Roland Electronic Keyboard FR 3s User Guide

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Owner’s Manual

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Owner’s Manual

Thank you for purchasing the Roland FR-3 V-Accordion. The FR-3 is an amazingly versatile electronic instrument that

can emulate the sounds of a vast array of accordions. You may know that the term “accordion” refers to a portable

musical instrument of the free reed family, that its sound is controlled by air flow from the bellows, and that there are

almost as many types as there are countries. The accordion family indeed includes instruments called “Aeloine”, “Aero-

phone”, “Bayan”, “Buzika”, “Concertina”, “Drängkammarorgel”, “Fisarmonica”, “Hanuri”, “Melodeon”, “Pedalowka”,

“Schwyzerorgeli”, “Squeeze Box”, “Sun Fin Chin”, and many others.

The major advantage of the FR-3 is that it allows you to change sounds without changing instruments. Apart from the

financial benefit (the FR-3 costs far less than what you have to pay for the emulated originals), this also means that

you can use your familiar playing style and techniques while covering a host of different musical genres.

To get the most out of the FR-3 and to ensure many years of trouble-free service, we urge you to read through this

Owner’s Manual thoroughly.

Before using this instrument, carefully read the “Important notes” (p. 9). They provide information concerning the

proper operation of the FR-3. Be sure to keep this manual in a safe place for future reference.

This manual applies to four instruments:

FR-3s & FR-3 (the keyboard versions)

FR-3sb & FR-3b (the button versions)

For reasons of space, we will use the term “FR-3” to refer to all four of them, and only use “FR-3s” and “FR-3sb”

functions that are only available on the versions with speakers.

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FR-3 V-Accordion

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V-Accordion

Contents

1. Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

2. Important notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

3. Panel descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 1

Treble control panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Bass control panel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Connection panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

4. Setting up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 4

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Securing the adapter and/or MIDI cabl e . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4

Attaching the strap s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 5

Switching the power on and off . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Listening to the demo song s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 8

First steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Touring the FR-3’s sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Using the orchestral sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

5. Other practical function s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 1

Switching off sections you don’t need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Using the metronome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

6. Editing settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 6

Selecting the desired function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

PARAM LIST parameters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

MIDI parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

7. Restoring the factory defaults. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 3

8. Using optional batterie s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 4

What can you do with batteries? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Installing and removing batteries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

9. Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 6

10. Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 7

11. Appendix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 8

Factory Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

MIDI implementation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

12. Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 2

13. Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6 3

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Features | Features

1. Features

Stand-alone electronic instrument

The digital advantage

Though the FR-3 is a fully electronic instrument, you do

not need to connect the FR-3s/FR-3sb to an amplifier in

order to produce sounds. Its onboard amplification sys-

tem is powerful enough for small venues, restaurants,

etc. (The FR-3/FR-3b has no internal amplification.)

The V-Accordion includes all functions and sounds of a

traditional accordion, thus conveying a truly natural

feel and sound. Yet it also provides the advantages only

an electronic musical instrument can give you:

• reduced overall weight;

• possibility to choose among a wide variety of sounds;

• tuning stability over time and wear resistance of all

mechanical parts;

• you can sound in a different key than the one you are

playing in (transpose function);

Sophisticated MIDI control

The FR-3 is the most versatile and “musical” MIDI con-

troller to date, going far beyond the control possibilities

of a MIDI keyboard with optional performance func-

tions or of MIDIfied wind instruments.

• you can play with headphones, i.e. without disturbing

your neighbors or family.

PBM (Physical Behavior Modeling)

The FR-3 V-Accordion is based on Roland’s sound gen-

eration technology called “PBM” (Physical Behavior

Modeling) whose sonic result is very close to the sound

of traditional accordions.

Superb performance flexibility

The V-Accordion allows you to control external MIDI-

compatible instruments. The Treble keyboard and

chord/bass buttons are velocity-sensitive, while the bel-

lows controller provides more articulation possibilities

than any other MIDI keyboard, MIDI wind instrument,

etc., you may know.

Super realistic accordion simulations

The FR-3 provides 10 memories called “Sets”, with 10

treble registers, 7 bass & chord registers, and 7 Free

Bass registers. All sounds it produces were obtained by

sampling popular traditional acoustic accordions. Dif-

ferent tuning systems are also available.

In High or Low mode (see p. 25), you can control up to

4 parts simultaneously (two sounds in the right hand/

two sounds in the left).

This V-Accordion allows you to switch from an Italian

jazz accordion to German folk, French musette or a his-

toric bandoneon sound – without changing your tech-

nique.

Useful accessory

The FR-3 has a compartment for optional AA-type bat-

teries. Consider purchasing such batteries (you will

need 10) when performing on stage, or to use the

FR-3s/FR-3sb as a stand-alone instrument (taking

advantage of its internal speakers).

Orchestral sounds

10 orchestral sounds can be used in combination with

traditional accordion sounds – complete with full bel-

lows articulation (something like breath control for

accordions, but much more refined) and unique key-

board modes (Solo, Dual, High and Low).

Orchestral bass and chord sounds

The FR-3 also provides 7 orchestral bass and chord

sounds for the Bass and Chord sections as well as the

Free Bass section.

• All product names mentioned in this document are trademarks or

registered trademarks of their respective owners.

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V-Acco_Urd_sinio_gn_ther_{unit safely}

Using the unit safely

The

symbol alerts the user to important instructions

Used for instructions intended to alert

the user to the risk of death or severe

injury should the unit be used

improperly.

or warnings.The specific meaning of the symbol is

determined by the design contained within the

triangle. In the case of the symbol at left, it is used for

general cautions, warnings, or alerts to danger.

Used for instructions intended to alert

the user to the risk of injury or material

damage should the unit be used

improperly.

The

symbol alerts the user to items that must never

be carried out (are forbidden). The specific thing that

must not be done is indicated by the design contained

within the circle. In the case of the symbol at left, it

means that the unit must never be disassembled.

* Material damage refers to damage or

other adverse effects caused with

respect to the home and all its

furnishings, as well to domestic

animals or pets.

The G symbol alerts the user to things that must be

carried out. The specific thing that must be done is

indicated by the design contained within the circle. In

the case of the symbol at left, it means that the power-

cord plug must be unplugged from the outlet.

• Do not excessively twist or bend the adapter cord, nor

place heavy objects on it. Doing so can damage the cord,

producing severed elements and short circuits. Damaged

cords are fire and shock hazards!

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

• Use only the attached power-supply cord. Also, the sup-

plied power cord must not be used with any other device.

• Before using this instrument, read the instructions below

and the Owner’s Manual.

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

• Do not open (or modify in any way) the unit or its AC

adapter.

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

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

• Do not attempt to repair the FR-3 or replace parts within

it (except when this manual provides specific instructions

directing you to do so). Refer all servicing to your retailer,

the nearest Roland Service Center or an authorized

Roland distributor, as listed on the “Information” page.

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

• This instrument, 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 FR-3 and consult

an audiologist.

• Never use or store the FR-3 in places that are:

• Subject to temperature extremes (e.g., direct sunlight

in an enclosed vehicle, near a heating duct, on top of

heat-generating equipment); or are

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

• Do not allow any objects (e.g., flammable material, coins,

pins); or liquids of any kind (water, soft drinks, etc.) to

penetrate the FR-3.

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

• Humid; or are

• Exposed to rain; or are

• Dusty; or are

• Subject to high levels of vibration.

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

• When not in use, do not place the FR-3/FR-3b or FR-3s/

FR-3sb vertically due to instability. If placed in the verti-

cal position on the floor/stage, ensure that it leans

against a stable vertical surface e.g. a wall or a heavy

musical instrument.

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

• Batteries must never be recharged, heated, taken apart,

or thrown into fire or water.

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

• In households with small children, an adult should pro-

vide supervision until the child is capable of following all

rules essential for the safe operation of the FR-3.

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

• Protect the FR-3 from strong impact.

(Do not drop it!)

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

• The FR-3’s adapter should only be connected to a power

supply of the type described in the operating instructions

or as marked on the adapter’s label.

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

• Be sure to use only the AC adaptor supplied with the

unit. Also, make sure the line voltage at the installation

matches the input voltage specified on the AC adaptor's

body. Other AC adaptors may use a different polarity, or be

designed for a different voltage, so their use could result in dam-

age, malfunction, or electric shock.

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

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

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Features | Using the unit safely

• Immediately turn the power off, remove the adapter

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:

• Never handle the adapter or its plugs with wet hands

when plugging into or unplugging from, an outlet or this

unit.

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

• The adapter’s cord or the plug has been damaged; or

• If you need to move the FR-3, take note of the precau-

tions listed below. Make sure to have a firm grip, to pro-

tect yourself from injury and the instrument from dam-

age.

• Objects have fallen into or liquid has been spilled onto

the FR-3; or

• The unit has been exposed to rain (or otherwise has

become wet); or

• Disconnect the adapter.

• Disconnect all cords coming from external devices.

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

• The unit does not appear to operate normally or

exhibits a marked change in performance.

• Before cleaning the FR-3, turn off the power and unplug

the power cord from the outlet.

• Do not force the adapter 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 eventu-

ally melt through.

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

• Whenever you suspect the possibility of lightning in your

area, disconnect the adapter from the outlet.

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

• Should you remove screws, make sure to put them in a

safe place out of children’s reach, so there is no chance

of them being swallowed accidentally.

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

• Before using the FR-3 in a foreign country, consult with

your retailer, the nearest Roland Service Center or an

authorized Roland distributor, as listed on the “Informa-

tion” page.

• The FR-3 should be located so that its location or posi-

tion does not interfere with its proper ventilation.

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

• Always grasp only the plug on the power-supply cord

when plugging into or unplugging from, an outlet or this

unit.

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

• At 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, discon-

nect the power plug from the power outlet whenever the

FR-3 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.

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

• If used improperly, batteries may explode or leak and

cause damage or injury. In the interest of safety, please

read and observe the following precautions.

• Carefully follow the installation instructions for bat-

teries, and make sure you observe the correct polarity.

• Avoid using new batteries together with used ones. In

addition, avoid mixing different types of batteries.

• Remove the batteries whenever the unit is to remain

unused for an extended period of time.

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

• Used batteries must be disposed of in compliance with

whatever regulations for their safe disposal that may be

observed in the region in which you live.

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

• Try to prevent cords and cables from becoming entan-

gled. Also, all cords and cables should be placed out of

the reach of children.

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

• Never climb on top of, nor place heavy objects on the

FR-3.

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

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V-Accordion r

Important notes

2. Important notes

In addition to the items listed under “Using the unit safely” on p. 7, please read and observe the following:

• Do not paste stickers, decals or the like on this instrument. Peeling

these off, particularly when strong adhesives have been used, can

damage the instrument’s exterior finish (the stickers provided with

this instrument feature a weak adhesive).

Power supply

• Do not connect the FR-3 to same electrical outlet that is 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.

Maintenance

• For everyday cleaning wipe the FR-3 with a soft, dry cloth or one

that has been slightly dampened with water. To remove stubborn

dirt, use a mild, non-abrasive detergent. Afterwards, be sure to

wipe the instrument thoroughly with a soft, dry cloth.

• Do not use this instrument on the same power circuit with any

device that will generate line noise (such as an electric motor or

variable lighting system).

• Never use benzene, thinner, alcohol or solvents of any kind, to

avoid the possibility of discoloration and/or deformation.

• Before connecting the FR-3 to other devices, turn off the power to

all units. This will help prevent malfunctions and/or damage to

speakers or other devices.

Repairs and data

• Please be aware that all data contained in the instrument’s mem-

ory may be lost when it is sent for repairs. In certain cases (such as

when circuitry related to memory itself is out of order), we regret

that it may not be possible to restore the data. Roland assumes no

liability concerning such loss of data.

• The AC adaptor will begin to generate heat after long hours of

consecutive use. This is normal, and is not a cause for concern.

• Although the display and LEDs are dark when the POWER switch is

off, this does not mean that the unit has been completely discon-

nected from the power source. To turn off the power completely,

first turn off the POWER switch, then unplug the power cord from

the wall outlet. For this reason, the outlet to which you connect

the power cord’s plug should be one that is within easy reach.

Additional precautions

• When moved from one location to another where the temperature

and/or humidity is very different, water droplets (condensation)

may form inside the FR-3. Damage or malfunction may result if

you attempt to use the FR-3 in this condition. Therefore, before

using the FR-3, you must allow it to stand for several hours, until

the condensation has completely evaporated.

Placement

• Using the FR-3 near power amplifiers (or other equipment con-

taining large power transformers) may induce hum. To alleviate

the problem, change the orientation of this unit; or move it farther

away from the source of interference.

• Please be aware that the memory contents can be irretrievably lost

as a result of a malfunction or the improper operation of the

instrument. Therefore, be sure to archive important settings using

the FR-3’s Bulk Dump function (see p. 52).

• This device may interfere with radio and television reception. Do

not use this device in the vicinity of such receivers.

• Use a reasonable amount of care when using the instrument’s

buttons, other controls and jacks/connectors. Rough handling can

lead to malfunctions.

• Do not place the FR-3 near devices that produce a strong mag-

netic field (e.g., loudspeakers).

• Install the FR-3 on a solid, level surface.

• Never strike or apply strong pressure to the display.

• Noise may be produced if wireless communications devices, such

as cell phones, are operated in the vicinity of this unit. Such noise

could occur when receiving or initiating a call or while conversing.

Should you experience such problems, relocate such wireless

devices so they are at a greater distance from this unit or switch

them off.

• When connecting/disconnecting 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.

• A small amount of heat will radiate from the instrument during

normal operation. This is perfectly normal.

• To avoid disturbing your neighbors, try to keep the instrument’s

volume at reasonable levels. You may prefer to use headphones, so

you do not need to be concerned about those around you (espe-

cially late at night).

• Do not expose the unit to direct sunlight, place it near devices that

radiate heat, leave it inside an enclosed vehicle or otherwise sub-

ject it to temperature extremes. Also, do not allow lighting devices

that normally are used while their light source is very close to the

unit (such as a piano light) or powerful spotlights to shine upon

the same area of the unit for extended periods of time. Excessive

heat can deform or discolor the unit.

• When you need to transport the instrument, package it in the box

(including padding) that it came in. Otherwise, you will need to use

equivalent packaging materials or a flightcase.

• Use Roland cables to make audio connections. If using some other

make of connection cable, please note the following precautions.

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 information on cable specifications, contact the man-

ufacturer of the cable.

• To avoid possible breakdown, do not use the unit in a wet area,

such as an area exposed to rain or other moisture.

• Do not allow rubber, vinyl or similar materials to remain on the

instrument for long periods of time. Such objects can discolor or

otherwise harmfully affect the finish.

• Do not put anything that contains water (e.g., flower vases) on the

instrument. Also, avoid the use of insecticides, perfumes, alcohol,

nail polish, spray cans, etc., near the unit. Swiftly wipe away any

liquid that spills on the unit using a dry, soft cloth.

• Do not allow objects to remain on top of the keyboard or buttons.

This can be the cause of malfunction, such as keys or buttons ceas-

ing to produce sound.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Important notes | Important notes

Precautions for optional batteries

• The temperature range for use of the batteries depends on the

battery type being used. Please see the documentation that came

with the batteries.

• Do not use or store batteries at high temperature, such as in

strong direct sunlight, in cars during hot weather or directly in

front of heaters. This may cause battery fluid leakage, impaired

performance and shorten the batteries’ service life.

• Do not splash fresh or saltwater on a battery or allow the termi-

nals to become damp. This may cause heat generation and forma-

tion of rust on the battery and its terminals.

• If newly purchased batteries exhibit rust, generate heat or seem

abnormal in any other way, do not use them. Take them back to

your dealer.

• Keep the batteries out of reach of babies or small children.

• Be sure to carefully instruct any person on the proper way of han-

dling a battery.

• Never dispose of the battery in a fire. Never heat it. Doing so may

melt the insulation, damage the gas release vents or protective

devices, cause combustion through chemical reaction with gener-

ated hydrogen, ejection of battery fluid, bursting or fire.

• Do not use batteries with the positive (+) and negative (–) termi-

nals reversed, as this may drain the batteries or cause abnormal

chemical reactions.

• Do no strike or drop the batteries. Strong impact can cause leak-

age of battery fluid, heat generation, bursting or fire.

• Never try to connect several batteries in parallel as this may cause

leakage of battery fluid, heat generation, bursting or fire.

• Do not alter or remove protective mechanisms or other parts.

Never disassemble the batteries.

• If any fluid from a battery comes in contact with the eyes, flush

the eyes immediately, washing them thoroughly with clean water

from a tap or other source and consult a doctor. Strong alkaline

fluid can damage the eyes and lead to permanent loss of eyesight.

• If skin or clothing comes in contact with any fluid from the bat-

tery, wash the area immediately with clean water from a tap. Bat-

tery fluid can cause skin damage.

• When a battery is no longer usable, dispose of it in accordance

with all applicable local laws and regulations.

• If a battery leaks fluid, changes color or shape or changes in any

other way, do not use it, otherwise it may cause heat generation,

bursting or fire.

Strap holder precaution

• Never unscrew the strap holder rings to avoid damaging the FR-3’s

plastic housing, which eventually compromises overall stability

and safety.

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V-Accordion r

Panel descriptions

3. Panel descriptions

Treble control panel

POWER button

F Treble registers

Press this button to switch the V-Accordion on (the

button lights) and off (button dark).

The Treble section provides the following 10 switches

(“registers”) that allow you to select various footages

(see p. 21).

SORDINA switch

This MELLOW/BRIGHT switch allows you to switch the

simulation of the wooden resonance chamber on

(“BRIGHT”) and off (“MELLOW”).

Treble registers

Bassoon

Bandon

Harmon

Organ

Musette

Violin

VOL knob

This knob allows you to set the V-Accordion’s overall

volume.

Oboe

BAL knob

This knob allows you to set the balance between the

Bass and the Treble sections. Turn it towards “BASS”

to decrease the Treble section’s volume. Turn it

towards “TREBLE” to decrease the Bass section’s vol-

ume.

Clarinet

Piccolo

Master

If you hold down [SET] or [ORCHESTRA], the Treble

registers can also be used to select and/or set various

parameters.

Note: The Treble register assignments change when you select

Set 5 “F FOLK”. See page 22 for details.

SET register

This register has three functions: if you press and

then release it, you can select the desired Set (from

among 10 available Sets).

ORCHESTRA register

After pressing [SET], you can use the Treble registers

The [ORCHESTRA] register serves three purposes:

after pressing it, you can use the Treble registers to

select one of the 10 on-board orchestral sounds for

the Treble section. Activate it, then press one of the

registers 1~0 to select the desired sound (“TROM-

BONE”, “TRUMPET”, “T SAX”, “A SAX”). See the red leg-

ends below the registers. Press it again to assign reg-

isters 1~0 to the Treble section.

to select one of the following Sets:

CLASSIC

JAZZ

SP FOLK

BANDONEON

ALPINE

I FOLK

D FOLK

F FOLK

CAJUN

TEX MEX

By pressing and holding it, you gain access to the

parameter and MIDI functions printed below the

remaining registers that allow you to change several

settings.

Press and hold this register to activate the demo song

function (see p. 18) and select a demo song using

registers [1÷–] (previous) or [2÷+] (next).

Press and hold it while pressing register [7], [8], [9] or

Press it together with register [1÷–] or [2÷+] to change

[0] to select an Orchestra mode (see p. 25).

octaves.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Panel descriptions | Bass control panel

METRONOME button

CHORUS knob

Use this knob to set the level of the chorus effect (see

p. 22).

Press this button to switch the metronome on and

off (see p. 31). It can also be used to transmit Start/

Stop messages to external MIDI devices.

REVERB knob

Use this knob to set the level of the reverb effect (see

p. 22).

Bass control panel

Bass registers

ORCH FREE BS/ORCH CHORD registers

These switches allow you to select the desired bass

mix. They include the following footages:

By pressing these three registers, you activate (or

switch off) one of two Orchestra sections: ORCH

CHORD (if the Free Bass section is off) or ORCH FREE

BS (if the Free Bass section is on). “ORCH CHORD”

allows you to assign an orchestral sound to the chord

buttons. “ORCH FREE BS” can be used to select an

orchestral bass sound for the Free Bass section. See

p. 28 for details.

Bass registers

2’

8’/4’/2’

4’

16’/8’/8-4’

16’/2’

8-4’

FREE BASS registers

Press the first three (“FREE BASS”) registers (viewed

from the top) simultaneously to enter Free Bass

mode. Press the first three registers again to return to

normal bass mode.

