or explosion)
• Telephone-line ground or lightning rod (may be dangerous in the event of
lightning)
8
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Before You Play
Installing the Music Stand
Connecting Pedals
fig.00-03
1. Connect the pedal included with the FP-2 to one
of the Pedal jacks.
When connected to the Damper jack,
the pedal can be used as a damper
pedal.
When connected to Sostenuto(FC1)
jack, the pedal can be used as a
sostenuto pedal. In addition, it can be
set to function as an another works
(p. 39, p. 48).
1. Using the supplied screws, attach the music stand
to the back of the FP-2 as illustrated.
Be sure to use the supplied screws for attaching the
music stand.
When connected to Soft(FC2) jack,
the pedal can be used as a soft pedal.
In addition, it can be set to function
as an another works (p. 39, p. 48).
Turn the screws clockwise until they’re held in place–but
don’t tighten them yet.
*
Unplugging a pedal cord from the unit while the power is on
may cause the pedal’s effect to be applied without stopping.
The power of the FP-2 must be turned off before inserting or
removing a pedal cord.
2. Put the music stand between the screws and the
FP-2’s body.
3. While supporting the music stand with one hand,
Damper Pedal
secure it in place by turning the screws.
Use this pedal to sustain the sound. While the pedal is
depressed, long lingering reverberations continue to be
added to the sound after you release from the keys.
The pedal included with the FP-2 functions as a half-damper
pedal, which allows you to adjust the amount of resonance.
When you depress the damper pedal on an acoustic piano,
the sound from the strings that were struck resonates with
other strings, adding rich reverberations and broadness to
the sound. You can adjust this resonance (sympathetic
resonance) when the damper pedal is depressed.
When attaching the music stand, support it firmly with
one hand to make sure that you don’t drop it. Be careful,
so you don’t get your fingers pinched.
To remove the music stand, support it with one hand
while loosening the screws.
After removing the music stand, don’t forget to retighten
the screws.
*
Do not apply excessive force to the installed music stand.
*
Using the stand
Sostenuto Pedal
When using the stand (FPS-11A), be sure to affix the spacers
This pedal sustains only the sounds of the keys that were
already played when you pressed the pedal.
that are provided with the stand, as shown in the figure.
fig.00-03
→ With the pedal connected to the Sostenuto(FC1) jack, it can be
assigned other functions as well. Refer to “Changing How the
Pedals Work” (p. 39), “Using the Pedal to Switch Setup
(Pedal shift)” (p. 48).
Soft Pedal
Playing with the soft pedal depressed produces a sound that
is not as strong as when otherwise played with the
equivalent strength. This is the same function as the left
pedal of an acoustic piano.
→ With the pedal connected to the Soft(FC2) jack, it can be
assigned other functions as well. Refer to “Changing How the
Pedals Work” (p. 39), “Using the Pedal to Switch Setup
(Pedal shift)” (p. 48).
→ By obtaining a second and third pedal, you can then use three
pedals simultaneously. If you wish to purchase the optional
pedal (DP series), please contact the dealer where you
purchased the FP-2.
9
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Before You Play
Turning the Power On and Off
Adjusting the Sound’s
Volume and Brilliance
*
Once the connections have been completed (p. 8), turn on
power to your various devices in the order specified. By
turning on devices in the wrong order, you risk causing
malfunction and/or damage to speakers and other devices.
fig.00-08
■ Turning On the Power
1. Before you switch on the power, turn the volume
1. Use the [Volume] knob to adjust the overall
volume level.
down all the way by rotating the [Volume] knob.
fig.00-05
Rotating the knob clockwise increases the volume;
counterclockwise rotation decreases it.
Connecting Headphones
2. Press the [Power] switch on the back of the unit.
Connecting headphones allows you to enjoy playing
anytime, even at night, without concern.
The power will turn on, and “FP2” appears in the
display.
*
Headphones are not included. Consult your Roland dealer if
you want to purchase.
After a few seconds, the unit becomes operable and
playing the keyboard produces sound.
fig.00-09
fig.00-06
Rear Panel
Lower Position
ON
*
This unit is equipped with a protection circuit. A brief interval
(a few seconds) after power up is required before the unit will
operate normally.
3. Adjust the volume to obtain the proper volume
level.
1. Plug the headphones into the Phones jack at the
rear of the piano.
■ Turning Off the Power
1. Before switching the power off, turn the volume
Use the [Volume] knob on the FP-2 to adjust the volume
of the headphones.
all the way down by rotating the [Volume] knob.
fig.00-05
*
*
Make sure to use stereo headphones.
Make sure to use only Roland headphones. Headphones from
other manufacturers may be unable to provide sufficient
volume.
Some Notes on Using Headphones
2. Press the [Power] switch on the back of the unit.
The power is switched off.
fig.00-07
• To prevent damage to the cord, handle the headphones
only by the headset or the plug.
• The headphones may be damaged if the volume is too
high when they are plugged in. Lower the volume on the
FP-2 before plugging in the headphones.
Rear Panel
Upper Position
ON
• To prevent possible auditory damage, loss of hearing, or
damage to the headphones, the headphones should not
be used at an excessively high volume. Use the
headphones at a moderate volume level.
10
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Chapter 1 Playing the Keyboard
Listening to Demo Songs
NOTE
Now, try listening to demo songs.
The FP-2 comes with eight demo songs.
All rights reserved.
The six Tone buttons, the [Start/Stop] button, and the [Play/Stop] button
are each assigned one demo song.
Unauthorized use of this
material for purposes other
than private, personal
enjoyment is a violation of
applicable laws.
Indi-
Button
Composer/Copyright
cation
Pno
E.Pn
OrG
Gtr
Masasi & Kazuko Hirashita / © 2003 Roland Corporation
Masasi & Kazuko Hirashita / © 2003 Roland Corporation
Masasi & Kazuko Hirashita / © 2003 Roland Corporation
Masasi & Kazuko Hirashita / © 2003 Roland Corporation
Masasi & Kazuko Hirashita / © 2003 Roland Corporation
© 2003 Roland Corporation
Piano
E.Piano
Organ
Guitar/Bass
Strings/Pad
Voice/GM2
Start/Stop
Play/Stop
Str
NOTE
Sct
No MIDI data for the music
that is played will be
output.
John Maul / © 2003 Roland Corporation
SP
Masasi & Kazuko Hirashita / © 2003 Roland Corporation
SnG
fig.01-01
1,4
2,3
2,3
2,3
1. Hold down the [Reverb] button and press the [Effects]
button.
The indicators for the Tone and [Start/Stop] and [Play/Stop] buttons flash
The demo song cannot be
played back while recorded
performance data remains
in the FP-2’s memory. Press
[Rec] button to delete the
performance data (p. 13).
in red.
The following appears in the display.
fig.01-03
2. Press one of the flashing buttons other than the [Reverb] or
the [Effects] button to select the song.
Songs play back continuously. The button for the song currently being
played back flashes on and off.
When playback of the last song is reached, playback continues by returning
to the first song and playing that again.
Press a button not assigned
to a demo song to exit
Demo mode.
3. To stop playback, press the flashing button.
4. Press the [Reverb] button or the [Effects] button to exit Demo
mode.
The indicators return to their previous state.
11
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Chapter 1 Playing the Keyboard
Listening to Internal Songs
For more on internal song
names, refer to “Internal
Song List” (p. 66).
Now, try listening to Internal songs.
The FP-2 comes with sixty five internal songs.
fig.01-01
1
2
3,4
1. Press the [Display] button several times, getting its indicator
to light in green.
The following appears in the display.
fig.01-02
Pressing the [Display]
button alternately displays
the tempo, the currently
selected Rhythm number
(indicated by an initial ”r“),
and the currently selected
Song number (indicated by
an initial ”S“).
Press to light in green
2. Press the [-] or [+] button to select the song.
3. Press the [Play/Stop] button.
button
indicator
The song will begin playing back.
Red Rhythm number
Orange Tempo
The selected song is played to the end, and then playback stops.
Green Song number
4. To stop playback, press the [Play/Stop] button once more.
Only the display of the
tempo and rhythm number
alternates when you press
the [Display] button while
performing with Session
Partner.
The next time you press the [Play/Stop] button, the song that was stopped
is played from the beginning.
■
Playing Back All Songs Continuously (All Song Play)
Listening to all of internal songs repeatedly played back in succession is
known as “All Song Play.”
fig.01-06
1
2
1. Hold down the [Display] button and press the [Play/Stop]
button.
About the Display of
the Internal Songs
USr (User)—Stores
recorded Performances (for
more on recording →p. 34).
When “S.” is added—
Indicates one of the piano
songs
Songs play back continuously.
When playback of the last song is reached, playback continues by returning
to the first song and playing that again.
2. To stop playback, press the [Play/Stop] button.
All Song Play is exited when the performance is stopped.
The next time you press the [Play/Stop] button, the song that was stopped
is played.
12
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Chapter 1 Playing the Keyboard
When the following appears in the display
If there is any performance data stored in the FP-2’s memory, the following
appears in the display.
fig.01-03
flash
Until you erase the performance data, you cannot play back an internal
song.
To erase the performance data and play back the internal song, press the
[Rec] button.
If you don’t want to erase the song, press the [Play/Stop] button.
■ Listening to Each Part Separately
While pressing down the
[Play/Stop] button, the
Track button for the part
being played back lights in
green.
With the internal songs, you can select the performance part that is to be
played back.
You can also practice each hand separately while playing along with the
song.
The performance data is assigned to the Track buttons as shown below.
fig.01-05
Left-hand Right-hand
Part
Part
1. Select the song to be played back (p. 12).
2. Hold down the [Play/Stop] button and press either [Part]
button or [Chord Progression] button to select the part for
which you want the sound to not be played.
The indicator on the selected button goes out.
Changing the song cancels
the mute setting.
The sound for the performance part selected in Step 2 is not played.
Temporarily preventing the sounds of a specified part from playing is called
“muting.”
3. Hold down the [Play/Stop] button and press the button
selected in Step 2.
The sound of the muted part is then played.
4. Press the [Play/Stop] button to stop playback.
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Chapter 1 Playing the Keyboard
Performing with a Variety of Sounds
The FP-2 features over 300 different internal sounds, allowing you to enjoy
performing with sounds suitable for many different types of music.
These onboard sounds are called “Tones.” The Tones are divided into six
different groups, each of which is assigned to a different Tone button.
For more on Tones, refer to
“Tone List” (p. 54)
The Tone “Grand Piano 1” is selected when the instrument’s power is
turned on.
fig.01-07
1
2
1. Press one of the Tone buttons to choose a Tone Group.
You’ll hear the Tone assigned to Tone number 1 in the selected Tone Group.
Try fingering the keyboard.
The Tone number appears in the display.
fig.01-08
2. Press the [-] or [+] button to select a Tone from the Tone
Group.
The Tone you’ve selected is heard when you finger the keyboard.
The next time you choose this Tone button, the tone you’ve selected here is
played.
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Chapter 1 Playing the Keyboard
Performing With Two Layered Tones
(Dual Play)
You can play two different sounds from a single key at the same time. This
method of performance is called “Dual Play.”
Example: Try Layering Piano and String Tones
fig.01-09
1
1. Hold down the [Piano] button and press the [Strings/Pad]
button.
You can change the pitch of
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
Shift)” (p. 41).
The indicators for both buttons light.
Try fingering the keyboard. Both the piano and string sounds play.
Pressing two Tone buttons at the same time in this manner activates Dual Play.
Of these two selected tones, the one for the Tone button you pressed first is
called the “Upper Tone,” and the one for the Tone button you pressed after
that is called the “Lower Tone.”
You can vary the volume-
level balance of the two
tones. Take a look at
The Tone button’s indicator lights in red for the Upper Tone, and in orange
for the Lower Tone.
fig.01-10
“Changing the Volume
Balance for Dual Play and
Split Play” (p. 18).
red
orange
Upper Tone
Lower Tone
Here, the piano tone is the Upper Tone and the strings tone is the Lower
Tone.
Play, the effect is applied to
both tones, you can set the
FP-2 so that the effect is not
applied to the Lower Tone.
Refer to “Changing How
the Pedal Effects Are
2. To exit Dual Play, press either Tone button.
Now, only the tone of the button you just pressed is sounded.
■ Changing the Tone variations
Changing the Upper Tone Variations
Applied” (p. 39).
Press the [-] or [+] button.
Changing the Lower Tone Variations
Hold down the Tone button for the Lower Tone, and press
the [-] or [+] button.
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Chapter 1 Playing the Keyboard
Performing With Different Tones in the Left and
Right Sides of the Keyboard (Split Play)
Performing with the keyboard divided at a certain key into a left side and a
right side is called “Split Play,” and the point at which the keyboard is
divided is called the “split point.”
You can specify which part
is to have priority when the
effects assigned to the
In Split Play, you can have a different tone sound in the left and right sides.
Upper Tone and Lower
Tone differ. Refer to
When the instrument is turned on, the split point is set to “F 3.” The split
point key is included in the left side.
“Setting the Part to Which
Effects Are Added” (p. 41).
While in Split Play, a sound played in the right side is called an “Upper
Tone,” and the sound played in the left side is called a “Lower Tone.”
Example: Let’s try split play with the piano tones.
fig.01-11
2,3 1
1. Press the [Piano] button.
You can vary the volume-
level balance of the two
tones. Take a look at
Now, the piano tone is selected.
2. Press the [Split] button, getting its indicator to light.
“Changing the Volume
Balance for Dual Play and
Split Play” (p. 18).
The keyboard is divided into upper and lower sections.
fig.01-12
F 3 (Split Point)
Lower Tone
Upper Tone
The right-hand section of the keyboard plays piano tone, and the left-hand
section plays A. Bass+Ride tone.
You can play a tone for the right side (the Upper Tone) before splitting the
keyboard.
The Tone button’s indicator lights in red for the Upper Tone, and in green
for the Lower Tone.
When you switch from
Dual Play (p. 15) to Split
Play, the Upper Tone used
in Dual Play is selected as
the Upper Tone for Split
Play.
red
green
Lower Tone
Upper Tone
3. To exit Split Play, press the [Split] button once more.
The [Split] button’s indicator light goes out and the upper tone becomes the
tone for the entire keyboard.
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Chapter 1 Playing the Keyboard
■ Changing Tone Group and Tone Variation.
Changing the Upper Tone
1. Press the Tone button to choose a Tone Group.
When the tone of the same
Tone button is selected for
both the Upper and Lower
Tones, the indicator for
Tone button flash in green
while the [Split] button is
held down.
2. Press the [-] or [+] buttons to select the Tones.
Changing the Lower Tone
1. Hold down the [Split] button and press the Tone button to
choose a Tone Group.
2. Hold down the [Split] button and press the [-] or [+] buttons
to select a Tones.
You can change the pitch of
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
Shift)” (p. 41).
Press
While holding down...
Press
For more on selecting tones, refer to “Performing with a Variety of Sounds”
(p. 14).
17
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Chapter 1 Playing the Keyboard
■ Changing the Keyboard’s Split Point
You can change the location where the keyboard is divided (the split point)
within the range of B1 through B6.
This is set to “F 3” when the instrument is turned on.
This setting remains in effect until you turn off the power.
fig.01-14
F 3
The name of the key acting
as the split point is
indicated in the display, as
shown below.
B1
B6
Display
C
C
d_
d
E_
E
1. Hold down the [Split] button and press a key set as the split
point.
Letter
name
D
D
Display
E
F
F
G
G
b
The key you pressed becomes the split point, and appears in the display.
Letter
name
E
F
F
The key being used as the split point belongs to the left-hand section of the
keyboard.
Display
A_
A
A
A
b_
B
Letter
name
B
Changing the Volume Balance for Dual
Play and Split Play
You can change the volume balance of the Upper and Lower Tones in Dual
Play (p. 15) and Split Play (p. 16).
fig.01-15
1. Use the [Balance] knob to adjust the volume balance.
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Chapter 1 Playing the Keyboard
Changing the Keyboard’s Touch
You can change the touch sensitivity, or response of the keys.
When the instrument is turned on, this is set to “N (Normal).”
fig.01-17
1,3
2
1. Hold down the [Effects] button and press the [Transpose]
button.
NOTE
With certain sounds, the
touch may not change.
The indicators for the [Transpose] and [Reverb] buttons flash in red.
The currently selected keyboard touch appears in the display.
fig.01-18
2. Press the [-] or [+] buttons to select the touch.
Indicate
Description
OFF
(Fixed)
The sound plays at one set volume, regardless of the force
used to play the keys.
A light keyboard touch is selected. You can achieve fortis-
simo (ff) play with a less forceful touch than usual, so the
keyboard feels lighter. This setting makes it easy to play,
even for children.
-L-
(Light)
This sets the standard keyboard touch. You can play with
the most natural touch. This is the closest to the touch of
an acoustic piano.
