®
O w n e r’s Ma n u a l
Thank you, and congratulations on your choice of the Roland Digital Piano FP-3.
Ma in Fe a tu re s
Sty lish , Lig h t, Co m p a ct De sig n
The refined design fits in anywhere; and since it is so lightweight and compact, it’s
easy to take the instrument with you wherever you go.
Au th e n tic Pia n o Pe rfo rm a n ce s
High-quality concert grand piano tones, along with the Progressive Hammer Action
keyboard, which gives more realistic piano touch by providing a heavier feel in the
low end and a lighter feel in the upper notes, let you enjoy truly authentic piano
performances.
W id e Va rie ty o f To n e s Fo r Use in Ma n y Mu sica l Ge n re s
In addition to piano tones, the FP-3 offers 40 different onboard tones, which can be
used for almost every conceivable style of music.
You can also play Drum Sets with the instrument.
“ Se ssio n Pa rtn e r” Le ts Yo u En jo y Pla y in g w ith a Se ssio n -Lik e Fe e l
Enjoy true session-like feel while performing along with a “Rhythm” section built
upon realistic drum and bass sounds.
You can have the “Rhythm” chord progression advance automatically, or you can
specify the chords to be played with your left hand.
N u m e ro u s In te rn a l So n g s
The FP-3 features four internal demo songs, along with a further fifty internal piano songs.
Ex p e rie n ce a Va rie ty o f Pe rfo rm a n ce s w ith Du a l a n d Sp lit Fu n ctio n s
Layer two of the FP-3’s many internal tones, play with different tones assigned to the
left and right sections of the keyboard, and enjoy many other possibilities in working
with Performances.
Before using this unit,
Ke y b o a rd To u ch Ca n Be Se t to Ma tch Fin g e r Stre n g th
You can change the keyboard touch so it better suits the finger strength of the person
playing the keyboard.
carefully read the sections
entitled: “USING THE
UNIT SAFELY” and
“IMPORTANT NOTES”
(p. 2; p. 4). These sections
provide important
Ea sy Re co rd in g Fu n ctio n s
You can easily record your own performances using simple button operations.
information concerning the
proper operation of the unit.
Additionally, in order to feel
assured that you have
Tw o He a d p h o n e Ja ck s Pro vid e d
The FP-3 comes equipped with two headphone jacks, allowing two people to use
headphones simultaneously.
gained a good grasp of every
feature provided by your
new unit, Owner’s manual
should be read in its
entirety. The manual should
be saved and kept on hand
as a convenient reference.
This is a convenient feature for use in lessons, or when playing pieces for four hands.
In clu d e s Lin e In / O u t Ja ck s
By connecting external audio equipment to the FP-3’s Line Out jacks you can play
sounds from the FP-3 through your audio setup, and with a CD player or other such
device connected to the Line In jacks, you can then play internal sounds along with
FP-3 Performances.
Copyright © 2000 ROLAND CORPORATION
All rights reserved. No part of this publication may be reproduced in
any form without the written permission of ROLAND CORPORATION.
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010
101b
•
This unit, either alone or in combination with an
amplifier and headphones or speakers, may be
capable of producing sound levels that could
cause permanent hearing loss. Do not operate for
a long period of time at a high volume level, or at
a level that is uncomfortable. If you experience
any hearing loss or ringing in the ears, you should
immediately stop using the unit, and consult an
audiologist.
•
The unit and the AC adaptor should be located so
their location or position does not interfere with
their proper ventilation.
..........................................................................................................
102c
•
Always grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an
outlet or this unit.
..........................................................................................................
103b
..........................................................................................................
•
Whenever the unit is to remain unused for an
extended period of time, disconnect the AC
adaptor.
011
•
Do not allow any objects (e.g., flammable material,
coins, pins); or liquids of any kind (water, soft
drinks, etc.) to penetrate the unit.
..........................................................................................................
104
•
Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be
placed so they are out of the reach of children.
..........................................................................................................
012b
..........................................................................................................
•
Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by
your retailer, the nearest Roland Service Center, or
an authorized Roland distributor, as listed on the
“Information” page when:
106
•
Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................
107c
• The AC adaptor, the power-supply cord, or the
plug has been damaged; or
•
Never handle the AC adaptor or its plugs with
wet hands when plugging into, or unplugging
from, an outlet or this unit.
• Objects have fallen into, or liquid has been
spilled onto the unit; or
..........................................................................................................
108b
• The unit has been exposed to rain (or otherwise
has become wet); or
•
Before moving the unit, disconnect the AC
adaptor and all cords coming from external
devices.
• The unit does not appear to operate normally or
exhibits a marked change in performance.
..........................................................................................................
..........................................................................................................
109b
•
Before cleaning the unit, turn off the power and
013
•
In households with small children, an adult
should provide supervision until the child is
capable of following all the rules essential for the
safe operation of the unit.
..........................................................................................................
110b
•
Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the
outlet.
..........................................................................................................
014
•
Protect the unit from strong impact.
(Do not drop it!)
..........................................................................................................
118
•
Should you remove the screws fastening the music
stand or stand, make sure to put them in a safe
place out of children’s reach, so there is no chance
of them being swallowed accidentally.
..........................................................................................................
015
•
Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other
devices. Be especially careful when using
..........................................................................................................
extension cords—the total power used by all
devices you have connected to the extension
cord’s outlet must never exceed the power rating
(watts/ amperes) for the extension cord. Excessive
loads can cause the insulation on the cord to heat
up and eventually melt through.
..........................................................................................................
016
•
Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service
Center, or an authorized Roland distributor, as
listed on the “Information” page.
..........................................................................................................
3
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IMPO RTAN T N O TES
In addition to the items listed under “USING THE UNIT SAFELY” on page 2 and 3, please read and observe the following:
Po w e r Su p p ly
Ad d itio n a l Pre ca u tio n s
553
301
•
Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric
motor or variable lighting system).
•
Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks
and connectors. Rough handling can lead to malfunctions.
302
554
•
The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a
cause for concern.
•
556
•
Never strike or apply strong pressure to the display.
When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you
will avoid causing shorts, or damage to the cable’s
internal elements.
307
•
Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions
and/ or damage to speakers or other devices.
558a
•
To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use
headphones, so you do not need to be concerned about
those around you (especially when it is late at night).
Pla ce m e n t
351
•
Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum.
To alleviate the problem, change the orientation of this
unit; or move it farther away from the source of inter-
ference.
559a
•
When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise,
you will need to use equivalent packaging materials.
561
•
Use only the specified expression pedal (EV-5; sold
separately). By connecting any other expression pedals,
you risk causing malfunction and/ or damage to the unit.
352
•
This device may interfere with radio and television
reception. Do not use this device in the vicinity of such
receivers.
562
•
Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the
following precautions.
354a
•
Do not expose the unit to direct sunlight, place it near
devices that radiate heat, leave it inside an enclosed
vehicle, or otherwise subject it to temperature extremes.
Excessive heat can deform or discolor the unit.
• Some connection cables contain resistors. Do not use
cables that incorporate resistors for connecting to this
unit. The use of such cables can cause the sound level
to be extremely low, or impossible to hear. For infor-
mation on cable specifications, contact the manufac-
turer of the cable.
355
•
To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
358
•
Do not allow objects to remain on top of the keyboard.
This can be the cause of malfunction, such as keys ceasing
to produce sound.
Sta n d (FPS-1 0 A: so ld se p a ra te ly )
Ca u tio n s W h e n Ha n d lin g th e Sp e a k e r Sta n d
•
Do not leave this instrument standing on end for more
than approximately two weeks. Doing so can adversely
impact the keyboard’s functionality.
•
To prevent accidents caused by falling speakers, do not
use the speaker stands included with the stand FPS-10A in
combination with any other instrument or product.
359
•
Do not paste stickers, decals, or the like to this instrument.
Peeling such matter off the instrument may damage the
exterior finish.
•
•
Be sure to use the provided velcro tape to keep the
speakers fixed to where they are set on the speaker stands.
Setting the speakers sideways to increase power may
cause the velcro tape to separate, making it easier for the
speakers to fall; exercise due caution.
Ma in te n a n ce
401a
•
For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To
remove stubborn dirt, use a cloth impregnated with a
mild, non-abrasive detergent. Afterwards, be sure to wipe
the unit thoroughly with a soft, dry cloth.
•
Please use Roland speakers that meet the following
requirements:
<Weight: 10 kg or less;
402
Dimensions: 210 (W) x 280 (D) x 330 (H) mm or less>
When installed in combination with speakers other than
one described above, Roland no assurance as to the
stability thereof. Before attempting such use, be sure to
check carefully to ensure that stable installation continued
stability during use are possible.
•
Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/ or
deformation.
•
Merely screwing in the speaker stand attachment screws
as is without the proper preparation may result in damage
to the unit. Be absolutely sure to attach the speaker stand
attachment screws to the speaker stands.
4
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Co n te n ts
Performing With the Chord Progression Specified
in the Left Hand (Rhythm Split Play)..............................31
Connecting Pedals..............................................................10
Changing the Volume Balance Between the Keyboard
and the Rhythm ..................................................................32
Recording a Performance Using Rhythms
(in Split Play) ................................................................35
Playing Back All Songs Continuously
Correspondence Between Recorded Performance and Track
Buttons .................................................................................. 37
Performing With Different Tones in the Left and
Changing the Pitch of the Lower Tone in Octave Steps
Changing the Volume Balance for Dual Play and
Adding a Spinning Sound to Organ Tones
Ap p e n d ice s ........................................ 4 5
About the lighting of the [Drum] and [Chord] button
indicators .............................................................................. 27
5
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Pa n e l De scrip tio n s
Fro n t Pa n e l
1
2
3
4
5
6
7
8
9
10
11 12 13
1
[Volume] Knob
[Chord] Button
Turns the Rhythm Drum part and Chord part on and off.
2
[Brilliance] Knob
9
[
(Metronome)] Button
3
[Split] Button
Allows you to play different tones in the left and right sides
10 Recorder Buttons
Used for playing back and recording performances.
Such operations employ the following two buttons.
4
Tone Buttons
[Play] Button
They are used to choose the kinds of sounds (Tone Groups)
Starts and stops playback of internal songs and recorded
5
Display
Displays information such as the song number, Rhythm
number, tempo, beat, and parameter settings values.
[Rec] button
6
[-]/[+] Buttons
Puts the unit in the state whereby it is ready for recording
These two buttons are used to modify the values of a variety
of settings. Pressing both the [-] and [+] buttons
simultaneously returns the setting of a particular item or
function to its default value. Additionally, with certain
settings, the indicators of these buttons may change color
when the settings are changed.
11 [Chorus] Button
You can use this to add three-dimensional breadth and
12 [Reverb] Button
You can use this to add the characteristic reverberation of a
7
[Tempo/Rhythm] Button
13 [Song] Button
8
Rhythm Button
Switches each Rhythm on or off.
By holding down this button and pressing the [Reverb]
Use these two buttons to determine whether a Rhythm is to
be played in each individual part.
[Drums] Button
In addition, you can hold down this button while pressing
other specified buttons to make various different settings
Press this button when you want to stop both the Drum and
Chord parts.
6
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Pa n e l De scrip tio n s
Re a r Pa n e l
On
Power
Off
(
)
(
)
Damper
Pedal
Soft
R
L
Mono
R
L
Mono
Stereo
Stereo
Out
In
DC In 9V
MIDI
Line In
Line Out
1
2
3
4
5
6
7
1
Pedal Jacks
Accepts connection of the supplied pedal , or other suitable
2
MIDI Connectors
You can connect external MIDI devices to the FP-3 and
3
Line In Jacks
Provide input of the audio signals. Used for connecting
4
Line Out Jacks
Provide output of the audio signals. Also used for connecting
These allow you to play sounds from the FP-3 through other
audio devices.
5
[Power] Switch
6
DC In Jack
7
Cord Hook
Use this to fix in place the cord from the supplied AC adaptor
7
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Be fo re Yo u Pla y
Ma k in g Co n n e ctio n s
N O TE
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.
The FP-3 does not contain an amp or speakers. To hear sound, either connect
an amplifier and speakers, or use stereo headphones.
* MIDI cable and stereo headphones are not included. Consult your Roland dealer if
you need to purchase accessories such as these.
fig.00-01
On
Power
Off
(
)
(
)
Damper
Pedal
Soft
R
L
Mono
R
L
Mono
Stereo
Stereo
Out
In
DC In 9V
MIDI
Line In
Line Out
MIDI devices (p. 42)
Pedal switch
(DP-2, DP-6, etc.)
AC adaptor
Roland
Expression pedal (EV-5)
Pedal switch
CD player,
audio devices
AC cable
(DP-2, DP-6, etc.)
Stereo set, etc
Power outlet
Speaker with built-in amp,
keyboard amp, etc.
1 . Before you begin making connections, confirm the
following.
Is the volume level of the FP-3 or connected amp turned all the way down?
Is the power to the FP-3 or connected amp turned off?
8
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Be fo re Yo u Pla y
2 . Connect the supplied AC adaptor to the FP-3, and then plug
its other end into a power outlet.
To prevent the inadvertent disruption of power to your unit (should the
plug be pulled out accidentally), and to avoid applying undue stress to the
DC In jack, anchor the power cord using the cord hook, as shown in the
illustration.
fig.00-02
Rear panel
On
Off
Power
DC In 9V
3 . Connect the amp or audio gear to the Line Out jacks as
shown in the diagram.
In order to take full advantage of the FP-3’s sound we recommend that you
play it in stereo.
When using the system in mono, connect to the Line Out L (Mono) jack.
In sta llin g th e Mu sic Sta n d
fig.00-03
1 . Using the supplied screws, fasten the music stand to the
back of the FP-3 as illustrated.
Be sure to use the supplied screws for attaching the music stand.
Turn the screws clockwise to tighten them.
When attaching the music stand, support it firmly with one hand to make sure
that you do not drop it. Be careful, so you do not get your fingers pinched.
N O TE
Do not apply excessive
force to the installed music
stand.
2 . To remove the music stand, support it with one hand while
loosening the screws.
9
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Be fo re Yo u Pla y
Co n n e ctin g Pe d a ls
Tu rn in g th e Po w e r O n a n d
O ff
1 . Connect the pedal included with the FP-3 to one
of the Pedal jacks.
Once the connections have been completed, turn on or off
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.
When connected to the Damper jack, the pedal can be
used as a damper pedal.
When connected to Soft, the pedal can be used as a soft
pedal.
● Tu rn in g O n th e Po w e r
* Unplugging a pedal cord from the unit while the power is on
may cause the pedal’s effect to be applied without stopping.
The power of the FP-3 must be turned off before inserting or
removing a pedal cord.