16’/8’/8-4’/4’/2’

ORCH BASS registers

Press the last three (“ORCH BASS”) registers (viewed

from the top) simultaneously to enter Orchestra Bass

mode (see p. 27). Doing so switches off the accordion

bass sound and selects an orchestral sound. Press the

last three registers again to return to normal bass

mode.

Free Bass registers

Low

Low Low + High

High Low + High

Low High

High

Low + High

Low + High Low

Display

The display keeps you informed about the FR-3’s sta-

tus and helps you locate the functions you may wish

to set.

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V-Accordion r

Connection panel

DC IN socket

PHONES socket

This is where you need to connect the supplied power

adapter (PSB-4U). Note that you can also purchase

10 optional batteries and use the FR-3 without the

adapter.

This is where you can connect stereo headphones

(Roland RH-25, RH-50 or RH-200). On the FR-3s/

FR-3sb, connecting a pair of headphones mutes the

internal speakers.

MIDI OUT/IN socket

Important remark

This socket can be used to receive or transmit MIDI

data. Its function depends on the setting of the “MId”

parameter (see p. 48).

After connecting any cable to the FR-3, be sure to never

place it on the side when not using it.

OUTPUT L/MONO (TREBLE) & R/MONO (BASS) sockets

These sockets can be connected to an amplifier, a

mixing console or a wireless system. If you use both

connectors, the FR-3’s output is stereo. In that case

the signals of the Treble section is transmitted to the

L/MONO socket, while the R/MONO socket transmits

the bass (and chord) signal. If you only use one jack

(connected to the “L” or “R” socket), the FR-3’s output

is mono.

• Always stand the V-Accordion on its rubber feet (and in

the corresponding direction) to avoid damaging the

plugs.

• Always handle and move the FR-3 with care and pay

special attention to the cable slack to avoid damaging

or bending the cables.

• If you place the FR-3 on your lap, ensure that the audio

and adapter cables run between your legs (not side-

ways) to avoid damaging or bending the cables.

Note: On the FR-3s/FR-3sb, connecting jacks to these sockets

does not mute the internal speakers.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Setting up

4. Setting up

Connections

The FR-3 has a compartment for 10 optional AA-type batteries. Consider purchasing such batteries when performing on

stage, or to use the FR-3s/FR-3sb as a stand-alone instrument (taking advantage of its internal speakers). An FR-3/FR-3b

with optional batteries still needs to be connected to an amplifier.

Using the OUTPUT sockets

If you are using optional batteries

Note: The same connections apply to the FR-3sb and FR-3b.

and need to connect the FR-3 to a

PA system or mixer, we recom-

mend using a wireless system to

avoid having to use excessively

long signal cables.

The FR-3s/FR-3sb is equipped with

an internal speaker system and

thus does not need to be con-

nected to an amplifier at all. The

FR-3/FR-3b, on the other hand,

does require an audio connection.

You can also use a pair of head-

OUTPUT

L/MONO + R/MONO

INPUT

L + R

phones (Roland RH-25, RH-50,

RH-200 or RH-300). In the case of

the FR-3s/FR-3sb, connecting

headphones switches off the inter-

nal speakers.

To a wall outlet

Use either a long signal cable (10m or more) or an optional wireless system (recommended).

Note: 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.

Securing the adapter and/or MIDI

cable

Proceed as follows to ensure that the adapter cable –or

a MIDI cable– doesn’t come loose while you are play-

The FR-3’s sounds have been arranged in such a way as

to provide a natural stereo image. If you connect the

V-Accordion to a mixing console, set the PAN parame-

ter of the input to which the OUTPUT L socket (Treble

section) is connected to “3 o’clock” and the PAN con-

trol of the channel to which the OUTPUT R socket (Bass

section) is connected to “11 o’clock” to preserve this

ing.

(1) Remove the padding at the back of the FR-3.

The padding is attached with several clips and can be

removed simply by unclipping it.

balance. Something like this:

. This setting

B/C

can be changed, however (see “Stereo Width” on

p. 41).

Note the guide next to the right clip closest to the

connection panel.

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V-Acco_Ard_tti_ao_chn_ingr_{the straps}

(2) Connect the small plug of the adapter cable to the

DC IN socket and wind the cable around the guide:

(3) Reinstall the padding, taking care to secure the

adapter cable and/or MIDI cable you have just

installed.

When finished, the FR-3 should look as follows:

You can also connect the MIDI cable to the MIDI OUT/

IN socket and wind it around the guide like the

adapter cable.

(4) Reverse these steps to remove and disconnect the

adapter when you want to stop playing.

Attaching the straps

Proceed as follows to attach the straps to your FR-3:

(1) Unpack the straps.

(5) Close the security clip to ensure that the strap can-

not come loose.

(2) Put the FR-3 on a stable surface.

The connection panel must face down.

(3) Slide the upper end of one strap through the

holder ring (see the illustration).

The upper end is the part with the velcro portions

and the clip.

(6) Repeat steps (3)~(5) for the other strap.

The upper strap ends should look as follows:

(4) Fasten the strap’s upper part to the velcro layer

below it.

(7) Turn the FR-3 around (with the connection panel

on the left side, see below).

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Switching the power on and off

(8) Slide the lower end of one strap through the

holder ring as shown.

(10)Turn the strap end around and insert it into the

lower eyelet, then pull it tight.

(9) Slide the strap end through the upper eyelet of its

plastic buckle (see the illustration).

(11)Slide the plastic clip over the loose and long lower

strap ends to secure the strap.

Note: You may want to adjust the length first to suit your

preference.

(12)Repeat steps (8)~(11) for the other lower strap

end.

Switching the power on and off

The power-on procedure depends on whether or not

you are using optional batteries.

(2) Connect the FR-3’s DC INLET socket to a wall outlet

that meets the specifications (see p. 57).

Note: If you decide to use rechargeable AA batteries, be aware

that they cannot be recharged simply by leaving them in the

FR-3’s compartment and connecting the adapter. You will need

an external charging unit.

Note: Once the connections have been completed, 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.

If you are using the supplied adapter

If the FR-3 is powered by the supplied adapter, pro-

ceed as follows:

(1) Connect the supplied adapter to the FR-3’s DC IN

socket.

To a wall outlet

The adapter should only be connected to a power

source of the type marked on its label. For details on

the power consumption, please refer to page 57.

(3) Turn down the output volume of the receiving

audio device.

You can also simply switch it off.

(4) Connect the FR-3’s OUTPUT sockets to the external

audio device (amplifier, mixing console, etc.).

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V-Accordion r

Using batteries and no external ampliﬁcation (FR-3s/FR-3sb only)

(5) Press the FR-3’s [POWER] button to switch it on.

(6) Switch on the receiving audio device.

If you are using batteries and an audio connec-

tion to an external device

The FR-3/FR-3b needs to be connected to an amplifica-

tion system of some sort (unless you want to use head-

phones).

(7) Start playing (see “First steps” on page 19).

Note: 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.

Note: You can also purchase a wireless transmitter from third-

party suppliers and connect it to the FR-3’s OUTPUT sockets.

—To switch off you system—

(1) Turn down the output volume of the receiving

audio device.

(8) Turn down the output volume of the receiving

audio device or switch it off.

You can also simply switch it off.

(2) Connect the FR-3’s OUTPUT sockets to the external

(9) Press the FR-3’s [POWER] button again so that its

audio device using two 1/4” guitar cables.

Note: You can also connect headphones to the PHONES

socket, in which case you do not need to establish an audio

connection.

indicator goes dark.

Using batteries and no external amplification

(FR-3s/FR-3sb only)

Note: See page 54 for how to work with batteries.

(3) Press the FR-3’s [POWER] button (it lights) to

switch it on.

(1) Press the FR-3s/FR-3sb’s [POWER] button (it lights)

to switch it on.

(4) Switch on the receiving audio device.

(5) Start playing (see “First steps” on page 19).

—To switch off your system—

(6) Turn down the output volume of the receiving

audio device, or switch it off.

(7) Press the FR-3’s [POWER] button again so that it

goes dark.

Note: You can also connect headphones.

(2) Start playing (see “First steps” on page 19).

(3) Press the [POWER] button again so that it goes

dark when you are finished.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Switching the power on and off

Listening to the demo songs

One of the most striking aspects of your V-Accordion may be that it can play all by itself! It contains a series of demo

songs that illustrate its wide variety of sounds and applications. Here is how to listen to the demo songs:

(1) Switch on the FR-3.

(3) Use registers [1] and [2] (“VALUE –/+”) to select the

See “Switching the power on and off” on p. 16.

demo song you want to listen to.

(2) Press and hold the [ORCHESTRA] register until the

display looks as follows:

CHORD/

BASS FREE BS TREBLE

_ 1

ORCHESTRA

TROMBONE

DOWN

TRUMPET

VALUE

Playback starts automatically with the first demo

song (there are 25 demo songs in all). At the end of

the first song, the FR-3 starts playing songs “2”, “3”

etc. You can also directly jump to the song you’re

interested in:

(4) Use the [VOL] knob to change the volume if it is

too loud or too soft.

Public performance or recording of these songs is prohibited.

(5) Press [ORCHESTRA] again to leave the demo song

mode.

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V-Accordion

First steps

The sections of your FR-3

Before showing you how to use the FR-3, let’s briefly look at the

various “sections” of your instrument, as that will help you

understand how your V-Accordion works.

The FR-3 is a “virtual” accordion. That term was borrowed from

synthesizers that recreate the sounds of other synthesizers

using a different technology (hence the term “virtual analog

synthesizer”, for example).

Bass, Chord,

Free Bass,

Orchestra Bass,

Orchestra Chord,

Orchestra Free

Bass section

The FR-3 recreates the sounds of various accordion instruments

(the “virtual” part) and can even generate orchestral sounds,

like trumpet, flute, etc. (the synthesizer part).

The sections outlined in the illustration to the right contain sev-

eral functions you can set. Let us agree to call those functions

“parameters”.

Treble section

Orchestra section

Registers of the bass, chord, Free

Bass and Orchestra Bass/Chord/Free

Bass sections

The parameters allow you to change certain aspects of

the FR-3’s sound: you can set the Musette detuning

system, the levels of various sections, add digital

effects, and more. Your settings can be saved. There is

thus no need to set the parameters time and again.

Note, however, that they always apply to all Sets.

There are 10 Treble registers, 7 Bass, and 7 Free Bass

registers. In addition, each section can play an orches-

tral sound (piano, guitar, etc.): Orchestra (10 sounds),

Orchestra Bass (7), Orchestra Chord (7), and Orchestra

Free Bass.

The (accordion) registers behave like on an acoustic

accordion, i.e. they allow you to change the footage

combinations. Those registers also double as sound

selection buttons when one of the sections (Treble,

Bass, Chord or Free Bass) plays an orchestral sound.

The accordion sections are combined into “Sets”.

Those Sets have been programmed at the factory and

cannot be changed. The FR-3’s internal structure looks

as follows:

Oh, and… the Sets can be selected by pressing the [SET]

Orchestral

1~10

GLOBAL

Metronome

Reverb

Chorus

Level

Touch

Set 10

Orch. Bass

1~7

As stated above, the Sets have been programmed at the

factory and cannot be changed.

Set 3

Set 2

Set 1

Orch. Chord

1~7

Most of these set-

tings can be saved.

Orch FB

1~7

Treble

1~10

Bass

1~7

Free Bass

1~7

There are 10 Set memories that contain useful settings

right out of the box. You cannot replace them with

your own settings. They are influenced, however, by

certain GLOBAL settings. The GLOBAL parameters apply

to all Sets and all sections.

Sets are like the trunk of a car that contains several

instruments (bandoneon, musette, etc.). The instru-

ments themselves can be recalled via the registers.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | First steps

How to read the display

With the exception of the display and the additional buttons and knobs, the FR-3 looks like a conventional accordion.

The display contains important clues about the settings that are currently in effect.

What’s shown in the display depends on how you are

using your FR-3 and what your are doing.

The above applies to situations where no orchestral

sound is used.

ISets

IOrchestral sections

After pressing the [SET] register, the display looks

If you do select an orchestral sound, the display looks

more or less as follows:

as follows:

CHORD/

BASS FREE BS TREBLE

CHORD/

BASS FREE BS TREBLE

St1

ORCHESTRA

A dot (see “2.”) means

that the section in

question plays an

2.40

orchestral sound.

ORCHESTRA

“St” flashes to signal that you need to press a register

([1]~[0]) to select a Set memory. “0” (TEX MEX), by the

way, refers to Set number “10”.

As printed below the display (D), a dot to the right

of a figure means that the section in question (BASS

in the example above) does not play an accordion but

an orchestral sound.

Each Set represents one accordion type whose sound

can be modified by switching the desired registers on

and off. This is identical to the behavior of an acous-

tic accordion. Unlike an acoustic accordion, however,

your FR-3 can simulate different instrument types.

Note: If you don’t select a Set, the “St” message stops flashing.

If you then press a Treble register, only the sound of the right

hand (Treble) changes.

Our example therefore means:

• You have assigned orchestral sound “2” (“Bowed”) to

the Bass section.

• The chord buttons are assigned to accordion register

“4”.

• The Treble section plays register “10” (which is called

“0”).

Both the chord buttons and the Treble keyboard play

accordion sounds, while the 2 bass rows of the but-

ton keyboard play an orchestral sound.

IAccordion sections

Once you have selected a Set, the display indication

changes to something like this (after a few seconds):

B C

CHORD/

BASS FREE BS TREBLE

If the middle digit flashes and is followed by a dot,

the bass buttons play an orchestral sound that is

assigned to the Free Bass section.

440

ORCHESTRA

CHORD/

BASS FREE BS TREBLE

The middle digit ﬂashes

when the ORCH FREE BS

section is active.

43.0

ORCHESTRA

Carefully look at what is printed above the display:

BASS

(A)

The digit in this column refers to the Bass reg-

ister you selected last. (It is also displayed in

Free Bass mode to remind you of the Bass reg-

ister you will return to when you leave Free

Bass mode.)

the Bass button keyboard” on p. 29 for details about

the left and middle dots.

CHORD

The digit in this column refers to:

FREE BS • The selected chord register (when Free Bass

(B)

mode is off) –OR–

• The selected Free Bass register (the middle

digit flashes to signal that you are in Free

Bass mode)

The chord register is always identical to the

bass register. The first two digits are therefore

usually the same. When Free Bass mode is

active, however, the digit in the middle may

differ from the left one (and it flashes).

TREBLE

(C)

The digit in this column refers to the selected

Treble register.

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V-Accordion r

Touring the FR-3’s sections

It’s time we put the FR-3 through its paces, because that’s what you purchased it for. We’ll work section by section.

Bellows resistance regulator

Treble section

Your FR-3 is equipped with a bellows resistance regula-

tor knob that allows you to specify the bellows’ inertia

(the force needed to push and pull it).

The Treble section can be played

using the 37-key “piano” keyboard

(FR-3s and FR-3) or the 92 treble

buttons (FR-3sb and FR-3b).

The sound it produces is deter-

mined by the register (1~0) you

pressed last. This section can be

used as “accordion”, to play an

orchestral sound or both.

(1) Connect the FR-3 (if neces-

sary) and switch it on.

Bellows resistance regulator. Turn

to select the bellows’ resistance.

Air button. Press to purge

remaining air after playing.

See pages 14 and 16.

(2) Grab the FR-3, press a Treble register and start

playing on the keyboard.

Located next to one of the bellows clips and mounted

onto the air button (which allows you to release

remaining air from the bellows without producing

sound), it can be set to one of four positions, each one

corresponding to a lighter or stronger inertia. Choose

the setting that feels most comfortable for you.

Though the FR-3 is an electronic musical instrument,

it only produces sound when you move the bellows.

As long as you don’t move the bellows, you hear

nothing at all (like on an acoustic accordion).

Note: If you want to play the FR-3 without moving the bel-

lows, you need to set the “bLC” parameter (see p. 41) to “2”

(you can also select “1” or “3”).

Bass strap

Note: When the FR-3 is controlled via MIDI, there is no need

to move the bellows.

The FR-3’s bass strap (used

to move the bellows in

and out) is made of fabric

and fitted with a velcro

strip that allows you to

adjust its slack:

(3) Press the [SET] register.

The “St” message starts flashing to signal that you

need to press a register.

CHORD/

BASS FREE BS TREBLE

St1

ORCHESTRA

The “Roland” logo now flashes in blue.

(4) Press one of the registers [1]~[0] to select a Set

memory.

The “Roland” logo changes color and stops flashing.

(5) Play a few notes to audition the sound.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Touring the FR-3’s sections

Note: For Set [5] (and only for that Set), registers [6] and [7]

provide access to two sounds (a/b). To select a “b” sound, press

the corresponding register twice.

(6) Press one of the registers [1]~[0] to select another

footage.

The display now shows the number of the newly

selected Treble register:

(7) If you think the sound is too loud or too soft, you

can change the setting of the [VOL] knob.

CHORD/

BASS FREE BS TREBLE

443

ORCHESTRA

The indications printed on the front panel refer to the

octaves (vertical direction,

slightly detuned reeds that are used (horizontal

direction, ). The detuned reeds are only available

) and the number of

for the central register (8’).

(8) If you still can’t hear the Treble notes, set the [BAL]

knob to the center position.

This knob is used to set the balance between the Tre-

ble and Bass registers. When it is turned all the way

to “BASS”, the Treble section is inaudible. When you

change the Balance setting, the display briefly con-

firms your setting (“t1”~“t63”, “0” or “b1”~“b63”).

8–' 16' 8+'

Here is what the footages correspond to:

Treble registers (Sets 1~4, 6~0)

(9) Press [SET] and one of the registers [1]~[0] to select

another Set and again play a few notes.

Bassoon

Bandon

Harmon

Organ

Musette

Violin

IUsing the Sordina

The [SORDINA] switch

allows you to attenu-

SORDINA

Oboe

ate the sound (make it

softer, select “MEL-

MELLOW

Clarinet

Piccolo

LOW”). On an acoustic

accordion, this closes

the wooden resonance

chamber inside the

instrument.

Master

The gray dots of registers [6] and [7] mean that you

can add a second detuned reed (8’–) for a fuller

sound. To do so, press the corresponding register

again.

The FR-3 simulates this

effect electronically (it

contains not a single

reed!).

When you select Set 5 “F FOLK”, the footages

change as follows. This is not printed on the front

panel, so please refer to the table below:

Note: The Sordina only applies to the Treble section.

IUsing the FR-3’s digital effects

Treble registers (Set 5)

While playing on the Treble keyboard, you may have

noticed that the accordion sounds are enhanced by

effects (probably reverb).

Bassoon

Jazzy

Av Musette

Sos Musette

Sw Valse

Mr Gus

The FR-3 contains 2 digital

effects:

Arnold

Beguine

4 Voix

Reverb: This effect creates the

impression that you are playing

in a concert hall, a church or a

room. It adds “depth” to the

sound.

Oboe

Clarinet

Piccolo

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V-Accordion _Br_{ass section}

Chorus: This effect creates the impression that sev-

eral instruments of the same type are playing at the

same time (it is similar to detuning several reeds of a

(1) Connect the FR-3 (if necessary) and switch it on.

See pages 14 and 16.

(2) Grab the FR-3, press a register and start playing on

the Bass (button) keyboard.

The [CHORUS] and [REVERB] knobs allow you to set

the volume of these effects. Turn them all the way

towards the left (the small dot) if you don’t need the

effect in question. The selected value (0~127) is

briefly shown in the display.

Though the FR-3 is an electronic musical instrument,

it only produces sound if you move the bellows.

(3) Press another register to change the sound.

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

[7]

[6]

[5]

[4]

[3]

[2]

[1]

Turn them towards the right (the big dot) to increase

the effect volume.

Note: The settings of these knobs apply to all sections and all

Bass registers

Sets.

2’

4’

8’/4’/2’

Bass section

The Bass section can be played via the “Stradella” but-

tons.

16’/8’/8-4’

16’/2’

8-4’

16’/8’/8-4’/4’/2’

Note: The numbers shown in the illustration above do not

appear on the registers themselves. They have been added for

your reference.

The display briefly confirms your setting and indi-

cates which footage you selected:

The buttons in this section allow you to play both bass

notes and chords. The chords use the (sound) register

selected for the Bass section – hence the name of this

section. The “real” bass notes are assigned to the two

highlighted rows. The remaining buttons are used to

play chords.