-N-(Normal)
Here, a heavy keyboard touch is selected. You have to fin-
ger the keyboard more forcefully than usual in order to
play fortissimo (ff), so the keyboard touch feels heavier.
Dynamic fingering adds even more feeling to what you
play.
-H-
(Heavy)
3. Press the [Effects] button or the [Transpose] button.
The indicators return to their previous state.
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■ Changing the Velocity When the Key Touch Is Set
to “Fixed”
This sets the velocity the sound will have when the keyboard touch is set to
“Fixed (p. 19).”
1. Hold down the [Effects] button and press the [Transpose]
button.
The indicators for the [Transpose] and [Reverb] buttons flash in red.
2. Hold down the [Effects] button and the [Transpose] button,
and press the [-] or [+] button to change the velocity.
You can set this to any value from 1 to 127.
While holding down...
Press
3. Press the [Effects] button or the [Transpose] button.
The indicators return to their previous state.
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Chapter 1 Playing the Keyboard
Adding Reverberation to Sounds (The Reverb Effect)
You can apply a reverb effect to the notes you play on the keyboard. With
the reverb effect, you obtain a pleasant reverberation, making it sound as if
you were performing in a concert hall or similar space.
fig.01-21
1,2
1. Press the [Reverb] button, getting its indicator to light.
Try fingering the keyboard.
The reverb effect is applied to the entire tone.
2. The eliminate the Reverb effect, press the [Reverb] button
NOTE
once more, extinguishing the indicator.
You cannot make separate
reverb effect depth settings
for each individual tone.
■ Changing the Depth of Reverb Effect
You can select from ten levels of depth for the reverb effect.
1. Hold down the [Reverb] button and press the [-] or [+]
button.
NOTE
The selected depth for the reverb effect appears in the display.
You cannot change reverb
effect depth of Session
Partner, Demo songs, and
Internal song.
While holding down...
Press
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Chapter 1 Playing the Keyboard
Adding a Variety Effects to the Sound
In addition to reverb, you can apply a variety of changes to the FP-2’s
sounds.
NOTE
Effects may not be applied
with some of sounds.
These are referred to as “effects.” With the FP-2, you can select from ten
different effect types.
With the factory default settings, effects have been preselected for each tone.
fig.01-19
1,2
1. Press the [Effects] button, getting its indicator to light.
Some tones initially have
effect applied. Selecting
such a tone makes the
[Effects] button’s indicator
light up automatically.
Try fingering the keyboard.
The effect is applied to the currently selected tone.
2. To remove the effect, press the [Effects] button once more,
extinguishing the indicator.
■ Changing the Depth of Effect
You can specify which part
is to have priority when the
effects assigned to the
You can select from ten levels of depth for the effect.
1. Hold down the [Effects] button and press the [-] or [+] button.
Upper Tone and the Lower
Tone differ. Refer to
The depth for the effect being applied to the currently selected tone appears
in the display.
“Setting the Part to Which
Effects Are Added” (p. 41).
NOTE
You cannot change the
levels of depth for the
rotary effect.
While holding down...
Press
The next time you choose the same tone, the effect with the depth you’ve
selected here is applied.
You can change the effect
type. Refer to “Changing
the Effect Type” (p. 40).
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Chapter 1 Playing the Keyboard
■ Adding a Spinning Sound to Organ Tones (Rotary Effect)
The Rotary effect is applied to some Organ tones you can select with the
[Organ] button. When one of these tones is selected, you can use the [Effects]
button to change the speed of the rotary effect.
To prevent the Rotary effect
from being applied, select an
effect type other than the
Rotary effect and then
remove the effect. Refer to
“Changing the Effect Type”
(p. 40).
What the rotary effect does is to add a “spinning” effect similar to the sound
of an organ using a rotating speaker.
1. Press the [Organ] button and select the organ tone.
When a tone that has the Rotary effect added is selected, the [Effects]
button’s indicator flashes or blinks in green.
2. Each time pressing the [Effects] button, switch the speed of
the rotary effect between rapid and slow rotation.
When the [Effects] button’s indicator flashes, a more rapid rotary effect is
applied.
When the [Effects] button’s indicator blinks, a slower rotary effect is
applied.
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Chapter 1 Playing the Keyboard
Transposing the Key of the Keyboard
(Key Transpose)
You can transpose the key of a performance without having to shift the
position of your fingers on the keyboard. This feature is called “Key
Transpose.”
This lets you take a song in a difficult key with lots of sharps ( ) and flats
( ) and play it in a key with fingering that’s easier for you. This is handy
when playing accompaniment to a song, to match what you play to the pitch
of the singer’s voice.
fig.01-23
Press the corresponding key
1
1. Hold down the [Transpose] button and press the key
corresponding to the tonic of the desired key.
The Key Transpose settings value continues to appear in the display while
the [Transpose] button is held down.
By holding down the
[Transpose] button and
pressing both the [-] and [+]
buttons simultaneously, the
setting returns to its
With the [Transpose] button held down, you can change the value, even by
pressing the [-] or [+] button.
The available range is -6–0–5.
When you release the [Transpose] button, you return to the previous screen.
original value(0).
Example: Playing a Song in the Key of E Major After Transposition
to C Major
Hold down the [Transpose] button and press the E key (since E is the tonic).
Counting from C as a reference point, one moves up four keys, including the
black keys, to reach E, thus “4” appears in the display.
fig.01-25
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Chapter 1 Playing the Keyboard
Using the Metronome
Here’s how you can make use of the metronome.
fig.02-01
1,2
1. Press the [ (Metronome)] button to have the metronome
Pressing the [Display]
button alternately displays
the tempo, the currently
selected Rhythm number
(indicated by an initial ”r“),
and the currently selected
Song number (indicated by
an initial ”S“).
sound.
The [
(Metronome)] button’s indicator flashes in red and green in time
with the beat selected at that time. The indicator lights in red on the
downbeats, and in green on weak beats.
2. To stop the metronome, press the [
(Metronome)] button
again.
button
indicator
Red Rhythm number
Orange Tempo
■ Changing the Tempo
Green Song number
1. Press the [Display] button, getting its indicator to light in
Only the display of the
tempo and rhythm number
alternates when you press
the [Display] button while
performing with Session
Partner.
orange.
The tempo is displayed.
fig.02-02
Press to
light in orange
You can change the beat of
metronome. Refer to p. 42.
2. Press the [-] or [+] button to adjust the tempo.
■ Changing the Volume
The volume of the metronome can be adjusted, with ten volume levels
available.
This is set to “5” when the instrument is turned on.
1. While holding down the [
(Metronome)] button, press the
[-] or [+] button.
The currently selected metronome volume is displayed.
fig.02-04
While holding down...
Press
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Chapter 1 Playing the Keyboard
Boosting the Low-Frequency Range
(Sound Control)
Switching on the Sound Control function suppresses differences in volume
for a more consistent sound.
This is set to ON when the power is turned on.
2
1,3
1. Press the [Sound Control] button, getting its indicator to
light.
1 is selected when the
power is turned on.
2. While holding down the [Sound Control] button, press the
[-] or [+] button to change the type.
Display
Description
NOTE
Sounds may become
Gives a consistent, well-balanced sound from the low- to
the high-frequency ranges.
1
distorted with certain tones.
2
3
This further boosts the high-frequency range.
This type particularly boosts the bass range.
NOTE
The Sound Control and
equalizer functions are not
applied to the sounds of
external devices connected
to the Line In jacks and the
MIDI connectors.
3. To remove this function, press the [Sound Control] button
once more, extinguishing the indicator.
Changing the Tonal Quality (Equalizer)
You can use the equalizer to adjust the tonal quality.
1. Press the [Equalizer] button.
You can make more
exacting changes to the
equalizer settings. Refer to
p. 44.
The indicators for the [Equalizer] button lights in green, and the tonal
quality is changed.
2. To remove this function, press the [Equalizer] button once
more, extinguishing the indicator
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Chapter 2 Playing Along with Rhythms
What is Session Partner?
“Session Partner” Lets You Enjoy Playing with a Session-Like Feel
“Session Partner” is an easy-to-use function that plays accompaniment in a
variety of musical styles.
Playing along with this accompaniment, with its realistic sounds, gives you
the feel that you are playing live with a band backing you.
For example, playing with “Session Partner” instead of using the
metronome always lets you practice the piano with something different.
You can also change the accompaniment as you like to suit whatever you are
playing.
By changing the chords and Rhythms, even while playing the same melody,
you can easily create all kinds of new arrangements.
by using the “Session Partner” feature.
What You Can Do With “Session Partner”
• Play piano with a session-like feel along with Rhythms while the chord
progression continues automatically (p. 28).
• Play the piano to provide your own accompaniment as you specify
chords with the left hand (the left part of the keyboard) (p. 31).
• Enjoy freer piano performances using your own original chord
progressions (p. 32).
“Session Partner” lets you add accompaniment with the “rhythms” and
performance parts you select.
You can play intros, endings, and fill-ins (short phrases inserted at transition
points in the song) by pressing buttons as you play the keyboard.
What are the FP-2’s “Rhythms?”
The FP-2 features internal “Rhythms” complementing Pops, Jazz, and other
various musical genres.
“Rhythms,” or combinations of elements from a musical genre that recreate
the mood or signature sound of a particular style, form the foundation of the
accompaniment used in “Session Partner.”
A “Rhythm” is composed from the following three items.
• Drum Part
• Bass Part
• Chord Part
You can select the part to be played with the [Part] button.
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Chapter 2 Playing Along with Rhythms
Performing Along With Session Partner
fig.02-05
1,2
Now, let’s try performing along with Session Partner.
Since a wide variety of musical genres is provided, be sure to use a Rhythm
that best suits the song you are performing. Please refer to “Selecting a
Rhythm” (p. 29).
For more information on
the different Rhythm types,
refer to “Rhythm List” (p.
59).
1. Press the [Start/Stop] button.
The [Start/Stop] button’s indicator lights in red, and the intro begins to play.
After the intro is played, the light’s color changes to green.
You can set the Chord
display on or off (p. 43).
The chord progression advances automatically, freeing you up to play the
melody.
2. When you press the [Start/Stop] button once more, the
chords to be played in a
Rhythm. For details, refer to
“Performing With the
Chord Progression
ending is played, and the Rhythm stops.
While the ending is being played, the [Start/Stop] button’s indicator lights
in red. When the Rhythm stops, the [Start/Stop] button’s indicator goes out.
Additionally, when the [Start/Stop] button’s indicator is lit in red, if you
then press the [Start/Stop] button once more, you can immediately stop the
intro or ending, even when while these are being played.
Specified in the Left Hand
31).
■ Changing the Volume
fig.02-05
You can change the chord
progression patterns. Refer
to “Selecting a Rhythm’s
Chord Progression” (p. 30).
Press
While holding down...
You can press the [Start/
Stop] button to finish
without playing an Intro or
Ending. Refer to “Setting
the Intro and Ending On or
Off” (p. 43).
1. While holding down the [Part] button, press the [-] or [+]
button.
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Chapter 2 Playing Along with Rhythms
■ Selecting Parts
You can select the part to be played.
When you press the [Part]
button, the volume level of
session partner is
1. Press the [Part] button.
The part or group of parts enabled for performance changes each time you
press the [Part] button, as shown below.
displayed.
Indicator
Part
Drum, Bass, Chord
Lit in red
Lit in orange
Lit in green
Drum, Bass
Drum
For more information on
the different Rhythm type,
refer to “Rhythm List” (p.
59).
Selecting a Rhythm
Now, try changing the Rhythm being performed.
fig.02-09
1
2
1. Press the [Display] button, getting its indicator to light in
red.
Pressing the [Display]
button alternately displays
the tempo, the currently
selected Rhythm number
(indicated by an initial ”r“),
and the currently selected
Song number (indicated by
an initial ”S“).
The Rhythm number is displayed.
Rhythm numbers are indicated by an “r” before the number.
fig.02-10
Press to light in red
button
indicator
Red Rhythm number
Orange Tempo
Green Song number
2. Press the [-] or [+] button to select the Rhythm.
Changing Rhythms As You Perform
Only the display of the
tempo and rhythm number
alternates when you press
the [Display] button while
performing with Session
Partner.
If you change Rhythms while a Rhythm is being played, the selected
Rhythm begins after the fill-in is played.
What’s a “Fill In”?
A short improvisational phrase inserted at the bar line is called a “Fill In.”
The phrase best suited to the selected Rhythm is played.
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Chapter 2 Playing Along with Rhythms
Changing a Rhythm’s Tempo
The FP-2 has an optimal tempo for each Rhythm.
You can change the tempo of the selected Rhythm.
Furthermore, you can change the tempo as the Rhythm is being played.
fig.02-08
1
2
1. Press the [Display] button, getting its indicator to light in
If you change the Rhythm
during Session Partner play,
the tempo won’t change. At
such times, you can set it to
the optimal tempo by getting
the tempo to appear in the
display, then pressing the [-]
time.
orange.
The tempo is displayed.
Pressing the [Display] button alternately displays the tempo, the currently
selected Rhythm number (indicated by an initial “r”), and the currently
selected Song number (indicated by an initial “S”).
2. Press the [-] or [+] buttons to adjust the tempo.
The tempo can be changed within the range from
20 ~ 250.
When the [Start/Stop] button is pressed, the Rhythm is played at the
selected tempo.
For more information on
chord progression patterns,
refer to the
“Chord Progression Pattern
List” (p. 60).
When the tempo is displayed, you can set it to the optimal tempo to appear
in the display, then pressing the [-] and [+] buttons at the same time.
Selecting a Rhythm’s Chord Progression
You can change the root note
of the first chord.
refer to “Setting the Root
Note of the Chord
The FP-2 has an optimal chord progression pattern for each Rhythm.
When playing the Chord Part while performing, the chord progression is
automatic. You can change the chord progression pattern if you want.
fig.02-08
Progression” (p. 43).
1
1. Hold down the [Chord Progression] button and press the [-]
Recorded chord progression
patterns are saved to
or [+] button to change the chord progression pattern.
The currently selected chord progression pattern number is displayed.
fig.02-11
“
.”
You can select “
”
patterns by pressing the [-]
button when pattern number
1 is displayed.
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Chapter 2 Playing Along with Rhythms
Performing With the Chord Progression
Specified in the Left Hand
(Chord Progression off)
NOTE
When specifying the
Performing with the keyboard divided at a certain key into a left side and a
chords in the left part of the
keyboard, Dual Play (p. 15)
is disabled in the right part.
right side is called “Split Play.”
While in Split Play, you can use the left side to specify chords instead of
using it to play the Lower Tone.
fig.02-13
3 1,4
1. Press the [Chord Progression] button, getting its indicator to
simply with your finger,
even without playing the
keys for all the chords’
constituent notes. For more
information about chord
fingering, refer to the
“Chord Fingering List” (p.
62).
go out.
The [Split] button’s indicator lights up.
The indicator for the [Start/Stop] button flashes in red, and the FP-2 is put
into standby mode.
2. The chord is specified with a key in the left part of the
keyboard, and the Rhythm begins.
fig.02-14
F 3 (Split point)
The button’s indicator does
not go out when you press
the [Split] button here. At
this point, you can perform
with the Lower Tone while
specifying chords in the left
part of the keyboard.When
you press the [Split] button
once more, the button’s
indicator does go out, and
you can perform while
The range specified a chord
Specify the chord in the left part of the keyboard, and perform the melody
in the right side.
It is not necessary to continue holding down the keys for chords in the left
side. Even after you release the key, the same chord continues until the next
chord is played.
specifying chords over the
entire keyboard.
When specifying chords, sounds from the left side of the keyboard are not
played.
3. To stop the Rhythm, press the [Start/Stop] button.
The point at which the
keyboard is divided is
called the “split point”; you
can also change this split
point. For more
After the ending is done, the performance stops.
The indicator for the [Start/Stop] buttons then start flashing in red, and the
FP-2 is put into standby mode.
4. To exit, press the [Chord Progression] button.
information, take a look at
“Changing the Keyboard’s
Split Point” (p. 18).
31
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Chapter 2 Playing Along with Rhythms
Recording the Chord Progression
(Chord Progression)
You can listen to a wide
variety of styles with a
favorite chord progression.
Refer to “Fixing a Set
You can save a chord progression you’ve specified using the left-hand
section of the keyboard.
Chord Progression” (p. 43).
fig.02-15
3
1
1. Hold down the [Chord Progression] button and press the
Press the [Chord
[Rec] button.
Progression] button or the
[Rec] button to exit from
recording standby.
The [Chord Progression] and the [Rec] buttons’ indicator flashes in red, the
[Start/Stop] button’s indicator flashes in orange, and the FP-2 is put into
recording standby.