1 . Before you switch on the power, turn the volume
down all the way by rotating the [Volume] knob.
fig.00-05
Da m p e r Pe d a l
Use this pedal to sustain the sound. While the pedal is
depressed, long lingering reverberations continue to be
added to the sound after you release from the keys.
Also completely turn down the volume of any connected
audio device and other equipment.
When you depress the damper pedal on an acoustic piano,
the sound from the strings that were struck resonates with
other strings, adding rich reverberations and broadness to
the sound. You can adjust this resonance (sympathetic
resonance) when the damper pedal is depressed.
2 . Press the [Power] switch on the back of the unit.
After a few seconds, the unit becomes operable and
playing the keyboard produces sound.
fig.00-06
Rear panel
* The amount of the resonance obtained with the Damper pedal
can be changed. For more information and instructions, please
Lower position
On
Off
Power
DC I9V
So ft Pe d a l
ON
This pedal is used to make the sound softer.
Playing with the soft pedal depressed produces a sound that
is not as strong as when otherwise played with the
equivalent strength. This is the same function as the left
pedal of an acoustic piano.
* 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.
* When connected to the Soft Pedal jack, the pedal may also be
used as a sostenuto pedal or expression pedal. For more
3 . Turn on the power of the connected external
equipment.
4 . Adjust the volume of the connected external
device.
* By obtaining a second pedal, you can then use two pedals
simultaneously. If you wish to purchase the optional pedal
(DP-2/DP-6), please contact the dealer where you purchased
the FP-3.
5 . Adjust the FP-3’s volume to obtain the proper
volume level.
1 0
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Be fo re Yo u Pla y
● Tu rn in g O ff th e Po w e r
Co n n e ctin g He a d p h o n e s
1 . Before switching the power off, turn the volume
Connecting headphones allows you to enjoy playing
all the way down by rotating the [Volume] knob.
anytime, even at night, without concern.
fig.00-09
Also completely turn down the volume of any connected
audio device and other equipment.
2 . Turn off the power to the connected external
equipment.
3 . Press the [Power] switch on the back of the unit.
The power is switched off.
fig.00-07
Rear panel
1 . Plug the headphones into the Phones jack at the
Upper position
front, on the left side of the piano.
On
Power
Off
DC I9V
Use the [Volume] knob on the FP-3 to adjust the volume
of the headphones.
OFF
* Make sure to use stereo headphones.
So m e N o te s o n Usin g He a d p h o n e s
•
To prevent damage to the cord, handle the headphones
Ad ju stin g th e So u n d ’s
Vo lu m e a n d Brillia n ce
only by the headset or the plug.
•
The headphones may be damaged if the volume is too
high when they are plugged in. Lower the volume on the
FP-3 before plugging in the headphones.
fig.00-08
•
To prevent possible auditory damage, loss of hearing, or
damage to the headphones, the headphones should not
be used at an excessively high volume. Use the
headphones at a moderate volume level.
1 . Use the [Volume] knob to adjust the overall
volume level.
Rotating the knob clockwise increases the volume;
counterclockwise rotation decreases it.
2 . Use the [Brilliance] knob to adjust the overall
sound quality.
Rotating the knob clockwise makes the tone brighter;
rotating it counterclockwise makes the sound more
subdued.
1 1
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Liste n in g to In te rn a l So n g s
For more on internal song
Now, try listening to internal songs
The FP-3 comes with fifty four internal songs.
fig.01-01
2
3 , 4
1
1 . Press the [Song] button, getting its indicator to light.
Ab o u t th e Disp la y o f
th e In te rn a l So n g s
USr (User)—Stores
The following appears in the display.
fig.01-02
recorded Performances (for
When “d.” is added—
Indicates one of the demo
songs that make use of the
FP-3’s various internal
tones.
2 . Press the [-] or [+] button to select the song.
3 . Press the [Play] button.
The song will begin playing back.
When “P.” is added—
Indicates one of the piano
songs
The selected song is played to the end, and then playback stops.
4 . To stop playback, press the [Play] button once more.
The next time you press the [Play] button, the song that was stopped is
played from the beginning.
N O TE
You cannot play the
●
Pla y in g Ba ck All So n g s Co n tin u o u sly (All So n g Pla y )
internal song and Rhythm
Listening to all of internal songs repeatedly played back in succession is
known as “All Song Play.”
fig.01-06
2
1
1 . Hold down the [Song] button and press the [Play] button.
When you change the
volume balance between
the keyboard and the
Rhythm, the volume
Songs play back continuously.
When playback of the last song is reached, playback continues by returning
to the first song and playing that again.
balance between the
2 . To stop playback, press the [Play] button.
keyboard and the internal
song may change. Refer to
“Changing the Volume
All Song Play is exited when the performance is stopped.
The next time you press the [Play] button, the song that was stopped is
played from the beginning.
Keyboard and the Rhythm ”
1 2
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
When the following appears in the display
If there is any performance data stored in the FP-3’s memory, the following
appears in the display.
fig.01-03
Flashes in green Flashes in red
Flashes in green
Until you erase the performance data, you cannot play back an internal
song.
To erase the performance data and play back the internal song, press the
[Rec] button.
If you don’t want to erase the song, press the [Play] or [Song] button.
● Liste n in g to Ea ch Pa rt Se p a ra te ly
With the internal songs, you can select the performance part that is to be
played back.
With Piano songs 1 to 50, you can also practice each hand separately while
playing along with the song.
1 . Select the song to be played back.
2 . Hold down the [Play] button and press the button, either
[Chord (1)] or [ (2)], for the part that is not to be played
back.
The indicator on the selected button goes out.
The performance data is assigned to the Track buttons as shown below.
fig.01-05
Left-hand Right-hand
Part
Part
3 . Press the [Play] button.
The song will begin playing back.
The sound for the performance part selected in Step 2 is not played.
Temporarily preventing the sounds of a specified part from playing is called
“muting.”
4 . Hold down the [Play] button and press the button selected in
Step 2.
The sound of the muted part is then played.
1 3
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Pe rfo rm in g w ith a Va rie ty o f So u n d s
The FP-3 features 40 different internal sounds, allowing you to enjoy
performing with sounds suitable for many different types of music.
These onboard sounds are called “Tones.” The Tones are divided into six
different groups, each of which is assigned to a different Tone button.
For more on Tones, refer to
The Tone “Grand Piano 1” is selected when the instrument’s power is
turned on.
fig.01-07
1 , 3
2
1 . Press one of the Tone buttons to choose a Tone Group.
You’ll hear the Tone assigned to Tone number 1 in the selected Tone Group.
Try fingering the keyboard.
The Tone number appears in the display.
fig.01-08
When you press the Tone button, the [-] and [+] buttons light in orange.
2 . Press the [-] or [+] button to select a Tone from the Tone
Group.
The indicator for the selected Tone button flashes, showing that the tone has
been selected.
3 . Finger the keyboard or press the flashing Tone button.
The Tone button’s indicator lights up, and you can check the sound. The
Tone you’ve selected is heard when you finger the keyboard.
The next time you choose this Tone button, the tone you’ve selected here is
played.
1 4
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Pe rfo rm in g W ith Tw o La y e re d To n e s
(Du a l Pla y )
You can play two different sounds from a single key at the same time. This
method of performance is called “Dual Play.”
Example: Try Layering Piano and String Tones
fig.01-09
1
1 . Press the [Piano] button and the [Strings/Pad] button at the
same time.
You can change the pitch of
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
The indicators for both buttons light.
Try fingering the keyboard.
Both the piano and string sounds play.
Pressing two Tone buttons at the same time in this manner activates Dual Play.
In Dual Play, the Tone for the left button you press is called the “Upper
Tone,” and the Tone for the right button is called the “Lower Tone.”
The Tone button’s indicator lights in orange for the Upper Tone, and in red
You can vary the volume-
level balance of the two
tones. Take a look at
for the Lower Tone.
fig.01-10
“Changing the Volume
Orange
Red
Upper Tone
Lower Tone
Here, the piano tone is the Upper Tone and the strings tone is the Lower
Tone.
2 . To exit Dual Play, press either Tone button.
Now, only the tone of the button you just pressed is sounded.
Although when you press
the pedal while in Dual
Play, the effect is applied to
both tones, you can set the
FP-3 so that the effect is not
applied to the Lower Tone.
Switching the Upper Tone and Lower Tone
When in Dual Play, you can together press both of the Tone buttons for the
two currently selected tones a second time to assign the tone of the left
button to the Lower Tone, and the tone of the right button to the Upper
Tone.
You can easily switch between two tones, which is useful for times such as
when you have things set so the pedal’s effect is not applied to the Lower
Tone (see “MEMO”).
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Pe rfo rm in g W ith Diffe re n t To n e s in th e Le ft a n d
Rig h t Sid e s o f th e Ke y b o a rd (Sp lit Pla y )
Performing with the keyboard divided at a certain key into a left side and a
right side is called “Split Play,” and the point at which the keyboard is
divided is called the “split point.”
In Split Play, you can have a different tone sound in the left and right sides.
Furthermore, when you use the Rhythm in performances, you can specify
chords with the keys in the left-hand part (for more detailed instructions,
When the instrument is turned on, the split point is set to “F 3.” The split
point key is included in the left side.
While in Split Play, a sound played in the right side is called an “Upper
Tone,” and the sound played in the left side is called a “Lower Tone.”
Example: Let’s try split play with the piano tones.
fig.01-11
2, 3 1
1 . Press the [Piano] button.
Now, the piano tone is selected.
2 . Press the [Split] button, getting its indicator to light.
The keyboard is divided into upper and lower sections.
fig.01-12
When you switch from
Play, the Upper Tone used
in Dual Play is selected as
the Upper Tone for Split
Play.
F 3 (Sp lit Point)
Lower Tone
Upper Tone
The right-hand section of the keyboard plays piano tone, and the left-hand
section plays Acoustic Bass+Cymbal tone.
You can play a tone for the right side (the Upper Tone) before splitting the
keyboard.
You can vary the volume-
level balance of the two
tones. Take a look at
The Tone button’s indicator lights in orange for the Upper Tone, and in red
for the Lower Tone.
“Changing the Volume
3 . To exit Split Play, press the [Split] button once more.
The [Split] button’s indicator light goes out and the upper tone becomes the
tone for the entire keyboard.
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
● Ch a n g in g To n e s
fig.01-13
1
2
1 . Hold down the [Split] button and press the Tone button for
When the tone of the same
Tone button is selected for
both the Upper and Lower
Tones, you can determine
which of the Tones is being
changed by the color of the
indicators for the [-] and [+]
buttons.
the tone you want to change, whether the Upper or Lower
Tone.
The indicators for the [-] and [+] buttons light in the same color as the
indicator of the selected tone button.
When orange, it indicates that the Upper Tone can be changed; when red, it
is the Lower Tone that is being changed.
2 . Use the Tone buttons and the [-] and [+] buttons to select the
Tones.
the Lower Tone an octave at
a time. Refer to “Changing
the Pitch of the Lower Tone
in Octave Steps (Octave
● Ch a n g in g th e Ke y b o a rd ’s Sp lit Po in t
You can change the location where the keyboard is divided (the split point)
within the range of B1 through B6.
This is set to “F 3” when the instrument is turned on.
The name of the key acting
as the split point is
This setting remains in effect until you turn off the power.
fig.01-14
F 3
indicated in the display, as
shown below.
B1
B6
Display
C
C
d_
d
E_
E
Letter
name
D
D
Display
E
F
F
G
G
b
1 . Hold down the [Split] button and press a key set as the split
Letter
name
E
F
F
point.
Display
A_
A
A
A
b_
B
The key you pressed becomes the split point, and belongs to the left-hand
section of the keyboard.
Letter
name
B
While the [Split] button is held down, the key being used as the split point
appears in the display.
With the [Split] button held down, you can change the value, even by
pressing the [-] or [+] button.
By holding down the [Split]
button and pressing both
the [-] and [+] buttons
Additionally, by holding down the [Split] button and pressing the [-] or [+]
button one time, you can display the currently selected value.
simultaneously, the setting
returns to its original value.
When you release the [Split] button, you return to the previous screen.
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Ch a n g in g th e Vo lu m e Ba la n ce fo r Du a l
Pla y a n d Sp lit Pla y
You can change the volume balance of the Upper and Lower Tones in Dual
When the instrument is turned on, this is set to “5–5” (“Lower Tone
volume”–“Upper Tone volume”).
fig.01-15
1
2
3
1 . Hold down the [Song] button and press the [Split] button.
The indicators for the [Song] and [Split] buttons flash in red.
fig.01-16
Lower Tone volume
Upper Tone volume
(The Tone button’s indicator light is red)
(The Tone button’s indicator light is Orange)
2 . Press the [-] or [+] buttons to adjust the volume balance.
To restore the normal default volume balance, press the [-] and [+] buttons
simultaneously.
3 . Press the [Song] button.
The indicators return to their previous state.
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Ch a n g in g th e Ke y b o a rd ’s To u ch
You can change the touch sensitivity, or response of the keys.
When the instrument is turned on, this is set to “Normal.”
fig.01-17
1
2
3
1 . Hold down the [Song] button and press the [Reverb] button.
The indicators for the [Song] and [Reverb] buttons flash in red.
fig.01-18
2 . Press the [-] or [+] buttons to select the touch.
Indicate
Description
OFF
The sound plays at one set volume, regardless of the force
used to play the keys.
(Fixed)
A light keyboard touch is selected. You can achieve fortis-
simo (ff) play with a less forceful touch than usual, so the
keyboard feels lighter. This setting makes it easy to play,
even for children.
1 (Light)
This sets the standard keyboard touch. You can play with
2 (Normal) the most natural touch. This is the closest to the touch of
an acoustic piano.
Here, a heavy keyboard touch is selected. You have to fin-
ger the keyboard more forcefully than usual in order to
3 (Heavy)
play fortissimo (ff), so the keyboard touch feels heavier.
Dynamic fingering adds even more feeling to what you
play.
3 . Press the [Song] button.
The indicators return to their previous state.
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Ad d in g Bre a d th to th e So u n d (Ch o ru s Effe ct)
You can apply a chorus effect to the notes you play on the keyboard. By
adding the chorus effect, you can give the sound greater dimension, with
more fatness and breadth.
The settings of the chorus effect are memorized independently for each
sound, and remain in effect until you turn off the power.
fig.01-19
1 , 2
1 . Press the [Chorus] button, getting its indicator to light.
Some tones initially have
chorus applied. Selecting
such a tone makes the
Try fingering the keyboard.
The chorus effect is applied to the currently selected tone.
[Chorus] button’s indicator
light up automatically.
2 . The remove the chorus effect, press the [Chorus] button once
more, extinguishing the indicator.