CHORD/

BASS FREE BS TREBLE

443

ORCHESTRA

The FR-3 is supplied with several reference caps (con-

cave and with lines) to help you locate the bass and

chord buttons without looking at them. At the factory,

three caps are installed on the black buttons in the fol-

lowing illustration. Feel free to remove them and to

slide them over other buttons if that feels more com-

fortable.

When you use only the accordion sounds, the left

(Bass) and middle (Chord) digits are the same,

because the bass and chord buttons use the same

(4) If you think the sound is too loud or too soft, you

can change the setting of the [VOL] knob.

ORCH BASS

FREE BASS

ORCH FREE BS

ORCH CHORD

Ab3

Eb3

Bb3

F#3

F#M

F#m

F#7

C#3

C#M

C#m

C#7

Ab3

AbM

Abm

Ab7

Eb3

EbM

Ebm

Eb7

F#3

C#3

Ab3

Eb3

Bb3

F#3

F#M

F#m

F#7

C#3

C#M

C#m

C#7

Ab3

AbM

Abm

Ab7

Eb3

EbM

Ebm

Eb7

Bb3

BbM

Bbm

Bb7

Bass

buttons

Bb3

BbM

Bbm

Bb7

Bdim

F#dim

C#dim

Abdim

Ebdim

Bbdim

Fdim

Cdim

Gdim

Ddim

Adim

Edim

Bdim

F#dim

C#dim

Abdim

Bbdim

Fdim

Edim

Chord buttons*

(*) This can be changed to 3 bass and 3 chord rows. See “Bass & Chord

Mode ” on p. 42.

Here is what the caps look like:

Slide up to remove

Reference cap

(5) If you still don’t hear the bass and chord notes

your are playing, change the [BAL] knob’s setting.

This knob is used to set the balance between the Tre-

ble and Bass registers. When it is turned all the way

to “TREBLE”, you won’t be able to hear the Bass sec-

tion.

Slide over button

The overall sound the Bass section produces is deter-

mined by the register you pressed last. This section can

be used as “accordion”, to play orchestral sounds, or

both.

(6) Press the [SET] register.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Touring the FR-3’s sections

Note: See page 43 for the assignment of the bass buttons to

the available Free Bass notes.

The “St” message starts flashing to signal that you

need to press a register.

(2) Use the Bass registers to select another registration

(if necessary).

Free Bass registers

CHORD/

BASS FREE BS TREBLE

Low

Low Low + High

High Low + High

Low High

St1

ORCHESTRA

High

Low + High

Low + High Low

(3) Press the three FREE BASS registers again to return

to the normal Bass mode.

The “Roland” logo now flashes in blue.

(7) Press one of the registers [1]~[0] to select a Set

memory.

IUsing the FR-3’s digital effects

While playing on the Bass keyboard, you may have

noticed that the accordion sounds were enhanced by

effects (probably reverb). It may also have struck you

that the effects change whenever you select a differ-

ent Set.

The FR-3 contains 2 digital effects that apply to all

sections. See page 22 for details and how to use

them.

The “Roland” logo changes color and stops flashing.

Playing in Free Bass mode

The FR-3 also provides a Free Bass mode, which is

chiefly used by musicians who prefer to play the left-

hand notes (Bass section) differently. You may never

need it, but if you wish to experiment with it…

Note: See page 42 for how to select the note system for Free

Bass mode. That setting is shared by all Sets.

(1) Simultaneously press the three registers labeled

“FREE BASS”.

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

[7]

[6]

[5]

[4]

[3]

[2]

[1]

Note: The numbers shown in the illustration above do not

appear on the registers themselves. They have been added for

your reference.

The digit in the middle starts flashing to indicate that

Free Bass mode has been activated:

CHORD/

BASS FREE BS TREBLE

Flashes

662

ORCHESTRA

Again, the left and flashing middle digits are the

same. This time, however, they refer to the currently

selected Free Bass register.

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V-_UA_sic_nc_go_thr_ed_oio_rcn_hesr_{tral sounds}

Using the orchestral sounds

Your FR-3 contains PCM sounds (samples) of various instruments that are not related to accordion sounds. Those sounds

allow you to expand your musical endeavours without using external MIDI devices. Of course, you are free to add exter-

nal MIDI tone generators to your setup and to control them from your FR-3. See page 47 for details. Let us first look at

how to use the on-board orchestral sounds, however.

The FR-3’s Orchestra functionality actually comprises

four sections: one for the Treble keyboard (called

“Orchestra”), another for the Bass buttons (first two

rows, called “ORCH BASS”), a third for the chord but-

tons (remaining rows, called “ORCH CHORD”), and one

for Free Bass mode (“ORCH FREE BS”).

The 10 available Orchestra sounds and associated

registers are:

ORCHESTRA sounds

Trombone

Trumpet

T Sax

Harmonica

Violin

Flute

You can specify for each section whether the orchestral

sounds should be used instead of the accordion sounds.

Only the Treble keyboard can play both an accordion

and an orchestral sound (so that each note you play

results in a combination of accordion + instrument

sound).

A Sax

Jazz Org

Blues Org

Clarinet

(3) Play a few notes on the Treble keyboard.

Note: By pressing register [9] or [0] again after selecting the

associated organ sound, you switch on the Rotary effect avail-

able for that sound.

Orchestral sounds for the Treble section

Note: Only one orchestral sound can be selected at any one time.

(1) Press the [ORCHESTRA] register.

ISelecting the Orchestra mode

Depending on the ORCHESTRA MODE setting, the

Orchestra part may sound together with the Treble

accordion section. That’s because there are four ways

in which the Orchestra section can be combined with

the Treble accordion section.

Orchestra mode (which only applies to the Treble sec-

tion) can be set as follows:

(1) While holding down the [ORCHESTRA] register,

press [7], [8], [9] or [0] to select the desired mode.

The “Roland” logo now lights in red.

The display shows the number of the last Orchestra

sound you selected. That number (the right-most

digit) is followed by a dot:

CHORD/

BASS FREE BS TREBLE

443.

SOLO [0]: When you switch on the

Orchestra section (see step (2)

CHORD/

BASS FREE BS TREBLE

ORCHESTRA

above), you only hear the Orchestra

instrument sound. Press

[ORCHESTRA] to return to the Tre-

ble accordion sound.

SOl

(2) Press one of the registers to select the desired

orchestral sound (see the names below the Treble

registers).

ORCHESTRA

DUAL [9]: The Orchestra sound is

added to the Treble accordion, so

CHORD/

BASS FREE BS TREBLE

that each note you play sounds like

an accordion, with the selected

instrument playing in unison.

dUa

ORCHESTRA

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Using the orchestral sounds

HIGH [12]: Now it becomes a little

CHORD/

BASS FREE BS TREBLE

Played by the accordion

more complicated – but very inter-

esting indeed. If you select this

mode and play just one note, you

will hear the orchestral sound. If

you keep holding that key/button

while pressing another (lower) key/

button to its left, the upper note is

(FR-3sb/FR-3b)

HIg

Played by the Orchestra sound

ORCHESTRA

played by the Orchestra sound. Lower notes, how-

ever, are played by the Treble accordion sound. This is

perfect for situations where you need to play chords

and a solo line using different sounds. Something like

this:

(2) Again play a few notes and listen to the result.

ISetting the volume of the (Treble) Orchestra

sound

Played by the Orchestra sound

There may be times (in DUAL, HIGH or LOW mode)

when the ORCHESTRA sound is too loud or too soft

with respect to the Treble accordion sound. In that

case, you can change its volume:

(FR-3s/FR-3)

Played by the accordion

(1) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(2) Use register [3÷√] or [4÷®] to select the following

parameter:

Played by the Orchestra sound

(FR-3sb/FR-3b)

CHORD/

BASS FREE BS TREBLE

Played by the accordion

OCL

ORCHESTRA

LOW [11]: This is the opposite of

HIGH and can be used in situations

CHORD/

BASS FREE BS TREBLE

By doing so, you enter a mode called “PARAM LIST”

where you can set the available parameters (see also

p. 37). “O L” is short for “Orchestra Level”, i.e. the vol-

ume setting of the Orchestra section.

where the melody (or counter-mel-

ody) lies above the notes you wish

to hold.

lOU

(3) Use register [1÷–] or [2÷+] to set the desired value.

ORCHESTRA

CHORD/

BASS FREE BS TREBLE

Played by the accordion

Std

ORCHESTRA

(FR-3s/FR-3)

Played by the Orchestra sound

This is actually a balance parameter with a setting

range of –40~“Std”~+40. “Std” means that the

Orchestra part uses its “normal” volume. Negative

values (–) make the Orchestra part softer, while posi-

tive values (+) make it louder.

Note: Press registers [1] and [2] simultaneously to return to the

factory setting of the currently selected parameter.

You can now decide whether or not to save your set-

tings:

Saving your changes

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V-Accordion r

Orchestral sounds for the Bass section

(4) Press and hold the [SET] register until the display

Orchestral sounds for the Bass section

looks as follows:

The orchestral bass part can be used instead of the Bass

section (thus replacing the accordion sound assigned to

the bass rows). There are no clever modes (DUAL, SOLO,

etc.) here.

Wrt

(This means “Write”.)

Furthermore, the ORCH BASS part does what its name

implies: it only applies to the bass rows (the ones

closest to the bellows) and has no effect on the chord

buttons.

(5) Press register [2/+] to save the settings.

The display now looks as follows:

(1) Simultaneously press the three registers labeled

“ORCH BASS”.

Yes

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

If you don’t want to save your changes, press [1÷–]. In

that case the display briefly shows the “No” message.

[7]

[6]

[5]

[4]

[3]

[2]

[1]

If don’t save, your changes remain in effect until you

switch off the FR-3. (If the FR-3 is powered off auto-

matically, see page 42, your changes are lost as well.)

The display shows the number of the last orchestral

bass sound you selected. That number (the leftmost

digit) is followed by a dot:

(6) Press [SET] again to confirm your intention (save or

ignore).

The display now looks as follows and then once again

displays the numbers of the registers currently in

effect:

CHORD/

BASS FREE BS TREBLE

1.43

don

ORCHESTRA

ISwitching off the Orchestra part

To return to a state where only the Treble accordion

section sounds:

(See “Using two different orchestral sounds for the

Bass button keyboard” on p. 29 for details about the

dot.) Note that in this situation, the leftmost digit

differs from the one in the middle. The leftmost digit

refers to an orchestral sound, while the middle one

represents the accordion register, which is still used

by the chord rows of the button keyboard.

(7) Press the [ORCHESTRA] register. Now, the FR-3 is a

normal accordion again.

To activate the Orchestra part again, perform steps

(1) and (2) on page 25.

Note: The numbers shown in the illustration above do not

appear on the registers themselves. They have been added for

your reference.

(2) Use the Bass registers to select the desired sound.

ORCH BASS sounds

Acoustic

Bowed*

Fingered

Fretless

Picked

Tuba*

Tuba Mix

Note: While ORCH BASS mode is active, you cannot assign a

different accordion register to the chord rows. You need to

leave ORCH BASS mode, select the desired accordion register,

then return to ORCH BASS mode.

Note: The dynamics of sounds marked with an asterisk (*) can

only be controlled by bellows movements. Those sounds are

not velocity sensitive. For the other sounds, see also “Orch.

Bass/Free Bass/Chord Touch” on p. 41.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Using the orchestral sounds

ISetting the volume of the ORCH BASS sound

There may be times when the orchestral bass sound is

too loud or too soft with respect to the other avail-

able sections. In that case, you can change its vol-

ume:

Orchestral sounds for the Chord section

The orchestral chord part can replace the accordion

sound played by the chord rows of the button key-

board. There are no clever modes (DUAL, SOLO, etc.)

here.

The ORCH CHORD part does what its name implies: it

only applies to the chord rows and has no effect on

the bass buttons.

(1) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(2) Use register [3÷√] or [4÷®] to select the following

parameter:

(1) If the digit in the middle of the display (“CHORD/

FREE BS”) is flashing, select the FR-3’s Bass mode

by pressing the three FREE BASS registers.

The ORCH CHORD part is not available in Free Bass

mode (because there are no chord buttons in that

mode).

CHORD/

BASS FREE BS TREBLE

(2) Simultaneously press the three registers labeled

“ORCH CHORD”.

Obl

ORCHESTRA

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

[7]

[6]

[5]

[4]

[3]

[2]

[1]

The display shows the number of the last orchestral

chord sound you selected. That number (the digit in

the middle) is followed by a fixed dot:

By doing so, you enter a mode called “PARAM LIST”

where you can set the available parameters (see also

p. 37). “ObL” is short for “Orchestra Bass Level”, i.e. the

volume setting of the orchestral bass section.

CHORD/

BASS FREE BS TREBLE

(3) Use register [1÷–] or [2÷+] to set the desired value.

CHORD/

BASS FREE BS TREBLE

14.3

-10

ORCHESTRA

Note that in this situation, the middle digit differs

from the one to its left. The leftmost digit refers to an

accordion register, while the middle one represents

the orchestral chord sound used by the chord rows of

the button keyboard.

Note: The numbers shown in the illustration above do not

appear on the registers themselves. They have been added for

your reference.

This is actually a balance parameter with a setting

range of –40~“Std”~+40. “Std” means that the ORCH

BASS part uses its “normal” volume. Negative values

(–) make the ORCH BASS part softer, while positive

values (+) make it louder.

Note: Press registers [1] and [2] simultaneously to return to the

factory setting of the currently selected parameter.

(3) Use the Bass registers to select the desired sound.

(4) See “Saving your changes” on p. 26 if you want to

keep your changes.

ORCH CHORD sounds

To use them only temporarily, press the [SET] register

to leave “PARAM LIST” mode.

St. Strings*

Choir*

Chorus Organ*

Steel Guitar

Harps + Strings*

Guitar + Organ*

ISwitching off the Orchestra Bass part

(5) Press the three ORCH BASS registers again to

return to normal Bass mode.

Stereo Orch Brass*

Note: While ORCH CHORD mode is active, you cannot assign a

different accordion register to the bass rows. You need to leave

ORCH CHORD mode, select the desired accordion register, then

return to ORCH CHORD mode.

Note: The dynamics of sounds marked with an asterisk (*) can

only be controlled by bellows movements. Those sounds are

not velocity sensitive. For the other sounds, see also “Orch.

Bass/Free Bass/Chord Touch” on p. 41.

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V-Accordion r

Orchestral sounds for the Chord section

ISetting the volume of the ORCH CHORD sound

There may be times when the orchestral chord sound

is too loud or too soft with respect to the other avail-

able sections. In that case, you can change its vol-

ume:

IUsing two different orchestral sounds for the

Bass button keyboard

The FR-3 also allows you to use assign one orchestral

sound to the bass rows of the button keyboard, and

another to the chord rows. In that case, the display

looks as follows (notice the two dots):

(1) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(2) Use register [3÷√] or [4÷®] to select the following

CHORD/

BASS FREE BS TREBLE

parameter:

1.4.3

One of the two dots

ﬂashes.

The ﬂashing dot refers

to the orchestral sec-

tion you can assign

another sound to.

ORCHESTRA

CHORD/

BASS FREE BS TREBLE

→ The following only applies while you are not in

Free Bass mode, i.e. while the digit (not the dot) in

the middle does not flash.

OCl

ORCHESTRA

When both the ORCH BASS and the ORCH CHORD

sections are active, one of the two dots flashes to

indicate that the Bass registers allow you to assign a

different sound to that orchestral section: “ORCH

BASS” if the left dot is flashing, “ORCH CHORD” if the

dot in the middle is flashing.

By doing so, you enter a mode called “PARAM LIST”

where you can set the available parameters (see also

p. 37). “OCL” is short for “Orchestra Chord Level”, i.e.

the volume setting of the orchestral chord section.

(1) Simultaneously press the three registers labeled

“ORCH BASS”.

(3) Use register [1÷–] or [2÷+] to set the desired value.

This activates the Orchestra Bass section (a dot

appears next to the leftmost digit).

CHORD/

BASS FREE BS TREBLE

(2) Simultaneously press the three registers labeled

“ORCH CHORD”.

ORCHESTRA

This activates the Orchestra Chord section (another

dot appears next to the middle digit).

This is actually a balance parameter with a setting

range of –40~“Std”~+40. “Std” means that the

orchestral chord section uses its “normal” volume.

Negative values (–) make the ORCH CHORD section

softer, while positive values (+) make it louder.

To assign a different orchestral sound to the section

whose dot is not flashing…

(1) Simultaneously press its three registers (ORCH

BASS or ORCH CHORD).

Note: Press registers [1] and [2] simultaneously to return to the

factory setting of the currently selected parameter.

This does not change the status of the section in

question (the corresponding ORCH section is not

switched off).

(4) See “Saving your changes” on p. 26 if you want to

keep your changes.

The dot that has been flashing up to now lights

steadily, while the “other” dot starts flashing.

To use them only temporarily, press the [SET] register

to leave “PARAM LIST” mode.

(2) Use the 7 Bass registers to select a different

orchestral sound for the ORCH BASS or ORCH

CHORD section.

Note: To leave either ORCH BASS or ORCH CHORD mode in

this state, you need to press the associated 3 registers twice.

ISwitching off the ORCH CHORD part

(5) Press the three ORCH CHORD registers again to

return to the normal Chord mode.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Setting up | Using the orchestral sounds

ISetting the volume of the ORCH FREE BS sound

There may be times when the orchestral Free Bass

sound is too loud or too soft with respect to the Tre-

ble accordion and/or orchestral sound. In that case,

you can change its volume:

Orchestral sounds for the Free Bass section

The orchestral Free Bass part can replace the accordion

sound played by the button keyboard while Free Bass

mode is active. In that case, all bass buttons play bass

notes – no chords. There are no clever modes (DUAL,

SOLO, etc.) here.

(1) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(2) Use register [3÷√] or [4÷®] to select the following

(1) Simultaneously press the three registers labeled

“FREE BASS”.

parameter:

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

CHORD/

BASS FREE BS TREBLE

The digit in the middle starts flashing to indicate that

Free Bass mode has been activated:

CHORD/

BASS FREE BS TREBLE

Ofl

ORCHESTRA

Flashes

662

ORCHESTRA

(2) Simultaneously press the three registers labeled

“ORCH FREE BS”.

“OFL” is short for “Orchestra Free Bass Level”, i.e. the

volume setting of the orchestral Free Bass section.

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

(3) Use register [1÷–] or [2÷+] to set the desired value.

[7]

[6]

[5]

[4]

[3]

[2]

[1]

CHORD/

BASS FREE BS TREBLE

The display shows the number of the last orchestral

Free Bass sound you selected. That number (the

flashing digit in the middle) is followed by a dot:

-10

ORCHESTRA

This is actually a balance parameter with a setting

range of –40~“Std”~+40. “Std” means that the

orchestral Free Bass part uses its “normal” volume.

Negative values (–) make the ORCH FREE BS part

softer, while positive values (+) make it louder.

CHORD/

BASS FREE BS TREBLE

Only the digit

ﬂashes

14.3

Note: Press registers [1] and [2] simultaneously to return to the

factory setting of the currently selected parameter.

ORCHESTRA

(4) See “Saving your changes” on p. 26 if you want to

keep your changes.

In this situation, the leftmost digit often differs from

the one in the middle. The leftmost digit refers to an

accordion sound (which is currently unavailable),

while the middle one (which flashes) represents the

orchestral sound assigned to the button keyboard. As

the button keyboard is in Free Bass mode, the middle

digit flashes.

To use them only temporarily, press the [SET] register

to leave “PARAM LIST” mode.

ISwitching off the ORCH FREE BS part

(5) Press the three ORCH FREE BS registers again to

return to normal Free Bass mode.

(3) Use the Bass registers to select the desired sound.

(Press them yet again to leave Free Bass mode and

return to Bass mode.)

Note: To leave either FREE BASS or ORCH FREE BS mode in this

ORCH FREE BS sounds

Trombone*

Clarinet*

Oboe*

Perc Organ*

Ac Guitar

Ac Piano

state, you need to press the associated 3 registers twice.

Flute*

Note: The dynamics of sounds marked with an asterisk (*) can

only be controlled by bellows movements. Those sounds are

not velocity sensitive. For the other sounds, see also “Orch.

Bass/Free Bass/Chord Touch” on p. 41.

Note: The numbers shown in the illustration above do not

appear on the registers themselves. They have been added for

your reference.

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V-Accordion r

Other practical functions

5. Other practical functions

After looking at the accordion and Orchestra functions, let’s have a look at the “purely electronic” functions of your FR-3.

Your FR-3 is what we call a virtual instrument. Though its physical appearance is similar to that of its acoustic ancestor,

it is based on an altogether different concept (technology) – and it can do a lot more. In this section, we will look at

functions that may be new to you but may come in handy once you know what they do and how they work.