The “UCP (User Chord Progression)” appears in the display.
fig.02-16
Recorded chord
progression patterns are
saved to “
.”
You can select “
”
patterns by pressing the [-]
button when pattern
number 1 is displayed.
2. The chord is specified with a key in the left part of the
keyboard, and the Rhythm begins.
The chord being played is indicated in the display.
You can store up to sixteen chords.
NOTE
The song may not play
back correctly if the
performance is played with
a different beat than the
one used in recording the
original chord progression.
3. Recording stops when the performance exceeds eight
measures or when you press the [Start/Stop] button.
Changing the Stored Measure Count
You can change the number of measures recorded for the chord
progression. This is set to eight measures when the FP-2 is turned on.
NOTE
You can store up to sixteen
chords. Regardless of the
number of measures set,
recording stops when the
seventeenth chord is
specified.
Measure counts of “4/8/12/16” can be selected.
1. Hold down the [Chord Progression] button and press the
[Rec] button.
The “UCP (User Chord Progression)” appears in the display.
2. Press the [-] or [+] button to select measure counts.
The recorded chord
progression will be
3. The chord is specified with a key in the left part of the
discarded as soon as the
power is turned off. If you
want to keep it, you’ll need
to save the Setup (p. 33).
keyboard, and the Rhythm begins.
4. Press the [Start/Stop] button to stop recording.
32
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Chapter 2 Playing Along with Rhythms
Storing Settings (Setup)
You can save favorite combinations of Tone settings, settings for dual and
split play, Session Partner settings, and the like as a “Setup.”
The Setup contains stored
and unstored settings.
Refer to “Settings Stored in
the Setup” (p. 68).
Once saved in this way, you can instantaneously switch the instrument to
the desired group of settings simply by calling up the Setup.
You can store up to 6 different Programs.
The recommended settings were stored in the instrument when it shipped
from the factory.
fig.02-15
1
1. Hold down the [Transpose] button and the [Split] button,
and press the ether Tone button.
The pressed Tone button and the display flash, and the current settings are
stored.
■ Selecting Stored Settings
1. Press the [Transpose] button and the [Split] button, getting
these indicator to light.
The Tone button’s indicator flashes in green.
2. Press the Tone button to which the settings you want to call
up have been stored.
Only the indicator on the selected button flashes in green.
33
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Chapter 3 Recording a Performance
You can easily record your performances.
You can play back a performance you have recorded to check what and how
accompaniment using the Rhythm.
To Record Without Erasing
the Previously Recorded
Performance...
1st Pass
Notes Regarding Recording
• Only one song can be recorded. With second or later recordings, the
previously recorded song is erased as the new material is recorded.
When recording a new performance, it is probably a good idea to erase
the previously recorded performance first (p. 37).
2nd Pass
The first Perform-
ance is preserved
• Recorded performances are erased when the power is turned off.
Recording a Performance
This records only what you play on the keyboard, without using the Session
Partner.
fig.03-01
6,8 5
7
3
2
4
1. Press the [Display] button, getting its indicator to light in
button alternately displays
the tempo and the
currently selected Rhythm
number (indicated by an
initial “r”), and the Song
number (indicated by an
initial “S”).
green.
2. Press the [-] button to display the “USr.”
3. Select the Tone to be played (p. 14).
4. If necessary, sound the metronome.
While listening the metronome, select the tempo and beat of the song (p. 25).
5. Press the [Rec] button.
You can save recorded
songs to an external
sequencer. Refer to
“Connecting to the USB
Connector” (p. 45) and
“How to Enjoy MIDI” (p.
46).
The [Rec] button’s indicator lights, the [Play/Stop] button’s indicator begins
flashing, and the FP-2 is put into recording standby.
6. Press the [Play/Stop] button or play a key on the keyboard to
begin recording.
Press the [Play/Stop] button, and after two measures of count sound,
recording begins.
Recording starts when you start playing the keyboard (without pressing
any button). In this case, a count is not sounded.
During the count-in, the
count measure is indicated
in the display as “-2” then
“-1.”
34
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Chapter 3 Recording a Performance
7. Press the [Rec] button or the [Play/Stop] button to stop
recording.
About “USr” in the
Display
The indicators for the [Rec] and [Play/Stop] buttons are extinguished, and
When recording is stopped,
recording stops.
the “
” indication
” in the
Listening to the Recorded Performance
changes to “
8. Press the [Play/Stop] button.
display. The “.” in the
display indicates that there
is Performance material
already recorded.
Press the [Play/Stop] button again, and playback stops.
■ Recording a Performance Using Session Partner
You can also easily record session performances to the session partner.
fig.03-02
3
4,5
2
1. Select the Tone or Rhythm to be played (p. 28-p. 32).
The demo song cannot be
played back while recorded
performance data remains
[Rec] button to delete the
performance data (p. 13).
2. Press the [Rec] button.
The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator
flashes, and the FP-2 is put into recording standby.
3. Recording starts when you begin the performance with
Session Partner (p. 28, p. 31).
For more on selecting tone
and Rhythm, refer to p. 14
and p. 29.
The Rhythm starts to play, while simultaneously recording begins.
4. Press the [Play/Stop] button to stop recording.
For more information on
the different Rhythm and
Chord progression pattern,
refer to the “Rhythm List”
(p. 59) and “Chord
Listening to the Recorded Performance
5. Press the [Play/Stop] button.
Press the [Play/Stop] button again to stop playback.
Progression Pattern List”
(p. 60).
If you want to record with
the chord progression
specified (p. 31), the chord
is specified with a key in
the left part of the
keyboard, and recording
begins.
35
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Chapter 3 Recording a Performance
■ Recording Selected Track buttons
FP-2’s Recorder has three Track buttons.
When you press the [Rec] button, all Track buttons are set to be recorded,
but by selecting Track buttons that are not to be recorded, you can then
record only on the specific Track buttons you want.
For example, you can record each hand’s performance to different Track
buttons, or record over only certain Track buttons in a previously recorded
performance.
fig.03-03
While holding down...
Press
1. While holding down the [Rec] button, and turn off the
indicator light for the Track button, whether the [Start/Stop],
About the Lighting of
Track Button Indicators
when the [Rec] button is
pressed, track button
The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator
flashes, and the FP-2 is put into recording standby.
2. With the FP-2 in standby, go on to record the performance
indicate the status of
recording, as shown below.
according to the procedures as described in “Recording a
Performance” (p. 34), “Recording a Performance Using
Session Partner” (p. 35), starting from Step 3.
Dark
Not Recording
The performance is not recorded only to the Track buttons whose indicator
was turned off.
Flash in red
Recording
Recording along with internal songs
You can also record your own performance as you play along with the
internal piano songs.
When recording to specific Track buttons, the sounds on the selected Track
buttons are not played. For example, you can record what you are playing
with your right hand as you listen to the left-hand part.
1. With the [Display], [-] and [+] buttons select the song.
Correspondence
Between Internal Piano
Song Track Buttons
and Performance
2. Hold down the [Rec] button and turn off the indicator light
for the track button of the track you intend not to play
yourself.
[1] button: left-hand Part
[2] button: right-hand Part
No performance data is
assigned to the [R] button.
The [Rec] button’s indicator lights up, the [Play/Stop] button’s indicator
flashes, and the FP-2 is put into recording standby.
3. Press the [Play/Stop] button to start recording.
4. Press the [Rec] or [Play/Stop] button to stop recording.
36
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Chapter 3 Recording a Performance
Erasing Recorded Performances
You can erase recorded performances.
fig.03-04
2
1
1. Hold down the [Display] button and press the [Rec] button.
A confirmation message appears in the display.
fig.03-05
flash
2. Press the [Rec] button.
The recorded performance is erased.
If you do not want to erase the performance, press the [Play/Stop] or
[Display] button.
Correspondence Between Recorded Performance and
Track Buttons
A recorded performance will be assigned to the Track buttons as follows.
Track button
Performance recorded
• Session Partner (p. 27)
[R]
• A performance of drum set tones
• Lower Tone in Dual play or Split play (p. 15, p. 16)
(except drum set tones)
[1]
[2]
• The performance of the entire keyboard (except drum
set tones)
• Upper Tone in Dual play or Split play (p. 15, p. 16)
(except drum set tones)
*
You can also record to the [1] button regular keyboard performances in which
only the [1] button is specified.
37
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Chapter 4 Other Functions
You can make a variety of performance- and recording-
related settings in “Function Mode.”
Button
Function
Page
Setting the part to which
effects are added
[Reverb]
p. 41
How to Make Settings
[Effects]
Effect Type
p. 40
p. 42
p. 41
p. 41
1. Hold down the [Display] button, and press the [-]
button.
fig.04-01
[Transpose]
[Split]
Temperament
Octave shift
Master Tuning
[Piano]
How the soft pedal(FC2)
effects are applied
[E. Piano]
[Organ]
p. 39
p. 39
p. 39
While holding
down...
Press
How the sostenuto pedal(FC1)
effects are applied
“Fnc” appears in the display, and the FP-2 switches to
Function Mode.
How the damper pedal effects
are applied
The indicators flash on the [Display] button and buttons
to which a function is assigned.
[Guitar/Bass]
[Strings/Pad]
[Voice/GM2]
Soft pedal(FC2)s work
Sostenuto pedal(FC1)s work
Metronome beat
p. 40
p. 40
2. Press any flashing button (other than the
[Display] button).
The indicators on all buttons except the pressed button
and the [Display] button go off.
[
p. 42
p. 43
(Metronome)]
Each value is displayed.
Setting the Intro and Ending
on or off
While pressing the button, function name is displayed.
[Start/Stop]
[Part]
3. Press the [-] or [+] button or play a key on the
keyboard to set.
fig.04-01
Root note of the chord pro-
gression
p. 43
p. 43
[Chord
Progression]
Fixing a set chord progression
[Play/Stop]
[Rec]
Chord display
MIDI settings
p. 43
p. 47
or
Play a key
Press
Bulk Dump, Pedal Shift,
Transferring the program
change
[Sound
p. 48
p. 44
4. Press the [Display] button to exit Function Mode.
Control]
The button’s indicator will return to the previous state.
[Equalizer]
Equalizer
38
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Changing How the Pedal
Effects Are Applied
Changing How the Pedals
Work
When the pedal is pressed in Dual Play (p. 15) or Split Play
(p. 16), the pedal’s effect is applied to both the Upper Tone
and the Lower Tone, but you can change the settings for the
tone to which the effect is applied.
A pedal connected to the Soft(FC2) jack normally functions as
a soft pedal (p. 9). A pedal connected to the Sostenuto(FC1)
jack normally functions as a sostenuto pedal (p. 9).
It can also be set to function as an another works.
You can select from the following pedal functions.
Indication
U-L
Description
*
With certain sounds, the function may not work.
All enabled
Indication
Description
-U-
Applied only to the Upper Tone
Applied only to the Lower Tone
dnP
Sets function to damper pedal.
(Damper)
-L-
SFt
Sets function to soft pedal.
fig.04-03
(Soft)
Stn
Sets function to sostenuto pedal.
(Sostenuto)
Allows control of the volume. Connect a
separately available expression pedal
(EV-5).
EPr
(Expression)
* You cannot change volume level of session
partner.
■ How the Soft Pedal(FC2)
Allows control the start/stop of Session
Partner by pressing the pedal, instead of
pressing the buttons.
r.St
effects are applied
(Start/Stop)
1. Switch to Function mode (p. 38), and press the
Allows control the on/off of leading bass
function*. It is turned on while having
stepped on the pedal.
[E.Piano] button.
L.bS
(Leading bass)
2. Press the [-] or [+] button to select how the pedal
effects are to be applied.
Effects can be switched on/off by pressing
the pedal instead of pressing the [Effects]
button.
When effect type is rotary, you can control
the slow/fast of spinning.
EFF
■ How the Sostenuto Pedal(FC1)
(On/Off of
Effects)
effects are applied
1. Switch to Function mode (p. 38), and press the
b.uP
Pitch rises by pressing the pedal.
Pitch lowers by pressing the pedal.
Vivrato is added by pressing the pedal.
[Organ] button.
(Bend Up)
2. Press the [-] or [+] button to select how the pedal
b.dn
effects are to be applied.
(Bend Down)
Mod
■ How the Damper Pedal effects
(Modulation)
are applied
* What is the leading bass function?
The function that sounds the lowest note of a fingered chord
as the bass tone is called “Leading Bass.”
1. Switch to Function mode (p. 38), then press the
[Guitar/Bass] button.
2. Press the [-] or [+] button to select how the pedal
*
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.
effects are to be applied.
*
*
The function may not work properly if a pedal other than the
supplied pedal or expression pedal is used.
Be sure to switch off the power to the unit before attempting to
disconnect or connect a pedal cord.
39
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Chapter 4 Other Functions
fig.04-02
2. Press the [-] or [+] button to select the effect.
You can select from the following.
Indi-
cation
Effects
Description
When you depress the damper
pedal on an acoustic piano, the
sound from the strings that
were struck resonates with
other strings, adding rich rever-
berations and broadness to the
sound.
■ Works of the Soft Pedal(FC2)
SYMPATHETIC
RESONANCE
S.rE
When the instrument is turned on, this is set to function as a
soft pedal.
1. Switch to Function mode (p. 38), and press the
[Strings/Pad] button.
This controls the overtone
structure of the high frequen-
cies, adding sparkle and tight-
ness to the sound.
2. Press the [-] or [+] button to select the pedal
Enh
dLy
ENHANCER
DELAY
function.
■ Works of the Sostenuto
This effect adds a delay sound
like an echo.
Pedal(FC1)
When the instrument is turned on, this is set to function as a
sostenuto pedal.
You can give the sound greater
dimension, with more fatness
and breath.
Cho CHORUS
1. Switch to Function mode (p. 38), and press the
[Voice/GM2] button.
This effect is Chorus effect with
added cyclic modulation of vol-
ume.
TREMOLO
t.ch
2. Press the [-] or [+] button to select the pedal
CHORUS
function.
This effect adds spinning
sounds similar to the sound of
an organ using a rotating
speaker of the past.
rot
ROTARY
PHASER
FLANGER
Changing the Effect Type
1. Switch to Function mode (p. 38), and press the
This effect adds a phase-shifted
sound to the direct sound, pro-
ducing a twisting modulation
that creates spaciousness and
depth.
[Effects] button.
Pha
FLn
The effect number appears in the display.
fig.01-22
This effect produces a metallic
resonance that rises and falls
like a jet airplane taking off or
landing.
This effect creates a soft distor-
tion similar to that produced by
vacuum tube amplifiers.
Odr
dSt
OVERDRIVE
DISTORTION
This effect produces a more
intense distortion than Over-
drive.
40
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Chapter 4 Other Functions
Effects Are Added
Tuning to Other Instruments’
Pitches (Master Tuning)
This specifies which part is to have priority when the effects
assigned to the Upper Tone and Lower Tone differ in Dual
Play(p. 15) or Split Play(p. 16).
When playing ensemble with other instruments and in other
such instances, you can match the standard pitch to another
instrument.
1. Switch to Function mode (p. 38), and press the
[Reverb] button.
fig.04-04
The standard pitch generally refers to the pitch of the note
that’s played when you finger the middle A key. For a
cleaner ensemble sound while performing with one or more
is in tune with that of the other instruments. This tuning of
all the instruments to a standard pitch is called “master
tuning.”
2. Press the [-] or [+] button to select Upper or
When the instrument is turned on, the standard pitch is set to
“440.0 Hz.”
Lower.
Indication
-U- (Upper)
-L- (Lower)
Description
1. Switch to Function mode (p. 38), and press the
[Piano] button.
fig.04-05
Effects are added to the Upper Tone.
Effects are added to the Lower Tone.
→ If same effects are assigned to the Upper Tone and Lower Tone,
the same effects are added to both of Tones.
The last three digits of the current standard pitch setting
appear in the display.
Changing the Pitch of the
Lower Tone in Octave Steps
(Octave Shift)
2. Press the [-] or [+] button to change the standard
pitch.
You can change the pitch of the Lower Tone in Dual Play
(p. 15) and Split Play (p. 16) an octave at a time.
Altering the pitch in one-octave units in this way is called
“Octave Shift.”
For example, you can raise the pitch of the Lower Tone to the
same pitch of the Upper Tone in Split Play.
You can set the standard pitch anywhere in a range of
415.3 Hz to 466.2 Hz.
The pitch is lowered 0.1 Hz each time the [-] button is
pressed. When the button is held down, the pitch drops
continuously.
The pitch is raised 0.1 Hz each time the [+] button is
pressed. When the button is held down, the pitch rises
continuously.
1. Switch to Function mode (p. 38), and press the
[Split] button.
fig.04-04
To return to the original pitch, press the [-] and [+]
buttons simultaneously.