● Ad d in g a Sp in n in g So u n d to O rg a n To n e s (Ro ta ry Effe ct)
Some organ tones selected with the [Organ] button feature a rotary effect.
When one of these tones is selected, you can use the [Chorus] button to
change the speed of the rotary effect.
For more information on
Tones applied the Rotary
What the rotary effect does is to add a “spinning” effect similar to the sound
of an organ using a rotating speaker.
Press the [Organ] button and select the organ tone.
Each time pressing the [Chorus] button, switch the speed of
the rotary effect between rapid and slow rotation.
When a tone that has the Rotary effect added is selected, the [Chorus]
button’s indicator flashes in red or green.
When the [Chorus] button’s indicator flashes in red, a more rapid rotary
effect is applied.
When the [Chorus] button’s indicator flashes in green, a slower rotary effect
is applied.
● Ch a n g in g th e De p th o f Ch o ru s Effe ct
You can select from ten levels of depth for the chorus effect.
1 . Hold down the [Chorus] button and press the [-] or [+] button.
N O TE
The [Chorus] button’s indicator flashes in red.
You cannot change the
levels of depth for the
rotary effect.
The depth for the chorus effect being applied to the currently selected tone
appears in the display.
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
fig.01-20
2 . Press the [-] or [+] button to change the depth of effect.
3 . Press the [Chorus] button once more.
The button’s indicator returns to its previous state.
The next time you choose the same tone, the chorus effect with the depth
you’ve selected here is applied.
Ad d in g Re ve rb e ra tio n to So u n d s (Th e Re ve rb Effe ct)
You can apply a reverb effect to the notes you play on the keyboard. With
the reverb effect, you obtain a pleasant reverberation, making it sound as if
you were performing in a concert hall or similar space.
fig.01-21
1 , 2
1 . Press the [Reverb] button, getting its indicator to light.
Try fingering the keyboard.
The reverb effect is applied to the entire tone.
2 . The eliminate the Reverb effect, press the [Reverb] button
once more, extinguishing the indicator.
● Ch a n g in g th e De p th o f Re ve rb Effe ct
You can select from ten levels of depth for the reverb effect.
N O TE
1 . Hold down the [Reverb] button and press the [-] or [+]
button.
You cannot make separate
reverb effect depth settings
for each individual tone.
The effect is applied at the
same depth to all tones.
The [Reverb] button’s indicator flashes in red.
The selected depth for the reverb effect appears in the display.
fig.01-22
2 . Press the [-] or [+] button to change the depth of the effect.
3 . Press the [Reverb] button once more.
The indicator returns to its previous state.
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Tra n sp o sin g th e Ke y o f th e Ke y b o a rd
(Ke y Tra n sp o se )
You can transpose the key of a performance without having to shift the
position of your fingers on the keyboard. This feature is called “Key
Transpose.”
This lets you take a song in a difficult key with lots of sharps ( ) and flats
( ) and play it in a key with fingering that’s easier for you. This is handy
when playing accompaniment to a song, to match what you play to the pitch
of the singer’s voice.
fig.01-23
Press the corresponding key
1 , 2
1 . Hold down the [Song] button and press the key
corresponding to the tonic of the desired key.
The Key Transpose settings value continues to appear in the display while
the [Song] button is held down.
With the [Song] button held down, you can change the value, even by
pressing the [-] or [+] button.
By holding down the [Song]
button and pressing both
the [-] and [+] buttons
Additionally, by holding down the [Song] button and pressing the [-] or [+]
button one time, you can display the currently selected Key Transpose value.
simultaneously, the setting
returns to its original value.
The available range is -6–0–5.
fig.01-24
When you release the [Song] button, you return to the previous screen.
2 . To return to the original key, hold down the [Song] button
and press the C key (the tonic of C Major).
Example: Playing a Song in the Key of E Major After Transposition
to C Major
Hold down the [Song] button and press the E key (since E is the tonic).
Counting from C as a reference point, one moves up four keys, including the
black keys, to reach E, thus “4” appears in the display.
fig.01-25
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
Usin g th e Me tro n o m e
Here’s how you can make use of the metronome.
fig.02-01
1 , 2
1 . Press the [ (Metronome)] button to have the metronome
sound.
The [Tempo/ Rhythm] button’s indicator flashes in red and green in time
with the beat selected at that time. The indicator lights in red on the
downbeats, and in green on weak beats.
The tempo appears in the display.
fig.02-02
2 . To stop the metronome, press the [
(Metronome)] button
again.
● Ch a n g in g th e Te m p o
1 . Press the [Tempo/Rhythm] button, so you have the tempo
displayed.
About Rhythm, refer to
Pressing the [Tempo/ Rhythm] button alternately displays the tempo and
the currently selected Rhythm number (indicated by an initial “r”).
When the tempo is displayed, the [-] and [+] buttons light in red.
2 . Press the [-] or [+] button to adjust the tempo.
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Ch a p te r 1 Pla y in g th e Ke y b o a rd
● Ch a n g in g th e Be a t o f Me tro n o m e
1 . While holding down the [Tempo/Rhythm] button, press the
[-] or [+] button.
N O TE
You cannot change the
metronome beat while a
song or Rhythm is being
played.
The [Tempo/ Rhythm] button’s indicator flashes in red.
The currently selected beat is displayed.
fig.02-03
2 . Press the [-] or [+] button to select the beat.
You can select from the following beats.
Display
2.2
Beat
Display
6.4
Beat
6/ 4
7/ 4
3/ 8
6/ 8
9/ 8
12/ 8
2/ 2
0.4
Weak beats only
7.4
2.4
2/ 4
3/ 4
4/ 4
5/ 4
3.8
3.4
6.8
4.4
9.8
5.4
12.8
3 . Press the [Tempo/Rhythm] button.
The button’s indicator returns to its previous state.
● Ch a n g in g th e Vo lu m e
The volume of the metronome can be adjusted, with ten volume levels
available.
This is set to “5” when the instrument is turned on.
1 . While holding down the [
(Metronome)] button, press the
[-] or [+] button.
The [
(Metronome)] button’s indicator flashes in red.
The currently selected metronome volume is displayed.
fig.02-04
2 . Press the [-] or [+] button to adjust the volume.
3 . Press the [ (Metronome)] button.
The button’s indicator returns to its previous state.
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
W h a t is Se ssio n Pa rtn e r?
“Session Partner” Lets You Enjoy Playing with a Session-Like Feel
“Session Partner” is a function that lets you select the On/ Off status of the
two Rhythm buttons along with the “Rhythm,” making it easy to add
accompaniment.
You can play intros, endings, and fill-ins (short phrases inserted at transition
points in the song) by pressing buttons as you play the keyboard.
Additionally, you can also have chord changes be made automatically as
you play the Rhythm, giving you piano performances with a session-like
feel—like having a whole band backing you.
What You Can Do With “Session Partner”
“Session Partner” lets you mainly do the following things.
• Play along to a Rhythm’s Drum Part in place of the metronome sound
• Play piano with a session-like feel along with Rhythms while the chord
• Play the piano to provide your own accompaniment as you specify
• Record Rhythms along with specified chords, then use the entire
By changing the chords and Rhythms, even while playing the same melody,
you can easily enjoy creating all kinds of new arrangements.
We encourage you to enjoy the variety of performance options open to you
by using the “Session Partner” feature.
What are the FP-3’s “Rhythms?”
The FP-3 features internal “Rhythms” complementing Jazz, Rock, and other
various musical genres.
“Rhythms,” which combine rhythmic patterns, bass patterns, and other
elements found in different musical styles, form the foundation of
performance accompaniment in the “Session Partner” function.
Additionally, each Rhythm is composed of a “Drum Part” and a “Chord
Part.”
Drum Parts consist of drum sounds. Chord Parts are Parts in which chords
are played, with the bass sound forming the foundation, but also using other
instrumental sounds. You can play each of these Parts by pressing the
[Drums] and [Chord] buttons.
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
Pe rfo rm in g Alo n g W ith Rh y th m s
fig.02-05
N O TE
● Pe rfo rm in g Alo n g W ith Dru m So u n d s
You cannot play the
internal song and Rhythm
at the same time.
Now, try performing as the sound of the Rhythm’s Drum Part plays.
Since a wide variety of musical genres is provided, be sure to use a Rhythm
For more information on
the different Rhythm types,
1 . Press the [Drums] button.
The [Drums] button’s indicator lights up, and the intro begins to play.
2 . When you press the [Drums] button once more, the ending is
played, and the Rhythm stops.
The [Drums] button’s indicator goes out.
To Im m e d ia te ly Sto p a
Rh y th m
You can press the [Play]
button to stop a Rhythm
immediately. Additionally,
when the [Drums] button
indicator is lit in red, if you
then press the [Drums]
button once more, you can
immediately stop the intro
or ending, even when
while these are being
played.
● Pe rfo rm in g W ith Ch o rd Pa rts
In addition to the Drum Parts, you can also perform with “Chord Parts” that
use bass and other sounds.
The chord progression is automatic, so feel free to play the melody any way
you like.
Furthermore, you can also stop the Chord Part during the performance and
have only the Drum Part continue playing.
1 . Press the [Chord] button.
The indicators for the [Chord] and [Drums] buttons light up, and the intro
begins to play.
You can change the chord
progression patterns. Refer
2 . Press the [Chord] button, extinguishing the indicator.
The Chord Part sound stops, and only the Drum Part continues playing.
3 . Press the [Chord] button again, getting the button’s indicator
to light.
The Chord Part sound starts playing again.
You can also specify the
chords to be played in a
Rhythm. For details, refer to
“Performing With the
4 . When you press the [Drums] button once more, the ending is
played, and the Rhythm stops.
The lights for the [Chord] button and the [Drums] button go out.
Specified in the Left Hand
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
Playing Only the Bass Sound of the Chord Part
A Rhythm’s Chord Part not only contains its fundamental bass sound, but
may also include the sound of instruments other than the bass. However,
you can have just the bass sound of such Chord Parts play.
You can also change the settings while the Rhythm is being played.
This setting is effective for all Rhythms until the FP-3’s power is turned off.
1 . Hold down the [Song] button and press the [Chord] button.
The indicators for the [Song] and [Chord] buttons flash in red.
fig.02-07
2 . Press the [-] or [+] button to select the setting.
Indication
Description
On
All of the Chord Part’s sounds are played.
Only the Chord Part’s bass sound is played.
OFF
3 . Press the [Song] button.
The indicators return to their previous state.
Ab o u t th e lig h tin g o f th e [Dru m s] a n d [Ch o rd ] b u tto n in d ica to rs
The indicators of the [Drums] and [Chord] buttons indicate the status of the
Rhythm performance, as shown below.
Indicator
Performance
Performance is stopped
Dark
Lit in red
Intro/ Fill-In/ Ending is being played
Rhythm is being performed
Lit in green
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
Se le ctin g a Rh y th m
Now, try changing the Rhythm being performed.
fig.02-09
2
1 4 3
1 . Press the [Tempo/Rhythm] button so that the Rhythm
number appears in the display.
Rhythm numbers are indicated by an “r” before the number.
When a Rhythm is displayed, the [-] and [+] buttons light in green.
fig.02-10
2 . Press the [-] or [+] button to select the Rhythm.
3 . Press the [Chord] or [Drums] button.
The button’s indicator lights up, and the intro of the selected Rhythm begins
to play.
4 . To stop the performance, press the [Drums] button.
An Ending is played, then the Rhythm stops.
The indicator for the [Chord] or [Drums] button goes out.
N O TE
● Ch a n g in g Rh y th m s As Yo u Pe rfo rm
You cannot change
If you change Rhythms while a Rhythm is being played, the selected
Rhythm begins after the fill-in is played. The indicator for the [Chord]
button or [Drums] button lights in red while the fill-in is played.
Rhythms while the intro or
ending is being played.
W h a t’s a “ Fill In ” ?
A short improvisational phrase inserted at the bar line is called a “Fill In.”
The phrase best suited to the selected Rhythm is played.
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
Ch a n g in g a Rh y th m ’s Te m p o
You can change the tempo of the selected Rhythm.
Furthermore, you can change the tempo as the Rhythm is being played.
fig.02-08
2
1
1 . Press the [Tempo/Rhythm] button to have the tempo
displayed.
Pressing the [Tempo/ Rhythm] button alternately displays the tempo and
the currently selected Rhythm number (indicated by an initial “r”).
When the tempo is displayed, the [-] and [+] buttons light in red.
2 . Press the [+] and [-] buttons to adjust the tempo.
The tempo can be changed within the range from
20 ~ 250.
When the [Chord] button or [Drums] button is pressed, the Rhythm is
played at the selected tempo.
Pressing both the [-] and [+] buttons simultaneously returns the tempo to
96.
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
Se le ctin g a Rh y th m ’s Ch o rd Pro g re ssio n
When playing the Chord Part while performing, the chord progression is
automatic. You can change the chord progression pattern if you want.
For more information on
chord progression patterns,
refer to the “Chord
These settings cannot be memorized independently for each Rhythm.
1 . Hold down the [Chord] button and press the [-] or [+] button.
The [Chord] button’s indicator flashes in red.
The currently selected chord progression pattern number and the root of the
beginning chord are displayed.
The root is indicated in the
display as shown below.
The performance stops when the Rhythm is played.
fig.02-11
Display
C
C
C
C
F
F
d
E_
E
Letter
name
D
Display
E
F
G
G
b
Letter
name
E
F
Chord progression pattern number The root of the beginning chord
Display
A_
A
A
b_
B
Letter
name
2 . Press the [-] or [+] button to change the chord progression
A
B
pattern.
3 . Press the key corresponding to the root note of the first
chord.
You can specify chords
The chord progression that follows is changed to match the specified chord.
fig.02-12
yourself in Split Play. For
With the Chord Progression
Specified in the Left Hand
C
E
F
A
B
C
D
E
F
G
A
B
4 . Press the [Chord] button once more.
The button’s indicator returns to its previous state.
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
Pe rfo rm in g W ith th e Ch o rd Pro g re ssio n
Sp e cifie d in th e Le ft Ha n d (Rh y th m Sp lit Pla y )
N O TE
Performing with the keyboard divided at a certain key into a left side and a
right side is called “Split Play.”
When specifying the
chords in the left part of the
is disabled in the right part.
When using the Rhythm while Split Play is in effect, you can specify the
chords with the keys in the left part of the keyboard.
fig.02-13
1 , 5
4 2
1 . Press the [Split] button, getting its indicator to light.
2 . Press the [Chord] button, getting its indicator to light.
The indicators for the [Chord] and [Drums] buttons flash, and the FP-3 is
put into standby mode.