ISetting the time signature

To set the time signature, proceed as follows:

Switching off sections you don’t

(1) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(2) Use register [3÷√] or [4÷®] to select the following

need

If, for some reason, you do not want one of the cur-

rently active parts to respond to your playing, you can

switch it off:

parameter:

This may apply to any of the following combinations

and mute the corresponding keys or buttons (where

applicable):

CHORD/

BASS FREE BS TREBLE

Treble and/or Orchestra

+ Bass + Chord

+ ORCH BASS + Chord

mts

ORCHESTRA

+ ORCH BASS + ORCH

CHORD

Treble and/or Orchestra

+ Bass + ORCH CHORD

+ Free Bass

+ ORCH FREE BS

+ ORCH BASS +

ORCH FREE BS

“MtS” is short for “Metronome TS”, i.e. the metro-

nome’s time signature.

Treble and/or Orchestra

+ ORCH BASS + Free Bass

(3) Use register [1÷–] or [2÷+] to set the desired value.

CHORD/

(1) To switch off a section you do not want to hear,

press and hold any single register for a while.

Use a register in the Treble section to mute the Treble

or Orchestra part; use a Bass register to mute the

bass, chord, Free Bass, or any of the associated

orchestral parts.

BASS FREE BS TREBLE

ORCHESTRA

Here’s what the displayed values correspond to:

The section in question must be assigned to the asso-

ciated registers. See the previous pages for how to

decide which section can be muted.

1 1/4

2 2/4

3 3/4

4 4/4

5 5/4

6 6/4

7 6/8

8 9/8

(2) To switch a muted section back on, briefly press

any of the associated registers.

If you don’t need to change any other metronome

parameter, press the [SET] register to leave “PARAM

LIST” mode. Otherwise, proceed.

Using the metronome

Your FR-3 contains a metronome that may come in

handy when you are practising new pieces, or during

your accordion classes. You can set the time signature,

the tempo and the level.

Note: The following only works if “MFN” (see p. 42) is set to “1”.

Setting up the metronome

Before using the metronome, you probably need to set

it to the desired tempo. The FR-3 allows you to save

these settings, so that you can use them again next

time you switch it on.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Other practical functions | Using the metronome

ISetting the tempo

ISetting the metronome level

We’ll assume that you are still in “PARAM LIST” mode

(and so didn’t press [SET] to leave it). To set this

parameter at a later stage, repeat steps (1) and (2)

above.

Here’s how to set the desired metronome level to

ensure that it is neither too loud, nor too soft. We’ll

assume that you are still in “PARAM LIST” mode (and

so didn’t press [SET] to leave it). To set this parameter

at a later stage, repeat steps (1) and (2) above, then

proceed.

(4) Press register [3÷√] (or [4÷®]) to return to the name

indication of the last parameter you selected:

(8) Press register [3÷√] (or [4÷®]) to return to the name

CHORD/

BASS FREE BS TREBLE

indication of the last parameter you selected:

CHORD/

BASS FREE BS TREBLE

mts

ORCHESTRA

mtp

ORCHESTRA

(5) Press register [3÷√] once to select the following

parameter:

(9) Press register [4÷®] twice to select the following

CHORD/

BASS FREE BS TREBLE

parameter:

CHORD/

BASS FREE BS TREBLE

mtp

ORCHESTRA

M L

ORCHESTRA

(As you see, there is no need to leave “PARAM LIST”

mode if you want to set several parameters.)

“M L” is short for “Metronome Level”, i.e. the metro-

nome’s volume.

“MtP” is short for “Metronome Tempo”, i.e. the met-

ronome’s speed.

(10)Use register [1÷–] or [2÷+] to set the desired value.

(6) Before changing this value, it might be a good idea

to switch the metronome on by pressing the

[METRONOME] button.

CHORD/

BASS FREE BS TREBLE

ORCHESTRA

You can select “Off”, “1” (low volume), “2” (medium

volume), or “3” (high volume).

(11)Press the [SET] register to leave “PARAM LIST”

mode.

Note: Press registers [1] and [2] simultaneously to return to the

factory setting of the currently selected parameter.

(12)See “Saving your changes” on p. 26 if you want to

keep your changes.

The “Str” message briefly appears and the metronome

starts counting.

To use them only temporarily, press the [SET] register

to leave “PARAM LIST” mode.

(7) Use register [1÷–] or [2÷+] to set the desired value.

CHORD/

BASS FREE BS TREBLE

110

ORCHESTRA

The setting range is q= 20~250.

If you don’t need to change any other metronome

parameter, press the [SET] register to leave “PARAM

LIST” mode. Otherwise, proceed.

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V-Accordion r

Using the metronome

After setting the metronome’s parameters to your lik-

ing (or if you don’t need to change them), you can start

using the metronome:

(13)Press the [METRONOME] button to start the metro-

nome (“Str”).

(14)Press it again to switch the metronome back off

(the display briefly shows “StP”).

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Other practical functions | Pitch-related functions

Pitch-related functions

The setting range is –6~0~5 (where “0” means that

no transposition is used). The value (“3” in the exam-

ple above) refers to the interval. This can be calcu-

lated as follows:

Transpose function

The FR-3 contains a Transpose function that allows you

to change the key of the music you are playing. The

advantage of this system is that you can play a song in

E major (for example), while using the fingering of the

C major scale (for example). This may come in handy

when you are used to playing a given song in one key

and suddenly need to play it in a different key.

• In what key do you want to play? (This is your “0”

value.)

Example→ C major

• What key does the song use?

Example→ E major

Let’s look at an example:

• How many semitones do you need to “shift” the

notes?

(FR-3s/FR-3)

Example→ [C#, D, Eb, E]= 4 up, so “4”.

(4) Press the [SET] register to leave “PARAM LIST”

mode.

This is what you play…

Note: This parameter is reset when you switch off the FR-3.

Transpose

Transposing the Treble section in octave steps

The parameter discussed here allows you to transpose

the Treble (accordion) section one octave up (“Up”) or

down (“dn”). This can be used for two purposes: to

quickly correct the pitch that results from the active

reeds, or to avoid overlaps of the selected register when

using a Treble Orchestra sound.

…and this is how it sounds.

(FR-3s/FR-3)

Here is how to transpose the Treble section (i.e. the

accordion notes) one octave up or down.

This is what you play…

(1) Leave “PARAM LIST” or “MIDI LIST” mode (if you

haven’t yet done so) by pressing [SET] once.

Transpose

(2) Hold down [SET] while using register [1÷–] or [2÷+] to

…and this is how it sounds.

select the desired setting:

(1) Press and hold the [SET] register until the display

CHORD/

BASS FREE BS TREBLE

shows a parameter name, then release it.

(2) Use register [3÷√] or [4÷®] to select the following

parameter:

---

ORCHESTRA

CHORD/

BASS FREE BS TREBLE

dn Transposes the Treble section one octave down.

--- No transposition of the Treble section.

trp

ORCHESTRA

Up Transposes the Treble section one octave up.

Note: If the display now shows another message, briefly press

[SET] again, then repeat this step.

(3) Release the [SET] register and start playing.

(3) Use register [1÷–] or [2÷+] to set the desired value.

CHORD/

BASS FREE BS TREBLE

ORCHESTRA

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V-Accordion r

Transposing the Orchestra section in octave steps

You can also transpose the Orchestra section (i.e. the

currently selected orchestral sound) up or down. This

can be interesting when you are using the Orchestra

part in Dual mode (page 25) and want it to sound

above or below the selected Treble accordion register.

Musette Detune

You probably know that an accordion’s 8’ Treble regis-

ter may consist of 2 or even 3 reeds that are usually

tuned apart to provide a richer sound (accordionists call

it the “musette effect”). One reed is tuned slightly

above, the other slightly below the correct pitch (and

the third, if available, is tuned “properly”).

Here is how to transpose the Orchestra section (i.e. the

selected PCM sound).

Tuning those reeds is a specialist job and usually not

performed by accordion players themselves.

(1) Switch on the Orchestra section.

On the FR-3, however, “tuning” the “reeds” (that do not

really exist) is a matter of pressing a few buttons.

See “Orchestral sounds for the Treble section” on

p. 25 and following for details. Registers [1]~[0] are

now assigned to the 10 available orchestral sounds.

(1) Press and hold the [SET] register until the display

(2) Hold down [SET] while using register [1÷–] or [2÷+] to

shows a parameter name, then release it.

select the desired setting:

(2) Use register [3÷√] or [4÷®] to select the following

parameter:

CHORD/

BASS FREE BS TREBLE

CHORD/

BASS FREE BS TREBLE

---

ORCHESTRA

det

ORCHESTRA

dn Transposes the Orchestra section one octave

down.

(3) Use register [1÷–] or [2÷+] to set the desired value.

--- No transposition of the Orchestra section.

CHORD/

BASS FREE BS TREBLE

Up Transposes the Orchestra section one octave

up.

Note: If the display now shows another message, briefly press

[SET] again, then repeat this step.

ORCHESTRA

(3) Release the [SET] register and start playing.

The possibilities are: “Off” (no detune), “1” (Dry),

“2” (Classic), “3” (F-Folk), “4” (American L),

“5” (American_H), “6” (North Eur), “7” (German L),

“8” (D-Folk L), “9” (Italian L), “10” (German H),

“11” (Alpine), “12” (Italian H), “13” (D-Folk H),

“14” (French), “15” (Scottish).

They refer to commonly used detune settings.

(4) Press the [SET] register to leave “PARAM LIST”

mode.

Note: This parameter is reset when you select a different Set.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | Editing settings

6. Editing settings

The FR-3 provides a whole series of specialized parameters you probably don’t need every day. They may come in handy,

however, when you need to fine-tune the FR-3’s response to your playing style. This chapter discusses all parameters

Display

Memorized

Full name

Setting range

Default

See page

indication

det

tUn

trp

SET ✕

Musette Detune

Master Tune

Off, 1~15

15.3~40.0~66.2 (Hz)

–6~0~5

Off

40.0

37*

POWER

Transpose

trM

Treble Mode

1~6

O l

Obl

OCl

Ofl

trn

Orchestra Level

–40~Std~40

Off, –40~Std~40

20~250

Std

120

Orchestra Bass Level

Orchestra Chord Level

Orchestra Free Bass Level

Treble Valve Noise

Bass Button Noise

Bass Reed Growl

Free Bass Button Noise

Free Bass Reed Growl

Metronome Tempo

Metronome Time Sign

Metronome Level

Reverb Type

bbn

brg

fbn

Frg

mtp

mts

m l

reu

CHr

1~8

Off, 1~3

1~8

Chorus Type

1~8

O t

Obt

blC

Ste

fbm

bCm

mfn

APO

COl

Orchestra Touch

1~10

Orch. Bass/Free Bass/Chord Touch

Bellows Curve

1~10

1~8

Stereo Width

-63~–1, FUL

1~6

FUL

Free Bass Mode

Bass & Chord Mode

Metronome Function

Auto Power Off

1, 2

Off, 1~3

Roland Logo Color

Off, 1~26

“SET ✕”: This setting changes when you select another Set.

“OK”: Can be saved in the Global area (common to all Sets).

“POWER”: Reset when you switch off the FR-3.

(*) Only on the FR-3sb and FR-3b

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V-Accordion r

Selecting the desired function

Master Tune

Selecting the desired function

(15.3~66.2, Default setting: 40.0) This

parameter allows you to change the

FR-3’s overall tuning, which may be nec-

(1) Press and hold the [SET] register until the display

tUn

shows a parameter name, then release it.

essary when you play with acoustic instruments that

cannot be tuned easily, or if you use a CD or cassette

tape as accompaniment. The factory default, “40.0”,

represents the reference pitch used by all electronic

musical instruments. Note that for space reasons the

first digt of the frequency value (a “4”) is not shown.

(2) Use register [3÷√] or [4÷®] to select the desired

parameter.

Transpose

(–6~0~5, Default setting: Std) This

parameter allows you to transpose all

sections of the FR-3. See page 34 for

trP

details.

Treble Mode (only on the FR-3sb and FR-3b)

([1] C-Griff Europe, [2] C-Griff 2,

(3) Use register [1÷–] or [2÷+] to set the desired value.

[3] B-Griff Bajan, [4] B-Griff Fin,

[5] D-Griff 1, [6] D Griff 2, Default set-

ting: 1) Like for the accordion instrument itself, there

are different varieties of chromatic instruments, with

different Treble button layouts..

trM

Since your FR-3sb or FR-3b is an electronic musical

instrument, changing the note assignments to the but-

tons is a matter of selecting the preset that best suits

your playing style. You’ll probably only change this set-

ting once. But it’s nice to know that it exists in case you

let a fellow accordion player from another country play

your FR-3sb/b.

Press registers [1] and [2] simultaneously to return to

the factory setting of the currently selected parame-

ter.

Please look at the illustrations on page 37 to identify

the setting you need. Pay attention to the note names

(all Cs appear on a grey background) and look at how

they are arranged, then make your selection. The num-

bers next to the letters refer to the octave. The numbers

below the note names represent the corresponding

MIDI note numbers.

(4) If you don’t need to change any other PARAM LIST

parameter, press the [SET] register to leave this

mode. Otherwise, proceed:

(5) Use register [3÷√] or [4÷®] to select another parame-

ter, and continue with steps (3)~(4).

(6) See “Saving your changes” on p. 26 if you want to

keep your changes.

You may have noticed that the Treble buttons are col-

ored white (for notes without alteration) and black

(notes with alteration, i.e. #/b). This coloring doesn’t

change when you select another system.

(You can, however, unscrew the buttons and install the

in the right places so as to make the white and black

buttons correspond to the notes being played.)

To use them only temporarily, press the [SET] register

to leave “PARAM LIST” mode.

PARAM LIST parameters

Musette Detune

This parameter allows you to choose the

system used for detuning the 8’ reeds of

registers [5] MASTER, [6] MUSETTE and [7]

VIOLIN. It only applies to the Treble section. See page 35

for details. Also remember that registers [6] and [7]

allow you to add a third 8’ reed by pressing that register

twice in succession.

det

The FR-3sb/b is supplied with additional white and

black buttons that may come in handy. The white but-

tons come in two varieties: normal buttons and knurled

buttons. The latter are usually used to indicate the “C”

notes.

The possibilities are: “Off” (no detune), “1” (Dry),

“2” (Classic), “3” (F-Folk), “4” (American L),

“5” (American_H), “6” (North Eur), “7” (German L),

“8” (D-Folk L), “9” (Italian L), “10” (German H),

“11” (Alpine), “12” (Italian H), “13” (D-Folk H),

“14” (French), “15” (Scottish).

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

Treble Mode (1/2)

C-Griff Europe

C-Griff 2

B-Griff Bajan

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V-Accordion r

Orchestra Level

Treble Mode (2/2)

B-Griff Fin

D-Griff 1

D-Griff 2

Orchestra Level

Orchestra Bass Level, Orchestra Chord Level,

Orchestra Free Bass Level

(–40~“Std”~40, Default setting: Std) This

parameter allows you to create the

desired “mix” (volume balance) between

(–40~“Std”~40, Default setting: Std)

These parameters allow you to create

O L

Obl

ORCHESTRA

the Treble accordion and the Orchestra section.

the desired “mix” (volume balance)

between the orchestral section in ques-

tion and the Treble accordion/Orchestra

section.

This is a relative parameter, which means that its value

is added to or subtracted from the standard value

(“Std”).

OCL

You can’t use both the accordion sound

of the Bass, Chord or Free Bass section

and the associated orchestral section.

OFL

This is a relative parameter, which means that its value

is added to or subtracted from the standard value

(“Std”).

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

Treble Valve Noise

Metronome Level

(Off, –40~“Std”~40, Default setting: Std)

You will probably agree that electronic

sounds must not only reproduce the

(Off, 1~3, Default setting: 2) This param-

eter allows you to change the metro-

nome’s level when it is too loud or too

soft. See page 32 for details.

trn

m l

reu

basic timbre of an existing sound, but also the original

instrument’s behavior and typical “noises” in order to be

perceived as authentic. In the case of a guitar that

would be the sliding noise of the fingers. An accordion,

on the other hand, produces mechanical valve noises

that cannot be suppressed on an acoustic instrument.

Reverb Type

This effect creates the impression that

you are playing in a concert hall, a

church or a room. It adds “depth” to the

sound. This is where you can specify what kind of effect

the Reverb processor should generate.

Use this parameter to specify how prominent the noise

produced by the simulated Treble valves should be.

This parameter is a “Macro” function that recalls suit-

able preset values for all reverb parameters (which have

been preset at the factory). The available options are:

Bass Button Noise

(Off, –40~“Std”~40, Default setting: Std)

The bass section of almost all accordion

instruments can be played via buttons.

Such buttons produce a typical noise when pressed.

[1] Room1

[2] Room2

[3] Room3

These reverbs simulate the reverberation

of a room. They provide a well-defined

spacious reverberation.

bbn

Use this parameter to specify how prominent that but-

ton noise should be.

[4] Hall1

[5] Hall2

These reverbs simulate the reverberation

of a concert hall with a deeper reverbera-

tion than the Room Reverbs.

Bass Reed Growl

[6] Plate*

[7] Delay

This effect type simulates a plate reverb

(a studio device using a metal plate to

simulate natural Reverb).

(Off, –40~“Std”~40, Default setting: Std)

This parameter allows you to simulate

the typical noise a bass reed makes just

before it stops vibrating altogether (a kind of “musical

flatulence” if you will). Each instrument of the accor-

dion family produces its own typical growl.

brg

This is a conventional delay that produces

echo effects.

[8] PanningDly This is a special delay in which the

delayed sounds move left and right. It is

Use this parameter to specify how prominent that

growl should be.

effective when you are listening in stereo.

Free Bass Button Noise

The overall reverb level can be set with the [REVERB]

knob on the front panel.

(Off, –40~“Std”~40, Default setting: Std)

The bass section of almost all accordion

Fbn

Chorus Type

instruments can be played via buttons.

Such buttons produce a typical noise when pressed.

Chorus broadens the spatial image of the sound, adding

richness. You can choose from 8 types of chorus.

Use this parameter to specify how prominent that but-

ton noise should be in Free Bass mode.

This parameter is a “Macro” function

that recalls suitable preset values for all

Chorus parameters (which have been

CHr

Free Bass Reed Growl

(Off, –40~“Std”~40, Default setting: Std)

This parameter allows you to simulate

preset at the factory).

The available options are:

Frg

the typical noise a bass reed makes just

[1] Chorus 1

[2] Chorus 2

[3] Chorus 3

[4] Chorus 4

These are conventional Chorus effects

that add spaciousness and depth to the

sound.

before it stops vibrating altogether (a kind of “musical

flatulence” if you will). Each instrument of the accor-

dion family produces its own typical growl.

Use this parameter to specify how prominent that

growl should be in Free Bass mode.

[5] FBack Chr

This is a Chorus with a Flanger-like effect

and a soft sound.

Metronome Tempo

[6] Flanger

This is an effect that sounds somewhat

like a jet airplane taking off or landing.

(20~250, Default setting: 120) This

parameter allows you to set the metro-

[7] Short

Delay*

This is a delay with a short Delay time.

mtp

nome tempo. See page 32 for details.

[8] ShortDly FB This is a short delay with many repeats.

Metronome Time Sign

(1~8, Default setting: 1) This parameter

allows you to set the metronome’s time

The overall chorus level can be set with the [CHORUS]

knob on the front panel.

mts

signature. See page 31 for details.

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V-Accordio_Orn_chr_{estra Touch}

If you think the sounds don’t respond the way you

would like them to, try another curve that better

“translates” your movements.

Orchestra Touch

(1~10, Default setting: 6) This parameter

allows you to specify the velocity sensi-

tivity of the Treble keys/buttons when

O t

There are three “Fixed” curves that always use the same

value, no matter how hard or lightly you push/pull the

bellows (no dynamic control). “Low” means that a low

value is used, “Med” represents a medium value and

“High” a high value.

they are used to play an external MIDI tone generator

via the Orchestral section (on the Orchestra section’s

MIDI channel). The FR-3’s Treble Orchestra sounds are

not velocity sensitive.

The available options are:

The remaining settings do depend on the strength with

which you push/pull the bellows, but in different ways:

“Light” means that you do not need to push/pull hard

to achieve a meaningful effect. “X-Light” requires even

less strength (the “X” stands for “extra”). “Standard”

refers to a normal response (or so we believe). “Heavy”

provides a greater variety of nuances and “X-Heavy” is

even more detailed. It would be a good idea to select

each curve without the “Fixed” addition, play a few

notes, select the next curve, etc. until you find the

response that feels just right.