2. Press the [-] or [+] button to select the pitch.
The range of available pitch change spans from two
octaves higher to two octaves lower.
The pitch is lowered one octave each time the [-] button
is pressed, while each press of the [+] button raises the
pitch by one octave.
To return to the original pitch, press the [-] and [+]
buttons simultaneously.
41
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Chapter 4 Other Functions
Temperament
7 Kirnberger
Qualities
Adjusting the Tuning
(Temperament)
You can play classical music such as baroque pieces using
their original tuning.
This is an improvement of the Mean
Tone and Just tunings that provides a
high degree of freedom of modulation.
Performances are possible in all keys
(III).
assumption that equal temperament (the most common
tuning in use today) will be used, but when classical music
was composed, there were a wide variety of other tuning
systems in existence. Playing a composition with its original
tuning lets you enjoy the sonorities of the chords that the
composer originally intended.
3. Hold down the [Transpose] button, and press a
key corresponding to the keynote.
The display is as follows:
fig.Chart3
Display
C
C
d_
d
E_
E
E
E
F
F
F
F
G
G
A_
A
A
A
b_
B
b
Letter
name
D
D
B
1. Switch to Function mode (p. 38), and press the
[Transpose] button.
fig.04-06
When playing with tuning other than equal
temperament, you need to specify the keynote for tuning
the song to be performed (that is, the note that
corresponds to C for a major key or to A for a minor
key).
If you choose an equal temperament, there’s no need to
select a keynote.
Temperament Tonic
*
When performing in ensemble with other instruments, be
aware that depending on the key, there may be some shifting of
instruments.
2. Press the [-] or [+] button to change the
temperament.
You can choose from among the seven tunings described
below.
Changing the Beat of
Metronome
Temperament
1 Equal
Qualities
In this tuning, each octave is divided
into twelve equal steps. Every interval
produces about the same amount of
slight dissonance. This setting is in
effect when you turn on the power.
1. Switch to Function mode (p. 38), and press the
[
(Metronome)] button.
fig.02-03
2 Pythagorean
3 Just Major
4 Just Minor
This tuning, devised by the philosopher
Pythagoras, eliminates dissonance in
fourths and fifths. Dissonance is pro-
duced by third-interval chords, but mel-
odies are euphonious.
2. Press the [-] or [+] button to change the beat.
This tuning eliminates ambiguities in
the fifths and thirds. It is unsuited to
playing melodies and cannot be trans-
posed, but is capable of beautiful sonor-
ities.
The currently selected beat is displayed.
→ You cannot change the metronome beat while a song or
Rhythm is being played.
*
When you change the rhythm or the Internal song, the beat of
metronome is changed.
The Just tunings differ from major and
minor keys. You can get the same effect
with the minor scale as with the major
scale.
You can select from the following beats.
Display
2.2
Beat
Display
6.4
Beat
6/4
7/4
3/8
6/8
9/8
12/8
5
Mean Tone
This scale makes some compromises in
just intonation, enabling transposition
to other keys.
2/2
0.4
Weak beats only
7.4
6 Werckmeister This temperament combines the Mean
Tone and Pythagorean tunings. Perfor-
mances are possible in all keys (first
technique, III).
2.4
2/4
3/4
4/4
5/4
3.8
3.4
6.8
4.4
9.8
5.4
12.8
42
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Chapter 4 Other Functions
On or Off
Setting the Root Note of the
Chord Progression
This sets session partner Intro and Ending on or off. When
set to “Off,” pressing the [Start/Stop] button causes the Intro
and Ending not to be played.
This sets the root note of the chord progression.
1. Switch to Function mode (p. 38), and press the
[Part] button.
fig.04-04
1. Switch to Function mode (p. 38), and press the
[Start/Stop] button.
fig.04-04
2. Press the key corresponding to the root note of
the first chord.
2. Press the [-] or [+] button to set on or off.
The root is indicated in the display as shown below.
Indication
Description
Display
C
C
d_
d
E_
E
E
E
F
F
F
F
G
G
A_
A
A
A
b_
B
b
On
Pressing the [Start/Stop] button causes the
Intro and Ending to be played.
Letter
name
D
D
B
→ You can hold down the [Part] button and pressing the [-] or
OFF
Pressing the [Start/Stop] button causes the
Intro and Ending not to be played.
[+] button to change the cord progression pattern.
or Off
Fixing a Set Chord
Progression
This setting determines whether or not the chords are
indicated in the display during performances using Session
Partner.
When changing the Session Partner Rhythm, select whether
or not the chord progression is to change along with the
Rhythm.
1. Switch to Function mode (p. 38), and press the
1. Switch to Function mode (p. 38), and press the
[Chord Progression] button.
fig.04-04
[Play/Stop] button.
fig.04-04
2. Press the [-] or [+] button to set on or off.
2. Press the [-] or [+] button to set on or off.
Indication
On
Description
Chords are displayed.
Chords are not displayed.
Indication
Description
On
When the rhythm changes, a change to the
optimal chord progression is made.
OFF
OFF
When the rhythm changes, the chord pro-
gression does not change.
43
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Chapter 4 Other Functions
Param
eter
Indi-
cation
Changing the Equalizer
Settings
Value
Description
Hi.G
Hi.F
High
Gain
High
Freq
-12–+12dB
Adjusts the level of the high-
frequency range.
You can make fine, detailed changes to the equalizer settings.
2.00, 4.00, 8.00 Frequency point in the high-
(KHz)
frequency range. Generally,
this changes the level at and
over this frequency.
1. Switch to Function mode (p. 38), and press the
[Equalizer] button.
*
Sounds may become distorted as the Gain level increases.
→ The equalizer is switched on whenever the settings are
changed.
→ The FP-2 remembers the settings even while its power is
turned off.
2. Hold down the [Equalizer] button, and press the
[-] or [+] button to select item.
Connecting to Audio
Equipment
3. Press the [-] or [+] button to change the settings.
Param
eter
Indi-
cation
Value
Description
You can connect audio devices to play the sound of the FP-2
through the speakers of your audio system, or to record your
performance on a tape recorder or other recording device.
Lo.G
Lo.f
Low
Gain
Low
Freq
-12–+12dB
Adjusts the level of the low-
frequency range.
100, 200, 400
(Hz)
Frequency point in the low-
frequency range. Generally,
this changes the level at and
below this frequency.
When connecting, please use an audio cable with a standard
phone plug (sold separately).
Connection Examples
Lm.G
Lm.F
Low
Mid
-12–+12dB
Adjusts the level of the low-
frequency range to
midrange.
*
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
Gain
Low
Mid
200, 250, 315, Frequency point in the low-
400, 500, 630, frequency range to
Playing the sound of the FP-2 through the speakers
of an audio system/Recording the performance of
the FP-2 on a recording device
fig.audio1.e
800, 1.00, 1.25, midrange. This changes the
1.60, 2.00, 2.50, level of the specified band-
3.15, 4.00, 5.00, width centered on this fre-
Freq
Input R/L
(Line In, Aux In)
6.30, 8.00
quency.
Lm.q
Low
Mid
Q
0.5, 1.0, 2.0,
4.0, 8.0
Changes the bandwidth of
the low-frequency range to
midrange. The bandwidth
affected by the controls nar-
rows as the value increases.
FP-2
Hm.G
Hm.F
High
Mid
-12–+12dB
Adjusts the level of the mid-
to high-frequency range.
Gain
High
Mid
❍ Use the following procedure when turning on the power.
200, 250, 315, Frequency point in the mid-
400, 500, 630, to high-frequency range to
800, 1.00, 1.25, midrange. This changes the
1.60, 2.00, 2.50, level of the specified band-
3.15, 4.00, 5.00, width centered on this fre-
1. Set the volume of the FP-2 and of the connected
devices to the minimum position.
Freq
2. Set the speaker switch to “Off” located on the rear
panel.
6.30, 8.00
quency.
Hm.q
High
Mid
Q
0.5, 1.0, 2.0,
4.0, 8.0
Changes the bandwidth of
the mid- to high-frequency
range. The bandwidth
affected by the controls nar-
rows as the value increases.
3. Turn on the power of the FP-2.
4. Turn on the power of the connected device.
5. Adjust the volume of each device.
44
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Chapter 4 Other Functions
When Recording FP-2 Performances on a
Recording Device
General 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
6. Start recording with the connected device.
7. Perform on the FP-2.
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.
8. When the performance ends, stop recording on
the connected equipment.
Playing the sound of an audio device through
the speakers of the FP-2
fig.audio2.e
Output R/L
(Line Out, Aux Out)
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.
FP-2
❍ Use the following procedure when turning on the power.
Connecting to the USB
Connector
1. Set the volume of the FP-2 and the connected
devices to the minimum position.
You can use a USB connector to connect the FP-2 to your
computer. For more details, refer to the separate “USB
Installation Guide.”
2. Set the speaker switch to “On” located on the rear
panel.
3. Turn on the power of the connected device.
4. Turn on the power of the FP-2.
*
Connecting your computer to the FP-2 for the first time
requires installation of the “USB Driver” (on the included
CD-ROM) to the computer. For more details, refer to the
separate “USB Installation Guide.”
5. Adjust the volume of each device.
Turning off the power
*
*
Only MIDI data can be transmitted using USB.
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
1. Set the volume of the FP-2 and the connected
devices to the minimum position.
2. Turn off the power to the FP-2.
*
*
USB cables are not included. Consult your Roland dealer if
you need to purchase.
3. Turn off the connected equipment.
Turn on the power to the FP-2 before starting up MIDI
applications on the computer. Do not turn the FP-2 on or off
while any MIDI application is running.
About the FP-2 Sound
Generator
*
Do not connect or disconnect the USB cable while the FP-2’s
power is on.
The FP-2 come equipped with GM2 sound generators.
*
*
If not using USB, disconnect the USB cable from the FP-2.
If, during the transmission/reception of data, the computer
switches to energy-saving mode or suspended mode, or if the
FP-2’s power is switched on or off, the computer may freeze, or
the FP-2’s operation may become unstable.
General MIDI
The 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 meets the General MIDI standard bears the General
MIDI logo. Music files bearing the General MIDI logo can be
played back using any General MIDI sound generating unit
to produce essentially the same musical performance.
*
When using your computer’s sequencer software to record
FP-2 performances, we recommend setting the sequencer
software’s Soft Thru to “OFF,” or setting MIDI Out mode
(p. 51) to “4.”
45
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Chapter 4 Other Functions
4. Switch on the power to the FP-2 and the
Connecting MIDI Devices
connected device.
About MIDI
5. Adjust the volume level on the FP-2 and the
MIDI stands for “Musical Instrument Digital Interface,” and
is a worldwide standard for the exchange of performance
data (MIDI messages) and other information among
electronic instruments and computers.
connected device.
6. You should also set the MIDI settings as needed.
Make the settings for the MIDI send and receive
channels (p. 47) and for Local On/Off (p. 47).
The FP-2 features a MIDI connector and a computer
connector to allow performance information to be exchanged
with external devices. Connecting the keyboard to other
devices with these connectors provides you with an even
greater variety of ways to use your keyboard.
■ How to Enjoy MIDI
Recording Data of Performances Played on the FP-2 to a
Sequencer* and Automatically Playing Recorded
Performance Data on the FP-2
*
A separate publication titled “MIDI Implementation” is also
available. It provides complete details concerning the way
MIDI has been implemented on this unit. If you should require
this publication (such as when you intend to carry out byte-
level programming), please contact the nearest Roland Service
Center or authorized Roland distributor.
Connection example:
Connecting to a sequencer (the Roland MT series, etc.)
fig.04-09.e
Sequencer
Use a sequencer whici has
MIDI out connector.
Out
MIDI
In
*
MIDI cables are not included. Consult your Roland dealer if
you need to purchase.
FP-2
■ Connectors
fig.04-08
→ When connecting a sequencer, we recommend using it with
the settings described below.
• Local Control off (p. 47)
• MIDI Out Mode 4 (p. 48)
MIDI Out Connector
Sends data about what is being played on the keyboard and
When the instrument is turned on, MIDI Out Mode is set
to “1.”
other performance data.
Connect to the MIDI In connector on the external MIDI
device.
Performing on the FP-2 Using Sounds from Another
Sound Module*
Connection Example: Connecting to a MIDI Sound Module
fig.04-10.e
MIDI In connector
Receives messages sent from external MIDI devices.
MIDI Sound Module
Connect to the MIDI Out connector on the external MIDI
device.
MIDI
OUT
THRU
IN
■ Making the Connections
FP-2
*
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
→ When connecting to a MIDI sound module, we recommend
using the system with MIDI Out Mode set to “2” (p. 48).
When the instrument is turned on, MIDI Out Mode is set to
“1.”
1. Turn the volume all the way down on the FP-2
and the device you’re about to connect.
2. Turn off the power to the FP-2 and the device
being connected.
3. Connect a MIDI cable (sold separately) between
the MIDI connectors on each device.
46
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Chapter 4 Other Functions
What is a Sequencer?
Switching Local Control On and Off
A sequencer is a device that records the stream of MIDI
messages that is sent out by an instrument. These messages
convey all the details of what has occurred while the
instrument is played; including the timing of notes, their
sound, the force used to play them, and for how long.
Afterwards, you can send the recorded MIDI information
back to the instrument, and it will play automatically.
When connecting a MIDI sequencer, set Local Control to “Off.”
When the instrument is turned on, this is set to “On.”
As illustrated, information describing what has been played
on the keyboard is passed to the internal sound generator
over two different routes, (1) and (2). As a result, you hear
overlapping or intermittent sounds. To prevent this from
happening, route (1) must be severed, by setting the unit to
What is a MIDI Sound Module?
what is known as “Local Off.”
fig.04-12.e
Inside a synthesizer or electronic piano is the section that
actually produces sound, known as the sound module. A
MIDI sound module produces sounds as the result of MIDI
messages sent to it by other devices.
Local On
(1)
Sequencer
Memory
MIDI
OUT
MIDI
IN
Sound
Generator
■ MIDI Settings
MIDI
OUT
MIDI
IN
MIDI Send Channel Settings
Select the transmission channel of FP-2.
Thru function On
(2)
Each note played
is sounded twice
MIDI features sixteen MIDI channels, numbered 1–16.
Simply connecting a cable is not enough for communication
to take place. The connected devices must be set to use the
same MIDI channels. Otherwise, no sound will be produced,
and no sounds can be selected.
Local Control ON: The keyboard and the internal sound
generator are in a linked state.
fig.04-13.e
Sound is emitted
When the instrument is turned on, this is set to Channel “1.”
The FP-2 receives messages on all channels, 1–16.
Sound Generator
Local On
*
When the keyboard is in dual play, the channel you’ve set here
is transmitted.
*
When the keyboard is split into left and right sides, the
transmission channel for messages from the left-hand side is
fixed at “3.”
Local Control OFF: The keyboard and the internal sound
generator are in an unlinked state. No sound will be
1. Switch to Function mode(p. 38), and press the
[Rec] button.
produced by the keyboard when it is played.
fig.04-14.e
2. Hold down the [Rec] button, and press the [-] or
[+] button so “Ch” is displayed.
No sound produced
fig.04-11
Sound Generator
Local Off
While holding
down...
Press
3. Press the [-] or [+] button to select the
*
When connecting a unit in the Roland MT series, you don’t
need to switch off Local Control. MT units transmit Local Off
messages when their power is switched on. If you first switch
on the FP-2, then the MT-series device, Local Control is
automatically switched off on the FP-2.
transmission channel.
Select the transmission channel (1–16) of the FP-2.
47
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Chapter 4 Other Functions
1. Switch to Function mode (p. 38), and press the
1. Switch to Function mode (p. 38), and press the
[Rec] button.
[Rec] button.
2. Hold down the [Rec] button, and press the [-] or
[+] button so “L.Ct” is displayed.
fig.04-15
2. Hold down the [Rec] button, and press the [-] or
[+] button so “OUt” is displayed.
fig.04-17
While holding
down...
While holding
down...
Press
Press
3. Press the [-] or [+] button to switch Local Control
3. Press the [-] or [+] button to select the MIDI Out
on and off.
Mode.
Setting the MIDI Out Mode
Transferring the Program Change
Message
By setting the MIDI Out Mode, you can select to have a more
suitable (to the external MIDI device) selection of MIDI data
be output from the MIDI Out connector when you make tone
changes on the FP-2.
When a setup is switched, a Program Change message is
transmitted.
1. Use a MIDI cable (optional) to connect the FP-2’s
MIDI OUT connector to the MIDI IN connector
on an external sequencer, or use a USB cable to
connect the computer.
Four settings for the MIDI Out Mode are available.
“MIDI Out Mode 1” is the power-up default setting.
Indication
Descriptions
2. Switch to Function mode, and press the [Sound
1
MIDI Out Mode 1
Control] button.