When the [Split] button is pressed while a performance is in progress, the
Rhythm stops.
The point at which the
keyboard is divided is
called the “split point”; you
can also change this split
point. For more
3 . The chord is specified with a key in the left part of the
keyboard, and the Rhythm begins.
fig.02-14
information, take a look at
F 3 (Sp lit p oint)
The range specified a chord
You can specify chords
simply with your finger,
even without playing the
keys for all the chords’
constituent notes. For more
information about chord
fingering, refer to the “Chord
Specify the chord in the left part of the keyboard, and perform the melody
in the right side.
It is not necessary to continue holding down the keys for chords in the left
side. Even after you release the key, the same chord continues until the next
chord is played.
When specifying chords, sounds from the left side of the keyboard are not
played.
4 . To stop the Rhythm, press the [Drums] button.
While in Split Play, when
the [Chord] button is off,
and only the Drum part is
being played, you can
perform in the left side of
the keyboard using the
After the ending is done, the performance stops.
The indicators for the [Chord] and [Drums] buttons then start flashing, and
the FP-3 is put into standby mode.
5 . To exit Split Play, press the [Split] button, extinguishing the
indicator.
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Ch a p te r 2 Pla y in g Alo n g w ith Rh y th m s
Ch a n g in g th e Vo lu m e Ba la n ce Be tw e e n
th e Ke y b o a rd a n d th e Rh y th m
When you change the
volume balance between
the keyboard and the
Rhythm, the volume
balance between the
keyboard and the internal
song may change.
When using Rhythms in a performance, you can change the balance
between the Rhythm volume and the volume of the performance played on
the keyboard.
When the power is turned on, the volume balance is set to “5–5” (“Keyboard
volume” – “Rhythm volume”).
fig.02-15
1
2
3
1 . Hold down the [Song] button and press the [Drums] button.
The [Song] and [Drums] buttons’ indicator flashes in red.
The selected volume balance appears in the display.
fig.02-16
Keyboard volume
Rhythm volume
2 . Press the [-] or [+] button to adjust the volume balance.
To restore the normal default volume balance, press the [-] and [+] buttons
simultaneously.
3 . Press the [Song] button.
The buttons’ indicator return to their previous state.
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Ch a p te r 3 Re co rd in g a Pe rfo rm a n ce
You can easily record your performances.
You can play back a performance you have recorded to check what and how
you played, and play melodies on the keyboard along with prerecorded
accompaniment using the Rhythm.
Notes Regarding Recording
To Re co rd W ith o u t Era sin g
• Only one song can be recorded. With second or later recordings, the
previously recorded song is erased as the new material is recorded.
When recording a new performance, it is probably a good idea to erase
th e Pre vio u sly Re co rd e d
Pe rfo rm a n ce ...
1st Pass
• Recorded performances are erased when the power is turned off.
2nd Pass
Re co rd in g a Pe rfo rm a n ce
The first Perform-
ance is preserved
This records only what you play on the keyboard, without using the Rhythm.
fig.03-01
2
5
1
3
7
4 6, 8
N O TE
1 . Press the [Song] button, getting its indicator to light.
When you record
The song number appears in the display.
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
2 . Press the [-] button to display the “USr.”
3 . Select the Tone to be played.
4 . If necessary, sound the metronome.
5 . Press the [Rec] button.
During the count-in, the
count measure is indicated
in the display as “-2” then
“-1.”
The [Rec] button’s indicator lights, the [Play] button’s indicator begins
flashing, and the FP-3 is put into recording standby.
6 . Press the [Play] button or play a key on the keyboard to
begin recording.
Press the [Play] button, and after two measures of count sound, recording
begins.
Ab o u t “ USr” in th e
Disp la y
Recording will begin when you start playing the keyboard, even if you do
not press the [Play] button. In this case, a count is not sounded.
When recording is stopped,
7 . Press the [Rec] button or the [Play] button to stop recording.
The indicators for the [Rec] and [Play] buttons are extinguished, and
recording stops.
the “
” indication
” in the
changes to “
display. The “.” in the
display indicates that there
is Performance material
already recorded.
Listening to the Recorded Performance
8 . Press the [Play] button.
Press the [Play] button again, and playback stops.
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Ch a p te r 3 Re co rd in g a Pe rfo rm a n ce
● Re co rd in g a Pe rfo rm a n ce Usin g Rh y th m s
You can also easily record session performances to the internal Rhythms
and chord progressions.
N O TE
When you record
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
fig.03-02
1
1
4 3
5 2
1 . Select the Tone or Rhythm to be played.
For more on selecting tone
2 . Press the [Rec] button.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
For more information on
the different Rhythm and
Chord progression pattern,
3 . Press the [Chord] button or the [Drums] button to begin
recording.
The Rhythm starts to play, while simultaneously recording begins.
4 . Press the [Drums] button to stop recording.
The ending is played, and the performance and recording stop.
When you press the [Rec] button or the [Play] button, recording stops
without the ending being played.
N O TE
A Rhythm cannot be
started while recording is
in progress.
Listening to the Recorded Performance
5 . Press the [Play] button.
Press the [Play] button again to stop playback.
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Ch a p te r 3 Re co rd in g a Pe rfo rm a n ce
● Re co rd in g a Pe rfo rm a n ce Usin g Rh y th m s
(in Sp lit Pla y )
N O TE
When you record
Specify the chord progression yourself to record session performances with
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
even greater freedom.
By prerecording only the Rhythm (accompaniment) using your preferred
chord progressions, you can then use the entire keyboard in session
performances as you play along with the playback of this recording.
fig.03-06
3
1
6 4
7 2
1 . Select the Tone or Rhythm to be played.
2 . Press the [Rec] button.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
3 . Press the [Split] button, getting its indicator to light.
The keyboard is set to Split Play.
4 . Press the [Chord] button.
The indicators for the [Chord] and [Drums] buttons flash, and the FP-3 is
put into standby mode.
5 . Specify a chord by playing it on the left-hand keyboard
section.
The Rhythm’s intro starts to play, and at the same time, recording begins.
Record the accompaniment while specifying the chords in the left part of the
keyboard.
6 . Press the [Drums] button to stop recording.
The ending is played, and then the Rhythm and recording stop.
When you press the [Rec] button or the [Play] button, recording stops
without the ending being played.
Listening to the Recorded Performance
7 . Press the [Play] button.
Press the [Play] button again to stop playback.
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Ch a p te r 3 Re co rd in g a Pe rfo rm a n ce
● Re co rd in g Se le cte d Tra ck b u tto n s
FP-3’s Recorder has three Track buttons.
When you press the [Rec] button, all Track buttons are set to be recorded,
but by selecting Track buttons that are not to be recorded, you can then
record only on the specific Track buttons you want.
N O TE
When you record
additional material without
erasing the previously
recorded sounds, the song
is recorded at the initially
recorded tempo.
For example, you can record each hand’s performance to different Track
buttons, or record over only certain Track buttons in a previously recorded
performance.
Only sounds from Drum set tones and Rhythm sounds can be recorded to
the [Drums (R)] button.
fig.03-03
1 . While holding down the [Rec] button, and turn off the
indicator light for the Track button, whether the [Drums (R)],
Ab o u t th e Lig h tin g o f
Tra ck Bu tto n In d ica to rs
w h e n th e [Re c] Bu tto n
Is Pre sse d
[Chord (1)], or [
(2)] button, for any track not to be recorded.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
With the FP-3 in standby, go on to record the performance according to the
Dark
Not Recording
Lit in red
Data Recorded
The performance is recorded only to the Track buttons whose indicator was lit.
Recording
No Data
Recorded
Recording along with internal songs
You can also record your own performance as you play along with the
internal piano songs.
When recording to specific Track buttons, the sounds on the selected Track
buttons are not played. For example, you can record what you are playing
with your right hand as you listen to the left-hand part.
Co rre sp o n d e n ce
Be tw e e n In te rn a l Pia n o
So n g Tra ck Bu tto n s
a n d Pe rfo rm a n ce
1 . With the [Song], [-] and [+] buttons select the song.
[1] button: left-hand Part
[2] button: right-hand Part
No performance data is
assigned to the [R] button.
2 . Hold down the [Rec] button and light the indicator for the
track button of the track you intend to play yourself.
The [Rec] button’s indicator lights up, the [Play] button’s indicator flashes,
and the FP-3 is put into recording standby.
N O TE
When recording along with
an internal song, you will
not be able to obtain
playback at a modified
tempo.
3 . Press the [Play] button to start recording.
The material at the Track button whose indicator was lit in Step 2 is not
played.
4 . Press the [Rec] or [Play] button to stop recording.
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Ch a p te r 3 Re co rd in g a Pe rfo rm a n ce
Era sin g Re co rd e d Pe rfo rm a n ce s
You can erase recorded performances.
fig.03-04
1
2
1 . Hold down the [Song] button and press the [Rec] button.
A confirmation message appears in the display.
fig.03-05
Flashes in green Flashes in red
Flashes in green
2 . Press the [Rec] button.
The recorded performance is erased.
If you do not want to erase the performance, press the [Play] or [Song]
button.
Co rre sp o n d e n ce Be tw e e n Re co rd e d Pe rfo rm a n ce a n d
Tra ck Bu tto n s
A recorded performance will be assigned to the Track buttons as follows.
Track button
Performance recorded
• A performance of drum set tones
[R]
[1]
• The performance of the entire keyboard (except drum
set tones)
[2]
*
You can also record to the [1] button regular keyboard performances in which
only the [1] button is specified.
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Ch a p te r 4 O th e r Fu n ctio n s
fig.04-02
Ch a n g in g th e Da m p e r
Pe d a l’s Re so n a n ce
Flashes in red
Flashes in red
On an acoustic piano, depressing the damper pedal makes
the notes you play resonate with other strings, adding rich
2 . Press the [-] or [+] button to select the pedal
reverberations and fatness to the sound. The damper pedal
on the FP-3 recreates this resonance (Sympathetic Resonance)
when depressed.
function.
Indication
Description
You can select from ten levels of depth for the resonant
sound (resonance level).
1 (Soft Pedal) Sets function to soft pedal. Setting made
when the instrument is turned on.
This is set to “5” when the instrument is turned on.
2 (Sostenuto
Pedal)
When the pedal is pressed, only the
sounds of the keys being pressed are sus-
tained. Connect the supplied pedal or a
separately available pedal.
* This setting is effective only with tones 1, 2 and 5 for the
[Piano] button. You cannot make this setting with other tones.
1 . Hold down the [Reverb] and [Chorus] buttons
and press the [-] or [+] button.
3 (Expres-
sion Pedal)
Allows control of the volume. You can
also change the volume with the [Vol-
ume] knob, but by using this pedal you
can change the volume level without tak-
ing your hands off the keyboard. Con-
nect a separately available expression
pedal (EV-5).
The indicators for the [Reverb] and [Chorus] buttons
flash in red.
The resonance for the currently selected tone appears in
the display.
fig.04-01
4 (Start/Stop)
You can control the start/ stop of
Rhythms by pressing the pedal, instead
of pressing the buttons.
Flash in red
If you press the pedal when the Rhythm
is stopped, the Rhythm begins from the
intro (the same result as the [Chord] but-
ton being pressed).
2 . Press the [-] or [+] button to select the resonance
level.
3 . Press the [Reverb] or [Chorus] button.
If you press the pedal when the Rhythm
is playing, the ending is played and the
Rhythm stops (the same result as the
[Drums] button being pressed).
You cannot start only the Drum Part, or
stop only the Chord Part by pressing the
pedal. (See p. 26.)
The indicators return to their previous state.
Ch a n g in g Ho w th e Pe d a ls
W o rk
Although a pedal connected to the Pedal [Soft] jack normally
as a sostenuto pedal or expression pedal.
3 . Press the [Song] button.
The indicators return to their previous state.
For use as a sostenuto pedal, connect the supplied pedal or a
separately available pedal. For use as an expression pedal,
connect the separately available expression pedal (EV-5).
* Use only the specified expression pedal (EV-5; sold separately).
By connecting any other expression pedal, you risk causing
malfunction and/or damage to the unit.
When the instrument is turned on, this is set to function as a
soft pedal.
* Be sure to switch off the power to the unit before attempting to
disconnect or connect a pedal cord.
1 . Hold down the [Song] button and press the
[E.Piano] button.
The indicators for the [Song] and [E.Piano] buttons flash
in red.
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Ch a p te r 4 O th e r Fu n ctio n s
Ch a n g in g Ho w th e Pe d a l
Effe cts Are Ap p lie d
Ch a n g in g th e Pitch o f th e
Lo w e r To n e in O cta ve Ste p s
(O cta ve Sh ift)
and the Lower Tone, but you can change the settings for the
tone to which the effect is applied.
You can change the pitch of the Lower Tone in Dual Play
Altering the pitch in one-octave units in this way is called
“Octave Shift.”
When the instrument is turned on, the setting determining
how the effects are applied is the same for both the Upper
Tone and the Lower Tone (“1” in the table below).
For example, you can raise the pitch of the Lower Tone to the
same pitch of the Upper Tone in Split Play.
1 . Hold down the [Song] button and press the
The range of available pitch change spans from two octaves
higher to two octaves lower.
[Organ] button.
The indicators for the [Song] and [Organ] buttons flash
This setting remains in effect until you turn off the power.
in red.
1 . Hold down the [Song] button and press the
fig.04-03
[Piano] button.
The indicators for the [Song] and [Piano] buttons flash in
red.
fig.04-04
Flashes in red
Flashes in red
2 . Press the [-] or [+] button to select how the pedal
effects are to be applied.
Flashes in red
Flashes in red
Indica-
tion
Description
Lower
Tone
Upper
Tone
Pedal
2 . Press the [-] or [+] button to select the pitch.
●
●
x
●
●
●
Right Pedal
Left Pedal
The pitch is lowered one octave each time the [-] button
is pressed, while each press of the [+] button raises the
pitch by one octave.
1
2
All enabled
Applied
Right Pedal
To return to the original pitch, press the [-] and [+]
buttons simultaneously.
only to the
Upper Tone
x
●
●
Left Pedal
Left pedal
enabled for
Lower Tone
only
●
Right Pedal
3 . Press the [Song] button.
The indicators return to their previous state.
3
●
x
Left Pedal
* Right pedal—connect to the [Damper] jack
* Left pedal—connect to the [Soft] jack
3 . Press the [Song] button.
The indicators return to their previous state.
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Ch a p te r 4 O th e r Fu n ctio n s
Tu n in g to O th e r In stru m e n ts’
Pitch e s (Ma ste r Tu n in g )
Ad ju stin g th e Tu n in g
You can play classical music such as baroque pieces using
their original tuning.