Fixed

Low6*

High

Fixed Med

Fixed High

Low9

Fixed L + Bellows

Fixed M + Bellows

Fixed

Bellow

Medium

Bellows

There are three “Fixed” curves that always use the same

value, no matter how hard or lightly you press the keys.

“Low” means that a low value is used, “Med” represents

a medium value and “High” a high value.

Stereo Width

“Low” means that even relatively light presses already

allow you to play loud notes. “High” represents the

most responsive velocity curve that requires a consider-

able amount of strength for fortissimo notes, but it also

provides more expressive options.

(–63~–1, Full, Default setting: FUL) As

stated on p. 14, much care has been

taken to provide a natural stereo image

for the accordion sounds. If you think the stereo image

is too wide for comfort (or if you prefer to set the Pan

controls on your mixing console differently), you can

use this parameter to reduce the stereo image.

StE

“Fixed L+Bellows” and “Fixed H+Bellows” mean that the

Orchestra section transmits fixed velocity values but

can also be controlled by the bellows movements.

“Full” means that the original stereo image is used,

while “–63” corresponds to an extremely narrow stereo

image. All other values represent slight (or increasingly

drastic) reductions of the stereo width.

“Bellows” means that the Orchestra section’s expression

is controlled by the bellows movements – not the

velocity values generated by the buttons.

Remember, however, that all these options only apply

to MIDI messages the Orchestra section transmits to an

external device.

Orch. Bass/Free Bass/Chord Touch

(1~10, Default setting: 8) This parameter

allows you to specify the velocity sensi-

Obt

tivity of the bass buttons, which are

used to play bass notes and chords (in Bass mode), or

bass notes (in Free Bass mode). Again, your selection

only applies to the MIDI messages transmitted by the

currently active ORCH section(s).

There are two exceptions, however: the “Ac. Guitar” and

“Ac. Piano” sounds of the ORCH FREE BS section are

velocity sensitive and therefore respond to your striking

force and/or bellows movements (depending on the

option you select).

See “Orchestra Touch” above for a discussion of the

available options.

Bellows Curve

([1] Fixed Low, [2] Fixed Med, [3] Fixed

High, [4] X-Light, [5] Light, [6] Standard,

[7] Heavy, [8] X-Heavy, Default setting:

6) This parameter allows you to specify how the FR-3

should respond to the bellows’ movements. Use it to

adapt the FR-3’s expressive potential to your playing

style.

blC

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

Free Bass Mode

Auto Power Off

([1] Minor 3rd, [2] Bajan, [3] Fifth,

[4] N. Europe, [5] Finnish, Default set-

ting: 1) This parameter allows you to

(Off, 1~3, Default setting: 1) This param-

eter allows you to specify how long the

FR-3 should wait before deciding that

fbm

APO

choose the note system used in Free Bass mode. We

already mentioned that there are a vast number of

accordion varieties. The same is true of Free Bass sys-

tems.

you won’t be using it for a while. If you have ever

worked with a computer, you may remember that a

similar function is called “sleep”, “energy saver”, or the

like.

Your FR-3 contains the most popular ones. Be aware

that the system you select here is only used when you

activate the FR-3’s Free Bass mode. It is of no conse-

quence for the “regular” Bass mode. See the illustration

on page 43 for the note assignments.

Note: The FR-3 is supplied with several reference caps designed

to help you locate the bass buttons without looking at them. See

also page 23.

Obviously, this is meant to preserve battery power, and

so this function only applies when the FR-3 is used

without the supplied adapter. To “wake” the FR-3 after

it has fallen asleep, press its [POWER] button. Select

“Off” to switch this function off. “1” corresponds to 10

minutes, “2” to 15 minutes, and “3” to 20 minutes.

Bass & Chord Mode

(1~6, Default setting: 1) This parameter

allows you to specify the number of but-

ton rows for playing bass notes. The

default is “1” (2 bass rows and 4 chord rows). By select-

ing “3 Bs Rows”, you thus gain 20 bass buttons (an

entire row) and lose the “dim” chord buttons – but that

may just be more convenient for you. See also the illus-

tration on page 44.

bcM

There are four “3 Bs Rows” options: “[2] A-7th” and

“[4] B-7th” mean that the 6th chord row plays seventh

chords (“7”) that don’t contain the fifth. In the case of a

C7 chord, you therefore hear C-E-Bb (but not the G).

“A-7th” and “B-7th” differ in the arrangement of the

bass notes (see the illustration on page 44).

The “[3] A-5dim” and “[5] B-5dim” options mean that

those seventh chords don’t contain the root note. A C7

chord is then sounded with the notes E-G-Bb (but not

the C). “A-5dim” and “B-5dim” differ in the arrange-

ment of the bass notes (see the illustration on page 44).

The “[6] Bx-7th” option reverses the “B-7th” settings

(from right to left), so that the C3 note shifts from 9th

to 12th position.

Note: The FR-3 is supplied with several reference caps designed

to help you locate the bass and chord buttons without looking at

them. See also page 23.

Metronome Function

([1] Metronome, [2] MIDI Start/Stop,

Default setting: 1) This parameter allows

you to specify how you want to use the

mfn

[METRONOME] button. In most cases, you will probably

use “1” to take advantage of the internal metronome.

You can, however, also define it as a MIDI remote con-

trol in order to start and stop playback of an external

sequencer or arranger module. In that case, select “2”.

The metronome function is then no longer available.

See page 47 for details about the MIDI functions.

Note: The remote control function only works when you set the

FR-3’s “MId” parameter to “OUT”.

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V-Accordion r

Auto Power Off

ORCH BASS

FREE BASS

Free Bass Mode

ORC FREE BS

ORCH CHORD

Ab2

Eb2

Bb2

F#2

C#3

Ab2

Eb2

F#2

C#3

Ab2

Eb2

Bb2

F#2

C#3

Ab2

Eb2

Bb2

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

Ab2

Eb2

Bb2

F#2

C#3

Ab2

Eb2

F#2

C#3

Ab2

Eb2

Bb2

F#2

C#3

Ab2

Eb2

Bb2

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

N. Europe

Ab2

Eb2

Bb2

C#3

Ab2

Eb2

F#2

C#3

Ab2

Eb2

Bb2

F#2

C#3

Ab2

Eb2

Bb2

F#2

Bb2

ORCH BASS

FREE BASS

ORC FREE BS

ORCH CHORD

Finnish

Ab2

Eb2

Bb2

F#2

Ab6

F#6

Ab2

C#6

F#2

Ab4

F#4

C#3

Ab2

Eb2

Bb2

F#2

Ab3

F#3

Ab2

C#3

Eb2

Bb2

Ab2

Bb2

Ab2

F#2

C#3

Eb2

Bb2

Ab5

F#5

C#3

C#7

Bb6

Ab6

Bb5

Ab5

C#5

Bb4

Ab4

C#4

Bb3

Ab3

Eb6

Eb5

Eb4

Eb3

Eb2

(C3= note number 48)

Note: The note names on the bass buttons correspond to the MIDI note numbers. The note range of the Bass part is 1 octave.

Note: The actual sound range depends on the type of reed and footage.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

ORCH BASS

FREE BASS

Bass & Chord Mode

ORCH FREE BS

ORCH CHORD

[1] 2 Bass Rows

ORCH BASS

FREE BASS

ORCH FREE BS

ORCH CHORD

[2] & [3] 3 Bass Rows A

“7th”= 1-3-7; “5dim”= 3-5-7

ORCH BASS

FREE BASS

ORCH FREE BS

ORCH CHORD

[4] & [5] 3 Bass Rows B

“7th”= 1-3-7; “5dim”= 3-5-7

ORCH BASS

FREE BASS

ORCH FREE BS

ORCH CHORD

[6] 3 Bass Rows Bx

Ab3

C#3

Bb3

BbM

Bbm

Bb7

F#3

Eb3

EbM

Ebm

Eb7

Bb3

F#3

F#M

F#m

F#7

Eb3

Ab3

C#3

Bb3

Eb3

Ab3

C#3

F#3

Bb3

F#3

F#M

F#m

F#7

Eb3

Ab3

AbM

Abm

Ab7

F#3

Bb3

BbM

Bbm

Bb7

Eb3

EbM

Ebm

Eb7

Ab3

AbM

Abm

Ab7

C#3

C#M

C#m

C#7

C#3

C#M

C#m

C#7

“7th”= 1-3-7

describe the colors here – just try out various settings

and pick the one you like best. The range goes from

pastel to solid/dark colors.

Roland Logo Color

(Off, 1~26, Default setting: 2) You may

have noticed that the Roland logo above

the Treble control panel lights when you

COL

If you select “1”, the color assignments of the Sets are

used (each Set has its own color).

switch on the FR-3. If you haven’t changed this setting

yet, the color of that logo changes each time you

switch on the FR-3. With this parameter, you can

change that behavior.

Select “Off” if you don’t want the logo to light. Select

“1” to use the logo as an indication of the Set you are

currently using. With every Set you select, the logo’s

color changes (the color assignments have been set at

the factory and cannot be changed).

“2” means that the color changes ad random at fixed

intervals. The remaining options (3~26) represent the

available colors. Selecting such an option means that

the logo always lights in that color. We are not going to

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V-Accordi_Mo_In_DIr_parameters

MIDI parameters

Your FR-3 can also transmit or receive MIDI data. In

this section, we’ll look at what MIDI is and does and

which MIDI functions are available on the FR-3.

IMPORTANT REMARK: The FR-3 only has one MIDI

socket that can be used to either send (“OUT”) or

receive (“IN”) MIDI data.

All MIDI-compatible sound sources allow you to use the

FR-3’s Treble and Bass keyboards for playing sounds the

FR-3 does not provide.

This is possible thanks to a common language for musi-

cal applications, which is called “Musical Instrument

Digital Interface”, or “MIDI” for short. MIDI has a lot in

common with the internet: you can link one or several

instruments to one another via a cable (but you don’t

need a telephone line).

Connect the FR-3 as follows to transmit MIDI data to

an external device:

You can also use the FR-3 as “master keyboard”, i.e. an

instrument that transmits MIDI messages to a device

(or software program) that can record MIDI messages.

Such a device or program is called a “sequencer”.

To take advantage of the FR-3’s MIDI functions, you

must connect it as shown above.

MIDI can simultaneously transmit and receive messages

on 16 channels, so that up to 16 instruments (or parts

of a module or synthesizer) can be controlled. Nowa-

days, most instruments –like your FR-3– are multitim-

bral, which means that they can play several musical

parts with different sounds. This requires the use of

several MIDI channels. The FR-3, for instance, has sev-

eral accordion and orchestral sections that can be

played simultaneously. They can transmit and receive

on different channels.

External MIDI device

MIDI OUT

MIDI IN

Then, set the “MId” parameter (see p. 48) to “Out”.

Connect the FR-3 as follows to receive MIDI data from

an external device:

The FR-3’s sections use the following MIDI channels:

Part

Channel

Treble

Bass/Free Bass

Chord

Orchestra (Treble)

Orchestra Bass

Orchestra Chord

Orchestra Free Bass

Basic channel (for selecting Sets)

Control channel (for the “SPC” function)

External MIDI device

As you see, there are separate channels for the chord

and bass buttons, even though they both belong to the

Bass section. That separation may look distracting at

first, but it actually makes sense. It allows you to use

the bass buttons for controlling an external bass sound,

while the chord buttons could control a piano sound,

for example. If they used the same MIDI channel, the

bass line would have to be played by a piano, or the

chords would be played by a bass sound (unless you

own a MIDI instrument that allows you to program

note ranges for incoming MIDI messages).

MIDI OUT

MIDI IN

Then, set the “MId” parameter (page 48) to “In”.

About MIDI

Even though your FR-3 is already a remarkably flexible

instrument (quite unlike any other accordion available

today), you may also want to use it with other MIDI-

compatible instruments, sequencers and computers to

record your performances in the same way as keyboard

players, drummers, guitarists, etc., have been doing for

a while.

Working with a sequencer and other tone

generators

Another important application for the FR-3’s MIDI

functions is controlling an arranger module that sup-

plies the accompaniment. “Arranger modules” use short

accompaniment patterns that can be selected in real-

time and whose key depends on the note information

they receive.

The FR-3 can be used as “input device” for recording

your music. In the case of a keyboard instrument, such

a device is usually called a “master keyboard”. For other

kinds of MIDI input sources, the term “controller” is

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

used. There are actually two kinds of master keyboards:

those that only transmit MIDI data and contain no tone

generator, and those that can also be used for playing

back music (synthesizers, digital pianos, organs, etc.).

because the FR-3’s countless expressive “gizmos” are

bound to further enhance the stunning realism of the

module’s sounds.

If you use the FR-3 as a MIDI controller while recording

a sequence, all actions you perform on the FR-3

(including the bellows pressure strength) are included

in the recorded part. They can therefore be sent back to

the FR-3 (by the sequencer) – and then, all expression

details are preserved. Be aware, however, that you also

need a versatile sound source (like the FR-3’s) to use

the recorded MIDI events to their full potential.

Sequencers do not record the audio of the notes you

play. They only register “events” whose position and

distance specify when the notes are to be played. The

sequencer as such usually cannot sound what you

record – you need an instrument with a tone generator

for that. A sequencer must therefore be connected to

an electronic sound source, like your FR-3, for example.

The FR-3 can be used for two things: to “input” new

parts (i.e. MIDI events) and to play them back.

A “sequencer” can also be a software program running

on a computer. Most computers do not have MIDI sock-

ets to which you can connect the FR-3’s MIDI socket.

You therefore also need one of the following:

When you play on the FR-3’s keyboards, it sends MIDI

data to the MIDI OUT/IN socket (if the “MId” parameter

is set to “Out”). That socket must be connected to the

sequencer’s MIDI IN port. MIDI data always go from

OUT to IN:

• A sound card with a joystick port to which you can

connect MIDI cables;

• A card called a “MIDI interface” that is installed in

your computer;

(FR-3s/FR-3)

• An external device to which you connect the MIDI

cable coming from the FR-3 at one end and whose

other end is connected to the computer’s USB port

(companies like Edirol, www.edirol.com, offer several

models with a varying number of inputs and out-

puts).

You also need a software program that allows you to

record and play back your music. Such programs are

available from companies like Cakewalk. Please ask your

Roland dealer for details. And finally, you may need to

install applications called “drivers” on your computer to

ensure that it can talk and listen to the MIDI interface.

External sequencer

MIDI IN

MIDI

MIDI OUT

FR-3s/FR-3’s tone

generator

(FR-3sb/FR-3b)

External sequencer

MIDI IN

MIDI OUT

FR-3sb/FR-3b’s tone

generator

MIDI

If the FR-3 is used as tone generator for an external

sequencer, you must connect the sequencer’s MIDI OUT

socket to the FR-3’s MIDI OUT/IN port and set the “MId”

parameter to “In” (because MIDI data always go from

OUT to IN).

Though you can also play the FR-3 from another MIDI

instrument, we do not really recommend doing so,

because your V-Accordion has far more versatile per-

formance functions than any other MIDI controller

available today: the FR-3 translates all known accor-

dion techniques and physical effects into MIDI mes-

sages to precisely reproduce the natural behavior of an

acoustic accordion. Conversely, it might be interesting

to try out the FR-3 with a Roland Fantom-XR module,

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V-Accor_Md_Ii_Do_In_par_{rameter list}

MIDI parameter list

Display

indication

Memorized

Full name

Setting range

Default

See page

POWER

MId

trb

MIDI Out/In

Treble TX/RX channel

Treble Octave Tx

Out, In

Off, 1~16

–3~0~3

Off, 1~16

–3~0~3

Off, 1~16

–3~0~3

Off, 1~16

–3~0~3

Off, 1~16

–3~0~3

Off, 1~16

–3~0~3

Off, 1~16

–3~0~3

Off, 1~16

Off, On

Out

trO

bfr

bfO

CHd

CHO

OrC

OrO

Obs

ObO

OCH

OCO

Ofb

OfO

bCH

cCH

PCH

bes

Vel

bre

bpC

C00

C32

dmp

Bass/Free Bass TX/RX Channel

Bass/Free Bass Octave TX

Chord TX/RX Channel

Chord Octave TX

Orchestra TX/RX Channel

Orchestra Octave TX

Orchestra Bass TX/RX Channel

Orchestra Bass Octave TX

Orchestra Chord TX/RX Channel

Orchestra Chord Octave TX

Orchestra Free Bass TX/RX Channel

Orchestra Free Bass Octave TX

Basic Channel TX/RX

Control Channel TX

Program Change TX

Bellows Expression TX

Velocity TX

Off, On

On, 1~127

1~3

Bellows TX Resolution

Send Bank PC TX

1~4

Send CC00 TX

0~127

Send CC32 TX

0~127

Dump TX

“POWER”: Reset when you switch off the FR-3.

“OK”: Can be saved in the Global area (common to all Sets).

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

If you decide not to save, your changes remain in

effect until you switch off the FR-3. (If the FR-3 is

powered off automatically, see page 42, your

changes are lost as well.)

Selecting the desired MIDI LIST function

(1) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(2) Use register [5÷√] or [6÷®] to select the desired MIDI

(9) Press [SET] again to confirm your intention.

The display now looks as follows and then once again

displays the numbers of the registers currently in

effect:

LIST parameter.

don

MIDI Out/In

(Out, In, Default setting: Out) This

parameter allows you to define the

function of the FR-3’s MIDI socket.

Select “Out” if you want to play on the FR-3’s keyboards

and transmit the MIDI data generated by your playing

to an external device. You also need to select this set-

ting for the “Send PC” function (page 51).

mId

(3) Use register [1÷–] or [2÷+] to set the desired value.

Be aware that MIDI parameters labeled “TX” (without

“RX”) are not available if you set this parameter to “In”.

Conversely, the FR-3 doesn’t receive MIDI data when

this parameter is set to “Out”.

If you select “In” here, the FR-3’s sound source can no

longer be played via its keyboards. The display therefore

shows “---” instead of a set number or register num-

bers.

Press registers [1] and [2] simultaneously to return to

the factory setting of the currently selected parame-

ter.

Treble TX/RX channel

(Off, 1~16, Default setting: 1) The table

on page 45 specifies the default MIDI

(4) If you don’t need to change any other MIDI LIST

parameter, press the [SET] register to leave this

mode. Otherwise, proceed.

trb

channel assignments the FR-3 uses.

Those choices are based on how most accordion players

prefer (or are allowed) to use their instrument. You can,

however, change the MIDI channel assignments. An

obvious candidate for such a change would be the Tre-

ble section if you want it to conform to a generally

accepted (i.e. standardized) usage, whereby the melody

part transmits on MIDI channel 4.

(5) Use register [5÷√] or [6÷®] to select another parame-

ter.

(6) Use register [1÷–] or [2÷+] to set the desired value.

Press registers [1] and [2] simultaneously to return to

the factory setting of the currently selected parame-

ter.

There is indeed a format called “General MIDI” that

requires you to use MIDI channel 4 for the melody.

General MIDI-compatible musical instruments use that

channel for the most important part of a song, so it

may be a good idea to assign it to the Treble section.

(7) Press and hold the [SET] register until the display

looks as follows:

Wrt

(This means “Write”.)

This parameter allows you to define the MIDI channel

for the Treble (accordion) section. The assignment set

here applies both to the transmission (“TX”) and recep-

tion (“RX”) of MIDI data. Obviously, “TX” is only used

when “MId” (see above) is set to “Out”, while the “RX”

part is only used when “MId” is set to “In”.

(8) Press register [2/+] to save the settings.

The display now looks as follows:

Yes

The options are: “Off” and 1~16. Select “Off” if the Tre-

ble section should neither receive nor transmit MIDI

data.

Note: Though it is perfectly possible to assign the same MIDI

channel to several sections, the result is usually disappointing

and may lead to a lot of confusion.

If you don’t want to save your changes, press [1÷–]. In

that case the display briefly shows the “No” message,

and then return to the indication of the currently

selected registers.

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V-Accordi_To_ren_blr_{e Octave Tx}

Treble Octave Tx

Orchestra TX/RX Channel

(–3~0~3, Default setting: 0) This param-

eter allows you to transpose the Note-

on messages transmitted by the Treble

section up to three octaves up or down.

(Off, 1~16, Default setting: 3) This

parameter allows you to define the MIDI

channel for the Treble Orchestra part.

trO

OrC

The assignment set here applies both to the transmis-

sion (“TX”) and reception (“RX”) of MIDI data. Obviously,

“TX” is only used when “MId” (see above) is set to “Out”,

while the “RX” part is only used when “MId” is set to

“In”.