This setting is suitable for the connection of
sequencers. The MIDI information (for exam-
ple: Bank select, Program Change, Settings of
Effects, and so on) is output from the MIDI
Out connector when you make a tone change
on the FP-2.
3. Hold down the [Sound Control] button, and press
the [-] or [+] button to select bank select MSB,
LSB or Program change (PC).
fig.disp—-
2
3
4
MIDI Out Mode 2
This setting is suited for connecting to a sound
module. The MIDI information (for example:
Program change) is not output from the MIDI
Out connector when you make a tone change
on the FP-2.
While holding
down...
Press
4. Press [-] or [+] button to select the number.
MIDI Out Mode 3
5. Exit Function mode to register the setup to the
You can transmit performance data recorded
with the FP-2.
Additionally, the MIDI messages that are out-
put have the same content as those in MIDI
Out Mode 1.
settings (p. 33).
Using the Pedal to Switch Setup
(Pedal shift)
You can use the pedal which is connected to the
sostenuto(FC1) jack or the soft(FC2) jack as a dedicated
switch for selecting Setup in order.
MIDI Out Mode 4
The MIDI messages that are output have the
same content as those in MIDI Out Mode 3.
However, these are not transmit to FP-2’s
sound module.
Additionally, the local control is switched to
off (p. 47).
1. Switch to Function mode (p. 38), and press the
[Sound Control] button.
2. Hold down the [Sound Control] button, and press
the [-] or [+] button so “SFt” is displayed.
48
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Chapter 4 Other Functions
fig.disp—-
Using the V-LINK function
Connecting the FP-2 to a V-LINK compatible image device
allows you to control the images with the FP-2.
*
To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
While holding
down...
Press
3. Press the [-] or [+] button to select pedal setting.
V-LINK
Indication
Description
V-LINK (
) is functionality promoted by Roland
OFF
You can use a function assigned to the
sostenuto(FC1) pedal and the soft(FC2)
pedal.
that allows linked performance of music and visual material.
By using V-LINK-compatible video equipment, visual effects
can be easily liked to, and made part of the expressive
elements of a performance.
FC1
FC2
The sostenuto(FC1) pedal is dedicated to
switching Setup. The function assigned to
the sostenuto(FC1) pedal cannot to be
used.
■ How to Use the V-LINK
1. Hold down the [Reverb] button and press the
The soft(FC2) pedal is dedicated to
switching Setup. The function assigned to
the soft(FC2) pedal cannot to be used.
[Split] button.
The display changes as shown below, and the FP-2
switches to Image Control mode.
fig
Transferring the FP-2’s Settings to an
External MIDI Device (Bulk Dump)
external MIDI device. This operation is called “bulk dump.”
*
The display does not change when chords are displayed.
You can control images using the twelve keys at the left
end of the keyboard.
1. Use a MIDI cable (optional) to connect the FP-2’s
MIDI OUT connector to the MIDI IN connector
on an external sequencer, or use a USB cable to
connect the computer.
fig
2. Switch to Function mode (p. 38), and press the
[Sound Control] button.
3. Hold down the [Sound Control] button, and press
A0~G#1
the [-] or [+] button to select bulk dump.
*
While V-LINK is switched on, no sound is produced when you
press any of the twelve keys at the left end of the keyboard.
“dnP” is displayed, and the [Play/Stop] button’s
indicator begin flashes.
fig.disp—-
2. Hold down the [Reverb] button and press the
[Split] button once again to exit.
Flashes
Flashes
4. Put the external sequencer in record mode.
5. Press [Play/Stop] to transmit the settings.
After the transmitting is finished, “dnP” is appeared in
display.
6. Stop the external sequencer.
49
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Chapter 4 Other Functions
Making the Settings for the
USB Driver
Continue pressing the button until “Fct” appears in the
display.
fig.04-04
If you intend to connect to a computer using the USB
connector, you need to make the following setting before you
make the connection.
“Fct” appears in the display, and the button’s indicators
flash for several seconds. Then, the screen and buttons
go back to normal.
1. Hold down the [-] and [+] button, press the
[Power] switch to turn on the power.
fig.04-04
Disabling Everything Except
Piano Play (Panel Lock)
While holding
down...
Turn on the Power
Once Panel Lock is engaged, the instrument will allow only
normal piano playing. All buttons (except for the [Reverb]
button, the [Sound Control] button, and the [Equalizer]
button) will not function. This prevents the settings from
being inadvertently modified even if children press the
buttons accidentally.
2. Press the [-] or [+] buttons to select the driver.
1. Turn the volume to the minimum, and press the
Indication
Description
[Power] switch to turn off the power.
vdr
Select this when using the supplied driver
with a USB connection.
(Vender)
2. Hold down the [Piano] button and press the
[Power] switch to turn on the power.
fig.disp—-
GEn
Select this when using a generic USB driver
included with the OS with a USB connection.
(Generic)
3. Turn on the power once again.
While holding
down...
Turn on the Power
Restoring the Settings to the
Factory Condition
following display will appear.
fig.04-04
The settings stored in the FP-2 can be returned to their
factory settings.
*
Executing “Factory Reset” results in deletion of the Settings.
If you want to keep any data you have stored, use the “Bulk
Dump” operation to save the data to an external sequencer (p.
49).
3. Adjust the volume.
When you play the keyboard, the grand piano sound
will be heard.
1. Turn the volume to the minimum, and press the
It cannot be changed to another tone.
[Power] switch to turn off the power.
2. Hold down the [Reverb] button, and press the
[Power] switch to turn on the power.
fig.04-04
4. To defeat the Panel Lock function, turn the
volume down to the minimum, and turn on the
power once again.
While holding
down...
Turn on the Power
50
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Case
Cause/What to do
Case
Cause/What to do
Is the power cord properly connected?
(p. 8)
Is the [Chord Progression] button’s
indicator off? (p. 31)
No Power
The
accompaniment
sounds when the
keys are played
When the [Chord Progression] button’s
indicator is off, the Session Partner begins
if you finger a keyboard.
Is the volume level of the FP-2 (p. 10) or
connected device turned all the way
down?
Have you set Transpose? (p. 24)
Are headphones plugged in?
Has a plug remained connected to the
Phones jack? (p. 10)
The Keyboard or
Pitch is Off
Are the settings for the Temperament
(p. 42) correct?
No Sound
Is the Speaker switch to “ON”? (p. 7)
Is the setting for Master Tuning correct?
(p. 41)
Is Local Off selected? When Local Control
is set to OFF, no sound is produced by
“ON”(p. 47).
Does “dEL” appear in the display? (p. 13)
The internal songs cannot be played back
while recorded performance data remains
in the FP-2’s memory. Try playing back the
song after deleting the performance data.
Song Doesn’t Play
Back
Is the MIDI Out mode set to “4”? (p. 48)
Is the power to all devices turned on?
(p. 44)
Only the Sound of
a Particular
Is Track Mute on? (p. 13)
If the button’s light is out when you hold
down the [Play/Stop] button, the music on
that track is not heard. Press the track
button so the light is illuminated.
No Sound (With a
MIDI Device
Is the MIDI cable connected and plugged
in correctly? (p. 46)
Instrument in a
Song Does Not
Play
Connected)
Does the MIDI channel match the
connected instrument? (p. 47)
Have you selected which of the Track
Buttons to be recorded? (p. 36)
Cannot Record
Is the [Chord Progression] button’s
indicator off? (p. 31)
When you select for recording an internal
song that features tempo changes, the
tempos of Performances recorded on other
tracks are altered along with these
No sound from the left side is produced if
the [Chord Progression] button’s indicator
is off while the Session Partner is playing.
Tempo of
Recorded Song or
Metronome is Off
No Sound From
the Left Side
changes. In addition, the Metronome
Is V-LINK switched on (p. 49)? When V-
LINK is switched on, the twelve keys at the
left end of the keyboard are used to control
images, and no sounds are played with
these keys.
Performances that have been recorded are
erased when the power for the FP-2 is
turned off. Once erased, Performances
cannot be recovered.
Recorded
Performance is
Erased
The Volume of the
Keyboard is Too
Low
Is the volume balance turned all the way
down? (p. 18)
The [Split] button’s
lindicator won’t go
out
Is the [Chord Progression] button’s
indicator off? (p. 31)
Is the FP-2 in Dual Play? (p. 15)
Two Sounds are
Produced When
the Keyboard is
Played
When the part to which the effects are
applied is assigned to the Lower Tone, the
effects are then not applied to the Upper
Tone (p. 41).
When the FP-2 is connected to an external
sequencer, set it to the Local OFF mode
(p. 47). Alternatively, set SOFT THRU on
the sequencer to “OFF.”
Effects Not
Applied
As the FP-2 piano sounds faithfully
reproduce the depth and reverberation of
actual acoustic pianos, reverberation may
still be audible even after the reverb effect
is removed from sounds.
The FP-2 has a maximum polyphony of 64
voices. When playing together with a song
or Rhythm along with heavy use of the
damper pedal, the performance data may
exceed the number of available voices, and
as a result, some notes or sounds played on
the keyboard may not sound.
Reverb Remains
Even After Reverb
is Lifted
Not All Sounds Are
Played
51
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Troubleshooting
Case
Cause/What to do
Case
Cause/What to do
Is the pedal connected correctly?
Connect the pedal securely to the Pedal
jack (p. 9).
When listening through speakers:
Playing at loud volumes may cause
instruments near the FP-2 to resonate.
Resonation can also occur with
fluorescent light tubes, glass doors, and
other objects. In particular, this problem
occurs more easily when the bass
component is increased, and when the
sound is played at higher volumes. Use
the following measures to suppress
such resonance.
Are you using a pedal made by another
manufacturer? Use the pedal included
with the FP-2 or an optional DP Series or
similar pedal.
Pedal Has No
Effect, or Effect
“Sticks”
Unplugging a pedal cord from the unit
while the power is on may cause the
pedal’s effect to be applied nonstop.
Be sure to switch off the power to the unit
before attempting to disconnect or connect
a pedal cord (p. 9).
- Place speakers so they are 10–15 cm
from walls and other surfaces.
- Reduce the volume.
Low End Sounds
Are Strange/Have
a Rattling Sound
- Move the speakers away from any
resonating objects.
Once it’s been assigned as a setup switch, a
soft pedal or sostenuto pedal cannot be
used for its original function (p. 48).
- Check to make sure that the screws
holding the music stand in place are
not loose.
With the acoustic piano settings, sounds in
the upper 1 1/2-octave range are extended
to the end regardless of the damper pedal
actions. The tone is also different in this
range. Roland’s pianos faithfully
When listening through headphones:
The cause lies somewhere else. Consult
your Roland dealer or nearest Roland
Service Center.
Sound Suddenly
Changes at Key in
Upper Octaves
reproduce the sonic qualities of acoustic
pianos. Furthermore, you can use the
instrument’s Key Transpose setting to
change that range over which the damper
pedal has no effect.
With certain tones, the sounds may seem
to be distorted.
The volume level
of the instrument
connected to Line
In Jack is too low
Could you be using a connection cable that
contains a resistor?
Use a connection cable that does not
contain a resistor.
When listening through headphones:
Certain piano tones that feature
vibrant, sparking sounds contain a
large high-frequency component,
which may make it appear that a
metallic reverberation has been
applied. This faithfully reproduces the
characteristics of acoustic pianos, and
does not indicate any malfunction.
Since this reverberation becomes
particularly audible when
High-Pitched
Whine is Produced
supplemented by heavy reverb, you
may be able to diminish the problem by
reducing the amount of reverb applied
to the sound.
When listening through speakers:
Here, a different cause (such as
resonance produced by the FP-2) would
be suspect. Consult your Roland dealer
or nearest Roland Service Center.
52
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Display
Meaning
USr
User. Stores recorded Performances (p. 12, p. 35).
The “.” in the display indicates that there is Performance material already
recorded (p. 12, p. 35).
Usr.
S.
r.
Piano song number (p. 12).
Rhythm number (p. 29).
This appears when you attempt to delete a recorded song (p. 37).
another song (p. 13).
dEL
SUP
dnP
This appears when you store setting to set up, or select stored settings (p. 33).
Bulk Dump. This appears when you transfer the FP-2’s settings to an external
sequencer (p. 49).
Factory Reset. This appears when you restore the settings to the factory
condition (p. 50).
Fct
The amount of performance information is too large, and further recording is
not possible.
E.32
Too much MIDI data was sent from the external MIDI instrument at one time,
and the unit could not process the data. Reduce the amount of MIDI data
being sent to the FP-2.
E.40
E.41
E.51
A problem such as a loose MIDI cable or computer cable occurred. Make sure
the MIDI cables and computer cables are correctly hooked up.
A system error has occurred. Try performing the procedure over again.
Should this message continue to appear even after repeated attempts, please
consult the nearest Roland Service Center.
* Error messages are indicated by an “E.” before the number
When the Error message appears, the [-] and [+] button indicators flashes in red.
Press the [-] or [+] button, and you can cancel the error message.
53
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Tone List
→ “Performing with a Variety of Sounds” (p. 14)
Piano
Voice/GM2
1
2
3
4
5
6
7
8
Grand Piano 1
Piano+Strings
Grand Piano 2
Piano+Pad
1
2
3
4
5
6
7
Jazz Scat
Choir
Beauty Vox
Voice Oohs
Holy Voice
Tenor Sax
Flute
Rock Piano
Mellow Piano
Honky-tonk
Harpsichord
Rhythm
E.Piano
→ “Rhythm Set List” (p. 56)
1
2
3
4
5
6
7
8
9
10
Pop E.Piano
8
Pop Drum Set
Jazz Drum Set
Voice Drum Set
House Drum Set
GM2 STANDARD
GM2 ROOM
GM2 POWER
GM2 ELECTRIC
GM2 ANALOG
GM2 JAZZ
Stage E.Piano
60's E.Piano
70's E.Piano
E.Grand
9
10
11
12
13
14
15
16
17
18
19
20
FM E.Piano 1
FM E.Piano 2
Clav.
Vibraphone
Morning Lite
GM2 BRUSH
GM2 ORCHESTRA
GM2 SFX
Organ
1
2
3
4
5
6
7
8
9
10
Jazz Organ
Mellow Bars
Rock Organ
GM2
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
61
62
Piano 1
Purple Spin
Piano 1 (wide)
Piano 1 (dark)
Piano 2
Lower Organ
Ballad Organ
60’s Organ
Piano 2 (wide)
Piano 3
Church Organ 1
Church Organ 2
Nason Flute
Piano 3 (wide)
Honky-tonk 1
Honky-tonk 2
E.Piano 1
Guitar/Bass
St.Soft EP
1
2
3
4
5
6
7
8
9
10
Steel Gtr
FM+SA EP
60's E.Piano
E.Piano 2
Nylon Gtr
Jazz Guitar
Blusey OD
Acoustic Bass
A.Bass+Ride
Finger Bass
Slap Bass
Detuned EP 2
St.FM EP
EP Legend
EP Phase
Harpsichord
Coupled Hps.
Harpsi (wide)
Harpsi (key Off)
Clav.
Pulse Clav
Celesta
Glockenspiel
Music Box
Vibraphone
Vibraphone (wide)
Marimba
Marimba (wide)
Xylophone
Tubular-bell
Church Bell
Carillon
Synth Bass
Vox Bass
Strings/Pad
1
2
3
4
5
6
7
8
9
Rich Strings
Velo Strings
Fat Strings
Synth Strings
Synth Pad 1
Synth Pad 2
Glasswaves
Orchestra
Voyager Brass
Santur
Organ 1
Trem. Organ
60’s Organ
70’s E.Organ
Organ 2
Chorus Or.2
54
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Tone List
63
64
Perc. Organ
Organ 3
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162
163
164
165
166
167
168
169
170
171
172
173
174
175
176
177
178
179
180
181
182
183
184
185
186
187
188
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
OrchestraHit
Bass Hit
211
212
213
214
215
216
217
218
219
220
221
222
223
224
225
226
227
228
229
230
231
232
233
234
235
236
237
238
239
240
241
242
243
244
245
246
247
248
249
250
251
252
253
254
255
256
257
258
259
260
261
262
263
264
265
266
267
268
269
270
271
272
273
274
275
276
Echo Pan
Star Theme
Sitar 1
6th Hit
65
Church Org.1
Church Org.2
Church Org.3
Reed Organ
Puff Organ
Accordion Fr
Accordion It
Harmonica
Bandoneon
Nylon-str.Gt
Ukulele
Euro Hit
Trumpet
Sitar 2
66
Banjo
Shamisen
Koto
Taisho Koto
Kalimba
Bagpipe
Fiddle
Shanai
Tinkle Bell
Agogo
Steel Drums
Woodblock
Castanets
Taiko
67
Dark Trumpet
Trombone 1
Trombone 2
Bright Tb
68
69
70
71
Tuba
72
Muted Trumpet 1
Muted Trumpet 2
French Horns 1
French Horns 2
Brass 1
73
74
75
76
Nylon Gt (key Off)
Nylon Gt.2
Steel-str.Gt
12-str.Gt
77
Brass 2
Synth Brass 1
Pro Brass
Oct SynBrass
Jump Brass
Synth Brass 2
SynBrass sfz
Velo Brass
Soprano Sax
Alto Sax
78
79
80
Mandolin
Concert BD
Melo. Tom 1
Melo. Tom 2
Synth Drum
808 Tom
Elec Perc
Reverse Cym.