When playing ensemble with other instruments and in other
such instances, you can match the standard pitch to another
instrument.
Most modern songs are composed and played with the
assumption that equal temperament (the most common
tuning in use today) will be used, but when classical music
was composed, there were a wide variety of other tuning
systems in existence. Playing a composition with its original
tuning lets you enjoy the sonorities of the chords that the
composer originally intended.
The standard pitch generally refers to the pitch of the note
that’s played when you finger the middle A key. For a
cleaner ensemble sound while performing with one or more
other instruments, ensure that each instrument’s basic pitch
is in tune with that of the other instruments. This tuning of
all the instruments to a standard pitch is called “master
tuning.”
1 . Hold down the [Song] button and press the
[Chorus] button.
You can set the standard pitch anywhere in a range of 415.3
Hz to 466.2 Hz.
The indicators for the [Song] and [Chorus] buttons flash
in red.
fig.04-06
When the instrument is turned on, the standard pitch is set to
“440.0 Hz.”
This setting remains in effect until you turn off the power.
Flashes in red
Flashes in red
1 . Hold down the [Song] button and press the
[Voice/Winds] button.
Temperament Tonic
The indicators for the [Song] and [Voice/ Winds] buttons
2 . Press the [-] or [+] button to change the
temperament, and press the key corresponding to
the keynote.
flash in red.
fig.04-05
You can choose from among the seven tunings described
below.
Flashes in red
Flashes in red
Temperament
Equal
Qualities
The last three digits of the current standard pitch setting
appear in the display.
1
2
3
In this tuning, each octave is
divided into twelve equal steps.
Every interval produces about the
same amount of slight dissonance.
This setting is in effect when you
turn on the power.
2 . Press the [-] or [+] button to change the standard
pitch.
The pitch is lowered 0.1 Hz each time the [-] button is
pressed. When the button is held down, the pitch drops
continuously.
Pythagorean
This tuning, devised by the philos-
opher Pythagoras, eliminates dis-
sonance in fourths and fifths.
Dissonance is produced by third-
interval chords, but melodies are
euphonious.
The pitch is raised 0.1 Hz each time the [+] button is
pressed. When the button is held down, the pitch rises
continuously.
To return to the original pitch, press the [-] and [+]
buttons simultaneously.
Just Major
This tuning eliminates ambiguities
in the fifths and thirds. It is
3 . Press the [Song] button.
The indicators return to their previous state.
unsuited to playing melodies and
cannot be transposed, but is capa-
ble of beautiful sonorities.
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Ch a p te r 4 O th e r Fu n ctio n s
Ch a n g in g th e Be a t Pa tte rn
Temperament
Just Minor
Qualities
4
The Just tunings differ from major
and minor keys. You can get the
same effect with the minor scale as
with the major scale.
The metronome usually sounds one beat per quarter note,
but you can change the beat pattern to sound, for example,
one beat for every dotted quarter note.
1 . Hold down the [Song] button and press the
5
6
Mean Tone
This scale makes some compro-
mises in just intonation, enabling
transposition to other keys.
[
(Metronome)] button.
The indicators for the [Song] and [
buttons flash in red.
(Metronome)]
Werckmeister
This temperament combines the
Mean Tone and Pythagorean tun-
ings. Performances are possible in
all keys (first technique, III).
fig.04-07
Flashes in red
Flashes in red
7
Kirnberger
This is an improvement of the
Mean Tone and Just tunings that
provides a high degree of freedom
of modulation. Performances are
possible in all keys (III).
2 . Press the [-] or [+] button to change the beat
division.
Indication
Description
The display is as follows:
—
The metronome sounds in the ordinary way.
fig.Chart3
(Normal)
Display
C
C
d_
d
E_
E
E
E
F
F
F
F
G
G
A_
A
A
A
b_
B
b
A1
The metronome plays with a backbeat added
to each beat.
Letter
name
D
D
B
When playing with tuning other than equal
A2
A3
Counting is with triplets for each beat.
The added sounds are shuffled.
temperament, you need to specify the keynote for tuning
the song to be performed (that is, the note that
corresponds to C for a major key or to A for a minor
key).
Counting starts at the beginning of the mea-
sure, in intervals of dotted half-note upbeats.
2. (
2 (
4. (
4 (
8. (
8 (
)
)
)
)
)
If you choose an equal temperament, there’s no need to
select a keynote.
Counting starts at the beginning of the mea-
sure, in intervals of half-note upbeats.
Counting starts at the beginning of the measure,
in intervals of dotted quarter-note upbeats.
3 . Press the [Song] button.
The indicators buttons return to their original state.
Counting starts at the beginning of the mea-
sure, in intervals of quarter-note upbeats.
* When performing in ensemble with other instruments, be
aware that depending on the key, there may be some shifting of
the pitch. Tune the FP-3 to the fundamental pitch of the other
instruments.
Counting starts at the beginning of the mea-
sure, in intervals of dotted eighth-note upbeats.
Counting starts at the beginning of the mea-
sure, in intervals of eighth-note upbeats.
)
Counting starts at the beginning of the mea-
sure, in intervals of sixteenth-note upbeats.
16 (
)
3 . Press the [Song] button.
The indicators return to their previous state.
● If you select “A1” with a triplet rhythm (6/8, 9/8, 12/8), the
additional sound is played in the same way as “A2.”
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Ch a p te r 4 O th e r Fu n ctio n s
● Ho w to En jo y MIDI
Recording Data of Performances Played on the FP-3 to a
Sequencer* and Automatically Playing Recorded
Performance Data on the FP-3
Co n n e ctin g MIDI De vice s
Ab o u t MIDI
MIDI stands for “Musical Instrument Digital Interface,” and
is a worldwide standard for the exchange of performance
data (MIDI messages) and other information among
electronic instruments and computers.
Connection example:
Connecting to a sequencer (the Roland MT series, etc.)
fig.04-09.e
The FP-3 features a MIDI connector and a computer
connector to allow performance information to be exchanged
with external devices. Connecting the keyboard to other
devices with these connectors provides you with an even
greater variety of ways to use your keyboard.
Sequencer
* The MT-80s has no MIDI
Out connector.
Out
MIDI
In
FP-3
* A separate publication titled “MIDI Implementation” is also
available. It provides complete details concerning the way
MIDI has been implemented on this unit. If you should require
this publication (such as when you intend to carry out byte-
level programming), please contact the nearest Roland Service
Center or authorized Roland distributor.
(
)
(
)
Damper
Pedal
Soft
R
L
Mono
R
L
Mono
Stereo
Stereo
Out
In
MIDI
Line In
Line Out
● When connecting a sequencer, we recommend using it with
the settings described below.
•
•
When the instrument is turned on, MIDI Out Mode is set
to “1.”
● Co n n e cto rs
fig.04-08
Performing on the FP-3 Using Sounds from Another
Sound Module*
Out
In
MIDI
Connection Example: Connecting to a MIDI Sound Module
fig.04-10.e
MIDI O u t Co n n e cto r
Sends data about what is being played on the keyboard and
other performance data.
Sound Module
MIDI
THRU
OUT
IN
Connect to the MIDI in connector on the external MIDI device.
MIDI In co n n e cto r
FP-3
Receives messages sent from external MIDI devices.
Connect to the MIDI Out connector on the external MIDI device.
(
)
(
)
Damper
Pedal
Soft
R
L
Mono
R
L
Mono
Stereo
Stereo
Out
In
MIDI
Line In
Line Out
● Ma k in g th e Co n n e ctio n s
* To prevent malfunction and/or damage to speakers or other
devices, always turn down the volume, and turn off the power
on all devices before making any connections.
●
When connecting to a MIDI sound module, we recommend
When the instrument is turned on, MIDI Out Mode is set to
“1.”
1 . Turn the volume all the way down on the FP-3
W h a t is a Se q u e n ce r?
and on the device you’re about to connect.
A sequencer is a device that records the stream of MIDI
messages that is sent out by an instrument. These messages
convey all the details of what has occurred while the
instrument is played; including the timing of notes, their
sound, the force used to play them, and for how long.
Afterwards, you can send the recorded MIDI information
back to the instrument, and it will play automatically.
2 . Turn off the power to the FP-3 and to the device
being connected.
3 . Connect a MIDI cable (sold separately) between
the MIDI connectors on each device.
4 . Switch on the power to the FP-3 and the
connected device.
W h a t is a MIDI So u n d Mo d u le ?
5 . Adjust the volume level on the FP-3 and the
Inside a synthesizer or electronic piano is the section that
actually produces sound, known as the sound module. A
MIDI sound module produces sounds as the result of MIDI
messages sent to it by other devices.
connected device.
6 . You should also set the MIDI settings as needed.
Make the settings for the MIDI send and receive
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Ch a p te r 4 O th e r Fu n ctio n s
Local Control ON: The keyboard and the internal sound
● MIDI Se ttin g s
MIDI Se n d Ch a n n e l Se ttin g s
generator are in a linked state.
fig.04-13.e
MIDI features sixteen MIDI channels, numbered 1–16.
Simply connecting a cable is not enough for communication
to take place. The connected devices must be set to use the
same MIDI channels. Otherwise, no sound will be produced,
and no sounds can be selected.
Sound is emitted
Sound Generator
Local On
Select the transmission channel (1–16) of the FP-3.
When the instrument is turned on, this is set to Channel “1.”
The FP-3 receives messages on all channels, 1–16.
* When the keyboard is split into left and right sides, the
transmission channel for messages from the left-hand side is
fixed at “3.”
Local Control OFF: The keyboard and the internal sound
generator are in an unlinked state. No sound will be
produced by the keyboard when it is played.
* When a Drum Set Tone is assigned to the keyboard, the
transmission channel is fixed at “10.”
fig.04-14.e
No sound produced
1 . Hold down the [Song] button and press the
[Guitar/Bass] button.
Sound Generator
Local Off
The indicators for the [Song] and [Guitar/ Bass] buttons
flash in red.
fig.04-11
* When connecting a unit in the Roland MT series, you don’t
need to switch off Local Control. MT units transmit Local Off
messages when their power is switched on. If you first switch
on the FP-3, then the MT-series device, Local Control is
automatically switched off on the FP-3.
Flashes in red
Flashes in red
2 . Press the [-] or [+] button to select the
transmission channel.
1 . Hold down the [Song] button and press the
3 . Press the [Song] button.
[Tempo/Rhythm] button.
The indicators return to their previous state.
The indicators for the [Song] and [Tempo/ Rhythm]
Sw itch in g Lo ca l Co n tro l O n a n d O ff
buttons flash in red.
When connecting a MIDI sequencer, set Local Control to “Off.”
fig.04-15
When the instrument is turned on, this is set to “On.”
As illustrated, information describing what has been played
on the keyboard is passed to the internal sound generator
over two different routes, (1) and (2). As a result, you hear
overlapping or intermittent sounds. To prevent this from
happening, route (1) must be severed, by setting the unit to
Flashes in red Flashes in red
2 . Press the [-] or [+] button to switch Local Control
on and off.
what is known as “Local Off.”
fig.04-12.e
3 . Press the [Song] button.
Local On
(1)
The indicators return to their previous state.
Sequencer
Memory
MIDI
OUT
MIDI
IN
Sound
Generator
MIDI
OUT
MIDI
IN
Thru function On
(2)
Each note played
is sounded twice
4 3
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Ch a p te r 4 O th e r Fu n ctio n s
3 . Press the [Song] button.
Se ttin g th e MIDI O u t Mo d e
By setting the MIDI Out Mode, you can select to have a more
suitable (to the external MIDI device) selection of MIDI data
be output from the MIDI Out connector when you make tone
changes on the FP-3.
The indicators return to their previous state.
Three settings for the MIDI Out Mode are available.
“MIDI Out Mode 1” is the power-up default setting.
MIDI
Out
Descriptions
Mode
1
MIDI
Out
This setting is suitable for the connec-
tion of sequencers. The MIDI informa-
Mode 1 tion shown below is output from the
MIDI Out connector when you make a
tone change on the FP-3.
When recording something on a
sequencer, this mode should assure that
when you play back the performance
on the FP-3, you will hear the same
tones used when the performance was
recorded.
• Program Change
• Reverb or chorus effect on/ off
• Reverb or chorus effect depth
• Sympathetic resonance depth
2
3
MIDI
Out
This setting is suited for connecting to a
sound module. The MIDI information
Mode 2 on tone and effect is not output from
the MIDI Out connector when you
make a tone change on the FP-3.
MIDI
Out
You can transmit performance data
recorded with the FP-3. Additionally,
Mode 3 the MIDI messages that are output have
the same content as those in MIDI Out
Mode 1.
1 . Hold down the [Song] button and press the
[Strings/Pad] button.
The indicators for the [Song] and [Strings/ Pad] buttons
flash in red.
fig.04-17
Flashes in red
Flashes in red
2 . Press the [-] or [+] button to select the MIDI Out
Mode.
4 4
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Tro u b le sh o o tin g
If you think there’s a problem, read this first.
Case
Cause/ What to do
Case
Cause/ What to do
No Power
Is the power cord properly connected? (p. 8)
Is the [Song] button indicator lit in green?
nected device turned all the way down?
No Sound
Songs cannot be played back when the [Song]
button’s indicator is on. Press the [Song] but-
ton, getting its indicator to light.
Song Doesn’t Play
Back
No Sound (With a
MIDI Device Con-
nected)
Is the MIDI cable connected and plugged in
correctly? (p. 42)
The internal songs cannot be played back
while recorded performance data remains in
the FP-3’s memory. Try playing back the song
after deleting the performance data.
Does the MIDI channel match the connected
Is Local Off selected? When Local Control is
set to OFF, no sound is produced by playing
the keyboard. Set Local Control to “ON”
No Sound, Even
When Key is
Pressed
The Volume of
Internal Song is
Too Low
Is the volume balance for the Rhythm (and
internal song) turned all the way down?
The Volume of the
Keyboard is Too
Low
Only the Sound of
a Particular Instru-
ment in a Song
Does Not Play
Is the volume balance for the keyboard
If the button’s light is out when you hold
down the [Play] button, the music on that
track is not heard. Press the track button so
the light is illuminated.
No sound from the left side is produced if the
[Split] button’s indicator is on while the
Chord part is playing.
No Sound From
the Left Side
Is the [Song] button indicator flashing in red?
When the [Song] button indicator flashes in
red it means that setting of functions is in
progress. Press the [Song] button once more,
then select the tone or Rhythm.
Cannot Select
Tone or Rhythm
Two Sounds are
Produced When
the Keyboard is
Played
When the FP-3 is connected to an external
sequencer, set it to the Local OFF mode (p.
sequencer to “OFF.”