This can be used for songs where an accordion register

of the Treble section (for example) should be doubled by

a piccolo flute played by an external module whose

notes would be far too low if they were used as is. As

stated above, each MIDI note has a unique number. This

parameter allows you to add (or subtract) 12 (“1”

octave), 24 (“2” octaves) or 36 (“3” octaves) to (from)

the note numbers generated by your playing.

Orchestra Octave TX

(–3~0~3, Default setting: 0) This param-

eter allows you to transpose the Note-

on messages transmitted by the Orches-

tra section.

Note: “TX” means that this parameter only applies to the note

messages transmitted to external devices. Messages the FR-3

receives from another device are not affected by it.

OrO

Note: “TX” means that this parameter only applies to the note

messages transmitted to external devices. Messages the FR-3

receives from another device are not affected by it.

Bass/Free Bass TX/RX Channel

(Off, 1~16, Default setting: 2) This

parameter allows you to define the MIDI

Orchestra Bass TX/RX Channel

(Off, 1~16, Default setting: 5) This

parameter allows you to define the MIDI

bFr

channel for the bass buttons or Free

Bass (accordion) section, depending on which mode is

currently active. The assignment set here applies both

to the transmission (“TX”) and reception (“RX”) of MIDI

data. Obviously, “TX” is only used when “MId” (see

above) is set to “Out”, while the “RX” part is only used

when “MId” is set to “In”. Select “Off” if the Bass or Free

Bass section should neither receive nor transmit MIDI

data.

Obs

channel for the ORCH BASS part. The

assignment set here applies both to the transmission

(“TX”) and reception (“RX”) of MIDI data. Obviously, “TX”

is only used when “MId” (see above) is set to “Out”,

while the “RX” part is only used when “MId” is set to

“In”.

Orchestra Bass Octave TX

(–3~0~3, Default setting: 0) This param-

eter allows you to transpose the Note-

on messages transmitted by the ORCH

BASS part.

Note: Though it is perfectly possible to assign the same MIDI

channel to several sections, the result is usually disappointing

and may lead to a lot of confusion.

ObO

Bass/Free Bass Octave TX

(–3~0~3, Default setting: 0) This param-

eter allows you to transpose the Note-

on messages transmitted by the bass

buttons or Free Bass section up to three octaves up or

down.

Orchestra Chord TX/RX Channel

(Off, 1~16, Default setting: 6) This

parameter allows you to define the MIDI

bfO

OCH

channel for the ORCH CHORD part. The

assignment set here applies both to the transmission

(“TX”) and reception (“RX”) of MIDI data. Obviously, “TX”

is only used when “MId” (see above) is set to “Out”,

while the “RX” part is only used when “MId” is set to

“In”.

Chord TX/RX Channel

(Off, 1~16, Default setting: 3) This

parameter allows you to define the MIDI

CHd

channel for the chord buttons when

they are used to play the selected accordion register.

The assignment set here applies both to the transmis-

sion (“TX”) and reception (“RX”) of MIDI data. Obviously,

“TX” is only used when “MId” (see above) is set to “Out”,

while the “RX” part is only used when “MId” is set to

“In”.

Orchestra Chord Octave TX

(–3~0~3, Default setting: 0) This param-

eter allows you to transpose the Note-

OCO

on messages transmitted by the ORCH

CHORD part.

Note: Though it is perfectly possible to assign the same MIDI

channel to several sections, the result is usually disappointing

and may lead to a lot of confusion.

Orchestra Free Bass TX/RX Channel

(Off, 1~16, Default setting: 7) This

parameter allows you to define the MIDI

Ofb

channel for the ORCH FREE BS part. The

Chord Octave TX

assignment set here applies both to the transmission

(“TX”) and reception (“RX”) of MIDI data. Obviously, “TX”

is only used when “MId” (see above) is set to “Out”,

while the “RX” part is only used when “MId” is set to

“In”.

(–3~0~3, Default setting: 0) This param-

eter allows you to transpose the Note-

CHO

on messages transmitted by the chord

buttons up to three octaves up or down.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

If you want to use the bellows for expressive purposes,

set this parameter to “On”. If you don’t (because the

external instrument is too sensitive and therefore

changes its volume too often), select “Off”. Note that

there is a second parameter (see below) that allows you

to specify the bellows’ resolution.

Orchestra Free Bass Octave TX

(–3~0~3, Default setting: 0) This param-

eter allows you to transpose the Note-

on messages transmitted by the ORCH

FREE BS part.

OfO

bCH

Basic Channel TX/RX

(Off, 1~16, Default setting: 13) This

parameter allows you to set the basic

MIDI channel number. The “Basic Chan-

Velocity TX

(On, 1~127, Default setting: On) Your

FR-3 is velocity sensitive. That is a very

learned term for the fact that the vol-

VEL

nel” can be used for selecting Sets from an external

MIDI device (using program change numbers 1~10). If

your external source sends Bank Select messages along

with the program change number, CC00 and CC32

must both be set to “0”. The assignment set here applies

both to the transmission (“TX”) and reception (“RX”) of

MIDI data. Obviously, “TX” is only used when “MId” (see

above) is set to “Out”, while the “RX” part is only used

when “MId” is set to “In”.

ume and brightness of the notes you play on the Treble

or Bass keyboard depend on how hard (or fast) you

press the buttons. The accordion sounds do not respond

to these playing dynamics, but the Orchestra (Treble,

Bass, Chord, Free Bass) sounds do, and so do most MIDI-

compatible sound modules.

This parameter allows you to specify whether the veloc-

ity values corresponding to the strength with which

you press a key/button should be transmitted (“On”) or

whether your playing dynamics should not be trans-

lated as such.

Control Channel TX

(Off, 1~16, Default setting: 13) The

“Control Ch” can only be used for send-

ing program change messages (see

p. 51). This parameter allows you to set the control

MIDI channel number.

In the latter case, you need to select a value (1~127)

that will be applied to all notes that are transmitted via

MIDI. “64” is still relatively soft. Even lower values are

probably not what you want in most cases. Fixed veloc-

ity values can be useful for playing organ sounds on an

external module.

cCH

Program Change TX

(Off, On, Default setting: On) This is the

first of a series of MIDI filters, i.e. param-

Bellows TX Resolution

PCH

eters that allow you to specify whether

(1~3, Default setting: 2) This parameter

allows you to specify how many data the

FR-3’s bellows may transmit for expres-

or not the given MIDI type should be transmitted. “TX”,

as you know, is short for “transmission”. This means two

things: (1) the filter only applies to program changes

sent by the FR-3, and (2) it is only meaningful when the

“MId” parameter (see p. 48) is set to “Out”.

brE

sion purposes. As long as the external sequencer you

work with does not display a “MIDI buffer overflow”

message, you can leave its setting at “2”. If, however,

the bellows’ data amount is too much for the receiving

sequencer (because such data are transmitted on sev-

eral channels simultaneously), select “1”. In that case,

the amount of data will be reduced. This leads to a

coarser resolution, and maybe even audible steps, but

at least, your sequencer will be able to record the data.

If your sequencer accepts “3”, use that setting, because

it will lead to even more nuances being captured.

Program change messages are used to select sounds or

memories on the receiving instrument simply by recall-

ing another sound (or memory) on the transmitting

instrument. The FR-3 transmits program changes when

you select Sets (on the Basic Channel) and registers (on

the MIDI channel assigned to the section for which you

are selecting a different register). Select “Off” if you

don’t need that.

Note: This filter has no effect on the “Send PC” function (see

p. 51).

“TX” means that this parameter only applies to data

sent by the FR-3. Its own MIDI buffer is big enough to

receive high-resolution data (“3”).

Bellows Expression TX

(Off, On, Default setting: On) You proba-

bly noticed that the strength/speed with

bES

which the bellows is pressed or pulled

influences the sound – which corresponds to an acous-

tic accordion’s response. This effect can be translated

into a MIDI message most external instruments under-

stand. The MIDI standard provides a message (“control

change”) for remotely controlling the volume of an

external instrument: CC11. It is chiefly used for expres-

sion purposes (similar to the way in which a guitarist or

organ player uses a volume pedal).

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_{Sending program cha}V_n-_geA_mc_ec_so_sar_gd_esio_wn_her_{n necessary}

Sending program change messages when necessary

If you entered “55”, for example, while the second

figure should have been a “2”, press [SET] once (so

that the display indicates “--5” again), then press

Note: The FR-3 uses a smart entry system: after entering “52”

(or “53”, “54”, “55”,… “59”), you can’t add a third figure,

because the highest number supported by the SEND PC func-

tion is “512”.

(

bPC

C00

C32

)

Though each register or Set can transmit a program

change/bank select cluster when pressed (see “Program

Change TX” on p. 50), you can also transmit sound

select messages on the fly – without changing registers

on the FR-3. These are MIDI messages that cause an

external instrument or device to select a different

memory (i.e. another sound or effect).

Note: The [SET] button has two functions here: when pressed

lightly, it deletes the last entry you made (“backspace”). By

holding it for 1 second, you delete all figures and start again.

This functionality is mainly intended for selecting set-

ting groups of various sounds on external instruments.

Such setting groups may be called “Performances” or

“Multis”, which you may want to select while playing,

because using those multitimbral memories has the

advantage that all sound addresses and MIDI channels

are configured “automatically” simply by sending the

correct “PC” address from the FR-3.

(7) Press the [ORCHESTRA] register to transmit the

number you entered.

Bear in mind that despite the function’s name (“Send

PC”), the value you enter here is not really a program

change number, but rather the memory number used

by the receiving device.

As the first half of the name (“Send PC”) suggests, this

function only transmits messages to an external device

whose MIDI IN port is connected to the FR-3’s MIDI

socket.

“502” therefore refers to Performance number 502 of

the receiver, but that number cannot be conveyed as

such via MIDI.

Here is how to take advantage of that function:

The MIDI standard provides only 128 program change

numbers (for selecting memories) and two messages

called “Bank Select” that allow you to select 128

banks each. Two bank addresses (“MSB” and “LSB”)

with 128 possibilities each, plus 128 Program Change

numbers provide 128 x 128 x 128 values= 2,097,152

possible memories.

(1) Connect the FR-3’s MIDI socket to the MIDI IN port

of the module, synthesizer, etc., you wish to con-

trol.

(2) Set the “MId” parameter (page 48) to “Out”.

(3) Set the module’s MIDI receive channel (often

called “RX”) to “13”.

See its manual for details. If you are unable to

change the receiver’s MIDI channel, set the FR-3’s

“Control Ch” to match the external instrument’s “RX”

channel. See “Control Channel TX” on p. 50.

The numbers you enter on the page shown above

should therefore be taken to mean “memory XX of

the receiving device”. But how does the FR-3 then

convert it to a MIDI address that conforms to the

CC00/CC32/PC format (each of which supports a

maximum of 128 possibilities)? Enter the following

parameters:

(4) Hold down the [ORCHESTRA÷MODE] register while

pressing register [6] (SEND PC).

Defining the ‘PC’ format

(1) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(2) Use register [5÷√] or [6÷®] to select the following

parameter.

SPC

(5) Use Treble registers [1]~[0] to enter the sound

number.

You may have to look in the owner’s manual of the

module or synthesizer you are controlling to find

out which number you need to transmit for the

sound (or memory) you want to select. You can

enter any number from “1” to “512”.

bPC

“bPC” is short for “Send Bank PC TX”.

The [0] register acts as “0” here. To enter “502”, for

example, press registers [5], [0], and [2].

(6) If necessary, press the [SET] register to erase the last

(3) Use register [1÷–] or [2÷+] to select the memory

group whose “real” MIDI address you want to

define.

The possibilities are: “1” (1~128), “2” (129~256),

“3” (257~384), “4” 385~512.

entry you made.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Editing settings | PARAM LIST parameters

You probably noticed that each entry represents a

group of 128 possibilities. By selecting an entry, you

tell the FR-3: “Whenever I select a memory number

between 257 and 384 on the ‘SPC’ page, please con-

vert that to a program change number 1~128, and

add the two CC values I’m about to specify.”

Note: This function can also be used to select the Patches on

an SRX-series expansion board which you installed in a G-70,

for example.

Archiving your settings via MIDI (Bulk Dump)

MIDI can also be used for transmitting parameter set-

tings from the FR-3 to an external MIDI device and

back.

IArchiving your settings with a sequencer

The “dMP” parameter allows you to transmit the con-

tents of the global area (that contains the PARAM LIST

and MIDI LIST settings) to a second FR-3s/FR-3sb or

FR-3/FR-3b, an external sequencer, computer or data

filer. Sending these data to other instruments (a digital

piano, synthesizer, etc.) does nothing at all. That’s

because the setting data are special MIDI messages only

one model (or model family) understands. They are

called “system exclusive messages” – or “SysEx” for

short. By transmitting them to a second FR-3, however,

you can “copy” the settings of your V-Accordion to that

of a friend, colleague or student.

(4) Press the [6÷®] register to select “C00” and use [1÷–]

or [2÷+] to select a value (0~127).

“0” corresponds to the first bank (called the “Capital

bank” on GM2/GS-compatible instruments).

Be sure to select this number based on

the information given in the owner’s

C00

manual of the instrument you wish to

control. Be sure to also specify the correct CC32

number.

A sequencer or data filer does not know what the mes-

sages mean and so does not use them in any way. It

merely records them. Afterwards, you only need to start

playback on your sequencer or data filer to transmit the

settings back to the FR-3.

(5) Press the [6÷®] register to select “C32” and use [1÷–]

or [2÷+] to select a value (0~127).

Again, the value to enter here depends

on the information you find in the

manual of the instrument you want to

C32

(1) Connect the FR-3’s MIDI OUT/IN socket to the

sequencer’s/computer’s MIDI IN socket.

See page 45 for a connection diagram.

control. Some manufacturers don’t use CC32 mes-

sages for sound selection, others use them to define

modes, and still others rely on them as complemen-

tary bank information.

Note: Your computer needs to be equipped with (or connected

to) an appropriate MIDI interface.

(6) Press register [5÷√] to select “bPC” again, then use

group, and repeat steps (4) and (5).

(7) See “Saving your changes” on p. 26 if you want to

keep your changes.

(2) Set the “MId” parameter (page 48) to “Out”.

(3) If you are working with a computer, launch the

sequencer program.

(4) Create or select an empty song.

(5) Create (or select) an empty track.

To use them only temporarily, press the [SET] register

to leave “MIDI LIST” mode.

The track’s MIDI channel is of no importance here.

You need to ensure, however, that the sequencer/

program accepts SysEx data. If necessary, switch off

the MIDI filter in question (see the manual of your

sequencer or software).

(8) Now use the “SPC” page to test your assignments.

See step (1) and following on p. 51.

(6) Activate the record-ready mode of the track you

selected/created.

Note: It would be wise not to change the tempo on your

sequencer/in the software. By default, most sequencers/pro-

grams use the tempo value q= 120. Leave it that way (or else

do whatever is necessary to ensure that the new tempo value

is stored along with the data).

(7) Press and hold the [SET] register until the display

shows a parameter name, then release it.

(8) Use register [5÷√] or [6÷®] to select the following

parameter.

dMP

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V-Accordion r

Restoring the factory defaults

Note: Your computer needs to be equipped with (or connected

to) an appropriate MIDI interface.

“dMP” is short for “Dump TX”.

(9) Start recording on your sequencer/computer.

Wait until the count-in (one or two measures) is fin-

ished, then…

(2) Set the “MId” parameter (page 48) to “In”.

(3) If you are working with a computer, launch the

sequencer program.

(4) Load the song that contains the data you want to

transmit.

(5) On your sequencer, perform all necessary actions

to ensure that it transmits SysEx data.

See its manual for details.

(10)Press register [1÷–] or [2÷+] on the FR-3 to start the

transmission of the bulk data.

(Press the [SET] register if you do not want to trans-

mit your settings after all.)

(11)Wait until the following message appears, then

stop recording on your sequencer.

Note: Be aware that by proceeding, you replace all internal

settings.

don

This message appears after a while.

(12)Name the “song” (it may only contain data so far)

and save it to hard or floppy disk.

(6) Start playback of the data file or song on your

sequencer, etc.

Note: Wait until the “don” message appears before stopping

playback on your sequencer. Failure to do so will render your

FR-3 inoperable. If that happens, you need to initialize it (see

“Restoring the factory defaults” on p. 53).

See below for how to transmit the settings back to

the FR-3 at a later stage.

(7) Stop playback of your sequencer.

ISending Bulk data (back) to the FR-3

The FR-3 not only sends SysEx data to external devices

(see above), it also receives them.

(1) Connect the FR-3’s MIDI socket to the sequencer’s/

computer’s MIDI OUT socket.

See page 45 for a connection diagram.

7. Restoring the factory defaults

You can reset the FR-3 to its factory settings, which means that your own Global settings are replaced by the settings

the FR-3 contained when you first got it. You may wish to archive your settings before initializing the FR-3 (see p. 52).

(1) Switch on the FR-3 while holding down the [SET]

When all settings have been initialized, the display

and [ORCHESTRA] registers.

briefly shows the following message:

don

The FR-3 now again sounds and behaves like when

you first bought it.

The display changes to:

Fty

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Using optional batteries | Using optional batteries

8. Using optional batteries

Your FR-3 has a compartment that contains a special holder unit into which you can install 10 optional AA-type batter-

ies. You can therefore play your instrument without connecting the supplied adapter.

(1) Switch off the FR-3.

(2) Remove the cushion located between the Treble

What can you do with batteries?

keyboard and the bellows.

• After installing optional batteries, the FR-3s/FR-3sb

(where the “s” stands for “speakers”) can be used like an

acoustic accordion – without any connection whatso-

ever.

(FR-3s/FR-3)

• FR-3s/FR-3sb and FR-3/FR-3b: If you use an optional

wireless system, you don’t need audio cables that run

from the FR-3 to your amplifier or mixing console.

• FR-3s/FR-3sb and FR-3/FR-3b: If you use headphones,

you can play just about anywhere.

Note: Though it is perfectly possible to use rechargeable batter-

ies, be aware that they cannot be recharged simply by leaving

them in the FR-3’s compartment and connecting the adapter.

You will need an external charging unit.

(FR-3sb/FR-3b)

Installing and removing batteries

The FR-3 provides a battery compartment with a spe-

cial holder unit into which 10 AA-type (R6) batteries

can be installed.

General remarks about batteries

• Be sure to dispose of used batteries in accordance with

local regulations.

• First, read the precautions on page 10 and following.

• New (or fully recharged) batteries should last about 2.5

hours (FR-3s/FR-3sb) or 5 hours (FR-3/FR-3b) under

continuous use.

(3) Remove the cover from the FR-3’s battery com-

partment by pressing the two tabs and lifting the

cover.

• Slightly before the batteries are fully exhausted, the

following message appears.

bat

Note: The FR-3 contains an energy saving function that

switches off the instrument when it is left unattended for

more than 10 minutes. You may therefore have to switch it on

again from time to time.

You should now see a tab that allows you to remove

the battery case:

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_NoteV_a-_bA_ouc_tc_ro_ecr_hd_ai_rgo_en_abr_{le batteries}

(4) Use the tab to pull the battery case out of the

compartment and turn the case around.

The battery case is connected to the FR-3 by means

of a cable with a padded connector strip. You can

disconnect the cable from the battery case by pulling

off the padded connector strip.

Note that this is unnecessary if you manage to install

(or remove) the batteries without disconnecting the

strip

(5) Insert 10 AA-type (R6) batteries into the compart-

ment (5 on either side), taking care to orient them

in accordance with the “+” and “–” indications.

(6) Insert the case with the 10 batteries into the com-

partment.

(7) Close the FR-3’s battery compartment and re-

install the cushion.

Note about rechargeable batteries

Certain batteries can be recharged several times before

they need to be replaced with a new ones. Note that it

is normal for the battery to last increasingly shorter as

time goes by. At the end of its life cycle, it may only last

one hour, for example. But that is a gradual process.

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Troubleshooting | Troubleshooting

9. Troubleshooting

This section provides an overview of points to check and actions to take when the FR-3 does not function as you expect.

Feel free to contact your Roland dealer if your issue remains unsolved after reading through this section.

No sound

Issues related to the bass buttons

IWhy do the bass buttons only provide three

chord rows?

IDid you turn the [VOL] knob all the way to the

small dot?

Set it to a higher value.