Gt.FretNoise
Gt.Cut Noise
String Slap
Breath Noise
Fl.Key Click
Seashore
Rain
81
Steel + Body
Jazz Gt.
82
83
Pedal Steel
Clean Gt.
84
85
Chorus Gt.
Mid Tone GTR
Muted Gt.
Funk Pop
86
87
Tenor Sax
Baritone Sax
Oboe
88
89
Funk Gt.2
Jazz Man
90
English Horn
Bassoon
91
Overdrive Gt
Guitar Pinch
DistortionGt
Feedback Gt.
Dist Rtm GTR
Gt.Harmonics
Gt. Feedback
Acoustic Bs.
Fingered Bs.
Finger Slap
Picked Bass
Fretless Bs.
Slap Bass 1
Slap Bass 2
Synth Bass 1
Synth Bass 101
Acid Bass
92
Clarinet
93
Piccolo
94
Flute
Thunder
Wind
95
Recorder
96
Pan Flute
Stream
97
Bottle Blow
Shakuhachi
Whistle
Bubble
98
Bird 1
99
Dog
100
101
102
103
104
105
106
107
108
109
110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
Ocarina
Horse-Gallop
Bird 2
Square Wave 1
Square Wave 2
Sine Wave
Saw Wave
OB2 Saw
Telephone 1
Telephone 2
DoorCreaking
Door
Doctor Solo
Natural Lead
Sequenced Saw
Syn.Calliope
Chiffer Lead
Charang
Wire Lead
Solo Vox
5th Saw Wave
Bass & Lead
Delayed Lead
Fantasia
Warm Pad
Sine Pad
Polysynth
Space Voice
Itopia
Bowed Glass
Metal Pad
Halo Pad
Sweep Pad
Ice Rain
Soundtrack
Crystal
Syn Mallet
Atmosphere
Brightness
Goblin
Echo Drops
Echo Bell
Scratch
Wind Chimes
Helicopter
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
Clavi Bass
Hammer
Synth Bass 2
Beef Bass
Rubber Bass
Attack Pulse
Violin
Slow Violin
Viola
Cello
Train
Jetplane
Starship
Burst Noise
Applause
Laughing
Screaming
Punch
Contrabass
Tremolo Str
Pizzicato Str
Harp
Yang Qin
Heart Beat
Footsteps
Gun Shot
Machine Gun
Laser
Timpani
Strings
Orchestra
60s Strings
Slow Strings
Synth Strings 1
Synth Strings 3
Synth Strings 2
Choir Aahs
Chorus Aahs
Voice Oohs
Humming
SynVox
Explosion
Analog Voice
55
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Tone List
Rhythm Set List
Pop Drum Set
Jazz Drum Set
Vox Drum Set
House Drum Set
21
23
24
26
28
29
31
33
35
36
38
40
41
43
45
47
R&B Snare
R&B Snare
R&B Snare
Rock Snare 2
Rock Snare 2
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Vox Dut
R&B Snare
Rock Snare 2
Rock Snare 2
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Pop Snare Ghost
808 Kick 2
22
Rock Snare 2
Rock Snare 2
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Pop Snare Ghost
Pop Kick
Pop Kick
Rock Side Stick
Pop Snare 1
Pop Snare Ghost
Pop Snare 2
Pop Low Tom Flm
Pop CHH 1
Pop Low Tom
Pop CHH 2
Pop Mid Tom Flm
Pop OHH
Pop Mid Tom
Pop High Tom Flm
Pop Snare 3
Pop Snare 3
Pop Snare 3
Pop Snare Ghost
Pop Snare 3
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Pop Snare Ghost
Pop Kick
Pop Kick
Jazz Brsh Swirl 1
Jazz Snare 2
Jazz Brsh Swirl 2
Jazz Snare 2
Jazz Low Tom Flm
Pop CHH 1
Jazz Low Tom
Pop CHH 2
Jazz Mid Tom Flm
Pop OHH
Jazz Mid Tom
Jazz High Tom Flm
Jazz Crash Cymbal 1
Jazz High Tom
NewJzRide1
25
27
30
32
34
[EXC1]
[EXC1]
[EXC1]
Vox Dom
Vox Tuush
Vox Hehho
Vox Doyear
Vox Thu!
Vox That
Vox Aahhh
Vox Tu
Vox Dooh
Vox Ptu
Vox Down
Vox Pa
Vox Bom
909 BD 2
C2
808 Rimshot
DRS Dregg
Hand Clap
707 Claps
Room Tom 5
909 CHH
Room Tom 5
808 CHH 2
Room Tom 6
909 OHH
Room Tom 6
Room Tom 2
Pop Crash Cymbal 1
Room Tom 2
Pop Ride Cymbal 1
ReverseCymbl
Pop Ride Bell
Tambourine
Splash Cymbal
808 Cowbell
Pop Crash Cymbal 3
Vibraslap
Pop Ride Cymbal 2
808 High Bongo
808 Low Bongo
808 High Conga
808 Mid Conga
808 Low Conga
High Timbale 2
Low Timbale 2
High Agogo
37
39
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
42
44
46
Vox Toear
Vox Aahhu
Vox Toya
C3 48
50
Pop Crash Cymbal 1
Pop High Tom
Pop Ride Cymbal 1
Pop Crash Cymbal 2
Pop Ride Bell
Tambourine
Splash Cymbal
Cha Cha Cowbell
Pop Crash Cymbal 3
Vibraslap
49
51
Vox Thu
52
Jazz Crash Cymbal 2
NewJzRide1
Tambourine
Vox Cheey
Vox Cymm
Vox Tub
Vox Pruru
Vox Tut
53
54
56
58
Splash Cymbal
Cha Cha Cowbell
Jazz Crash Cymbal 3
Vibraslap
Pop Ride Cymbal 2
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
55
57
Vox Tyun
Vox Tdum
Vox Afahhhh
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
59
Pop Ride Cymbal 2
High Bongo 2
Low Bongo 2
C4 60
62
61
63
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
Shaker 4
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
64
65
66
68
70
67
Low Agogo
Shaker 3
Shaker 4
Low Agogo
Shaker 3
Shaker 4
69
Shaker 4
71
[EXC2]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
[EXC2]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
Bar Chimes
Castanets
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
808 Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
808 Maracas
Jingle Bell
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC5]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
Mute Surdo
Open Surdo
-----
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
Flamenco Hi-Timbale
Flamenco Lo-Timbale
Flamenco Tmbl Flam
Shaker 1
Shaker 2
Low Bongo Mute
Cabasa Up
89
90
92
94
91
93
95
Cabasa Down
-----
-----
Cabasa Down
-----
-----
Cabasa Down
-----
-----
Cabasa Down
-----
-----
C7 96
98
97
99
-----
-----
-----
-----
100
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Bongo Cowbell
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Bongo Cowbell
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Flamenco Hand Clap
Flamenco Hand Clap
Bongo Cowbell
-----
Bongo Cowbell
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
101
103
105
102
104 Bongo Cowbell
Wah Gtr Noise 1
106
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
107
C8 108
*-----: No sound.
*[EXC]: will not sound simultaneously with other percussion instruments of the same number.
56
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Tone List
GM2 Standard Set
GM2 Room Set
GM2 Power Set
GM2 Electric Set
GM2 Analog Set
21
23
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
22
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
High-Q
24
25
27
26
28
Slap
Slap
Slap
Slap
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Jazz Kick 1
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
29
30
32
34
31
SquareClick
Mtrnm.Click
Mtrnm. Bell
Standard KK1
Power Kick1
Rock Side Stick
Dance Snare1
Hand Clap
Elec Snare 4
Room Tom 5
Close HiHat2
Room Tom 6
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
SquareClick
Mtrnm.Click
Mtrnm. Bell
Power Kick1
Elec Kick 1
Rock Side Stick
Elec. Snare
Hand Clap
Elec Snare 2
Synth Drum 2
Close HiHat2
Synth Drum 2
Pedal HiHat2
Synth Drum 2
Open HiHat2
Synth Drum 2
Synth Drum 2
Crash Cym.1
Synth Drum 2
Ride Cymbal
ReverseCymbl
Ride Bell
SquareClick
Mtrnm.Click
Mtrnm. Bell
808 Kick 2
808 Kick 1
808 Rimshot
808 Snare 1
Hand Clap
Elec Snare 6
808 Tom 2
808 CHH [EXC1]
808 Tom 2
808 CHH 1
808 Tom 2
808 OHH 2
808 Tom 2
808 Tom 2
808 Crash
808 Tom 2
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
808 Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
808 High Conga
808 Mid Conga
808 Low Conga
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
808 maracas 2
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
33
35
Standard KK1
Rock Side Stick
Room SN1
Hand Clap
Room SN2
Room Tom 5
Close HiHat2
Room Tom 6
Pedal HiHat2
Room Tom 2
Open HiHat2
Room Tom 2
Rock Tom 1
Crash Cym.1
Rock Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
C2 36
38
Rock Side Stick
Standard SN1
Hand Clap
Standard SN2
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
37
39
40
41
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
42
44
46
43
[EXC1]
[EXC1]
45
47
C3 48
50
49
51
52
53
Tambourine
Splash Cym.
Cowbell
Tambourine
Splash Cym.
Cowbell
Tambourine
Splash Cym.
Cowbell
54
56
58
55
57
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
59
C4 60
62
61
63
64
65
66
68
70
67
69
Maracas
Maracas
Maracas
Maracas
71
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
[EXC2]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
89
90
92
94
91
93
95
C7 96
98
97
99
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
100
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
101
103
105
102
104 -----
Wah Gtr Noise 1
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
106
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
107
C8 108
*-----: No sound.
*[EXC]: will not sound simultaneously with other percussion instruments of the same number.
57
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Tone List
GM2 Jazz Set
GM2 Brush Set
GM2 Orchestra Set
GM2 SFX Set
21
23
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
22
-----
-----
-----
High-Q
-----
-----
-----
High-Q
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
High-Q
Slap
24
25
27
26
Close HiHat2
Pedal HiHat2
Open HiHat2
Ride Cymbal4
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Concert BD
Mix Kick
[EXC1]
[EXC1]
[EXC1]
28
Slap
Slap
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
ScratchPush
ScratchPull
Sticks
SquareClick
Mtrnm.Click
Mtrnm. Bell
Mix Kick
[EXC7]
[EXC7]
29
30
32
34
31
33
35
Jazz Kick 1
Rock Side Stick
Standard SN3
Hand Clap
Elec Snare 5
Real Tom 6
Close HiHat2
Real Tom 6
Pedal HiHat2
Real Tom 4
Open HiHat2
Real Tom 4
Real Tom 1
Crash Cym.1
Real Tom 1
Ride Cymbal
ChinaCymbal
Ride Bell
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
Jazz Kick 1
Rock Side Stick
Brush Swirl
Brush Slap1
Brush Swirl
Brash Tom 2
Pop CHH 1
Brash Tom 2
Pop CHH 2
Brash Tom 2
Pop OHH[EXC1]
Brash Tom 2
Brash Tom 2
Crash Cym.3
Brash Tom 2
NewJzRide1
ChinaCymbal
NewJzRide1
Tambourine
Splash Cym.
Cowbell
Crash Cym.2
Vibraslap
Ride Cymbal4
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
C2 36
38
Rock Side Stick
Concert Snr
Castanets
Concert Snr
Timpani F
Timpani F#
Timpani G
Timpani G#
Timpani A
Timpani A#
Timpani B
Timpani C
Timpani C#
Timpani D
Timpani D#
Timpani E
Timpani F
Tambourine
Splash Cym.
Cowbell
Con.Cymbal2
Vibraslap
Concert Cym.
Bongo High
Bongo Lo
Mute H.Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Cabasa
37
39
40
ScratchPush
ScratchPull
Sticks
[EXC7]
[EXC7]
41
[EXC1]
[EXC1]
[EXC1]
[EXC1]
[EXC1]
42
44
46
43
SquareClick
Mtrnm.Click
Mtrnm. Bell
Gt.FretNoiz
Gt.CutNoise (Up)
Gt.CutNoise (Down)
String Slap
Fl.KeyClick
Laughing
Screaming
Punch
Heart Beat
Footsteps 1
Footsteps 2
Applause
Creaking
Door
Scratch
Wind Chimes
Car-Engine
Car-Stop
Car-Pass
Car-Crash
Siren
45
47
C3 48
50
49
51
52
53
54
56
58
55
57
59
C4 60
62
61
63
64
65
66
68
70
67
Train
69
Jetplane
Helicopter
Starship
Gun Shot
Machine Gun
Lasergun
Explosion
Dog
HorseGallop
Bird
Rain
Thunder
Wind
Seashore
Stream
Bubble
-----
-----
-----
-----
-----
-----
-----
-----
-----
Maracas
Maracas
Maracas
71
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
ShortWhistle
Long Whistle
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
Applause
-----
[EXC2]
[EXC2]
[EXC3]
[EXC3]
C5 72
74
73
75
76
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangl
Open Triangl
Shaker 3
Jingle Bell
Bar Chimes
Castanets
Mute Surdo
Open Surdo
-----
-----
-----
-----
-----
-----
-----
Cabasa Up
Cabasa Down
-----
77
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
78
80
82
79
81
83
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
89
-----
-----
-----
-----
90
92
94
91
93
-----
-----
-----
-----
-----
-----
-----
95
Cabasa Up
Cabasa Down
-----
-----
-----
C7 96
98
97
99
-----
-----
-----
-----
100
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
-----
101
103
105
102
104 -----
Wah Gtr Noise 1
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
Wah Gtr Noise 1
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
106
Wah Gtr Noise 2
Wah Gtr Noise 3
Wah Gtr Noise 4
107
C8 108
*-----: No sound.
*[EXC]: will not sound simultaneously with other percussion instruments of the same number.
58
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Rhythm List
→ “Selecting a Rhythm” (p. 29)
→ “Selecting a Rhythm’s Chord Progression” (p. 30)
No.
Genre
Chord
Beat
No.
Genre
Chord
Beat
Progression
Progression
Pattern No.
Pattern No.
r.1
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
r.41
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
73
74
75
76
77
78
79
80
81
82
83
84
85
86
87
88
89
90
Bounce Rock
Guitar Ballad
Loose Rock
8 Beat Pop
Euro Dance
Y2K Funk
Pop
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
6/8
Gospel Shout
Honky Pop
Boogie
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
4/4
6/8
4/4
4/4
4/4
4/4
4/4
3/4
r.2
r.42
r.43
r.44
r.45
r.46
r.47
r.48
r.49
r.50
r.51
r.52
r.53
r.54
r.55
r.56
r.57
r.58
r.59
r.60
r.61
r.62
r.63
r.64
r.65
r.66
r.67
r.68
r.69
r.70
r.71
r.72
r.73
r.74
r.75
r.76
r.77
r.78
r.79
r.80
r.3
r.4
r.5
r.6
r.7
Fast Jazz
r.8
r.9
Jazz
r.10
r.11
r.12
r.13
r.14
r.15
r.16
r.17
r.18
r.19
r.20
r.21
r.22
r.23
r.24
r.25
r.26
r.27
r.28
r.29
r.30
r.31
r.32
r.33
r.34
r.35
r.36
r.37
r.38
r.39
r.40
Double Time Feel
Scat Swing
Piano Jazz
Ballad
HipHop
Guitar Funk
Cutting Guitar
Fusion
E.Piano Ballad
R&B Ballad
808 Ballad
New Age Ballad
6/8 Ballad
Mambo
70’s Soul
Contemporary
Medium Pop
808 HipHop
Guitar Pop
Country Pop
Shuffle
Latin
Latin Pop
Bossa Nova
Beguine
8 beat Rock
Gospel
Piano Waltz
59
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Chord Progression Pattern List
*
It is the Chord Progression Pattern List by each measure. These are basic chord progression pattern from No. 1 to No. 10, and these are
suitable chord progression for the internal rhythm from No. 11 to No. 90.
Rhyt
No. hm
Chord Progression
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
No.