Have you selected which of the Track Buttons
Cannot Record
When you select for recording an internal
song that features tempo changes, the tempos
of Performances recorded on other tracks are
altered along with these changes. In addition,
the Metronome tempo is also changed the
same way.
The FP-3 has a maximum polyphony of 64
voices. When playing together with a song or
Rhythm along with heavy use of the damper
pedal, the performance data may exceed the
number of available voices, and as a result,
some notes or sounds played on the key-
board may not sound.
Not All Sounds Are
Played
Tempo of
Recorded Song or
Metronome is Off
When you record additional material
without erasing the previously recorded
sounds, the song is recorded at the ini-
The Keyboard or
Song Register or
Pitch is Off
correct?
Performances that have been recorded are
erased when the power for the FP-3 is turned
off or when a song is selected. Once erased,
Performances cannot be recovered.
Is the setting for Master Tuning correct?
Recorded Perfor-
mance is Erased
Rhythm Does Not
Sound
Is the volume balance for the Rhythm turned
Chords Not Rec-
ognized in the Left
SideWhen Playing
Rhythms
When the [Split] button’s indicator is off
while the Chord part is playing, the chord
progression then proceeds automatically.
4 5
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Tro u b le sh o o tin g
Case
Cause/ What to do
Case
Cause/ What to do
Is the pedal connected correctly?
Connect the pedal securely to the Pedal jack
When listening through speakers:
Playing at loud volumes may cause instru-
ments near the FP-3 to resonate. Resonation
can also occur with fluorescent light tubes,
glass doors, and other objects. In particular,
this problem occurs more easily when the
bass component is increased, and when the
sound is played at higher volumes. Use the
following measures to suppress such reso-
nance.
Pedal Has No
Effect, or Effect
“Sticks”
Unplugging a pedal cord from the unit while
the power is on may cause the pedal’s effect
to be applied nonstop.
Be sure to switch off the power to the unit
before attempting to disconnect or connect a
Low End Sounds
Are Strange/Have
a Rattling Sound
As the FP-3 piano sounds faithfully repro-
duce the depth and reverberation of actual
acoustic pianos, reverberation may still be
audible even after the reverb effect is
removed from sounds.
- Place speakers so they are 10–15 cm from
walls and other surfaces.
Reverb Remains
Even After Reverb
is Lifted
- Reduce the volume.
- Move the speakers away from any resonat-
ing objects.
When listening through headphones:
The cause lies somewhere else. Consult your
Roland dealer or nearest Roland Service Cen-
ter.
With the acoustic piano settings, sounds in
the upper 1 1/ 2-octave range are extended to
the end regardless of the damper pedal
actions. The tone is also different in this
range. Roland’s pianos faithfully reproduce
the sonic qualities of acoustic pianos. Fur-
thermore, you can use the instrument’s Key
Transpose setting to change that range over
which the damper pedal has no effect.
Sound Suddenly
Changes at Key in
Upper Octaves
The Volume Level
of the Instrument
Connected to Line
In Jack is Too Low.
Could you be using a connection cable that
contains a resistor?
Use a connection cable that does not contain a
resistor.
When listening through headphones:
Certain piano tones that feature vibrant,
sparking sounds contain a large high-fre-
quency component, which may make it
appear that a metallic reverberation has been
applied. This faithfully reproduces the char-
acteristics of acoustic pianos, and does not
indicate any malfunction. Since this reverber-
ation becomes particularly audible when
supplemented by heavy reverb, you may be
able to diminish the problem by reducing the
amount of reverb applied to the sound.
When listening through speakers:
High-Pitched
Whine is Produced
Here, a different cause (such as resonance
produced by the FP-3) would be suspect.
Consult your Roland dealer or nearest
Roland Service Center.
4 6
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Erro r Me ssa g e s/ O th e r Me ssa g e s
Display
Meaning
USr
The “.” in the display indicates that there is Performance material already
Usr.
d.
P.
r.
Additionally, this appears after recording a song when you try to select
dEL
The amount of performance information is too large, and further recording is
not possible.
E.32
E.40
E.41
E.51
Too much MIDI data was sent from the external MIDI instrument at one
time, and the unit could not process the data. Reduce the amount of MIDI
data being sent to the FP-3.
A problem such as a loose MIDI cable or computer cable occurred. Make sure
the MIDI cables and computer cables are correctly hooked up.
A system error has occurred. Try performing the procedure over again.
Should this message continue to appear even after repeated attempts, please
consult the nearest Roland Service Center.
* Error messages are indicated by an “E.” before the number
When the Error message appears, the [-] and [+] button indicators flashes in red.
Press the [-] or [+] button, and you can cancel the error message.
4 7
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To n e List
Pia n o
Pop Drum Set
Vox Drum Set
21
23
24
26
28
29
31
33
35
36
38
40
41
43
45
47
R&B Snare
R&B Snare
Rock Snare
Rock Snare
Pop Snare m
Pop Snare Ghost
Pop Snare m
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
Pop Pedal HH
Hand Clap
Vox Dut
1
2
3
4
5
6
Grand Piano 1*
Grand Piano 2*
Rock Piano
Honky-tonk
Upright Piano*
Harpsichord
22
Rock Snare
Rock Snare
Pop Snare m
Pop Snare Ghost
Pop Snare m
Finger Snap
707 Claps
Hand Clap
Hand Clap2
Hand Clap
25
27
[EXC7]
[EXC7]
[EXC7]
[EXC7]
30
32
34
Pop Pedal HH
Hand Clap
Pop Snare Ghost
Pop Kick
[EXC1]
E.Pia n o
Vox Dom
Pop Kick
Vox Tuush
Vox Hehho
Vox Doyear
Vox Thu!
Vox That
Vox Aahhh
Vox Tu
Vox Dooh
Vox Ptu
Vox Down
Vox Pa
Vox Bom
C2
1
2
3
4
5
6
7
8
Stage Rhodes
Dyno Rhodes
E.Piano
Suitcase
Wurly
Clavi
Vibraphone
Vibra Bell
37
39
Pop Side Stick
Pop Sanre s
Pop Snare Ghost
Pop Snare s
Pop Low Tom f
Pop CHH 1
Pop Low Tom
Pop CHH 2
Pop Mid Tom f
Pop OHH
42
44
46
[EXC1]
[EXC1]
[EXC1]
Pop Mid Tom
Pop High Tom f
Vox Toear
Vox Aahhu
Vox Toya
C3 48
50
49
51
Pop Crash Cymbal 1
Pop High Tom
Pop Ride Cymbal 1
Pop Chinees Cymbal
Pop Ride Bell
Tambourine 2
Splash Cymbal
Cha Cha Cowbell
Pop Crash Cymbal 2
Vibra-slap 2
Pop Ride Cymbal 2
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
Shaker 4
Short Hi Whistle
Long Low Whistle [EXC2]
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Bar Chime
Castanets
Mute Surdo
Open Surdo
-----
Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco Tmbl Flam
Shekere 1
Shekere 2
Low Bongo Mute
-----
O rg a n
Vox Thu
52
Vox Cheey
Vox Cymm
Vox Tub
Vox Pruru
Vox Tut
1
2
3
4
5
6
Jazz Organ*
Rock Organ
Full Organ*
Lower Organ*
Church Organ
Nason Flute 8’
53
54
56
58
55
57
Vox Tyun
Vox Tdum
Vox Afahhhh
High Bongo 2
Low Bongo 2
Mute Conga
High Conga 2
Low Conga 2
High Timbale 2
Low Timbale 2
High Agogo
Low Agogo
Shaker 3
59
C4 60
62
61
63
64
Gu ita r/ Ba ss
65
66
68
70
67
1
2
3
4
5
6
Acoustic Guitar
Jazz Guitar
Acoustic Bass
Acoustic Bass + Cymbal
Fingered Bass
Thum Voice
69
Shaker 4
Short Hi Whistle
Long Low Whistle [EXC2]
71
[EXC2]
[EXC2]
C5 72
74
73
75
[EXC3]
[EXC3]
Short Guiro
Long Guiro
Claves
High Wood Block
Low Wood Block
Mute Cuica
Open Cuica
Mute Triangle
Open Triangle
Shaker
Jingle Bell
Bar Chime
Castanets
Mute Surdo
Open Surdo
-----
Falamenco Hi-Timbale
Falamenco Lo-Timbale
Falamenco Tmbl Flam
Shekere 1
Shekere 2
Low Bongo Mute
-----
[EXC3]
[EXC3]
76
77
Strin g s/ Pa d
78
80
82
[EXC4]
[EXC4]
[EXC5]
[EXC5]
[EXC4]
[EXC4]
[EXC5]
[EXC5]
79
1
2
3
4
5
6
Slow Strings
Strings
Warm JP Strings
Holy Voice
Sugar Key
Harp
81
83
C6 84
86
85
87
[EXC6]
[EXC6]
[EXC6]
[EXC6]
88
89
90
92
94
Vo ice / W in d s
91
93
1
2
3
4
5
6
7
8
Jazz Scat
95
Rich Choir
Dreamy Choir
Alto Sax
Flute
Trumpet
-----
-----
-----
-----
-----
-----
-----
-----
96
98
C7
97
99
100
101
Falamenco HC
Falamenco HC
Bongo Cowbell
-----
Bongo Cowbell
-----
Falamenco HC
Falamenco HC
Bongo Cowbell
-----
Bongo Cowbell
-----
102
104
Pop Drum Set
Vox Drum Set
103
105
* ---: No sound.
* [EXC]: will not sound simultaneously with other percussion
instruments of the same number.
4 8
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Rh y th m List
Recommended
Tempo
Recommended
Tempo
No.
Genre
Name
Beat
No.
Genre
Name
Beat
r01
r02
r03
r04
r05
r06
r07
r08
r09
r10
r11
r12
r13
r14
r15
r16
r17
r18
r19
r20
r21
r22
r23
r24
r25
r26
r27
r28
r29
r30
Pop
Pop
Cutting Guitar 1
Cutting Guitar 2
EP Pop 1
90 ~ 120
90 ~ 120
80 ~ 110
80 ~ 110
80 ~ 110
80 ~ 110
85 ~ 115
85 ~ 115
110 ~ 140
110 ~ 140
70 ~ 100
70 ~ 100
100 ~ 130
100 ~ 130
85 ~ 115
85 ~ 115
80 ~ 110
80 ~ 110
110 ~ 140
110 ~ 140
130 ~ 160
130 ~ 160
110 ~ 140
110 ~ 140
100 ~ 130
100 ~ 130
90 ~ 120
90 ~ 120
90 ~ 120
90 ~ 120
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
r31
r32
r33
r34
r35
r36
r37
r38
r39
r40
r41
r42
r43
r44
r45
r46
r47
r48
r49
r50
r51
r52
r53
r54
r55
r56
r57
r58
r59
r60
Pop
Pop
Funk Pop 1
Funk Pop 2
Funk Pop 3
Funk Pop 4
Hip Hop 1
90 ~ 120
90 ~ 120
90 ~ 120
90 ~ 120
80 ~ 110
80 ~ 110
100 ~ 130
100 ~ 130
90 ~ 120
90 ~ 120
85 ~ 115
85 ~ 115
85 ~ 115
85 ~ 115
50 ~ 80
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
3/ 4
3/ 4
3/ 4
3/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
4/ 4
Pop
Pop
Pop
EP Pop 2
Pop
Pop
Acoustic Pop 1
Acoustic Pop 2
Piano Pop 1
Piano Pop 2
Bossa Nova 1
Bossa Nova 2
Ballad 1
Pop
Pop
Pop
Hip Hop 2
Pop
Pop
Easy Pop 1
Pop
Pop
Easy Pop 2
Latin
Latin
Ballad
Ballad
Jazz
Pop
Cutting Guitar 3
Cutting Guitar 4
Fusion 1
Pop
Pop
Ballad 2
Pop
Fusion 2
Scat Swing 1
Scat Swing 2
Country Pop 1
Country Pop 2
EP Pop 3
Pop
Contemporary 1
Contemporary 2
Piano Ballad 1
Piano Ballad 2
Piano Ballad 3
Piano Ballad 4
Jazz Waltz 1
Jazz Waltz 2
Piano Waltz 1
Piano Waltz 2
Gospel Shout 1
Gospel Shout 2
Boogie 1
Jazz
Pop
Pop
Ballad
Ballad
Ballad
Ballad
Waltz
Waltz
Waltz
Waltz
Rock
Rock
Blues
Blues
Blues
Blues
Rock
Rock
Pop
50 ~ 80
Pop
75 ~ 105
75 ~ 105
90 ~ 120
90 ~ 120
85 ~ 115
85 ~ 115
125 ~ 155
125 ~ 155
145 ~ 175
145 ~ 175
60 ~ 90
Pop
EP Pop 4
Shuffle
Shuffle
Shuffle
Shuffle
Jazz
Shuffle 1
Shuffle 2
Shuffle 3
Shuffle 4
Jazz 1
Jazz
Jazz 2
Jazz
Jazz 3
Jazz
Jazz 4
Boogie 2
Latin
Latin
Latin
Latin
Beguine 1
Beguine 2
Mambo 1
Blues 1
Blues 2
60 ~ 90
Rock 1
110 ~ 140
110 ~ 140
Mambo 2
Rock 2
4 9
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Ch o rd Pro g re ssio n Pa tte rn List
Re co m m e n d e d Rh y th m Ge n re : All
C
Am
Dm7
G7
Pa tte rn 1
I
VIm
IIm7
V7
Re co m m e n d e d Rh y th m Ge n re : All
Am
G
F
E7
Pa tte rn 2
Im
VII
VI
V7
Re co m m e n d e d Rh y th m Ge n re : Ja zz
CM7
Am7
Dm7
G7
Pa tte rn 3
I M7
VIm7
IIm7
V7
Re co m m e n d e d Rh y th m Ge n re : Po p , Ba lla d
Dm7
G7
CM7
Am7
IIm7
V7
I M7
VIm7
Pa tte rn 4
Dm7
G7
CM7
A7
IIm7
V7
I M7
VI7
Re co m m e n d e d Rh y th m Ge n re : Po p
C
Bm7
Em7
Am
I
VIIm7
IIIm7
VIm
Pa tte rn 5
F
G
Csus4
C
IV
V
I sus4
I
Re co m m e n d e d Rh y th m Ge n re : Ba lla d , Ja zz
Dm7
G7
CM7
FM7
IVm7
VII7
III M7
VIM7
Pa tte rn 6
Bm7 5
E7
Am7
A7
IIm7 5
V7
I m7
I 7
5 0
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Ch o rd Pro g re ssio n Pa tte rn List
Re co m m e n d e d Rh y th m Ge n re : Blu e s, Ro ck , Po p
C7
F7
C7
I 7
IV7
I 7
F7
C7
Pa tte rn 7
IV7
I 7
G7
F7
C7
G7
V7
IV7
I 7
V7
Re co m m e n d e d Rh y th m Ge n re : Ja zz
CM7
Cdim
I M7
I dim
Dm9
CM7
G7
Dm9
IIm9
I M7
V7
IIm9
Pa tte rn 8
CM7
Cdim
I M7
I dim
Dm9
G7
CM7
IIm9
V7
I M7
Re co m m e n d e d Rh y th m Ge n re : La tin , Po p
C
Am7
I
VIm7
Pa tte rn 9
Dm7
G7sus4
IIm7
V7sus4
5 1
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Ch o rd Fin g e rin g List
● symbol: indicates the constituent notes of chords.