Because you set the “Bass & Chord Mode” parameter

to “2”, “3”, “4” or “5” (page 42). Set it to “1”.

IDid you turn the [BAL] knob all the way to one

side?

Change its setting and try again.

IWhy can’t I play diminished chords using the

bass buttons?

Because you set the “Bass & Chord Mode” parameter

to “2”, “3”, “4” or “5” (page 42). Set it to “1”.

IAre you moving the bellows while triggering

accordion sounds?

The Treble and Bass/Free Bass sections only produce

sound if you move the bellows while playing notes

(like on an acoustic accordion).

IIn Free Bass mode, the bass buttons play the

wrong notes.

You my have changed the “Free Bass Mode” setting.

Be sure to select the system that best suits your play-

ing style (page 42).

IDid you connect the FR-3/FR-3b to an external

amplifier?

The FR-3/FR-3b doesn’t contain internal speakers and

therefore needs to be connected to an external

amplification system. Alternatively, you can use a

pair of headphones.

MIDI-related issues

IWhat MIDI channels does the FR-3 use by

default?

See the table on page 45.

IDid you connect the audio cables to the correct

sockets?

If so, check whether the external amplifier, mixing

console, etc., is switched on. Also check the cables for

possible damage.

IThe FR-3 does not change sounds when my

sequencer transmits program change numbers.

The program change number probably outside the

range of the FR-3’s registers (1~10 for Treble, 1~7 for

Bass/Free Bass/Orch. Bass/Orch Chord/Orch Free Bass,

1~10 for Orchestra). Such “excess” program numbers

are ignored by the FR-3.

No sound and the display shows “---”

IDid you set the “MId” parameter to “In”?

In that case, the FR-3 only responds to MIDI mes-

sages. Set the parameter to “Out” (page 48).

IThe FR-3 does not receive the MIDI messages I

recorded for it.

That’s because the “MId” parameter is currently set to

“Out”. Set it to “In” (page 48).

No power

IDid you disconnect the adapter?

Connect the supplied adapter, or install optional bat-

teries.

IAll of the FR-3’s settings have changed.

You probably transmitted a “Bulk” file. The settings of

that file have replaced your own settings. We regret

that your settings cannot be restored. Be sure to

archive the internal settings before transmitting bulk

data to the FR-3 (page 52).

IDid you remove the battery cover?

For your safety, the power is automatically switched

off within a few seconds after the battery cover is

removed.

IThe external sequencer keeps displaying a “MIDI

Buffer Overflow” message

IDid the FR-3 go off after several seconds?

You probably did not install the battery cover all the

way, which is why the power was automatically

switched off.

The bellows sends too many data at once (its data are

transmitted on five channels simultaneously). Select

a different setting (“2” or “1”). This leads to a coarser

resolution, and maybe to audible steps, but at least,

your sequencer will be able to record the data. See

“Bellows TX Resolution” on p. 50.

The FR-3 does not respond to your playing

IDid you set the “MId” parameter to “In”?

In that case, the FR-3 only responds to MIDI mes-

sages. Set the parameter to “Out” (page 48).

IAre you moving the bellows while triggering

accordion sounds?

The Treble and Bass/Free Bass sections only produce

sound if you move the bellows while playing notes

(like on an acoustic accordion).

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V-Accordion_Spr_{eciﬁcations}

10. Specifications

I Keyboards

I Display

LED, 3 x 7 segments, 3 dots

Right hand: FR-3s/FR-3

37 piano-type keys, velocity

sensitive (starting at a G key)

I Rated power output (FR-3s/FR-3sb)

FR-3sb/FR-3b 92 buttons, with velocity

2 x 11W RMS

Left hand: (All models) 120 velocity-sensitive bass

buttons,

I Speakers (FR-3s/FR-3sb)

2 x 10cm speakers (neodymium transducer magnets)

Modes:

Standard, Free Bass, Orch. Bass, Orch. Chord,

Orch. Free Bass

I Power consumption (FR-3s/FR-3sb)

1000mA (FR-3s/FR-3sb)

450mA (FR-3/FR-3b)

I Bellows

Real pneumatic detection of bellows pressure (high-resolu-

tion pressure sensor)

Bellows resistance regulator: 4 positions

I Expected battery life under continuous use:

Ni-MH (2500mAh):. . . .2.5 hours (FR-3s/FR-3sb)

Ni-MH (2500mAh):. . . . 5 hours (FR-3/FR-3b)

These figures vary depending on the actual conditions of

use. Roland recommends the use of Ni-MH batteries

(2500mAh or more)

I Sound source

Max polyphony: 64 voices

Wave ROM: 32MB of waveforms

Tones: 10 accordion Sets, each including:

12 Treble registers, 7 Bass registers, 7 Free Bass registers, 7

Orchestra Bass registers, 7 Orchestra Chord registers, 7

Orchestra Free Bass registers, 10 Orchestra sounds

Treble reed footages: 4

Note: Carbon and alkaline batteries should not be used.

I Others

Connectors: HEADPHONE socket (stereo), OUTPUT sockets

(stereo), MIDI socket (Out/In function adjustable via MIDI

parameter)

Bass reed footages: 5

Chord reed footages: 3

Free Bass footages: 2

Power supply: external AC adapter (100~240V, universal)

Dimensions (mm):

FR-3s/FR-3:

425 (H) x 481 (W) x 270 (D) mm

I PBM (Physical Behavior Modeling)

Noises: stopping-reed growl, closing valve noise, left but-

ton noise

Individual reed simulation: hysteresis threshold, Expression

curve, pressure-variant filter, pressure-variant pitch devia-

tion

FR-3sb/FR-3b: 387 (H) x 472 (W) x 240 (D) mm

Weight: FR-3s: 8.3kg, FR-3sb: 8.25, FR-3: 7.5kg,

FR-3b: 7.5kg (without straps or optional batteries)

I Supplied accessories

External AC adapter

Owner’s Manual

Reed sound wave switching: by bellows acceleration, by

note repetition speed

Reference caps for the bass buttons

Reference caps for the treble buttons (FR-3sb/FR-3b)

Accordion cloth

I Musette tuning

Micro tuning presets: 16 (Off, Dry, Classic, F-Folk, American

L/H, North Europe, German L/H, D-Folk L/H, Alpine, Italian L/

H, French, Scottish)

Straps

Battery holder (pre-installed in compartment)

I Effects

Reverb: 8 types, Chorus: 8 types,

“Cassotto” and “Sordina” simulation

I Options

Accordion soft bag

AA-type batteries (10) from third-party suppliers

I Panel controls

Knobs: VOL, Treble/Bass BAL, Reverb, Chorus

Panel Switches: 10 Treble registers + Orchestra + Set,

7 Bass registers, METRONOME button, SORDINA switch,

POWER switch

Note: In the interest of product improvement, the specifica-

tions and/or appearance of this unit are subject to change

without prior notice.

I Operation modes

ORCHESTRA modes: Solo, Dual, High, Low

Free Bass modes: Minor 3rd, Bajan, Fifth, N. Europe, Finnish

Treble modes (FR-3sb/FR-3b): C-Griff Europe, C-Griff 2,

B-Griff Bajan, B-Griff Fin, D-Griff 1, D-Griff 2

Octave: Down, 0, Up (for Treble and Orchestra)

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Appendix | Appendix

11. Appendix

Factory Sets

01 CLASSIC

02 JAZZ

04 D FOLK (German Folk)

05 F FOLK (French Folk)*

06 SP FOLK (Spanish Folk)

07 BANDONEON

08 ALPINE

09 CAJUN

00 TEX MEX

03 I FOLK

(Italian Folk)

(*) Changes the assigments of the Treble registers. See page 22.

Demo Songs

SONG TITLE*

PERFORMED BY

Sergio Scappini

Luigi Bruti

Walking in old Paris by S. Scappini

Carnival in Venice - Traditional

Passionate Red Rose by S. Scappini

Bezaubernder Sinaklia by S. Scappini

O Sole Mio - Traditional

Sonata in C Maj by D. Scarlatti

Edelweiss by S. Scappini

Mexican Hat Dance - Traditional

Smells from Toccata by J. S. Bach

Capriccio 13 by N. Paganini

Salvador by L. Bruti

Sergio Scappini

Luigi Bruti

Scattered Jazz by S. Scappini

Figaro by G. Rossini

Sergio Scappini

Luigi Bruti

Rêve d’amour by L. Bruti

Sugar cane by L. Bruti

Luigi Bruti

To my beloved teacher by S. Scappini

Dancing in the courtyard by L. Beier

Sotto I ponti della Senna

Sergio Scappini

Ludovic Beier

Sunny grasslands by L. Beier

Hanging around by L. Beier

Lights and Shadows of the Moon by L. Beier

Acrobat by L. Beier

Islands by L. Beier

Fence Jumper by L. Beier

Passion in the Atmosphere by L. Beier

Unauthorized use of the demo songs for purposes other than private enjoyment is a vio-

lation of applicable laws.

Note: The performance data of the demo songs are not transmitted to the MIDI socket.

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V-Accordion r

MIDI implementation

Status

7CH

12H

Data byte

Model ID #2 (FR-3 V-Accordion)

Command ID (DT1)

Address MSB: upper byte of the starting address of

the data to be sent

Address: upper middle byte of the starting address of

the data to be sent

Address: lower middle byte of the starting address of

the data to be sent

Address LSB: lower byte of the starting address of

the data to be sent

Data: the actual data to be sent. Multiple bytes of data

are transmitted in order starting from the address.

Status

1. Received data

I Channel Voice Messages

G Note off

aaH

Status

8nH

2nd byte

kkH

3rd byte

vvH

bbH

ccH

ddH

eeH

n = MIDI channel number:

kk = note number:

vv = note off velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

G Note on

Status

9nH

2nd byte

kkH

3rd byte

vvH

ffH

sum

F7H

Data

Checksum

EOX (End of Exclusive)

n = MIDI channel number:

kk = note number:

vv = note on velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

01H~7FH (1~127)

•

The amount of data that can be received at one time depends on the type of data,

and data will be transmitted from the specified starting address and size.

Data larger than 256 bytes must be divided into packets of 256 bytes or less, and

each packet must be sent at an interval of about 20ms.

G Control Change

The value specified by a Control Change message is not reset by a Program

Change, etc.

•

❍

Bank Select (Controller number 0, 32)

Status

BnH

2nd byte

00H

20H

3rd byte

mmH

llH

2. Transmitted data

I Channel Voice Messages

G Note off

n = MIDI channel number:

mm = Bank number MSB:

ll = Bank number LSB:

0H~FH (Ch.1~16)

00H~7FH

Status

8nH

2nd byte

kkH

3rd byte

vvH

•

Only for Free Bass.

n = MIDI channel number:

kk = note number:

vv = note off velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

❍

Expression (Controller number 11)

Status

BnH

2nd byte

0BH

3rd byte

vvH

G Note on

Status

9nH

2nd byte

kkH

3rd byte

vvH

n = MIDI channel number:

vv = Expression:

0H~FH (Ch.1~16)

00H~7FH (0~127)

•

This adjusts the volume of a Part. It can be used independently from Volume

(CC07) messages. Expression messages are used for musical expression within

a performance, e.g., expression pedal movements, crescendo and decrescendo.

n = MIDI channel number:

kk = note number:

vv = note on velocity:

0H~FH (Ch.1~16)

00H~7FH (0~127)

01H~7FH (1~127)

❍

Program Change

Status

CnH

G Control Change

2nd byte

ppH

❍

Bank Select (Controller number 0, 32)

Status

BnH

2nd byte

00H

3rd byte

mmH

llH

n = MIDI channel number:

pp = Program number:

0H~FH (Ch.1~16)

BnH

20H

00H~0BH: Treble Register 1~12

00H~0AH: Orchestra Register 1~10

00H~06H: Bass/FreeBass/Orch.Bass/

Orch.Chord/Orch. FreeBs Register 1~7

00H~0AH: Set 1~10

n = MIDI channel number:

mm = Bank number MSB:

ll = Bank number LSB:

0H~FH (Ch.1~16)

00H~7FH

❍

Expression (Controller number 11)

I System Realtime Messages

Status

BnH

2nd byte

0BH

3rd byte

vvH

❍

Active Sensing

Status

FEH

n = MIDI channel number:

vv = Expression:

0H~FH (Ch.1~16)

00H~7FH (0~127)

•

When Active Sensing is received, the FR-3 starts monitoring the intervals of all fur-

ther messages. While monitoring, if the interval between messages exceeds 420

ms, the same processing will be carried out as when All Sounds Off, All Notes Off

and Reset All Controllers are received, and message interval monitoring will be

halted.

•

This adjusts the volume of a Part. Expression messages are used for musical ex-

pression within a performance, e.g., expression pedal movements, crescendo and

decrescendo.

❍

Program Change

Status

CnH

2nd byte

ppH

❍

Start

Status

FAH

n = MIDI channel number:

pp = Program number:

0H~FH (Ch.1~16)

00H~7FH: program no. 1~128

•

When an FA message is received from an external MIDI device such as sequenc-

er, the FR-3 sends all necessary MIDI information for a song header setup: Treble,

Orchestra, Bass/Free, Orchestra Bass, sound setup.

I System Realtime Messages

❍

Active Sensing

Status

I System Exclusive Messages

Status

F0H

Data byte

Status

F7H

FEH

Transmitted about every 250ms.

iiH, ddH, ......,eeH

❍

Start

Status

FAH

F0H:

ii = ID number:

System Exclusive Message status

An ID number (manufacturer ID) to indicate the manufacturer

whose Exclusive message this is. Roland’s manufacturer ID is

41H.

This message is transmitted when the [METRONOME] switch is

pressed after assigning the “2” option to the “MFn” parameter.

dd,...,ee = data: 00H~7FH (0~127)

F7H: EOX (End Of Exclusive)

❍

Stop

Status

FCH

The System Exclusive Messages received by the FR-3 are messages related to

Data Set (DT).

This message is transmitted when the [METRONOME] switch is

pressed after assigning the “2” option to the “MFn” parameter.

G Data Set 1 DT1 (12H)

Status

F0H

Data byte

Status

F7H

41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, … eeH,

ffH, sum

Byte

F0H

41H

10H

00H

Explanation

Exclusive status

ID number (Roland)

Device ID

Model ID #1 (FR-3 V-Accordion)

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Appendix | MIDI implementation

I System Exclusive Messages

BASS REGISTER RX

Status

F0H

Data byte

Status

F7H

—

2’

4’

8-4'

16'/8'/8-4'/4'/2'

8'/4'/2'

16'/8'/8-4'

16'/2'

iiH, ddH, ......,eeH

F0H:

System Exclusive Message status

ii = ID number:

An ID number (manufacturer ID) to indicate the manufacturer

whose Exclusive message this is. Roland’s manufacturer ID is

41H.

dd,...,ee= data: 00H~7FH (0~127)

F7H: EOX (End Of Exclusive)

FREE BASS REGISTER RX

The System Exclusive Messages transmitted by the FR-3 are messages related to

Data Set (DT).

Low

High

G Data Set 1 DT1 (12H)

Low+High

Low+High Low

Low Low+High

High Low+High

Low High

Status

Data byte

Status

F7H

F0H

41H, dev, 42H, 12H, aaH, bbH, ccH, ddH, … eeH,

ffH, sum

Byte

F0H

41H

10H

00H

7CH

12H

aaH

Explanation

Exclusive status

ID number (Roland)

Device ID

Model ID #1 (FR-3 V-Accordion)

Model ID #2 (FR-3 V-Accordion)

Command ID (DT1)

ORCH BASS REGISTER RX

—

Acoustic

Bowed

Fingered

Fretless

Picked

Address MSB: upper byte of the starting address of

the data to be sent

bbH

ccH

ddH

eeH

Address: upper middle byte of the starting address of

the data to be sent

Address: lower middle byte of the starting address of

the data to be sent

Address LSB: lower byte of the starting address of

the data to be sent

Data: the actual data to be sent. Multiple bytes of data

are transmitted in order starting from the address.

Tuba

Tuba Mix

ORCH CHORD REGISTER RX

—

St. Strings

Chorus Organ

Steel Guitar

St. Orch Brass

Choir

Harps+Strings

Guitar+Organ

ffH

sum

F7H

Data

Checksum

EOX (End of Exclusive)

ORCH FREE BASS REGISTER RX

•

The amount of data that can be transmitted at one time depends on the type of

data, and data will be transmitted from the specified starting address and size.

Data larger than 256 bytes will be divided into packets of 256 bytes or less, and

each packet will be sent at an interval of about 20ms.

—

Trombone

Clarinet

Oboe

Flute

3. Bulk Dump

Bulk Dump allows you to transmit a large amount of data at once, and is conve-

nient for storing settings for the entire unit on a computer or sequencer.

The FR-3 is able to transmit and receive a SET.

Perc Organ

Ac Guitar

Ac Piano

SET RX

—

CLASSIC

JAZZ

I FOLK

D FOLK

F FOLK

SP FOLK

BANDONEON

ALPINE

CAJUN

4. Program change messages

BANK SELECT

PROGRAM

CHANGE

SECTION

MSB CC00

LSB CC 32

BANK SELECT AND PROGRAM CHANGE TX

1~10

1~7

1~10

Treble Register

Bass Register

Free Bass Register

Orch Bass Register

Orch Chord Register

Orch FreeBs Register

Orchestra Register

Set

TEX MEX

TREBLE REGISTER RX

—

Bassoon

—

Bandon

Harmon

Organ

Master

Musette

Violin

Oboe

Clarinet

Piccolo

ORCHESTRA REGISTER RX

—

Trombone

Trumpet

T Sax

A Sax

Clarinet

Harmonica

Violin

Flute

Jazz Org

Blues Org

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V-_MA_Ic_Dc_{I I}o_mr_pd_lei_mo_en_ntr_{ation Chart}

MIDI Implementation Chart

[V-Accordion]

Date: April 2006

Version: 1.00

Model: FR-3s/FR-3sb/FR-3/FR-3b

Function...

Transmitted

Recognized

Remarks

7 Parts: 1= Treble, 2= Bass/Free

Bass, 3= Chord, 4= Orchestra,

5= Orchestra Bass, 6= Orchestra

Chord, 7= Orchestra Free Bass,

2 Logical parts: 13= Basic MIDI

Channel for SET change,

Basic

Channel

Default

Changed

1~16

1~16, Off

1~16

1~16, Off

13= Control MIDI Channel only TX

Default

Message

Altered

Mode 3

*****

Mode 3

*****

Mode

Note

Number

0~127

*****

0~127

True Voice

Note ON

Note OFF

Velocity

After

Touch

Key’s

Ch’s

Pitch Bend

0,32

Bank Select

Volume

Panpot

Expression

Hold 1

Reverb Send

Chorus Send

Control

Change

Program Number 1~128

transmitted

Recognized: 1~12:

1~12: Treble Registers

1~7 Bass

1~7 Free Bass

1~7 Orchestra Bass

1~7 Orchestra Chord

1~7 Orchestra Free Bass

1~10 Orchestra

Program

Change

0~127

0~11

True #

1~10 Sets

System Exclusive

Song Position Pointer

Song Sel

Tune

System

Common

System

Real Time

Clock

Commands

All Sounds Off

Reset All Controllers

Local On/Off

All Notes Off

Active Sense

Reset

Aux

Messages

*1 O X is selectable

*2 Recognized as M=1 even if M≠1

*3 SysEx used for Bulk Dump only

*4 Transmit Start (FA) and Stop (FC)

Notes

Mode 1: OMNI ON, POLY

Mode 3: OMNI OFF, POLY

Mode 2: OMNI ON, MONO

Mode 4: OMNI OFF, MONO

O:Yes

X: No

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Information | Information

12. Information

When you need repair service, call your nearest Roland Service Center or authorized

Roland distributor in your country as shown below.

SINGAPORE

COSTA RICA

TRINIDAD

NORWAY

JORDAN

AFRICA

SWEE LEE MUSIC

JUAN Bansbach Instrumentos

Musicales

AMR Ltd

Roland Scandinavia Avd.

MUSIC HOUSE CO. LTD.

Ground Floor

COMPANY PTE. LTD.

150 Sims Drive,

SINGAPORE 387381

TEL: 6846-3676

Kontor Norge

FREDDY FOR MUSIC

P. O. Box 922846

Amman 11192 JORDAN

TEL: (06) 5692696

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

Lilleakerveien 2 Postboks 95

Lilleaker N-0216 Oslo

NORWAY

TEL: 2273 0074

URUGUAY

Todo Musica S.A.