—
1
2
C
Am
G
Dm7
F
G7
E7
G7
C
Am
G
Dm7
F
G7
E7
G7
A7
C
—
Am
Am
3
—
CM7
Dm7
C
Am7
G7
Dm7
CM7
Em7
CM7
C7
CM7
Dm7
F
Am7
G7
G
Dm7
CM7
Csus4
Am7
C7
4
—
Am7
Am
5
—
Bm7
G7
6
—
Dm7
C7
CM7
C
FM7
E7
A7
Bm7
F7
5
7
—
F7
G7
F7
C7
G7
8
—
Cdim
Am7
Am
F
Dm9
Dm7
F
G7
CM7
G7sus4
C
Dm9
CM7
Cdim
Dm9
G7
CM7
9
—
10
11
12
13
14
15
16
17
—
C
C/B
C7sus4
E7
Am/G
G
r. 1
r. 2
r. 3
r. 4
r. 5
r. 6
r. 7
C
C
C7sus4
Em7
G7
F
Fm6
G
B
7Sus4
Am
Dm
F
C7
F
Fm6
Dm
F
F
G7
C
A7
Csus7
Am
D
Am
Am
F
D7
A7
D
G
C
G
Am
D
G
C
F
G
C
F7
C
E
7
E
7
B
18
19
20
21
22
23
24
25
r. 8
r. 9
Csus7
Am
C
C7
Csus7
Am
C
C7
B
D
sus7
B
7
A
sus7
B
sus7
G
r.10
r.11
G
B
B
E
B
F
F
r.12 Dm
C
Dm
FM7
C
C
B
Gm
F
C
B
r.13
C
Gm7
F/G
C
Gm7
F/G
F/G
F/G
Gm7
7
r.14 FM9
Am7
Gm7
FM9
C
B
C
7
r.15
r.16
r.17
C
C
C
C
B
B
26
27
28
29
30
31
G7
Am7
C
G7
C
G7
Am7
Fm7
D7
C
B
Dm7
CM7
Am7
Am7
CM9
G7
C
Dm7
F/G
Am7
F/G
FM9
G7
r.18 FM7
r.19 Am7
Am7
D7
FM7
Am7
C
D7
F/G
F/G
r.20
r.21 CM9
r.22
C
CM9
A
M7
A
M7
A
M7
32
33
34
35
36
37
38
39
A
M9
B
9
A
M9
B
9
r.23 CM9
r.24 FM9
Am9
FM9
FM7
C
CM9
FM9
C
Am9
FM9
F/G
C
FM9
CM9
G6
G6
G7
G6
G6
G7
G6
C7
F/G
r.25
r.26 Dm7
r.27
C
Am7
Dm7
G7
C
G
C
F
C
G
Am7
G7
Dm7
C
G
C
C7
F/G
r.28 FM7
r.29 Am7
r.30 Am7
r.31 CM7
G
FM7
Gm7
G
FM7
D7
Am7
D7
D7
C7
E7
Gm7
E7
B
9
40
41
42
43
44
45
D7sus4 Am7
FM7
Dm7
Dm
C
Am7
G7
G
9
M7
Am7
F
r.32
r.33
r.34
r.35
C
C
C
C
C
F
G
C
Am
G
C
F
Am
G
Am
G
F
G
C
F
G7
F7sus4 F7
G7sus4 G7
60
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Chord Progression Pattern List
Rhyt
No. hm
No.
Chord Progression
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
46
47
48
49
r.36 FM7
G7
C
FM7
G7
C
r.37
r.38
r.39
C
F
G
C
F
G
Am
G7
Dm7
A7
Am7
C dim
G7
C
Fm7
C/G
C
Dm7
G7
G7
50
51
52
53
54
55
56
57
58
59
60
61
62
63
64
65
66
67
68
69
70
71
72
r.40
r.41
r.42
r.43
r.44
F
D7
F
dim
C
C
C
F
F
C
F
C
F
C
G7
C7
G
G
F7
G7
F7
G7
F
C
F
G
r.45 A7
D7
F
A7
D7
F7
A7
E7
D7
D7
G7
A7
C
E7
r.46
r.47
C
F
C
C7
C7
C
A7
C7
G7
C7
Am7
D7
F7
F/C
C7
C6
C6
C
B
7
r.48 A7
r.49 C6
r.50 C6
G7
Dm7
Dm7
F
Dm7
Dm7
G7
G7
C7
C7
G7
G7
Am
Am
G7
D7
Am9
Dm7
Dm7
C
G(11)
G(11)
C6
C6
F/G
A
aug
r.51
r.52
r.53
C
C
C
F7
G7
G7
G7
F
C
F7
C
A7
G7
C
F
C
F
r.54 Em7
r.55 CM9
r.56 FM9
Dm7
F/G
CM9
Gm7
C
G7
Em7
CM9
Dm7
FM9
CM7
Gm7
Am
Dm7
C
A7
9
C
dim
9
C9
F/G
F/G
F/G
G7
Am9
Dm7
C
5
G7
r.57
r.58
C
F
C7
G7
F
G7
F/G
G7
r.59 CM7
r.60 FM7
r.61 Cm7
r.62 Ddim
Dm7
CM7
Cm7
Ddim
CM7
FM7
Cm7
Ddim
C
dim
C
dim
G7
Fm7
G7
C7
Fm7
Fm7
G7
Cm7
Ddim
Fm7
G7
9
G7
D7
C7
9
9
G7
D7
9
73
74
r.63 Gm
Gm
Am7
Gm7
5
Am7
Gm
5
r.64
D7
D7
E
C
C
C
F
6
E
M7
75
76
77
78
79
80
81
82
83
r.65
r.66
r.67
r.68
r.69
r.70
Dm
Dm7/G
Em9
F
C
F
Em7
D7
D
E
Bm7
Am
A7
G
Am
C
Dm9
F
G7sus4
G
Am
Em
Dm
C
Em
Am
F
F/G
G7
C
F
G7
C
C
G7
C
C
G7
C7
E7
E7
F
G7
C
r.71 Am
r.72 Am
r.73 DM7
E7
E7
Am
Am
CM7
Am
Dm7
E7
G7
F9
Dm7
Bm7
Em9
E7
E7
F
m9
E
9
84
85
86
87
88
89
r.74 DM7
Bm7
D6
C
Am7
GM7
Dm7
F
Em9
C
A7
C
m7
5
Fm7
G7
5
r.75
r.76
r.77
r.78
r.79
C
F
Fm
Fm
G7sus4 G7
C
C
C
G
C
F
G7
G
G7
C
C
C
G7
G7
CM7
Dm7
Dm7
G7
Fm
CM7
Em7
C7
C
dim
90
r.80 Dm
A7
Dm7
G7
C
D
dim
61
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● symbol: indicates the constituent notes of chords.
★ symbol: Chords shown with an “★” can be played by pressing just the key marked with the “★”.
→ “Performing With the Chord Progression Specified in the Left Hand (Chord Progression off)” (p. 31)
C
C#
/
D
/
D
CM7
C7
DM7
D7
C#M7
C#7
D M7
/
D 7
Cm
Cm7
Cdim
Dm
Dm7
Ddim
C#m
C#7m
/
D m
/
D 7m
C#dim
/
D dim
Cm7 ( 5 )
Dm7 ( 5 )
C#m7( 5) / D m7( 5)
C#aug / D aug
Caug
Daug
Csus4
C7sus4
C6
Dsus4
D7sus4
D6
C#sus4 / D sus4
C#7sus4 / D 7sus4
C#6
/
D 6
Cm6
C#m6
/
D m6
Dm6
C other
C# other / D other
D other
62
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Chord Fingering List
E
E
E
E
E
E
E
F
M7
7
EM7
E7
FM7
F7
m
Em
Em7
Edim
Fm
Fm7
Fdim
m7
dim
E
E
E
E
E
E
E
m7 ( 5 )
Em7 ( 5 )
Fm7 ( 5 )
aug
Eaug
Faug
sus4
7sus4
6
Esus4
E7sus4
E6
Fsus4
F7sus4
F6
Em6
Fm6
m6
other
E other
F other
63
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Chord Fingering List
G
F#
/
G
/
A
A
A
A
A
A
A
A
A
GM7
G7
F#M7
F#7
G M7
M7
/
G 7
7
Gm
F#m
/
G m
m
Gm7
Gdim
Gm7 ( 5 )
Gaug
Gsus4
F#m7
/
G m7
m7
F#dim
/
G dim
dim
m7 ( 5 )
aug
sus4
F#m7( 5 ) / G m7 ( 5 )
F#aug / G aug
F#sus4 / G sus4
F#7sus4 / G 7sus4
G7sus4
G6
A
A
7sus4
6
F#6
/
G 6
Gm6
F#m6
/
G m6
A
A
m6
F# other / G other
G other
other
64
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Chord Fingering List
A
B
B
B
B
B
B
B
B
B
B
AM7
A7
M7
BM7
B7
7
Am
m
Bm
Am7
Adim
Am7 ( 5 )
Aaug
Asus4
m7
Bm7
Bdim
Bm7 ( 5 )
Baug
Bsus4
dim
m7 ( 5 )
aug
sus4
A7sus4
A6
B
B
7sus4
6
B7sus4
B6
Am6
B
B
m6
Bm6
A other
other
B other
65
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Internal Song List
→ “Listening to Demo Songs” (p. 11)
Song
Song Name
No.
Composer
Copyright
F. Chopin/
S. 01
Late Night Chopin
Arranged by John
Maul
© 2002 Roland Corporation
Masashi &
S. 02
S. 03
L'éveil del l'amour
Fly Free
© 2000 Roland Corporation
© 1998 Roland Corporation
Kazuko Hirashita
J. Maul
N. Paganini/
Arranged by John
Maul
Paganini Boogie Variation: Jazz Variation Based on “Caprice No. 24
in A Minor”
S. 04
S. 05
© 1998 Roland Corporation
© 1996 Roland Corporation
J. Brahms/
Arranged by John
Maul
Hungarian Rag: Hungarian Dance No. 5 Ragtime Arrangement For
Solo Piano
S. 06
S. 07
S. 08
S. 09
S. 10
S. 11
S. 12
S. 13
S. 14
S. 15
S. 16
S. 17
S. 18
S. 19
S. 20
S. 21
S. 22
S. 23
S. 24
S. 25
S. 26
S. 27
S. 28
S. 29
S. 30
S. 31
S. 32
Sonate für Klavier No. 15
Liebesträume III
W. A. Mozart
F. Liszt
© 1996 Roland Corporation
© 2001 Roland Corporation
© 2001 Roland Corporation
© 1997 Roland Corporation
© 2001 Roland Corporation
© 1995 Roland Corporation
© 2001 Roland Corporation
© 1995 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1995 Roland Corporation
© 1997 Roland Corporation
© 1995 Roland Corporation
© 1998 Roland Corporation
© 2001 Roland Corporation
© 1995 Roland Corporation
© 1995 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
Étude, op.10-3
F. Chopin
Je te veux
E. Satie
Valse, op.64-1
F. Chopin
Golliwog’s Cake walk
Fantaisie-Impromptu
1ére Arabesque
C. Debussy
F. Chopin
C. Debussy
J. Strauss (II)
F. Mendelsshon
F. Chopin
An der schönen, blauen Donau
Auf Flügeln des Gesanges
Mazurka No.5
1ère Gymnopédie
Étude, op.25-1
E. Satie
F. Chopin
Clair de Lune
C. Debussy
F. Chopin
Étude, op.10-5
Doctor Gradus ad Parnassum
Grande Valse Brillante
La prière d'une Vierge
Course en Troïka
To The Spring
C. Debussy
F. Chopin
T. Badarzewska
P. Tchaikovsky
E. Grieg
Valse, op.64-2
F. Chopin
Radetzky Marsch
Träumerei
J. Strauss (I)
R. Schumann
F. Schubert
F. Chopin
Moments Musicaux III
Prélude, op.28-15
The harmonious blacksmith
Ungarische Tänze V
G. Handel
J. Brahms
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Internal Song List
Song
No.
Song Name
Composer
Copyright
S. 33
S. 34
S. 35
S. 36
S. 37
S. 38
S. 39
S. 40
S. 41
Türkischer Marsch (Beethoven)
L. v. Beethoven
F. Chopin
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
Nocturne No.2
Frühlingslied
Präludium
F. Mendelsshon
J. S. Bach
Jägerlied
F. Mendelsshon
M. Ravel
Menuet Antique
Für Elise
L. v. Beethoven
W. A. Mozart
F. Schubert
Türkischer Marsch (Mozart)
Ständchen
S. 42
Humoreske
© 1996 Roland Corporation
A. Dvorák
S. 43
S. 44
S. 45
S. 46
S. 47
S. 48
S. 49
S. 50
S. 51
S. 52
S. 53
S. 54
S. 55
S. 56
S. 57
S. 58
S. 59
S. 60
S. 61
S. 62
S. 63
S. 64
S. 65
Blumenlied
G. Lange
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1992 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
Alpenglöckchen
T. Oesten
Menuett G dur (Beethoven)
Venezianisches Gondellied
Alpenabendröte
L. v. Beethoven
F. Mendelsshon
T. Oesten
Farewell to the Piano
Brautchor
L. v. Beethoven
R. Wagner
W. Anderson
C. Czerny
Battle of Waterloo
Wiener Marsch
Le Coucou
L. C. Daquin
J. S. Bach
Menuett G dur (Bach)
Spinnerlied
A. Ellmenreich
F. Gossec
Gavotte
Heidenröslein
G. Lange
Zigeuner Tanz
H. Lichner
G. Marie
La Cinquantaine
Csikos Post
H. Necke
Dolly’s Dreaming Awakening
La Violette
T. Oesten
L. Streabbog
R. Schumann
M. Clementi
F. Kuhlau
Fröhlicher Landmann
Sonatine op.36-1 (Clementi)
Sonatine op.20-1 (Kuhlau)
Sonatine No.5 (Beethoven)
L. v. Beethoven
* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is
a violation of applicable laws.
67
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Settings Stored in the Setup
■ Stored Settings
settings
The Tone which is selected in the Upper Tone or the Lower Tone
The Tone number which is assigned to each Tone button
Settings for dual and split play
page
p. 14 to p. 16
p. 14
p. 15 to p. 18
p. 18
The volume balance for dual and split play
Keyboard’s touch
p. 19
The velocity when the keyboard touch is set to “Fixed”
Reverb switch’s on or off, and the depth of reverb
The effect type and the depth of effects (*1)
Key transpose’s on or off, and its value
Session partoner’s settings (*1)
p. 20
p. 21
p. 22, p. 40
p. 24
p. 28 to p. 32, p. 43
p. 39
How the pedal effects are applied
Pedals work
p. 39
Setting the part to which effects are applied
Octave shift
p. 41
p. 41
MIDI send channel settings
p. 47
Transferring the program change number
Sound Control’s on or off
p. 48
p. 26
Equalizer’s on or off
p. 26
■ Not Stored Settings
settings
Recorded performance
Master tuning
page
p. 34 to p. 36
p. 41
Metronome settings
Temperament
p. 25, p. 42
p. 42
Local control
p. 47
MIDI Out mode
p. 48
Pedal Shift
p. 48
USB Driver settings (*2)
Panel lock
p. 50
p. 50
Equalizer Settings (*2)
p. 44
*1 Only the settings related to the selected tone or rhythm are stored.
*2 Though not stored in the Setup, the FP-2 remembers the settings even while its power is turned off.
68
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Easy Operation List
Power ON
8
1
9
3
4
5
2
6
7
Press the Key
No.
You want to
Buttons
Page
p. 38
p. 19
p. 11
p. 12
p. 33
p. 32
p. 37
p. 17
Switch to Function mode
Key Touch
[Display] + [-]
[Effects] + [Transpose]
[Reverb] + [Effects]
Demo
All Song Play
[Display] + [Play/Stop]
[Transpose] + [Split] + Tone
[Chord Progression] + [Rec]
[Display] + [Rec]
Storing settings to Setup
Recording Chord Progression
Erasing the recorded performance
Selecting the Lower Tone in Split play
[Split] + Tone
Hold down the [ ] button and press the [-] or [+] button.
No.
You want to
Buttons
Page
p. 21
Depth of the Reverb effect
[Reverb] + [-] [+]
1
Depth of the Effect
[Effects] + [-] [+]
p. 22
p. 25
p. 28
p. 30
2
3
4
5
Volume level of metronome
Volume level of Session Partner
Selecting a Chord Progression Pattern
[Metronome] + [-] [+]
[Part] + [-] [+]
[Chord Progression] + [-] [+]
Hold down the [ ] button and press the key.
Key Transpose
Split Point
[Transpose] + key
[Split] + key
p. 24
p. 18
6
7
Hold down the [ ] button and press the [Power] switch.
Factory Reset
Panel Lock
[Reverb] + Power ON
[Piano] + Power ON
p. 50
p. 50
8
9
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Easy Operation List
5
7
8
9
17 18
1
2
3
4
6
10
11 12 13 14 15 16
Function mode
No.