● symbol: Chords shown with an “●” can be played by pressing just the key marked with the “●”.
C
C#
D
E
E
E
E
E
E
E
F
CM7
C7
C#M7
C#7
DM7
D7
M7
7
EM7
E7
FM7
F7
Cm
Cm7
Cdim
C#m
C#m7
C#dim
Dm
Dm7
Ddim
m
Em
Em7
Edim
Fm
Fm7
Fdim
m7
dim
Cm7 ( 5 )
C#m7 ( 5 )
C#aug
Dm7 ( 5 )
E
E
E
E
E
E
m7 ( 5 )
Em7 ( 5 )
Fm7 ( 5 )
Caug
Daug
aug
Eaug
Faug
Csus4
C7sus4
C6
C#sus4
C#7sus4
C#6
Dsus4
D7sus4
D6
sus4
7sus4
6
Esus4
E7sus4
E6
Fsus4
F7sus4
F6
Cm6
C#m6
Dm6
m6
Em6
Fm6
5 2
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Ch o rd Fin g e rin g List
F#
G
A
A
A
A
A
A
A
A
A
A
B
B
B
B
B
B
B
B
B
B
F#M7
F#7
GM7
G7
M7
AM7
A7
M7
BM7
B7
7
7
F#m
Gm
m
Am
m
Bm
F#m7
F#dim
F#m7 ( 5 )
F#aug
F#sus4
Gm7
Gdim
Gm7 ( 5 )
Gaug
Gsus4
m7
Am7
Adim
Am7 ( 5 )
Aaug
Asus4
m7
Bm7
Bdim
Bm7 ( 5 )
Baug
Bsus4
dim
m7 ( 5 )
aug
sus4
dim
m7 ( 5 )
aug
sus4
F#7sus4
F#6
G7sus4
G6
A
A
7sus4
A7sus4
A6
B
B
7sus4
B7sus4
B6
6
6
F#m6
Gm6
A
m6
Am6
B
m6
Bm6
5 3
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In te rn a l So n g List
Song
No.
Song Title
Composer
Copyright
d. 1
Jobs For The Boys
Howz It Feel?
J. Maul
© 2000 John Maul
d. 2
d. 3
d. 4
P. 1
S. Wilkie
© 2000 Scott Wilkie (ASCAP)
© 1992 Roland Corporation
© 1992 Roland Corporation
© 1994 Roland Corporation
© 1997 Roland Corporation
© 1996 Roland Corporation
© 1997 Roland Corporation
© 1990 Roland Corporation
© 1998 Roland Corporation
© 1993 Roland Corporation
© 1996 Roland Corporation
© 1994 Roland Corporation
© 1998 Roland Corporation
© 1998 Roland Corporation
© 1990 Roland Corporation
© 1995 Roland Corporation
© 1995 Roland Corporation
© 1996 Roland Corporation
© 1995 Roland Corporation
© 1990 Roland Corporation
© 1994 Roland Corporation
© 1998 Roland Corporation
© 1990 Roland Corporation
© 1994 Roland Corporation
© 1996 Roland Corporation
© 1994 Roland Corporation
Bop on the Rock
J. Maul
Yesterday’s Dream
Arabesque No. 1 in E-Major
Gymnopedie No. 1
Golliwog’s Cakewalk
Je Te Veux
J. Maul
C. Debussy
E. Satie
P. 2
P. 3
C. Debussy
E. Satie
P. 4
P. 5
“Clair de lune” from “Suite Bergamasque”
“Passepied” from “Suite Bergamasque”
C. Debussy
C. Debussy
F. Chopin
P. Tchaikovsky
F. Chopin
L. v. Beethoven
J. Brahms
F. Chopin
F. Chopin
C. Debussy
L. v. Beethoven
F. Chopin
F. Chopin
F. Chopin
F. Chopin
F. Chopin
F. Chopin
F. Chopin
C. M. v. Weber
P. 6
P. 7
Nocturne No. 2 in E-flat Major, Op. 9-2
P. 8
“Troika Drive: November” from “The Seasons,” Op. 37
Polonaise No. 6 in A-flat Major “Héroïque,” Op. 53 (Excerpt)
Piano Sonata No. 14 in C-sharp Minor, “Moonlight” 1st Movement
Rhapsody No. 2, Op. 79
P. 9
P.10
P.11
P.12
P.13
P.14
P.15
P.16
P.17
P. 18
P.19
P.20
P.21
P.22
P.23
Nocturne No. 5 in F-sharp Major, Op. 15-2
Mazurka No.5 in B-flat Major, Op. 7-1
“Doctor Gradus Ad Parnassum” from Suite “Children’s Corner”
Turkish March, Op.113
Etude Op. 25-1 in A-flat Major “The Shepherd Boy”
Etude No. 5 in G-flat Major “Black Keys,” Op. 10-5
Fantasie-Impromptu Op.66
Valse No. 1 in E-flat Major, Op. 18 “Grand Valse Brillante”
Valse No. 6 in D-flat Major, Op. 64-1 “Petit Chien”
Valse No. 2 in A-flat Major, Op.34-1 “Valse Brillante”
Valse No. 7 in C-sharp Minor, Op. 64-2
Rondo Brillante “Aufforderung Zum Tanz” in D-flat Major, Op. 65
P.24
Slavonic Dance No. 10, Op. 72-2
© 1998 Roland Corporation
A. Dvorák
Menuet in G Major, BWV. Anh. 114 from “Notebook Of Anna
Magdalena Bach”
P.25
P.26
P.27
J. S. Bach
© 1992 Roland Corporation
© 1994 Roland Corporation
© 1994 Roland Corporation
Bagatelle “Für Elise” WoO. 59
L. v. Beethoven
W. A. Mozart
12 Variationen Über Ein Französisches Lied “Ah, Vuos Dirai-Je,
Maman,” K. 265
Turkisch March (Piano Sonate No. 11 in A Major, 3rd Movement
“Alla Turca”)
P.28
W. A. Mozart
© 1994 Roland Corporation
P.29
P.30
Salut D’Amour Op. 12
A Maiden’s Prayer
E. Elgar
© 1996 Roland Corporation
© 1996 Roland Corporation
T. Badarzewska
5 4
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In te rn a l So n g List
Song
No.
Song Title
Composer
Copyright
P.31
Spinnerlied Op. 14-4
A. Ellmenreich
G. Fauré
© 1994 Roland Corporation
© 1995 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1998 Roland Corporation
© 1997 Roland Corporation
© 1998 Roland Corporation
© 1996 Roland Corporation
© 1992 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1996 Roland Corporation
© 1994 Roland Corporation
© 1998 Roland Corporation
© 1996 Roland Corporation
P.32
P.33
P.34
P.35
P.36
P.37
P.38
P.39
P.40
P.41
P.42
P.43
P.44
P.45
P.46
P.47
P.48
“Berceuse” from “Dolly,” Op. 56
3-Romances Sans Paroles No. 3, Op. 17
“Gavotte” from Opera “Rosine”
G. Fauré
F. Gossec
“Arietta” from “Lyric Pieces, Volume 1” Op. 12-1
Invention No. 4 in D Minor, BWV. 775
Invention No. 13 in A-Minor
E. Grieg
J. S. Bach
J. S. Bach
Invention Three-Part (Sinfonia) No. 12 in A Major, BWV. 798
1st Mov. from Sonatina Op. 20 No. 1 in C-Major
No. 14 “La Styrienne” from “25 Easy Studies” Op. 100
Harmonious Blacksmith
J. S. Bach
F. Kuhlau
F. Burgmuller
G. Handel
G. P. Marie
G. Lange
La Cinquantaine
Blumenlied
On Wings Of Song
F. Mendelssohn
F. Mendelssohn
F. Schubert
F. Schubert
R. Schumann
“Frühlingslied” from “Lieder Ohne Worte Heft 5,” Op. 62-6
Moment musicaux No. 3, Op. 94-3
Military March No. 1, Op. 51-1
“Fröhlicher Landmann” from “Album Für Die Jugend” Op. 68
“Grande Ritournelle” from “La Belle Excentrique (Fantaisie
Serieuse)”
P.49
P.50
E. Satie
© 1997 Roland Corporation
© 1997 Roland Corporation
“Träumerei” from “Scenes From Childhood” Op. 15
R. Schumann
* All rights reserved. Unauthorized use of this material for purposes other than private, personal enjoyment is
a violation of applicable laws.
* No data for the internal songs that is played will be output from MIDI OUT connector.
● Pro file
Jo h n Ma u l
Sco tt W ilk ie
John Maul is a musician, composer and arranger having graduated from
the Royal Academy of Music in London. John’s work encompasses studio
recordings and live performances including work with top UK Jazz artists.
His writing credits include commercial music for BBC radio and televi-
sion, as well as scoring jazz and classical works.
Scott Wilkie is a contemporary jazz record-
ing artist, based in southern California. He
has several recordings available on Narada-
Jazz Records, and he tours frequently with
his own band. He also appears worldwide as
an artist for Roland. You can find him on-
Having been a product specialist for Roland U.K., John is now actively
involved in music software composing/ programming for both Roland
Japan and various music publishers. Quite recently his “Musical Picture
Book,” a volume of original piano music encompassing all standards of
musical ability, which included the piano and orchestral accompaniment
data in SMF format, was published and printed.
5 5
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Ea sy O p e ra tio n List
2
3
4
5
6
7
8
9
10 11
12 13
14 15
1
1
2
3
4
5
6
No.
You want to
Buttons
Page
Hold down the [Song] button and press the [●] button.
Volume balance between the Lower and Upper
[Song] + [Split]
[Song] + [Piano]
1
Tone
Octave Shift
2
3
4
5
6
7
8
[Song] + [E.Piano]
Pedal works
[Song] + [Organ]
How the pedal effects are applied
MIDI send channel settings
MIDI OutMode
[Song] + [Guitar/ Bass]
[Song] + [Strings/ Pad]
[Song] + [Voice/ Winds]
Master Tuning
[Song] + [Tempo/ Rhythm]
[Song] + [Drums]
Local Control
Volume balance between the keyboard and
Rhythm
9
[Song] + [Chord]
[Song] + [Metronome]
[Song] + [Play]
Playing only the bass sound of the Chord Part
Metronome beat pattern
10
11
12
13
All Song Play
[Song] + [Rec]
Erasing the recorded performance
Selecting a temperament
Specifying the keynote
[Song] + [Chorus]
+ key
14
15
[Song] + [Reverb]
Key Touch
Hold down the [ ] button and press the [-] or [+] button.
[Tempo/ Rhythm] + [-] [+]
Beat of metronome
Metronome volume
1
2
[Metronome] + [-] [+]
Selecting a chord progression pattern
[Chord] + [-] [+]
+ key
3
Specifying the root of the beginning chord
[Chorus] + [-] [+]
Depth of the Chorus effect
Depth of the Reverb effect
Damper pedal’s resonance level
4
5
6
[Reverb] + [-] [+]
[Reverb] + [Chorus] + [-] [+]
Hold down the [Split] or [Song] button and press the key.
[Split] + key
[Song] + key
Split Point
Key Transpose
5 6
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MIDI
Im p le m e n ta ti
o n
DIGITAL PIANO
Date : Oct. 1, 2000
Version : 1.00
Model FP-3
MIDI Implementation Chart
Transmitted
Recognized
Remarks
Function...
Basic
Channel
Default
Changed
1
1–16
1–16
1–16
Default
Messages
Altered
Mode 3
x
Mode 3
Mode 3, 4(M=1)
* 2
Mode
**************
Note
Number :
15–113
**************
0–127
0–127
True Voice
Note ON
Note OFF
O
x
O
x
Velocity
8n v=64
*1
*1
After
Touch
Key’s
Ch’s
x
x
O
O
Pitch Bend
x
O
0, 32
O
x
O
*1
*1
*1
*1
*1
*1
*1
*1
*1
Bank select
Volume
*3
7
10
11
64
66
67
91
93
O
x
O
Panpot
O
O
O
O
O
O
O
Expression
Hold 1
Sostenuto
Soft
Effect1 depth
Effect3 depth
O
Control
Change
O
O
*3
*3
O (Reverb)
O (Chorus)
*3
Prog
Change
O 0–37, 63
**************
O
: True Number
0–37, 63
Program number 1–38, 64
System Exclusive
O
O
: Song Pos
: Song Sel
: Tune
x
x
x
x
x
x
System
Common
System
Real Time
: Clock
: Commands
O
x
x
x
x
x
x
x
O
x
O (120, 126, 127)
: All sound off
O
:
Reset all controllers
Aux
Message
O
: Local Control
: All Notes OFF
: Active Sense
: Reset
O (123–125)
O
x
* 1 O x is selectable by SysEx.
* 2 Recognized as M=1 even if M=1.
Notes
* 3 Not transmitted when MIDI Out Mode (p. 44) is set to “2.”
Mode 1 : OMNI ON, POLY
Mode 2 : OMNI ON, MONO
O : Yes
X : No
Mode 3 : OMNI OFF, POLY Mode 4 : OMNI OFF, MONO
5 7
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Ma in Sp e cifica tio n s
<Ke y b o a rd >
88 keys (Progressive Hammer Action Keyboard)
<O th e rs>
Disp la y
7-segment, 3-digit LED
To u ch Se n sitivity
Light/ Normal/ Heavy/ Fixed
Co n n e cto rs
Line Out jacks (L/ Mono, R)
Line In jacks (L/ Mono, R)
Ke y b o a rd Mo d e
Whole
Dual
Phones jack x 2 (Stereo Mini)
MIDI connectors (In/ Out)
Split (adjustable split point)
Pedal jacks (Damper, Soft/ Sostenuto/ Expression)
<So u n d So u rce >
Po w e r Su p p ly
DC 9 V
Ma x .Po ly p h o n y
64 voices
Po w e r Co n su m p tio n
1,000 mA
To n e s
6 groups 40 variations (including 2 drum sets)
Dim e n sio n s
1,291 (W) x 302 (D) x 124(H) mm
50-7/ 8(W) x 11-15/ 16 (D) x 4-15/ 16(H) inch
Effe cts
Reverb (10 levels)
Chorus (10 levels)
W e ig h ts
18.5 kg / 40 lbs 13 oz
Sympathetic Resonance (10 levels, for some Pianos only)
Rotary (for some Organs only)
Acce sso rie s
Owner’s manual
Tra n sp o se
-6 to +5 (semitone steps)
AC adaptor
Te m p e ra m e n t
7 types, selectable tonic
AC cord
Music Stand/ 2 Screws for the music stand
Ma ste r Tu n in g
415.3 Hz to 466.2 Hz (0.1 Hz Step)
Audio cables
Pedal
Cover
<Rh y th m >
Rh y th m s
60 Rhythms
* In the interest of product improvement, the specifications and/
or appearance of this unit are subject to change without prior
notice.