Francisco Acuna de Figueroa

1771

C.P.: 11.800

Montevideo, URUGUAY

TEL: (02) 924-2335

SRI LANKA

Penguin Electronics (Pvt) Ltd.

115, Maya Avenue,

Colombo 06, SRI LANKA

TEL: (11) 2552376

CURACAO

Zeelandia Music Center Inc.

Orionweg 30

Curacao, Netherland Antilles

TEL:(305)5926866

KUWAIT

EASA HUSAIN AL-YOUSIFI

& SONS CO.

Abdullah Salem Street,

Safat, KUWAIT

POLAND

MX MUSIC SP.Z.O.O.

UL. Gibraltarska 4.

PL-03664 Warszawa POLAND

TEL: (022) 679 44 19

REUNION

Maison FO - YAM Marcel

25 Rue Jules Hermann,

Chaudron - BP79 97 491

Ste Clotilde Cedex,

TEL: 243-6399

TAIWAN

ROLAND TAIWAN

ENTERPRISE CO., LTD.

Room 5, 9fl. No. 112 Chung

Shan N.Road Sec.2, Taipei,

TAIWAN, R.O.C.

DOMINICAN REPUBLIC

Instrumentos Fernando Giraldez

Calle Proyecto Central No.3

Ens.La Esperilla

Santo Domingo,

Dominican Republic

TEL:(809) 683 0305

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

VENEZUELA

Instrumentos Musicales

Allegro,C.A.

Av.las industrias edf.Guitar

REUNION ISLAND

TEL: (0262) 218-429

SOUTH AFRICA

T.O.M.S. Sound & Music

(Pty)Ltd.

11 Melle St., Braamfontein,

import

TEL: (02) 2561 3339

#7 zona Industrial de Turumo

Caracas, Venezuela

TEL: (212) 244-1122

ROMANIA

FBS LINES

Piata Libertatii 1,

535500 Gheorgheni,

ROMANIA

ECUADOR

Mas Musika

Rumichaca 822 y Zaruma

Guayaquil - Ecuador

THAILAND

OMAN

Theera Music Co. , Ltd.

330 Soi Verng NakornKasem,

New Road, Sumpantawongse,

Bangkok 10100, THAILAND

TEL: (02) 224-8821

Johannesbourg,

TALENTZ CENTRE L.L.C.

Malatan House No.1

Al Noor Street, Ruwi

SULTANATE OF OMAN

TEL: 2478 3443

SOUTH AFRICA

TEL: (011) 403 4105

FAX: (011) 403 1234

EUROPE

TEL:(593-4)2302364

TEL: (266) 364 609

EL SALVADOR

OMNI MUSIC

75 Avenida Norte y Final

Alameda Juan Pablo II,

Edificio No.4010 San Salvador,

EL SALVADOR

AUSTRIA

Roland Elektronische

Musikinstrumente HmbH.

Paul Bothner(PTY)Ltd.

Royal Cape Park, Unit 24

Londonderry Road, Ottery 7800

Cape Town, SOUTH AFRICA

TEL: (021) 799 4900

RUSSIA

MuTek

Dorozhnaya ul.3,korp.6

117 545 Moscow, RUSSIA

TEL: (095) 981-4967

VIETNAM

SAIGON MUSIC

DISTRIBUTOR

(TAN DINH MUSIC)

138 Tran Quang Khai Street

Dist. 1, Ho Chi Minh City

VIETNAM

QATAR

Al Emadi Co. (Badie Studio &

Stores)

P.O. Box 62, Doha, QATAR

Austrian Office

Eduard-Bodem-Gasse 8,

A-6020 Innsbruck, AUSTRIA

TEL: (0512) 26 44 260

TEL: 262-0788

TEL: 4423-554

SPAIN

Roland Iberia, S.L.

Paseo García Faria, 33-35

08005 Barcelona SPAIN

TEL: 93 493 91 00

GUATEMALA

SAUDI ARABIA

aDawliah Universal

Electronics APL

Corniche Road, Aldossary

Bldg., 1st Floor, Alkhobar,

SAUDI ARABIA

ASIA

TEL: (08) 848-4068

BELGIUM/FRANCE/

HOLLAND/

LUXEMBOURG

Roland Central Europe N.V.

Houtstraat 3, B-2260, Oevel

(Westerlo) BELGIUM

Casa Instrumental

Calzada Roosevelt 34-01,zona 11

Ciudad de Guatemala

Guatemala

CHINA

Roland Shanghai Electronics

Co.,Ltd.

5F. No.1500 Pingliang Road

Shanghai 200090, CHINA

TEL: (021) 5580-0800

AUSTRALIA/

NEW ZEALAND

SWEDEN

Roland Scandinavia A/S

SWEDISH SALES OFFICE

Danvik Center 28, 2 tr.

S-131 30 Nacka SWEDEN

TEL: (0)8 702 00 20

TEL:(502) 599-2888

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

P.O.Box 2154, Alkhobar 31952

SAUDI ARABIA

TEL: (03) 898 2081

TEL: (014) 575811

AUSTRALIA/

NEW ZEALAND

Roland Corporation

Australia Pty.,Ltd.

38 Campbell Avenue

Dee Why West. NSW 2099

AUSTRALIA

CZECH REP.

K-AUDIO

Kardasovska 626.

CZ-198 00 Praha 9,

CZECH REP.

Roland Shanghai Electronics

Co.,Ltd.

(BEIJING OFFICE)

10F. No.18 3 Section Anhuaxili

Chaoyang District Beijing

100011 CHINA

SYRIA

Technical Light & Sound

Center

Rawda, Abdul Qader Jazairi St.

Bldg. No. 21, P.O.BOX 13520,

Damascus, SYRIA

SWITZERLAND

Roland (Switzerland) AG

Landstrasse 5, Postfach,

CH-4452 Itingen,

SWITZERLAND

TEL: (061) 927-8383

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

For Australia

Roland Scandinavia A/S

Nordhavnsvej 7, Postbox 880,

DK-2100 Copenhagen

DENMARK

TEL: (011) 223-5384

HONG KONG

Tom Lee Music Co., Ltd.

Service Division

22-32 Pun Shan Street, Tsuen

Wan, New Territories,

HONG KONG

Tel: (02) 9982 8266

For New Zealand

Tel: (09) 3098 715

UKRAINE

TIC-TAC

Mira Str. 19/108

P.O. Box 180

295400 Munkachevo,

UKRAINE

TEL: (03131) 414-40

TURKEY

ZUHAL DIS TICARET A.S.

Galip Dede Cad. No.37

Beyoglu - Istanbul / TURKEY

TEL: (0212) 249 85 10

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

CENTRAL/LATIN

AMERICA

TEL: 2415 0911

U.A.E.

Zak Electronics & Musical

Instruments Co. L.L.C.

Zabeel Road, Al Sherooq Bldg.,

No. 14, Grand Floor, Dubai,

U.A.E.

Parsons Music Ltd.

UNITED KINGDOM

8th Floor, Railway Plaza, 39

Chatham Road South, T.S.T,

Kowloon, HONG KONG

TEL: 2333 1863

MEXICO

ARGENTINA

Instrumentos Musicales S.A.

Av.Santa Fe 2055

(1123) Buenos Aires

ARGENTINA

TEL: (011) 4508-2700

Roland (U.K.) Ltd.

Atlantic Close, Swansea

Enterprise Park, SWANSEA

SA7 9FJ,

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

Av. Toluca No. 323, Col. Olivar

de los Padres 01780 Mexico

D.F. MEXICO

GERMANY

Roland Elektronische

Musikinstrumente HmbH.

Oststrasse 96, 22844

Norderstedt, GERMANY

TEL: (040) 52 60090

TEL: (04) 3360715

INDIA

Rivera Digitec (India) Pvt. Ltd.

409, Nirman Kendra

Mahalaxmi Flats Compound

Off. Dr. Edwin Moses Road,

Mumbai-400011, INDIA

TEL: (022) 2493 9051

UNITED KINGDOM

TEL: (01792) 702701

TEL: (55) 5668-6699

NICARAGUA

Bansbach Instrumentos

Musicales Nicaragua

Altamira D'Este Calle Principal

de la Farmacia 5ta.Avenida

1 Cuadra al Lago.#503

Managua, Nicaragua

BARBADOS

A&B Music Supplies LTD

12 Webster Industrial Park

Wildey, St.Michael, Barbados

TEL: (246)430-1100

NORTH AMERICA

MIDDLE EAST

GREECE/CYPRUS

STOLLAS S.A.

Music Sound Light

155, New National Road

Patras 26442, GREECE

TEL: 2610 435400

CANADA

Roland Canada Ltd.

(Head Office)

5480 Parkwood Way

Richmond B. C., V6V 2M4

CANADA

BAHRAIN

Moon Stores

No.16, Bab Al Bahrain Avenue,

P.O.Box 247, Manama 304,

State of BAHRAIN

INDONESIA

PT Citra IntiRama

J1. Cideng Timur No. 15J-150

Jakarta Pusat

INDONESIA

TEL: (021) 6324170

BRAZIL

Roland Brasil Ltda.

Rua San Jose, 780 Sala B

Parque Industrial San Jose

Cotia - Sao Paulo - SP, BRAZIL

TEL: (011) 4615 5666

TEL: (505)277-2557

PANAMA

TEL: (604) 270 6626

SUPRO MUNDIAL, S.A.

Boulevard Andrews, Albrook,

Panama City, REP. DE

PANAMA

TEL: 17 211 005

HUNGARY

Roland East Europe Ltd.

Warehouse Area ‘DEPO’ Pf.83

H-2046 Torokbalint,

HUNGARY

IRAN

MOCO INC.

No.41 Nike St., Dr.Shariyati Ave.,

Roberoye Cerahe Mirdamad

Tehran, IRAN

Roland Canada Ltd.

(Toronto Office)

170 Admiral Boulevard

Mississauga On L5T 2N6

CANADA

KOREA

CHILE

Comercial Fancy II S.A.

Rut.: 96.919.420-1

Nataniel Cox #739, 4th Floor

Santiago - Centro, CHILE

TEL: (02) 688-9540

Cosmos Corporation

1461-9, Seocho-Dong,

Seocho Ku, Seoul, KOREA

TEL: (02) 3486-8855

TEL: 315-0101

TEL: (23) 511011

PARAGUAY

Distribuidora De

Instrumentos Musicales

J.E. Olear y ESQ. Manduvira

Asuncion PARAGUAY

TEL: (595) 21 492147

TEL: (021) 285-4169

TEL: (905) 362 9707

IRELAND

Roland Ireland

G2 Calmount Park, Calmount

Avenue, Dublin 12

Republic of IRELAND

TEL: (01) 4294444

MALAYSIA

ISRAEL

Halilit P. Greenspoon & Sons

Ltd.

8 Retzif Ha'aliya Hashnya St.

Tel-Aviv-Yafo ISRAEL

TEL: (03) 6823666

U. S. A.

Roland Asia Pacific Sdn. Bhd.

45-1, Block C2, Jalan PJU 1/39,

Dataran Prima, 47301 Petaling

Jaya, Selangor, MALAYSIA

TEL: (03) 7805-3263

COLOMBIA

Centro Musical Ltda.

Cra 43 B No 25 A 41 Bododega 9

Medellin, Colombia

Roland Corporation U.S.

5100 S. Eastern Avenue

Los Angeles, CA 90040-2938,

U. S. A.

PERU

Audionet

Distribuciones Musicales SAC

Juan Fanning 530

Miraflores

TEL: (323) 890 3700

TEL: (574)3812529

ITALY

Roland Italy S. p. A.

Viale delle Industrie 8,

20020 Arese, Milano, ITALY

TEL: (02) 937-78300

PHILIPPINES

G.A. Yupangco & Co. Inc.

339 Gil J. Puyat Avenue

Makati, Metro Manila 1200,

PHILIPPINES

Lima - Peru

TEL: (511) 4461388

TEL: (02) 899 9801

As of April 1, 2006 (ROLAND)

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V-Accordion

13. Index

Convert PC . . . . . . . . . . . . . . . . . . . . . . . . .51

Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Adapter . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Alpine. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

American. . . . . . . . . . . . . . . . . . . . . . . . . . .35

APO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Auto Power Off . . . . . . . . . . . . . . . . . . . . .42

Logo color . . . . . . . . . . . . . . . . . . . . . . . . . 44

Low. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

D Griff . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

DC IN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Demo songs . . . . . . . . . . . . . . . . . . . . . . . .18

dEt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Detun e . . . . . . . . . . . . . . . . . . . . . . . . . 3 5, 37

D-Folk . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Diplay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Displa y . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

dMP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Dots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Dry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Dual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . .41

M P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Master Tune . . . . . . . . . . . . . . . . . . . . . . . 37

Memorize . . . . . . . . . . . . . . . . . . . . . . . . . 26

Metronom e . . . . . . . . . . . . . . . . . . . . . 3 1, 40

Function . . . . . . . . . . . . . . . . . . . . . . . . . 42

MFn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

MId. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

MIDI

Channels. . . . . . . . . . . . . . . . . . . . . . 45, 48

Filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Implementation. . . . . . . . . . . . . . . . . . . 59

Lis t . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 8

Out/In . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Program change . . . . . . . . . . . . . . . . . . 51

Socket functio n . . . . . . . . . . . . . . . . . . . 4 8

Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 25, 42

Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

MtP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

MtS . . . . . . . . . . . . . . . . . . . . . . . . . . . 31, 40

Multi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Musette Detune . . . . . . . . . . . . . . . . . 35, 37

B Griff . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

BA L . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2, 23

Balance . . . . . . . . . . . . . . . . . . . . . . . . 22, 23

Basic Channel. . . . . . . . . . . . . . . . . . . . . . .50

Bass

& Chord Mode. . . . . . . . . . . . . . . . . . . . .42

Button Noise . . . . . . . . . . . . . . . . . . . . . .40

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . .27

Panel function s . . . . . . . . . . . . . . . . . . . .12

Reed Growl . . . . . . . . . . . . . . . . . . . . . . .40

Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Using. . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Batteries . . . . . . . . . . . . . . . . . . . . . . . 10, 54

Install . . . . . . . . . . . . . . . . . . . . . . . . . . . .54

bbn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

bCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

bcM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Bellows

Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Level . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Reverb. . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Curve. . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Expression TX. . . . . . . . . . . . . . . . . . . . . .50

Resistance regulator . . . . . . . . . . . . . . .21

TX Resolution . . . . . . . . . . . . . . . . . . . . .50

bES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

bFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

bFr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

bLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

bPC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

brE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

brG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Bulk

Factory Setup . . . . . . . . . . . . . . . . . . . . . . .53

FbM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Fbn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

F-Folk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Fin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Free Bass . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Button Noise . . . . . . . . . . . . . . . . . . . . . .40

Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . .30

Panel function s . . . . . . . . . . . . . . . . . . . .12

Reed Growl . . . . . . . . . . . . . . . . . . . . . . .40

French . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

FrG. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Fty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .53

North Eur. . . . . . . . . . . . . . . . . . . . . . . . . . 35

O L . . . . . . . . . . . . . . . . . . . . . . . . . . . 26, 30

O t. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

ObL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Obl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

ObO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Obs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Obt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

OCH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

OCL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

OcO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Octave . . . . . . . . . . . . . . . . . . . . . . . . . 34, 35

Bass/Free Bass . . . . . . . . . . . . . . . . . . . . 49

Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . 49

Orchestra Bas s . . . . . . . . . . . . . . . . . . . . 4 9

Orchestra Chord . . . . . . . . . . . . . . . . . . 49

Orchestra Free Bass . . . . . . . . . . . . . . . 50

Treble. . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Ofb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Ofl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

OfO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

OrC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

ORCH BASS . . . . . . . . . . . . . . . . . . . . . . . . 27

Volume . . . . . . . . . . . . . . . . . . . . . . . . . . 28

ORCH CHORD . . . . . . . . . . . . . . . . . . . . . . 28

Volume . . . . . . . . . . . . . . . . . . . . . . . . . . 29

ORCH FREE BS

Dump . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Reception. . . . . . . . . . . . . . . . . . . . . . . . .53

Button layou t . . . . . . . . . . . . . . . . . . . . . . .37

Button Noise . . . . . . . . . . . . . . . . . . . . . . .40

German . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

C Griff . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

C00. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

C32. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

cCH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

CHd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

CHO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Chor d . . . . . . . . . . . . . . . . . . . . . . . . . . 2 3, 45

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . .28

TX/RX Channel. . . . . . . . . . . . . . . . . . . . .49

Chorus . . . . . . . . . . . . . . . . . . . . . . . . . 23, 40

CHr. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Classic . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

COl. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Connections . . . . . . . . . . . . . . . . . . . . . . . .14

Control Channel. . . . . . . . . . . . . . . . . . . . .50

Growl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Hal l . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Headphones . . . . . . . . . . . . . . . . . . . . 13, 14

High . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Initialize. . . . . . . . . . . . . . . . . . . . . . . . . . . .53

Italian. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Key (of your music) . . . . . . . . . . . . . . . . . .34

Volume . . . . . . . . . . . . . . . . . . . . . . . . . . 30

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FR-3s/FR-3/FR-3sb/FR-3b V-Accordion

Index |

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . .25

Bass Level. . . . . . . . . . . . . . . . . . . . . . . . .28

Bass TX/RX Channel . . . . . . . . . . . . . . . .49

Chord . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Chord Level . . . . . . . . . . . . . . . . . . . . . . .29

Chord TX/RX Channel. . . . . . . . . . . . . . .49

Free Bass . . . . . . . . . . . . . . . . . . . . . . . . .30

Free Bass TX/RX Channe l . . . . . . . . . . . .4 9

Level . . . . . . . . . . . . . . . . . . . . . . . . . 26, 30

Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Octave . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Touch . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

TX/RX Channel. . . . . . . . . . . . . . . . . . . . .49

Velocity. . . . . . . . . . . . . . . . . . . . . . . . . . .41

Volume . . . . . . . . . . . . . . . . . . . . . . . 26, 39

OrO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Outpu t . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 4

Touc h . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Transpose . . . . . . . . . . . . . . . . . . . . . . 34, 37

trb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Treble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Octave. . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Orchestra . . . . . . . . . . . . . . . . . . . . . . . . .25

Panel function s . . . . . . . . . . . . . . . . . . . .11

Using. . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Valve Noise . . . . . . . . . . . . . . . . . . . . . . .40

trM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

trn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

trO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

trP. . . . . . . . . . . . . . . . . . . . . . . . . . . . 34, 37

Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Urt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Pa n . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 4, 41

Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Panel functions . . . . . . . . . . . . . . . . . . . . .11

P C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 1

PCH. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Performance. . . . . . . . . . . . . . . . . . . . . . . .51

PHONES. . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Plate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Program Change TX . . . . . . . . . . . . . . . . .50

Valve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

VEL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Velocity . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

TX. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

VO L . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 2, 23

Volume . . . . . . . . . . . . . . . . . . . . . . . . 22, 23

Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Orchestra . . . . . . . . . . . . . . . . . . . . . 26, 39

Orchestra Bass. . . . . . . . . . . . . . . . . . . . .28

Orchestra Chord . . . . . . . . . . . . . . . . . . .29

Orchestra Free Bass . . . . . . . . . . . . . . . .30

Reed Grow l . . . . . . . . . . . . . . . . . . . . . . . . .4 0

Bass. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Treble . . . . . . . . . . . . . . . . . . . . . . . . . . . .11

Resetting. . . . . . . . . . . . . . . . . . . . . . . . . . .53

rEv . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Reverb . . . . . . . . . . . . . . . . . . . . . . . . . 22, 40

Roland (logo) . . . . . . . . . . . . . . . . . . . . . . .44

Roo m . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4 0

Write . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Wrt. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Save . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

Scottish . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Send P C . . . . . . . . . . . . . . . . . . . . . . . . . . . .5 1

Sequence r . . . . . . . . . . . . . . . . . . . . . . . . . .4 5

Set

Description . . . . . . . . . . . . . . . . . . . . . . .19

Program change . . . . . . . . . . . . . . . . . . .50

Solo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Sordina . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

SPC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Specification s . . . . . . . . . . . . . . . . . . . . . . .57

Std . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26

StE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Stereo

Position . . . . . . . . . . . . . . . . . . . . . . . . . .14

Width . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Straps. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Switching on/off . . . . . . . . . . . . . . . . . . . .16

SysEx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Tempo . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Time Signature. . . . . . . . . . . . . . . . . . . . . .40

Tone Generator . . . . . . . . . . . . . . . . . . . . .45

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R®

602.00.0142.01

RES 520-06 FR-3s/FR-3/FR-3sb/FR-3b Owner's Manual - E

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