You want to
Buttons
Page
p. 41
Setting the Part to which Effects are added
Effect Type
[Reverb]
1
2
[Effects]
p. 40
p. 42
p. 41
p. 41
p. 39
p. 39
p. 39
p. 40
p. 40
p. 42
p. 43
p. 43
p. 43
p. 43
Temperament
[Transpose]
[Split]
3
Octave shift
4
Master Tuning
[Piano]
5
How the Soft Pedal(FC2) effects are applied
How the Sostenuto Pedal(FC1) effects are applied
How the Damper Pedal effects are applied
Soft Pedal(FC2)s Work
[E.Piano]
[Organ]
6
7
[Guitar/Bass]
[Strings/Pad]
[Voice/GM2]
8
9
Sostenuto Pedal(FC1)s Work
Metronome beat pattern
10
11
12
13
14
15
16
[
(Metronome)]
Setting the Intro and Ending ON or OFF
Root Note of the Chord Progression
Fixing a set Chord Progression
Setting the Chord Display ON or OFF
[Start/Stop]
[Part]
[Chord Progression]
[Play/Stop]
MIDI Out mode
p. 47,
p. 48
MIDI send channel settings
Local Control
[Rec]
Bulk dump,
17
18
p. 48,
p. 49
Pedal Shift,
[Sound Control]
[Equalizer]
Transferring the Program Change
Equalizer Settings
p. 44
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DIGITAL PIANO
Model FP-2
Date : Sep. 1, 2003
Version : 1.00
MIDI Implementation Chart
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1
1–16
1–16
1–16
Default
Messages
Altered
Mode 3
x
Mode 3
Mode 3, 4(M=1)
* 2
Mode
**************
Note
Number :
15–113
**************
0–127
0–127
True Voice
Note ON
Note OFF
O
x
O
x
Velocity
8n v=64
*1
*1
After
Touch
Key’s
Ch’s
x
x
O
O
Pitch Bend
O
O
*1
*1
*1
0, 32
1
Bank select
Modulation
Portamento time
Data entry
O
O
x
O
O
5
O
6, 38
7
x
O
*1
*1
*1
*1
Volume
x
O
10
11
64
65
66
67
71
72
73
74
75
76
77
78
84
91
93
Panpot
x
O
Expression
Hold 1
O
O
x
O
O
Portamento
Sostenuto
O
O
O
x
O
Control
Change
Soft
O
Resonance
Release time
Attack time
Cutoff
O
x
O
x
O
x
O
Decay time
Vibrato rate
Vibrato depth
Vibrato delay
Portamento control
Effect1 depth
Effect3 depth
NRPN LSB, MSB
RPN LSB, MSB
x
O
x
O
x
O
x
O
x
O
O
O
x
O (Reverb)
O (Chorus)
98, 99
100, 101
x
x
O
Prog
Change
0–127
**************
O
0–127
: True Number
Program number 1–128
System Exclusive
O
O
: Song Pos
: Song Sel
: Tune
x
x
x
x
x
x
System
Common
System
Real Time
: Clock
: Commands
O
O
x
x
x
x
x
x
O
x
O (120, 126, 127)
: All sound off
O
:
Reset all controllers
Aux
Message
O
: Local Control
: All Notes OFF
: Active Sense
: Reset
O (123–125)
O
x
* 1 O x is selectable by SysEx.
* 2 Recognized as M=1 even if M≠1.
Notes
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
X : No
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
71
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Main Specifications
FP-2: Digital Piano
<Others>
Setup
6
<Keyboard>
88 keys (hammer action keyboard)
Internal Songs
Demo songs: 8
Touch Sensitivity
Light/Normal/Heavy/Fixed (adjustable velocity)
Piano songs: 65
Keyboard Mode
Whole
Speakers
8 cm x 12 cm x 2
Dual
Split (adjustable split point)
Rated Power Output
<Sound Generator>
Conforms to General MIDI 2 System
7 W x 2
Display
Max. Polyphony
7 segments, 3 characters (LED)
64 voices
Connectors
Tones
Line Out jacks (L/Mono, R)
Line In jacks (L/Mono, R)
Phones jacks (rear panel) x 2
USB connector (MIDI)
MIDI connectors (In/Out)
Pedal jacks (Damper, Soft*, Sostenuto*)
* Assignable
Tones: 6 groups 58 variations (include 4 Drum Sets)
GM2 Tones: 256 + 9 Drum Sets
Effects
Reverb
Multi Effects (10 Types)
Sound Control (3 Types)
4-band Digital Equalizer
DC In Jack
Power Supply
DC 9 V (AC adaptor)
Transposition
-6 to +5 (semitone steps)
Power Consumption
22 W
Temperament
7 types, selectable tonic
Dimensions
Master Tuning
FP-2 (Without the music stand):
1,291 (W) x 299 (D) x 125(H) mm
50-7/8 (W) x 11-13/16 (D) x 5 (H) inches
415.3 Hz to 466.2 Hz (0.1 Hz Step)
<Session Partner>
Rhythms
80 Rhythms
Weights
FP-2: 14.6 kg / 32 lbs 3 oz
Chord Progression
Automatic or input with keyboard
User Programmable
Accessories
Owner’s manual
USB Installation guide
CD-ROM (Roland Digital Piano USB Driver)
AC adaptor
Power Cord
Music Stand / 2 screws for the music stand
Pedal (DP-8)
<Recorder>
Metronome
Beat: 2/2, 0/4, 2/4, 3/4, 4/4, 5/4, 6/4, 7/4, 3/8, 6/8, 9/8, 12/8
Volume: 10 levels
Tracks
Spacer
3 tracks (only Rhythm sound can be recorded to Track [R]
button.)
Options
Keyboard Stand (FPS-11A)
Pedal (DP-2/8)
Expression Pedal (EV-5)
MIDI Implementation
Song
1 song
Tempo
Quarter note = 20 to 250
*
In the interest of product improvement, the specifications
and/or appearance of this unit are subject to change without
prior notice.
Resolution
120 ticks per quarter note
72
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A
F
B
Function Mode ............................................................... 38
Balance knob .................................................................. 18
Bend Down ..................................................................... 39
C
Root Note .................................................................. 43
Connecting
I
Including pedal ................................................................ 9
K
Audio Equipment .................................................... 44
D
Damper jack ..................................................................... 9
Damper Pedal ............................................................ 9, 39
MIDI Out Mode ............................................................. 48
MIDI Send Channel ....................................................... 47
MIDI Sound Module ..................................................... 47
Modulation ..................................................................... 39
Music Stand ...................................................................... 9
Muting ............................................................................. 13
E
Effects .................................................................. 22, 39, 41
Pedal .......................................................................... 39
Type ........................................................................... 40
Effects button ......................................... 11, 19–20, 22, 40
Ending ....................................................................... 28, 43
Equalizer ................................................................... 26, 44
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Index
Standard pitch ................................................................ 41
O
P
Effects ........................................................................ 39
Playback
Track Button ............................................................. 13, 36
Demo song ................................................................ 11
Each part separately ................................................ 13
R
Reverb button ........................................ 11, 21, 41, 49–50
Reverb Effect .................................................................. 21
USr ................................................................................... 35
Volume level ............................................................. 10
Volume Balance ............................................................. 18
Volume knob .................................................................. 10
S
Setup ............................................................................... 33
Soft Pedal .............................................................. 9, 39–40
Soft(FC2) jack ............................................................. 9, 39
Sostenuto Pedal ................................................... 9, 39–40
Sostenuto(FC1) jack ................................................... 9, 39
Sound Control ................................................................ 26
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Information
When you need repair service, call your nearest Roland Service Center or authorized Roland
distributor in your country as shown below.
PHILIPPINES
COSTA RICA
TRINIDAD
ITALY
ISRAEL
AFRICA
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
JUAN Bansbach Instrumentos
AMR Ltd
Roland Italy S. p. A.
Halilit P. Greenspoon & Sons
Ground Floor
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Musicales
Ltd.
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany
Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
TEL: 20-2-417-1828
Maritime Plaza
Barataria Trinidad W.I.
TEL: (868)638 6385
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
TEL: (02) 899 9801
NORWAY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
SINGAPORE
Swee Lee Company
150 Sims Drive,
SINGAPORE 387381
TEL: 6846-3676
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa
1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
CURACAO
Zeelandia Music Center Inc.
Orionweg 30
Curacao, Netherland Antilles
TEL:(305)5926866
JORDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
REUNION
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
TEL: 2273 0074
KUWAIT
EASA HUSAIN AL-YOUSIFI
& SONS CO.
Abdullah Salem Street,
Safat, KUWAIT
TEL: 243-6399
DOMINICAN REPUBLIC
Instrumentos Fernando Giraldez
Calle Proyecto Central No.3
Ens.La Esperilla
Santo Domingo,
Dominican Republic
TEL:(809) 683 0305
CRISTOFORI MUSIC PTE LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 6243-9555
POLAND
MX MUSIC SP.Z.O.O.
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
VENEZUELA
Instrumentos Musicales
Allegro,C.A.
Av.las industrias edf.Guitar
REUNION ISLAND
TEL: (0262) 218-429
TAIWAN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung
Shan N.Road Sec.2, Taipei,
TAIWAN, R.O.C.
SOUTH AFRICA
That Other Music Shop(PTY)Ltd.
11 Melle St., Braamfontein,
Johannesbourg,
SOUTH AFRICA
TEL: (011) 403 4105
import
PORTUGAL
Roland Iberia, S.L.
Portugal Office
Cais das Pedras, 8/9-1 Dto
4050-465, Porto, PORTUGAL
TEL: 22 608 00 60
LEBANON
Chahine S.A.L.
Gerge Zeidan St., Chahine
Bldg., Achrafieh, P.O.Box: 16-
5857
Beirut, LEBANON
TEL: (01) 20-1441
#7 zona Industrial de Turumo
Caracas, Venezuela
TEL: (212) 244-1122
ECUADOR
Mas Musika
Rumichaca 822 y Zaruma
Guayaquil - Ecuador
TEL: (02) 2561 3339
FAX: (011) 403 1234
TEL:(593-4)2302364
EUROPE
THAILAND
Paul Bothner(PTY)Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
ROMANIA
FBS LINES
Piata Libertatii 1,
535500 Gheorgheni,
ROMANIA
EL SALVADOR
OMNI MUSIC
75 Avenida Norte y Final
Alameda Juan Pablo II,
Edificio No.4010 San Salvador,
EL SALVADOR
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
AUSTRIA
Roland Elektronische
Musikinstrumente HmbH.
QATAR
Al Emadi Co. (Badie Studio &
Stores)
P.O. Box 62, Doha, QATAR
TEL: (021) 674 4030
Austrian Office
VIETNAM
Saigon Music
Suite DP-8
40 Ba Huyen Thanh Quan Street
Hochiminh City, VIETNAM
TEL: (08) 930-1969
Eduard-Bodem-Gasse 8,
A-6020 Innsbruck, AUSTRIA
TEL: (0512) 26 44 260
TEL: (266) 364 609
TEL: 4423-554
TEL: 262-0788
ASIA
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary
Bldg., 1st Floor, Alkhobar,
SAUDI ARABIA
GUATEMALA
BELGIUM/FRANCE/
HOLLAND/
LUXEMBOURG
Roland Central Europe N.V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
CHINA
Roland Shanghai Electronics
Co.,Ltd.
5F. No.1500 Pingliang Road
Shanghai 200090, CHINA
TEL: (021) 5580-0800
Casa Instrumental
Calzada Roosevelt 34-01,zona 11
Ciudad de Guatemala
Guatemala
SPAIN
TEL:(502) 599-2888
Roland Iberia, S.L.
Paseo García Faria, 33-35
08005 Barcelona SPAIN
TEL: 93 308 10 00
AUSTRALIA/
NEW ZEALAND
AUSTRALIA/
NEW ZEALAND
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
HONDURAS
Almacen Pajaro Azul S.A. de C.V.
BO.Paz Barahona
3 Ave.11 Calle S.O
San Pedro Sula, Honduras
TEL: (504) 553-2029
TEL: (014) 575811
Roland Shanghai Electronics
Co.,Ltd.
(BEIJING OFFICE)
10F. No.18 Anhuaxili
Chaoyang District, Beijing
100011 CHINA
CZECH REP.
K-AUDIO
Kardasovska 626.
CZ-198 00 Praha 9,
CZECH REP.
SYRIA
Technical Light & Sound
Center
Rawda, Abdul Qader Jazairi St.
Bldg. No. 21, P.O.BOX 13520,
Damascus, SYRIA
SWEDEN
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (0)8 702 00 20
MARTINIQUE
Musique & Son
Z.I.Les Mangle
97232 Le Lamantin
Martinique F.W.I.
TEL: 596 596 426860
TEL: (2) 666 10529
TEL: (010) 6426-5050
DENMARK
TEL: (011) 223-5384
Roland Shanghai Electronics
Co.,Ltd.
(GUANGZHOU OFFICE)
2/F., No.30 Si You Nan Er Jie
Yi Xiang, Wu Yang Xin Cheng,
Guangzhou 510600, CHINA
TEL: (020) 8736-0428
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
SWITZERLAND
Roland (Switzerland) AG
Landstrasse 5, Postfach,
CH-4452 Itingen,
SWITZERLAND
TEL: (061) 927-8383
TURKEY
Ant Muzik Aletleri Ithalat Ve
Ihracat Ltd Sti
Siraselviler Caddesi
Siraselviler Pasaji No:74/20
Taksim - Istanbul, TURKEY
TEL: (0212) 2449624
For Australia
Tel: (02) 9982 8266
For New Zealand
Tel: (09) 3098 715
Gigamusic SARL
10 Rte De La Folie
97200 Fort De France
Martinique F.W.I.
TEL: 596 596 715222
TEL: 3916 6200
FINLAND
Roland Scandinavia As, Filial
Finland
Elannontie 5
FIN-01510 Vantaa, FINLAND
TEL: (0)9 68 24 020
UKRAINE
TIC-TAC
Mira Str. 19/108
P.O. Box 180
295400 Munkachevo,
UKRAINE
TEL: (03131) 414-40
HONG KONG
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
CENTRAL/LATIN
AMERICA
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai,
U.A.E.
MEXICO
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico
D.F. MEXICO
ARGENTINA
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
GERMANY
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844
Norderstedt, GERMANY
TEL: (040) 52 60090
TEL: 2415 0911
TEL: (55) 5668-6699
UNITED KINGDOM
TEL: (04) 3360715
Parsons Music Ltd.
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
NICARAGUA
Bansbach Instrumentos
Musicales Nicaragua
Altamira D'Este Calle Principal
de la Farmacia 5ta.Avenida
1 Cuadra al Lago.#503
Managua, Nicaragua
8th Floor, Railway Plaza, 39
Chatham Road South, T.S.T,
Kowloon, HONG KONG
TEL: 2333 1863
NORTH AMERICA
BARBADOS
A&B Music Supplies LTD
12 Webster Industrial Park
Wildey, St.Michael, Barbados
TEL: (246)430-1100
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: 2610 435400
UNITED KINGDOM
TEL: (01792) 702701
CANADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way
Richmond B. C., V6V 2M4
CANADA
INDIA
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra
Mahalaxmi Flats Compound
Off. Dr. Edwin Moses Road,
Mumbai-400011, INDIA
TEL: (022) 2493 9051
TEL: (505)277-2557
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
MIDDLE EAST
PANAMA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE
PANAMA
HUNGARY
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
TEL: 211 005
TEL: (604) 270 6626
Roland East Europe Ltd.
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint,
HUNGARY
INDONESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
Roland Canada Music Ltd.
(Toronto Office)
170 Admiral Boulevard
Mississauga On L5T 2N6
CANADA
TEL: 315-0101
CHILE
Comercial Fancy II S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
TEL: (23) 511011
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (595) 21 492147
IRELAND
Roland Ireland
G2 Calmount Park, Calmount
Avenue, Dublin 12
Republic of IRELAND
TEL: (01) 4294444
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
TEL: (905) 362 9707
KOREA
U. S. A.
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
COLOMBIA
Centro Musical Ltda.
Cra 43 B No 25 A 41 Bododega 9
Medellin, Colombia
TEL: (022) 66-9426
PERU
Audionet
Distribuciones Musicales SAC
Juan Fanning 530
Miraflores
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
TEL: (323) 890 3700
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala
Lumpur,MALAYSIA
TEL: (03) 2144-3333
TEL: (574)3812529
Lima - Peru
TEL: (511) 4461388
TEL: (021) 285-4169
As of August 20, 2004 (ROLAND)
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For EU Countries
For the USA
This product complies with the requirements of European Directive 89/336/EEC.
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.
This owner’s manual is printed on recycled paper.
03458634
’04-12-4N
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