Ch o rd Pro g re ssio n
Automatic or input with keyboard
<Re co rd e r>
Me tro n o m e
Beat: 2/ 2,0/ 4,2/ 4,3/ 4,4/ 4,5/ 4, 6/ 4,7/ 4,3/ 8,6/ 8,9/ 8,12/ 8
Volume: 10 levels
Pattern: 11 patterns
Tra ck s
3 tracks
So n g
1 song
N o te Sto ra g e
Approx. 30,000 notes
Te m p o
Quarter note = 20 to 250
Re so lu tio n
120 ticks per quarter note
5 8
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In d e x
A
L
B
M
C
Chord progression
O
D
P
Pedal .................................................................... 10, 38, 39
Playback
E
F
R
H
I
Including pedal .............................................................. 10
Recording....................................................................36
K
5 9
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In d e x
S
T
Track Button
U
V
Volume Balance
6 0
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MEMO
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In fo rm a tio n
When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as
shown below.
PAN AMA
ITALY
ISRAEL
SIN GAPO RE
AFRICA
SUPRO MUNDIAL, S.A.
Boulevard Andrews, Albrook,
Panama City, REP. DE PANAMA
TEL: 315-0101
Roland Italy S. p. A.
Viale delle Industrie 8,
20020 Arese, Milano, ITALY
TEL: (02) 937-78300
Halilit P. Greenspoon &
Swee Lee Company
150 Sims Drive,
Sons Ltd.
SINGAPORE 387381
TEL: 846-3676
8 Retzif Ha'aliya Hashnya St.
Tel-Aviv-Yafo ISRAEL
TEL: (03) 6823666
EGYPT
Al Fanny Trading Office
9, EBN Hagar A1 Askalany Street,
ARD E1 Golf, Heliopolis,
Cairo 11341, EGYPT
CRISTOFORI MUSIC PTE
LTD
Blk 3014, Bedok Industrial Park E,
#02-2148, SINGAPORE 489980
TEL: 243 9555
N O RW AY
Roland Scandinavia Avd.
Kontor Norge
Lilleakerveien 2 Postboks 95
Lilleaker N-0216 Oslo
NORWAY
PARAGUAY
Distribuidora De
Instrumentos Musicales
J.E. Olear y ESQ. Manduvira
Asuncion PARAGUAY
TEL: (021) 492-124
JO RDAN
AMMAN Trading Agency
245 Prince Mohammad St.,
Amman 1118, JORDAN
TEL: (06) 464-1200
TEL: 20-2-417-1828
REUN IO N
Maison FO - YAM Marcel
25 Rue Jules Hermann,
Chaudron - BP79 97 491
Ste Clotilde Cedex,
TAIW AN
ROLAND TAIWAN
ENTERPRISE CO., LTD.
Room 5, 9fl. No. 112 Chung Shan
N.Road Sec.2, Taipei, TAIWAN,
R.O.C.
TEL: 273 0074
KUW AIT
Easa Husain Al-Yousifi
Abdullah Salem Street,
Safat, KUWAIT
PERU
VIDEO Broadcast S.A.
Portinari 199 (ESQ. HALS),
San Borja, Lima 41,
REP. OF PERU
TEL: (01) 4758226
PO LAN D
P. P. H. Brzostowicz
UL. Gibraltarska 4.
PL-03664 Warszawa POLAND
TEL: (022) 679 44 19
REUNION ISLAND
TEL: (0262) 218-429
TEL: 243-6399
TEL: (02) 2561 3339
SO UTH AFRICA
That Other Music Shop
(PTY) Ltd.
11 Melle St., Braamfontein,
Johannesbourg, SOUTH AFRICA
LEBAN O N
PO RTUGAL
THAILAN D
A. Chahine & Fils
Gerge Zeidan St., Chahine Bldg.,
Achrafieh, P.O.Box: 16-5857
Beirut, LEBANON
URUGUAY
Todo Musica S.A.
Francisco Acuna de Figueroa 1771
C.P.: 11.800
Montevideo, URUGUAY
TEL: (02) 924-2335
Tecnologias Musica e Audio,
Roland Portugal, S.A.
Cais Das Pedras, 8/ 9-1 Dto
4050-465 PORTO
Theera Music Co. , Ltd.
330 Verng NakornKasem, Soi 2,
Bangkok 10100, THAILAND
TEL: (02) 2248821
TEL: (01) 20-1441
P.O.Box 32918, Braamfontein 2017
Johannesbourg, SOUTH AFRICA
TEL: (011) 403 4105
PORTUGAL
TEL: (022) 608 00 60
Q ATAR
Al Emadi Co. (Badie Studio
& Stores)
P.O. Box 62,
Doha, QATAR
TEL: 4423-554
VIETN AM
Saigon Music
138 Tran Quang Khai St.,
District 1
Ho Chi Minh City
VIETNAM
TEL: (08) 844-4068
VEN EZUELA
Paul Bothner (PTY) Ltd.
17 Werdmuller Centre,
Main Road, Claremont 7708
SOUTH AFRICA
RO MAN IA
FBS LINES
Piata Libertatii 1,
RO-4200 Gheorghehi
TEL: (095) 169-5043
Musicland Digital C.A.
Av. Francisco de Miranda,
Centro Parque de Cristal, Nivel
C2 Local 20 Caracas
VENEZUELA
TEL: (212) 285-8586
P.O.BOX 23032, Claremont 7735,
SOUTH AFRICA
TEL: (021) 674 4030
SAUDI ARABIA
aDawliah Universal
Electronics APL
Corniche Road, Aldossary Bldg.,
1st Floor, Alkhobar,
SAUDI ARABIA
RUSSIA
MuTek
3-Bogatyrskaya Str. 1.k.l
107 564 Moscow, RUSSIA
TEL: (095) 169 5043
AUSTRALIA/
N EW ZEALAN D
EURO PE
ASIA
AUSTRALIA
AUSTRIA
Roland Austria GES.M.B.H.
Siemensstrasse 4, P.O. Box 74,
A-6063 RUM, AUSTRIA
SPAIN
Roland Electronics
de España, S. A.
Calle Bolivia 239, 08020
Barcelona, SPAIN
Roland Corporation
Australia Pty., Ltd.
38 Campbell Avenue
Dee Why West. NSW 2099
AUSTRALIA
P.O.Box 2154, Alkhobar 31952
SAUDI ARABIA
TEL: (03) 898 2081
CHIN A
Beijing Xinghai Musical
Instruments Co., Ltd.
6 Huangmuchang Chao Yang
District, Beijing, CHINA
TEL: (010) 6774 7491
TEL: (0512) 26 44 260
SYRIA
TEL: (93) 308 1000
Technical Light & Sound
Center
BELGIUM/ HOLLAND/
LUXEMBO URG
Roland Benelux N. V.
Houtstraat 3, B-2260, Oevel
(Westerlo) BELGIUM
TEL: (014) 575811
TEL: (02) 9982 8266
SW EDEN
Bldg. No. 47,
N EW ZEALAN D
Shanghai Xingtong Acoustics
Roland Scandinavia A/S
SWEDISH SALES OFFICE
Danvik Center 28, 2 tr.
S-131 30 Nacka SWEDEN
TEL: (08) 702 0020
Khaled Ebn Al Walid St.
Damascus, SYRIA
TEL: (011) 221-1230
Roland Corporation Ltd.
32 Shaddock Street, Mount Eden,
Auckland, NEW ZEALAND
TEL: (09) 3098 715
Equipment CO.,Ltd.
5F. No.1500 Pingliang Road
New East Club Plaza, Shanghai,
CHINA
TURKEY
Barkat muzik aletleri ithalat
ve ihracat Ltd Sti
Siraselviler Caddesi Siraselviler
Pasaji No:74/ 20
DEN MARK
TEL: (021) 5580-0800
Roland Scandinavia A/S
Nordhavnsvej 7, Postbox 880,
DK-2100 Copenhagen
DENMARK
CEN TRAL/ LATIN
AMERICA
SW ITZERLAN D
Roland (Switzerland) AG
Musitronic AG
Gerberstrasse 5, Postfach,
CH-4410 Liestal, SWITZERLAND
TEL: (061) 927-8383
HO N G KO N G
Tom Lee Music Co., Ltd.
Service Division
22-32 Pun Shan Street, Tsuen
Wan, New Territories,
HONG KONG
Taksim - Istanbul, TURKEY
TEL: (0212) 2499324
TEL: (039)16 6200
ARGEN TIN A
Instrumentos Musicales S.A.
Av.Santa Fe 2055
(1123) Buenos Aires
ARGENTINA
TEL: (011) 4508-2700
FRAN CE
Roland France SA
4, Rue Paul Henri SPAAK,
Parc de l'Esplanade, F 77 462 St.
Thibault, Lagny Cedex FRANCE
TEL: 01 600 73 500
U.A.E.
Zak Electronics & Musical
Instruments Co. L.L.C.
Zabeel Road, Al Sherooq Bldg.,
No. 14, Grand Floor, Dubai, U.A.E.
TEL: (04) 3360715
UKRAIN E
TEL: 2415 0911
TIC-TAC
Mira Str. 19/ 108
IN DIA
P.O. Box 180
295400 Munkachevo, UKRAINE
TEL: (03131) 414-40
Rivera Digitec (India) Pvt. Ltd.
409, Nirman Kendra Mahalaxmi
Flats Compound Off. Dr. Edwin
Moses Road, Mumbai-400011,
INDIA
BRAZIL
Roland Brasil Ltda
Rua San Jose, 780 Sala B
Parque Industrial San Jose
Cotia - Sao Paulo - SP, BRAZIL
TEL: (011) 4615 5666
FIN LAN D
Roland Scandinavia As,
Filial Finland
Lauttasaarentie 54 B
Fin-00201 Helsinki, FINLAND
TEL: (9) 682 4020
UN ITED KIN GDO M
N O RTH AMERICA
Roland (U.K.) Ltd.
Atlantic Close, Swansea
Enterprise Park, SWANSEA
SA7 9FJ,
TEL: (022) 498 3079
IN DO N ESIA
PT Citra IntiRama
J1. Cideng Timur No. 15J-150
Jakarta Pusat
INDONESIA
TEL: (021) 6324170
CAN ADA
Roland Canada Music Ltd.
(Head Office)
5480 Parkwood Way Richmond
B. C., V6V 2M4 CANADA
TEL: (0604) 270 6626
CO STA RICA
JUAN Bansbach
Instrumentos Musicales
Ave.1. Calle 11, Apartado 10237,
San Jose, COSTA RICA
TEL: 258-0211
UNITED KINGDOM
TEL: (01792) 700139
GERMAN Y
Roland Elektronische
Musikinstrumente HmbH.
Oststrasse 96, 22844 Norderstedt,
GERMANY
MIDDLE EAST
KO REA
Roland Canada Music Ltd.
(Toronto Office)
Unit 2, 109 Woodbine Downs
Blvd, Etobicoke, ON
M9W 6Y1 CANADA
TEL: (0416) 213 9707
TEL: (040) 52 60090
Cosmos Corporation
1461-9, Seocho-Dong,
Seocho Ku, Seoul, KOREA
TEL: (02) 3486-8855
CHILE
Comercial Fancy S.A.
Rut.: 96.919.420-1
Nataniel Cox #739, 4th Floor
Santiago - Centro, CHILE
TEL: (02) 688-9540
BAHRAIN
Moon Stores
No.16, Bab Al Bahrain Avenue,
P.O.Box 247, Manama 304,
State of BAHRAIN
GREECE
STOLLAS S.A.
Music Sound Light
155, New National Road
Patras 26442, GREECE
TEL: (061) 43-5400
MALAYSIA
BENTLEY MUSIC SDN BHD
140 & 142, Jalan Bukit Bintang
55100 Kuala Lumpur,MALAYSIA
TEL: (03) 2144-3333
TEL: 211 005
U. S. A.
EL SALVADO R
Roland Corporation U.S.
5100 S. Eastern Avenue
Los Angeles, CA 90040-2938,
U. S. A.
CYPRUS
Radex Sound Equipment Ltd.
17, Diagorou Street, Nicosia,
CYPRUS
OMNI MUSIC
HUN GARY
75 Avenida Norte y Final
Intermusica Ltd.
Alameda Juan Pablo
Edificio No.4010 San Salvador,
EL SALVADOR
,
Warehouse Area ‘DEPO’ Pf.83
H-2046 Torokbalint, HUNGARY
TEL: (23) 511011
PHILIPPIN ES
TEL: (323) 890 3700
G.A. Yupangco & Co. Inc.
339 Gil J. Puyat Avenue
Makati, Metro Manila 1200,
PHILIPPINES
TEL: (02) 66-9426
TEL: 262-0788
IRAN
MOCO, INC.
No.41 Nike St., Dr.Shariyati Ave.,
Roberoye Cerahe Mirdamad
Tehran, IRAN
IRELAN D
Roland Ireland
Audio House, Belmont Court,
Donnybrook, Dublin 4.
Republic of IRELAND
TEL: (01) 2603501
MEXICO
TEL: (02) 899 9801
Casa Veerkamp, s.a. de c.v.
Av. Toluca No. 323, Col. Olivar
de los Padres 01780 Mexico D.F.
MEXICO
TEL: (021) 285-4169
As of January 1, 2002 (Roland)
TEL: 668-0480
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For EU Countries
For the USA
This product complies with the requirements of European Directive 89/336/EEC.
FEDERAL COMMUNICATIONS COMMISSION
RADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the
FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential
installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in
accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee
that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or
television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
–
–
–
–
Reorient or relocate the receiving antenna.
Increase the separation between the equipment and receiver.
Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.
This equipment requires shielded interface cables in order to meet FCC class B Limit.
For Canada
NOTICE
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
AVIS
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
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This owner’s manual is printed on recycled paper.
02349012
’02-7-AE2-61N
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